As of end-July 2017, the portfolio had reached 4.9% of its initial size for Loggias 2001, 9.6% for Loggias 2003 and 19.0% for FCC Minotaure.
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The farmhouse has 6,092 square feet, not counting terraces and loggias.
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Those renovations enclosed Johnson and Burgee's open-air loggias with retail spaces.
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Upstairs are loggias or colonnaded porches, one on either side of the door.
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On the top ten floors, many of the arches will be inverted and widened to frame private loggias.
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About half of the units have outdoor loggias or terraces facing the park, reached through sliding glass doors.
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Loggias 2003 and FCC Minotaure reported cumulative defaults of 103% and 0.92% respectively with 1.09% and 0.92% a year ago.
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All two- and three-bedroom apartments in the tower have loggias that contribute to the building's name and provide views up and down Broadway.
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These triggers relate to the ratings of the interest rate swap counterparty, as well as to the ratings of the account bank for the Loggias 0003 transaction.
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KEY RATING DRIVERS Sound Asset Performance Loggias 2001, which is the most seasoned deal, had a cumulative default rate of 1.48% of the initial pool balance as of end-July 2017.
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The footage presents her as a human GIF, repeating small motions with minute adjustments ad infinitum in the hallways, passages, corridors and loggias of the Italianate airplane-hangar where she lives.
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They want their loggias, their terraces, their barbecue, their roof deck, their fireplace, their two outdoor showers in the master bedroom and outdoor Jacuzzis, one in the pool, another on the roof.
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From the east, the elevation presents a slim, unadorned, milk-white concrete block, nine stories high, punctured by loggias — a signpost, like the traditional village bell tower, rising above a low, scruffy neighborhood.
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Because the ratings of Loggias 2001's notes are exposed to the account bank counterparty's ratings, any downgrade of its rating could influence a similar movement on the tranches' ratings in case it is not replaced.
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At intervals in the facade, which has 2789,210 curved panels, are a number of loggias, enclosed balconies, with glass fronts that mimic the shape of tuning forks, a nod to the building's new role as a center for music.
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Foldout platforms that extend over the water and make a boat's socializing space larger; loggias, which are small covered balconies attached to bedrooms that give owners total privacy; cascading waterfalls spread over multiple decks; multiple swimming pools; and outdoor cinemas.
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With the elimination of the annex, and the return of the rear bays of the loggias to their original open-air configurations, the garden will become a new public park the size of the Museum of Modern Art's sculpture garden, an indisputable upgrade.
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Ms. de Font-Réaulx noted that the two curators of the main exhibition have researched all the historical information for the virtual tour narration, including the visual details of Mona Lisa and her surroundings — from the gentle wave of her hair to her velvet dress to the clay tiles of the loggias of 16th-century Florence.
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The arcaded loggias, originally open to the air, are now enclosed and altered.
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There is a cornice above the 16th floor. The capital is four stories tall with loggias and a metal cornice above the 20th floor. The loggias, located on the 18th and 19th floors, are composed of Corinthian paired columns that form a colonnade.
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The facade is organized around a central courtyard. The building is three stories in height with a penthouse. Open-air loggias divided into three distinct levels face the courtyard and provide occupants with pleasant views and circulating air currents. The loggias also function as exterior corridors and provide primary circulation for occupants.
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As a standard, apartments in P2-buildings have one-to-four rooms. In buildings with special elements, such as a trapezoidal shape, there are also 5-room apartments with two rooms that have no right angles. Originally there were no loggias on the raised ground floor. Ground floor loggias were added later in the course of reconstruction work.
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One of the loggias. On either side of the mausoleum are small rectangular chambers (4 by 2 meters) that open to the outside through richly- decorated loggias. The eastern loggia room has doorways opening onto both the central mausoleum chamber (via another intricate archway) and the southern Grand Chamber, while the western loggia connects only to the southern chamber. The loggias are triple-arched: a cedar wood canopy forms an arch resting on stucco-carved pillars that in turn rest on marble columns, with smaller muqarnas-carved arches crossing the space between the columns and the main walls of the structure.
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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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Occasionally a loggia would be placed at second floor level over the top of a loggia below, creating what was known as a double loggia. Loggias were sometimes given significance in a facade by being surmounted by a pediment. Villa Godi has as its focal point a loggia rather than a portico, plus loggias terminating each end of the main building.Copplestone, p.
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The loggias in the lower floor were in the Doric order; the associated entablature has a frieze which alternates metope (decorated by dishes and bucrania) and triglyphs. The upper-floor loggias, by contrast, are in the Ionic order, with a continuous frieze entablature. The parapet has statues by Giovanni Battista Albanese, Grazioli and Lorenzo Rubini. The clocktower has five bells in the chord of E major.
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The façade of Sir John Soane's House (No. 13) circa 1812. The loggias were later glazed. The Breakfast Room as shown in the Illustrated London News. 1864.
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As the first phase of a new 10 year master plan for expansion, an outdoor entertainment pavilion opened in 2002, complete with a concession building. Covered loggias enclose the grassy seating area.
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On both side, on can notice wrought-iron balconies, bearing different motifs, crowned at the hird floor by loggias. The top gable of the elevation is curved, enhanced on each side by eyelid dormers.
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The sanctuary's interior The sanctuary as it stands today was largely constructed in various stages between the late 16th and mid-18th centuries. The entrance to the sanctuary complex is through a Baroque monumental archway which bears the date 1719 and which contains an inscription in Latin and archaic Maltese. This leads to a courtyard which includes loggias where pilgrims could rest, along with a statue of the Virgin Mary and a niche of St Paul. Access to the sanctuary is through an archway under the loggias.
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This can most simply be described as a recessed portico, or an internal single storey room, with pierced walls that are open to the elements. Occasionally a loggia would be placed at second floor level over the top of a loggia below, creating what was known as a double loggia. Loggias were sometimes given significance in a facade by being surmounted by a pediment. Villa Godi has as its focal point a loggia rather than a portico, plus loggias terminating each end of the main building.
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Bernini's works at St. Peter's include the baldachin (baldaquin, from Italian: baldacchino), the Chapel of the Sacrament, the plan for the niches and loggias in the piers of the dome and the chair of St. Peter.
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The World War I memorial chapel was enlarged by the addition of two loggias dedicated to the dead of World Wars I and II, respectively. In the rooms at the ends of the loggias are white marble figures in memory of those who lost their lives in the two wars. Inscribed on the loggia walls is a summary of the loss of life in the Armed forces of the United States in each war, together with the location of the overseas commemorative cemeteries where American war dead are buried.
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Traces of 15th-century frescoes exist. Levels of loggias allowed pilgrims to gaze on the spot. To the left of the entrance is a seat, called the seat of Pope Celestine or St Rina. The hermitage has undergone modest reconstructions along the centuries.
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The most significant case is the Castle of Leiria, turned into a royal palace by King John I. Some rooms of the palace are decorated with splendid Gothic loggias, from which the surrounding landscape could be appreciated by the King and Queen.
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In London in 1787, Catherine acquired the collection of sculpture that belonged to Lyde Browne, mostly Ancient Roman marbles. Catherine used them to adorn the Catherine Palace and park in Tsarskoye Selo, but later they became the core of the Classical Antiquities collection of the Hermitage. From 1787 to 1792, Quarenghi designed and built a wing along the Winter Canal with the Raphael Loggias to replicate the loggia in the Apostolic Palace in Rome designed by Donato Bramante and frescoed by Raphael. The loggias in Saint Petersburg were adorned with copies of Vatican frescoes painted by Cristopher Unterberger and his workshop in the 1780s.
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Each apartment consisted of two sections. The forward section, facing the square, had the principal rooms and a study. It was connected by means of two loggias, running alongside the courtyard, to the back section which had rooms for family members and service areas.Morolli, 'Vincenzo Scamozzi...', pp.
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The portico, composed of arches, is inspired by Italian renaissance loggias, its plain ornamentation contrasting with the decorative exuberance of the church facade. It was executed by Juan Ribero Rada between 1590 and 1592, but the spandrel medallions are the work of the sculptor Martin Rodríguez.
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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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He was admired as a battle painter. He was active in Rome, Genoa, Savona, and Naples. In Rome, he painted in the Vatican Loggias. He also painted in the church of San Marco, Rome, and the chapel of San Antonio in the church of Santi Cosma e Damiano.
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The penthouse contains a clerestory band of windows, that admits light into the third story. Five skylights, including one on the penthouse roof, illuminate the interior. The roof is covered with green glazed tiles. The majority of interior spaces open onto the loggias, which provide necessary air circulation.
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The tower is square in plan with two levels of open loggias near the top. These loggias are arcaded with colored marble disks above the architrave on the first level, and arched openings with a bracketed balcony on the second. Top portion of the Bell Tower of the Tomochichi Federal Building in Savannah Although the interior has been substantially renovated to accommodate various tenants through the years, original materials-including 1899 fireplace mantles in some rooms on the upper floors of the south wing-are still evident in parts of the building. In other areas, later dropped ceilings have been removed, returning many rooms to their original height and exposing original window transoms.
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The tenement is decorated in a style referring to German Historicism. The villa is separated from the street by a garden. Its facade has an asymmetric block, adorned with decorative bays, avant-corps, loggias and post-and-plank structures. The interior is designed in art deco style, by Johanna H. Fricke.
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The villa has been built in the eclectic style, with Neo-Gothic elements and Neo-Renaissance. Perhaps this style was also inspired by the architecture of picturesque English influences. The footprint of the building is irregular but rather close to a rectangle. The outside appearance of the villa is highly fragmented, with various avant- corps, balconies and loggias.
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This large new wing contained the palace's principal room, the State Hall (today known as the Guard Room). Here the princes carried out their official business and held court. Further, more luxurious, rooms complete with balconies and loggias were designed for the private use of the Grimaldi family. In 1505 Jean II was killed by his brother Lucien.
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The gallery was also unique in the way it looked and was noticeable among other buildings. This building is considered as one of the first attempts in the implementation of porticoes on the main facade, loggias - on the side and other plastic means. All this differentiates the building among others and gives volume on the perimeter of the building.
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The original appearance of the 16th- century villa, testified by an 18th-century engraving, featured a facade with loggias, architectural structures and large statues attributed to Giovanni Andrea Ansaldo. After the 18th century remodeling, the facade presents neoclassical structures with sculptures by Nicolò Stefano Traverso. Internally, the irregular layout shows an atypical distribution of the spaces.
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The court arena is an extended one-story building. In the center is a Doric portico of eight columns, grouped in two (it was preserved from the construction of Neelov, although Stasov reduced the height of the pediment). On the ends of the longitudinal facades are loggias. The windows after the restructuring of Stasov became semi-circular, lacking platbands.
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In 1709, Martino Fischer executed the decorative ornaments, thereby contributing to the definitive transformation of the original Palladian interiors. In essence, all that remains of Palladio’s project are the plan (less the stairs) and the building’s basic volumes, the front and back loggias (whose pediments were never executed), and the components of the "Hall of the four columns".
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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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In this facade of the Villa Giulia is the genesis of the seven-bay 18th century Georgian villa, which was reproduced as far away as the Tidewater region of Virginia. View of the nimphaeum loggias The rear of the building has Vignola's large hemispherical loggia overlooking the first of three courtyards, laid out as a simple parterre. At its rear the visitor passes through the casina, which again has a hemispherical rear facade, enclosing paired flights of re-entrant marble steps that give access to the heart of the villa complex: a two-story Nympheum for alfresco dining during the heat of the summer. This three-levelled structure of covered loggias, decorated with marble statuary, reclining river gods in niches, and balustrading, is constructed around a central fountain.
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The garden was situated on the northern boundary of the hotel property. Raffles Hotel reveals the new design aesthetic then in vogue of streamlined functional forms with an emphasis on horizontal lines admirably suited to the site. Its design took good advantage of the riverside location. The main feature is the large curved loggias on both floors provided on the river frontage.
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National Register of Historic Places Nomination Form, "Convent de Con Secours", November 19, 2004. The -story structure clad in buff-colored brick was designed by Irish-born architect Maurice F. Moore. The building is composed of a main dormitory section with a hipped roof, a chapel, a small arcaded tower, and rear loggias that are reminiscent of a Renaissance cloister.
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Completed in 1903, the two- storey building combines Edwardian Baroque and Palladian architectural styles. It has been listed as a national monument since 1982 under the Antiquities Act 1976. The building was last renovated between 2004 and 2005. Although the City Hall retains much of its original form, the original arcades or loggias on the ground floor have been enclosed with windows.
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The main façade facing the square, the "front" of the palace, was given decorative embellishments. The upper loggias (B) to the right of the entrance were glazed. Inside the palace the State Rooms Wing was restyled and the enfilade of state apartments created. A new chapel adorned by a cupola (built on the site marked D) was dedicated to St John the Baptist.
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The north elevation features a centrally placed, projecting, multi-curved parapet and flanking entry portals. The loggias, hallmarks of the Spanish Colonial Revival Style, provide ventilation and shelter from the weather. The openings are segmentally arched with projecting keystones topping the openings. Classically inspired pilasters divide the openings and are skillfully combined with wrought-iron balusters that are located on the second level.
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The rear courtyard. External works during this period included the construction of the twin gatehouses (still extant), and a grand domed stair and access corridors with loggias in the courtyard (removed). The castle was partially restored by the new owners around 1950. The architect and antiquary Dr William Kelly supervised the removal of much 19th-century work to reveal the earlier fabric.
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The Nadir Divan-Beghi Madrasah was initially erected as a caravanserai. At the inauguration ceremony Imam Quli Khan unexpectedly proclaimed the supposed caravanserai is to be a madrasah. So Nadir Divan-Beghi was obliged to rearrange the caravanserai by adding on to the front the loggias, the portal (Aywan) and angular towers. He also constructed an additional storey with cells.
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The buildings, in beige stucco with a brown trim, featured arcaded loggias, including arches; patios; and tile roof. It was the first Houston school to be laid out in a "cottage plan". The school uses wooden lockers with inside mesh. The kindergarten classroom once featured an Ima Hogg fireplace, which was relocated to the library and preserved when the new facility was constructed.
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The North Building features four vaulted corner entrances, which are each three stories high and composed of loggias with on either side of the corner. Pink Tennessee marble is used as a decorative element on the floors and around the doors of each loggia. The middle of the 24th Street facade contains another entrance. The 25th Street side contains numerous loading docks.
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It is an early example in the United States of a multiple-family building designed with large apartments for affluent tenants. The building, which features six towers and loggias, gables, arcades and elaborate terracotta decorations is across Nostrand Avenue from the architecturally notable Girls High School. The Alhambra was landmarked by the New York City Landmarks Preservation Commission in 1986.
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The main façade, together with the adjoining baptistery, is one of the most important monuments of Romanesque art in Europe. It has a portico with a narthex in the middle, to which a Renaissance loggia with three niches was added in 1491. This is surmounted by a large rose window, flanked by two orders of loggette ("small loggias"). The portal is probably from the early 12th century.
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The results, as at Kenilworth Castle for example, could include huge castles deliberately redesigned to appear old and sporting chivalric features, but complete with private chambers, Italian loggias and modern luxury accommodation.Johnson (2000), p. 226; Stokstad, p. 80. Although the size of noble households shrank slightly during the 16th century, the number of guests at the largest castle events continued to grow.Johnson (2002), p. 132.
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In 1838, Nicholas I commissioned the neoclassical German architect Leo von Klenze to design a building for the public museum. Space for the museum was made next to the Small Hermitage by the demolition of the Shepelev Palace and royal stables. The construction was overseen by the Russian architects Vasily Stasov and Nikolai Yefimov in 1842–1851 and incorporated Quarenghi's wing with the Raphael Loggias.
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The garden front is flanked by two loggias facing each other across a terrace. Other classical touches, on the house's entrance front, include a central, rusticated porch, which has been called Mannerist, and two flanking small pavilions with rusticated piers. The western pavilion contained a darkroom, and the northern one a larder and scullery. There is a small extension on the northeast, service side of the house.
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In ancient Egypt, "soul houses" (or models of houses) were placed in tombs as receptacles for food offerings. From these, it is possible to discern details about the interior design of different residences throughout the different Egyptian dynasties, such as changes in ventilation, porticoes, columns, loggias, windows, and doors.Blakemore, R.G. History of Interior Design Furniture: From Ancient Egypt to Nineteenth-Century Europe. J. Wiley, 2006, p. 4.
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Concrete columns mark the main entrance bay and are topped with plaster Ionic (scrolled) capitals. Arched openings form loggias, which are roofed spaces with open sides. The monumental building occupies a high point in the city and was originally five stories in height, with a compatibly designed sixth story added in 1920. Despite the changes in use, the building's exterior has not been altered substantially.
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These apartments (Sala degli Elementi) consist of five rooms (such as the Room of Ceres) and two loggias. The commission for these rooms was originally given by Cosimo I to Giovanni Battista del Tasso. But on his death, the decorations were continued by Vasari and his helpers, working for the first time for the Medicis. These rooms were the private quarters of Cosimo I.
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He was born in Ferrara and died in Rome. As a boy, his family had moved to Rome and he learned his trade with Alessandro Mantovani, who was engaged in frescoing loggias of the Vatican. He the studied at the Accademia di San Luca with Tommaso Minardi and, for a year, with Friedrich Overbeck. This imbued him with the fading styles of Purismo circulating in Rome.
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The Renaissance style palace was built between 1610 and 1614 by the Riminese lawyer, Alessandro Gambalunga. Upon his death in 1619, he bequeathed his book collection and 17th-century palace to the city. Additional donations, and the addition of collections from suppressed religious organizations have increased its holdings. Initially the historical library moved to the ground floor, around the loggias of the inner courtyard.
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During the 1930s the west wing of the Brunswick Hotel was Holbrook's hospital. A kitchen addition, necessitated by this change was designed in the mid-1930s by Lorimore Skidmore. Skidmore went on to design the later additions after the hotel became the Arizona Hotel. In the 1940s the compound was enclosed with an adobe wall, and adobe loggias were added, and the hotel's name was hanged again to the Arizona Rancho.
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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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Courtyard The marble entrance portal leads into the large courtyard. The original medieval building, an L-shape plan, was restructured and redecorated between 1537 and 1540 by brothers Vettore and Giovanni Grimani, according to a style inspired by the ancient Roman domus. In 1558, Giovanni patronized the addition of a further wing, enclosing in a square the central courtyard. The loggias that were created were adorned with classical statues.
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Its famous garden is walled about, like a medieval garden, overlooked by the upper-storey loggias, with which Michelozzo cautiously opened up the villa's structure. Michelozzo's Villa Medici in Fiesole has a more outward-looking, Renaissance character. The property was purchased in 1417 by Cosimo de' Medici brother, Lorenzo. At the death of Giovanni di Bicci, Cosimo il Vecchio set about remodelling the beloved villa around its loggia-enclosed central courtyard.
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88 It is also worth noticing that in the early 16th century one of the houses which predated the palace hosted an osteria. In the late 1510s Raphael, at that time painting the Vatican loggias, often had lunch together with his aides in a rear room of that eatery.Borgatti (1926) p. 232 The artists often discussed work problems during lunch, sketching different solutions on the walls of the room.
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Morris died in his home from unstated causes on April 14, 1916, at age 55. Many of his buildings survive today. And through efforts of the communities around them, they have been preserved. While Morris doesn't have the largest body of work from that time, his stand out for their innovative use of massing, shapes, materials, ornament, design elements, loggias, balconies and the unique way he combined all these elements.
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Beneath the stage are music practice rooms. The music library features a white marble fireplace, dark stained timber joinery, and round headed arched openings fitted with French doors opening onto the loggia. Small stairways on the second floor give access to the tower rooms above. The plan of the building has large rooms connected to stairhalls and other rooms by loggias and walkways on the two external faces of the building.
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The tenement presents forms of German historicism, in a transitional phase between the eclecticism and secession style. The whole facade is purposefully designed on asymmetry, which is a means of architectural expression, with stucco decoration for decorative arrangement on various elements: windows, arcade-loggias, bay window, balcony s gables and Peak ornaments.Jastrzębska-Puzowska Iwona: Poglądy artystyczne i twórczość bydgoskiego architekta Fritza Weidnera. Materiały do dziejów kultury i sztuki Bydgoszczy i regionu.
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Floors three through six and eight through ten have paired, double-hung sash with four-over-four lights grouped vertically and separated by fluted bronze spandrels. The principal entries to the building are located on the north and south elevations. Each entry is centered on the elevation where three portals are defined by four fluted pilasters surmounted with stylized eagles. These entries are reached by granite stairs leading from the sidewalk level to recessed loggias.
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Kitchens were also located downwind of the dining area. They were built with courtyards on various levels, replete with arcades and lofty galleries; rooms featured exposed rafters and vaulted ceilings; tiled pools and mosaics were said to resemble those of Pompeii (if that is not another of Mizner's exaggerations). Other characteristic features included loggias, colonnades, clusters of columns supporting arches, French doors, casement windows, barrel tile roofs, hearths, grand stairways and decorative ironwork.
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The hut-shaped façade has two orders of loggias: the lower one has three arcades of same span, which join the portico ones, which are slightly higher. The upper loggia was used by the bishops to bless the citizens. The Canons' bell tower The portico's arcade are supported by pillars, flanked by semi-columns. They have double archivolts, while the portico's upper frame is decorated with Lombard bands, which are repeated also on the façade.
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A brick terrace continuing the stone balustrade from the forecourt surrounds the building; there are loggias at the north and south ends. The north facade incorporates the facade of an actual 16th-century Italian church. All bays below the roof on the main block are set with multi- pane casement windows; the service wing's windows are six-over-six double-hung sash. In the center of the west (rear) face is an elaborate garden entrance.
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The house is a Spanish Mission mansion, completed in the Inter-war Spanish Mission style ()Apperly, et al, 2002. and Spanish Revival Style.Irving, R., 1986. It exemplifies the Hollywood-derived taste for the Spanish mission style in a pastiche of palms, splashing fountains and "Spanish" architectural details such as perforated screens, rough stucco, colonnades, grilles, loggias and barley twist columns, combining to provide one of the most successful examples of this style (RAIA).
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Both buildings were constructed on the edge of a forest near a large city, and both were made up of a long central corps de logis with loggias on two storeys and a cubical pavilion at each end. The construction work was at first directed by Florentine Girolamo della Robbia and later by French architects. The building was completed during the reign of Henry II of France, about 1552. The château's front facade, 1576.
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The house has a T-shaped plan, with the stem of the T to the rear of the house. One wing is forward-curving, while the other wing and the stem of the T terminate in loggias and terraces. At the centre of the front elevation there is a large, curved window around a stair-tower. The house is topped by a central drum, from which a succession of flat roofs step down.
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The eight-story building is steel frame with marble and brick facings. At street level it features a projecting one-story portico with paired Tuscan columns; the level above the portico has recessed Tuscan loggias with individual window balustrades. A wide third-story molded entablature is surmounted by cast iron balconies. The window openings over the entire facade have articulated keystones and the openings on the seventh level also feature cast iron balconies.
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James Lewis Price migrated to Perry County in 1835 from his native Richmond, Virginia. He began building Westwood in 1836, naming it after his grandfather's Virginia home. His slaves cleared the land and were responsible for the construction of his estate, including the main house. By 1850 Price had finished work on Westwood, now its sprawling plan was complete with projecting corner pavilions and two-story end loggias with recessed cast-iron porches.
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The vault separates the lobby into two sections, each with its own set of elevator banks. The second through fifth stories are also divided into two portions by the vault. As constructed, the first floor was devoted entirely to public space, with two open loggias and the two portions of the lobby. The loggia under the southern wing still exists, with staircases leading to the subway from both the north and south.
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The building, with giant Ionic columns spanning four floors and topped with a fifth, hidden into an elaborate cornice, was based on the Italian Renaissance. Shchuko decorated a flat wall outside the main portico with loggias interspaced with carved relief, a pattern that became common in 1930s stalinist architecture. The second, at no. 63, puzzled contemporary critics as being monumental yet neither historic nor modern, "a style appropriate for contemporary urban architecture".
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Between 1681 and 1683, the courtyard and its surrounding loggias were further re-designed by the architect Giovanni Battista Foggini.Cresti, p.369. Between 1766-1783, the architect Gaspare Paoletti, during the third and final renovation of the villa, accomplished the definitive restructuring of the villa to twice its previous size. Paoletti added the two flanking inner courtyards to the central courtyard, and also designed the rear facade and the great ballroom on the piano nobile.
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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 artist most likely had to copy a drawn model on the large marble cylinders already in place. Certainly the relief was made even more expressive by the polychromy and the metal inserts used for the weapons. The reading of the scenes was facilitated by its location in a courtyard between the two loggias of the libraries in Trajan's Forum. The value to the scenes on the Column is not limited to their technical aspect.
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Rome is widely regarded as being the second Renaissance capital of Italy after Florence, and was one of the most important architectural and cultural centres of the time. It derived its main designs from the Classical models. Loggias, or open-sided galleries, were fashionable, and palaces, or palazzi often had rusticated blocks decorating the grand entrances to their houses. In churches, especially in St. Peter's Basilica, baldacchini or column-supported canopies, were widely used.
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To the west four bays of metal framed casement windows at the upper level afford views across the Golf Course. The building plan accommodates access and vertical circulation within the loggias to the front of the building and services and storage along the rear. At ground level the pavilions contain the locker/changing areas. The upper level contains the large dining room, ancillary service areas, meeting spaces and the living quarters in the east pavilion.
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The façade of the southern arm of the transept dates from 1342, and is in brickwork, as is typical in Lombard Gothic architecture. Its structure is similar to the northern arm, but has slightly more detailed decoration. The Crucifixion by Il Pordenone, in the counter-façade The three apses are all surmounted by loggias with small columns, each having a human face stretching out from the capital. The central apse is much higher than the flanking ones.
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The cathedral has a generally Romanesque structure, although several elements are in Gothic, Renaissance and Baroque styles. The plan is in the forms of a nave and two aisles, with three apses and two external portals, both provided with loggias (one of which in Renaissance style). Only one of the current apses is original. Of the other two, the central one was renovated in the 18th century, and the other one rebuilt in the same age.
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The villa seen from the garden in a photo by Paolo Monti, 1966 The Villa Lante is formed by two casini (houses), nearly identical but built by different owners in a period separated by 30 years. Each square building has a ground floor of rusticated arcades or loggias which support a piano nobile above. Each facade on this floor has just three windows, alternating round or pointed pediments. Each window is divided by pilasters in pairs.
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The site included the gatehouse and wall that was along Reservoir Road, NW with the main residence near the top of a hill. The building exteriors feature stucco facades, terra cotta tile roofs, balconies and loggias. The interior of the main residence includes a frescoed vestibule and music room with a vaulted ceiling. In the late 1970s and the early 1980s the estate was subdivided and 28 single family residences and 238 townhouses were built in a gated community.
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These buildings bear little resemblance to the original. In 1908, architect Enrico Gennari began to convert the small building into a residence with huge windows, loggias, porticos and turrets, decorated with majolica and stained glass. From 1916 the building began to be known as the “House of the Little Owls”, probably because the motif of the little owl is used widely in the decorations and furnishings. The Casina delle Civette can be visited as part of the museum.
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General layout of the Saadian Tombs today. The eastern building is the older mausoleum, consisting of a central square chamber, the Chamber of Lalla Mas'uda (1), and a larger rectangular tomb chamber, the so-called Grand Chamber (2). Two loggias are located on either side of it. The larger western building (on the left) is composed of the Chamber of the Mihrab (3), the Chamber of the Twelve Columns (4), and the Chamber of the Three Niches (5).
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The entrance portal has statues by Girolamo Campagna, depicting two of the labors of Hercules: Slaying the Nemean Lion and Capturing Cereberus. In the atrium is a large ship lamp with three windows, il fanò, which was located on the quarterdeck of the galley of Andrea Pisani, once admiral of the Venetian fleet. The wood benches are carved with the coat of arms of the Pisani family, the rampant lions. The interior has two courtyards surrounded by colonnaded loggias.
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One of the entrance loggias at the corners of the building The building is finished on the outside with Alabama limestone and marble detailing, and contains an interior steel frame. The window frames are mostly made of bronze, except those installed during the final stage of construction, which are made of aluminum. The ground-floor windows are multi-pane windows and all others are three-over-three sash windows. Limestone grilles are located outside the second-story windows.
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The adjacent Bavnehøj School was built 1928-29 to a design by Poul Holsøe in collaboration with Tage Rue. The housing estate at No. 120 was the first development constructed by Arbejdernes Kiooperative Byggeforening shortly after its foundation in 1913. It is built to a National Romantic design by Christian Mandrup-Poulsen with loggias and Mansard roofs. The housing estate at No. 92-142 was built for Arbejdernes Andels Boligforening (AAB, "The Workers Cooperative Housing Association") in 1945-1946.
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In December of the same year, Giulio Romano visited Vicenza for two weeks as a consultant on the loggias for the Basilica. Probably on this occasion he supplied the outline project for the Palazzo Thiene. But works proceeded slowly: on the external facade is inscribed the date 1556, and in the courtyard 1558. In 1552, Adriano Thiene died in France and thereafter, when Marcantonio's son Giulio became marchese of Scandiano, family interests gradually shifted to Ferrara.
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Ca' d'Oro Venetian Gothic architecture found favor quite late, as a splendid flamboyant Gothic ("gotico fiorito") beginning with the southern façade of the Doge's Palace. The verticality and the illumination characterizing the Gothic style are found in the porticos and loggias of fondaco houses: columns get thinner, elongated arches are replaced by pointed or ogee or lobed ones. Porticos rise gently intertwining and drawing open marbles in quatrefoils or similar figures. Façades were plastered in brilliant colors.
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Vasari, "Lives", volume VI, 131. Sangallo was also hired to do similar work on the Vatican loggias, which had shown signs of weakness due to poor construction; his reinforcements stand today. Sangallo was also a noted military architect, working on the fortifications of numerous cities such as Parma, Piacenza, Ancona and Orvieto. In Orvieto, he was also tasked by Pope Clement VII with building a well, called Saint Patrick's Well, noted as a marvel of engineering.
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The church and monastery of San Francesco belonged to the Friars Conventual Minor in Sardinia. The cloister was an open space, surrounded on four sides by porticos. The monastery includes wings developed according to the model of open ground-floor loggias, arranged around a green area accessed through broad arches of pink trachyte. It was heavily damaged during World War II (when it was used as an air-raid shelter), but part of the original complex has been restored.
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The Roxy Theatre is an Inter-War Spanish Mission purpose-built cinema building flanked on either side by loggias containing shops. The central arched entrance is richly decorated with stuccoed ornamentation. The Roxy is the best surviving example in Australia of the adaptation of this style of architecture to a large public building, making the most consistent use of the Spanish Mission style throughout. The building comprises a large "picture palace" cinema in the Spanish Mission Style.
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The 1909 mansion, completed in 1911, is constructed of reinforced concrete and faced with Italian limestone topped by red tile clad hipped roofs. The eastern portico has six single-story Ionic columns set between rugged arched pavilions and is fronted by a balustraded terrace overlooking the river. At the palazzo's center is an enclosed courtyard fitted with a fountain and recessed loggias adorned with frescoes. Located nearby on the riverbank is a stone boat house that is part of the estate.
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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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Zakharov preserved this old spire by Korobov and flanked it with two new neoclassical wings. The composition of twin winged facades with smooth walls, strongly protruding porticoes, and deep loggias is symmetrically located along the sides of the tower, creating a complex rhythmical alternation of simple and clear volumes. The building's sculptures added additional value and significance. Decorative reliefs were integrated organically with the large architectural volumes, sculptural groups along the walls emphasise the human scale in contrast to the immensely expanded facades.
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This makes for an open, shaded space for social activities, creates a natural cooling effect, and the height of the building offers protection in times of floods. New Khmer Architecture often uses this approach. Other adaptations to the climate are the use of wall panels, double walls and roofs (especially the typical VVV- shaped roofs that can be found many of the buildings in the style) to prevent direct sunlight. Loggias (covered balconies and walkways) and claustras (decorative openwork) offer shade.
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The edifice has a Gothic style portico and loggia in the façade; not usual for the Milanese Gothic structures is the white and black marble decoration: this, more common in Genoa at the time, is perhaps a homage to Matteo Visconti's wife, Valentina Doria. The two loggias are surmounted by a series of triple mullioned windows, housing statues. These were realized by Ugo da Campione and his son Giovanni, by other masters from Campione d'Italia and Tuscany, in the 14th century.
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Summerson, 129–130, 134 distinguishes between this and the Venetian window, illustrating both. Here it appears in both storeys, which is less common when it has been copied. The building draws on Sansovino's Biblioteca Marciana, but is "more severely architectonic, less reliant on sculpture, and at the same time more flexible". In the Palazzo Chiericati, begun in 1551, there are again two storeys of loggias, but the facade is divided vertically into three parts by advancing the upper storey in the centre.
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The smaller forms are surmounted by a rounded pediment. Sections of the ground floor arcaded loggias are enclosed with timber framed glazing, and the open sections have cast iron balustrade and French doors with fanlights. The verandah, off which French doors with fanlights also open, has paired timber posts with cast iron balustrade and valance. Metal stanchions have been added to the face of the brickwork for the purpose of tying the roof down, and sections of floor have been replaced with concrete.
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St. Nicholas Cathedral in Nizhyn (, ) is the main Eastern Orthodoxy church of Nizhyn eparchy in the Ukraine. The powerful centric 55-metres high building with five domes has become a prototype Ukrainian baroque architecture of stone five-domed cruciform churches. The cathedral reproduces in brick the techniques conventional to Ukrainian wooden folk architecture. The special and parade role of building is likewise emphasized in the interior, where the both sides of the main entrance are arranged with placing special loggias for regimental starshyna.
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The Rocchetta, whose access gate from the main court (a modern addition) features the coat of arms of the Sforza, has an internal courts with, on three sides, a portico with 15th century arcades. The Corte Ducale is the wing of the castle originally used as ducal residence; it features a court with two loggias, a smaller one at left and a larger one at its end, called Loggiato dell'Elefante due to the presence of a fresco of an elephant.
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The Louvre Colonnade The Louvre Colonnade is the easternmost façade of the Palais du Louvre in Paris. It has been celebrated as the foremost masterpiece of French Architectural Classicism since its construction, mostly between 1667 and 1674. The design, dominated by two loggias with trabeated colonnades of coupled giant columns, was created by a committee of three, the Petit Conseil, consisting of Louis Le Vau, Charles Le Brun, and Claude Perrault. Louis Le Vau's brother, François Le Vau also contributed.
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The church's most striking feature is its façade, with a five-arch lower floor surmounted by three loggias, with the number of columns increasing with the elevation. The columns, and its capitals, are each different from the other (one is a statue). The original façade had no particular features, the current decoration having been added in the 12th century. View of the apse The central portal has a barrel vault entrance, and a lunette with a bas-relief of the Praying Madonna with Angels.
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This area is of great geological interest and is rich in flora and fauna. One of the many historical buildings in the province is the chapter house belonging to the Certosa di Padula (or Carthreuse of Padula or of San Lorenzo in Padula), a Carthusian monastery in the town of Padula. The building has evolved over centuries; the earliest parts were constructed in the early 14th century. A mannerist cloister leads to the church, and a later 17th-century cloister has loggias supported by rusticated columns.
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Architectural plans, circa 1888 The Maryborough Courthouse is a two storeyed rendered brick building, situated on the edge of Queen's Park, facing Richmond Street and the principal facade of Customs House across Richmond Street. The building has a rectangular-shaped floor plan and a corrugated iron gabled roof. Lining the facades of the building are double-storeyed verandahs, or loggias, which are recessed between rusticated corner pavilion towers. The verandahs are semi-enclosed on the ground floor by a light timber framed arcade supported on timber columns.
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The Mountain Lake Colony House (also known as the Mountain Lake Club House) is a historic site within the Mountain Lake Estates Historic District in Lake Wales, Florida. This three-story Mediterranean Revival clubhouse and inn was originally designed in 1916 by Frederick Law Olmsted, Jr., and features pergolas, loggias, and a barrel-tile roof. It is located east of State Road 17, on the north shore of Mountain Lake. On February 22, 1991, it was added to the U.S. National Register of Historic Places.
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Riario was the grandson of Pope Sixtus IV. Marchesi, with the help of some of the military engineers working for the Sforza, helped design the defensive towers, moat, and merlons. In the 1500s, the castle was granted by Pope Clement VII to the Cardinal Lorenzo Campeggi. He converted the castle into a residence, roofing the courtyard and creating open loggias. In 1728, the passing of Lorenzo Campeggi, the last male heir of the Campeggi, the castle passed to the Francesca Maria Capeggi, married to Matteo Malvezzi.
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The Coronado is a four-story Romanesque apartment building built on a high basement.Coronado Apartments from the state of Michigan It is constructed of yellow brick and rusticated sandstone with a flat roof and architecturally designed elevations on both the Second and Selden avenues sides. The Second Avenue façade is primarily symmetrical, with three entrances and open loggias on the floors above each. The façade is terminated at the south end by a curved bay window and at the north (Selden) corner by a round turret.
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The main facades of these small casini, like their grander relations on the lower terrace, feature Serliana loggias articulated by Ionic columns, suggesting they might have been designed by Vignola. They bear the name of Cardinal Gambara engraved on the cornices. One casino gives access to a small secret garden, a garden of hedges and topiary, with a line of columns creating an air of an almost melancholic nature. A perspective plan of 1609 shows a wooded area of walks and vistas to obelisks, plus a maze.
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At the Palazzo Barbarigo in Venice, the floor above the piano nobile is of almost equal status, so it is referred to as the secondo piano nobile. In Italy, especially in Venetian palazzi, the floor above the piano nobile is sometimes referred to as the "secondo piano nobile" (second principal floor), especially if the loggias and balconies reflect those below on a slightly smaller scale. In these instances (occasionally in museums), the principal piano nobile is described as the primo piano nobile to differentiate it.
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The Persian painting on its ceiling depicts a royal hunting expedition led by King Fateh Ali Shah of Persia. The walls have fresco paintings. The two state drawing rooms, the state supper room and the state library are each on the four corners of Durbar Hall. There are also other rooms such as many loggias (galleries with open air on one side) which face out into the courtyards, a large dining hall with an extremely long table to seat 104 persons, sitting rooms, billiards rooms and staircases.
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In keeping with the concept of the marine villa, rooms opening onto the verandahs and loggias feature French doors. By 1902 Bomera was extended at its eastern side in the Federation style by the addition of a servants' wing, bridging the gap between the stables and the house, and reflecting the line of the open loggia added in the 1870s. This was removed in 1941 with the exception of two rooms adjoining the house. The two storey loggia appears to have been infilled at this time.
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As a matter of fact, in Venice building materials are precious and foundations are usually kept: in the subsequent restorations, existing elements will be used again, mixing the Venetian-Byzantine and the new styles (Ca' Sagredo, Palazzo Bembo). Polychromy, three-partitioned façades, loggias, diffuse openings, and rooms disposition formed a particular architectural taste that continued in the future. The Fourth Crusade, with the loot obtained from the sack of Constantinople (1204), and other historical situations, gave Venice an Eastern influence until the late 14th century.
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Projecting through the roof at regular intervals are squat pyramidal roofed towers. These are vertical extensions of projecting bays on the facade of the building. The projecting entrance bay of the original 1882 building is emphasised by pediments at the roof line and a larger tower with a very steeply pitched roof ornamented with cast iron cresting. Arcaded loggias, sections of which have been infilled with glazing, are found on the ground and first floors with round headed arched window openings on the second floor.
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The church is mentioned for the first time in 795 as ad foro (in the forum). It was rebuilt after 1070 by will of Pope Alexander II. Notable is the façade, from the 13th century, with a large series of sculptures and inlays, numerous of which remade in the 19th century. The lower part has a series of blind arcades, the central of which includes the main portal. The upper part, built using plenty of iron materials to counter wind, has four orders of small loggias.
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He laid the cornerstone of the Basilica of St. Peter on 18 April 1506, and united the Vatican Palace with the Villa Belvedere, engaging Bramante to accomplish the project. The famous frescoes of Michelangelo in the Sistine Chapel and the Raphael Rooms in the Apostolic Palace, the Court of St. Damasus with its loggias, the Via Giulia and Via della Lungara, even the statue of Moses which graces his tomb in the church of San Pietro in Vincoli, are lasting witnesses of his great love of art.
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It is mentioned for the first time in 1211, then associated with a hospital. The current edifice was built between 1251 and 1300, commissioned by Saint Dominic himself, and entrusted to the friars of his order.Guida per il passeggiere di pittura, scultura, ed architettura Nella Citta di Pisa, by Pandolfo Titi, Lucca (1751), page 144. The façade (completed in 1326) has a pointed shape with white and grey marble, with, in the upper section, two order of small Gothic loggias and a central rose window.
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During his time in England, Bell was involved with home renovations for Agatha Christie, with whom he had already a friendship from a meeting in Australia in the early 1930s. Bell accompanied both Christie and her husband Sir Max Mallowan, a renowned archaeologist, on a series of digs in Syria. While there he made s series of drawings, some of which were later published by the British Museum magazine. The architecture of the middle east may have influenced the young Bell, with elements such as enclosed courtyards and arcaded loggias later appearing in his work.
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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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Another advantage the open chapel/atrium arrangement afforded was that it had similarities to the old teocallis, or sacred precincts of pre-Hispanic temples. The idea of an open chapel to serve multitudes was not completely new, as there are precedents on the Iberian peninsula. Chapels with altars were constructed in loggias in Spain so that on feast and market days all could attend Mass. What was new was its systematic use leading to a type of regularized architecture for this type of construction and its integration into monasteries and other religious complexes.
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In sharp contrast to the gothic and mannerist styles being used at the time in northern Europe, Paesschen often designed buildings in a pure Florentine style, but with a northern flavor. He employed arcaded and colonnaded loggias, domes, and Venetian arches on his best buildings. The majority of his buildings have been destroyed or substantially altered, so his work is known mostly through old pictures. Several generations of his descendants in the Van de Passe family were notable engravers, usually with the surname de Pas or van de Passe.
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On one side of the cool room, roofed with three domes, toilets are situated, and on the other side a shaving room. A door leads in the cross-shaped hot room, which has four loggias with fountains in the corners, and four self-contained cubicles for retreat (halvet) under a small dome. In the center of the hot room, a large octagonal marble-stone table called göbek taşı (literally: tummy stone) is situated, which the bathers lie on. It is known that this part was formerly decorated with mosaics.
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These eight "twisted" apartments with their protruding loggias give the building a distinctive side view and also add interest to the main view through its flanks, which are executed in concrete plaster. The underside of the balconies were painted in powedery blue, the side balconies separating the adjoining balconies were brick-red, the building overhang of the eastern narrow side was emphasized by an dusky pink color. The four entrance doors are bright red, yellow, blue and green. The north-facing view is marked by the four tower-like staircase and elevator shafts.
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The shell of the palazzo, erected within eighteen months, is basically a square house containing a cloistered courtyard. A formal garden complemented the house, enclosed by colonnaded outbuildings ending in a semicircular colonnade known as the 'Esedra'. Once the shell of the building was completed, for ten years a team of plasterers, carvers and fresco painters laboured, until barely a surface in any of the loggias or salons remained undecorated. Under Romano's direction, local decorative painters such as Benedetto Pagni and Rinaldo Mantovano worked extensively on the frescos.
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The theatre was built in the late 1st century BC. Before its construction, two walls were built alongside the Adige River, between the Ponte di Pietra and the Ponte Postumio, to protect it against floods. Today only remains of the edifice are visible, recovered starting from around 1830. They include the cavea and the steps, several arcades of the loggias and remains of the stage. Part of the cavea was occupied by the church of S. Siro, built in the 10th century and restored in the 14th century.
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At the time of its opening, it had 320 rooms divided into 96 apartments, with a configuration allowing apartments to be connected to form suites with as many as 12 rooms. All four sides of the building "presented a finished appearance", each being "handsomely ornamented with vari-colored tiles and concrete moulding." The interior was finished with cut-glass chandeliers, Italian marble stairs and wainscotting, tile floors, and richly upholstered mahogany furniture. The top floor was dedicated to common use, with a ballroom, library, billiard-room and three enclosed loggias.
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Serlio also does not address the wooden roof that would have transformed the courtyard into a large central hall. Also, the building was not a perfect square, but a rectangle as shown by the sparse but iconographic later documentation. Inside the villa were loggias on two floors and frescos by the most important artists of the day, with the sovereign's quests emphasized among the many paintings by artists Donzello and his brother Ippolito, each chronicling episodes of Alfonso's skirmishes against the warring barons of a few years earlier.
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Polish cities and towns reflect a whole spectrum of European architectural styles. Romanesque architecture is represented by St. Andrew's Church, Kraków, and St. Mary's Church, Gdańsk, is characteristic for the Brick Gothic style found in Poland. Richly decorated attics and arcade loggias are the common elements of the Polish Renaissance architecture, as evident in the City Hall in Poznań. For some time the late renaissance style known as mannerism, most notably in the Bishop's Palace in Kielce, coexisted with the early baroque style, typified in the Church of Saints Peter and Paul in Kraków.
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The Ca' Pesaro is a Baroque marble palace facing the Grand Canal of Venice, Italy. Originally designed by Baldassarre Longhena in the mid-17th century, the construction was completed by Gian Antonio Gaspari in 1710. As at Longhena's Ca' Rezzonico, a double order of colossal columns and colonnettes flanking arch-headed windows, reinterpreting a motif of Jacopo Sansovino, Longhena creates the impression of double loggias extending across the main Grand Canal frontage, above a boldly rusticated basement. Today it is one of the 11 museums run by the Fondazione Musei Civici di Venezia system.
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St Mary's Cathedral in the Victorian Gothic style In the 1860s, architecture in Sydney focussed more on style than consideration of the building's function in relation to its setting and climate. An increase in Italian immigrants influenced residential construction which manifest itself in a growing popularity of surface ornamentation, plasterwork, squared massing, arcades and loggias, and square towers. The simplicity of early colonial architecture was replaced by decorative facades using ornate cast iron with higher ceilings featuring elaborate mouldings. The Queen Victoria Building in the Victorian Romanesque style.
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The building, although the result of five phases of construction completed over about 60 years, is reasonably cohesive, particularly on those elevations facing inward toward the central open spaces of the school. These facades are all lined with arcaded loggias similar to those found encircling the original 1882 section of the building. The building is essentially rectangular in plan, with a long rectangular wing extending north west from the eastern corner of the building. The shallow pitched hipped roof of wide gauge corrugated iron is partially concealed by an Italianate parapet.
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Exterior: On the south end is a loggia supported by Doric columns and flanked by the body of the neo-Gothic "Pedrocchino". The latter, is constituted by a turret with an octagonal base, which represents a source of light, from the windows on each side. Inside there is a spiral staircase. Two loggias in the same style are located on the north side, and in front of these there are four stone lions carved by Petrelli, which mimic those of basalt that adorn the Cordonata di Campidoglio in Rome.
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The exterior featured loggias, balconies, gables, groups of chimneys, and tiled roofs. One of the chief features was the interior garden court, with fountains and flowers, walls of white terracotta, frescoes and stained glass. The main entrance to the hotel was "sheltered by an elaborate frosted-glass-and-wrought-iron marquee", and the entrance hall was built in Sienna marble, with a mosaic title floor and a coffered ceiling. The original reception desk of the Waldorf Hotel became a registration desk when it merged with the Astoria Hotel in 1897.
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The nobility did not derive their income from landed estates as elsewhere, but from seafaring and trade. As a result, their "fondaco" houses had to serve not only as residences but also as the headquarters for their trading ventures. The main features of these early palaces were two-storey arcades or loggias along the waterfront; on the ground floor was a portal for loading and unloading merchandise. The portal often led into an entrance hall or "portico" used for business negotiations, with storerooms and offices on either side and a kitchen at the back.
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It was originally built in the 16th century. It is distinguished by its mosaics of Murano glass applied in 1886. At the time it was owned by the proprietors of one of the glass factories, who were inspired by the exterior mosaics on the facade of St Mark's Basilica to apply those to the palace. The palazzo follows the Renaissance pattern of design on three floors: an open loggia gives access to the canal surmounted by a piano nobile with open loggias and decorated columns, with a "secondo piano nobile" (secondary floor) above.
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Fine Arts facilities include the Stacy Chapel and Auditorium, Palmer Dance Studio, McMillian Fine Arts Center, Stacy Arts and Activities Center, and Egan Auditorium. As of 2010, the LEED Gold certified Chiller Plant Building has been completed, providing a chilled water feed to the entire campus. As of 2011, the new Upper School Academic Center has been completed, consolidating the academic functions of the Upper School, which were previously scattered among various buildings, into a single complex. Loggias and courtyards connect the new Upper School building to the existing campus.
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Examples of Manueline include the Belém Tower, a defensive building of Gothic form decorated with Renaissance-style loggias, and the Jerónimos Monastery, with Renaissance ornaments decorating portals, columns and cloisters. The first "pure" Renaissance structures appear under King John III, like the Chapel of Nossa Senhora da Conceição in Tomar (1532–40), the Porta Especiosa of Coimbra Cathedral and the Graça Church at Évora (c. 1530–1540), as well as the cloisters of the Cathedral of Viseu (c. 1528–1534) and Convent of Christ in Tomar (John III Cloisters, 1557–1591).
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The ARTrium The Old Hill Street Police Station was built in Neo-Classical style which was still fashionable for public buildings in England in the 1930s. The building was designed by the Public Works Department when F. Dorrington Ward was the Government Architect. The six-storey building has a thoroughly Italianate air with its corbelled loggias and balconies, arcades, stuccoed, rusticated surfaces and central courtyards, one large and one small. Because of the building's height, the proportions of these internal spaces are somewhat overwhelming but, as a solution to the problems of the Singapore climate, this is a sensible idea.
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Painted ceiling above grand staircase When Edward Akroyd (1810–1887) bought this building in 1838, on his engagement to Elizabeth Fearby of York, it was a much smaller eight-roomed house, built ca 1800. He and his brother Henry were working for their father Jonathan Akroyd, a rich worsted mill owner, and living at Woodside Mansion in Boothtown. Jonathan died in 1848, and it was possibly Edward's inheritance which paid for the development of Bankfield which began around this time. Edward encased the 18th century building in fairfaced stone and added two loggias, a dining room, Anglican chapel and kitchens.
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Starting in the 14th century, keep towers became larger and more sophisticated, with rib vaulting roofs and facilities like fireplaces. Keep towers with improved residential characteristics can be found in the castles of Beja, Estremoz and Bragança, while some later castles (15th century) became real palaces, like those in Penedono, Ourém and Porto de Mós. The most significant case is the Castle of Leiria, turned into a royal palace by King John I. Some rooms of the palace are decorated with splendid Gothic loggias, from which the surrounding landscape could be appreciated by the King and Queen.
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The four East Campus dormitories were designed by William Rawn Associates and feature a modern, LEED-certified design constructed from Iowa limestone. All three campuses feature dormitory buildings connected by loggia, an architectural signature of the college. The loggia on South Campus is the only entirely closed loggia, featuring walls on all sides, while the loggias on East and North campus are only partially closed. From the time that the first dorm opened in 1915 until the fall of 1968, the nine north campus dorms were used exclusively for male students, and the six south campus dorms reserved for female students.
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The building contains Victorian columns and railings with Victorian Italianate style arched portals and loggias. The mansion was used as the home of the Governor of Trinidad and Tobago and the Monarch of the United Kingdom from 1876 to 30 April 1958, when it became the residence of the Governor-General of the West Indies Federation. Trinidad and Tobago attained independence on 31 August 1962. The mansion was then used as a museum and art gallery for a period, until it again became the residence of the Governors-General and the Queen of Trinidad and Tobago.
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The building of the Nicholas von der Nonne is his first attempt of the use of volumetric settlement of the mansion through the active use of porticoes, loggias and other plastic means. The building is distinguished by the individuality of the planned and architectural solution: enfilades of rooms which has windows looking at main facade are completed with halls. All the rooms, including stairs and toilets, are illumined by the first light. At this time, the empty space free from the neighborhood allowed the architect to interpret the building as not to completed as a whole organism.
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Coldham Hall is a large Tudor country house that was constructed in 1574 for Sir Robert Rookwood (or Rokewood) of Stanningfield. A notable feature of this two-storey building is the great hall, with a long gallery in the roof space some 32 metres long, running from east to west. Internal alterations undertaken around 1770 include a Roman Catholic chapel with delicate plasterwork, leading from the long gallery. Mid-nineteenth century alterations, including loggias on the east and south side, are now removed, but various window alterations at the rear and a service wing at the north end remain.
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The facades of the terraced houses are painted in dark red, yellow ochre and - especially at the end of a terraced row – in deep blue or gleaming white. Doors and windows and individual building elements of the blocks of flats like loggias, stairwells or low- ceilinged attic floors are painted to contrast clearly with the facades. The front and rear sections are often designed in separate colour combinations. Further contrasts in material and colour are created by the use of bright red and yellow clinker bricks in the area of the chimneys, the entrances and the base of the walls.
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The central theme of Wandrey's oeuvre is man in his "Brave New World". In Fall of Man (1991) Adam and Eve are made of electronic elements, yet they still seem to be naked. They are mounted on large-scale colored copperplate engravings by Giovanni Volpato (1733–1803) and Johann Ottaviani depicting the magnificent wall decorations of the Vatican Loggias. Numerous works give the impression of man as a cyborg or as composite creatures from virtual and natural worlds, addicted and totally dependent on technological luxuries, such as in the monumental four-part work Chronokrat 1–4 (1988).
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The Association hired, Catherine Jones Richards to do the landscaping. The building opened in 1927 and was added to the National Register of Historic Places in 1978 as a contributing property within the Hawaii Capital Historic District. Julia Morgan, the first female graduate of the École des Beaux Arts in Paris, was also overseeing the restoration of Hearst Castle in San Simeon, California, at the time. She combined modern structural concrete engineering with traditional Mediterranean design elements --arches, loggias, balconies, and decorative grille work--to create a unique building well adapted to the Hawaiian climate and evolving Hawaiian regional style.
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In 1336 a statue of Saint Zeno was placed in the west front, sculpted by Jacopo di Mazzeo. Between 1379 and 1440 the façade was reconstructed with the addition of three tiers of loggias and a portico. In 1504 Andrea della Robbia was commissioned to undertake the decoration of the archivolt (for which he created a festoon with plant themes and, in the middle, the crest of the Opera di San Jacopo), of the portico as well as of the lunette with bas-reliefs over the central portal, depicting the "Madonna with Child and Angels". He finished the works in 1505.
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By now Ingres was director of the French Academy in Rome, from which he requested that Paul and Raymond be sent to copy the 1519 Vatican loggias by Raphael. These 52 copies were exhibited in 1840 in the chapel of the école des beaux-arts in Paris. In 1843, to reply to a request by Ingres to find a "home as a monument", Félix Duban proposed placing them on the first floor galleries in the Palais des Études. These copies were placed in the gallery vaults between 1854 and 1855 by the decorative painters Charles Chauvin and Camille-Auguste Gastine.
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By now Ingres was director of the French Academy in Rome, from which he requested that Paul and Raymond be sent to copy the 1519 Vatican loggias by Raphael. These 52 copies were exhibited in 1840 in the chapel of the école des beaux-arts in Paris. In 1843, to reply to a request by Ingres to find a "monumental home", Félix Duban proposed placing them on the first floor galleries in the Palais des Études. These copies were placed in the gallery vaults between 1854 and 1855 by the decorative painters Charles Chauvin and Camille-Auguste Gastine.
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The palace was erected in 1391 by Alberto V d'Este on the occasion of his marriage with Giovanna de Roberti. Like a number of other Quattrocento palaces, such as the Schifanoia and the Belfiore, the building was frescoed by Antonio Alberti, here depicting scenes of courtly life and romances. He also painted a large fresco, now destroyed, of Paradise for the 1437–38 ecumenical council, during which the palace housed the emperor of Constantinople (John VIII Palaiologos) and Pope Eugene IV. Of the former three loggias of the palace, only one remains. In the 15th century, the palace had only one floor.
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A sculpture above the portals of an angel with a torch and an olive branch was designed by sculptor Petar Palavičini. A 1937 fence with decorative candelabras and two guardrooms with stylized lanterns on top was designed by Krasnov; the fence stood until 1956, when it was removed for Marx and Engels Square (now Nikola Pašić Square). In 1939 a sculptural group by Toma Rosandić, Black Horses Playing, was installed near the steps. Interior design includes large and small halls and conference rooms, a central vestibule topped by a dome, polychrome walls with columns, pilasters, niches and loggias and a marble floor.
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The castle in the 19th century One of most precious elements of the complex is the chapel, located in the Divine Tower, which has been compared to the Sigismund's Chapel in Krakow’s Wawel Cathedral. Among other interesting things, there are richly sculpted portals, loggias, arcades, and unique sgraffito wall decorations, whose total area is about 7000 square meters. All works were overseen by Italian architects, and the details were completed by craftsmen from nearby Przemysl. The sgraffito depicted Roman emperors, Polish kings, members of the Krasicki family, hunting scenes, and saints of the Roman-Catholic Church.
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The whole project was based essentially on perspective, and it was strongly influenced by the surrounding landscape, with the Gulf of Naples to the south, and Posillipo to the west. The Vandeneynden palace became Villa Carafa di Belvedere in 1688, when Elizabeth, daughter of the Marquis Vandeneynden, who died of consumption in 1674, married Charles Carafa IV, Prince of Belvedere. The Carafas improved the villa by adding loggias overlooking the panorama of the gulf. Along the tree-lined avenue, which, as mentioned, constituted the access to the villa, sheds and stables were arranged, as well as an elegant eighteenth-century well in marble.
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From the Byzantine empire, goods arrived together with sculptures, friezes, columns and capitals to decorate the fondaco houses of patrician families. The Byzantine art merged with previous elements resulting in a Venetian-Byzantine style; in architecture, it was characterized by large loggias with round or elongated arches and by polychrome marbles abundance. Along the Grand Canal, these elements are well preserved in Ca' Farsetti, Ca' Loredan (both municipal seats) and Ca' da Mosto, all dating back to the 12th or 13th century. During this period Rialto had an intense building development, determining the conformation of the Canal and surrounding areas.
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The arch leading to the forecourt Vilhena Palace is a large building which is considered to be "an excellent example of French Baroque." It has a U-shaped forecourt surrounded with loggias, which follows the plan of the original castle, and it possibly contains some remnants of the 16th century palace incorporated into the structure. The forecourt is approached through a gate decorated with Vilhena's coat of arms. The central façade of the palace contains the ornate main doorway, which is flanked by Corinthian columns and is surmounted by a bronze relief of De Vilhena and another coat of arms.
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The All Hallows' school building, which has become known as the Main Building, was constructed by Edward Vallely and completed in late 1882 at a cost of . The original building was a substantial three storeyed structure, with a central tower dividing two symmetrically arranged wings featuring open arcaded loggias to the lower two storeys. The central tower which appeared on the south eastern side of the building was planned by Bishop Quinn as his own office, where he could oversee the development and management of the school curriculum. However, before the building was completed Quinn died and Robert Dunne was appointed his successor .
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In the course of this work, the buildings in the back were demolished, restoring the small Sant'Agata chapel to its original free-standing state. The exterior has bichrome marble bands which re- use Roman stones. The façade, designed in the 12th century, but completed in 14th maybe by Giovanni Pisano, has two corps with pilaster strips, blind arches, marble intarsias and three orders of loggias in the upper section. The interior is on the Latin cross plan with a nave and two aisles divided by columns in granite from Elba, an apse and a dome on the crossing with the transept.
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The upper part has three order of typically Pisane Gothic loggias. There are three portals, also in Gothic style and withlunettes; the main one is surmounted by a tabernacle with "Madonna and Child" by Lupo di Francesco (the original is in the National Museum of San Matteo in Pisa). The solemn interior, with a nave and two aisles, houses a Crucifix attributed to Nino Pisano (14th century), paintings by Matteo Rosselli, Baccio Lomi, Aurelio Lomi and Giuseppe Melani, as well as remains of frescoes from the 13th century. Under the pavement is the crypt, probably what remains of a former church.
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The sophisticated proportions and design of the building are unusual for a mundane utility building of the early 1930s - a period of general depression when cost and economy of design took precedence over the aesthetics of architecture. The ground floor suggests the open loggias of town architecture of the Renaissance, where open arcades provided covered space for market stalls and vendors, while above was living accommodation. However, here, to suit both the 2oth century and more northern climate, the arcade is closed. The windows above are slim and elongated redolent of those used by such architects as Vanbrugh and Hawksmoor during the English Baroque period of the early 18th century.
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Externally the building presents a porch some 139 meters long comprising thirty arches supported by sandstone columns, inside a central courtyard with two line of loggias that surrounds the former church of Santa Maria dei Bulgari. Two stairways lead to the upper floor where are located the study rooms of the legisti (students who studied civil and canon law), and the artisti (students of other subjects such as philosophy, literature and medicine). Each of the legisti and the artisti had five classrooms in their respective wings, however only the legisti, who were considered the university's top students, had their classrooms in the main hallway.Touring Club Italiano 2000, p. 125.
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Portico with atlantes, historical entrance In 1815, Alexander I of Russia purchased 38 pictures from the heirs of Joséphine de Beauharnais, most of which had been looted by the French in Kassel during the war. The Hermitage collection of Rembrandts was then considered the largest in the world. Also among Alexander's purchases from Josephine's estate were the first four sculptures by the neoclassical Italian sculptor Antonio Canova to enter the Hermitage collection. Eventually the imperial collections were enriched by Greek and Scythian artifacts excavated within the Russian Empire. The Raphael Loggias Between 1840 and 1843, Vasily Stasov redesigned the interiors of the Southern Pavilion of the Small Hermitage.
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In contrast to Portuguese mediaeval palaces like the Royal Palace at Sintra, the façades of Bacalhoa have a symmetrical arrangement of windows, loggias and towers and the building is surrounded by an artificial lake and geometrical gardens, an ensemble that reveals Italian inspiration. Also near Setúbal is located the Quinta das Torres (c. 1560), also characterised by its symmetrical façades and a pavilion in the middle of its artificial lake. The Ribeira Palace of Lisbon, a royal palace built in the early 16th century in Manueline style by King Manuel I, was remodelled towards the end of the 16th century by the orders of Philip I (Philip II of Spain).
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From 1921 to 1924 Sulman was chairman of the Federal Capital Advisory Committee, and in that role was involved in the planning of Canberra and refining Griffin's plan. Sulman's concept of arcaded loggias was derived from Brunelleschi's Ospedale degli Innocenti (Foundling Hospital) and the cloisters of the 15th century Basilica di San Lorenzo di Firenze. The Mediterranean influence was maintained by Kirkpatrick with Roman roof tiles and cast embellishments such as roundels. The buildings were originally constructed with open first floor verandahs which have since largely been glazed in. Glebe Park in Spring The Melbourne Building was sold sequentially as independent parcels from 1927 until 1946.
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Ponte Duca d'Aosta seen from the Lungotevere Lungotevere Flaminio is the stretch of Lungotevere that links Piazzale delle Belle Arti to Ponte Duca d'Aosta in Rome, in the Flaminio quarter.Rendina-Paradisi, p. 537. It is a large boulevard characterized by some old apartment houses and sport complexes along the river Tiber (among which the Fondazione Cavalieri di Colombo, designed by Bruno Ernesto Lapadula in 1938). Among the various apartment houses on the Lungotevere, one of the most eminent of the whole town is the Palazzina Furmanik, built between 1941 and 1942 after a design by Mario De Renzi, notable for its embossed loggias all over the main façade.
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In 1953 Napoli exhibited at Rome's Palazzo delle Esposizioni during the exhibition L'Arte nella vita del Mezzogiorno d'Italia (Art in the life of Southern Italy). She inaugurated a personal exhibition at the Circolo degli Artisti (Artists' Circle) of Turin; her artworks took part in the exhibition for the Premio Manerbio at Palazzo Venezia in Rome. Finally in 1954 she was selected for the Second Rassegna del disegno italiano contemporaneo (Exhibition of Italian contemporary drawing) in the loggias of the Uffizi in Florence. In 2009 a retrospective exhibition was dedicated to her career in Palazzo Sant'Agostino, home of the seat of the Province of Salerno.
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Lazzaro Bastiani (attributed), La Piazzetta di San Marco (c. 1487), Venice, Museo Correr Covered exterior galleries, referred to as loggias and intended as public gathering places, were normally built in Venice against church façades, such as the surviving examples of San Giacomo di Rialto and San Nicolò dei Mendicoli. A similar structure was also attached to the building of the Camerlenghi at Rialto as a meeting place for nobles to discuss business affairs in the commercial centre of the city. Furnished with maps and paintings, this structure, visible in Vittore Carpaccio's Miracle of the Relic of the Cross at the Ponte di Rialto (c.
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Leaflet published by the Trust In the seventeenth century, the open loggias around the ground floor were enclosed. Although the house was built in the floor plan shape of the Letter E, in honour of Queen Elizabeth, it is now missing its north-west wing. During the period of the 9th Earl's ownership, and under the guidance of the famous landscape architect, Capability Brown, the south front was raised to alter the roof line, and the north-west wing was demolished to allow better views of the new parkland. A chimney-piece after the design of Venetian printmaker Giovanni Battista Piranesi was also added during his tenure.
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Its spatial organization applied several elements of Corbusier free plan, with a liquid, flexible and functionally interchangeable space with a spacious club room on the ground floor. The glazed circular staircase, in the spirit of the constructivist-functionalist doctrine, drawn into a vertical rectangular concrete frame with rectangular loggias, was a very innovative motif in the Belgrade architecture of the time. The facade of the journalists' house is smooth, without ornaments and zone divisions, based on the axis of symmetry and highlighting the main motif. The flat facade is accentuated by the free poles on the ground floor, horizontal floors and accented by a final withdrawn storey.
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Built on a site previously occupied by a Spanish bastion, this structure was built after the United States occupation of Puerto Rico and was overseen by architects James Knox Taylor and Louis A. Simon, with one building opening in 1914 and the other in 1940, the latter being connected to the former via the south facade. The former is a three-story building sporting a Spanish tile roof, two loggias, and white marble staircases, and was built in a Spanish colonial revival style, while the latter was an Art Modern building with two towers bearing bronze lanterns and six stories, with a more simple, clean aesthetic than the Federal Building.
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Gambara died in 1587 and was succeeded as Apostolic Administrator of Viterbo by the 17-year-old nephew of Pope Sixtus V, Cardinal Alessandro Peretti di Montalto. It was this mere youth who completed the project at Bagnaia and built the second casino. The two casini differ most in their frescoes: frescoes of landscapes in the Gambara and in the Montalto frescoes by a later artist in a more classical style. In the Gambara Casino the vaulted frescoed loggias are a riot of colour highlighting the architectural detail, while in the Montalto Casino the principal reception room is a combination of fresco and plaster sculpture, almost trompe l'oeil.
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I have considered the > distance and sites of all around from which to take the view, and have > allowed for an eye, in all the parts that surround it, to have a variety of > views to be delighted, and formed... loggias to allow comfortable and > covered transit from the sides flank the canals and warehouses. The building was built with the views of the adjacent Salute in mind. The building has a rustication appropriate for a government office, much like Jacopo Sansovino's Zecca (or mint). It is decorated by two bronze atlantes who bear a gilded sphere surmounted by the goddess Fortune holding a wind vane.
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In 1812 he rebuilt the front part of the site, adding a projecting Portland Stone façade to the basement, ground and first floor levels and the centre bay of the second floor. Originally this formed three open loggias, but Soane glazed the arches during his lifetime. Once he had moved into No. 13, Soane rented out his former home at No. 12 (on his death it was left to the nation along with No. 13, the intention being that the rental income would fund the running of the Museum). After completing No.13, Soane set about treating the building as an architectural laboratory, continually remodelling the interiors.
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The piano nobile is usually the first storey (in European terminology; second floor in American terms), or sometimes the second storey, located above a ground floor (often rusticated) containing minor rooms and service rooms. The reasons for this were so the rooms would have finer views, and more practically to avoid the dampness and odours of the street level. This is especially true in Venice, where the piano nobile of the many palazzi is especially obvious from the exterior by virtue of its larger windows and balconies, and open loggias. Examples of this are Ca' Foscari, Ca' d'Oro, Ca' Vendramin Calergi, and Palazzo Barbarigo.
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Main hall. Frescoes in the Mullet Hall Despite several alterations to its interior, it is one of the few palazzi in Florence to have retained much of its interior furniture (essentially in the Empire style) and decoration, notably frescoes, stuccowork and sculpted fireplaces. The main doorway opens into an interior courtyard by Zanobi del Rosso with several loggias, again with finestre inginocchiate \- initially open to the sky, the courtyard is now covered by a coloured glass ceiling installed in the 20th century after a project by Ulisse De Matteis allowed this space to be turned into a reception area. At the corners of the cornice are several sculpted masks.
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Typologically, and although subject to some alteration, Traralgon Post Office remains an uncommon example of a composite public service building with a range of original functions including an integrated court house. While the separate building components are conceived as distinct units, they are also unified by the common use of overall building form and detail, frontal loggias and integrated planning. Stylistically, the Traralgon Post Office complex is a large scale and flamboyant transitional design combining rich Victorian detailing fused with the freer language of Federation Queen Anne and Romanesque styles. Architecturally, Traralgon Post Office is an example of the Public Works Department architects, J. R. Brown and J. T. Kelleher.
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The original Romanesque design is manifest in the façade, which resembles those of Modena and Parma Cathedrals: it is in white marble, with three cusps and a series of loggias, small arcades and rose windows, statues and numerous bas-reliefs. On the right side is a statue of Alberto d'Este, while on the side is a bronze bust of Pope Clement VIII, over an inscription in memory of his capture of the city. In the centre of the façade is a porch, supported by two columns with Atlases seated on lions at the bases. It is decorated with a Last Judgement by an unknown master and a loggia with a Madonna and Child (a late Gothic addition).
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The original hotel started as two hotels on Fifth Avenue built by feuding relatives. The first hotel, the 13-story, 450-room Waldorf Hotel, designed by Henry Janeway Hardenbergh in the German Renaissance style, was opened on March 13, 1893, at the corner of Fifth Avenue and 33rd Street, on the site where millionaire developer William Waldorf Astor had his mansion. The original hotel stood high, with a frontage of about on Fifth Avenue, with an area of . The original hotel was described as having a "lofty stone and brick exterior", which was "animated by an effusion of balconies, alcoves, arcades, and loggias beneath a tile roof bedecked with gables and turrets".
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After the destruction of the Teatro Civico, damaged by the shelling of Cagliari operated by the Allies during World War II, and the destruction of the Politeama Regina Margherita due to a fire in 1942, after the war there was not a suitable theatre in Cagliari. The project, by the Italian architects Luciano Galmozzi, Pierfrancesco Ginoulhiac e Teresa Ginoulhiac Arslan, won a bid for the contract in 1967. The opera house was inaugurated in 1993. It covers a surface of 5000 m² among the stage (which is 22/23.40m wide; 12.5/25m long; and 23m high), the auditorium (with 1,628 seats divided into stalls, 800 seats, and two loggias, 431 and 397 seats) and the foyer.
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Joan Kerr, Our Great Victoria Architect, Edmund Thomas Blacket, 1817–1883, (1983) The National Trust of Australia, From the 1850s, a number of buildings were designed that expand the Palazzo style with its rustications, rows of windows, and large cornice, over very long buildings such as Grosvenor Terrace in Glasgow (1855) by J. T. Rochead and Watts Warehouse (Britannia House), Manchester, (1856) by Travis and Magnall, a "virtuoso performance" in Palazzo design.James Stevens Curl, Victorian Architecture, David & Charles, (1990). From the 1870s, many city buildings were designed to resemble Venetian rather than Florentine palazzi, and were more ornately decorated, often having arcaded loggias at street level, like James Barnet's General Post Office Building in Sydney, (1866 and 1880s).
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Central nave The church and the monastery occupy a plateau at the top of a hill, at some 540 meters above sea level, behind a large square. The exterior appearance of the church is characterized by the juxtaposition of black (basalt) and light white (sandstone) stones, as typical of Pisan-Lucchese medieval churches. The façade is divided into four horizontal sectors: the three lower sectors (that of the portal and those above it) feature blind arcades and loggias decorated by rhombi, another typical decoration of contemporary Tuscan religious buildings. On the first step of the portal is the inscription Mariane maistro, likely the name ("Master Marianus") of the mason who directed the construction.
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The Wharf Street loggia was enclosed in 1875-77 by contractors J and J Rooney to increase accommodation and improve lighting and ventilation. A further storey was added to the corner tower in 1879-80, allowing the installation of a four dialled clock and bells, which was officially started on 9 December 1879 (the clock was dismantled in 1935). The first country telephone exchange was opened in Maryborough in November 1882, and a new wing constructed to house the expanding operation in 1885, as well as the enclosure of the Bazaar Street loggia. As a result of the enclosure of both loggias, the ground floor offices were not protected from the summer heat.
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Bryson reportedly spent $60,000 ($ million today) for rugs, fine art, rare plants and furnishings for the top floor. Being located at an elevated spot in the city, and being the only high-rise in the area, the building's top floors offered panoramic views. A 1920s brochure for The Bryson touted the view: > It has three large loggias from which one can see the Pacific Ocean, > Catalina Island away, on a clear day; green foothills, orange groves and > snow-capped mountains. Because of its setback, The Bryson was also able to make room for tennis courts and a wide lawn and gardens--though this has been reduced as the streets were widened in later years.
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Under the direction of the English architect, Edward Taylor, the New Customs House was built in 1855 back to back with the rear walls of the Fort, facing the river. It is the first public building of great size built by the young mercantile State of Buenos Aires; its semicircular shape had five floors for depots and fifty one storage rooms with arched ceilings, surrounded by loggias. From the central tower at the top of which there was a clock and a beacon, stretched out a 300 m pier providing wharfaging for ships of greater draught to cast their anchors. Via two side ramps carts, loaded with goods, accessed the manoeuvring dock.
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Architectural works of Foiano include the 14th century Palazzo Pretorio along one side of Piazza Cavour, and the Palazzo delle Logge on the other, built between the 16th and 17th centuries. The Palazzo delle Logge was the residence of Ferdinando II de Medici and the Municipal Historic Archive and the Library are now housed inside, with some of the halls used for exhibitions. The Civic Tower has been recently restored, preserving its original proportions and façade. The Garibaldi Theatre which used to be called Monte Pio in 1570 and the Palazzo Neri-Serneri are also found within the old town. Also, the grain loggias bearing the Medici arms are a good example of Foiano’s long history.
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The Bank building, located on the northern side of Flinders Street at the base of Melton Hill, is a two-storeyed rendered masonry building with a hipped corrugated iron roof concealed behind a symmetrical classical facade. The building is set back from the site's side boundaries with a service lane on the eastern side and a walkway on the western. The facade, consisting of loggias to both floors, is divided into five bays. The ground floor has Tuscan Order columns and pilasters supporting an entablature with a deep cornice, and the first floor has Corinthian columns and pilasters surmounted by arches with entablature, deep cornice and balustrade above, all of which return the depth of the loggia.
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Villa Barbarigo in Noventa Vicentina The Villa Barbarigo is a patrician villa in the comune of Noventa Vicentina, in Province of Vicenza, northern Italy, also referred to as Villa Barbarigo Loredan Rezzonico reflecting the various marriage alliances among aristocratic Venetian families who have owned the house, is a rural palace built in the late 16th century. In 1588, the Barbarigo family had commissioned the building from a generally unknown Veronese architect, who was familiar with Andrea Palladio's works. The structure is imposing for its height and elaborate adornment of loggias and porticos. The villa is notable for its fresco decorations by the artists as Antonio Foler, Antonio Vassilacchi (the Aliense), and Luca Ferrari from Reggio.
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The cemetery holds 14,246 graves including 486 unknown soldiers and panels on the walls of the Memorial Chapel record the names of a further 954 men whose bodies were never found; as the inscription above their names so aptly states- "whose earthly resting place is known only to God". A stone wall more than 1.1/2 miles long encircles the cemetery. The memorial is a fine example of Romanesque architecture and consists of a chapel and two flanking loggias on the walls of which are listed the names of those missing in the area as well as those missing whilst serving in northern Russia. The memorial's exterior walls and columns are of Euville Coquiller stone and the interior walls are of Salamandre travertine.
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High above the main entrance to the chapel is the inscription and on the lintel is written There is a bas-relief by Alfred- Alphonse Bottiau carved into the tympanum with figures representing Grief and Remembrance. Across the ends and front of the loggias above the arches are names of places in the region where the U.S.forces fought- "PONT-MAUGIS-BOIS DE CUNEL-MEUSE-CIERGES-BOIS DES RAPPES-CONSENVOYE-EXERMONT-GRANDPRE-MEUSE HEIGHTS-BARRICOURT HEIGHTS-GESNES-MONTFAUCON-CORNAY-BOIS DE FORET-STENAY- ARGONNE-CHEPPY-COTE DE CHATILLON". In the chapel there are stained-glass windows by Heinigke & Smith of New York which show the insignia of the American Divisions and larger units which made up the American Expeditionary Force.The Meuse-Argonne American Cemetery American Battle Monuments Commission.
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The three-story, 1914 section of the courthouse displays a sophisticated and harmonious blend of the Spanish Colonial Revival style with classically inspired forms and details that reflect both the indigenous architecture of Puerto Rico and the prevalent style used on federal government buildings of the era. View of original building, circa 1915 The U-shaped structure sits on a foundation of concrete piers and wood piles. Constructed on a site that slopes north to south toward the harbor, it consists of a partially excavated basement, two floors with loggias, and a set-back third floor capped with a Spanish-tile roof. left The raised basement is finished with rusticated granite, while the upper floors are constructed of brick and concrete and finished in stucco.
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However, the Parisian Hôtel de Ville faithfully replicates the true French Renaissance style, complete with the steeply pitched roofs and towers, as it was a reconstruction, completed circa 1880, of the previous Hôtel de Ville. In the British Raj in 1880, the façades of the 1777 Writers' building in Kolkata were redesigned in the Renaissance Revival style then popular in colonial India, though this version was remarkable in its unique design. Loggias of Serlian arches deceptively form an almost Indian appearance, yet they sit beneath a mansard roof. In what at first glance appears an Indian building, on closer examination shows a Historicist example of Classical Palladianism combined with the French Renaissance, a uniquely distinctive interpretation of the Renaissance Revival style.
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It was during the Neo-Renaissance period of the 19th century that the mannerist comforts were re-discovered and taken a step further. Not only did the improved building techniques of the 1850s allow the glazing of formerly open loggias and arches with the newly invented sheets of plate glass, providing the first "picture windows", but also the blending of architectural styles allowed interiors and exteriors to be treated differently. It was at this time that the concept of "furnishing styles" manifested itself, allowing distinctions to be made between interior rooms and external appearances, and indeed between the various rooms themselves. Thus the modern concept of treating a room individually, and differently from its setting and neighbours, came into its infancy.
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These architectural styles not commonly seen in Middle Tennessee homes of the era, which is typified by Federal or Georgian-style houses with a front entry hall containing a staircase to the second floor. Judge Guild's departure from the local architectural fashions was due to his favorable impression of the Creole-style houses he had seen on frequent trips to Louisiana. Creole elements in Rose Mont include the use of loggias and galleries to connect separate wings, wide porches, open-air halls and staircases, large windows, a raised basement, and an over-hanging roof. The house's main facade employed a classic Italian design by Andrea Palladio, whose influence is seen in the design of many mid-19th century plantation houses in the southern United States.
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' The internal staircase to each of the towers is commonly called scala catalana. The same door on the roof of the castle, where in the past the watchtowers were placed to check from a possible arrival of enemies. On the northern side, at the Beverello tower, one of the Crusader windows of the Sala dei Baroni opens; while two other windows face the eastern side, one towards the sea and the other, along the back wall of the Palatine Chapel, with single-light windows between two narrow polygonal towers. Protected by the other corner tower called that of the Oro, then follows an advanced factory building that originally supported a loggia and a re-entering stretch with two overlapping loggias.
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For many years, the Boca Raton campus functioned out of the original Boca Raton Academy buildings, which were eventually wrapped with loggias in true Pine Crest character to match the Silvers/Rubenstein Library Media Center, Rochelle Levitetz Fine Arts Building, Parents' Association Performing Arts Center, and replication of the Fort Lauderdale campus bell tower, which were built by Pine Crest. As of 2009, the Boca Raton Campus has a new middle school building and dining hall extensions, and the Parents' Association Performing Arts Center was rebuilt after the roof collapsed in the summer of 2004. As of 2010, Pine Crest Boca has finished construction on the new lower school replacement building, which achieved LEED for School Gold Certification from the United States Green Building Council (USGBC).
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This building is one of a dozen public loggias in the city, and is linked with two fraternities or companies dealing with local charity. The Compagnia della Misericordia, or "Company of Mercy", was concerned with the transport of the sick, burial of the indigent dead, as well as the care of orphans. The open loggia served to shelter lost children and unwanted infants who were abandoned to the care of the brotherhood, The Compagnia di Santa Maria del Bigallo or simply del Bigallo, was founded in 1244 by Saint Peter of Verona, Saint Peter Martyr, and was formerly housed near Orsanmichele. This group focused on the housing of the indigent, and also cared for pilgrims and travellers at their Ospedale di Santa Maria alle Fonti, nicknamed "del Bigallo", at Fonteviva.
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Payment records, supported by stylistic evidence, indicate that his principal contributions (1436–38) to this project included a handsome stone doorframe and an unusual cross window, both of which are identifiable today. It also is possible that he proposed the addition of the pilaster strips which divide the surfaces of the loggias of the two-storey courtyard into a systematic grid. Documents indicate that Bernardo assumed a more decisive role at the suburban monastery of Santa Maria alle Campora whose cloister (1436) challenges that of Michelozzo at San Marco as the first such structure to have been erected in accordance with a Renaissance aesthetic. In 1444, he received a commission to sculpt two altar figures for the oratory of the Annunciation in the church of St. Stephen in Empoli.
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Muggia provides many evident traces of its Venetian traditions and origin, as showed by the dialect, the gastronomic traditions, the gothic-venetian style of some houses, the devious "calli", the loggias, the ogive arches, the ancient coats of arms on the façades but mostly the main square, a true Venetian "campiello". Memories of its early ages include an important pre-historic "castelliere" on Mt. Castellier (S. Barbara) and Roman (Archaeological Park of Castrum Muglae) and medieval remains in Muggia Vecchia (Old Muggia), once one of the guarding castles that in the 10th century were built to defend the Istrian border against the invasion of the Hungars. The Castle of Muggia, destroyed in 1353 by the Triestines, retains several remains of the previous period such as the ruins of the walls.
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The centers of each of the porches are loggias; the rear one was originally open, but was closed in some time after 1994. The southwest cabinet room has an entrance from the front loggia but no entrance into the interior of the house while the northwest cabinet room opens into the northern main room but has no entrance from the loggia. The southeast cabinet room is a kitchen, and the northeast cabinet room is a bathroom which was originally open only to the northern main room but a second door was added into the rear loggia some time after 1994, possibly when the rear loggia was enclosed. Atop the first floor lies a small attic which was originally inaccessible, but a ship's ladder was installed after 2012 to provide access.
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The rooms on the first floor of the Old Hermitage were designed by Andrei Stakenschneider in revival styles in between 1851 and 1860, although the design survives only in some of them. They feature works of Italian Renaissance artists, including Giorgione, Titian, Veronese, as well as Benois Madonna and Madonna Litta attributed to Leonardo da Vinci or his school. The Small Italian Skylight Room The Italian Renaissance galleries continues in the eastern wing of the New Hermitage with paintings, sculpture, majolica and tapestry from Italy of the 15th–16th centuries, including Conestabile Madonna and Madonna with Beardless St. Joseph by Raphael. The gallery known as the Raphael Loggias, designed by Giacomo Quarenghi and painted by Cristopher Unterberger and his workshop in the 1780s as a replication of the loggia in the Apostolic Palace in Rome frescoed by Raphael, runs along the eastern facade.
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He designed many villas in the Veneto, in Vicenza and a series of famous country houses, relatively small compared to some further south, for the Venetian elite. Palladio's style was later developed in the Palladian architecture of both Britain and the American colonies, and his Venetian window, with a central arched top, took a very Venetian element around the world. The World Heritage Site of the City of Vicenza and the Palladian Villas of the Veneto includes 23 buildings in the city, and 24 country villas. The so-called Basilica Palladiana in Vicenza, begun in 1549, is a series of facades with loggias encasing the large Gothic public hall of the city, used for purposes such as law courts, where his elaborated version of the Venetian window first appears; this is called a Palladian window or "Palladian motif".
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Queen's Hotel, located on the southern side of The Strand and returning into Wickham Street, is a two-storeyed structure containing television studios and offices built of English Bond brickwork with rendered detailing. The brickwork has been sandblasted to remove a coat of paint, and the building has a hipped ribbed metal roof, similar in form to the original roof. The Strand elevation shows Art Nouveau and Indian/Colonial influences in its design, including turrets crowned by cupolas framing low tower forms along the northern frontage, decorative render panels, wide eaves and arcaded loggias to the ground floor with verandahs above. The two large and two small tower forms differ slightly in their design and proportions, with the two larger having a broad, recessed arched entry with a recessed loggia above and surmounted by a steep pitch ribbed metal roof.
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Only in 1424 did Doge Francesco Foscari decide to extend the rebuilding works to the wing overlooking the Piazzetta, serving as law-courts, and with a ground floor arcade on the outside, open first floor loggias running along the façade, and the internal courtyard side of the wing, completed with the construction of the Porta della Carta (1442). In 1483, a violent fire broke out in the side of the palace overlooking the canal, where the Doge's Apartments were. Once again, an important reconstruction became necessary and was commissioned from Antonio Rizzo, who would introduce the new Renaissance language to the building's architecture. An entire new structure was raised alongside the canal, stretching from the ponte della Canonica to the Ponte della Paglia, with the official rooms of the government decorated with works commissioned from Vittore Carpaccio, Giorgione, Alvise Vivarini and Giovanni Bellini.
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Anyway, in several elements, like the design of the irregular yard, the adoption of loggias with architrave, the usage of decorative elements as corbels, the equilibrium of the façade, he shows an original style.Gigli (1992) p. 144 Based on stylistic analysis, have been attributed to him also the palazzo Alicorni in Borgo Vecchio (later piazza Rusticucci) in Borgo (demolished in 1931 and later rebuilt) and - more doubtfully - the Palazzetto De Vellis in Piazza Santa Maria in Trastevere. As a sculptor, only two works have been attributed to him: well-done appears to be the funerary monument to Cardinal Willem van Enckevoirt (dead in 1534) in Santa Maria dell'Anima, where is evident an influence from Michelangelo, while that of the bishop of Chiusi and Governor of Bologna Gregorio Magalotti in Santa Cecilia in Trastevere, engraved in 1538, radiates a cold feeling.
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After Rome became the capital of the Kingdom of Italy in 1870, the Tiber (known for flooding, particularly in Campus Martius) had its banks worked on in 1873 by constructing Lungoteveres, which since 1888 were erected along the road and required the church of Sant'Anna dei Bresciani to be torn down. The Lungoteveres completely cut off Via Giulia from the Tiber and prevented the loggias and gardens of the palaces facing the river, such as the Palazzi Medici-Clarelli, Sacchetti, Varese, and Falconieri from having a view of the river. Significant building demolitions during the fascist period left a large gap between Via della Barchetta and the Vicolo delle Prigioni, which to this day has only been partially filled by the new building of the Liceo Classico Virgilio. The street has regained its status as one of the most prestigious streets in the city.
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Medici Villa of Poggio a Caiano The Medici Villa of Poggio a Caiano, also called Ambra, is one of the most famous Medici villas and is located in Poggio a Caiano (Prato). Today it is state owned and it houses two museums: one of the historic apartments (ground floor and first floor) and the Museum of Still Life (second floor). The villa is perhaps the best example of architecture commissioned by Lorenzo il Magnifico, in this case to Giuliano da Sangallo towards 1480. It is no coincidence that this is a private building, where there are elements that later modeled for the future developments of the type of villas: internal and external penetration through filters such as loggias, symmetrical distribution of environments around a central salon ("Centrifugal" space), dominant position in the landscape, conscious recovery of classical architectural elements (such as the barrel vault and the ionic temple facade).
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The ground and first floors are both low, the first being rusticated, the next two floors the piano nobile and the secondo piano, have tall segmented windows separated by pilasters, the tall windows are fenced by balustraded balconettes. The fifth floor is a low mezzanine beneath the projecting hipped roof, here the small oval windows are divided by the heraldic eagles of the Labia family. The facade on the Campo San Geremia designed by Tremignon which hints at the more floral Venetian Gothic style contrasts to the more classical canal facades. However the Venetian Gothic is more of a subtle suggestion than defining style, the typical central recessed loggias of the piano nobili, typical features of the Venetian Gothic, are however glazed, and the roof line, unlike on the water fronts, is concealed by classical balustrading, but the repetition and placing of the fenestration continues the theme of the canal facades.
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Ceiling of the Piccolomini Library The first appearance of the word grottesche appears in a contract of 1502 for the Piccolomini Library attached to the duomo of Siena. They were introduced by Raphael Sanzio and his team of decorative painters, who developed grottesche into a complete system of ornament in the Loggias that are part of the series of Raphael's Rooms in the Vatican Palace, Rome. "The decorations astonished and charmed a generation of artists that was familiar with the grammar of the classical orders but had not guessed till then that in their private houses the Romans had often disregarded those rules and had adopted instead a more fanciful and informal style that was all lightness, elegance and grace."Peter Ward-Jackson, "The Grotesque" in "Some main streams and tributaries in European ornament from 1500 to 1750: part 1" The Victoria and Albert Museum Bulletin (June 1967, pp 58-70) p 75.
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Grotesque engraving on paper, about 1500 - 1512, by Nicoletto da Modena. The delight of Mannerist artists and their patrons in arcane iconographic programs available only to the erudite could be embodied in schemes of grottesche,An example, the vaulted arcade in the Palazzo del Governatore, Assisi, which was frescoed with grotesques in 1556, has been examined in the monograph by Ezio Genovesi, Le grottesche della 'Volta Pinta' in Assisi (Assisi, 1995): Genovesi explores the role of the local Accademia del Monte. Andrea Alciato's Emblemata (1522) offered ready-made iconographic shorthand for vignettes. More familiar material for grotesques could be drawn from Ovid's Metamorphoses.Victor Kommerell, Metamorphosed Margins: The Case for a Visual Rhetoric of the Renaissance 'Grottesche' under the Influence of Ovid's Metamorphoses (Hildesheim, 2008).. The Vatican loggias, a loggia corridor space in the Apostolic Palace open to the elements on one side, were decorated around 1519 by Raphaels's large team of artists, with Giovanni da Udine the main hand involved.
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During the reign of Honoré I the internal transformation from fortress to palace was continued. The Treaty of Trodesillas at the beginning of Honoré's rule clarified Monaco's position as a protectorate of Spain, and thus later of the Holy Roman Emperor Charles V. This provided the security to allow the Lord of Monaco to concentrate on the more comfortable side of his residence rather than the constant need to defend it. The courtyard was rebuilt, the architect Dominique Gallo designing two arcades, stretching between points H and C. The arcades, fronting the earlier wing by Lucien I, each have twelve arches, decorated by white marble balustrading on the upper level. Today the upper arcades are known as the Galerie d'Hercule (gallery of Hercules) because their ceilings were painted with scenes depicting the Labours of Hercules by Orazio de Ferrari during the later reign of Honoré II. These arcades or loggias provide corridors to the state rooms in the south wing (today known as the State Rooms Wings).
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The main entranceway along the narrower facades, with three porticos, doorways and Neoclassical pilasters The pediment of the lateral facades The theatre is centrally located in Porto, occupying a complete block, in front of the Praça da Batalha, between the Rua de Augusto Rosa (on its left) and the Travessa do Cativ (on its right), with the Rua do Cativo to the rear. The rectangular plan is covered in tile roofing, with its principal facade found on one of the two smaller sides, framed laterally by rustic cornerstones and accentuated by capricious urns and garlands. The "noble floor" with three arches on steeped pilasters is inscribed under columns with broad shafts and Ionian capitals, while the doors of the lodges are topped by interrupted pediments. Three loggias exist on extended balconies, over sills in the thickness of the walls and interconnected by a balcony running on 4 strong consoles in the same alignment as the ordering columns.
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The EUR provides a large-scale image of how urban Italy might have looked if the fascist regime had not fallen during the war—large, symmetrical streets and austere buildings of limestone, tuff and marble, in either Stile Littorio (lictor), inspired by ancient Roman architecture, or Rationalism. Its architectural style is often called simplified neoclassicism. Marcello Piacentini, the coordinator of the commission for E42, based it on the Italian Rationalism of Pagano, Libera, and Michelucci. The design of the "Square Colosseum" was inspired more to celebrate the Colosseum, and the structure was intended by Benito Mussolini as a celebration of the older Roman landmark. Similar to the Colosseum, the palace has a series of superimposed loggias, shown on the façade as six rows of nine arches each, although these two numbers, originally 13 x 8, changed several times (11 x 7, 11 x 6, 7 x 5) during the project and construction phases.
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A view down the loggia A section of ceiling with scenes from the life of David The Vatican loggias () are a corridor space in the Apostolic Palace, originally open to the elements on one side, which were decorated in fresco around 1519 by Raphael's large team of artists, with Giovanni da Udine the main hand involved. Because of the relative unimportance of the space, and a desire to copy the recently re-discovered Domus Aurea style of Ancient Roman painting, no large paintings were used, and the surfaces were mostly covered with grotesque designs on a white background, with paintings imitating sculptures in niches, and small figurative subjects in a revival of Ancient Roman style. This large array provided a repertoire of elements that were the basis for later artists creating grotesque decoration across Europe.Wilson, 152 The logge now form part of the ceremonial route for distinguished visitors, but are otherwise on the tourist route.
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Untermyer Park and Gardens is a historic city public park, located in Yonkers, New York in Westchester County, just north of New York City. The park is a remnant of Samuel J. Untermyer's estate "Greystone". Situated on the steep land arising from the eastern bank of the Hudson River to the bluff on top of it, the park features a Walled Garden inspired by ancient IndoPersian gardens, a small Grecian-style open-air amphitheater with two facing sphynxes supported by tall Ionic columns, a classical pavilion, stoa and loggias, a rock-and- water feature called the "The Temple of Love", as well as a long staircase from the Walled Garden to an Overlook with views of the river and the Palisades. The gardens were developed beginning in 1916 by Untermyer, a prominent lawyer and civic leader, and were designed by architect and landscape designer William W. Bosworth, with fountains by Charles Wellford Leavitt, and sculptures by Paul Manship and other artists.
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This castle was built in Sant'Antimo during the Renaissance, as can be seen from the characteristic architectural structures: the entrance hall, the loggia in piperno and the loggias. The central tower and the lateral towers, instead, remind of the original medieval structure. Until the early 1800s it was surrounded by two gardens: one in front of the building and near the current Piazza della Repubblica, the other one was placed behind the building and covered the entire area of Via Trieste and Trento. The noble feudal lords who lived there, the Dukes Revertera until 1629, the Dukes and Princes Ruffo and the Mirelli princes up to 1806, administered the fief of Sant'Antimo, influencing the socio-economic development, since they had the right to rent feudal lands in exchange of the payment of a tax and to appoint the judge of the territory for the administration of justice; furthermore, they had the power to validate the appointments, but also to dismiss the elected candidates in the Municipal Administration.
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There, in a sweeping transformation of a rural community, Bernardo erected an imposing family palace, a grand cathedral, town hall, bishop's palace and canons' house, all set compactly about a trapezoidal square and bringing together the architectural tastes of Florence, Siena, and Rome. He also supervised the construction or renovation of palaces and townhouses for several cardinals and members of the papal court, and a quantity of houses for the citizens of this transformed community. For the Piccolomini Palace, a massive three-storey block set about a spacious courtyard, he designed three articulated facades resembling the front of the Rucellai palace (which the Piccolomini Palace may well predate) and opened up a garden front of three tiers of loggias from which a splendid panorama might be viewed. At the Cathedral he affixed a classicizing exterior to a Teutonic "hall church" Within the Cathedral, the elegant Altar of St. Andrew and the ornate baptismal font in the lower church serve as reminders of the continuing sculptural output Bernardo's Florentine workshop.
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A courtyard in the Palazzo The largest palazzo on the street and the only one built on three lots of land, it was begun in 1565 by the Mannerist architects Domenico and Giovanni Ponzello, pupils of Galeazzo Alessi, for Niccolò Grimaldi, known as "il Monarca" for his huge number of noble titles and for being main banker to Philip II of Spain. It had two large gardens to frame the central building. The large loggias facing the street were added in 1597, when the palazzo was acquired by Giovanni Andrea Doria for his younger son Carlo, Duke of Tursi, giving the building its present name. Following the Kingdom of Sardinia's annexation of the Republic of Genoa, the building was acquired by Victor Emmanuel I of Sardinia in 1820, at which point it was rebuilt by the Savoy court architect Carlo Randoni, adding the clock-towerProposal for the inscription of Genoa Le Strade Nuove and the System of the Palazzi dei Rolli in the Unesco World Heritage List, Volume I - Dossier, p.
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While this house can still be described as Regency, its informal asymmetrical plan together with its loggias and balconies of both stone and wrought iron; tower and low pitched roof clearly are very similar to the fully Italianate design of Cronkhill,Photograph of Cronkhill The house is still more a picturesque cottage than great Italian Villa or Palazzo the house generally considered to be the first example of the Italianate style in Britain. Later examples of the Italianate style in England tend to take the form of Palladian-style building often enhanced by a belvedere tower complete with Renaissance-type balustrading at the roof level. This is generally a more stylistic interpretation of what architects and patrons imagined to be the case in Italy, and utilises more obviously the Italian Renaissance motifs than those earlier examples of the Italianate style by Nash. Sir Charles Barry, most notable for his works on the Tudor and Gothic styles at the Houses of Parliament in London, was a great promoter of the style.
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D'Albertis in his travels collected a very important collection of weapons from Malaysia, Australia, Turkey, Americas and Spain: spears, arrows, crossbows of every kind and size, many costumes and an infinite number of exotic tools, now collected in Museum of World Cultures of Genoa. Also in this case the anonymous chronicler of the Caffaro 'is of help', who recalls that to arouse his curiosity, during a visit to the Castle of Albertis, were in particular a dried siren ' 'and a' 'gong' '("species of" tan-tan ", which when put into practice could, even to say, compete with the bell of the [guard] tower, even after the much-feared recasting »). «The art beautiful, modern and dazzling - the chronicler adds - is represented [in sculpture] by " [Cristoforo] Colombo Giovinetto "(see box above) by Giulio Monterverde and archeology from the armor of Fabrizio del Carretto of Ithodio magistro . » Tenacior catenis is the motto of captain Enrico d'Albertis, who on the summit of Monte Galletto, in just over two years, raised - continues the prose of Caffaro - "that team of towers, small towers and loggias, which artistically grouped together make up its medieval castle.
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Closeup of the Ipoh station's station building facade, depicting its ornate construction and scale relative to parked road vehicles. Like many early stations built under Perak Railway, the 1894 station's construction was rudimentary, consisting of a single-storey wooden structure with massive pitched tiled roofs and an overall open air layout. The 1917 station's design was conceptualised by Arthur Benison Hubback, a British architectural assistant to the Director of Public Works credited for designing various public buildings in British Malaya in various vernacular colonial Western styles as well as "Neo- Moorish/Mughal/Indo-Saracenic/Neo-Saracenic" styles that draw influences from British Indian colonial architecture. In contrast to the Kuala Lumpur railway station, the Ipoh station's exterior is more distinctively Western in design, drawing elements of late-Edwardian Baroque architecture and incorporating moderate rustication on the base of the ground floor, opened pointed and arched pediments, extensive use of engaged columns, and a large central dome over the porte-cochère, while integrating vernacular elements such as deep, open air loggias into the ground floor and upper floor of the building (the ground floor's loggia measures at 183 metres, the length of the station's frontage).
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