The larger apartments will be on the higher floors, where there are grand spaces underneath the mansards, some with small windows.
|
|
Most houses have mansards or recessed roofs with bay fronts.
|
|
The first story is clad in gray Minnesota granite. Above that the exterior is gray sandstone and limestone. The windows are different at each story, but unified by alternating bands of color and texture. The roof is a complex of mansards.
|
|
A significant difference between the two, for snow loading and water drainage, is that, when seen from above, gambrel roofs culminate in a long, sharp point at the main roof beam, whereas mansard roofs always form a low-pitched roof. In France and Germany, no distinction is made between gambrels and mansards – they are both called "mansards". In the French language, mansarde can be a term for the style of roof, or for the garret living space, or attic, directly within it. A cross- sectional diagram of a timber-framed Mansard roof; each of its four faces has the same profile.
|
|
The original design contained three main storeys, an attic storey, pavilions, mansards, and basements, as well as shallow porches, square headed doorways, shallow architraves, first floor cornices, balustraded parapets, wings with Venetian-style windows, cast iron balconies, and spearhead area railings. There are fluted shafts, well proportioned capitals, and an entablature, No. 1 was adorned with a caryatid- bow.
|
|
The archivolt interrupts the monotonous shape of the windows, while the design of the main facade is consistent with the other buildings. The turrets above the finishing cornices, the richly decorated mansards and the clock tower enhance the sumptuousness of this warehouse. The rows of cast-iron mullions and the avant-corpses give the whole building an extraordinary perspective.
|
|
Stamped tin cornices top the brick, creating a small overhang topped with the false mansards. The front of 320-322 is symmetrical, with end bays protruding from the face. A high porch, not original, stretches between across the facade with a single stair access. Windows on the first floor are single pane, replacing the original double-hing units.
|
|
The Bank of Italy is a historic bank building located at the intersection of Main and Canal Streets in Merced, California. Opened in 1928, the bank was Merced's branch of the Bank of Italy. Henry Anthony Minton designed the building in the Classical Revival style. The bank's design includes a flat, clay tile roof with terra cotta mansards and an ornamental cornice and frieze.
|
|
The second-story windows are tall and arched, and the roof line features bracketing around the eaves. The red shingled roof has two mansards atop the ends and a three-story tower in the center; each piece features dormers and a widow's walk, while the tower has louvers and a clock on its upper stories. The courthouse was added to the National Register of Historic Places on 1965.
|
|
The natural brick and cedar shake look mansards were a response to critics who berated McDonald's architecture as too garish. It became the standard for McDonald's restaurants, and franchise holders were ultimately required to demolish older restaurants and replace them with the new design. The first McDonald's restaurant using the "mansard roof" design opened that same year in the Chicago suburb of Matteson. McDonald's spectacular growth continued in the 1970s.
|
|
Twin interior courts provided every room with natural light. Well launched by the City Hall, which influenced the design of every ambitious commercial building in Baltimore for more than a decade, Frederick went on to design the premises of the major German-American newspaper The German Correspondent, completed in 1869 on a prominent corner lot on Baltimore Avenue; it had three main floors and an attic behind French mansards, with a marble-clad facing with Venetian-Gothic windows. The German Orphan Asylum (1873) was another German-American commission.
|
|
Sometimes mansards with different profiles are superimposed upon one another, especially on towers. For most Second Empire buildings, the mansard roof is the primary stylistic feature and the most commonly recognised link to the style's French roots. Baltimore City Hall, Baltimore, Maryland A secondary feature is the use of pavilions, a segment of the facade that is differentiated from surrounding segments by a change in height, stylistic features, or roof design and are typically advanced from the main plane of the facade. Pavilions are usually located at emphatic points in a building such as the center or ends and allow the monotony of the roof to be broken for dramatic effect.
|
|
Randall's design features an arched loggia surrounding the building's southern entrance, asymmetrical towers at the southern corners with mansard roofs and bracketed cornices, arched dormers within the towers' mansards, and an assortment of round-head and bulls-eye windows. One of the towers houses a bell, which was intended to be part of a clock that was never installed. A statue of Lady Justice, carved from a single block of pine, originally topped the front entrance; however, after losing its arms around 1872, the statue disappeared in the early 1900s and was never recovered. The courthouse was added to the National Register of Historic Places on November 19, 1986.
|
|
The station was originally called Crescent Avenue or Crescent Avenue Depot The maps shows the Crescent Avenue Depot of the Old Colony Railroad Line. as an Old Colony Railroad station, then called Columbia until December 1, 1982, and then again changed to JFK/UMASS. It is a Massachusetts Bay Transportation Authority rail line station for both the Red Line subway and the Plymouth/Kingston, Middleborough/Lakeville and Greenbush commuter rail lines. In the 1840s and 1850s, a new wave of development took place on a strip of waterfront overlooking Dorchester Bay (Park and Mill Streets at the Harrison Square Historic District, later known as Clam Point.) Renowned architects who had contributed to one of the most significant and intact collections of Clam Point's Italianate mansards include Luther Briggs, John A. Fox, and Mary E. Noyes.
|
|
This palace had two floors and superior body with slate roofing with elegant mansards, was built in 1864 by the Puerto Rican architect Mariano Andrés Avenoza, in a large site along the Plaza de Colón, between the Paseo de Recoletos and Calle de Génova. It was the palace first property of the Duke of Uceda, to be acquired in 1876 by the Marquis of Salamanca, without ever living in it, and later, around 1890 it was purchased by Doña Ángela Pérez de Barradas y Bernuy, widow Duchess of Medinaceli, plus Duchess of Denia y Tarifa. For this reason, the palace has been known throughout its history by the names of Úceda, of Denia, of Medinaceli, and of Marqués de Salamanca, the latter through which was known the building. The palace suffered a fire on November 25, 1917, unleashed at dawn and mainly affected the façade overlooking the Plaza de Colón.
|
|