I would write in my office until three or four in the morning, and on the way home I would take a roundabout route, basking in the mysterious poetry of barred windows and crumbling, unplastered oriels lit up by the orange light of streetlamps.
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I didn't know the word ORIELS or the connection to "oilers" besides it being an anagram; and I'm still not sure why the answer to 23A's "July 3rd and April 5th" is ELLS, although I'm sure I'll kick myself when you explain it to me.
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The lower base of the building makes use of columns and is top is ornamented by a detailed cornice. The Livingston Building's oriels are arranged in a curtain wall where they are located on the building. Above the first story the windows are flanked by pressed metal spandrels and the third through sixth floors are clad in red brick. One of the oriels faces Washington Street and two face Main Street.
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The gatehouse and tower were additions by abbot John Newland around 1500. The gatehouse is embellished with two-storey oriels with mullion and transom windows, two-storey statuary niches and panelled parapets. These structures were restored by John Loughborough Pearson in 1888, who succeeded in retaining many of the features of their original design. He restored the oriels, which at some point had been replaced by sash windows.
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Its central gable and the oriels on the first and second floors drew out its vertical lines. To cover the additional costs of a building designed to enhance the cityscape, the owner received a subsidy of 15,000 marks from the city and a donation of 10,000 marks from Franz Schütte who had been successful in the oil-import business. On 6 October 1944, the interior of the building was destroyed by incendiary bombs but the ground floor and the façade with the oriels were left intact. After the war, the lower two storeys of the building were repaired but it was only in 1958 that restoration was completed.
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The next major addition to the house was the north wing ("C" on plan). Its turret, oriels and external sculpted moulding make it almost a miniature country house in itself. This wing has remained largely unchanged since it was built about 1520.Nicholas Cooper dates this wing to 1534.
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The "icing-like" Rococo stucco decorations added in the early eighteenth century—the bows, window frames, oriels, tympana, masks, sculptures, and shells—contributed to creating this unique building, whose design helps to capture the light.Maier 1998, p. 270. Helbling House was completed in 1732 by Anton Gigl.Parsons 2000, pp. 367-68.
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Only a one-story separate annex was lost. Uneven windows, arched oriels, attics are certainly a colorful station feature. Station layout was small, but passengers on platforms were protected by a special appentice from the sun and rain. Station chapel was built to the left of the terminus in 1904.
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John Calvin Owings House is a historic home located at Laurens, Laurens County, South Carolina. It was designed by architect George Franklin Barber and built in 1896. It is a 2 1/2-story, Queen Anne style frame dwelling. It features high multiple roofs, turrets, oriels, cresting, turned spindles, and porches.
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It was partitioned by two dividing walls into three longitudinal areas. In the centre of the site was a small courtyard, . The entranceway lay on the southern side and was protected by a moat, over which the Schloßpruggen drove in 1549. At its corners there were pentagonal oriels for defensive fire.
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Baroque architecture is a dominant feature with the street fronts depicting "late-medieval/post-medieval oriels on sturdy brackets, statues in niches, wall paintings and sgraffito work, or remnants of paintwork or rich Baroque facades." The architectural features of the roof of the Wachau house comprise a sharp slope with soaring hipped roof.
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South side has moulded uprights. Above, two square wooden oriels on moulded brackets and a 4-light window with wooden mullions and gothic tracery The interior has stud walls with jowled bay posts, two of them with arch braces, and arch braces to the spine beams. Principal rafter roof with collars and spine beam. Two stud walls without nogging.
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The Dibb House is a historic home located at Bel Air, Harford County, Maryland, United States. It is a -story frame house with a gable roof and a central projecting bay with cross gable. In Victorian style, it features a myriad of porches, oriels, and bay and dormer windows. Also on the property are a shed, a barn, and an outhouse.
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William L. Vary House is a historic home located at Lima in Livingston County, New York. It was built in 1885 and is a -story, Queen Anne–style frame dwelling. The plan consists of an irregular massing of rectangular forms, with a profusion of projecting bays, cross gables, porches, and oriels. It was listed on the National Register of Historic Places in 1989.
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This steel structured "skyscraper" was designed by Bloomington architect George Miller and is an example of Chicago Style architecture. The design incorporates many elements which would later be connected to what is now called the Sullivanesque Style, after Louis Sullivan. Sullivan concentrated on many of design elements seen in the Livingston Building. On its north and east side the building is decorated with pressed metal oriels.
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Gates-Blake and Goodspeed Halls opened in 1892 as the first residence halls for the University of Chicago. The buildings were designed by Henry Ives Cobb and served as dormitories for divinity school and graduate students. The buildings feature oriels along their facades and gables along the roof line that are signs of the Chicago Gothic architecture. The first women's dorm, Foster Hall, opened in 1893.
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Along St Werburgh Street, the first five ground floor bays are in stone, and the rest have modern shop fronts. The first floor has a variety of windows, some of them oriels; the second floor also has windows; these are in plainer design. Between the first and second floors is a carved bressummer. The whole front is topped by eleven gables of varying sizes.
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The protruding entrance building, which still exists on the courtyard-facing front, was adjoined on both sides by a single-storey ancillary building. The windows had round, lead-cased panes. A building component already used in the late Gothic period are the oriels on the bay window towards the lake side, which have also survived. They were missing in almost every building of the 16th century.
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From the outside it was dissected by a trio of oriels supported by consoles and ornamented by early baroque masks. The remains of an arched underground cistern with a brick mantle on the upper platform of the castle also date back to this time period. The fragmented pieces of wall on the southern side are the only surviving parts of the southern palace that stood on top of this rock.
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Further up is the kitchen with a coal-heated oven, and a living and service room. The latter has three oriel windows, two of which have the same height as the room itself while the third one leads even higher. The oriels used to host minor lights and point towards North-west, South and North-east. From the service room, a balcony around the lantern can be reached via a stairway.
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The three-storeyed verandah ensemble has bays supported on single and paired posts, the lower two storeys with open balusters and the top level with flared shingled aprons topped by baluster-work. The fenestration comprises bracketed oriels, facetted bays and ranges of multi-paned casements. The wall-hung shingling imparts to the design an American Shingle-style flavour. The terraced garden includes a couple of very tall, shaft-like Washingtonia palms.
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Planned by Herbert Anker, instead of a single central gable, there were now two Neobaroque gables. The work re-established the ensemble of gabled buildings on the Marktplatz from 1830. As the oriels on the first and second floor had originally been designed as features of a single gable, their removal was contemplated but rejected. The roof cover of the oriel which had originally been cupola-shaped was replaced by a sloping copper-covered roof.
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This extension of the building was funded by a number of previous strategic marriages into wealthy merchant families, and resulted in some of the original Georgian features of the building being removed or hidden. The building incorporates a number of towers and turrets of varying shapes – round, square and octagonal. One tall, solid granite octagonal viewing tower rises from the structure. Duckett's Grove is further elaborately ornamented with oriels and niches containing statues.
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In historical records the village was first mentioned in 1209. In the centre of the village is a large rococo style house, built in the third quarter of the 18th century. It was altered at the beginning of the 20th century, by order of the Hunyadi family. The building has a combination of romanesque and gothic elements on its facade, including oriels, balconies, windows, and a polygonal tower with an Art Nouveau style top.
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While the division of the rooms and the position of the windows and oriels (with their view of the well) were based mainly on practical considerations, the facades of Engadine houses were often richly decorated with murals and sgraffiti. For centuries, Engadine houses dominated the scene in the Engadine villages of Ardez, Guarda, Zuoz, La Punt etc., where they were grouped around a common well as a village quarter that formed a Romanesque cooperative farming organisation.
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The Berkeley Hotel was a five-story structure of red brick with stone and rusticated brick trim. The simplicity of line and detail, the hard-edged arches of radiating bricks, and the row of oriels on the south wall are all typical of the Chicago style. The facade and some of the interior was designed by local architect Kenneth McDonald. The interior of the building was altered over the years and very few original details remained by the 1970s.
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The Dunlap Square Building is a historic commercial block in Marinette, Wisconsin, United States, and is registered on the U.S. National Register of Historic Places. The building is a 2-story commercial block designed in Queen Anne style, with a granite foundation, walls of rustic red brick, a brick cornice on some walls, a pressed metal cornice on other walls. Some corners sport brick oriels - one topped with an onion dome. The floor plan is triangular, filling a block of the same shape.
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Shiroka Laka is famous for its authentic Rhodopean houses set in tiers on both banks of the local river. The old houses were designed in the characteristic architectural style of the Rhodopes by the noted local building masters, and feature two storeys, oriels, built-in cupboards and a small cellar with a hiding place. The thick white walls hide the yard from the outsiders' eyes. The yard is small and slab-covered and has a typical stone drinking fountain in the middle.
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The dormers and oriels were removed; the roof was rebuilt; the facade was clad in a mixture of granite, marble, and limestone; and maritime-themed details were placed on the facade of 1 Broadway. In addition, the ground floor was redesigned to accommodate IMM's booking office. The renovation was performed in phases to minimize disruption to existing tenants, who were moved between offices as work proceeded. The process occurred "without the slightest accident" despite the engineering complexities of the project.
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A larger room in the middle, which lay above a part of the court room, probably served as a common dining room. This room and the oriel rooms were also demolished in 1705. The oriels on the corner wings, which are four steps higher than the room floor, have been preserved to this day. Under Frederick I, the rooms on the first floor were used from 1708 to accommodate hunting guests and, according to an inventory from 1710, were partly furnished with bedroom furniture.
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In 1888, he asked his court architect, Albert Neumeister, to come up with proposals and suggested as examples Hatfield House and Knole House. Neumeister and Georg II eventually settled on a compromise design. Whilst the architect had argued for a completely new palace, Georg II insisted on adding or changing the existing structure. The result was a palace that used the basic Baroque structure, but was designed in the English Renaissance Revival style, featuring two-storied oriels, bow windows, numerous chimneys, and obelisk ornaments.
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The house's design reflected the formal Jacobethan subtype of Tudor Revival architecture, which could be seen in its extensive stone decorations on its brick exterior, such as quoins and oriels, and its steep gable roof with gabled dormers. Half- timbering, a common feature of informal Tudor Revival designs, was notably absent. The building was added to the National Register of Historic Places on May 21, 1990. The building was demolished in January 2018 to make room for a new Fraternity house for Alpha Delta Phi to be opened in 2021.
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Charles Holden's design in 1906 for the adjoining Central Bristol Library building echoed many features of the gatehouse. The library has tall oriels with mullions and transoms, a round entrance arch and other decorations in the Tudor revival style. The shape of the gatehouse itself is imitated by the two tower-like projections at either end of the library's front. alt=Oriel windows with statues Charles Pibworth, the Bristolian sculptor who created the relief figures on the north front of the library, also carved the statues of four abbots on the south side of the gatehouse, placed there in 1914.
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The following components of other demolished houses of Bremen citizens were reused at the Rathscafé: the late Renaissance front gate of about 1660 from Hakenstrasse 1 was used in 1909; at the market side, the oriel windows of the houses Tiefer No. 35 (right side) and Hinterm Schütting No. 8 (left side); the oriel of the corner house Pelzerstrasse No. 6 and Brill no. 8; the oriels of the middle house of Balgebrückstrasse No. 33; the gable of the corner house of Hakenstrasse was taken from Wachtstrasse No. 17 after the said house had been demolished in 1894.
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In 1259, Nordhofen had its first documentary mention. In 1357, Emperor Karl IV granted Count Wilhelm of Wied the right to expand Nordhofen into a town. He received the right “to be allowed to build with stones, put together, lay out and make into a walled town the village and its layout with moats, walls, towers, oriels, gates, and other things as he can and likes to do, without anyone’s hindering or speaking against it”. Owing to the absence of the natural conditions for a town location, the town of Nordhofen could not be properly developed.
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But the potential of Ellis's design was not lost on all of his contemporaries. John Wellborn Root studied in Liverpool as a teenaged boy, being sent there by his father to be safe from the American Civil War following the Atlanta Campaign (1864). In all likelihood, he studied the then brand new Oriel Chambers and put the lessons learnt to good use when he developed into an important architect of the Chicago School of Architecture, exporting Ellis' ideas across the Atlantic. Long rows of bay windows (of which oriels are a special type) characterise some of Burnham and Root's 1880s American skyscrapers.
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The overall design seeks to incorporate and complement the surroundings in an unobtrusive way; the hilly terrain has been preserved and used to make it seem as if the building rises out of the bedrock, shapes are irregular with oriels and arched windows and the estate is enclosed by a wall of small boulders. Villa Kampen is in two floors with large, bright rooms. It's roofed in red glazed tile and the outer walls are bricks of lime and sandstone, plastered and originally painted white (grey today) with espalier. It sits on a foundation of granite and boulders and is topped with a hip roof.
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Viewed from Third Quad, the Chapel, with its Gothic windows, can be seen to have been built neatly on top of the Hall, a unique example in Oxford of such a plan. On the east side of the quad is a simple rustic style timber-frame building; known as "the Dolls' House", it was erected by Principal King in 1743. In 1826 an ornate range was erected by St Mary Hall in the Gothic Revival style, incorporating the old gate of St Mary Hall, on the west side of the quad. Designed by Daniel Robertson, it contains two quite ornate oriels placed asymmetrically, one is of six lights, the other four.
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By the time of Tudor City, the Neo-Tudor style had already been used on a limited number of urban apartment buildings, including Hudson View Gardens in Washington Heights (New York City) and several erected by the Fred F. French Company. (Downloadable; page numbers in this citation are as given by a pdf reader.) The architects and designers of Tudor City, led by chief architect H. Douglas Ives, used a broad range of Tudor Revival details, including towers, gables, parapets, balustrades, chimney stacks, oriels, bay windows, four-centred arches, pinnacles, quatrefoils, fish bladder moldings, Tudor roses, portcullises (a symbol of the Tudor sovereigns), and rampant lions carrying standards. Much of the Tudor effect in Tudor City is gained through the use of carved or cast stone and terracotta detail. The Tudor skyline of the complex is complemented at ground level by a series of stained glass windows ranging from those with lightly tinted non-figural designs to scenes depicting the history of New York.
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