The Berlin offices have a 19-storey paternoster lift, whose continued operation was vigorously defended editorially by the newspaper.
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The paternoster lift at Amsterdam police headquarters in Marnixstraat is frequently seen in the Thames Television television detective series Van der Valk, shot between 1972 and 1992.
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The core of the building was a hall on the first floor with chandeliers and a transparent roof by Franta Anýž. Since the 1970s there has been only one paternoster lift, which dates from that decade. This lift still covers the four floors but it now has thirteen carriages.New Town Hall – the main building of City Hall. m.
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Oriel Chambers 16 Cook Street Peter Ellis (1805-1884)Robert Ainsworth and Graham Jones, In the Footsteps of Peter Ellis. Architect of Oriel Chambers and 16 Cook Street, Liverpool, Liverpool History Society, 2013. It is from this book that the additions and corrections to the previous narrative have been derived. was a British architect and inventor of the paternoster lift from Liverpool.
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The newly built Dovenhof in Hamburg was inaugurated in 1886. The prototype of the Hamburg office buildings equipped with the latest technology also had a paternoster. This first system outside of Great Britain already had the technology that would later become common, but was still driven by steam power like the English systems. The highest paternoster lift in the world was located in Stuttgart in the 16-floor Tagblatt tower, which was completed in 1927.
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Murke begins his days with a "panic-breakfast" ("Angstfrühstück") by riding the paternoster lift to the empty space at the top for a brief dose of terror that it might get stuck.; . He has started collecting discarded tape—tape containing silence, where the speaker has paused—which he splices together and takes home to listen to in the evening. Soon he advances to recording his girlfriend sitting silently in front of a microphone.
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Viewers were invited to interact with the displays. A biomorphic spiral-shaped ship's wheel rotated the contents of Marcel Duchamp's "Box in a Valise" where the components were viewed through a peephole. Activated by an invisible electric light beam, a paternoster lift display (resembling a mechanical ferris wheel) rotated small works by Paul Klee in front of the viewer. The Daylight Gallery, so-called because the two front rooms faced picture windows on 57th Street, was a normal rectilinear gallery with white walls.
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The museum is housed within a circular glass and steel building over high. The building was designed by , and the museum concept was developed by KMS (under the creative direction of Michael Keller and Christoph Rohrer). Inside the building, there is a permanent exhibition of about 50 cars and 30 motorcycles and bicycles, as well as numerous other exhibits relating to the history of the Audi, DKW, Horch, Wanderer and NSU brands. A special feature of the museum is a paternoster lift, which displays 14 cars in constant motion.
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In monastic houses, monks were expected to pray the Divine Office daily in Latin, the liturgical language of the Western Christian Church. Christian monastics, in addition to clergymen, "recited or chanted the Psalms as a major source of hourly worship." Since there were 150 psalms, this could number up to 150 times per day. To count these repetitions, they used beads strung upon a cord and this set of prayer beads became commonly known as a pater noster, which is the Latin for "Our Father" (this eventually gave its name to the paternoster lift elevator).
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Several features of the building are particularly noteworthy: the richly decorated central staircase; the boardroom on the floors at the corner of the Prins Hendrikkade and the Binnenkant; and the large meeting room on the third floor on the Prins Hendrikkade side. The ironwork in the central staircase forms a connecting link between the floors. The stairwell is enclosed by stained-glass, implemented and designed - as was almost all the other stained-glass work in the building - by the glazier William Bogtman. The building contains a working paternoster lift.
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Each floor consists of three leaves of space containing the offices. These are separated by the central lobby and service area, which contains a staircase, lift. It was built with a paternoster lift, but this was closed in December 2017 as maintenance had become too expensive. The University's hilltop location makes the top floor of the tower one of the best vantage points in the city, to the extent that the University have fixed a notice at the base of the tower warning tourists that it is not open for the public "to view the city from a height".
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Schematic of a Paternoster lift The building is decorated by sculptures and reliefs by Stanislav Sucharda, Josef Mařatka and Ladislav Šaloun. Šaloun's sculptures are on the corners of the building,New Town Hall, AtlasCeska, Retrieved 20 October 2015 he is the same local sculptor who created the city's iconic Jan Hus Memorial. The building, which was intended as a tax and financial office, was equipped with paternoster lifts, which were very modern at the time. There were two lifts designed by John Prokopec which included safety features that allowed the lifts to operate at higher speeds with each of the twelve carriages having room for two people.
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The architecture is stylised classical, with simple vertical piers with a simple copper roof to the flanking three storey wings. The four storey facade of the main section is more elaborate, with an arcaded portico entrance supporting a terrace, with four full height pilasters above, topped by four 3.2 m high bronze statues by Václav Mach which symbolize the four functions of the city: mining, trade, science and metallurgy. There is a passage through the main wing to the riverbank beyond where there is a part open air restaurant. In the south wing of the building there is a paternoster lift, one of the last in Ostrava.
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The "dream cars" which American automobile manufacturers exhibited at the fair included Cadillac's introduction of its V-16 limousine; Nash's exhibit had a variation on the vertical (i.e., paternoster lift) parking garage—all the cars were new Nashes; Lincoln presented its rear- engined "concept car" precursor to the Lincoln-Zephyr, which went on the market in 1936 with a front engine; Pierce-Arrow presented its modernistic Pierce Silver Arrow for which it used the byline "Suddenly it's 1940!" But it was Packard which won the best of show. The passengers, including "Zeph" the burro, that rode the Zephyr on the "Dawn-to-Dusk Dash" gather for a group photo in front of the train after arriving in Chicago on May 26, 1934.
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Petschek Palace Plaque commemorating the Czech resistance The Petschek Palace (in Czech Petschkův palác or Pečkárna) is a neoclassicist building in Prague. It was built between 1923 and 1929 by the architect Max Spielmann upon a request from the merchant banker Julius Petschek and was originally called "The Bank House Petschek and Co." (Bankhaus Petschek & Co.) Despite its historicizing look, the building was then a very modern one, being constructed of reinforced concrete and fully air-conditioned. It also had tube post, phone switch-board, printing office, a paternoster lift (which is still functioning), and massive safes in the sublevel floor. The building was sold by the Petschek family before the occupation of Czechoslovakia, and the family left the country.
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Part of it is now clockwork, which interfaces with the ant-farm via a paternoster lift the ants can ride on that turns a significant cogwheel. Its main purposes were, in a sense, data compression and information retrieval: to analyse spells, to see if there were simpler "meta-spells" underlying them, and to help Stibbons with his study of "invisible writings" by running the spells used to bring the writings into existence. (These spells must be cast rapidly, and each one can only be used once before the universe notices they shouldn't work.) In The Last Continent it was explained that the invisible writings were snippets of books that were written a long time ago and lost, snippets of books that hadn't been written yet, and snippets of books that would never be written. The theory behind this was, all books are tenuously connected, due to the fact that every book ever written cites information from every other book, whether the writers mean to or not.
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