They use a wonderful kind of Venetian rustication framing deeply carved details made with layers of colored cement called sgraffito. Fantastic.
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During the "rustication movement" in late 1960s, when millions of youths left the cities to work in rural areas under Mao's command, she reported to her teacher that a classmate had hidden her age to evade the order.
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Director Daniel Roher makes resourceful use of as much archival footage as he can gather, including vintage interviews with Band members who have since died; cutting still photographs together with whiplash speed, Roher does an admirable job of conveying the various periods in the Band's short but brimming life together, from the raucous rustication of the Catskills to the more languorous Malibu era in the 1970s, when they recorded under star-making machine David Geffen.
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Cap of synagogue is decorated with rustication, and the facade is decorated with stucco rosettes.
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Brooks, 736. In Jones view, "She dwelt", along with "I travelled", represents its "rustication and disappearance".
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Both the medieval wing and the principal house are Grade 2 listed. Adjacent is a fine stable quadrangle with heavy rustication, a steep pediment gable and cupola.
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The end bays of the west (main) facade are framed in pedimented pavilions, which have recessed brick panels above the impost line, and below it are bricks coursed to resemble rustication. One glazed roundel is at the middle of each tympanum. The pedimented central bay has an arched recessed entrance with a pair of oversized double wood doors beneath a fanlight. The arch is flanked with blind roundels above the impost line, with rustication below.
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The enceinte includes several towers, some of which have rustication. The moats are drained and overgrown. The ruins have been cleared of vegetation and are surrounded by lawns and hedges.
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There are rustication on the high cellar and at the corners. The interior of the building originally featured decorations on walls and ceilings by Georg Hilker but they have been lost.
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A grand list of 18th-century revival classical architecture follows in its listing such as detailing its tympanum, entablature, pediment, quoins, rustication, string course by cornice and rounded window within intercolumniation.
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The Elizabeth and George Street facades are divided vertically, by projecting stone cornices, into three parts. These are a podium level consisting of the double height ground floor and the first level of offices, a five storeyed middle section and the top floor of the building surmounted by a parapet wall. At the corners of the street elevations pavilions, distinguished by banded rustication, extend from the ground floor to the parapet. The podium level is also marked by banded rustication.
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The work is competent but not remarkable, with decorated rustication in the 17th- century Sicilian style, but often the decoration on the upper floors is superficial. This is typical of the Baroque of this period immediately after the earthquake. In 1730, Vaccarini arrived in Catania as the appointed city architect and immediately impressed on the architecture the Roman Baroque style. The pilasters lose their rustication and support Roman type cornices and entablatures, or curved pediments, and free-standing columns support balconies.
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Whereas expulsion from a UK independent school means permanent removal from the school, rustication or suspension usually means removal from the school for a set period, for example, the remainder of the current term.
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However, the palace was soon subject to decay.Gigli (1992) p. 56 In a 1581 drawing, the rustication coating at the ground floor had disappeared, and after 1585, the two facades assumed a pronounced manierist look.
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Chatsworth is regarded as England's first Baroque house. Archer's Corinthian order shifts restlessly against the wall plane, varying on the entrance front from flat pilasters to attached columns, to a free-standing screen that marches across the recessed entrance bays. The wall plane is ashlar on the entrance front but with strictly conventionalized channeled rustication the full height of the garden front. On the side elevations, the channeled rustication appears only on the rusticated pilaster-like corner quoins of the lightly projecting five central bays.
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It features chamfered rustication, an octagon-shaped stone chimney, and a full-length front porch with four ornately turned posts and spindles around the top. It was listed on the National Register of Historic Places in 1987.
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The three-wing building is constructed in red brick with granite rustication on the ground storey. The most distinctive feature of the building is its tower which stands 50 metres tall and is capped by a copper roof.
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The two wings are more restrained. The first story rather than the basement has the rustication. Its six-over-six double-hung sash is set in slightly recessed arches. The stringcourse, continuous here, separates it from the second story.
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Palazzo Alicorni in its original position before its restoration in 1928, in a picture taken from northwest (Piazza Rusticucci, now Piazza Pio XII) The original building has been documented through pictures shot in 1927, which show its state before the restoration of Pernier. They were taken by the "Istituto Luce", the propaganda agency founded by Mussolini. The building had two floors divided by belt courses, and a main front, first along Borgo Vecchio, after 1667 along Piazza Rusticucci, with five windows, a yard, and a portal framed by rustication. The fassade was characterised by angle bars reinforced with powerful rustication.
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Ironbridge Institute Research paper No. 1 20 April 1987, pp11-21 The mill is built of brick with stone rustication on the corners. Rustication of this type was widely used on later buildings by Poundley and Walker on the Leighton estate and is also used as a decorative feature on the Naylor's estate buildings at Brynllywarch in Powys. The mill had closed by the time of the sale of the Leighton Estate in 1931 and later became a Youth Hostel and then a creamery. It now functions as a vehicle bodywork repair shop, and for vehicle maintenance.
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Scourfield and Haslam, 2013, 133 The last functioned as a summer-house. The Lower Cable house also housed a water turbine. The Lower Cable house is brick on stone foundations. It has stone rustication quoining, which is typical of Poundley's architectural style.
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Arcades protect the northeast, northwest and southwest elevations. The arcaded facades are symmetrical with central towers of one additional storey surmounted by a pediment. The corners are emphasised with pavilions which step forward terminating the arcades. The basement walls are distinguished by smooth banded rustication.
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The ground floor openings are more simple. An arched stone doorway gives access to the southern court from the cellar under the Gothic Hall. The façade was originally plastered. The whitewashed surface was decorated with a painted pattern in rusty hue, resembling to rustication.
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The trapezoidal two-storey building features a combination of elements of Russian Revival architecture. The roof is reminiscent of the Russian Terem, an early 17th- century structure. Attics with taberlances crown central and side sections. The facade is decorated with banded rustication, herma, sculpted garland and wreaths.
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The ground floor has rustication and the central projects is on the upper floors decorated with four Ionic order pilasters and is tipped by a reiangular pediment. The complex also comprises a side wing and a rear wing. All walls facing the courtyard stand in blank, red brick.
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He edited The Harvard Advocate and was elected poet of his class. While at college his poems were published in The Century Magazine. His comedietta Rustication was produced at the Boston Museum while he was a sophomore.'Quincy Playwright Dead,' The Decatur Daily Review (Illinois), February 10, 1938, pg.
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Seven Brindleyplace provides of office space. Construction commenced in 2002 and lasted two years. The building has a steel frame with external walls in self-supporting brick construction with ashlar stone rustication and stone dressings. The windows are detailed in metal, as is the top storey and terminated cornice.
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Hopetoun House, near Edinburgh, was completed in 1702, and represents Bruce's grandest country house design. The master mason was again Thomas Bauchop, and the inspiration was again Anglo-Dutch, with French rustication. The bulk of Bruce's work is now obscured by 18th-century remodelling, carried out by William Adam.Gifford (1989), p.
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Blackfriars Bridge is a sandstone ashlar and cast-iron construction, crossing the water below in three classical-style semicircular arches. The easternmost end of the bridge is partly embedded in the river bank. The central arch has paired Ionic pilasters on each side. The voussoirs on each arch use vermiculated rustication.
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Lutyens came to call his new style "Wrennaissance", after Christopher Wren.Wilhide (2012), p. 32. The southeast pool in 1921 The house is built of local ashlar: yellow Guiseley stone decorated with grey stone from Morley,Amery (1981), pp. 108–109. with rustication on the ground floor and on the tall chimneys.
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These features, coupled with the heavy mannerist use of rustication on ground floor with segmented arches and windows, is the reason that Lyme appears more "Italian" than many other English houses in the Palladian style and has led to it being described as "the boldest Palladian building in England."Joekes, p156.
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The tower stands at in height, the highest building in the town. The walls are sgraffitoed plaster simulating the appearance of rustication. Inside hang numerous crests and coats of arms, including that of Marcin Kromer and Adam Mickiewicz. On the east wall is a 16th-century 24-hour clock face.
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A symmetrical facade crowned with an arched attic, is decorated in the Mordern style with elements of сlassitism and irrationalism. The first floor is decorated with banded rustication. The second and third floors have large windows and balconies with delicate iron-cast railing. The cornice is crowned with parapet established between decorative pedestals.
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The library was built to Peter Hersleb Classen's own design, presumably assisted by Andreas Kirkerup. The facade has rustication on the ground floor and a loggia with eight columns, showing influence from Ancient Roman architecture. The central library hall is two storeys high and surrounded by double galleries. It contains a bust of Classen.
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In the past the glazing was colorful. The plaster is with flat rustication. The facade is topped with a wide cymatium ornamentation with geometric shapes of eight arm stars. And above it, in the arcade frieze there is a very prominent full arc and every fifth bay there is a small window (looks like machicolation).
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Built to the property alignments, the street facades are treated with banded rustication. The base of the building and decorative elements around the main entrance are faced with red granite. A frieze with medallions delineates the first floor level. A further frieze at the top of the building is inscribed with the AMP name.
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The building was designed in the Beaux-Arts style. The style is monumental and considered Beaux-Arts style with axial symmetry in plan and eclectic exterior ornamentation with an abundance of Neo-Baroque decorative elements. These include very elaborate relief, Doric pilasters, domes cartouches Labels and triangular cornice above windows. The first floor decorated with banded rustication.
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The gatepiers at the lower lodge have chamfered rustication and moulded cornices with elliptical ball finials. There are similar gatepiers at the upper lodge north of the house, and another at the entrance to the stable yard. Within the grounds are two lakes fed by a small stream. The stream is crossed by a small ornamental balustraded bridge.
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A cornice runs the length of the second story. A glass dome is located over the third-story rotunda, rising above the third floor. On the front (west) side, the building contains a horizontal articulation. The central pavilion contains rustication and a pediment supported by four Corinthian columns, which divide the central pavilion into three bays.
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The building is designed primarily in the Art Deco style, blended with late neoclassical (also known as Imperial Neoclassical, after the works of Sir Edwin Lutyens and Sir Herbert Baker). Externally, the Art Deco elements manifest themselves in the bronze doors, architectural motifs, and trans-storey main window. The rustication and bay- regularity exhibit the elements of classicism.
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The building's Rococo-style main staircase was installed by Fædersen. The secondary staircase to the rear dates from the 1940s. The rustication on the ground floor the secondary cornice and the niche under the window of the central bay on the first floor date from 1864. The rear and cross wings were also built for Fæddersen.
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The gatehouses are small temple-like stone structures, with rough-coursed masonry (rustication) on the sides and rear and a small Tuscan order porch on the front. The material is Aquia Creek sandstone of a rather poor grade. The east gatehouse bears two high water marks carved into the stone to commemorate flooding in 1877 and 1881.
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The palace is located not far from St. Mark's Square. It has a façade divided into two horizontal orders. The lower part has a rustication decoration, while the upper floors feature a series of large arcades. In the centre, at the Canal Grande level, is a portico with three arcades, sided by two couples of square windows.
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This very free revival style incorporates 11th and 12th century southern French, Spanish and Italian Romanesque characteristics. It emphasizes clear, strong picturesque massing, round-headed "Romanesque" arches, often springing from clusters of short squat columns, recessed entrances, richly varied rustication, blank stretches of walling contrasting with bands of windows, and cylindrical towers with conical caps embedded in the walling.
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E.M. Forster spoke in his defence. His college succeeded in reducing the sentence to a week's rustication during May Week, which would mean that he missed the May Ball. The authorities forgot, however, that May Balls go on into the early hours and, on the stroke of midnight during the Ball, Boxer made a triumphant return.
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Later, Sher tries to catch sight of Prinka's face but fails. Again, Sher and Deep are threatened with ragging, but Guru fights off their attackers, but Guru is threatened with rustication. Guru's father berates him for making trouble, and tells him to mend his ways or receive nothing. Sher and Deep discover that Guru is angry because of a girl.
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The neoclassical façade consists of a ground floor, noble floor, and a loft of substantial size, for a total of three floors and twenty openings. In the central part of the ground floor there is a portal flanked by two quadrangular windows. The portal is covered with rustication. The noble floor offers a tall trifora decorated with a balustrade and large pediment.
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The granite used in the base is pale pink, with some traces of purple. The 4th through 14th stories contain a brick facade designed to resemble rustication. Belt courses separate each floor, while there are two windows per bay on each floor, dividing the facade both horizontally and vertically. The bricks are a mixture of deep red and blue hues.
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They organize a plastic composition by harmonizing with the porticoes of the first floor. A rising classic object-spatial structure occurs over the building. The dense horizontal porticoes of the lower floor have a soft transition to the second floor rustication. The facade of the second floor is represented by vividly profiled window places located on rustications and rhythmically arranged, rectangular window frames.
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The eight piers are clad in rectangular bronze panels to give the impression of rustication. The panels (divided into 24 numbered sections) contain the names of missing mariners, ordered by ship name and then alphabetically following the name of the captain or master. The vessels of the Merchant Navy and Fishing Fleets are listed separately. Above the bays is a Doric entablature.
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The building was an example of early Commercial architecture in Davenport. It was one of the few utilitarian buildings in Davenport that opened its walls with large windows, indicating the structure beneath its brick surface. It was also quite plain in appearance. The only decorative elements on the building were a restrained metal cornice, rustication at the corners, and stone jack arches.
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Built entirely in salt-white Istrian stone, the facade has weathered to a pale gray. San Michele is considered one of the first examples of Renaissance architecture in Venice, with a facade that appears influenced by the work of Alberti.Noted by Lieberman and others, comparing it to the Tempio Malatestiano in Rimini. The strongly delineated masonry coursesThey are not quite channeled rustication.
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The building is made in the style of French classicism, brick, plastered, H-shaped in plan, with a developed central avant-corps and lateral wings. It is also three storeys high with an attic. The facades are decorated with figured window frames and rustication, moulded balconies and balustrades. The front entrance is decorated with an arched portico with stucco and ionic columns.
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It sits on a plinth faced with alternate courses of Enoggera and Mount Crosby granite. The principal elevation to Queens Gardens and the elevations to George and William Streets have banded rustication on the lower two storeys. This two- storeyed base supports a colonnade of Giant order Ionic columns. The design of the facades is in the style of the Edwardian Baroque.
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The water tower is a grade II listed building. It was completed in 1873 and is situated 50 metres to the west of the main school building. It is composed of 4 stages and is in total about 20 metres high. The brickwork of the base stage has banded rustication angle-buttresses at the corners, each displaying an urn finial.
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4), with arched windows and rustication on the lower floors, was designed by Frederik Levy and is also from 1898. The Neo-Baroque property on the corner of Nørregade (Gammel Torv 8/Nørregade 1) is called Alexandrahus and was built in 1906 to design by Ulrik Plesner. Arne Jacobsen's Stelling House on the corner of Skindergade is an early example of Functionalist architecture.
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Public School No. 37, also known as Patrick Henry School and Primary School No. 37, is a historic elementary school located at Baltimore, Maryland, United States. It is an elaborately detailed -story Georgian Revival structure. The entrance portico has six freestanding columns, rustication at the base, lintels, and quoins, and a large slate-shingled hip roof. It was built in 1896 for $25,000.
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The main entrance The keystone The rotunda The five- storey building is constructed in brick. The building has rustication on the ground floor and arched openings along the two sides. The four upper floors stand dressed masonry and has wide pilasters between the windows. The roof features a three-bay Belvedere, topped by a balustrade, with views of Tivoli Gardens on the other side of the street.
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Rendered stucco façades "are a defining characteristic of Brighton and Hove's historic core". Stucco gave the appearance of stone, left a smooth finish and could be worked into intricate patterns on mouldings, capitals, architraves and other embellishments. It was used prominently on long, continuous terraces of houses, such as in the Brunswick and Kemp Town estates. Rustication was sometimes used, especially at ground-floor level.
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The first landshövdingehus in Annedal, built 1875, and others built in the period between 1875–1880 had a strictly classical style with limited decoration. The landshövdingehus built around 1880–1890 attempted to imitate the more high-status stone houses. They used horizontal board panelling and rich profiling. Often they were decorated with bay or dormer windows, corner towers and/or rustication of the brick wall.
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A plinth is visible up to about one meter above the ground. The plaster is decorated with flat rustication with arches furrows to emphasize each window. The ground floor is separated from the second floor with a continuous frieze of vertical furrow motive. The frieze surrounds the porch and the risalit (towers), and above there is a corbel with repeated motifs supporting string course cornices.
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The front of the palace looking towards Borgo Santo Spirito The building, according to a description from the time of Pope Clement VIII (r. 1592–1605), had a front with 9 windows, a yard, and was 50 Roman feet long and 85 Roman feet wide (ca. 15m × 25 m). The main front has square windows and at its center a portal framed by rustication.
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Churchill Park The building seen from the corner The building consists of three floors over a high cellar. The main facade on Amaliegade is seven bays long. It has rustication on the ground floor and Ionic order pilasters between the windows on the two upper floors. The three central bays are tipped by a triangular pediment with a relief of a seated woman holding a Monocular.
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The building has a copper Mansard roof, and interior light wells flank the area that began as the two-story courtroom. Exterior cladding on the building is primarily granite, though a portion of the east elevation is clad in brick. The horizontal rustication of the first floor, entry bays, and quoins is characteristic of the architectural style. There are eleven bays in the main, or west, elevation.
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It is a large building recognisable by its corner tower with the dome raised high on a pavilion. Rustication in the ground floor and a semicircular arched arcade in the first floor. The facade is punctuated by a series of projected and pedimented bays with plain columns and Corinthian capitals. Repaired recently, the Metropolitan Building still stands as an important landmark overlooking the crowded Chowringhee.
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However, by the late 1950s, much remained to be done. Mao noted that most benefits were accruing not to the rural areas, where the vast majority of Chinese still lived, and who were the ostensible focus of the revolution, but to urban centers. Identity card systems channeled unequal degrees of resources, including food rations, to urbanites and rural dwellers. The "rustication" of the Cultural Revolution failed.
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Such a radical re-arrangement was not possible here since the house was a partial rebuild rather than a wholly new structure.Girouard p 160. The more severe north front is of eleven bays, with the end bays given significance by rustication at ground floor level. The centre of the façade has Ionic columns supporting a pediment and originally had the Dashwood coat of arms.
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Holckenhus The block on the north side of the square is known as Holckenhus after Holck's Bastion, which used to be located at the site. It was built in 1891-93 to a design by Philip Smidth which draws on inspiration from French Renaissance architecture. The two lower floors have granite rustication. The upper floors stand in blank red brick with decorations in painted cement.
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There are 14 piers set at intervals; each has ashlar panelling and vermiculated rustication, and upper sections with pediments which have palmette motifs in their tympana. In July 2013, local society The Friends of Palmeira & Adelaide noted that the wall is in "poor condition and deteriorating with every year that passes", and that neither the council nor English Heritage would be able to fund repairs.
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Juni started investigating on her own the truth behind Saradindu's conviction. Samaresh, Dr. Kriplani and Ronit framed Krishnedu again while he flouted hospital norms my treating an injured person (father of a student of BIMS) when no doctors were available. And Krishnendu was expelled from BIMS. All the students of BIMS protested against Krishnendu's rustication and were arrested as they sat on a hunger strike.
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The stone facing of the first floor level has banded rustication and visually forms a plinth to the upper levels. The windows of the three central bays are separated by decorative stone panels in the same pattern as the bronze panels of the outer bays. An elaborate cornice appears at the top of the facade. The raised sections of parapet above the end bays each have three small bronze acroteria.
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The rear side of the main wing One of the two courtyards The building is 15 bays long has a median risalit with rustication and the ground floor is decorated with 10 lesenes. Above the gate is a two-bay wall dormer and a coat of arms Frederick V's monogram and. The gate opens to two consecutive courtyards. The wing separating the two courtyards from each other contains the chapel.
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The hotel is a two-storey building, faced with a mid-19th century facade built of ashlar with an attic. The building is roofed in slate with three chimneys. The attic storey has a row of nine dormer windows, five of pedimented style edged with carved side scrolls, alternating with four of circular form. The left portion of the building has an arcade of three bays with channelled rustication.
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The project was given to Pedro Machuca, an architect whose biography and influences are poorly understood. At the time, Spanish architecture was immersed in the Plateresque style, still with traces of Gothic origin. Machuca built a palace corresponding stylistically to Mannerism, a mode still in its infancy in Italy. The exterior of the building uses a typically Renaissance combination of rustication on the lower level and ashlar on the upper.
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The classical orders are in pilaster form except around the central doorways. On the exterior, the lower floor is in the Tuscan order, with the pilasters "blocked" by continuing the heavy rustication across them, while the upper storey uses the Ionic order, with elaborately pedimented lower windows below round windows. Both main façades emphasize the portals, made of stone from the Sierra Elvira. The circular patio has also two levels.
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In the righthand group is a self-portrait of the artist with some of his relatives. The loggia in the background could be a representation of the Ospedale di San Paolo (St. Paul's Hospital), which was then under construction in the same square as Santa Maria Novella. The two buildings on the sides are examples of typical edifices of 15th-century Florence, characterized by rustication and an upper loggia.
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Hubert Fenwick considers these French houses to have influenced Bruce's work, although there is no hard evidence that he did in fact visit them. Fenwick, p.14 English influence is also visible in his work. His country houses took the compact Anglo-Dutch type as their model, as introduced into England by Hugh May and Sir Roger Pratt, but with Continental detailing, such as the rustication on the facade at Mertoun.
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All of them have semi- basements with small street level windows. The entrance of number 12 is set back from the rest of the buildings and number 15 protrudes forward slightly more than the others. At the front the basement and ground floors are styled with continuous rustication, which can be seen as a painted brick effect. The ground and first floors are separated by a continuous concrete band.
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The frontage has two bays with half-hipped gable roofs. The entrance doorway is centrally placed between the bays and still has its original rustication at the quoins, although the door itself is modern. The lintel of the doorway has "1676" carved into it, and some of the quoin blocks also have 17th-century dates and initials. There is another (off- centre) doorway on the rear face of the building.
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The 1½-story structure is composed of locally quarried limestone. It features chamfered rustication, two octagon-shaped stone chimneys, cut out bargeboards with a pendant post at the gable peak, and a full-length Greek Revival-style front porch (a later addition). The rear frame addition and porch was built in either the late 19th century, or the early 20th century. The roof dormers are early 20th century additions.
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The building had two main floors. The lower one was rusticated, with ashlar obtained through a process called "di getto", which involved mixing pozzolana, lime, and other materials in a formwork. The portal and the doors of the shops, surmounted arches which contained the small windows of a mezzanine, were placed in the rustication. The lower floor constituted the podium of the upper floor, which adopted the Doric order.
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Originally a collection of fishing villages, Shenzhen rapidly grew to be one of the largest cities in China. Guangzhou. Urban population grew steadily at around 3%-20% from 1950 to 1965. Urban population experienced a 'great jump' in 1958-1961 during the "Great Leap Forward" in conjunction with the massive industrialization effort. During the Cultural Revolution years of 1965–1975, urban population growth dropped as a result of 'rustication'.
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Webb also designed the rebuild of Belvoir Castle in Leicestershire between 1654 and 1668, and made alterations to Northumberland House. He also designed Gunnersbury House in Ealing. His buildings and architectural drawings differ from those of Inigo Jones particularly in the use of rustication, a contrast in texture which is less frequently seen in Jones' work.Giles Worsley, Inigo Jones and the European Classical Tradition (Yale, 2007), p. 178.
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The street facades are designed in an imposing classical style. Giant Tuscan order colonnades are terminated in solid corners with banded rustication. The columns sit on a raised base, about a metre above the Flinders Street level, and carry a simple entablature surmounted by a more ornamental parapet with a central cartouche and panels of classical balusters. The name of the bank, flanked by circular motifs, is written in the frieze.
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This was the source of the diamond rustication on the courtyard wall. The initials of Francis and his wife Margaret Douglas appear on the walls, together with an anchor representing Stewart's position of Lord High Admiral of Scotland. Inside are further innovations: Scotland's first "scale-and-platt" stair, i.e. a modern-style staircase with landings;Thomas, 1995 and a drawing room to the north of the old tower.
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These ramps have large balustrades and piers, thick brick and rubble walls coated with stucco, and ornate decoration in the form of rustication and mouldings. Nearby is a retaining wall at the south end of the garden; this was also designed by Burton and extends for . Its height diminishes towards the ends as the ramps rise alongside it. Built of brick and coated with cement, it is intricately decorated.
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The building acquired its current name when the Medici duke's residence was moved across the Arno to the Palazzo Pitti. It is linked to the Uffizi and the Palazzo Pitti through the Corridoio Vasariano. Palazzo Medici Riccardi, designed by Michelozzo di Bartolomeo for Cosimo il Vecchio, of the Medici family, is another major edifice, and was built between 1445 and 1460. It was well known for its stone masonry that includes rustication and ashlar.
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The Headquarters Building is a three-storey brick building in the Federation Academic Classical style is on the northern corner of the Keswick Barracks site. The facade features two large towers, placed at either end of the building, and a central section with a segmental pediment, containing a coat- of-arms. The towers and the central section feature stucco detailing that imitates rustication. A two-storey colonnade runs between the towers and the central section.
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109 On the southeast facade, the centre has a Doric temple front with open pediment, which surrounds the doorway. The centre has an attic as its upper storey, topped by a blocking course with scrolled supports at each end. A design with a pediment was prepared for this front, but is thought never to have been built. Though the only decoration is the rustication on the Doric temple's pilasters, a remarkably rich effect is achieved.
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The four-story construction is elongated from east to west. The surface of the façade is divided by belt courses into three levels, and is completely covered by limestone slabs hewn using a diamond rustication technique. Wide pilasters that flank the façade wall are also rusticated. The décor composition includes a sculpture on the level of the first floor, a white stone border around the portal and windows, and a decorated attic.
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Buildings such as the Knox-Goodrich Building at 34 South First Street, with its extreme rustication, reflect the qualities of the wealthy, orchard oriented, agricultural community of the turn-of-the-century. Following the 1906 San Francisco earthquake, Edwardian and Neoclassical commercial buildings replaced the damaged Victorian and Romanesque businesses. In addition, Mission Revival, California's first indigenous architecture, dominated smaller commercial architecture. Spanish Colonial Revival also provided California with a new historic architectural mode.
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The Memorial Arch of Tilton, sometimes referred to as Tilton's Folly,Jones 2006, p. 156. is a historic arch on Elm Street in Northfield, New Hampshire, United States, on a hill overlooking the town of Tilton. The was built by Charles Tilton in 1882;Jones 2006, p. 155. it was modeled after the Arch of Titus in Rome, its surfaces, however, modeled in the rustication that was currently a fashionable feature of Romanesque revival building.
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The front side, facing Vesterbro The portrait frieze The Bell Strikers The Dipylon building is built in red brick in the ornate Historicist style which is typical both of the Carlsberg area in general and especially of Vilhelm Dahlerup's work. The arches have granite rustication. Above them there is a diagonal pattern in glazed and red tiles. On the front (Vesterbro) side of the building, an integrated sign above the arches simply reads "Ny Carlsberg".
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The total construction and furnishing cost of Vladimir palace was 820,000 rubles, a much modest amount than the one spent building previous palaces for other grand dukes a decade earlier. The Vladimir palace stands, like the Winter Palace and the Marble Palace, on the Neva at Dvorstsovaya Embankment.Perry & Pleshakov, The Flight of the Romanovs , p. 36 The façade, richly ornamented with stucco rustication, was patterned after Leon Battista Alberti's palazzi in Florence.
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Pilkington adhered closely to Ruskin's principals, and in the High Victorian tradition which they promoted he evolved a highly personal style by mixing northern medieval elements with those from the Gothic architecture of Northern Italy as published by Ruskin and George, Edmund Street. His work featured polychrome stone, chunky rustication and lavish external carving of Venetian medieval buildings combined with French rose windows, decorated tracery, high-pitched roofs and deep, rain-conscious porches.
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The present name was given in 1937. Thon's design follows closely that of the station's counterpart in St. Petersburg. The monotonous regularity of rustication and pilasters is enlivened with Italianate details (ground floor windows strongly reminiscent of the Palazzo Rucellai) and an elegant clocktower at the centre (probably inspired by the Palazzo Senatorio in Rome). Even more rigorous is the exterior of the nearby Moscow Customs House (1844-1852), also by Thon.
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Palazzo della Consulta, Rome. Among his other major commissions in Rome was the Palazzo della Consulta (1732–1735), which, like the nearby Palazzo Quirinale, fronts the Piazza di Monte Cavallo. Fuga designed the two-storey façade with a piano nobile whose windows have low arched heads set in fielded panels, over a ground floor with low mezzanine. On the lower storey, the panels have channeled rustication and rusticated quoins at the corners.
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Vertical division of the front facade emphasizes the extreme vanes, large windows on the first floor and two-tiered windows of the operating room. These windows are divided by four piers with high relief masks, which support the bank's logo sign. The facade is completed by a large overhanging cornice, above which there is a parapet with curbstones. Rustication of the first floor, cornice and arched entrance are elements borrowed from Classical architecture.
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Ashlar blocks have been used in the construction of many buildings as an alternative to brick or other materials. In classical architecture, ashlar wall surfaces were often contrasted with rustication. The term is frequently used to describe the dressed stone work of prehistoric Greece and Crete, although the dressed blocks are usually much larger than modern ashlar. For example, the tholos tombs of Bronze Age Mycenae use ashlar masonry in the construction of the so- called "beehive" dome.
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The facade is renowned as one of the most masterful of its time, combining both elegance with stern rustication. The recessed entrance portico differs from typical palazzo models such as exemplified by the Florentine Palazzo Medici. In addition, there is a variation of size of windows for different levels, and the decorative frames of the windows of the third floor. Unlike the Palazzo Medici, there is no academic adherence to superimposition of orders, depending on the floor.
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This two-storey governmental structure follows a Neo-Classical tradition, with an emphasized horizontality and symmetrical form, particularly on the design of its façade. The central bay had three arched entrances and two principal staircases built around the two atriums. The rectangular fenestration on the upper most story were decorated with rustication. The window-like portals opening out to small balconies were framed with pilasters topped with ornate capitals and were adorned with elaborate geometrical grillework.
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The rustication and entablature along the basement are continued. Their entrances have a similar surround, but are topped with a recessed two-story segmental arch with windows that light the staircase behind them. On either side are three two-over-two double-hung sash at the basement level and groups of five two-over-two double-hung sash on the second and third stories. The four-by-four-bay auditorium wing also sits on a raised basement.
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The general conversion from housing to commercial premises since then, however, has meant the loss of the original ground floors; only No.51 retains its pediment, rustication and railings. The grander houses built c. 1762 by Thomas Paty on either side of the junction with Great George Street, in brick with stone dressings and with pediments on their George Street facades, were an exception to the generally plain style. Park Street was Bristol's earliest example of uniformly stepped terracing.
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A Neoclassical edifice, the Hôtel de la Monnaie was designed by Jacques-Denis Antoine and built from 1767-1775 on the Left Bank of the Seine. The Monnaie was the first major civic monument undertaken by Antoine, yet shows a high level of ingenuity on the part of the architect. Today it is considered a key example of French Neoclassicism in pre-Revolutionary Paris. The building is typified by its heavy external rustication and severe decorative treatment.
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From 1874 to 1922, it housed the Ministry of Foreign Affairs, and from 1924 to 1953 it housed the Ministry of Colonies. In 1955, it became the home of the Constitutional Court of Italy. Fuga ordered the two- storey facade with a piano nobile whose windows have low arched heads set in fielded panels, over a ground floor with low mezzanine. On the lower story the panels have channeled rustication and rusticated quoins at the corners.
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Investigations into the incident were carried out by the Delhi government and the University administration. Both found that the controversial slogans had been shouted by outsiders to the University. The arrested students were all granted bail, with the judge noting in one case that there was some evidence of the accused shouting slogans. However, the University inquiry found a number of students to have violated University rules and enacted sanctions, varying from fines to rustication, on 21 students.
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On each of the street facades; adjacent to the corner structure, at the ends of each wing and in the centre of the Stanley Street wing, are projecting bays surmounted by open bed pediments and stepped parapets. Banded rustication emphasises the corners of the bays. Windows in the bays are arranged in groups of three, with two single sashes flanking a pair of casement windows. On the upper level of each bay the central window is arched.
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The palace was built perhaps by Lorenzo di Bicci (although other scholars have attributed it to Filippo Brunelleschi) for Niccolò da Uzzano. It was finished around 1426. After his death a few years later, it was acquired by the Capponi family It has a 15th-century late-Gothic façade with a sober rustication at the lower floor, surmounted by irregular rows of mullioned windows (some closed and replaced by rectangular openings). The plan is nearly square, with a central courtyard in Renaissance style.
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Before the Renaissance period, stone and brickwork buildings in Lviv were normally crowned with a pitched roof. Subsequently, decorative "attics" - parapets with rich sculptural decoration mounted over the facades - became a characteristic feature of the residential architecture. At one time they embel- lished the majority of houses in the Market Square and the main streets adja- cent to the central square. "Diamond" rustication decorated the facades of many buildings dating from the sixteenth century, including the Black House, built largely during the 1580s.
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The gallery: The windows there are 2 stories high, the height of the internal galleries, plus in the frieze there are small window openings but on the attic level. The five large, vertical windows (in the axes 2, 3, 4, 5, 6) are topped with a full arch, decorated with quite wide archivolts, though supported with rustication. On top of archivolts there are acroterions clearly standing off the face of the wall. The interior wooden shutters are decorated with tracery with long transoms.
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Office of the Register, also known as Queens Register of Titles and Deeds Building, is a historic government building located in the Jamaica section of the New York City borough of Queens. It was built between 1895 and 1913 and is an imposing, three story building with a limestone facade in the Neo-Italian Renaissance style. A rear five story addition was built in 1938. The facade features deep rustication on the first floor and a smooth ashlar surface above.
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The gateway consists of three bays, each with a pediment. The largest and central bay, containing the segmented arch is recessed, causing its larger pediment to be partially hidden by the flanking smaller pediments of the projecting lateral bays. The stone work is heavily decorated being bands of alternating vermiculated rustication and plain dressed stone. The pediments of the lateral bays are seemingly supported by circular columns which frame niches containing statues of Charles I and Charles II in classical pose.
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Mansart's design, of 1685, articulated the square's unified façades according to a formula utilised in some Parisian hôtels particuliers, (palatial private homes). Mansart chose colossal pilasters linking two floors, standing on a high arcaded base with rustication of the pilasters; the façades were capped with sloping slate "mansard roofs", punctuated by dormer windows.Rochelle Ziskin, "The Place de Nos Conquêtes and the Unraveling of the Myth of Louis XIV" The Art Bulletin 76.1 (March 1994:147-162) p. 152, note 23; illus.
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Ten pairs of "delightful" semi-detached villas, five on each side of the road, make up this mid-1840s development by Amon Henry Wilds. They are in the Italianate style with influences of Regency architecture, and have two bow windows with bonnet-style canopies above, stuccoed walls with extensive rustication, prominently bracketed eaves and cast iron balconies. The "charming" houses are set in spacious plots in a former bluebell wood. The street was completed over the course of three years from about 1845.
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Drawing published in 1913. The building is Edwardian Baroque in style, has a Portland stone exterior and reaches a maximum height of 60m. The architects Clegg, Fryer & Penman designed the long façade with three slightly protruding pavilions with grossly inflated pilasters and pediments; in the centre the principal pediment is topped by a stumpy tower which breaks through the cornice line. The lowest third of the façade is emphasized by rustication and by having a more elaborate arrangement of windows.
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Brønnum House The building is four storeys high and consists of four bays on Tordenskjoldsgade, a three-bay rounded corner and a half bay that connects the building to Harsdorff's House on Kongens Nytorv. The building surrounds three sides of a small courtyard which is closed to the south by a fire wall. The external façade has rustication on the ground floor and rich stucco decorations on the upper floors. The keystones of the rounded openings are designed as grotesque masques.
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The elevations show a tripartite horizontal division typical of academism. The zones are clearly defined by the contrast between the rusticated lower and calmer upper zones, separated by a prominent stringcourse. The heavy and monolithic rustication of the basement and ground- floor zone, tempered by the regular rhythm of arch-headed windows, is a clear reference to the Florentine 15th-century palazzo. The monotony of the ground floor is broken by formal entrances facing Kralja Petra and Cara Lazara streets.
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The T-shaped building has single-story wings on either side of the base of the T. These wings, and the wings that create the T shape, are all part of the 1931 addition. The addition omitted the first floor rustication, but is otherwise consistent with the architectural style of the original building. Each of the first floor windows and the doors are arched. There are belt courses between the first and second stories, and above the third-story windows.
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This was marked by columns surmounted by an entablature, with architrave and frieze decorated with triglyphs and metopes. Parapets were inserted in the spans of the upper floor. The building was concluded by a service attic whose windows opened in the Doric frieze of the entablature. This rustication technique was quickly adopted in Rome, and the building, which had been inspired by Roman architecture, was soon imitated (for example, at Palazzo Massimo alle Colonne, erected in 1532 by Baldassare Peruzzi).
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The whitewashed surface was decorated with a painted pattern in a rusty hue, resembling rustication. Fragments of painted geometrical decoration, a common feature on the medieval buildings of Buda, were discovered on the eastern façade, but it was not restored. A Gothic balcony tower projects from the wall at the end of the eastern façade. Its reconstruction was a much debated issue, because the balcony tower goes above the level of the Baroque terrace, disturbing the harmonious panorama of the palace.
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The portico has four Ionic columns, which are flanked by square columns at either side, supporting an entablature and pediment finished with dentils. Three tall sash windows, centred between the columns, are framed with pilasters, pedestal and entablature, and each is surmounted by a circular window framed with relief carving. The ground floor, forming the base to the portico, has banded rustication with a central doorway framed with a sandstone entrance canopy. The entrance is flanked by paired sash windows.
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Garden front Capesthorne Hall is constructed in red brick with ashlar dressings and has a slate roof. Its plan is symmetrical and consists of a central block in three storeys with cellars, and two-storey lateral blocks protruding forward to form three sides of a forecourt. The middle part of the central block is in seven bays, with a colonnade consisting of segmental arches. These are carried on Tuscan columns with circular panels in the spandrels, and keystones decorated with diamond rustication.
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Brooks 1951, 736 Other scholars see "She dwelt", along with "I travelled", as representing nature's "rustication and disappearance". Mahoney views "Three years" as describing a masculine, benevolent nature similar to a creator deity. Although nature shapes Lucy over time and she is seen as part of nature herself, the poem shifts abruptly when she dies. Lucy appears to be eternal, like nature itself.Mahoney 1993, 107–108 Regardless, she becomes part of the surrounding landscape in life, and her death only verifies this connection.
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Little White House The Little White House (Biały Domek) is a garden villa built in 1774-76 by Domenico Merlini. It housed King Stanisław August Poniatowski's mistress and, for a time, Louis XVIII, who lived here in 1801-05 during his exile from France. Built in the form of a square, it has identical facades, adorned with rustication, an attic and a small pavilion at the top. The interiors were decorated by the prominent Polish painters Jan Ścisło and Jan Bogumił Plersch.
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Little remains of the castle: only a length of the south wall with the springing of at least three walls on its north face, and the remains of an entrance gateway lying to the north. The gateway dates from the 17th century, and are described as a good example of Renaissance work.Baldoon Castle The gate piers which were part of the entrance to the castle with bands of stylised rock-faced rustication alternating with lozenges. They are topped by cornices and moulded scroll caps.
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The centre has an attic as its upper storey, topped by a blocking course with scrolled supports at each end. A design with a pediment was prepared for this front, but is thought never to have been built. Though the only decoration is the rustication on the Doric temple's pilasters, a remarkably rich effect is achieved. The northeast and northwest facades of Vanbrugh's original design were entirely undecorated, and a consequent lack of popular appeal may be the reason why they were largely destroyed in later remodelling.
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The second is the Bass Curry, first recorded by John Milton (an alumnus of the college) who described 'Basse Currie' as when 'the singing-men of the quire do joine to delight in curried mutton and also in mulberrie chutnie; a joyful repast'. This text is highly disputed. It has been suggested, although there is no evidence for this, that Milton's mysterious rustication from Cambridge may have been due to irreligious acts (hardly in keeping with his training for religious ministry) carried out at said 'Basse Currie'.
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A three-storey rectangular Edwardian Baroque building on an island site, the Manchester Stock Exchange was built by Bradshaw, Gass and Hope in Portland stone. The ground floor features the same channelled rock face rustication that one finds at Stockport Central Library. There is a strong cornice and two further floors, with the central five bays having oriel windows surmounted by colonnaded windows. The end two bays are open pedimented with coupled columns, and the square headed doors feature carved shields in their pediments.
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Creation of architectural forms by classic methods has resulted in separation of strong stylobate of the facade surface and the rustication part of the first floor with large stone blocks. On the background of such monumental part, the proportion of lightweight porticos have the influence. The contrast of the volume of the facade elements is the model of new composition systems in city construction. Avant-corps of second floor are with noted with Corinthian order and it reminds of porticoes, far beyond the wall.
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It also appears in architecture as a form of rustication where the stone is cut with a pattern of wandering lines. In metalwork, vermiculation is used to form a type of background found in Romanesque enamels, especially on chasse reliquary caskets. In this case the term is used for what is in fact a dense pattern of regular ornament using plant forms and tendrils. In Ancient Roman mosaics Opus vermiculatum was the most detailed technique, and pieces are often described as "vermiculated" in English.
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The architecture of the north front had previously been "simple and dignified", but it was enhanced to make its appearance more impressive. The alterations included adding rustication to the bottom storey and around the central window, and quoins to the three projecting central bays. The arms of the 2nd baron were added to the previously blank pediment, and in 1915 a small porch was built over the new entrance. The south portico had become redundant, other than serving as an entrance to the garden.
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The façade, richly ornamented with stucco rustication, was patterned after Leon Battista Alberti's palazzi in Florence. The main porch is built of Bremen sandstone and adorned with griffins, coats- of-arms, and cast-iron lanterns. Other details are cast in portland cement. The palace and its outbuildings contain some 360 rooms, all decorated in disparate historic styles: Neo-Renaissance (reception room, parlor), Gothic Revival (dining room), Russian Revival (Oak Hall), Rococo (White Hall), Byzantine style (study), Louis XIV, various oriental styles, and so on.
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The castle was equipped with three main halls and several audience rooms with stucco walls and partially painted ceilings in Roccoco style. The façade was characterized by solid plasterwork, rectangular windows, simple stone jambs, rustication marking the corners, and a tarred, saddle-shaped roof. On the court side, the main wing was subdivided by two portals with Doric pilasters, topped by triangular pediments with figurative sculptures. The garden side had 22 window axis and was subdivided asymmetrically by two window bays framed with pilasters, but without pediments.
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From there, extensive views of the Swan and Canning Rivers are available. The exterior of the hotel was described as rendered in cream cement with sunk rustication emphasising the horizontal lines on the main building. The pitched roof over the first-storey section was covered in colour-blend tiles, and green-painted circular steps led to the entrances of the hotel from the Canning Highway frontage. Apart from its status as "the epitome" of Perth's social scene in the 1940s and 1950s, the Raffles later became noted for its animated neon billboards advertising beer.
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The heaviest orders are at the bottom of a building, whilst the lightest come at the top. This rule means that the Doric order is a preferred order for the ground floor, the Ionic order is used for the middle storey, while the Corinthian or the Composite order is used for the top storey. The ground floor may also have rustication. Initially, the top story usually featured the Composite order, but, after Vincenzo Scamozzi published his treatise L'idea dell'architettura universale (The Idea of a Universal Architecture) (Venice, 1615), architects switched to the Corinthian order.
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Works were delayed until a temporary ferry had been constructed and the foundation stone was laid by the Mayor of Maidenhead on 19 October 1772. After delays caused by ice, frost and flooding the centre arch was completed in 1775. The new bridge was finished and finally opened for traffic in 1777. Flooding at Maidenhead Bridge, February 2014 In 1966 Nikolaus Pevsner recorded it in his Buildings of Berkshire as "a beautiful piece of 1772–7.... seven main water-arches with rock rustication on the voussoirs... fine balustrade".
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Victoria Engravings. Web.uvic.ca. Retrieved on April 12, 2014. The main block of the Parliament Buildings combines Baroque details with Romanesque Revival rustication The legislative chamber inside the Parliament Building Construction of a new Parliament Building was first authorized by an act of the provincial legislature in 1893, the Parliament Buildings Construction Act. The province, anxious to commemorate its growing economic, social and political status, was engaged in an architectural competition to build a new legislative building in Victoria, after outgrowing "The Birdcages", which were notoriously drafty and leaked in wet weather.
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The Baroque was distinguished and characterized by his heavy ornamentation, of predominantly curved lines, giving an aspect of free movement. Predominant decorative elements in columns, pilasters, cornices, and a modification of the classical forms, the Greek columns lose their purity to wring, as thick snakes, its trunks to form Solomonic column and ornaments acquired great exuberance. A characteristic feature of this style is the rustication that appears on the walls of the Monastery of San Francisco, Lima. This style prevailed since the middle of the 17th to the late 18th century.
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The center three arches, within the recessed central pavilion, lead to the Great Hall; the southernmost arch leads to the elevator lobby for the office space above; and the northernmost arch led to a banking area on the north side of the building. All the arches contain doors and windows with bronze frames. The third and fourth floors contain an Ionic- style loggia structure supported by Tuscan-style column pairs. Above the base, the facade is mostly composed of smooth limestone, except for rustication around the fifth story windows.
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Roman Doclea In 168 BC, during the Third Illyrian War, Olcinium broke with Gentius and defected to the Romans (Livy 45:26:2). Under Roman rule the town received the status of oppidum civium Romanorum (settlement of Roman citizens), only to be later granted municipium (independent town) status. A section of their re-fortification can be distinguished from the Illyrio-Greek by the rustication of the walls. The Periplus Maris Erythraei names several Indian ports from where large ships sailed in an easterly direction to Khruse (Kruče - seaside village in Ulcinj).
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Jacobs was also a successful politician, being elected as an alderman for the 2nd Ward in 1907 and then mayor of Columbus. Architecture The Jacobs House or Jacobi House, is built of locally quarried hard sandstone during 1900-1907. The overall size and massing, and outstanding craftsmanship exhibited in the masonry work and stone carving of the Jacobs House contribute to its distinctive, stylistic appearance. The ornate stone Corinthian columns and carved decorations of the Jacobs House provide a sharp contrast to the rustication of the stone blocks.
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The Chateau Frontenac was an eight-story apartment building constructed from buff brick, with off-white terra cotta details and a hipped roof of green Spanish tile.Chateau Frontenac Apartments from the state of Michigan The building was Mediterranean Revival with some French Gothic accents, and covered an "E"-shaped plan area. The entranceway was through a tile-roofed projecting pavilion (the center leg of the "E") containing a terra cotta fountain with a dolphin motif. The first floor had raised bricks every ninth course or so, giving the appearance of rustication.
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The corners of the irregular building are accentuated by quoining, while shallow pilasters divide the five bays from the first floor upwards. Externally, the ground floor shows banded rustication (very similar to that found in the Roman Palazzo Vidoni Caffarelli, built in 1515 and attributed to Raphael), while the floors above are of rendered ochre ashlar. In the custom of the time, the ground floor was designed for occupation by only horses, servants and domestic offices. Here on the first floor, the piano nobile, were the principal rooms.
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It has a double portico with pillars and, in the center, a statue of the Lucchese lawyer Francesco Carrara, work by Augusto Passaglia. On the left is another unfinished court, known as Cortile degli Svizzeri, referring to the corps of Swiss Guard in service of the Republic of Lucca, also designed by Ammannati and characterized by the use of rustication. The interior hall, accessed through a monumental stair by Nottolini, housed the National Gallery of Lucca, moved to Villa Guinigi in 1977. The staircase ends with a gallery of statues.
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165 In the 1880s, working on his own, he fell under the influence of H.H. Richardson's "Richardsonian Romanesque" a freely-handled revival style that depended for its effect on strong massing and the bold use of rustication. In the 1890s, in the wake of the "White City" of the World's Columbian Exposition, Chicago, he began to work in a classical style. Robertson died June 3, 1919, at William S. Webb's Adirondack lodge in Nehasane, Hamilton County, New York, which he had designed. He is buried in Southampton, New York.
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They are the ornate white plaster ceilings of the waiting room, and green copper spire of the clock tower. Even the steel used for the overpass and the covered area outside are of a similar palette. The building is very approachable because of the materials chosen. They work well on the large scale to give the building weight and solidity but as one more closely inspects the materiality, the scale will change with the slight rustication of the limestone showing fossil evidence, and the veining of the marble unique in every square foot.
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The largest and most distinctive monument—described as "the most beautiful tomb in either [Extra Mural or Woodvale] cemetery"—is the Grade II-listed Ginnett family tomb. John Frederick Ginnett was a circus proprietor who owned a popular circus and theatre at Park Crescent in the Round Hill area of Brighton. The tall oval tomb of granite, marble and Portland stone has Classical-style embellishments (friezework, Ionic pilasters and rustication) and is topped by a nearly full-size pony of marble. The long-serving father-and-son Vicars of Brighton, Rev.
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The two-story building is near the eastern boundary of the historic district, a half-block west of the intersection of Mill and Columbus Drive, at the western fringe of downtown Poughkeepsie where the ground begins a gradual slope down to the Hudson River. It is faced in brick in running bond with stone rustication at the corners and windows. Projecting gable and a tower in front reach a third storey. The roof is slate, with sharp finials atop the gables and tower; the gables have been further decorated with bargeboards.
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The building is Italianate in style and designed in its original form as a T-plan. The north elevation fronts High Street West opposite Norfolk Square with the taller town hall block surrounded by four shops either side. One of the domed pavilions on the ends has now been demolished. The ground floor has vermiculated rustication and a central five-bay open arcade (leading to the market hall) with round arches and Tuscan Doric columns, flanked by single doorways with double doors and moulded ashlar surrounds and bracketed hoods.
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The Dorilton is entered through a narrow recessed court on 71st Street behind a Baroque wrought-iron screening fence with massive stone piers topped with weighty globes; far above, a masonry arch spans the recess at the ninth-floor level. Above a two- storey basement with channeled rustication, colossal limestone sculptures representing The Seasons survey Broadway.The Upper West Side Book: The Dorilton Richard Leopold Leo was a graduate of the School of Architecture, Columbia University (1895). He built himself a house at Belle Harbor, Long Island, New York.
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The ground-floor windows are recessed, arched and set in surrounds with deep rustication and large keystones. A cornice between the ground and first floors supports Ionic columns in antis which rise through two storeys. The three bays which form towers are heavily rusticated—the outermost right to the top, and the chamfered entrance bay just at first- and second-floor levels, as far as a flattened semicircular pediment with the Royal Assurance Company's arms and an inscription. Above this is the clock face, then the slightly recessed cupola.
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The central entrance consists of a wide rectangular void, framed by an elliptical archivolt molding. This composition is emphasized by a frontispiece consisting of flanking pairs of banded pilasters supporting decorative brackets which, in turn, support a balustered balcony accessed through the second level. The single bay sections have smooth rustication only at the ground floor, terminating at a continuous string course which divides this level from the upper. All openings other than the main entrance and the second and fourth bays at ground level are articulated with full-height, wooden, double doors with louvre panels.
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The largest and central bay, containing the segmented arch is recessed, causing its larger pediment to be partially hidden by the flanking smaller pediments of the projecting lateral bays. The stone work is heavily decorated being bands of alternating vermicelli rustication and plain dressed stone. The pediments of the lateral bays are seemingly supported by circular columns which frame niches containing statues of Charles I and Charles II in classical pose. The tympanum of the central pediment contains a segmented niche containing a bust of The 1st Earl of Danby, who founded the garden in 1621 and commissioned the gateways.
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The eastern and northern elevations are completely windowless with stucco walls. The section of 48 Wall Street below the first setback is 14 stories tall: this is divided into a three-story base, a nine-story midsection, and two upper stories. The base is three stories tall with rusticated granite blocks, though the rustication on the 1st story is deeper than on the 2nd and 3rd stories. The main banking entrance to 48 Wall Street is at the center of the Wall Street facade, while the main entrance to the office stories is located on the eastern section of that same facade.
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A sequel, "A Story of Rustication" ("Chadui de gushi") was published in 1986. In 1980 director Tian Zhuangzhuang based a short film called Our Corner on a story by Shi; it was the first film by a filmmaker of China's Fifth Generation Cinema. Shi's 1985 novella "Like a Banjo String" (命若琴弦) about a pair of blind musicians, was the basis of the 1991 film Life on a String directed by Chen Kaige. His collections of short stories include My Faraway Clear Peace River (Wo de yaoyuan de qingping wan) (1985) and Sunday (Libairi) (1988).
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In designing the house, the architect Horace Trumbauer drew heavily upon the design of French architect Etienne Laclotte's Château Labottière, built in 1773 at 16 Rue de Tivoli in Bordeaux.Dolkart 1995; Hôtel Labottière, Bordeaux Trumbauer copied almost verbatim Laclotte's projecting central bay and pediment, stacked columns in antis, bracketed cornice, attic balustrade, and channeled rustication, while improving the proportion of the original. . Duke purchased the site in August 1909 and construction completed in 1912. Three members of the Duke family—James B., his wife Nanaline, and their daughter Doris—lived there with their staff part of the year.
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The central block with a pitched roof had a lantern above the entrance, strengthened by a projected gate, by a rusticated arch and a terrace surrounded by a balustrade over the entrance. Classrooms were arranged on the corridors, as to be oriented inwards, towards the inner courtyard. Jeffery's design followed a simplified Neo-Classical style amalgamated with colonial architecture. Pilasters with Doric capitals on the ground floor the wide arch, yellow sandstone, rustication at the ground floor, passageways enriched with pointed arches, the wooden Iattice girders peculiar to the Cypriot colonial architecture and quoin at comer were among the architectural details.
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The Queen Street facade of the Regent Building (completed late 1928) was designed using classically inspired detailing and proportions, and was described as "a Palazzo facade, imbued with an Art Deco flavour". It is symmetrical, with three window bays across and four storeys above ground level, although the fourth floor is stepped back and has no windows on this building face. The first floor features rustication in the form of scored render imitating stonework, and similarly made arched windows topped with moulded keystones and sitting on decorated panels. The second and third floors have plain, giant-order pilasters, with stylised "Composite" capitals.
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At the front, facing the garden, the hipped roofs of the main sections have prominent eaves, and the roofs of the tower sections have similar treatment. Number 1, at the southwest corner, has ground-floor rustication carried round on to its south-facing wall, and its windows are different. Similarly, number 48—the end house at the southeast corner—has a hipped-roofed south-facing wing with a hipped roof, in which the entrance is set in a doorcase flanked by antae. The corner of the house is chamfered and has a blank two-window range.
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It was a considerable pile, but so surrounded on > all sides, even in front, by stables, dovecotes and high walls, and so close > to the public road, that the present proprietor has judiciously pulled it > down, and erected on a higher ground a mansion more suited to the taste of > the age. It is built of stuccoed and painted granite and slate rubble and brick, with Swithland slate roofs concealed by a parapet. It consists of a central block and two wings in a restrained neo-classical style with banded rustication to the ground floor. It has two storeys, with a sunken basement.
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These represented the takeover by the Australian Government of a previously New South Wales Government architects' preserve, but in a manner varyingly distinct from the Murdoch-Mackennal flavoured incursions in other states. Bondi Beach, in particular, concentrated its entry in a smaller and tighter corner placement, angled and hemmed in by two flanking columns. The three most direct counterparts for Bondi beach were at Waverley (1923), the plainer Beecroft (1925) and Coffs Harbour Jetty (1926). These all incorporated the Commonwealth institutional signature of brick rustication in their piers, but differed in the general pattern of smaller Australian post offices in other respects.
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Rustication, carving and a balcony emphasize the central segmental- arch entrance. The first floor has square-headed windows with splayed keystones; cornice between first and second floors; stone balcony on monumental brackets in front of central window of second floor; round-arched second floor windows set within concave round-arched recesses with unusual foliate keystones; square-headed windows of third floor have keystones with smooth enframement and stylized sill corbels; stone band at impost level; modillioned roof cornice with handsome balustrades; two-story slate mansard roof pierced by segmental dormers above which are bulls-eye dormers.
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The courtyard is accessed through a porte-cochere on Federal Street, and features buff-colored brick walls with granite stringcourses and keystones for the walls. The building's formal entrance, located at the angled corner at Federal and Market Streets, is marked by a large, triangular pediment that surmounts a Doric frieze and engaged columns decorated with banded rustication. The entrance leads into the elliptical Rotunda, an elegant and open two-story foyer with refined classical detailing. The Rotunda features a curving marble staircase with a balustrade of thin cast-iron balusters, rising to the second floor along the perimeter of the room.
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The description of Helen's Tower on the historic building list says the cypher is short for Dufferin and Ava, interpreting the second D as a lowercase A. However, this cannot be as the coronet is a baron's, the year is 1850, and the marquessate of Dufferin and Ava was only created in 1888. The Dufferin Memorial Hall in Bangor, built in 1905, shows a very different DA monogram for Dufferin & Ava. The walls of the tower are built of a dark massive stone, called "blackstone", laid in rubble courses. The outer surfaces of the blocks were left in low-relief rough rustication.
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Amanda Lillie, Florentine Villas in the Fifteenth Century: An Architectural and Social History (Cambridge University Press) 2005:239 and fig. 195. The square The palazzo has mullioned paired windows (bifore); the radiating voussoirs of the arches increase in length as they rise to the keystone, a detail that was much copied for arched windows set in rustication in the Renaissance revival. Its dominating cornice is typical of the Florentine palaces of the time. The palace was left incomplete by Simone del Pollaiolo (il Cronaca), who was in charge of the construction of the palace until 1504.
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Sometimes the rustication would be used for pillars rather than walls, a reversal of expectations and almost an architectural joke.(illustration 2) # The local volcanic lava stone that was used in the construction of many Sicilian Baroque buildings, because this was the most readily available. Many sculptors and stone-cutters of the period lived at the foot of Mount Etna, making a diversity of objects, including balustrades, pillars, fountains and seats for buildings. Shades of black or grey were used to create contrasting decorative effects, accentuating the Baroque love of light and shade (chiaroscuro) as demonstrated in (illustration 2).
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After its closure in 1987, it was briefly threatened with demolition, but in 1988 it was converted into serviced offices under the name Brighton Business Centre (later Brighton Forum). Standing next to each other at Preston Circus, at the northwest edge of the suburb, are the Duke of York's Picture House and Brighton's main fire station. The cinema opened on 22 September 1910, making it one of the first in the world, and it is still operational as England's oldest working cinema. The Clayton & Black firm's ornate Baroque-style building, with a three-bay façade defined by paired pilasters with rustication, cost £3,000.
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The former Royal Mint,page 482, Buildings of England: London 5 East, Bridget Cherry, Charles O'Brien and Nikolaus Pevsner, 2005, Yale University Press, Tower Hill (1807–12). The main building was designed by the previous architect to the Mint James Johnson, but the design was modified by Smirke, who oversaw its execution. The long stone facade with a ground floor of channelled rustication, the two upper floors have a broad pediment containing The Royal Arms supported by six Roman Doric attached columns. The end bays are marked by four Doric pilasters; the Greek Doric frieze and lodges are probably by Smirke.
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This building, though earlier than Samuel Wyatt's work in north Wales, lacks features such as the overarched windows. However, the Orangery he also built for Thomas Mansel Talbot at Margam Abbey from 1787 to 1790, exhibits a much more refined appreciation of Neo-classicism and may well be considered the best example of this architectural style in Wales. It is the largest Orangery in the British Isles of 17 continuous bays with vermiculated rustication to the more formal swags and arched windows."Newman" (1995), 429 Piercefield House 1840 The ruined Piercefield House, Monmouthshire A house of considerable importance was Piercefield between Chepstow and St Arvans.
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Original interior fittings include a large "Jacobean-cum-Baroque" chimneypiece in the hall of number 32. H.J. Lanchester's Palmeira Mansions of 1883–84 (21–31 pictured) are in the same style as the rest of the square. The terrace on the east side is identical, again having 17 five-storey houses with hipped slate roofs hidden behind parapets, three-window ranges with sash windows and heavy Doric porches. As on the west side, the house in the centre projects slightly from the terrace and has a larger square bay window rising through the first and second floors, forming a loggia which is supported on a colonnaded porch with rustication.
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Originally to be built of bluestone, due to high cost brickwork with stucco was used instead. The building is of a shallow U shape, with a frontage onto Spencer Street. The siting was such that the building would not interfere with the Flinders Street Viaduct, which was yet to be built. The building is symmetrical in plan, with the Spencer Street facade divided into five bays. The central bay projects slightly, incorporating the main entrance with heavy banded rustication, and led into the main staircase, 50 ft by 60 ft (15.25 m by 18.28 m) and lit by three windows with the 'VR' insignia.
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Essentially rectangular, the well proportioned original building measured 90.0 feet wide by 57.5 feet deep in plan. The original treatment on the two identical end elevations is restrained compared to the front. The horizontal string courses, brick rustication, cornice and parapet detailing continues, but the pilasters and arched openings are omitted in favor of four evenly spaced rectangular openings in a flat wall, (the end walls of the 1939 addition are recessed from the original.) The original rear (now light-well) elevation reflected the organization of the front and also its interior functions. The central portion of the facade was defined by symmetrically flanking narrow bays that were slightly recessed.
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The most popular decoration techniques were relief (Kazimierz Dolny), sgraffito (Krasiczyn) and rustication (Książ Wielki), whereas the material was mainly brick, plastered brick, sandstone and sometimes limestone. For some time the late renaissance coexisted with early baroque (introduced in Poland in 1597 with Church of SS. Peter and Paul in Kraków). Netherlandish (Dutch-Flemish) and Polish-Italian architectural traditions were not isolated and penetrate each other to create (among others) a unique composition of Krzyżtopór Palace. This, one of the largest constructions of mannerism and early baroque in Poland, was intended as a fortified palace (type known in Poland under Italian name palazzo in fortezza).
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The > bracket and dentil motif of the principal frieze continues around the > returning entablature to terminate at the juncture of the house and gallery, > only to reappear in a modified form of elongated brackets spaced across the > wings, down the sides, and onto the rear. Meanwhile, the square, post and > lintel fenestration of the central block contrasts with segmental openings > in the wings. These features, together with the deep rustication of the > central pillars and the heavy cast-iron gallery railings, impart a heavy > sculptural quality to the facade. From every angle, front and rear, a > certain dynamism emerges from broken up surfaces and contrasting motifs.
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Instead, Michelozzo focused on the contrast between surface textures, such as the contrast between "the natural rustication of the ground floor, the flat ashlared courses of the piano nobile and the smooth masonry of the upper storey." The exterior also differs from the palazzo in Montepulciano in its size, its more urbane character, and its massive classicizing cornice. "In its succession of dentils, egg-and-dart and consoles, Michelozzo directly followed the Temple of Serapis in Rome." Brunelleschi's influence on Michelozzo is evident in the palazzo's design, especially in the late-medieval bifora windows, the symmetry and the dominance of the entrance axis, and the combination of traditional and progressive elements.
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Selling negotiation not always finished successfully: an old woman refused to sell her home, forcing the architect to engulf it in the enlarged palace. However, the woman and her heirs could live there until they sold it to the owner of the "Caffè San Pietro", one of the oldest coffee shops in the city.Borgatti (1926) p. 231 The strong-willed opposition of another owner forced the cardinal to renounce to extend the building to the east until Borgo Sant'Angelo, although the works had already commenced. A powerful angular rustication erected at the corner between Borgo Sant'Angelo and Borgo Nuovo testified until 1937 about the Rusticucci's intention.
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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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The development of Park Street began in 1740 when the City Council leased land to Nathaniel Day, holder of Bullock's Park, to open a new street. Around that time, some houses were built on the north-east side of College Green, probably by James Paty the Elder. Around 1742 he was probably also involved in the development of adjacent Unity Street, where the use of stone facing and the rustication of the ground floor facades set a precedent for most of the later development in the Park Street area. In 1758 a design by George Tyndall was approved for Park Street to connect to Whiteladies Gate, one of the turnpikes.
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Leigh and Glanllyn-Traction Engine House converted into Houses Built c1860s and later than the remainder of Leighton Farm, from which it stands apart. Originally the ground floor was as a 3-bay shed for parking traction and ploughing engines which could also be used to power ancillary machinery at the Leighton Home Farm, while the basement incorporated a smithy, a maintenance shop and a storage area. The building has stone rustication, typical of the style used on later buildings by the architects, Poundley and Walker. Converted to 2 dwellings by Herbert Carr, Montgomeryshire County Architect, in 1931 when Montgomeryshire County Council purchased Leighton Farm.
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Ye Xin (born Ye Chengxi on 16 October 1949) is a Chinese writer who has written profusely about "sent-down youths" (also known as "educated youths"), drawing from his own experience. A Shanghai native, Ye Xin "volunteered" to receive his "rustication" in remote Guizhou in 1969, where he spent 2 decades of his life. He has written over 20 novels, but is best known for writing the teleplay of mega-hit series Sinful Debt (1995), based on his 1992 novel Educated Youth. Ye has been vice-chairman of China Writers Association since 1997, and president of Shanghai University College of Liberal Arts from 1997 to 2014.
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The five-story Renaissance style limestone town house was designed by Carrère and Hastings, who were also responsible for the design of the New York Public Library, and is regarded as one of their finest residences. The design of the limestone-clad building, which unusually for a Manhattan town house offers a finished side elevation as well as its street front, is strongly influenced by 16th- and 18th-century Italian palazzo details. The ground floor has pronounced banded rustication, a motif which is taken through the three floors above in the pilaster-like quoining at each corner of the building. The first floor piano nobile is evident by its large casement windows proportionately taller than those below or above.
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Barnet was a flexible architect who built in many different styles over his long career, or indeed at any given time. Built in the Edwardian Period, the Empire Building is a good example of Federation architecture in a broadly Federation Free Classical style, with other influences. Some of the classical elements could be described as Edwardian Baroque, such as the exaggerated voussoir around the central arched window, which continue as rustication to the whole first floor, and the pair of arched broken pediments on the parapet, while the Ionic colonnade shows the then emerging influence of the Neo-Classical. The shape of the main window suggests a Romanesque influence to Barnet's overall eclectic but delightful design.
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The triangular pediment on central rustication cornice is expressed with heraldic elements and sculpture figures. Architect Nicholas von der Nonne, in his original form, tried to mark the central part with a vivid artistic form, and decorated the form with a decorative dome on it. Vividly profiled cornice with sophisticated architectural detail differs in volume-spatial composition of the building. Triangular pediment on central avant-corps, heraldic element, a pair of Muse sculptures and decorative dome The classic forms of the portico's columns, the corinthian order of the rustications, the thin profiles of the window frames, and the first-floor floor covering on the lightweight stone background create the fullness of the palace's architectural composition.
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Its opening led to the definitive closure of the neighboring and more imposing Porta Asinaria, of Aurelian date, which was by the 1570s proving unable to sustain such a high level of traffic and almost unusable due to the progressive raising of the road level neighboring. Its design is conceived as more like the entrance to a villa than as a defensive work, lacking side towers, ramparts, and battlements, and marked instead by pronounced rustication work and by a simple decorative scheme composed of a large bearded head atop the arch on the external side. The commemorative inscription above the arch reads: GREGORIVS XIII PONT. MAX PVBLICAE VTILITATI ET VRBIS ORNAMENTO VIAM CAMPANAM CONSTRAVIT PORTAM EXSTRVXIT ANNO MDLXXIIII PONT.
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Rustication is a term used at Oxford, Cambridge and Durham Universities to mean being "sent down" or expelled temporarily, or, in more recent times, to leave temporarily for welfare or health reasons. The term derives from the Latin word rus, countryside, to indicate that a student has been sent back to his or her family in the country, or from medieval Latin rustici, meaning "heathens or barbarians" (missus in rusticos, "sent among ..."). Depending on the conditions given, a student who has been rusticated may not be allowed to enter any of the university buildings, or even travel to within a certain distance of them. The related term bannimus implies a permanent, publicly announced expulsion.
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Although there are differences in height and detail between individual houses, they were designed at the same time and maintain "the longstanding tradition of the terraced townhouse" which had been developed "by Henry Holland [...] in his own speculative enterprises at Hans Town and Sloane Street, London". Numbers 7, 8, 11 and 15 are entirely stuccoed; number 18 retains its original unpainted yellow-brick upper façade; and all other houses have painted brick to their upper storeys and stuccoed ground floors with rustication. The roofs are mansard-style and laid with slate. Each house has dormer windows; numbers 5–13 inclusive rise to four storeys, while the other seven houses are one storey shorter.
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Each house has four storeys and a single bay window on the ground and first floors; other common features include rustication on the ground floor and Ionic-style porches with recessed flat-arched doorways and arched fanlights. There are cast-iron balconies at first-floor level; number 52's has a canopy above it. Some windows are sashes, and numbers 52, 53, 54 and 56 have dormer windows in their slate roofs. ;57–59 Regency Square 57–59 Regency Square These three houses may also have been designed as a single composition, but this effect has been lost. Numbers 58 and 59 are of five storeys; number 57 has four storeys and dormer windows.
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Montgomery Schuyler, in a column titled "Architectural Aberrations" in Architectural Record, stated that the house was “an appropriate residence for the late P. T. Barnum.” He felt the tower was “meaningless and fatuous”; the rounded rustication on the first floor suggested the prototype of “a log house.” At the time, the French style had gone out of fashion and the ornamentation was no longer in vogue. Schuyler wrote that “a certified check to the amount of all this stone carving hung on the outer wall would serve every artistic purpose attained by the carving itself.” The editor of The Architect called the place “The House of a Thousand Cartouches” and despised the “dolorous and ponderous granite” chosen.
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One day, Nupur tells him that she wants to do an MBA in order to get promoted to a higher post. Rakesh gets the MBA paper solved by some of his students and calls Nupur to her office's parking area. When Rakesh reaches there and tells Nupur that he has got the paper leaked, cameras flashe on his face, all the vehicle's headlights turn on and the police inspector arrests him for leaking the paper. The movie goes into a flashback showing that Sattu is fired off from his job as his degree was just a Photoshop certificate with just his name (created by Rakesh to get him out of the exams and rustication load).
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The Clayton & Black firm started in the 1870s, and by 1921 they had designed a wide range of buildings for many functions and in a great variety of styles, including Flemish Renaissance, François Premier Revival and Edwardian Baroque. Their two previous church commissions, both in Hove, included the Gothic Revival St Thomas the Apostle's Church. For their Montpelier Road commission, they added an elaborate Neoclassical-style façade to a house which, like its neighbours, reflected the transition from the Regency style to the Italianate; some original features were kept though. The whole façade is stuccoed and there is rustication all round the entrance, which is set in a three-bay section to the left (north).
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The Wilborn Temple in September 2016 Wilborn Temple is located on Jay, South Swan and Lancaster streets. When built in 1885, this stone Richardson Romanesque style house of worship was Congregation Beth Emeth, the home of two Jewish congregations that were founded in the mid-19th century. State architect Isaac Perry collaborated with a congregant, Adolph Fleischmann, on a design that echoed Albany’s city hall, then newly built, in its rustication, hipped roof, massing around a corner tower and arched entryway with an inscription in English and Hebrew. Jews who had helped develop the surrounding blocks, later moved to the suburbs like other city residents, and in 1957 a new temple was built on Academy Road with the original stained glass.
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The Rucellai Palace demonstrates the impact of the antique revival but does so in a manner which is full of Renaissance originality. The grid-like facade, achieved through the application of a scheme of trabeated articulation, makes a statement of rational humanist clarity. The stone veneer of this facade is given a channeled rustication and serves as the background for the smooth-faced pilasters and entablatures which divide the facade into a series of three- story bays. The three stories of the Rucellai facade have different classical orders, as in the Colosseum, but with the Tuscan order at the base, a Renaissance original in place of the Ionic order at the second level, and a very simplified Corinthian order at the top level.
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However, like Regent Terrace, the buildings were two-storeyed with rectangular windows, with no rustication, and had identical fanlights to those in the other terrace (which can still be seen in six of the houses, the first five and number 8). The first four and the last six houses had straight 3-bay front elevations,Listed building information for 2, 3, 4 Carlton Terrace, Historic Environment Scotland, accessed 19 March 2018 but in the middle Playfair created nine wedge-shaped houses with curved 4-bay elevations.Listed building information for 12 Carlton Terrace, Historic Environment Scotland, accessed 19 March 2018 With three exceptions, the houses had balustraded parapets, a feature along Royal Terrace, but not used in Regent Terrace. The houses are now all category A listed buildings.
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The treatment of the top of the dividing pilaster on number 71 is different: it lacks a bracket to the cornice. As with the other 1860s houses, they both have first-floor balconies with foliage-pattern ironwork. The seven houses at numbers 101–113 also have three windows to each of three storeys, and the same general layout and materials. Some details are different on individual houses: there is no rustication to the pilasters at numbers 105 and 107; the cast-iron second- floor window-guards are absent on three houses; some mouldings are altered or absent; one of the pilasters at number 103 is decorated with an urn; and number 101's entrance is in a porch at the side.
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The main wing was designed by Kellum in the style of a Renaissance palazzo, described as the "Anglo-Italianate" style, to reveal the influence of British Victorian architecture that was the foundation of the popular American Victorian style. The original design was inspired by that of the United States Capitol in Washington, D.C., which was being used for other sub-national government buildings at the time of the Tweed Courthouse's construction. The most prominent element from the Capitol used in the Tweed Courthouse was a large entry stairway that approached a triangular portico, supported by massive columns in the Corinthian order. The courthouse also contained a basement with rustication, pediments above the ground floor's windows, pilasters between the columns of windows, and a balustrade running along the roof.
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The fine stained glass may be from Tiffany studios, or may be by John La Farge, the architect's father, which would make them even rarer. The domed crossing of St. Matthew the Apostle, Washington DC, 1893 An exercise in a somewhat subdued Richardsonian manner, in the Bedford-Stuyvesant district of Brooklyn, is Heins & LaFarge's Reformed Episcopal Church of the Reconciliation (1890), now the Most Worshipful Enoch Grand Lodge of the Order of Masons. It too has a corner tower that is octagonal and embedded in the volume of the church in a most Richardsonian manner, though the materials used are tame, brick, now painted, rather than Richardsonian rustication. In Washington DC, the church, now Cathedral of St. Matthew the Apostle, was begun in 1893, to designs of LaFarge.
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With a facade featuring heavy rustication decorated with ornamental statuary of lyrical muses by Leonard Marconi, the building became known as Lviv's Stonehouse of Music (), a haven for intellectuals, visiting artists and impresarios engaged at the nearby opera house. In the latter years of his life, it would also serve as the home of writer and family friend, Ivan Franko. In August 1939, after the death of her husband, Krushelnytska left Italy and returned to her home in Lviv, which during the interbellum period had become an important stronghold of the Second Polish Republic. Tragically, she would remain trapped in this city for the rest of her life, when only a few weeks following her arrival, Nazi Germany and the Soviet Union colluded to invade Poland and divide its territory between them in September 1939.
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The land, and possibly the house, was a wedding gift to Hammond and his wife, Emily Vanderbilt Sloane, from Sloane's father, William J. Sloane of W. & J. Sloane. The five-story Renaissance style limestone town house was designed by Carrère and Hastings, who were also responsible for the design of the New York Public Library Main Branch, and is regarded as one of their finest residences. The design of the limestone-clad building, which unusually for a Manhattan town house offers a finished side elevation as well as its street front, is strongly influenced by 16th- and 18th-century Italian palazzo details. The ground floor has pronounced banded rustication, a motif which is taken through the three floors above in the pilaster-like quoining at each corner of the building.
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5 Carlton Terrace, with original fanlight designed by Playfair The Greek Revival architect William Henry Playfair designed Carlton Terrace in the 1820s, and a number of his original drawings, dating from 1821 to 1831, have survived in the Edinburgh University Library. An early drawing dated 1821 (number 1036) shows a design with rustication at ground floor level which was later discarded, and his final design emerged in a series of drawings done in 1825.Edinburgh University Library, Drawings by William Henry Playfair, numbers 1036-1048 Strongly influenced by ideas of the Picturesque, Playfair considered the individual characteristics of the site in making his design.Listed building information for 1 Carlton Terrace, Historic Environment Scotland, accessed 19 March 2018 Unlike Regent and Royal Terraces, there were no external columns or pilasters.
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These are enclosed with an arch that contains a carved Portland stone tondo in the tympanum with carvings of The four seasons, and is in turn flanked by twin Corinthian pilasters the same size as the columns of the portico. The facade is surmounted by a balustraded parapet, in the centre of the parapet of the east pavilion is a sculpture of two reclining figures of Ceres and Flora the corresponding figures on the west pavilion are of Liberty and Religion. The end pavilions each have three tripartite windows matching those on the central block, the tondos of which are each carved with a sacrificial scene. The ground floor is lower than the floor above, about in height and visually acts as a base to the facade, it is of banded rustication with simple arched windows beneath each window on the upper floor.
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Romano's willingness to play with the conventions of the classical orders is already in evidence; the Doric here has guttae but no triglyphs on its narrow entablature. The volutes of the Ionic capitals are repeated in the window surrounds between them: "The canonic orders here begin to be treated visually as independent from their structural purposes, and this liberation offered the architect new expressive possibilities."Talvacchia His last building in Rome, the (started 1522–23), was a considerable contrast, being a palazzo in the city centre, with shops on the ground floor, and a massive, imposing feel. The rustication and exaggerated size of keystones that were to be so prominent in his later buildings in Mantua are already present on the ground floor, which dispenses with any classical order, but the two upper floors have increasingly shallow orders in pilasters, somewhat in the manner of the Villa Lante.
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A three-story rusticated base and the rustication of the broader corner bays as well as string moldings serve together to articulate the otherwise block-like mass. Arch-headed windows contrast with rectangular ones to emphasize lightly certain positions, notably the enriched uppermost floor under the projecting cornice. Over- lifesize limestone sculptures representing the Four Seasons stand above the central barrel-vaulted entrance, where the elaborate wrought-iron gates in the manner of Samuel Yellin feature a pair of gazelle heads. See also: According to architecture critic Paul Goldberger, writing about the Apthorp and the nearby Belnord and Astor Court, > All of the buildings share the liability of courtyard apartment houses, > which is poor light in all too many of the units, but they also share the > ability of all good courtyard buildings to create far more than conventional > buildings could a sense of a private, secure world.
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The principal facade of the Maryborough School of Arts employs classical proportion and symmetry as well as detailing like the round arched windows of the first floor, oculi openings above the ground floor windows, entablature surmounted by central triangular pediment flanked by acroteria, as well as a system of projecting pilasters and rustication encouraging a three dimensional quality. In a lengthy report on Maryborough in 1895, the Sydney Mail, described the School of Arts as the "lion of the town" to which "every visitor is duty bound to go over...and admire...with fervour." The building was opened in a discreet ceremony on 21 May 1888 and a short report in the Maryborough Chronicle, described the building and services offered in the improved structure. The library, with over 5,000 volumes, was housed on the ground floor as well as two large class rooms separated by cedar folding doors.
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Both Specchi and de Sanctis were closely involved with the design of grand exterior staircases, common to Italian buildings with a second-story piano nobile, and the climate completely negating the requirement for an internal entrance hall on the ground floor in order to provide quick easy access. De Sanctis had taken this feature one step further in 1723 with his design for the Spanish steps in Rome. This grand staircase approach to a building was to be invaluable in Sicily, not only for the practical reasons of entering the piano nobile, but also for the creation of a grand approach to churches and cathedrals, where the topography of the site permits such a feature. Palazzo San Giuliano - Catania The ground floor of the Palazzo degli Elefanti in Catania (already in construction when Vaccarini came to the project) shows the decorated rustication in a 16th-century Sicilian fashion.
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Richard Boyle, 3rd Earl of Burlington, has also been suggested as the architect.The Survey of Bath and District No 22, October 2007 The enhanced decoration with rustication, Corinthian pillars and decorated pediment may have been incorporated purely to demonstrate the fine carving qualities of Bath Stone. John Wood the Elder, in his "Essay towards the future of Bath", says — while Mr.Allen was making the Addition to the North Part of his House in Lilliput Alley he new fronted and raised the old Building a full Story higher; it consists of a Basement Story sustaining a double Story under the Crowning; and this is surmounted by an Attick, which created a sixth Rate House, and a Sample for the greatest Magnificence that was ever proposed by me for our City Houses. Because of the modern use of "magnificent" it is often thought that in this passage Wood is referring to the Town House.
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19th-century architectural drawing and plan of the Palazzo Pitti With the garden project well in hand, Ammanati turned his attentions to creating a large courtyard immediately behind the principal façade, to link the palazzo to its new garden. This courtyard has heavy-banded channelled rustication that has been widely copied, notably for the Parisian palais of Maria de' Medici, the Luxembourg. In the principal façade Ammanati also created the finestre inginocchiate ("kneeling" windows, in reference to their imagined resemblance to a prie-dieu, a device of Michelangelo's), replacing the entrance bays at each end. During the years 1558–70, Ammanati created a monumental staircase to lead with more pomp to the piano nobile, and he extended the wings on the garden front that embraced a courtyard excavated into the steeply sloping hillside at the same level as the piazza in front, from which it was visible through the central arch of the basement.
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The introduction of the Renaissance in Spain coincided with a period of great political, economic and social splendor, after the union between Castile and Aragon, the end of the Reconquista, the discovery of America and the coming to power of the Habsburgs. Although in its beginning the new style from Italy lived with the persistence of Gothic and Mudéjar forms, gradually took hold and served as the expression of the new political power, linked to the new conception of the Catholic Counter-Reformation. In the first third of the 16th century came the Plateresque, fine and elegant style of decoration, characterized by the use of rustication on the exterior walls, balustered columns with Corinthian capitals, arches or basket-handle, and pilasters decorated with grotesques. In front of the excessive decorate of Plateresque style, the Purism sought ways simpler and refined, in a sober and classic line, balance and technical perfection, taking more on structural issues and harmonious proportions.
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Illustration 2: University of Catania, designed by Vaccarini and completed by 1752, exemplifies typical Sicilian Baroque, with putti supporting the balcony, wrought iron balustrades, decorated rustication and two-tone lava masonry – a reversal of the more conventional rusticated walls and smooth pilasters belfry crowns Rosario Gagliardi's Church of San Giuseppe in Ragusa Ibla mouldings, scrolls and masks was widely copied all over Catania immediately following the quake. Baroque architecture is a European phenomenon originating in 17th-century Italy; it is flamboyant and theatrical, and richly ornamented by architectural sculpture and an effect known as chiaroscuro, the strategic use of light and shade on a building created by mass and shadow. The Baroque style in Sicily was largely confined to buildings erected by the church, and palazzi, the private residences for the Sicilian aristocracy. The earliest examples of this style in Sicily lacked individuality and were typically heavy-handed pastiches of buildings seen by Sicilian visitors to Rome, Florence, and Naples.
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The partnership of King & Kellum practiced in Brooklyn from 1846 to 1859, mostly from Fulton Street;They also had offices in Manhattan at 179 Broadway, noted 1855 to 1859 by Thacher 2001. in New York they designed the landmark Cary Building (1857), which runs through the block between Chambers Street and Reade Street, with two façades that placed William H. Cary's dry-goods shop and warehouse among the first fully cast iron-fronted buildings in the world.For a pioneer in this construction, see James Bogardus.; Christopher Gray noted how the widening of Church Street in the 1920s has exposed to the public gaze the Cary Building's long side wall of utilitarian brick, never meant to be seen. (Christopher Gray, " Streetscapes/The 1857 Cast-Iron Cary Building, at 105 Chambers Street; Facades Meant to Be Seen, a Brick Wall That Wasn't", The New York Times 16 July 2000 The two ground-floor fronts are of large-paned windows and doors framed in slender cast-iron columns; paired columns separate the arcaded window bays of upper floors, with cast-iron rustication that was originally painted a creamy limestone color and the wet paint surfaces sanded the better to imitate stone.
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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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