Victorian details include lofty ceilings, original skirting boards, cornices and ceiling rosettes.
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All the skirting boards had been painted to look like grass and snails.
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Wenger wanders around art galleries in his spare time, while Dyche watches repeats of Road Wars and sands the skirting boards.
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She presented a grand house imbued with a political story from ceiling to skirting boards, a large, deteriorating room where the psychologies of the characters who lived there seemed to be inscribed as shadows on the blue-painted walls.
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Designed by Georg Muche, then the "form master," or artistic director, of the Bauhaus weaving workshop, the house, with its flat roof and white facade, reflected the latest technical standards and industrial materials: cinder block walls, notoriously faulty Torfoleum insulation and opaque glass skirting boards.
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Quotes from Chuck Palahniuk novels ran along the skirting boards, Mercutio's entire monologue about shagging from Romeo and Juliet covered my door, and song lyrics snaked their way along the outward-facing panels of my bookshelf and between the many, many stills from Queen of the Damned I'd printed off and tacked to the walls.
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All rooms have high picture rails. The hallway and living room both have bolection mould skirting boards, while all other rooms have plain skirting boards.
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Rooms were refurbished with modern skirting boards, architraves, bathroom amenities, and kitchen facilities.
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There are timber skirting boards at least six inches high throughout, except in the sunrooms, which appear to be a later addition.
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Original skirting boards, most original windows and some original doors still exist. A false ceiling has been added, the original possibly existing above.
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Elaborated parapeted gable including a roof ventilator. Medium pitched terracotta tile roof. TImber window joinery. Original timber skirting boards and trim to ground floor.
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Brooklynites built these homes from timber — with most of the period features (including architraves, skirting-boards, doors and windows) purchasable as standard items from timber merchants.
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All living areas have been renovated in the last 20 years, with new plaster ceilings, cove cornice, plastered and painted walls and painted skirting boards. Living and bed rooms have timber floors, with permanent or occasional carpets.
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In the kitchen were a built-in oven, refrigerator and baxi water heater. All prefabs under the housing act came pre-decorated in magnolia, with gloss-green on all additional wood, including the door trimmings and skirting boards.
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Skirting boards and architraves are varnished silky oak. Several internal windows and openings are located in this room. One is a timber framed opening to the teller's booth set into the wall and features a metal grille. Others are leadlight glazing.
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Internal Joinery The skirting boards are 1890–1920. Room 11 A later addition of a light timber frame covered in fibro. It contains a Hygeia Disolvenator. The date is unknown but it appears in some photographs taken in the 1940s or 50s.
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This wing is connected to the main house by an open timber verandah walkway extending to the later timber addition. The interior walls are generally of concrete, finished with wall-paper and featuring a reproduction cornice. The floor has been raised which has caused shallow skirting boards.
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Doors and window frames, floorboards, mantelpieces and skirting boards were prepared on site. Shingles were split from she-oak at bush sites. Offcuts were burnt to produce charcoal for the blacksmith. The road from Jimperding was badly eroded by the carting of timber to the depot.
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Skirting boards in the main rooms of the main structure vary from 230 – 260 mm and are most likely Australian Red Cedar. The main staircase has enclosed risers and nosed treads. The handrail is moulded timber, supported on turned balusters. A small cupboard is constructed under the staircase.
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Cousin McScampi (voiced by Jimmy Hibbert) - Scampi's Scottish cousin, who is even worse at bagpipe playing than Scampi is, and wants to find the Loch Ness Monster. The Aliens (voiced by Rob Rackstraw and Jimmy Hibbert) - Two aliens from the planet Alpha Romeo who become friends with the gang after Sooty saves their spaceship from crashing into the theatre. Morris the Mouse (voiced by Rob Rackstraw) - A male mouse who lives in the skirting boards of the attic that Sooty and the gang live in. He formerly lived behind the skirting boards of the stage, where he had hibernated since the Victorian era, and woke up because he was hungry for some cheese.
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Most of the original external features of the building are still intact. Its original slate roof is generally in good condition. The interior has been almost completely altered in the 1960s to permit its use as a meeting and function venue. Original skirting boards, most original windows and some original doors still exist.
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Cleaning types usually include auto mode for general cleaning, scheduled mode, turbo (maximum clean), edge clean for skirting boards and corners, area cleaning mode for cleaning designated areas, spot or spiral mode for spot cleaning a particular zone, and remote mode, allowing the user to steer the robot to a particularly dirty spot.
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The rooms all have original fireplaces, cedar skirting boards and six panelled cedar doors. Likewise internal staircases are also of cedar. To the rear are pantry, laundry and bathroom to one side and kitchen, a second bathroom and dressing room to the other. These are contained within two additional wings constructed in 1988.
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The upper level vestibule has walls lined with hard plaster and timber-paneling. Plaster ceilings have moulded plaster cornices. Timber skirting boards, architraves architrave blocks are intact throughout the room and all interior timber work and joinery has a varnished finish. Internal openings are generous in height and doors feature tall glazed pivoting fanlights.
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The pine skirting boards are of recent construction. Fastened to the wall opposite the door are three groups of cables passing through the floor. These cables run vertically up the wall and are held in place by a long wooden beam extending the length of the wall. The beam is fastened to the brickwork by bolts.
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The early part of the house is distinguished by wide elaborately moulded skirting boards. French doors (some painted, some varnished) open out onto the verandahs and sash windows have narrow glazing mullions. The extension is of post and rail construction lined with vertical timber boards. Mortice and tenon joints are visible in the window and door framing.
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The second feature is two interwar timber doors with frosted glass upper lights along the south-western side of the corridor on this floor. These open to reveal the ceiling framing above the entrance hall. Further to these are pieces of original architrave, skirting boards and several plaster corbels. On all four of these floors, original parquetry remains under the carpet.
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The partitioning on the upper floor is constructed with lath and plaster walls and the ceilings are also lath and plaster. The upper floor has more decorative finishes than the lower floor with moulded archways along the hall, and cornices and skirting boards of various sizes in the halls and rooms. Early paint schemes are evident in many places of the upper floor.
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In the hall are located the only skirting boards to be found in the house. The floor is polished timber boarding, as are all others excluding those in the bathroom, ensuite, kitchen and laundry. The ceilings in both segments of the hallway are pressed metal, as are the cornices. There are further pressed metal ceilings in the living room, kitchen and main bedroom.
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There are hinged flaps in the skirting boards. Some of these have their original hinges and bolts. There are four doors in the building-two on the southern side and two on the northern. The two on the southern side are original double doors, while only the door on the western end of the northern wall is an original double door.
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The red and blue diodes form optical cuboids with the white lights loosely and irregularly spread around them. The LEDs are controlled by a series of connection units which enables the individual regulation of the colours and the degrees of brightness of the LEDs. Silver-coloured skirting boards join the wallpaper to the floor and hide the technical equipment behind them.
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The original house has eight large rooms, each with a fireplace framed by a wooden geometric trabeated mantelpiece with classical elements. The four large rooms on the first floor open from either side of the center hallway. They contain simple wide wood trim, including skirting boards and door frame moldings with "subtly demarcated corners". The house's living and dining rooms have wide, wooden dado rails.
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It is not clear whether early lath and plaster work survives in the ceilings, but the plaster on the walls appears to be mostly original. Floors upstairs and in the two main downstairs rooms are of wide boards. The downstairs front and back verandahs and hallway have early concrete floors resting on a stone (porphyry) base. There are deep timber skirting boards and architraves throughout.
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Generous timber skirting boards, skirting blocks and architraves are throughout. Walls are lined with plaster and ceilings with fibrous cement sheeting with timber cornice and cover strips. Much early door and window hardware survives including brass door handles and plates, porcelain fingerplates, doorknobs, key plates, hinges and locks. Floors are generally lined with recent carpet but the early pine floor boards are intact below.
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Provision is given from the central section of the hallway to a dining/drawing room separated by a three leaf folding door. These rooms have beaded board ceilings, small moulded cornices and frieze rails, high cedar skirting boards and rendered walls. Both rooms feature polished cedar chimney pieces, with timber corbels supporting the mantle. French doors provide access to the verandah on the east of these rooms.
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External joinery is Indian teak (termite proof), explaining the thick, sturdy glazing bars of the French doors (as teak does not lend itself to fine detail). The internal joinery is cedar and painted. It is of a high standard, featuring many pairs of four paned, double doors (i.e.: 8 panelled doors) with matching jambs, timber fireplace surrounds of simple Georgian design, and deep skirting boards.
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The original rear door leading into the 1930s addition has patterned and obscure glass panels. The former lower level rear window is still in place and is a multi-paned double-hung timber-framed window. Generous cedar skirting boards, skirting blocks and architraves are located in many areas and the majority of the interior timber work and joinery is clear finished. Original window and door furniture generally survives.
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Below the library was the billiard room, accessible from the bottom of the staircase, through the red door on the right. The 1867 block has warm air grilles in the skirting boards, and the heating was probably provided by a boiler. However there is a legend that hot air was ducted from the Haley Mill nearby. On the floors of the marble gallery and the chapel lobby are encaustic tiles by Maw & Co. of Staffordshire.
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A plaque in the entry foyer refers to Lawson's occupation of the building in 1982, as opened by the NSW Governor, Air Marshal Sir James Rowland, for JR Lawson Pty Ltd. Internally, the southern end retains a significant degree of original fabric, and layout, including timber panelling, timber joinery (doors, architraves, skirting boards, glazed partitions, staircase). The northern end, is largely divided by modern partition walls. The ceiling is modern - suspended acoustic.
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Both rooms retain their early skirting boards and the interior of the cottage is lined with plaster - walls, ceilings, partitioning wall and chimney. Much of this is early lathe and plaster work and early cement render, but sections of the ceilings have been replaced with recent plasterboard sheeting. The floor boards are of pine, some of this early and secured with hand-made nails. The floor in the northern room has been replaced.
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The front door opens onto a semi-internal entrance hall with timber lattice screens. Internally the residence has two principal rooms, a living room beyond the entrance hall and from this a bedroom with ensuite bathroom. Internal finishes include pressed metal ceilings and cornices, rendered walls and chamfered timber skirting boards. The adjacent building, St Brigid's, is of similar detail and houses two classrooms with access provided to the interior via broad concrete steps.
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Beside the pantry is a toilet, and adjacent to this a flight of timber stairs leading to the backyard. The walls in the core are mainly single-skin, constructed of narrow, vertically-jointed tongue and groove boarding. The ceilings, with the exclusion of the pressed metal ceiling in the front northeastern room, are lined with the same boarding. All rooms off the hallway have high picture rails and lambs tongue skirting boards.
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Most of the wooden decorative trim is painted white, and the walls are plaster. The lone exception is the room serving as an office and den, which has dark stained wooden trim and interior brick structural walls (exposed by the removal of its plaster during the 1960s). All rooms have the original wide plank wooden floors. The second floor has four bedrooms, with closets on either side of a fireplace and simple wood skirting boards and door frames.
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The interiors generally are notable for early cedar joinery and early door and window hardware including door knobs, locks, drop bolts, porcelain finger plates and key plates, and brass door handles to inner entrance doors. There is a gaslight fitting to the left of the vault opening. Internal openings are generous in height and house fine timber-paneled doors with tall glazed pivoting fanlights. Generous moulded plaster skirting boards and timber skirting blocks and architraves are intact throughout.
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The interior rooms of the ground floor feature early chimney pieces, mantle pieces and cast iron fire grilles. The rooms are generally quite simple, with timber skirting boards, stained architraves and stained timber boarded ceilings. A timber stair leads from the rear of the central hallway and winds at the top to a first floor space, from which the principal rooms on this floor are accessed. This stair has square sectioned balusters and a chamfered newel post.
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Twelve feet high, timber tongue and groove lined ceilings feature central circular ventilators. The brick walls are plaster lined and divided internally by walls of eight inch wide tongue and groove vertical joint boards, with narrow timber picture rails and wide skirting boards. Three sets of wide French doors with single pane fanlights open onto the front verandah. The kitchen wing consists of three rooms with a double fireplace, probably initially housing kitchen, dining room and servant's room.
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The front door is a fine example of Georgian design and comprises a pair of cedar doors with side lights with diaper pattern glazing bars, surmounted by a fanlight. This is repeated halfway along the hallway. All the main rooms have cedar French doors onto the verandah with fine margin glazing and transom lights above. The interior is distinguished by high-quality cedar joinery, 6-panel doors, 12-pane windows, skirting boards (some 30 cm, some 45 cm) and architraves.
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Internal openings are generous in height and consist of timber- paneled doors with glazed pivoting fanlights above. Generous timber skirting boards, skirting blocks and architraves are located in many areas. The majority of the interior timber work and joinery is clear finished though the skirting in the rear office of the ground floor has been painted. Original door and window furniture survives and some light fittings including gas jets above the staircase and in the rear office on the first floor.
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Other Council offices and a strong room are located either side of the hallway. All of these rooms have recent suspended ceilings which have been inserted to conceal air conditioning ducts. Many of the internal walls are painted, load-bearing masonry with timber skirting boards with other recent plasterboard partitions dividing some of the offices into two smaller offices. A second service counter area is located in the rear section of the hallway on the left-hand side, this is now unused.
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Internally the building is divided into suites of medical offices, accessed via a hallway on each level. The ground floor corridor is particularly intact, and displays a sequence of arches, plastered walls, and timber skirting boards and dado rail (now painted). A central staircase of dark-stained, silky oak treads and handrail, with wrought iron balustrading and dado tiles, services all floors, as does the adjacent elevator. A casement window and arched fanlight with multi-paned leadlights is a prominent feature of the ground-floor stairwell.
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Carpet beetles and clothes moths cause non-structural damage to property such as clothing and carpets. It is the larvae that are destructive, feeding on wool, hair, fur, feathers and down. The moth larvae live where they feed, but the beetle larvae may hide behind skirting boards or in other similar locations between meals. They may be introduced to the home in any product containing animal fibres including upholstered furniture; the moths are feeble fliers but the carpet beetles may also enter houses through open windows.
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The core comprises four rooms and a generous entrance vestibule, accessed from a central front entrance. To each side of the vestibule is a bedroom with large, double-hung sash windows opening onto the front and side verandahs, and beyond the vestibule is the parlour. Opening off the parlour, to the east, is the dining room. These rooms have particularly fine cedar joinery, including door and window architraves, cornices, skirting boards, a decorative timber arch between vestibule and parlour, and elegant timber fireplace surrounds.
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To the left along the rear, west-facing verandah, access is gained to the kitchen, which is contained under the pyramid roof. The overall height of this space and a remaining rim of skirting boards at approximately , suggest that there was once a room above the kitchen and access to this space is now gained by a set of narrow stairs. In the kitchen's southern wall is a large stove alcove. A door in the room's eastern wall opens onto a small covered space.
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This is of two straight flights with a landing in the middle, and accesses the northern end of the upstairs verandah. There is a concrete strong-room or safe with a thick steel Chubb door near the front entrance, between the staircase and the exterior metal cladding. The former store on the ground floor has been converted into offices with a suspended ceiling and modern fit-out. The first floor area retains its early timber floorboards, interior partitioning, picture rails, and deep skirting boards.
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These windows differ in detail on each storey, the lower having sandstone tracery dividing the opening into two lancet windows with round arched heads and a circular opening between. The upper storey openings are simply round headed arched openings. Window and door openings on the south western wall indicate the previous entrance level of the building. Internally the building has timber floors throughout, plaster and lath walls, timber boarded ceilings, an early quarter-turn timber stair with turned balusters and simple timber architraves and skirting boards.
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The guard rooms and bathrooms generally have painted brick walls, narrow timber cornices and are free of skirting boards. Ceilings throughout all three of the blocks are recent plaster over VJ boards, and the floors are concrete slabs (some covered with recent linings). Timber joinery is retained throughout the buildings, including timber-framed fixed louvre and awning windows. Most cells have a timber-framed, fixed timber louvre window, with vertical steel bars to the interior; and most windows to the guard room/bathroom sections have interior metal security grates.
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In the kitchen were housed such modern luxuries as a built-in oven, refrigerator and Baxi water heater, which only later became commonplace in all residential accommodating. All prefabs under the housing act came pre-decorated in magnolia, with gloss-green on all additional wood, including the door trimmings and skirting boards. To speed construction many were developed on the side of municipal parks and green belts, giving their residents, who had most often come from cramped shared rooms in inner cities, the feeling of living in the rural countryside.
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At the north-west end of the second hall is the main timber staircase, with simple timber balusters and a timber handrail. The rooms have plastered walls and chimney breasts and, excepting the front north-west room where the chimney has been bricked up, metal fireplaces with marble mantels and slate hearths. All have ornate cornices, picture rails, high skirting boards with moulded tops, wide architraves and four-panel doors. Although high ceilings with ornate ceiling roses are found in every room, the ceilings themselves are contemporary and plain, with inset downlights.
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Behind the parapet walls, Ballroom and Vestibule have metal butterfly roofs falling to a shared central box gutter spilling into a large rainwater head located on the northern external wall. The truncated remains of a chimney on the south- eastern wall are visible from above. ;Ballroom interior The Ballroom interior consists of a large single space with a high, timbered and decorated ceiling including an ornate ceiling rose and highly ornate cornices. The walls are plastered and painted, with a simple picture rail and double-height skirting boards with moulded tops.
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Sound knots do not weaken wood when subject to compression parallel to the grain. In some decorative applications, wood with knots may be desirable to add visual interest. In applications where wood is painted, such as skirting boards, fascia boards, door frames and furniture, resins present in the timber may continue to 'bleed' through to the surface of a knot for months or even years after manufacture and show as a yellow or brownish stain. A knot primer paint or solution (knotting), correctly applied during preparation, may do much to reduce this problem but it is difficult to control completely, especially when using mass-produced kiln-dried timber stocks.
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Elements of the house suggesting the involvement of Mortimer Lewis are: narrow "slit" side light windows flanking the front door; internal skirting boards with "window- panelling" insets; papier mache ceiling friezes and roses (from Bealerfeld & Co. in London)(much used in the 1840s, e.g. by Surveyor-General Sir Thomas Mitchell at Parkhall in Douglas Park; who influenced Lewis; and at Government House, Sydney (which Lewis supervised construction of) (NB: these were later removed and the ceilings stencilled); the "Gothic" black marble fireplace in the major room; the niches and arched vault openings in and off the entrance lobby (as at Garry Owen house in Lilyfield, by Lewis).
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A moulded round headed archway separates the vestibule from the central hallway, which runs parallel to the entrance facade of the building terminating at the chapel entrance to the north-east and in the stairhall to the south-west. Internally the building has rendered masonry walls throughout, timber boarded ceilings, timber floors, high quality timber architraves, skirting boards and stairways. The principal internal stair is housed in the stairhall which is expressed externally on the south-west facade with a projecting bay which features four pairs of rectangular stained glass window openings, signifying the level of each floor and the basement. The open well timber stair has turned timber balusters and carved newels and drops.
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The former Yeppoon State School is further significant providing evidence of the development of the education system throughout Queensland. The place is important in demonstrating the principal characteristics of a particular class of cultural places. Largely intact, the former Yeppoon State School is significant as an example of a building type developed by the Department of Public Works for the Department of Public Instruction. The former Yeppoon State School building demonstrates the principal characteristics of a building of its type by its form and use of materials, reflecting the ways in which architects of the Works Department have addressed problems of light and ventilation in response to climatic conditions, particularly the use of large feature windows and hinged skirting boards to allow for cross ventilation.
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The DPC in the inner wall is usually below floor level, (under a suspended timber floor structure), or, with a solid concrete floor, it is usually found immediately above the floor slab so that it can be linked to the DPM under the floor slab. This enables installation of skirting boards above floor level without fear of puncturing it. Alternatively, instead of fitting separate inner and outer DPCs, it is common in commercial housebuilding to use a one- piece length of rigid plastic (with an angled section) that fits neatly across the cavity and slots into both walls (a cavity tray). This method requires weep vents to enable water to drain from the cavity, otherwise dampness could rise from above the DPC.
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The external walls are of solid brick construction with rendered finish on rock-faced bluestone plinth with tooled margins; various tooled and moulded course lines which extend continuously at impost level into simply moulded archivolts. The internal walls are hard plastered and painted brickwork to external and partition walls; some areas have moulded dado lines. The floors are timber boards on timber-framed structure; Victorian profile moulded timber skirting boards, and the ceilings are lathe and plaster with square set cornice [and possibly various moulded cornices and ceiling roses. The roof is hipped with slate finish to principal building and kitchen wing, minimal eaves overhang, rendered brick chimneys with moulded caps; mansard roof form to clock tower with bracketed cornice, cast iron widows' walk and flagpole.
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During this visit, Ted goes to great lengths to conceal from the bishop the presence of several rabbits in the parochial house, as Bishop Brennan has a fear of rabbits due to a traumatic experience with the animals in a lift. # When Ted has to pay a forfeit to Fr Dick Byrne after cheating at a football match. Fr Byrne chooses to make Ted kick the bishop "up the arse". To give Ted an opportunity to carry out the forfeit, Byrne calls the Bishop and tells him that his likeness has appeared in the skirting boards of the Craggy Island parochial house; ultimately, all the Bishop sees, just before Ted kicks him up the arse as hard as possible, is a crude watercolour painting (courtesy of Dougal) of a man in a bishop's hat.
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Until the early 1960s white lead (lead carbonate/lead sulphate) was added in substantial quantities as the main white pigment in some paint products intended for use as a primer or top coat over metal and wood, both internally and externally. Examples of where this type of paint may have been used are skirting boards, doors, door frames, stairs, banisters, window frames and sills, wooden flooring, radiators, and pipes, though it could also have been applied to any other surface at this time e.g. plaster walls. Prior to this the concentration of white lead in paint rose to its highest levels between the years 1930 and 1955, as much as half the volume in some paints, meaning many post-war UK houses have significant amounts of lead in original paint layers.
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Most probably the bricks were manufactures on the property from clay which came from a source not far from the house, on the eastern side of the road from Port Macquarie. (The Archaeology of Lake Innes House, National Parks and Wildlife Service) The construction of the house and stables would have used large quantities of various types of wood: for roof framing, shingles, flooring, skirting boards, fireplace-surrounds, window and door frames, the window and doors themselves, verandas, stairs and so on, but very little has survived on the site. The physical condition of the ruins was reported as poor as at 16 April 1998, while the archaeological potential was reported as high. While the structural integrity of Lake Innes Estate and associated sites is medium to low the archeological integrity of the entire site is high.
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Moreover, he was also unable to explain why traces of human fat and body tissue had been discovered within the drains of the property, with much of this material recovered within the section of the drains leading directly from the bathroom. Throughout the several hours of questioning, Lancaster police repeatedly conversed with their Scottish counterparts, who had previously visited Ruxton's household to remove objects such as sections of wallpaper, carpeting, skirting boards, and silverware for a more detailed forensic examination at Glasgow University. In the early hours of 13October, the finger and palm prints upon the second set of human hands discovered were found to be a match for impressions upon items Mary Jane Rogerson had habitually handled at Dalton Square. Upon hearing of this forensic match, Ruxton was formally charged with the murder of Mary Jane Rogerson at 7:20am that morning.
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This space has been enclosed as a bathroom; it has weatherboards externally on the north side and a s interior. Off the main hallway to the left are two bedrooms, but the doorways which once would have led from the hall into each bedroom have been bricked in and plastered (probably during the conversion to two flats), and there is no longer any evidence in the skirting boards of where these doorways were located. At its western end the main hallway opens into a cross-passage which leads on the right to the service passage and on the left originally to a bedroom door - this also has been bricked-in and plastered. In-filling the L-shape formed by the main building and the kitchen house is one large room which appears to have been a former semi-open pavilion.
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Away from the artistic medium, Débora locked herself for a long period in her house-workshop called "Casablanca", where she elaborated skirting boards, tiles and murals in baked ceramics. The Public Library Pilot of Medellín opened in 1975 an exhibition with one hundred works of the artist, event that did not receive major attention on the part of the press, but that was the occasion for many of discovering the pictorial work of Débora Arango. Excited by the exhibition, she returned to paint for about two years, producing some satirical oils and numerous watercolors of bathers, couples, women in different situations, walkers, clowns, and in general, human types of the most varied condition. Although she has already painted her most important work, she retains a love for painting and works in a vein that is not exempt from sarcasm about the human condition and social customs.
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A small () gap is required between the flooring and any immovable object such as walls, this allows the flooring to expand without being obstructed. Baseboards (skirting boards) can be removed and then reinstalled after laying of the flooring is complete for a neater finish, or the baseboard can be left in place with the flooring butted into it, then small beading trims such as shoe moulding or the larger quarter- round moulding can be fitted to the bottoms of the baseboards. Saw cuts on the planks are usually required at edges and around cupboard and door entrances, but professional installers typically use door jamb undercut saws to cut out a space to a height that allows the flooring to go under the door jamb & casing for a cleaner look. Improper installation can result in peaking, in which adjacent boards form a V shape projecting from the floor, or gaps, in which two adjacent boards are separated from each other.
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The timber entrance doors have been replaced with glass doors. The plan is organised about an L-shaped corridor off which studios, workshops, staff offices and storage/service areas open. Some internal spaces have been partitioned but the original internal spatial relations have been maintained though service ducts and lighting fixtures now intrude. Original fabric survives including the roof lights and pressed metal ceilings to the level two former woolclassing area now partitioned as F204 and F201; decorative pressed metal ceilings, concrete columns in a Tuscan order and dentilled plaster cornices with egg and dart mouldings to the ceilings and exposed beams in F101; decorative pressed metal ceilings with moulded "acanthus" pattern cornices to the corridors of level two; decorative pressed metal ceilings to the vestibule to the link across to J Block from level 2; decorative plaster cornice to the ceiling of the stairwell; doors and skirting boards to each floor; tiles to floor and walls of locker rooms on each level; and a polished concrete stair with plain metal balustrading.
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He said the designs were his original designs and they were to give the minimum service with the maximum sunlight and fresh air. . . '(52) A number of extra items were included during construction, including plumbing for hot water and the construction of additional brickwork, screens and lattice to prevent the public seeing into the dressing areas from the cliffs behind the building. However, the Kiosk, if not the Bathing Pavilion, was suffering from a number of aggravating problems less than ten years after it was built. In 1946 it was reported that the roof was leaking, causing stains on the ceilings of the kitchen, laundry and shop, while termites were infesting floor joists, skirting boards and doors. The two buildings formed an important adjunct to a major event during the 1949-50 season when the Illawarra Branch of the Surf Life Saving Association of Australia and North Wollongong Surf Life Saving Club hosted the first State Championship Carnival to be staged by a country branch of the Surf Life Saving Association in New South Wales.
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