107 Sentences With "soffits" | Random Sentence Generator

Decorative soffits enhance the 10-foot ceilings in the living and dining rooms; oak floors have walnut inlays.

But much of the budget went toward things no one can see, like work on the foundation, concealing new plumbing inside cleverly designed soffits, and installing modern heating and cooling systems.

The range hood blocked the only window, eliminating most of what little natural light there was, and bulky cabinets and large air-conditioning soffits protruded into the rest of the overhead space.

The firm of Lichten Craig drew the show house short straw: a weird basement space with no windows, random soffits and bumps, and, like most of the rooms, a tangle of sprinkler pipes hanging from the ceiling.

A wide box cornice, which is common practice on houses with gentle roof slopes and wide eaves, requires the use of lookouts to give it support and to provide a surface to which to securely attach the soffits. Box cornices often have ventilation screens laid over openings cut in the soffits in order to allow air to circulate within the cornice.

Soffits to the main roof are supported by long shaped soffit brackets and are lined with spaced pine battens. The low pitched roofs to the bay windows and porches are clad in roll-and-pan profile galvanised iron sheeting. All gutters are quad profile. Soffits to the porches and bay windows are supported on small shaped soffit brackets and are lined with fibre cement sheeting.

The marble tiles on the second floor, which at some point had been covered with carpeting, were rediscovered and reused as well. Other architectural elements were restored to close to their original beauty. The bronze brackets and coffers on the first floor had been covered, and soffits added to the second floor ceiling in 1972 to accommodate new HVAC ducts. The soffits lowered the ceiling a full , obscuring the windows.

To effectively exclude subterranean termites, screen apertures smaller than are required. Application areas for screens in the building envelope include weep holes, soffits, gable and ridge vents, among others.

In structures it infests wood flooring, window frames, door frames, fascia boards, and soffits. It occupies utility poles.Baker, P. B. and R. J. Marchosky. Arizona Termites of Economic Importance. AZ1369.

The viaduct that covered Irwell bridge's north-eastern face was demolished, revealing the bridge's full elevation. By October 2016, the arch soffits had been cleaned and all the stalactites removed.

Molded panels are found on the porch frieze and on the soffits and reveals on the main entrance. The house has been listed on the National Register of Historic Places since 1983.

Later extensions to sides and rear. 2 storeys with former attic. 3 bays of modern tripartite sashes with glazing bars beneath skewback arches with cambered soffits. One axial and one gable-end stacks. Interior.

The walls of the main living space are plaster, while the ceiling is covered with cedar planks. The cedar ceiling follows the contour of the roof, and the planks extend beyond the walls to form the exterior soffits.

A three-panel window decorates the area above the door. The door is a modern six-panel wood door. A simple cornice adorns the soffits on the north and south eaves. Simple pilasters are found at the main building's corners.

The station was designed by Price & McDanahan in a Colonial Revival style using the local pressed brick. Its outstanding features include the gabled porticoes, curved soffits, ceramic-tile inserts and the semicircular transom windows. Note: This includes and Accompanying photographs.

This was two storied, possibly with a stucco rendered exterior (resprayed in 1968 with a sprayed concrete finish). The roof is hipped, evidently timber-framed, and is clad with corrugated colorbond, and supported on a broad eave with planking soffits.

Bracketed cornices and paneled soffits at the roof line are topped by a shallow hipped roof. The interior is divided on a side-hall plan. Notable ornamental features are a curved staircase, marble mantels, the original bronze chandeliers, and floor-length windows overlooking the veranda.

The eaves project c. 60 cm out from the walls, providing some northern and eastern sun shading. The soffits appear to follow the roof pitch. The rafters are exposed on the original section, and the soffit is lined with timber boards, as is the porch ceiling.

The soffits are lined with decorative pressed metal. The small rectangular building at the rear (former office and show room), is entered from the back of the shop. It has a hipped roof surmounted by a large roof lantern. The rear loading platform is enclosed with corrugated galvanized iron.

Additionally, trees were damaged and some roof shingles and soffits were stripped from several homes. The strongest tornado in Brevard County, rated EF2, was spawned in Mims. A number of homes were damaged, with some becoming uninhabitable. Many trees were snapped or uprooted, especially just east of U.S. Route 1.

Characteristics of home invasion by the brown marmorated stink bug (Hemiptera: Pentatomidae). Journal of Entomological Science, 47(2):125–130. Adults can live from several months to a year. They enter under siding, into soffits, around window and door frames, chimneys, or any space which has openings big enough to fit through.

Its ridges end in jerkin heads with a metallic wave-shaped finial. At the eaves the roof flares into soffits decorated with scroll-sawn rafter ends and brackets. The front entranceway also has decorative bracework. On either side there is, in the middle of the cross-gable, a group of three narrow Gothic-arched windows.

The building's hipped roof is hidden behind parapets on all but the rear elevation and overhangs by approximately . The roof is clad with red corrugated metal sheeting. Gutters are quad profile and soffits are lined with timber battens. Window and door treatments on the rear elevation are similar to the western and front elevations.

Most soffits are lined with v-jointed (VJ) timber boards. Each wing has verandahs on their inward and outward-facing sides. The connected inward-facing verandahs provide access to the classrooms and circulation between the wings. Vertical circulation is provided by several sets of stairs of various dates, which are generally connected to or located within the verandahs.

The interiors of the liwan are adorned with watercolour paintings depicting stylized floral designs. The dado panels, spandrels of arch and soffits are painted profusely. Unlike other monuments, where domes are supported on squinches, here corbelled pendentives support the dome. The Buland Darwaza and the Tomb of Salim Chishti are also a part of the mosque complex.

The fourth side, one of the long walls has the pulpit at its center, opposite the entrance. This arrangement was typical in New England meetinghouses until the early 19th century. Also typical of the period are the soffits and sounding board which frame the pulpit area. The walls are finished with wooden wainscoting and plaster over lath.

The brackets and coffers were uncovered and restored, and the soffits and ductwork removed. The marble cladding on the rotunda columns and the original first floor flooring were also retained. Also retained was the bronze Cleveland Trust Company seal embedded in the floor of the ground level. The total cost of the renovation was $10 million ($ in dollars).

Roofline of the Namobuddha monastery in Nepal Roofline is used to describe the fascia, soffits, bargeboards, antefixes and cladding that forms the frontage immediately below the roof and the eaves of many homes and buildings. These are traditionally made from wood, but can be made of a variety of different materials, including plastic, such as polyvinyl chloride.

In 1936 bridges were built across Independence Avenue to link the wings to the South Building. The single-span stone arches form a dramatic accent on Independence Avenue. The soffits of the bridges are faced with Guastavino tile. The east bridge is dedicated to Seaman A. Knapp, while the west bridge commemorates Agriculture Secretary James Wilson.

Inside the church is a west gallery carried on Doric columns. The two-bay transept arcades have round-headed arches with painted soffits. The ceiling is flat, and there is an elliptical sanctuary arch. The reredos has a blind arcade with four Corinthian columns which is lavishly painted and gilded, including roundels, and a central lozenge containing the Virgin Mary.

The interior is well lit and punctuated by vaults decorated with geometric bands. The four main columns are medieval of red marble, come from Piazza dei Signori and was donated in 1502 by the city. On the soffits are late-Gothic frescoes. Along the aisles it has set a remarkable eighteenth-century Via Crucis (Way of the Cross) in their original frames.

The building has hipped roofs which have wide eaves with exposed timber frame soffits and are clad in corrugated galvanised iron. It has a timber front verandah which has been enclosed. The verandah roof is contiguous with the main roof. The west side displays three double hung windows that have prominent hoods which have diagonal timber sides and corrugated iron roofs.

In the lighting industry, battens refer to linear fittings, commonly LED strips or using fluorescent tubes. Batten luminaires are typically cheap and meant to be fixed directly to structural battens in loft spaces or to ceilings and soffits in back-of-house areas where aesthetic value is not required. Fluorescent fittings may include a low-specification diffuser cover, or simply have the fluorescent tube exposed.

The light from the courtyard moves patterned shadows on the soffits, walls and floor of the grand cloister. Up above on the second level, four large openings overlook the public spaces through a cast zinc screen in the form of a contemporary Musharabiya, an Islamic bay window. Within the galleries, large aluminum paneled skylights perforated with small hexagonal openings emit soft natural light into the exhibition areas.

In 1936 the bridge was designated an ancient monument. The city council bought several of the shops and made plans for the restoration of the original façade, which was completed in time for the Festival of Britain in 1951. Further work was carried out in the 1960s to repair the underside soffits of all three arches. More restoration of the southern street facade was needed in 1975.

The interior public spaces are monumental in scale and classical in detail. The first-floor entry lobby, while reduced in size from its original configuration, retains its ceiling, featuring a cast-plaster cornice, moldings, soffits, and modillions. Marble adorns the walls and window sills. A central marble staircase with a richly ornamented cast-iron balustrade ascends from the first-floor lobby to the upper floors.

The two-storey ancestral house has a mezzanine (entresuelo) on the ground floor. Board panels at the facade of the house were arranged horizontally, while the walls on the lateral part was made of reinforced concrete. Galvanized iron sheets were utilized as main roof and canopies, and eaves have cut-and-pierced metal coffers. Soffits were pierced for ventilation and add a decorative function.

The main roof is hipped with a slate covering. The wide eaves retain the original timber soffits with supporting modillions and fascias largely intact. Later additions, including the ballroom, are roofed with a combination of slate and copper, the copper replacing an earlier lead covering. The building retains most of the original timberwork, including stairs, architraves and doors, and internal plaster finishes, including cornices, intact.

The east, north and west elevations are each different but use the same architectural language and decoration. The joinery is all timber with french doors generally containing tapered glass panels. The windows are usually double hung with single panes to the lower sash and six panes to the upper sash. The eaves are broad with ventilated soffits supported on tapered timber brackets or joists.

The soffits are lined in flat sheeting. An enclosed verandah runs along the northwest side of the building, accessed via timber stairs on either side of the teachers room. Weatherboard cladding and banks of timber-framed louvre windows (1972) enclose former large openings in the northeast, southeast and southwest walls. The undercroft of the building is largely open play space, with some recent enclosures forming storage spaces and offices.

It has a tapered brick chimney on its east facade. The front entry, on the left of the front facade, has an arched door and an arched, covered porch with belcast eaves, supported by Doric columns. The porch's ceiling and soffits were built of bead board, which the owner in 1998 planned to cover with aluminum siding. The porch ends at a circular concrete stairway which radiates out.

The Howland Chapel School is a historic school building for African-American students located near Heathsville, Northumberland County, Virginia. It was built in 1867, and is a one-story, gable fronted frame building measuring approximately 26 feet by 40 feet. It features board-and-batten siding and distinctive bargeboards with dentil soffits. The interior has a single room divided by a later central partition formed by sliding, removable doors.

The side walls are divided by brick piers into bays, with ventilation openings incorporated within raised brickwork patterns. Banks of rectangular awning windows connect the top of each bay with the roof soffit. Clerestory windows above this roof level run the length of the auditorium. The inclined face of the roof soffits are clad in flat fibrous plaster sheeting ornamented with regularly spaced cover strips painted a contrasting colour.

Noteworthy are the metal and marble staircase and the coffered ceiling in the courtroom. There is also a rotunda with paneled soffits, decorative cornices, screens of piers with decorative caps on the third-floor, globe light fixtures, decorative frieze, and a circular art glass skylight dome. The significance of the courthouse is derived from its association with county government, and the political power and prestige of Pocahontas as the county seat.

The wide eaves have soffits either of fibrous sheet material or spaced timber battens, the latter being the original condition. A timber verandah with over-scaled posts and a battened balustrade wraps the north and east sides. The walls are clad with weatherboards that also enclose the majority of the understorey. The north-facing front elevation is flanked by small projecting gables with decorative awnings and timber dentil work.

A gabled porch located on the western side is the only point of entry. The walls consist of vertical jointed (VJ) boards fixed to an exposed stud frame that is decoratively patterned with cross bracing. Inclined timber members fixed above the bottom plate shed water away from the walls, protecting structural timbers. The raked soffits are lined with diagonal beaded timber boards that continue internally to form a raked ceiling.

The first floor plan is repeated on the second floor, except that an additional room, a small chamber, is located at the end of the hall. The two large bedrooms on the east side of the hall are fully paneled. The fireplaces in the central block are faced with either Dutch tile or marble and are framed with wood paneling. The windows have jeep paneled jambs and soffits, with architraves to the floor.

Although standard rectilinear food service units were used, they were embedded in curvilinear counters to help them blend in with the rotunda's architecture. The counters are made of Caesarstone (a man-made material which mimics granite) and trimmed with walnut and stainless steel. Modern high-pressure HVAC systems are concealed from view behind walls or in soffits. The center of the rotunda serves as a dining area, and is occupied by small tables with chairs.

Construction is of stone piers and spandrels with red brick soffits. The viaduct is long, reaches a maximum height of to rail level and consists of sixteen arches. The arches are of different widths and heights and supported by tall, tapering piers in the centre and thicker shorter ones towards the sides. Arches 5 and 13 are lower than the others dividing the bridge into sections with four higher arches at each end.

The Dr. Cyrus F. Crosby House is a historic house at 202 North Broadway Street in Heber Springs, Arkansas. It is a 1-1/2 story wood frame structure, with a broad gabled roof and weatherboard siding. The roof is studded with gabled dormers, and shelters a wraparound porch supported by square posts. Although the overall style of the house is Craftsman, the porch's soffits are enclosed in the style of the Prairie School.

The verandah soffits are unlined and the southern corner has been enclosed to form a bathroom. The northwest wall of the kitchen house is constructed of split logs laid vertically, and the southwest wall is of pit-sawn vertical boards. Internally, the building consists of two rooms with a vertically boarded timber partition between. The ceiling is boarded, walls are lined with hardboard sheeting with timber cover strips and it has mainly sash windows.

Doors and windows include simple paint finished rendered concrete heads and sills. Ventilation to the sub floor area and roof space is via metal and clay wall grilles and timber battened eaves soffits. Internally the building is one large volume with the original servery and scullery at the south eastern end of the building and the new stage at the opposing end. Low height partitions separate the servery and scullery from the rest of the hall.

Although the final building was less ornate than the original conceptual drawings, it still cost over $1 million when it was completed in 1924. The cross-section of the exterior reveals the wooden brackets and tin soffits under the eaves of the tile roof, masterful detail easily overlooked given the current condition of the building. One of the grand old palaces of Washington, D.C., the Tivoli was almost saved by a group of local supporters during the 1970s.

The hip roof is clad in asphalt shingles while the wooden soffits have been covered with aluminum, another of the alterations through the years. The original structure featured doors and windows that have since been bricked over and altered. From east to west on the original south elevation was a by doorway, four windows, a doorway, another door, and two windows. The north and west facades had two windows and the south elevation another large doorway.

The weaving sheds were simple working industrial buildings and the external materials generally used in their construction are robust and there was little in the way of ornamentation. External walls were generally in coursed rubble, stone or brick. The few openings or windows were in simple detailed timber joinery. Internal materials comprised stone flag floors, exposed cast iron structure, timber joinery and boarded partitions and lime plaster on lath soffits to the south facing roof slopes.

To the rear (north) of the house is located the former stables consisting of a symmetrical rectangular sandstone building with central gable on the eastern facade containing the entry doors and loft doors above. The hipped and gabled roof is clad in corrugated iron sheeting and has decorative timber barge boards. The roof framings were noted in 1973 as being jointed, dowelled, pegged and numbered without the use of nails (NT Listing). The verandah and eaves have timber soffits.

This bank of windows has a continuous hood which has a decorated fascia and is supported on timber brackets. There are single-hooded double-hung windows on the northern and southern sides. The roof, which is clad in corrugated iron, is a pyramid form with a glazed lantern at the top with the soffits supported on paired timber brackets. Small gabled roofs are positioned centrally at the verandah and the second-storey roof, accentuating the entrance to the building.

A one- story rear porch wrapped around the remaining length of the main rear facade and one side of the ell. The most unusual feature of the house is its "eyebrow" windows set into the frieze above the pilasters, each originally masked with wooden screens using a Greek Key motif. More commonly seen in Northeastern houses, these windows admitted light and air to the low-ceilinged rooms on the largely hidden third floor. The soffits feature mutules studded with guttae.

The entrance vestibule is a double storey height volume with timber stairs climbing around its perimeter. The stairs have finely turned and carved balustrades, striped timbers to the soffits, and meet an arched window with coloured glass at the half landing. The vestibule also contains a brass and timber honour roll. The adjacent library has extensive timber shelving, and the meeting room opposite has external entrance doors with coloured glass and timber boarded ceilings with a star- shaped ceiling rose.

Detroit Lakes is an Amtrak intercity train station in Detroit Lakes, Minnesota, served by Amtrak's daily Empire Builder. The building was originally built by the Northern Pacific Railroad and has been listed on the National Register of Historic Places since 1988 as the Northern Pacific Passenger Depot. The station was renovated in 2010 under the direction of the local White Earth Reservation and the Minnesota Department of Transportation. The exterior brickwork was cleaned; wood soffits repaired; and window and door trim painted.

In Kilkenny, Smith also designed the replacement for John's Bridge. For Green's Bridge, Smith designed an almost-exact copy of Bridge of Tiberius () in Rimini, Italy, as described by Andrea Palladio's (1508–1580) in I Quattro Libri dell'Architettura (1570) (The Four Books of Architecture). Smith's design, which was built with rubble limestone, incorporated five elliptical arches with cut-limestone Gibbs surrounds and dressed squared limestone soffits. With three central arches and two smaller arches it is decorated with pedimented aedicules and doric columns.

All of the windows have narrow projecting sills and flat arched heads of fine rubbed brick voussoirs with a contrasting centrally projecting key. There are four cellar windows set within a slightly projecting brick plinth with contrasting quoins and moulded stone cap. The barred window openings are under segmental arched soffits of brick and the arrangement here replicates that of the ground floor windows. The glazing is set back well back from flush with the plinth brickwork and has been replaced.

The facades are asymmetrically arranged so that the front bedroom of each house projects forward and a small verandah is created. Original cast iron lacework and posts decorate the front verandahs and the window hood brackets. At the rear of each house are verandahs at two levels that are decorated with introduced timber balustrading and decorative timber brackets. The verandahs are separated by a deep timber valance and the soffits are fitted with introduced ripple iron that has been painted.

The interior of the chapel was clad in Light Cherokee Georgia marble, with the same broad and narrow courses with differing finishes as the exterior. The staircase was also made of veined cream Alabama marble, with hand-carved and satin smooth curving walls and hermetically tight window soffits. The building had its own heating plant. The mausoleum was designed with bronze gated side chambers, called "private rooms", which could contain five crypts (a "single room") or 10 to 12 crypts (a "double room").

Mount View is a historic house located at 610 S. Jefferson St. in Sheridan, Wyoming. The Prairie School home was built from 1911 to 1912 and designed by Glenn Charles McAllister. The house features a hipped roof, overhanging eaves with paneled soffits and box cornices, bracketed corners, four brick chimneys, and a porch on each side. Lyman Brooks, a Sheridan businessman and politician who served in the Wyoming House of Representatives, was the house's first owner, and his family owned the home until the 1980s.

The historic center of the city is marked by traditional architecture with its pitched roofs covered in red tile and iron-railed balconies. The interior of a number of these structures feature ceiling roses or soffits, most of which date from the time of the Mexican Revolution. The center of the city is the Plaza de Armas main square with the main streets of the center all leading to it. The plaza is filled with gardens and walkways and surrounded by some of the most important buildings.

The Henry Ockershausen House is a 2½-story, frame structure with a steep side-gable roof and a large front gable. It exemplifies the transition from the Queen Anne style, which was popular in the late 19th-century, to the Colonial Revival style that became popular in the early 20th-century. Its verticality in form, especially the large wall dormer in the center of the main facade, is from the Queen Anne style. The dormer's soffits curve inward and meet the partially returned cornices.

He later wrote: These conditions were alleviated by accommodating personnel in Nissen huts and Iris huts installed in chambers dug out to match their dimensions ( and spans respectively). The problem of rockfalls was alleviated to some extent by using arched soffits in all tunnels of over in span. Some of the chambers were of a truly huge size; the Royal Electrical and Mechanical Engineers' vehicle maintenance workshop was housed in a giant chamber spanning with a height of and a length of .Rose (2000), pp.

The boys, girls and infants toilet blocks are all one storey, rectangular, face brick structures that have corrugated metal- clad Dutch-gable roofs, V-jointed (VJ) timber soffits, and long axes running east–west. Triangular, timber ventilation panels are located within the gable apexes. Entrances to the blocks are from the northern and southern sides, and are screened by facebrick walls that have rounded corners at the entry points. Variance in brickwork colour indicates where some of these screens have been extended; in some cases, both in length and height.

In part of the former kitchen wing, narrow lining boards have only been used on one side of the wall, leaving the timber frame exposed. The ceilings in the former drawing and dining rooms are pressed metal, exhibiting rich designs together with a perimeter border. The ceilings to most of the other original rooms are also pressed metal, though simpler in design. The former timber lined soffits to the original verandah remain despite the enclosure of the verandah and the introduction of kitchen and bathroom facilities for the various flats.

The required quietness levels needed in The Hive's extensive study areas are achieved through vertical decorative Ash 'fins' mounted on sound absorption blankets fixed to the structure's concrete soffits, and acoustic panels positioned strategically all around the building. The main heating source in winter is a 550 kW biomass boiler, with emergency back-up being provided by three 250 kW gas-fired boilers. In extreme summer conditions, river water is pumped into the basement of the building, passed across concrete heat exchangers, with the cooled air ducted up into the central atrium.

The roof of the main entrance was designed to give the illusion of the Earth's crust peeling away to reveal a window into the aquatic world. The building features a multi-faceted shell clad in large aluminum panels, with the roof of the main entrance that "gives the illusion of the earth’s crust peeling away to reveal a window into the aquatic world." There are also coloured surfaces that juxtapose reflective aluminum soffits. The building was designed with special shielding so that sharks would not be disturbed by its electrical systems.

1628) and San Carlo ai Catinari (1628–30). In spite of his activity in Rome, Domenichino decided to leave the city in 1631 to take up the most prestigious, and very lucrative, commission in Naples, the decoration of the Cappella del Tesoro di San Gennaro of the Naples Cathedral. His Scenes from the Life of San Gennaro occupied him for the rest of his life. He painted four large lunettes, four pendentives, and twelve scenes in the soffits of the arches, all in fresco, plus three large altarpieces in oil on copper.

Italian Renaissance Revival finishes and details are reflected on the interior spaces of the Custom House. Arched doorways, marble-clad piers, and beams with classical plaster moldings define the three bays of the first-floor entry vestibule, extending into the first- floor lobby where they are articulated with groined vaults and paneled arch soffits. Marble wainscoting continues around the room and extends to the spring line. Each story's lobby is similarly treated, but using ascending classical orders – Doric on the first floor, Ionic order on the second, and Corinthian order on the third.

Ground-floor verandahs are to the post box areas and have grey masonite or fibre cement sheet soffits, grey tiled floor, brown tiled lower walls, fixed windows over the post boxes and attached fluorescent lights. Adjacent to the balcony is a small room accessing the clock tower via a series of four steel ladders. The various levels of the tower have timber boarded floors, painted English Bond brick walls and copper clad bell room floor. The disused clock mechanism is now powered by an electric motor and remains intact within the tower.

Former library, 2015 The 1954 former Visual Education Centre and Library ('Block G') is a purposed-designed, two-storey, chamferboard-clad structure, with a facebrick projecting porch and verandah on the northern side. It has a terracotta-tiled hip roof with flat-sheet eaves linings and ventilated soffits. The primary entrance to the building is through 5-light French doors within the porch, with secondary entrances from the northern verandah, western staircase and southern patio. Windows are generally timber-framed awnings and there are double-hung windows with timber sashes at the upper level of the porch projection.

The style sought to bring a translation of the balloon framing that had risen in popularity during the middle of the century, by alluding to it through plain trim boards, soffits, aprons, and other decorative features. Stick-style architecture is recognizable by the relatively plain layout, often accented with trusses on the gables or decorative shingles. The stickwork decoration is not structurally significant, being just narrow planks or thin projections applied over the wall's clapboards. The planks intersect mostly at right angles, and sometimes diagonally as well, resembling the half-timbering of medieval – especially Tudor – buildings.

A grand cast-iron stairway extends from the center of the first floor to the fourth floor, featuring marble treads, double balusters with spiral and acanthus ornamentation, paneled stringers and soffits, and a molded oak handrail. Originally, windows at the landings opened into a light court, which was covered with solid panels in 1949, leaving the oak framing and trim intact. The existing vestibule and main stair lobbies are well-preserved spaces which remain as the most detailed and significant areas in the building. Typically, the office spaces include plaster finishes with oak baseboards, chair rails, and picture moldings.

The creativity, craftsmanship and attention to detail evident in the hall's design are characteristic of the works of architect Eddie Oribin, whose buildings are remarkable for their complex geometries, unconventional roof forms, innovative use of materials and structural systems, and manipulation of natural light and ventilation. The place is important because of its aesthetic significance. The Mareeba Shire Hall has aesthetic significance as a distinctive building of exceptional architectural quality. The striking asymmetrical composition of strong, dynamic forms, including the semi-circular hall, deeply inclined soffits and tall brick tower, reflects the worldwide influence of expressive modern architecture.

In 1792 William Strutt had attempted to build a fireproof mill at Belper in Derby (Belper West Mill), using cast iron columns and timber beams within the depths of brick arches that formed the floors. The exposed beam soffits were protected against fire by plaster. This mill at Belper was the world's first attempt to construct fireproof buildings, and is the first example of fire engineering. This was later improved upon with the construction of Belper North Mill, a collaboration between Strutt and Bage, which by using a full cast iron frame represented the world's first "fire proofed" building.

Glen Innes Post Office is a two-storey building designed in the Federation Arts and Crafts Style, constructed of predominantly tan- coloured face brickwork, rubbed red brick banding and sandstone detailing. The exterior of the building appears largely intact to its original construction. The original two-storey section of the building, built in 1895, is constructed in English bond brickwork on a sandstone ashlar block base course, with later single-storey sections to the rear being of stretcher bond brickwork. The building has a complex, predominantly hipped slate roof with decorative terracotta ridge-capping, bracketed eaves and boarded soffits.

Architectural plans, circa 1888 The original 1887 section of the building is roughly square in plan, with walls that are mainly of plaster-rendered brickwork. Some remnants of the original lath-and-plaster timber-framed interior partition walls survive on the upper floor level. Ceilings and soffits throughout the building are lined with beaded tongue & groove boarding; however a timber-framed dropped ceiling, sheeted in plasterboard has been introduced at ground level in some areas. Floors throughout the building are hardwood tongue and grooved boards that have been overlaid with carpet at the ground level and vinyl tiles at the upper level.

To keep a low building scale with respect to the rural surroundings, the campus was designed by Marmon Mok, LLP with a "village concept" and now consists of 15 separate main buildings connected by covered walkways, and 7 buildings for the FFA program. Metal roofs, limestone colored split face CMU, and steel siding were used to follow the German Hill Country vernacular style. The campus features a 990 seat auditorium and a 1800 seat competition gymnasium. The electrical feeders and chilled/hot water piping to the buildings are located above the soffits of canopies connecting each building, avoiding costly trenching.

The tower's pitched roof has sheet metal tiles in a fish-scale pattern, crowned by a pressed metal cornice, featuring decorative mouldings and lions heads. There is also a small central pediment motif above the eaves of the south face. It is this tower which imparts to the building its unusual Victorian Second Empire style. Of almost equal interest is the treatment of the remainder of this front, which includes fine panelled and patterned boarding, notched and bracketed barge boards, eaves soffits, scalloped friezes and a radiating design over the semicircular windows, decorated window lintels and a prominent "keystone", all done in cut and fretted timber.

The Mosaics of Monreale Cathedral form the building's main internal feature and cover 6,500 m2. They are made of glass tesserae and were executed in Byzantine style between the late 12th and the mid-13th centuries by both local and Venetians masters. With the exception of a high dado, made of marble slabs with bands of mosaic between them, the whole interior surface of the walls, including soffits and jambs of all the arches, is covered with minute mosaic- pictures in bright colors on a gold ground. The mosaic pictures, depicting stories from both the Old and New Testament, are arranged in tiers, divided by horizontal and vertical bands.

The fourteen-story building represents the Chicago school of architecture and is designed as a steel frame covered in brick. The building's Dearborn Street facade features three tiers of bay windows, while the facade on Federal Street features one tier of bay windows flanked by two tiers of flat windows; while the outer two tiers on both facades each span two bays, the middle tier spans only one. The bottoms of these tiers of windows, located at the second floor of the building, feature terra cotta soffits; the building's cornice is also terra cotta. The first two floors of the building feature limestone piers with decorative capitals.

Bridges of the Manchester Ship Canal. Following the withdrawal of passenger services in 1964,The Reshaping of British Railways by Dr Richard Beeching, 1963. the line became goods only, and when expensive repairs to the viaduct were needed in the early 1980s, British Rail closed the viaduct and the preceding line towards Glazebrook. It is now blocked with containers on each end owing to anti-social behaviour and to stop people walking across it, as the deck of the viaduct is in a very bad state with major corrosion setting in on the soffits and trough decking of the major steel span of the viaduct.

The three main chimneys are irregularly placed in the upper roof hips, and are given a strongly arts and crafts flavour, the stacks being tapered and clad in roughcast stucco, then topped with long, tapering terra cotta pots. There is a fascia and boxed eaves to conceal rafters at the roof edges, and the eave soffits are boarded and raked at the same angle as the roof above. To the west elevation a projecting bay with tall sash windows to the angled faces are of face brick with contrasting, terracotta coloured brick quoins. Immediately behind there is a side access door to the stairhall and thus to the former quarters.

It appears that only a few major additions have occurred to the Post Office since first constructed in 1878. These are largely single-storey, towards the rear along the eastern boundary, including the hipped-roof section over the mail room and skillion roof over the current staff amenities. Verandahs on the first-floor northern facade and north-western corner comprise asphalt lined floors, raked board and batten, and boarded soffits, respectively, green painted vertical slat timber balustrades with timber posts and wall mounted globe lights. There is a small concrete porch on the north-western corner of the ground floor below the upper verandah, without a balustrade.

Red Bank station was built by Central Railroad of New Jersey in 1875, and has been on the National Register of Historic Places since 1976. Notable visitors included Presidents Ulysses S. Grant, Theodore Roosevelt, Franklin D. Roosevelt, and King George VI of England. The 1876 station house was renovated in 2012–2014 to its appearance when built, including historically correct material, reconstruction of "Yankee" gutters, installation of new downspouts, and replacement of historic windows, shutters and gingerbread trim. Repairs were made to roof soffits and wood framing of the structure, and to repoint the brick foundation wall and the brick chimney, and to recreate a brick "crown" atop the chimney.

View from Cross Street, 2015 Fernleigh, fronting Shore Street East to the northwest and bounded by GJ Walker Park to the east and south, is a single-storeyed timber residence with a detached kitchen house overlooking Moreton Bay and Stradbroke Island to the east. The residence has a corrugated iron gable roof, in which an attic space has been enclosed in recent years, with a large dormer window to both the northwest and southeast. The building has both timber and concrete stumps, with a timber batten skirt to the perimeter. It has verandahs to all sides with corrugated iron skillion roofs, boarded soffits and timber posts.

A handsome cedar staircase with finely turned balustrades and carved newel posts rises from the corridor extending from the northern entrance off Mary Street. The upper level is organised around a central corridor incorporating a hall at the top of the stairs with two rooms to the Mary Street side and two to Reef Street. French windows to the rooms on the Reef Street side open onto a verandah, now enclosed with weatherboard cladding and casement windows, running along the Reef Street side. All interior walls are plastered and this level is notable for decorative pressed metal ceilings to rooms, hall, corridor and staircase soffits and the retention of much original cedar joinery including skirtings, architraves, doors and windows.

Adjacent to Young Street the single storey rendered masonry section has articulated engaged piers to its southern elevation, a hipped corrugated iron roof surmounted by two small ventilators, quad guttering, later sliding aluminium windows and boarded soffits in line with the rafters. The two storey rendered masonry section attached along its northern also has a hipped corrugated iron roof and quad guttering but has a flat soffit with timber cover strips and no evidence of articulated piers. It has a rendered masonry string course below the window line. The windows comprise groups of six top hung sashes to the western elevation with later aluminium sliding windows generally throughout the remainder of the building.

The stables present original sandstone external wall facades featuring extant heads and sills to some windows and a hipped slate roof with original eaves including fascias, soffits and soffit mouldings. The south elevation was treated as the prime side of the stables and the crook of the east and west wings enclosed the main stables-related working area. This elevation features window heads and sills to larger first floor window, WWII opening and sill to small window, original window frames and sashes and a recycled small window frame and sash at first floor level. The Western elevation was the least important side of the stables building and was originally a totally blank and recessive facade.

Eastward of the four bays is Eduardo's eighteenth century work; it consists of a cross, with transepts, or rather pseudo-transepts, carried up throughout to the height of the nave and first aisles, but not extending laterally beyond the secondary aisles. Throughout the arches are scarcely pointed, as nearly as possible forming a semi-circle. The square of the cross is like the old work, except that the soffits of the four sustaining arches are enriched with featherings of shell-work, and above these is a deeply sunk hollow, enriched with ornaments. Above the arches rises a second pointed arch, sustaining a vaulted ciborium, entirely classical on the exterior, but pointed within.

The factory for the silverware and medallion manufactures Stokes and Sons was constructed in Albert Street, Brunswick in 1936. It was a significant building for architects Seabrook and Fildes, as it saw them expand their Modernist design principles to successfully execute an industrial building type. Constructed in their signature cream-brick it broke down the traditional large factory into a series of volumes, each scaled according to its function, the largest for the manufacturing part of the complex and a lower volume for the office spaces. It also featured the bright colors used at MacRob, with window frames in bright vermillion, the soffits of the long ledges above in bright blue, with a bright yellow front door and lettering of the signage.

In foremost use soffit is the first definition in the table above. In spatial analysis, it is one of the two necessary planes of any (3-dimensional) optionally built area, eaves, which projects, for such area to be within the building's space. In two-dimensional face analysis it is a discrete face almost always parallel with the ground that bridges the gap(s) between a building's siding (walls) and either: their parallel extraneous plane (fascia) where such exists; or where no such plane, a point along (or the abrupt end of) the roof's outer projection (overhang). Soffits and fascias are archetypally screwed or nailed to rafters known as lookout rafters or lookouts for short, their repair being often undertaken simultaneously.

Bay of Quinte Railway Engine #5 and its crew, about to leave Napanee for Deseronto, circa 1900 - 1903. The original Grand Trunk stations were stone buildings constructed during or immediately after the 1856 opening of the GTR (now CN) mainline from Montréal to Toronto. Nine survive today, including a pair at Napanee and Ernestown in Lennox and Addington County which were built from Kingston Limestone using similar design. The first generation "Type C" Grand Trunk stations (small stations in Napanee, Ernestown, Brighton) were stone rectangular buildings with four chimneys and five bays for arched windows on the long side and two on each end, under a pitched slate roof with elongated eaves and soffits supported by end rafters and triangular brackets.

At Norton, it passes the site of Norton mill and Norton Priory before passing under Tanpit bridge, a single arched bridge constructed of dressed stone with brick lined soffits in the early nineteenth century. By the time it reaches another railway line, it is only above sea level, and the channel is embanked on both sides to prevent flooding of the surrounding low- lying land. Beyond Went bridge, where the A19 road crosses, the river used to take a winding route round the southern edge of Stubbs Common, but a new straight channel has been made, which has counter drains on either side, to collect seepage through the banks. Lake Drain joins the river at Lake Mouth, just beyond the point at which the old course of the river rejoins the new.

Exposed concrete soffits provide the majority of the thermal mass and these are pre-cooled by the night-time cooling strategy. In very hot weather when the natural ventilation can no longer maintain the required conditions, cool water (fed by the river cooling system) is circulated around either chilled beams or pipes embedded in the concrete slab to provide further cooling. The building was designed to make maximum use of daylight, both to provide a bright environment and also to reduce energy consumption. The large window areas and 'sky-lights' in the roof cones provide sufficient natural light for low-energy electric lighting to be kept to a minimum, reducing both energy demands and ambient heat creation. Artificial lighting typically represents around 30% of a building’s energy use.

In the side jambs are carved six figures, after the rest of the portal, four of which represent Moses, Aaron, Saint Peter and Paul the Apostle; the other two are not easily identifiable. Although the portal concentrates all the interest, it can not be ignored the rest of the gable, escorting robust buttresses topped with pinnacles. It's later work, of the late-13th century. Its two upper sections, structured along the lines of the central body of the facade of Saint Mary, are occupied by a rosette and on it a set of open gallery with three arches with soffits openwork with triple quatrefoil and supported by mullions against the looming one statuary interpreted as the Divine Liturgy, which Christ administers the Eucharist flanked by twelve angels cerifers and thurifers.

The generous two-storey verandah employs cast iron columns, providing the necessary strength for the added height. A number of the original decorative details survive, such as the wave motif to the dado rail, the blue and white transfer tiles and the fern and sunburst detail to the grate in the dining room. The decorative motifs used are similar to the interior schemes designed by French-Australian artist Lucien Henry. Details such as panelled timber ceilings and soffits and the incised Japanese-style curves in the solid brackets to the first floro are details that appear in Vernon's later domestic designs, the former in his own house at Wendover and in the postal chamber of the Newtown Post Office and the latter in the staff residence in the grounds of Callan Park.

"In the specific instance of vinyl soffits, the soffit material can melt away and allow an open chase for flames to rapidly spread into the attic space," the draft said. The AP reported that one member of the International Code Council, an association which develops the building codes used to construct residential and commercial buildings, including homes and schools in most U.S. cities, counties and states, stated that he had "received word that the Ocean Isle Beach fire ... began outside and raced through the soffit and into the attic." One NC state code council member said it's too early to determine whether they will consider similar proposals for standalone homes, such as the one from the Ocean Isle Beach fire of October 28. "We look at every issue like this," he told The Sun-News of Myrtle Beach, South Carolina.

The scale, form, use of materials and detailing of the building makes a positive contribution to the intact 19th and early 20th century streetscapes of the Gloucester, Harrington, and Essex Street precinct. The use of the combination of roughcast and face brick was prevalent in the design of workers' housing in England and in Australia. The building has technical significance in that the interior of the building was detailed to provide a "fireproof" form of construction with the steel column and beam in the front section of the building and the use of corrugated and pressed metal ceilings and stair soffits throughout the building. The building has technical significance in that the lower levels of the building were provided with through ventilation by means of shafts incorporated into the chimney breast which drew hot and stale air up to the roof level.

In the church yard are some tombs of the Thatcher's, and for the > Woods who resided at Northwood, in this parish and Bicknor." Memorial stone for William Tylden, dated 1613. The Tyldens were an ancient landholding family in the area for at least three centuries and William Tylden's memorial stone lies set in the floor of the north chancel, showing his date of death as 23 December 1613 Samuel Lewis, in his 1831 Topographical Dictionary of England wrote of a "tower steeple and some fine remains of stained glass in the great east window." In 1852, Arthur Hussey described the church as having architectural features "certainly of a very early character" and further: > "In Wormshill church the arches, which are pointed, appear to be mere > perforations of the wall, the soffits being single, the angles not > chamfered, of the thickness of the wall, flat and plain from one side to the > other.

The arches have brick soffits and the pier faces are of masonry. Although the permanent Tweed bridge had originally been scheduled for completion in July 1849, it actually first opened to goods traffic on 20 July 1850, and was formally opened on 29 August 1850.The Architect (periodical), 7 September 1850, quoted in Tomlinson, page 507 A special arrangement was made to pass a special passenger train for visitors to a meeting at Edinburgh for the Royal Society for the Advance of Science on 1 August 1850, only a single line being available.M E Quick, Railway Passenger Stations in England Scotland and Wales—A Chronology, The Railway and Canal Historical Society, 2002 George Leeman, Chairman of the York Newcastle and Berwick Railway, referred to the special train, and disclosed that the full opening had been intentionally delayed to comply with Royal commitments, in a speech at a dinner in honour of Robert Stephenson in Newcastle on 30 July 1850: > Gentlemen, perhaps you will think I have said enough upon the subject of the > High Level Bridge.

In order to remember the appearance of the palace at the end of the 11th century, we must imagine that all the vegetal, geometric and epigraphic reliefs were polychromed in shades in which red and blue predominated for backgrounds and gold for reliefs, which, together with the soffits in alabaster with epigraphic decoration and the floors of white marble, gave the whole an aspect of great magnificence. The various avatars suffered by the Aljafería, have made disappear from this layout of the 11th century a large part of the stuccos that made up the decoration and, with the construction of the palace of the Catholic Monarchs in 1492, the entire second floor, which broke the ends of the Taifal arches. In the current restoration, the original arabesques are observed in darker color and in white and smooth finishes the reconstruction of plaster of the decoration the arches, whose structure, however, remains undamaged. The decoration of the walls of the Golden Hall has disappeared for the most part, although remains of its decoration are preserved in the Museo de Zaragoza and in the National Archaeological Museum of Madrid.