Arundells

Arundells is a Grade II* listed house at 59 Cathedral Close, Salisbury, Wiltshire, England. Located on the West Walk of the Close, next to the 'Wardrobe' (Rifles Museum), it was the home of Edward Heath, the former Prime Minister of the United Kingdom, from 1985 until his death in 2005.
The house and its extensive garden are open to the public five days a week from late March to late October each year (it is closed on Thursdays and Fridays).
History of the house.
Arundells has its origins as a Medieval canonry in the thirteenth century; its first recorded occupant was Henry of Blunston, Archdeacon of Dorset, who was resident from 1291 to 1316. Many other canons lived there up to Leonard Bilson, who was imprisoned in 1571 for practising sorcery and magic. The house was then leased by the Cathedral Chapter to a series of lay tenants, including Sir Richard Mompesson (from 1609) and John Wyndham (1718); the former rebuilt a large part of the property in the classic style of the day. Wyndham gave the house to his daughter, who married the third son, James Everard Arundel, of the sixth Lord Arundel of Wardour in 1752, resulting in the house acquiring its current name.
Arundells housed Godolphin Girls' School and a boys' boarding school at different times in the 19th century, with Godolphin's, which is still located in Salisbury, moving from Arundells after an outbreak of cholera in the city.
During the Second World War, Arundells was used as a book and wool store by the Red Cross. It fell into serious disrepair after the war and the Cathedral Chapter, responsible for the Close, considered demolishing it, before the leasehold was purchased for a token amount by Mr and Mrs Robert Hawkings in 1964, and the property was subsequently renovated. In 1985, at the age of 69, the former British Prime Minister, Sir Edward Heath, bought Arundells, partly because of its proximity to the Solent, where he sailed. He engaged the renowned interior designer, Derek Frost, whose brief was to modernise the house in a contemporary fashion while paying respect to the Queen Anne original.
Frost designed display cabinets to house Sir Edward's many trophies and awards. He also designed a number of custom pieces of furniture for the house that remain there to this day. It was the first time in his life that Sir Edward had owned a property. (Heath had been Prime Minister from June 1970 to March 1974, and remained a Member of Parliament until 2001, as the Father of the House at Westminster). In 1993, he added the freehold to the lease, purchasing it from Salisbury Cathedral, when the latter was seeking to raise money for its restoration programme. (Heath was an active supporter of the cathedral's 'Spire Appeal'.)
Following Heath's death in July 2005, his estate was bequeathed to the Sir Edward Heath Charitable Foundation, established under his will, with the express purpose of ensuring that the house and its contents could be opened to the public as a place of historic interest.
Opening to the public.
The ground-floor rooms at Arundells were opened to the public in 2008 and received about 50,000 visitors in the first six years to 2013 (a figure that has since gone up to around 80,000). In spring 2014, the trustees opened some of the first-floor rooms for the first time, including Heath's study, where he worked at a desk which originally belonged to an earlier Prime Minister, David Lloyd George. The exhibits on the first floor now include political and other memorabilia, such as Heath's ministerial boxes and personal banner from the Order of the Garter. The staircase is decorated by hand-painted Chinese wallpaper depicting classic legends. Heath's former political secretary, Douglas Hurd, was guest of honour at the formal opening of the study in summer 2014.
The former Labour cabinet minister, Tony Benn, was – despite his left-wing political views – a close friend of Heath and an early supporter of efforts to ensure the permanent opening of the house, saying "I know the house, I knew Ted ... and visited him there after he retired from politics.” Subsequently, a number of political figures of all parties – including Geoffrey Howe, David Hunt, Kenneth Clarke, Peter Mandelson, Hilary Benn, Charles Kennedy and Alan Beith, as well as Douglas Hurd – expressed strong public support for the house being permanently open to the public, including the necessary planning permissions for this purpose.
The former Labour Chancellor and Home Secretary, Roy Jenkins, who was a lifelong friend of Heath, dating from their time together as students at Balliol College, Oxford, is said to have looked out towards Salisbury Cathedral from the front guest bedroom on the first floor of Arundells and remarked that the view was one of the ten finest in the country, to which Heath replied: "Why, what are the other nine?"
Arundells is open to the public five days a week from late March to early November each year, being closed on Thursdays and Fridays. In addition to its public opening days, the property regularly hosts private events, including recitals and seminars.
Arundells' art and other collections.
The house contains a varied and unique collection of artefacts reflecting Heath's time in public life, his passion for art, and his notable achievements in music and sailing. There is a large range of paintings, drawings, prints, European and Oriental ceramics, sailing memorabilia and political mementos, including:
Among the paintings and prints by over 20 artists on display are "Yachts at Sea" by L. S. Lowry; "Between Aix and Arles" and "Mimizan" by Sir Winston Churchill, both given to Heath by the artist in the 1950s, one of which is unique in being signed 'WSC' twice; a series of scenes by John Piper, including two views of Arundells itself; three paintings by John Singer Sargent; one each by Augustus John, Walter Sickert and Ken Howard, and an impressive collection of Japanese woodblock prints by Utamaro and Hiroshi Yoshida, including the latter's well-known 'Inland Sea series', six seascapes of the same scene at different times in the day. A painting of Heath's home-town of Broadstairs in Kent by Robert Ponsonby-Staples was given to him by the Poet Laureate Sir John Betjeman
Charitable trust.
Arundells is owned and managed by the Sir Edward Heath Charitable Foundation, a charity established under Heath's will, whose honorary chairman is currently John MacGregor, who served as Heath's political secretary in the 1960s and as Cabinet minister under both Margaret Thatcher and John Major. Major in turn serves as president of the Foundation's fund-raising campaign. Previous chairmen include Robert Armstrong, the former Cabinet Secretary, and David Hunt, also a Cabinet minister under Major.
When Heath died in 2005, his estate was valued at £5 million and the Foundation opened Arundells to the public in 2008, initially for a three-year period, under planning permission at the time. Although the property has since received around 80,000 visitors, the trustees initially found it difficult to make the property self-financing, as they wished, and concluded in September 2010 that they would prefer to sell the house and its contents, at the end of the three-year period, and to allocate the proceeds to other charitable causes, notably music, rather than continue with existing arrangements. However, active grass-roots opposition from local supporters of the house, organized by the 'Friends of Arundells', led by Tony Burnside, prompted the Charity Commission to rule in September 2011 that any sale would be premature, with the Foundation asked to make more vigorous efforts to meet the central objective of Heath's will. The then trustees continued to argue for a sale, and although they opened the property for the 2012 season, they announced their continued wish to sell it thereafter, if the Charity Commission would permit them to do so.
The developing impasse was broken in December 2012, when a group of former political advisers to Heath and to other leading Conservative figures (from the Heath, Thatcher and Major governments), led by Heath's former political secretary in the 1980s, Peter Batey, intervened in the dispute to offer a compromise, whereby funding would be provided to cover any operating deficit in the near-term, whilst improvements in the management of the property were undertaken, planning permission was secured from Wiltshire Council to allow the house and garden to be open on a permanent basis (rather than on a three-year rolling basis), and a longer-term fund-raising process was undertaken to guarantee the fabric of the property and allow Arundells to become a centre for charitable activity related to Heath's interests. (The issue of planning permission was important because the Cathedral Chapter objected to it, claiming that the continued opening of the house "might change the character of the area" by "reinforcing the element of commerciality", but their objections were overruled by Wiltshire Council).
The Batey proposal was accepted by the Foundation in November 2013, with a view to Arundells remaining permanently open to the public, and Mr Batey was appointed as a trustee. With permanent planning permission granted soon thereafter, some of the first-floor rooms of the house, including Heath's study, were opened to the public in 2014. The Foundation began to undertake a series of lectures, seminars and exhibitions at the house and elsewhere in Salisbury, including talks by leading political and yachting personalities. Exhibitions have so far included images of 1965 as a year in British politics and culture; leading statesmen and women of the 1970s; Heath and Europe; Heath and Music; and Heath: The Soldier.
The official Arundells website, maintained by the Foundation, includes a selection of video and audio links relating to Heath's life and career, including the 2011 BBC television documentary, 'Wilson versus Heath: The Ten-Year Duel', which traces the defining political rivalry between the leaders of the two main British political parties which ran between July 1965 and February 1975.


John Daniels House

The John Daniels House is a historic building located at 77 Yorkville Avenue in the Yorkville neighbourhood in Toronto, Ontario, Canada.
John Daniels, a constable for the village of Yorkville in the mid-19th century, built the structure as his home in 1867. It is designed in a Georgian style.
It is one of the last surviving historic buildings in the area, and was designated under the "Ontario Heritage Act" in 1985. Presently, it houses a small antique shop.


Bearwood House


Western false front architecture

Western false front architecture or false front commercial architecture is a type of commercial architecture used in the Old West of the United States. Often used on two-story buildings, the style includes a vertical facade with a square top, often hiding a gable roof.
The goal for the architecture is to project an image of stability and success, while in fact a business owner may not have invested much in a building that might be temporary. Four defining characteristics have been suggested:
The N. P. Smith Pioneer Hardware Store in Bend, Oregon is an example where the owner ran a store or other business on the ground floor and lived upstairs. There were many false front buildings constructed in the Bend, Oregon area between 1900 and 1910. However, the Smith hardware store is the only surviving example in downtown Bend.


Mariinsky Palace

Mariinsky Palace (), also known as Marie Palace, was the last neoclassical Imperial residence to be constructed in Saint Petersburg. It was built between 1839 and 1844, designed by the court architect Andrei Stackenschneider. It houses the city's Legislative Assembly.
Location.
The palace stands on the south side of Saint Isaac's Square, just across the Blue Bridge from Saint Isaac's Cathedral. The site had been previously owned by Zakhar Chernyshev, and contained his home designed by Jean-Baptiste Vallin, which was built between 1762 and 1768. Chernyshev occasionally lent his home to foreign dignitaries visiting the capital, such as Louis Henri, Prince of Condé.
From 1825 to 1839, the Chernyshev Palace, as it was then known, was the site of the , where Mikhail Lermontov was known to have studied for two years. The palace was demolished in 1839, and materials were reused in the construction of the Mariinsky Palace.
Conception and style.
The palace was conceived by Nicholas I as a present to his eldest daughter, Grand Duchess Maria Nikolaevna, on the occasion of her marriage to Maximilian de Beauharnais, Empress Joséphine's grandson.
Although the reddish-brown facade is elaborately rusticated and features corinthian columns arranged in a traditional Neoclassical mode, the whole design was inspired by the 17th-century French Baroque messuages. Other eclectic influences are visible in the Renaissance details of exterior ornamentation, and the interior decoration, with each room designed in a different historic style. The palace is now painted white.
State Council.
The Mariinsky Palace returned to Imperial ownership in 1884, where it remained until 1917. During that period, the palace housed the State Council, Imperial Chancellery, and Committee of Ministers, which after 1905 became the Council of Ministers. The grand hall for the sessions of the State Council was designed by Leon Benois.
On , Socialist Revolutionary Party member Stepan Balmashov assassinated the Minister of Internal Affairs, Dmitry Sipyagin, while the minister was between meetings at the palace.
In 1904, painter Ilya Repin completed "". The painting was commissioned as a commemoration of the State Council's centenary. The canvas is , and features 81 historical figures, including Nicholas II. Repin recorded in his journal the painting was on display at the Winter Palace for some time before its installation at Mariinsky Palace.
Government use.
The Russian Provisional Government took full possession of the palace in March 1917, and gave it over to the Provisional Council soon after. Following the October Revolution, the palace housed various Soviet ministries and academies. During the war with Germany, the palace was converted to a hospital, and was subject to intense bombing.
After the war, the palace became the residence of the Petrograd Soviet. During the 1991 coup attempt, the Emergency Committee used the palace as a base of operations. Barricades and heavy fortifications were constructed along the palace's perimeter, which remained for some time after the coup was suppressed.
The palace has been the site of the Legislative Assembly of Saint Petersburg since 1994.


Comedy Theatre of Budapest

The Comedy Theatre of Budapest () is a theatre in Budapest. Starting in the turn of the 19th and 20th century as an opposition to the conservative National Theatre, it became a pioneer institution of Hungarian drama, and one of the oldest theatres of the city still in operation.
The building.
The Vígszínház was designed by architects Ferdinand Fellner and Hermann Helmer who worked on over 47 state-of-the-art theatre buildings around Europe. Its construction was financed by the tripartite ownership consisting of Count István Keglevich, the writer Ferenc Szécsi, and local businessman Gábor Faludi. I The destined area was a swampland before, but in the next few years it developed into the bourgeois Lipótváros district. The construction started in 1895 and lasted for one year, finishing on 1 May 1896. With 3 main tracts: the stage, including the flies; the lower seating tract; and the entry hall; the building exemplifies late historicism, featuring large sizes, an elevated driveway and baroque decorations, often using golden coloring. As a distinct feature from contemporary theatres, the Vígszínház featured three rows of box seats, large corridors and public areas supported by several wide stairs to answer the call of rising social life in the rapidly developing Budapest.
History.
Mór Ditrói was the first director, coming from Kolozsvár (today Cluj-Napoca). He also brought his company of young actors, who were unknown to the Budapest audience at the time. They quickly created a unique and modern repertoire differing from the era's classical theatre, that featured both French comedies, contemporary Hungarian (starting the career of Ferenc Molnár, Sándor Bródy, or Jenő Heltai), and foreign (like from Irwine Shaw, Bertold Brecht, Anton Chekhov) dramas. The Vígszínház provided starting ground and home for several of the biggest names of the theatrical world from the turn of the century, like Gyula Csortos, Lili Darvas, Lili Muráti, Artur Somlay, Klári Tolnay or Gyula Kabos.
In the last days of World War II, Jan 1 1945 the theatre was hit by bombshells, so the company moved to the "Radius Movie Theatre" in the Nagymező Street. The repairs began under the supervision of Oszkár Kaufmann. Along with other similar artistic institution, Vígszínház was nationalized in 1949 (before this time, it operated as a private theatre). It reopened in 1951 under the name "Theatre of the People's Army". Regaining its original name in 1960, Vígszínház became the main center of contemporary drama again, showing plays from Hungarian authors like Gábor Thurzó, Gyula Illyés, István Örkény, or classical 20th century authors like Arthur Miller or Friedrich Dürrenmatt . In 1973 they premiered the popular "Képzelt riport egy amerikai popfesztiválról" (An Imaginary Report on an American Rock Festival), resulting in several other musical productions under the supervision of Gábor Presser. The building underwent significant repairs in 1994.
With an average of 350.000 tickets sold each year, Vígszínház is still one of the most successful theatrical venues in Budapest.
Pesti Színház.
Pesti Színház Theatre, the chamber theater of Vígszínház, is located in the 5th district. (address: Váci str. 9) Its auditorium's capacity is 538 persons.
Pesti Színház Theatre was built in 1840, based on the plans of architect József Hild. Now the building is protected by the law of National Monuments Inspectorate. Initially there was an elegant coffee house with marble columns in the tract opens to the Aranykéz street. The upper floors originally accommodated private apartments, but these were rebuilt for suites of Hotel National. In 1902 a new reconstruction program began and the premises of Cinema Corso occupied the ground floor.
In 1936–37 the building was reconstructed again and the auditorium of the Corso Cinema was expanded. In World War II almost the whole building was destroyed. The restoration started only in 1945 and some years later the cinema was renamed to Bartók Hall.
From 1967 Pesti Színház Theatre is the chamber theatre of Vígszínház with the same company. It's a venue for plays with a more intimate atmosphere. The Pesti Színház Theatre also has several English and American successes, musicals and children-plays to its credit. The building was renovated in 2009 in a modern style.


Tanjung Priuk railway station

Tanjung Priuk Station (TPK), is a railway station in Tanjung Priok, Tanjung Priok, North Jakarta. It is located across the Tanjung Priok Port, which is the main port of Jakarta. This station is one of the oldest in Jakarta and the biggest station built during the Dutch East Indies era. It is included in the list of heritage buildings by the government of Jakarta.
History.
The history of Tanjung Priuk station is intertwined with the port of Tanjung Priok, the main port and gateway to Batavia and thereby of the entire Dutch East Indies.
The port was built in 1877 in response to the increased maritime traffic accompanying the opening of the Suez Canal. Since Tanjung Priok is situated further away from Batavia than the old port of Sunda Kelapa, a railway was constructed linking Tanjung Priok to the city of Batavia in the southwest. This would provide a safe and comfortable means of transportation in the swampy area.
The first station opened in 1885 on the quay immediately next to the first harbour. The second and current station was built a kilometer southward in 1914. The Art Deco building was designed by C.W. Koch, head engineer of the Staatsspoorwegen (SS). 1700 workers, including 130 Europeans, were tasked with constructing the station and the station was completed on 6 April 1925.
The station ceased to operate passenger trains between 2000 and 2009, during which the station was used for shunting freight trains. The station was renovated and reopened for passenger services on 28 April 2009.
Services.
So far only a few long distance economy class trains depart/terminate at this station. Starting from 1 November 2014, Tanjung Priuk Station only serves freight trains heading from/to Tanjung Priok Port. All passenger trains that used to terminate here were rerouted to Pasar Senen.
On 21 December 2015, the pink line to Jakarta Kota railway station was reopened, after being inactive for years.


Church of St Mary the Virgin, Prestwich

The Church of St Mary the Virgin is on Church Lane, Prestwich, Greater Manchester, England. It is an active Anglican parish church in the deanery of Radcliffe and Prestwich, the archdeaconry of Bolton and the diocese of Manchester. The church is recorded in the National Heritage List for England as a designated Grade I listed building. Pevsner refers to it as "a major church".
History.
Prestwich is not mentioned in the Domesday Book, but there is evidence of a church on the site since at least 1200. The tower was built in about 1500 by the 1st Earl of Derby, and the body of the church was rebuilt during the early part of the 16th century. In 1756 the south porch was rebuilt and the walls of the aisles were raised. The east vestry was rebuilt in 1803 and in 1860 the chancel was extended. In 1872 a new chapel, the Birch Chapel, was added to the south of the chancel and to the east of the existing south (Lever) chapel; the Lever Chapel was rebuilt two years later. In 1888–89 the Lancaster architects Paley, Austin and Paley rebuilt the north (Wilton) chapel and the chancel, and added an organ chamber and a vestry on the north side of the chancel. The north porch dates from 1895. The north and south galleries were removed in 1959.
Architecture.
Exterior.
The church is constructed in red sandstone with stone slate roofs. Its plan consists of a five-bay nave with a clerestory, a three-bay chancel with a clerestory rising higher than that of the nave, north and south aisles, north and south porches, and a west tower. The two eastern bays of the north aisle comprise the Wilton Chapel, the work of Paley and Austin in 1872. There is some doubt as to whether it is original Paley and Austin or a rebuild of something earlier. Of this chapel Pevsner writes "the uncusped tracery is almost convincing Henry VIII but not quite." Beyond the Wilton Chapel are the organ chamber and the choir vestry. On the south of the church the Lever Chapel occupies a corresponding position to the Wilton Chapel, and to the east of this is the Birch (or Lady) Chapel. The tower is in three stages and rises to a height of . It has a buttress at each corner, and a stair turret in the northeast corner. In the bottom stage is a doorway above which is a three-light window. In the middle stage on the west side is a two-light square-headed window. At a higher level in this stage are clock faces on the north, south and east sides. A reference in the churchwarden's accounts notes that there was a clock in the tower in 1656. The top stage contains a three-light louvred bell opening on each side, and above them a string course with gargoyles. At the top of the tower is an embattled parapet, and it is surmounted by a pyramidal roof with a weathervane. Both aisles have two cusped, tracery-less, three-light windows and above them are three three-light square-headed, mullioned windows. At the west end of the north aisle is a Decorated two-light window, and at the west end of the south aisle the window has three lights. The clerestory has a range of two-light square-headed windows on each side. The Lever chapel has two four-light windows, and in the Wilton chapel are three three-light windows. The east window of the chancel has seven lights and contains Perpendicular tracery. The south porch is dated 1756.
Interior.
The arcades are carried on tall octagonal piers mostly without capitals. The roof is coffered and contains carved bosses; although much restored, it still contains some 16th century timber. The chancel is floored in polychromatic marble. The stone reredos is a memorial to a child who died at the age of eight from scarlet fever in 1863. The altar rails, the stalls, the screen and the pulpit were designed by Paley, Austin and Paley. The organ screen is a memorial to the First World War and wings were added to it to commemorate the Second World War. Also in the church is a chandelier given to the church in 1701, incorporating an eagle and child, the symbol of the Earls of Derby. The stained glass in the east window is by Ward and Hughes, and dates from 1861. During the 1888—89 rebuilding of the chancel, the glass was altered and installed in the new window. There is stained glass by the same makers in the Lady Chapel, dated 1876, and in the tower, dating from 1884. In the Wilton Chapel is glass by Clayton and Bell dating from 1890 to 1892. In the chancel and in the organ chamber are windows by Shrigley and Hunt dated between 1904 and 1927. The finest monument in the church is one dated 1833 by Sievier to the memory of a rector, Rev'd James Lyon, who had been the incumbent for 50 years. Also in the church are memorials to two members of the Grey Egerton family, who died respectively in 1743 and 1756, and to Sir Ashton Lever of Alkrington Hall, who died in 1788. In the chancel is a brass dated 1634.
Organ and bells.
The original two manual organ was built by Renn and Boston in 1825 but was moved to St Matthew's, Preston, in 1891. It was replaced in 1889 by a new organ built by the Belgian firm of Anneesens. This was given by the 4th Earl of Wilton and cost £1,000 (). By 1901, the organ had become unplayable and it was replaced by a three-manual organ by Abbott and Smith. This too was replaced in 1964 by an organ made by J. W. Walker, using some of the pipes from the previous organ. In 2006 this organ was restored and rebuilt by Principal Pipe Organs of York.
Originally there was a ring of four bells. These were recast into five bells in 1721 by Abraham Rudhall, who added a sixth bell at the same time. These were all replaced in the 20th century by a ring of eight bells, all cast by John Taylor, two of them in 1910 and the rest in 1919.
In 1999, to celebrate the Millennium, the bells were fitted with additional electromagnetic hammers so that they could be tolled automatically. This work was carried out by Gunning & Kavanagh, Co. Down and was designed to allow the bells to be pealed using the ropes or tolled using the new control panel situated inside the church at the foot of the bell tower.
Churchyard.
The Churchyard dates to the fourteenth century but has been extended many times, including 1827 (when the yard was enclosed), 1864, 1886, 1924 and 1950.
The western section of the churchyard contains the burial plots of over 5000 inmates of the Prestwich County Asylum (later Prestwich Hospitalin its time Europe's largest psychiatric hospital) dating between 1851 and 1968. Several graves for the asylum's attendants and some for inmates are marked by grave slabs, but the majority are unmarked, communal graves. In 2006, a memorial was erected to mark these graves, funded by parishioners with assistance from Prestwich area board and Salford, Trafford and Bolton NHS Mental Health Trust. The memorial is made of ruby grey Welsh slate and was consecrated by the Bishop of Bolton.
The churchyard contains the grade II* listed funerary monument to John Brooks (1788–1849) of Crawshaw Hall, the son of cotton entrepreneur and banker William Brooks. The monument was sculpted by John Thomas and cost approx £3000. John Brooks was a partner in the calico printing firm of Cunliffe & Brooks who had a mill near Blackburn. He was also Secretary of the Anti-Corn Law League and a philanthropist. The monument comprises a panelled pedestal of granite set upon a large, square stone plinth and was originally enclosed by railings, which were removed as part of the war effort during World War II. It has a square aedicule of Sicilian marble above with niches to each face framed by decorated piers, each containing a life-size carved female figure in classical dress. Each face is pedimented with a bracketed cornice beneath interspersed with carved medallions. The north face contains the figure 'Industry' depicted with a wheel, the west face the figure 'Commerce' depicted with bales of cotton/calico, the east face the figure 'Charity' depicted with babes in arms and the south face contains the figure 'Integrity' depicted holding a book. Carved decorations to the piers and spandrels include depictions of cotton and flax plants, roses, poppies and oak and laurel leaves. The figure of "Charity" was exhibited at the Great Exhibition of 1851.
In the churchyard are 48 war graves of service personnel, 29 of World War I and 19 of World War II. Graves include servicemen from:
and one servicewoman from the Auxiliary Territorial Service.
The churchyard is the resting place of Sir William Fairbairn Bt, Sir William Mather and William Sturgeon. Three noted botanists, Richard Buxton, John Horsefield and James Percival are buried in one corner of the churchyard.
Other notable plots include:
The church yard contains other important structures, including the gate piers of 1827, and boundary walls of 1827 and 1886 enclosing the churchyard to north, east and south sides (grade II, 1985), the 18th century 3-step monolithic sandstone mounting block (grade II, 1985), a section of boundary wall to the north of the church yard with an oval inscription (grade II, 1985) are all listed monuments, as is the sundial to the south of the church grade (II, 1985). The 1801 hearse house adjacent to the Church Inn was listed grade II in 2012 as an important survival of a late Georgian hearse house with a design that is above the purely functional. Despite some later alterations, it retains many original features, including its stone sett floors and a timber ledger cupboard. There are a 1668 tomb crest and a medieval tomb slab with incised decoration built into the interior walls. Most unusual among the listed monuments in the church yard is a triangular stone measuring about 4 feet by 4 feet, and perhaps 5 inches thick, inscribed: It was listed as a grade II monument in 1985.


Latin America Memorial

The Latin America Memorial (in Portuguese, Memorial da América Latina) is a cultural, political and leisure complex, inaugurated in 1989, in São Paulo, Brazil. The architectural setting, designed by Oscar Niemeyer, is a monument to the cultural, political, social and economic integration of Latin America, spanning an area of 84,482 square meters. Its cultural project was developed by Brazilian anthropologist Darcy Ribeiro. It is a public foundation, financially and administratively autonomous, maintained by the state government.
The architectural complex consists of several buildings arranged around two squares. It comprises: "Salão de Atos Tiradentes" (Tiradentes "hall of acts"), the Victor Civita Latin American Library, the Brazilian Center of Latin American Studies, the Marta Traba Gallery of Latin American Art, the "Pavilhão da Criatividade" ("creativity pavilion"), the Símon Bolívar Auditorium, and the Latin American Parliament building. In the main square ("Praça Cívica"), there is a large concrete sculpture, also designed by Oscar Niemeyer, representing an open hand in vertical position, with the map of Latin America painted in red. It's a symbol of Latin America's past of oppression and its battles for freedom, with the red map as a reminder of the blood from the sacrifices that were made.
The Memorial has a permanent collection of works of art, on display in indoor and outdoor areas, as well as a large assemblage of Latin American folk art, housed in the "Pavilhão da Criatividade". The library comprises 30,000 titles, besides music and image departments. The Memorial promotes exhibitions, conferences, debates, video sessions, theater, dance and music performances. It also has a research center specializing in Latin American issues and keeps an active bibliographic production. From 1989 to 2007, the Memorial also served as a host to the Latin American Parliament.
Fire.
On November 29, 2013, the Simón Bolívar Auditorium caught fire, causing an extensive destruction of its inner parts. Causes of fire are unknown, although a short circuit was cited. Authorities predict more than 90% of the site have been consumed. Some employees stated the original blueprints from Oscar Niemeyer were inside the building. 25 firefighters were wounded, many of them because a flashover occurred during their attempt to ventilate the building.


Holmshurst Manor

Holmshurst Manor is a Jacobean country house located near Burwash in East Sussex, England. In 1970 it was purchased by Roger Daltrey of The Who.
Description.
Holmshurst is located north of Burwash Common, near Witherenden Hill, and is surrounded by farm land. The house is built of brick with stone dressing and has twenty rooms and seven bedrooms. It features a tile roof, clustered chimneys, stone fireplaces, stained glass windows, oak paneling and a gallery seventy feet in length. Daltrey maintained the Jacobean style of the house, but also installed a sauna and Persian carpets. In the mid-1970s Daltrey designed and built Lakedown Fishery on the manor farm, and also installed a recording studio in one of the barns.
The grounds include a number of outbuildings, including two oast houses, meant for roasting hops as part of the process for brewing beer, and a granary which Daltrey converted to a garage. The manor house, oast houses and granary are listed as Grade II historical structures by English Heritage. Two cottages on the property are also listed as Grade II structures.
History.
Holmshurst Manor was originally built by Goddard Hepden (Hebden) in 1610 and bears his initials "GH" carved in a coat-of-arms on the lintel. Hepden is thought to have been born in Burwash in about 1550, the son of John Hepden and Joan Wenham. He married Anne Frye, thought to have been born about 1552 in Ringmer, the daughter of Nicholas and Elizabeth Frye. The couple married around 1580 and raised twelve children.
The Burwash War Memorial lists Richard Walker of Holmshurst, the son of Charles W. Walker, who was a horse breeder. Richard Walker was a lieutenant of the Lancashire Fusiliers, and died 9 August 1916 at the age of 33.


White River Mess Hall and Dormitory

The White River Mess Hall and Dormitory is the only remaining Civilian Conservation Corps camp structure remaining in Mount Rainier National Park. The wood-framed building was built in 1933, and comprising , originally containing a kitchen dining room, living room, two bathrooms, a bedroom and a bunkroom, as well as a service porch. The building no longer serves as a residence and is used for storage. It is located at the White River entrance to the park, part of a complex of service buildings.
The mess hall was listed on the National Register of Historic Places on March 13, 1991. It is included in the White River Entrance Historic District. It is part of the Mount Rainier National Historic Landmark District, which encompasses the entire park and which recognizes the park's inventory of Park Service-designed rustic architecture.


Rookery Building

The Rookery Building is a historic office building located at 209 South LaSalle Street in the Chicago Loop. Completed by architects Daniel Burnham and John Wellborn Root of Burnham and Root in 1888, it is considered one of their masterpiece buildings, and was once the location of their offices. The building is in height, twelve stories tall, and is considered the oldest standing high-rise in Chicago. It has a unique construction style featuring exterior load-bearing walls and an interior steel frame, providing a transition between accepted and new building techniques. The lobby was remodeled in 1905 by Frank Lloyd Wright. From 1989 to 1992, the lobby was restored to Wright's design.
The building was designated a Chicago Landmark on July 5, 1972, and was added to the National Register of Historic Places on April 17, 1970 and listed as a National Historic Landmark on May 15, 1975.
Name.
The name is a reference to the temporary building that occupied the land before the current structure. After the Great Chicago Fire, a quickly constructed building was used as an interim city hall, built around a large water tank that had survived the fire. That building was nicknamed the "rookery", in reference to the crows and pigeons that flocked to its exterior, as well as the alleged corrupt politicians it housed. Several other names were considered when the new structure on the site was proposed, but "The Rookery" won out.
Construction.
Burnham & Root.
The Rookery was built in 1888 by the architectural partnership of Daniel H. Burnham and John Wellborn Root, known as Burnham and Root. In the architectural boom that followed the Great Chicago Fire, architects in what would become known as the Chicago School of commercial architecture competed with each other to create the world's first true skyscrapers. By mixing modern building techniques, such as metal framing, fireproofing, elevators and plate glass, together with traditional ones, such as brick facades and elaborate ornamentation, Burnham and Root sought to create a bold architectural statement. At the same time, they intended their buildings to be commercially successful. This building is one of the few results of their partnership that is still standing.
As the master artisan, Root drew upon a variety of influences in designing the interior and exterior spaces, including Moorish, Byzantine, Venetian and Romanesque motifs. He also provided the architectural innovations that brought together many contemporary cutting edge building techniques. Of particular note was a "floating" foundation—a reinforced concrete slab that provided the building's weight with a solid platform atop Chicago's notoriously swampy soil. The term for the type of foundation that Root designed is grillage foundation, a foundation where iron rails and the structural beams are combined in a crisscross pattern and encased in concrete to support the building's immense weight without heavy foundation stones. This construction is particularly useful when structural loads are high compared to the natural bearing capacity of the soil.
Light court.
Making prodigious use of light and ornamentation, Root and Burnham designed a central light court to serve as the focal point for the entire building and provide daylight to interior offices. Rising two stories, the light court received immediate critical acclaim. "There is nothing bolder, more original, or more inspiring in modern civic architecture than its glass-covered court", wrote Eastern critic Henry Van Brunt. At a time when Chicago's bold experiment in architecture was looking eastward for affirmation, this was welcome praise. The light court provides natural illumination for the interior offices.
Frank Lloyd Wright was a young architectural assistant working with Adler and Sullivan at the time the Rookery was finished in 1888. Architect Daniel Burnham was a friend of Wright patron Edward C. Waller. Waller managed the Rookery; Wright had his offices in the building in 1898–1899. In 1905 Wright received the commission to redesign the lobby in the building; at the time considered the grandest in Chicago. Wright's work on the Rookery recast the entryway in his Prairie style and added a sense of modernity through his simple but effective lighting design. Wright's work on the Rookery is his only work on any building within the downtown cityscape.
Among Wright's most significant alterations was the addition of white marble with Persian-style ornamentation. The marble and decorative details added a sense of luxury to the lobby's steel-laden interior, marked by Burnham and Root's skeletal metal ribbing. The entire interior space is bright and open. A double set of curving, heavily ornamented stairs wind upward from the lobby's second floor into the building's interior. A wrap-around balcony on the second floor enhances the feeling of being within the interior of a "clockwork." The Wright remodel opened the building up to more of the available light.
Load bearing walls and steel structure.
The red marble, terra cotta and brick facade of the building is a combination of Roman Revival and Queen Anne styles that embraced Richardsonian Romanesque architecture. The building, which is a combination of iron framing and masonry bearing walls, marked a transition from masonry load-bearing structures to steel skeleton load-bearing structures. In fact, the Landmarks Commission citation commends "development of the skeleton structural frame using cast iron columns, wrought iron spandrel beams, and steel beams to support party walls and interior floors". Aside from the first two floors of metal-framed perimeter walls, the walls are all masonry. The building is known for its semi-circular staircase west of the light court.
Renovations.
While much of the Loop's 19th-century architecture has been lost to demolition and redevelopment, the Rookery has been spared this fate through a series of well executed renovations. The building remains a commercially successful rental office building, as it was when it was first built.
Beginning in the early 20th century, the building underwent three major renovations. In the first, from 1905 to 1907, Frank Lloyd Wright was retained to remake the interior spaces. In keeping with contemporary tastes, Wright's design covered Root's elaborate wrought iron finishes with white carved Carrara marble surfaces. Wright was highly regarded by the public at this point, and his changes brought enhanced status to the building, making the Rookery one of the most sought after buildings of Chicago. Some of Wright's other changes included incorporating simplified ironwork and adding his trademark style planters and light fixtures.
The second renovation, completed August 24, 1931 by former Wright assistant William Drummond, modernized many of the interior elements, including new elevators, and brought period touches to the building, such as Art Deco detailing. The third renovation, in 1992, brought the building back to much of its original splendor, reopening the light court ceiling after it had been covered over to protect against leaks.
After their purchase of the Rookery in October 2007, the new owners announced plans for an extensive renovation of the building's common areas. In 2011, Office for Visual Interaction completed the lighting design for the facade, illuminating the architectural features of the building with state-of-the-art LED technology. The Rookery achieved LEED Gold certification in 2014. In 2015 the restrooms were upgraded and a full-featured bike room was added. Additionally, a full elevator modernization was completed, inclusive of a destination dispatch and visitor system in 2017.
Tenants.
Burnham & Root had their offices at the Rookery for a while upon its completion, and at one time Frank Lloyd Wright had an office in the building as well. Current tenants include US Bank, Brooks Brothers, Perkins Eastman and Interactive Brokers Group.
Current ownership.
The building was purchased in October 2007 for $73 million by an investment group controlled by a European family, and advised by Zeb Bradford of Metzler North America Corp. The seller was Broadway Real Estate Partners of New York, which had bought the Rookery for $56 million in April 2006. BREP was reported to have increased occupancy of the building's from 80% in January 2007 to 96% at the time of the sale.
Visiting.
The Frank Lloyd Wright Trust offers tours inside Mondays through Fridays. Inside Chicago Walking Tours offers daily walking tours that explore the interior of the Rookery in addition to many other historic Chicago buildings. The Chicago Architecture Foundation also provides tours twice a month.
References.
Notes


Great Synagogue (Bila Tserkva)

The Great Synagogue or Choral Synagogue in Bila Tserkva, Kyiv Oblast, in Ukraine, was built in the middle of the 19th century. Today the building, which is in good condition, is used as a college.
History.
The Great Synagogue (also known as the Choral Synagogue) was built in the years 1854 to 1860. In 1905 the synagogue was renovated and a new Holy Ark was built. Inside the building there were also several small shops, which were rented out.
In the 1920s or 1930s, the synagogue was closed by the Soviet authorities. After World War II a college was placed in the building. For this purpose additional walls were built inside.
Architecture.
The building in the Art Nouveau style is nearly square with outer measurements of 25,39 × 25,05m. The height to the finishing cornice is 14,91m and to the rooftop 17,50m. It has three tiers, whereby the lower two tiers are separated from the upper tier by a molded cornice. The front facade shows six pilaster; the pilasters and the cornice are painted white with the main walls are painted in green.
Old photos show that once the third storey, although square as well, had a much smaller plan. The outer walls were therefore not continuous, but had an offset between the second and third storey. It is not known when these changes took place.
Despite the alterations the original plan of the synagogue has been preserved. In what was initially the prayer hall, there are four round supporting pillars that continue through each tier. The former prayer hall is surrounded by synagogue rooms which were used as the women's prayer rooms.
Neither the Torah ark nor the Bema are left.
Other synagogues in Bila Tserkva.
At least three more buildings that once were synagogues are preserved in the town. Their condition is not as good as the condition of the Great Synagogue.


Mainz-Bischofsheim station

Mainz-Bischofsheim station is the station of the town of Bischofsheim in the German state of Hesse on the Main Railway from Mainz to Frankfurt am Main. It is classified by Deutsche Bahn as a category 4 station. The station is served by the S-Bahn and regional trains. The station was opened at its current location in 1904.
Between 1930 and 1945, Bischofsheim was a district of the city of Mainz and, as a result, the station was renamed "Mainz-Bischofsheim". In 1945, the American and French occupying authorities transferred Bischofsheim to American administration and several months later it became part of the new state of Hesse. Although Bischofsheim became a self-governing municipality again as a result, the station is still called Mainz-Bischofsheim.
History.
The Mainz rail bypass was built at the beginning of the 20th century to relieve Mainz Hauptbahnhof, running from Mainz via Wiesbaden to Bischofsheim. The construction of the Kostheim Bridge over the Main near Hochheim connected the Taunus Railway near Mainz-Kastel with the Hessian Ludwig Railway, connecting Mainz, Darmstadt and Aschaffenburg. In Bischofsheim trains can instead branch off the Hessian Ludwig Railway on to the Main Railway to Frankfurt.
The Prussian-Hessian Railway Company created a hub of national significance at Bischofsheim. As a result, freight and passenger facilities were spatially separated. The old station building at the water tower (both of which are listed as monuments under the Hessian heritage law) was now used for handling freight. A new entrance building was built for passengers in 1904, a few hundred metres to the north-west.
Description.
The new entrance building was built on a hillside as a massive two-storey building in the contemporary Art Nouveau style. The stone floors are plastered and the gables of the transept are built of timber. Access to the station is upstairs. The platforms are reached via a footbridge from the entrance building.
After numerous structural changes to the original historic building, it was dismantled and modernised in 2002/03.
The Mainz-Bischofsheim marshalling yard is now one of the most important marshalling yards in the Rhine-Main area.
Rail operations.
Bischofsheim lies in the area served by the Rhein-Main-Verkehrsverbund (Rhine-Main Transport Association, RMV). It is served by Rhine-Main S-Bahn trains operated by DB Regio. Services on lines S 8 and S 9 each operate at 30-minute intervals on the Wiesbaden Hauptbahnhof–Hanau Hauptbahnhof route. Together the two lines operate at 15-minute intervals through Bischofsheim. Line S8 runs through Mainz Hauptbahnhof to Wiesbaden Hauptbahnhof, while line S9 runs via Kostheim Bridge to Mainz-Kastel and Wiesbaden Hauptbahnhof.
Bischofsheim station is served by the "Mittelrhein-Main-Express" RE 2 service running between Koblenz Hauptbahnhof and Frankfurt every two hours. It is also served by RB 75 service between Wiesbaden and Aschaffenburg, running hourly.


Pitchford Hall

Pitchford Hall is a large Grade I listed Tudor country house in the village of Pitchford, Shropshire, 6 miles south east of Shrewsbury.
It was built c.1560 on the site of a medieval building and has been modified several times since, particularly in the 1870s and 1880s when it was substantially restored, remodelled and extended. It is a timber framed two-storey building with rendered red sandstone panels, a stone roof and brick chimneys. The floor plan is E-shaped round a courtyard to the south with a Victorian service wing to the west. There is also an orangery and walled garden in the grounds.
A deer park established in 1638 was disparked in 1790. 100 metres north of the hall is a bitumen well, near a ford across the Row Brook, from which the village gets its name. The bitumen or pitch was once used for waterproofing the timbers of the house. A Tudor style tree-house sits in a large lime tree and is believed to be the oldest tree house in the world.
The hall was sold by Caroline Colthurst, the owner of the Pitchford Estate, in 1992. It has, however, recently been reunited with the Pitchford Estate (28 September 2016) by Caroline's daughter, Rowena Colthurst and her husband James Nason.
A stretch of the Roman Watling Street runs through the estate.
History.
There has been a manor house on the site since around 1284, the estate at the time being in the possession of the de Pykeford family. Geoffrey de Pykeford, a crusader, was lord of the manor from 1272 and built the local church of St Michael, which contains an oak effigy of him. Eventually, however, the family had to sell the estate to the church in the 1330s in order to repay debts.
Thomas Ottley bought the Manor of Pitchford in 1473. The present house was built c.1560 for Adam Ottley, a Shrewsbury wool merchant, and possibly incorporated elements of the previous medieval structure. The estate remained in the Ottley family until the death of Adam Ottley in 1807. The hall and estate then passed to Hon. Charles C. C. Jenkinson, second son of the 1st Earl of Liverpool and later to his son-in-law John Cotes. John's son Charles Cotes commissioned the London architect George Devey to renovate and upgrade the house, which included the installation of replacement windows, baths and water closets. Charles died unmarried and the estate passed in 1918 to his brother-in-law Lieut-General Sir Robert Grant. Until 1992, the Colthurst family were in possession and carried out further restoration to the hall under the guidance of English Heritage and Andrew Arrol.
The house was visited in 1832 by Princess (later Queen) Victoria, who watched a fox hunt from the treehouse, and wrote in her diary the hall was "A curious looking but very comfortable house. It is striped black and white, and in the shape of a cottage".
Next century it was visited in 1935 by the Duke and Duchess of York (later King George VI and Queen Elizabeth). During the Second World War, Pitchford was one of the country retreats selected to house the Royal Family should they need be evacuated from the capital (see Coats Mission) in case of an invasion of Britain. Other stately homes in England were selected as backups, with Hatley Castle, on Vancouver Island in Canada as the final option in case German troops reached the Midlands. If that last resort option was required, the family was to travel to Holyhead for transport to Canada by the Royal Navy.
Pitchford Church (CofE), opposite the hall, is open to the public and holds services once or twice a month.
A former Great Western Railway Hall class locomotive No 4953, now running on the Epping Ongar Railway, was named "Pitchford Hall".
Major restorations.
Between 1883 and 1889, the hall was significantly renovated and modified by George Devey but by the 20th Century, major renovations were again required.
The National Trust were unable to finance a purchase of the hall when it was being sold by the Colthurst family. It was sold to another purchaser, but the new owner left it vacant and closed. In 2016, Rowena Colthurst and James Nason, the subsequent owners of the full Estate, also bought the hall and had a long term plan to restore and reopen it. At that time, the hall had been neglected for a quarter of a century.
As of 2019, the Grade I listed hall (Entry Number: 1177907) has not been open to the public for nearly 30 years, and is on Historic England's Buildings at Risk Register (page 14). The new owners have committed to reopening it after a major restoration, under a Section 106 Planning Agreement. That effort was underway in late 2019 with a view to a future reopening. By 2019, the west wing, or General's Quarters building, had been renovated and was open for holiday rental. The family were in the process of raising funds to help finance the continuing restoration of the other sections of the hall.


All Saints Church, Claverley

All Saints Church is in the village of Claverley, Shropshire, England. It is an active Anglican parish church in the deanery of Bridgnorth, the archdeaconry of Ludlow, and the diocese of Hereford. Its benefice is united with that of Holy Innocents, Tuck Hill. The church is recorded in the National Heritage List for England as a designated Grade I listed building.
History.
The church can trace its origins back to the 7th century. The present church was founded by Roger de Montgomerie, 1st Earl of Shrewsbury, who died in 1094. The tower was doubled in height and angle buttresses were added to it towards the end of the 15th century. At about the same time the north chapel was added. In 1902 the top two stages of the tower were rebuilt, faithfully copying the original design, by W. Wood Bethell.
Architecture.
Exterior.
All Saints is constructed in red sandstone. Its plan consists of a nave with a clerestory, north and south aisles, and a three-bay chancel with two-bay chapels to the north and south. In the centre of the south side of the church is a four-stage tower, with a two-storey porch to its west, and the south chapel to its east. On the south side of the tower is a Norman round-headed window. The chancel, with its five-light east window, is Decorated in style, and the south chapel is Perpendicular. The north chapel contains both Decorated and Perpendicular windows. The windows in side of the north aisle, and the west window of the nave are Decorated. There are Perpendicular windows in the south aisle, in the clerestory, and at the west end of the north aisle. The south porch and the north doorway are also Perpendicular.
Interior.
The north arcade, other than the easternmost arch, is Norman, dating from the early 12th century. It consists of round arches carried on circular piers, with circular capitals. The north tower arch is late Norman, with scalloped capitals. The northwest buttress of the tower, which was added in the 15th century, projects inside the church forming a round-headed niche, known as the 'seat of penitence'. The two-bay arcade to the west of the tower dates from the middle of the 13th century. It is carried on octagonal piers with capitals carved with heads and leaves, and a depiction of "two dragons nibbling a human head". The chancel arch and the two arches leading into the north chapel are Decorated, and the arch into the south chapel is Perpendicular. The nave roof is also Perpendicular, and the chancel has a hammerbeam roof.
The font is Norman, shaped like a tub, and carved with arcades. There is a second font, which is circular, and possibly also Norman. The pulpit is Jacobean, and is carved with rosettes under arcading. The altar rail dates from about 1912, it is in Arts and Crafts style, and was made by F. Waldo Guy, brother of the vicar of the church at that time. In the west arch of the north chapel is the dado of a late medieval screen. On the walls of the nave is a scheme of paintings dating from about 1200, including a frieze of fighting knights, under which is painting depicting the martyrdom of Saint Margaret of Antioch. Between the windows of the clerestory, dating from the 15th century, are paintings of saints or apostles.
The stained glass in the east window dates from 1858, is by Frederick Preedy, and depicts the "Te Deum". In the north wall of the north chapel (which in 2014 has been converted into a vestry) is 16th-century glass that has been re-set, including a female head, and angel and vines. The window in the east window of the south chapel, dating from about 1849, is by David Evans, and is based on Raphael's "Transfiguration". There are two windows by Hardman; one in the tower depicting "Doubting Thomas", and another in the north aisle. In the north chapel is a window of 1879 by W. G. Taylor depicting the "Good Shepherd", and elsewhere are two windows from the 1930s in Arts and Crafts style by A. J. Davies.
The oldest monument in the church is a carved slab to Richard Spicer, who died in 1448 and his wife. The monument to Sir Robert Broke, who died in 1558, and his two wives is in alabaster with three recumbent effigies on a tomb-chest, and children standing around the sides. There are also two incised slabs, one to William Gatacre, who died in 1577, and the other to Francis Gatacre, who died in 1599; all these monuments are in the south chapel. Preserved here is a battlefield marker cross from the grave in France of Captain E.G. Gatacre, Duke of Wellington's Regiment (killed in World War I 1916).
The parish war memorial consists of a series of sandstone panels between carved arches in the west end of the church, initially to 30 men who died in World War I with the names from World War II added, while the south porch contains another set of stone panels listing all men from the parish who served in the first war, indicating with stars 42 of the men that were wounded. The latter was built into the wall by Stephen Pickerell, engraved by James Summerell, and erected over 1921–22, according to an accompanying 191-word inscription, claimed to be the longest on a Shropshire war memorial.
The two-manual pipe organ was made in 1906 by J. W. Walker, and rebuilt in 1964 by W. Hawkins. There is a ring of eight bells. The oldest are two bells cast in 1703 by Abraham Rudhall I, followed by a single bell by Thomas Rudhall in 1769. Another single bell is dated 1877 and is by John Taylor and Company. The last four bells were cast in 1929 by Gillett and Johnston.
External features.
Associated with the church are three structures that are listed at Grade II. At the entrance to the churchyard is a 14th-century cross standing on a plinth with three steps. It was formerly sited in the roadway before it was moved to the churchyard. The lychgate dates probably from the 19th century. It is constructed in brick with a tiled roof and sham timber framing with plastered ends to the gables. The walls at the east side of the churchyard and the gate piers, with their pyramidal caps, probably date from the 18th century. In the churchyard is a yew tree said to be 2,500 years old. There is also the war grave of an airman of World War II.


Kharitonov Palace

The Rastorguyev-Kharitonov Palace is arguably the grandest palatial residence in the Urals. This Neoclassical townhouse was commissioned in 1794 by Lev Rastorguyev, an Old Believer merchant and landowner. The main house was built on the so-called Annunciation Hill in Yekaterinburg. The nearby Annunciation Church was built at the same time.
The palace takes its present name from Pyotr Kharitonov, Rastorguyev's son-in-law. He inherited the property in 1824 and employed architect Mikhail Pavlovich Malakhov to connect the buildings with a series of covered passageways. An English park on the grounds was also commissioned by Kharitonov. His harsh treatment of the serfs gave rise to a bevy of legends about a network of underground chambers and passages where his peasants were tortured.
In 1837 Kharitonov was officially censured for his cruelty, put on trial and condemned to life imprisonment in Kexholm Fortress. The palace fell into disuse.
It was repaired in Soviet Time in the late 1930s to house a local Pioneers Palace. After USSR and pioneers system fall, it continued to function as children's art school.
Pyotr Latyshev, the Presidential Envoy to Urals Federal District, planned to take over the palace in 2000. Corresponding Presidential Decree was issued. But protests of art school children's parents sparkled, one of them—politician Anton Bakov—appealed to Supreme Court and later Constitutional Court where he won. Local political tensions also took place, they were later described in a 2014 documentary novel "Eburg" by writer Alexei Ivanov.


Algerian National Theater Mahieddine Bachtarzi

The Théâtre National Algérien Mahieddine Bachtarzi, formerly known as the Algiers Opera House, is a historic building in Algiers, Algeria. It was built from 1850 to 1853. It was designed by architects Charles Frédéric Chassériau and Justin Ponsard in the Baroque Revival style. After it caught fire in 1883, it was rebuilt.


Vitebsky railway station

St Petersburg-Vitebsky () is a railway station terminal in Saint Petersburg, Russia. Formerly known as "St Petersburg-Tsarskoselsky" station because its first line led to the suburban royal residences town Tsarskoye Selo, it was the first railway station to be built in Saint Petersburg and the whole of the Russian Empire (while its present-day building is much newer). Later, with considerable extension of its lines, renamed after a much farther destination - Vitebsk, a city in Belarus.
Early history.
The station, located at the crossing of the Zagorodny Avenue and the now-vanished Vvedensky Canal, was inaugurated in the presence of Nicholas I of Russia on 30 October 1837 when the first Russian train, named "Provorny", departed from its platform for the imperial residence at Tsarskoe Selo. A replica of this train may be seen as a permanent exhibit at the modern station.
The first building of the Petersburg Station (as it was then known) was constructed in timber in August and September of the same year to a design by Konstantin Thon. Since it proved to be too small, it was demolished within twelve years and a much larger structure was erected under Thon's supervision between 1849 and 1852. There were further expansions in the 1870s.
Architecture.
The station became increasingly ramshackle and cluttered as the 19th century went on, until the decision was taken to tear the whole thing down and begin again. Construction started in 1901 and lasted for three years. Stanislaw Brzozowski gave the new two-storey station an ornate frontage in an assortment of historical styles, with decorative reliefs, floriated Jugendstil detailing, outsize semicircular windows and two regular features of 19th-century train stations: a pseudo-Renaissance dome and a square clocktower.
However, it was opulent Art Nouveau interior that established the building as the most ornate of St. Petersburg stations. Minash was responsible for the sweeping staircases, foyer with stained glass and spacious halls boasting a series of painted panels that chronicle the history of Russia's first railway. The building's soaring arches and expanses of glass proclaimed the architect's familiarity with advanced construction techniques of the West.
Vitebsky railway station, unlike other railway terminals, doesn’t have a station square in front of it – its main facade looks out onto the Zagorodny Prospect.1
Recent history.
In a departure from normal practice of the Soviet years, the Vitebsk station preserved its elevated train shed, five platforms and luggage elevators almost intact, making it an ideal location for filming Soviet adaptations of "Anna Karenina", Sherlock Holmes stories, and other 19th-century classics.
On the other hand, much architectural detail was removed from the facade and halls during insensitive Soviet renovations. Just prior to the tercentenary celebrations of 2003, the station underwent a painstaking restoration of its original interior and Jugendstil decor. Apart from the replica of the first Russian train, curiosities of the Vitebsk Station include a detached pavilion for the Tsar and his family and a marble bust of Nicholas I.
Services from the station run to Central Europe, Baltic States, Ukraine, Belarus and the southern suburbs of St. Petersburg, such as Pushkin and Pavlovsk. The station is connected to the Pushkinskaya Station of the Saint Petersburg Metro.


Petrine Baroque

Petrine Baroque (Rus. Петровское барокко) is a style of 17th and 18th century Baroque architecture and decoration favoured by Peter the Great and employed to design buildings in the newly founded Russian capital, Saint Petersburg, under this monarch and his immediate successors.
Different from contemporary Naryshkin Baroque, favoured in Moscow, the Petrine Baroque represented a dramatic departure from Byzantine traditions that had dominated Russian architecture for almost a millennium. Its chief practitioners - Domenico Trezzini, Andreas Schlüter, and Mikhail Zemtsov - drew inspiration from a rather modest Dutch, Danish, and Swedish architecture of the time.
Notable examples.
Extant examples of the style in St Petersburg are the Peter and Paul Cathedral (Trezzini), the Twelve Colleges (Trezzini), the Kunstkamera (Mattarnovi), Kikin Hall (Schlüter) and Menshikov Palace (Giovanni Fontana).
The Petrine Baroque structures outside St. Petersburg are scarce; they include the Menshikov Tower in Moscow and the Kadriorg Palace in Tallinn
Architectural influences on Peter the Great.
Peter the Great, also known as Peter I, served as the tsar of Russia from 1682–1725. He was the first Russian monarch to travel outside of Russia and this travel exposed him to the architecture of many other countries. His own library contained architectural books from the Netherlands, France, Germany and Italy. The buildings of these countries influenced Peter's taste in architecture as he set forward to build the new Russian capital of St. Petersburg. Peter had a very specific idea of what he wanted this new city to look like in terms of architectural style, and he took initiative in recruiting people who could help accomplish his vision and researching architectural styles. While in rule, Peter attempted to bring about change to the nation of Russia as quickly as possible and tried to incorporate western style and tradition into the everyday lives of his citizens. As part of this, Peter put regulations into effect, which mandated what cities should look like.
Peter's original goal for St. Petersburg was to re-create the city of Amsterdam. As the city began construction, Peter started making changes to the designs of the buildings, often altering the planned appearance of buildings once their construction had already started. These last minute alterations led to buildings not belonging to one particular architectural school.
Naryshkin Baroque style.
Peter was raised in Moscow, lived at the Grand Palace of Kremlin, and spent time at multiple royal estates outside of the city. His father died when he was four years old, so Peter had a fairly unsupervised youth to pursue his own passions. Peter developed his taste for architecture by looking at the buildings which surrounded him in his childhood, many of which were patronized by his family. These churches and houses which surrounded Moscow reflected European influence in their structure and decoration. The Moscow or Naryshkin Baroque style, named after Peter's maternal side of the family, was prominent in these buildings. Characteristic of the Naryshkin Baroque is large scale buildings and lack of wood amongst building materials.
Dutch Baroque style.
As Peter entered young adulthood and spent time travelling, his architectural taste began to favor the elements of Dutch architecture. Peter met with the Dutch architect Simon Schijnvoet (sometimes Schynvoet or Schynvaet) in 1697. Schijnvoet specialized in Dutch Baroque but also taught Peter about naval architecture. The first house in St. Petersburg that Peter designed utilized elements from this naval style which Schjinvoet taught him, including flat, painted log walls, wooden tile-like shingles, and windows made from small planes of glass. These elements of design were unlike the Russian styles seen up until this point.
The Russian history scholar James Cracraft suggests that the clearest example of Dutch architecture designed under Peter's rule was his Summer Palace in St. Petersburg which was referred to as "Monplaisir" or "Little Dutch House". In a 1724 letter to the architectural student Ivan Korobov, Peter discusses his preference for the ornamentation of Dutch Baroque. In this same letter, Peter conveys his disinterest for the architectural styles of the French and Italian due to its lack of adornment and use of stone rather than brick. Among Peter's papers, a note was found describing how he sent two Russian architecture students to Holland so that they could learn the Dutch Baroque style and come back to build churches and houses for St. Petersburg. In addition to having Russian students train abroad, Peter also hired Dutch architects to come and work on projects in Russia.
Other styles.
While Peter preferred the Dutch Baroque style, he also sought out architectural inspiration from other countries. Despite his recorded dislike for the French and Italian Baroque architecture, Peter sent two architectural students to Rome in 1723 to replace another two students working there. Scholars suggest that an equal amount of architectural students were sent to Holland and Italy during his reign and more Italian builders worked on projects for Peter in Russia than Dutch builders did. In the early years of St. Petersburg, the French served as prominent designers and decorators.
Notable architects.
Domenico Trezzini.
Domenico Trezzini was born in Italian-speaking region of Switzerland in 1670. The architects that surrounded him in his youth were responsible for the development of the Baroque style in southern Germany. Trezzini's architectural style has visible influences from this German Baroque style along with the northern style of Baroque architecture that he picked up during his time living in Copenhagen. Trezzini was also influenced by the Lombard Baroque style of architecture which was popular in Northern Italy where he grew up during the 17th century. From 1703 until his death in 1734, Trezzini lived in St. Petersburg during the rule of Peter the Great. Trezzini began many of the building projects that formed the basis of the city. Due to the many projects that Trezzini worked on, he was given the title of "Lieutenant-Colonel of Fortification and Architect" in 1710.
Some of Trezzini's major additions to the city include: Peter the Great's Summer Palace, the Alexander Nevsky Lavra, the Twelve Colleges, and the Saints Peter and Paul Cathedral. Trezzini and his team designed the layout of the developing St. Petersburg including the streets of the anticipated city center of Vasilyevsky Island. The layout of the city was arranged in a grid format with perpendicular streets and canals. Trezzini's design of the city did not follow the European ideal at the time because of its lack of compactness and grid organization rather than the traditional ringed layout.
In 1714, Peter declared that all houses in St. Petersburg should be constructed after Trezzini's model home. Different versions of the home were created for different classes of citizens based on their rank. Peter classified all citizens into 14 different classes, all of which had different residential areas in Trezzini plan. The size of the citizen's home directly corresponded to their standing in this social ranking. The lower classes were divided by their trades and the upper classes were divided by the amount of serfs that they controlled. Several engravings of the model homes exist and while they are often accredited to Trezzini himself, his assistant Jean-Baptiste Alexandre Le Blond is responsible for creating them. These plans dictated the ornamentation style of the homes and the materials that they would be built with belonging to each class of citizens. In the city center proper, these guidelines were adhered to strictly. The further from the city center, the more flexibility with the design of homes there was. Despite the effort put into maintaining a regulated city design, after Peter's death, the system that Trezzini designed fell to the wayside. Scholars consider Peter I's comprehensive urban design to be one of his greatest legacies.
In the design of his buildings, the Dutch Baroque style is visible in the types of ornamentation he preferred. For columns, Trezzini preferred squared pilasters as a decorative element and restricted their use to where they were structurally necessary or served a major purpose in the overall design. Trezzini also took inspiration from the work of Christopher Wren, whose work on the St. Paul's Cathedral appears in Trezzini's sketches.
Trezzini established the St. Petersburg Chancellery of Construction and became its first director. This school was the first institution to offer formal training for architects in Russia. Among those who trained at the Chancellery was Mikhail Zemtsov who continued Trezzini's legacy. Other architects whom Trezzini worked alongside during his life and continued the construction of his buildings after his death were Carlo Giuseppe and Pietro Antonio Trezzini.


Domus Aurea (Antioch)

Domus Aurea (in English Golden House) or the Great Church in Antioch was the cathedral where the Patriarch of Antioch preached. It was one of the churches whose construction was started during the reign of Constantine the Great. It is thought to have been sited on an island where the Imperial Palace of Antioch used to stand during the Seleucid period. The church became a major point of the controversy between Christians and Julian the Apostate when the latter closed the cathedral in response to the burning of an ancient temple to Apollo in the nearby suburb of Daphne. From 526 to 587 it suffered from a series of earthquakes, fires and Persian attacks, before being finally destroyed in another earthquake in 588, after which it was not rebuilt.
Construction.
Construction of the church was started in 327, during the reign of Constantine the Great, and was completed under Constantius II. The new church was dedicated in a ceremony on 6 January 341, in the presence of both Constans and Constantius II and a gathering of ninety-seven bishops, which formed the dedication council. It was built on the island between the two main branches of the Orontes River, where the Imperial Palace was located. It has not proved possible to establish the site of the church with any greater certainty.
The only known possible depiction of the Domus Aurea is the Megalopsychia Hunt Mosaic, or "Yakto mosaic", from the second half of the fifth century, found in the ancient suburb of Antioch, Daphne (Yakto). Part of the border of this hunt scene shows buildings from Antioch, including those interpreted to be the Imperial Palace and the Domus Aurea. Although there is an octagonal building on part of the border it remains uncertain if this represents the great church or whether the relationship to other buildings can be used to identify its location on the island. In the absence of definitive pictorial evidence, it is necessary to rely on written descriptions of the building. Eusebius in his "Life of Constantine", describes the Domus Aurea as being octagonal in plan, sited in a large enclosure, with many chambers clustered around it. The domed roof, which was made of wood, reached a great height and was gilded inside. The floor consisted of polished marble and every part of the building was highly decorated with brass, gold and precious stones. It has been proposed that it was similar in structure to the Basilica of San Vitale in Ravenna, which was built in 540.
Julian the Apostate.
Julian moved to Antioch in 362, soon after becoming the sole ruler of the eastern empire, following the death of Constantius II. He was the last non-Christian ruler of the Roman Empire, and chose Antioch as his headquarters, partly to lay plans for his proposed campaign against the Persians and partly to further his attempt to restore the eastern empire to Hellenism. He had the body of Saint Babylas removed from the martyrium near the temple of Apollo at Daphne, because he thought that it had silenced the oracle of Apollo. When the temple burned down, shortly thereafter, Julian was furious, suspecting the Christians and in response closed the Great Church, removing its liturgical vessels. This act effectively brought his attempts to restore Hellenism in Antioch to an end.
Earthquakes and fires.
The earthquake of late May 526 badly damaged the great church, but still left it standing. However, seven days later the fires that had been burning since the earthquake struck finally destroyed the church. The great church was rebuilt by Ephraim, the comes Orientis, and partly for that reason he was persuaded to become the new Patriarch of Antioch in 528. On 29 November 528 another earthquake struck the city and the great church was again destroyed. It was again rebuilt by Ephraim, being rededicated in 537/538, only for it to be destroyed by fire once more in 540 A.D. when Antioch was burned by the invading Persians under Chosroes I. It was rebuilt for the last time by Justinian I, but was damaged by earthquakes in 551, 557 and 577, giving a northward tilt to the dome.
Destruction.
The final destruction of the great church occurred on 31 October 588 (or possibly 587), when Antioch was again struck by a major earthquake. It is said that although the rest of the church was destroyed, that the dome settled on the ruins in an upright position. After this earthquake it appears that no attempt was made to reconstruct the great church. This is in keeping with indications that the area in which it stood had become mainly uninhabited by that time, because Antioch was no longer an imperial residence of the Eastern Roman/Byzantine Empire and the island was no longer enclosed by the city walls.


Stanley Mosk Courthouse

The Stanley Mosk Courthouse is a courthouse in Los Angeles, California home to the Los Angeles County Superior Court. It is located at 110 N. Grand Avenue and 111 N. Hill Street between Temple and First streets, lining Grand Park in the Civic Center in Downtown Los Angeles. The building was constructed in 1958 and has a floor area of in its west wing and in the east wing. It has 100 courtrooms, 840 daily workers and 7000 daily visitors. The courthouse is often seen in the TV series "Perry Mason", when the title character parks his car on Hill Street to go inside the building.
The architects were Stanton, Stockwell, Williams and Wilson, in Late Moderne style, which incorporates elements of both the Streamline Moderne and International style. The team of architects designed the courthouse simultaneously with the Kenneth Hahn Hall of Administration (1960), both buildings conceived as part of the monumental 1947 Civic Center Master Plan. That plan also called for the extension of the Los Angeles Civic Center westward to incorporate the north end of the Bunker Hill area, which had been demolished, and created the east–west axis of civic buildings along what is today Grand Park. The courthouse was opened by Chief Justice Earl Warren in October 31, 1958. The courthouse was later named in honor of Stanley Mosk, the longest serving justice on the California Supreme Court and former Attorney General of California, in 2002.


Hursley House

Hursley House is an 18th-century Queen Anne style mansion in Hursley, near Winchester in the English county of Hampshire. The building is Grade II* listed.
History.
The Hursley estate was bought by William Heathcote, MP from the daughters of Richard Cromwell. Cromwell had acquired the estate by marriage to the daughter of Richard Major, MP. Heathcote commissioned the present house to be built between 1721 and 1724, during the reign of George I, and was created a baronet in 1733. The estate descended in the Heathcote family to the 5th Baronet, whose widow sold it after his death in 1881 to Joseph Baxendale, the owner of the Pickfords logistics and removal company. He sold it in 1902 to Sir George Cooper whose wife, Mary Emma Smith, an American railways heiress from Chicago, commissioned architect Alexander Marshall Mackenzie to carry out extensive development work in 1902 to create the house that can be seen today. Sir George was created a baronet in 1905.
During the First World War the second floor of the house was made available as a nursing hospital for officers. It was intended to turn it over again as a military hospital during the Second World War but Sir George died in 1940 and it was requisitioned instead by the Ministry of Aircraft Production (MAP) to rehouse the Design and Production departments of Vickers Supermarine, which had been bombed out of its original premises in Woolston, Hampshire. During its time in the House, Supermarine worked on the development of many aircraft, of which the most famous is the Spitfire but also includes the early Jet fighters like the Attacker, Swift and Scimitar.
IBM Hursley.
In 1958 IBM started using the House and its grounds as development laboratories. In 1963 IBM purchased the 100 acres (405,000 m²) of surrounding land and have since erected a large modern office complex employing over 1500 people. The original house is still used by IBM as an Executive Briefing Centre. The lower ground floor of the house is home to the IBM Hursley Museum, a computing museum that covers the history of IBM Hursley Park, IBM United Kingdom and IBM Corporation.


Monastery of San Juan de los Reyes

The Monastery of San Juan de los Reyes (English: Monastery of Saint John of the Monarchs) is an Isabelline style Franciscan monastery in Toledo, in Castile-La Mancha, Spain, built by the Catholic Monarchs (1477–1504).
A monument to celebrate.
This monastery was founded by King Ferdinand II of Aragon and Queen Isabella I of Castile to commemorate both the birth of their son, Prince John, and their victory at the Battle of Toro (1476) over the army of Afonso V of Portugal.
Prince John of Portugal also celebrated his victory over the Castilian army of the Catholic monarchs with a solemn procession on each anniversary of the battle. This apparent contradiction was a consequence of the indecisive military outcome of the battle: the troops under Afonso V broke while the forces led by Prince John of Portugal defeated the Castilian right wing and remained in possession of the battlefield.
Undoubtedly, the battle represented a decisive political victory for the Catholic Monarchs, assuring them the throne and paving the way for the future united kingdoms of Spain. As summarized by the Spanish academic historian Rafael Casas:
"...San Juan de los Reyes resulted from the royal will to build a monastery to commemorate the victory in a battle with an uncertain outcome but decisive, the one fought in Toro in 1476, which consolidated the union of the two most important Peninsular Kingdoms."
Toledo was chosen as the site for building the monastery due to its central geographic location and because it had been the capital of the ancient Visigoth kingdom, symbolically reconstituted by Isabella and Ferdinand with the restoration of the lost unity of Spain, through the union of Castile with Aragon.
History.
This monastery was initially named "San Juan de la Reyna" and was conceived to be the mausoleum of the Catholic Monarchs. They would change their plans later, choosing Granada as their burial place, after its reconquest in 1492.
The monastery's construction began in 1477 following plans drawn by architect Juan Guas, and was completed in 1504. It was dedicated to Saint John the Evangelist for use by Franciscan friars. In 1809 the monastery was badly damaged by Napoleon's troops during their occupation of Toledo, and abandoned in 1835. Restoration began in 1883 but was not completed until 1967. The monastery was restored to the Franciscan order in 1954.
Description.
The monastery is an example of the Isabelline style. Its church is in the form of a Latin cross, with short arms, an elongated nave (approximately 50 metres in length, and 30 metres high), and side chapels situated between the domed arches – three chapels on either side of the nave, and two more under the choir. The church is notable for its decoration of the coats of arms of the Catholic Monarchs held by eagles. Its chancel is decorated with an altar (mid-16th century) from the former Santa Cruz Hospital by sculptor Felipe Bigarny and painter Francisco de Comontes, depicting scenes from the Passion and the Resurrection, as well as two scenes of the Santa Cruz legend.
Its cloister has a small garden. The ground floor's ceiling is formed of German cross vaults set with figures of saints interspersed with animal and plant motifs, all created by the Toledo sculptor Cecilio Béjar in the 20th century. Its upper cloisters, first completed in 1526 and restored in the 19th century, contain Mudéjar ornamentation, including a ceiling of larch wood, painted with the motifs and coats of arms of the Catholic Monarchs, and the motto "Tanto monta, monta tanto". The monastery building is traditionally said to have been commissioned by Queen Isabel and King Ferdinand II to commemorate their victory over the Portuguese-Castilian forces of Afonso V and Prince John at the Battle of Toro in 1476. To symbolize the victory of the Christians in the years-long Granada campaign, its granite exterior facade is festooned, as per the Queen's order of 1494, with the manacles and shackles worn by Christian prisoners from Granada held by the Moors and released during the Reconquista.
References.
Articles
Books
Chronicles


Tour de la Bourse

The Tour de la Bourse () is a 48-storey skyscraper in Montreal, Quebec, Canada. It is located at the intersection of Victoria Square and Saint Jacques Street in the International Quarter. It is connected by the underground city to the Square-Victoria-OACI Metro Station.
When completed in 1964, the tower was the tallest building in Canada, a title it held until surpassed by the Toronto-Dominion Centre in 1967. It is currently the third tallest in Montreal and the twenty-fifth tallest building in the country. The Tour de la Bourse was designed by Luigi Moretti and Pier Luigi Nervi and is considered to be of the International Style.
History and development.
The original project, conceived during the Expo 67-era economic boom, called for three identical towers arrayed in a triangle. It was scaled back to two towers flanking each side of the central core. Ultimately a single tower was built, due to financial constraints; the Hôtel Delta Centre-Ville was later built on the site of what was to be the second identical tower thus forming Place Victoria. Following the improvement and restoration of Square Victoria to its original configuration in 2002, Place Victoria is now a centrepiece of the new Quartier International downtown area.
The tower itself is considered by many to be a masterpiece of the International style of skyscraper design. Its façade, fully renovated in 1995, features a bronze-tinted anodized aluminium curtain wall, forming a strong contrast with the slightly slanted pre-cast concrete columns at the four corners, giving the whole a subtly convex aspect. It is divided into three roughly equal blocks by mechanical floors whose corners are recessed in an octagonal shape, creating small open-air interstices behind the columns at these levels. One couple of peregrine falcons has been nesting inside the 32nd floor recess since 1984.
This , 48-story building was the world's tallest reinforced concrete tower until the completion of Lake Point Tower in Chicago in 1968, and the tallest building in Canada until the completion of Toronto-Dominion Centre in 1967.
The building's anchor tenant is still the Montreal Exchange on floors 3 and 4. The national and international law firm Fasken Martineau occupies six floors as well as space for services on the "rez de chaussée". The building is managed by Magil Laurentian Realty Corporation. In August 2004 Jolina Capital, owned by Lino Saputo who is also head of foodmaker Saputo Foods, acquired a majority stake in the building. Property management is still handled by Magil Laurentian, who retains a minority stake. In 2018, the owner of the building is Groupe Mach.
References.
www.defiegratteciel.com


Smallbridge Hall

Smallbridge Hall is a Grade II* listed English country house in Bures St. Mary, Suffolk, near Colchester, England. The house is partially surrounded by a moat and stands on the bank of the River Stour. The present building is one wing of a large two-storey red-brick Elizabethan mansion. It was heavily restored once around c. 1874 and again in 1932.
History.
The Waldegrave family had been the owners of the Smallbridge hall and the Wormingford estate which is on the other bank of the River Stour from at least the 14th century. The Smallbridge hall had come into their possession when Sir Richard Waldegrave married Joan, the widow of Sir Robert de Bures. Around 1555, Sir William Waldegrave rebuilt the house, and received Queen Elizabeth there in 1561. The property remained with the Waldegrave family until c. 1700 when it was sold to pay debts. The hall has been owned by many other families after that.
It was once rebuilt around c. 1893 and further restored by Lady Phylis Macrae, daughter of the Marchioness of Bristol, in 1932.


National Gallery of Denmark

The National Gallery of Denmark (, also known as "SMK", literally State Museum for Art) is the Danish national gallery, located in the centre of Copenhagen.
The museum collects, registers, maintains, researches and handles Danish and foreign art dating from the 14th century to the present day.
Collections.
The museum's collections constitute almost 9,000 paintings and sculptures, approximately 240,000 works of art on paper as well as more than 2,600 plaster casts of figures from ancient times, the middle-ages and the Renaissance. Most of the older objects come from the Danish royal collection. Approximately 40,000 pieces from the collections are expected to be made available online by 2020.
European Art 1300–1800.
The display of European Art 1300–1800 is a comprehensive collection of art over the 500-year period, featuring works by Mantegna, Cranach, Titian, Rubens and Rembrandt. The art is spread over thirteen rooms, and is the oldest art collection in Denmark, with a particular emphasis on Danish, Dutch, Flemish, Italian, French, Spanish and German pieces.
Danish and Nordic Art 1750–1900.
Danish and Nordic Art 1750-1900 charts Scandinavian art from the beginnings of Danish painting through the ‘Golden Age’ to the birth of Modernism. It displays over 400 works through 24 galleries. It features work by Abildgaard, Eckersberg, Købke, Ring, and Hammershøi.
French Art 1900–1930.
SMK gained its modern French art collection in 1928 when it was donated by the late collector Johannes Rump. This collection features some of the museum’s most famous pieces from artists such as Matisse, Picasso, Derain and Braque. The collection was first offered to the SMK by Rump in 1923, but was rejected by the director Karl Madsen, as he did not believe it to be of a high enough quality.
Danish and International Art After 1900.
Housed in the museum’s 1993 extension, this 20th and 21st century collection is predominantly focused on the most important examples of modern Danish art. A long corridor of paintings looking onto Østre Anlæg park works as a chronological overview of the work from this period, whilst the smaller galleries focus on specific artists or movements.
The Royal Collection of Graphic Art.
The Royal Collection of Graphic Art contains more than 240,000 works: copperprints, drawings, etchings, watercolours, lithographic works and other kinds of art on paper, dating from the 15th century to the present day. The beginnings of this collection were made around the time of Christian II. In his diary from 1521 the German painter Albrecht Dürer says he has given the King "the best pieces of all my prints".
In 1843 the various works, which had so far been the king's private collection, were displayed to the public. It was then moved into the Statens Museum for Kunst when the first building was completed in 1896, along with The Royal Collection of Paintings and The Royal Cast Collection.
Although the papers contain a great number of foreign works, Danish art constitutes the main part of the collection. This collection is open to the public through the Print Room, access to which must be booked in advance of arrival.
The Royal Cast Collection.
The Royal Cast Collection is held at the West India Warehouse, Toldbodgade 40, between The Little Mermaid and Nyhavn in Copenhagen. It consists of over 2,000 naked plaster casts of statues and reliefs from collections, museums, temples, churches, and public places throughout the world, from antiquity to the Renaissance. The Royal Cast Collection is only open for special events. The art was first put on display in 1895 with the intention of edifying visitors about the progression of representations of the human form over time in parallel with growing social, political and aesthetic awareness in the Western world.
At the start of the Second World War the art of antiquity became increasingly unfashionable, associated with an archaic artistic tradition. In 1966, as abstract art became more popular, the Royal Cast Collection was removed to a barn outside Copenhagen for storage and only revived in 1984 when it was removed to the West India Warehouse.
History.
The collections of the Danish National Gallery originate in the Art Chamber () of the Danish monarchs. When the German Gerhard Morell became Keeper of Frederick V's Art Chamber about 1750, he suggested that the king create a separate collection of paintings. To ensure that the collection was not inferior to those of other European royal houses and local counts, the king made large-scale purchases of Italian, Netherlandish and German paintings. The collection became particularly well provided with Flemish and Dutch art. The most important purchase during Morell's term as keeper was "Christ as the Suffering Redeemer" by Andrea Mantegna. 'Det Kongelige Billedgalleri' (Royal Art Gallery) was housed in Christiansborg Palace until 1884 when the castle burnt down. It was not until the opening of the museum in 1896 that the art had a new home.
Since then a great variety of purchases have been made. During the 19th century the works were almost exclusively by Danish artists, and for this reason the Museum has an unrivalled collection of paintings from the so-called Danish Golden Age. That the country was able to produce pictures of high artistic quality was something new, and a consequence of the establishment of the Royal Danish Academy of Fine Arts in 1754.
More recently, the collection has been influenced by generous donations and long-term loans. In 1928 Johannes Rump's large collection of early French Modernist paintings was donated to the Museum. This was followed by purchases of paintings and sculpture in the French tradition.
Architecture.
The original museum building was designed by Vilhelm Dahlerup and G.E.W. Møller and built 1889–1896 in a Historicist Italian Renaissance revival style.
Towards the back of the museum is a large modern extension designed by the architects Anna Maria Indrio and Mads Møller from Arkitektfirmaet C. F. Møller. The extension was erected in 1998 to house the extensive modern art collection. The two buildings are connected by a glass panelled 'Street of Sculptures' walkway and theatre which stretches the entire length of the museum and looks out onto the Østre Anlæg park. Talks, concerts and installations are all held in this area.


Koffler Student Centre

The Koffler Student Centre is the main student centre at the University of Toronto, located at 214 College Street. The centre houses a number of different student services, including the main campus bookstore, career centre, and health clinic. The ornate building is located at the northwest corner of St. George and College Street streets in a building that was formerly the home of the Toronto Reference Library.
History.
The building was opened in 1909 as the Toronto Public Library's Central Reference Library, Ontario's largest Carnegie library. It remained the home of the reference library until 1977, when it relocated to its current home at Bloor and Yonge.
The building was then acquired by the University of Toronto, converted into the student services centre, and renamed after university supporter Murray Koffler of Shoppers Drug Mart.
Architecture.
Designed by Alfred Chapman, the Beaux Arts building features a grand entrance fronting College Street by St. George Street, with stairs rising to the former library's piano nobile. A second, less prominent ground level entrance, located towards the western part of the College Street façade, balances the composition. This main façade fronting College Street is characterized by a sequence of lower paired windows set in a smooth grey stone wall. Its contrasting yellow brick upper section features six two-storey windows set between Corinthian columns.
The original library's reading and reference room overlooked College Street through the large front windows. An addition by Chapman and Oxley in association with Wickson and Gregg was completed along St. George Street in 1930, the theatre was renovated in 1961 by Irving Grossman, and 1985 marked the renovation and restoration of the building headed by Howard D. Chapman (son of Alfred Chapman) and Howard V. Walker.
The building was listed a heritage structure in Toronto's inventory of heritage properties in 1973.