330 West 42nd Street

330 West 42nd Street (also the McGraw-Hill Building and formerly the GHI Building) is a skyscraper in the Hell's Kitchen neighborhood of Manhattan in New York City. Designed by Raymond Hood and J. André Fouilhoux in a mixture of the International Style, Art Deco, and Art Moderne styles, the building was constructed from 1930 to 1931 and originally served as the headquarters of McGraw-Hill Companies.
The building contains 33 stories. Its massing or shape consists of numerous setbacks on the 41st and 42nd Street sides, which were included to comply with the 1916 Zoning Resolution. The facade is made of blue-green terracotta ceramic tile panels, alternating with green-metal-framed windows, with a strongly horizontal orientation. The facade was intended to blend in with the sky regardless of the atmospheric condition. The entrance and original lobby were decorated with light blue and dark green panels. Most of the upper stories were similar in floor plan, except for their widths, which varied due to the setbacks on the facade.
McGraw-Hill Companies bought the land in early 1930 as they were outgrowing their previous building on Tenth Avenue. McGraw-Hill originally took three-quarters of the space and rented out the other stories. As 42nd Street declined, the building was more of a liability. McGraw-Hill moved out in 1972 to a new McGraw-Hill Building at 1221 Avenue of the Americas. The building subsequently served as the headquarters of Group Health Insurance (GHI). Since then, ownership of 330 West 42nd Street has changed several times. In 2021, the owners reportedly disassembled parts of the lobby.
At the time of its completion, 330 West 42nd Street was controversial for the use of horizontal emphasis on its facade, which its contemporaries did not contain. In subsequent decades, architectural critics recognized the building as an early example of the International Style. 330 West 42nd Street was designated a city landmark by the New York City Landmarks Preservation Commission (LPC) in 1979 and was added to the National Register of Historic Places (NRHP) in 1980. The building also became a National Historic Landmark in 1989.
Site.
330 West 42nd Street is on the south side of 42nd Street, between Eighth and Ninth Avenues, in the Hell's Kitchen neighborhood of Manhattan in New York City. The land lot has an area of and a frontage of on 42nd Street, extending deep. It is on the same city block as the The Orion to the west and part of the Port Authority Bus Terminal to the east; the building is also across from Holy Cross Church in the north and the remainder of the bus terminal to the south. The New York City Subway's 42nd Street/Port Authority Bus Terminal station () and Eleven Times Square are on Eighth Avenue, less than one block east.
In the late 1920s, the surrounding area had low-rise residences. The building's site was occupied by five tenements of four to five stories on 42nd Street and six tenements of four stories on 41st Street. On the same city block, John A. Larkin acquired several lots totaling in 1926. On the site, Larkin proposed the Larkin Tower or (Larkin Building), a 110-story, office skyscraper clad mainly in stone and steel, which would have been the world's tallest building. The floor area of the Larkin Tower's upper stories would have been so small as to be economically infeasible, and critics also disapproved of what was then an extreme height, leading to its cancellation in 1930. Part of the site then became the present 330 West 42nd Street. Many of the surrounding tenements had been converted to office buildings by the 1930s.
Design.
330 West 42nd Street was designed by Raymond Hood and J. André Fouilhoux, of the firm Hood, Godley, and Fouilhoux, in a mixture of the International Style, Art Deco, and Art Moderne styles. It was completed in 1931 as the headquarters of publisher McGraw-Hill Companies. In an issue of the "McGraw-Hill News" the same year as the building's completion, Hood had written, "Economy and good working conditions were the three factors uppermost in mind" during the building's planning. The design of 330 West 42nd Street was evocative of those of New York City's earlier factory buildings. As "Architectural Forum" magazine said, "The requirements peculiar to a publishing business have formed the basis for the entire structure—in plan, section and elevation." The skyscraper measures tall, with 33 stories. Unlike in Art Deco structures of the past, 330 West 42nd Street relied on color as a primary means of ornament.
Form.
330 West 42nd Street is designed as a 35-story building with setbacks to comply with the 1916 Zoning Resolution. The massing of the building contains setbacks at the 11th and 16th floors on both 41st and 42nd Streets, as well as at the 7th floor on 41st Street. Each of these setbacks is only one bay deep. At the 32nd and 34th floors, the building contains additional setbacks.
Because the setbacks are only placed on the northern and southern sides of the building, they are only visible from the west and east, while the northern and southern facades appear to be a slab when viewed head-on. Each of the northern and southern facades is seven bays wide on all stories. Under the 1916 zoning code, setbacks were not required on the facades that abutted other land lots. The lack of setbacks made the building stand out as an industrial structure, even in the low-rise Hell's Kitchen neighborhood.
Facade.
The facade is largely undecorated except for the original ground level, the original lobby, and the top stories. At ground level on 42nd Street, the building contains what were originally a pair of three-bay-wide glass storefronts, which were initially used as McGraw-Hill's bookstore and a bank. These curve inward to become the walls of central entrance doorway with five doors, recessed within the facade. The curved walls between the storefront and the recessed entrance contain gold- and silver-colored metal bands, alternating with dark-green and light-blue panels. Above the ground level is a set of light-blue panels with silver-colored metal bands. This entrance originally had Art Deco style letters with the words . Within the doorway were steel doors topped by a glass transom. The ground level on 31st Street originally had garage doors, although in 2021 some of these were proposed for replacement with glass walls.
The exterior walls of the building are blue-green terracotta ceramic panels alternating with sash windows. Hood chose to use steel and terracotta rather than stone because, in his view, stone and brick tended to darken relatively quickly after a structure's completion. The terracotta was manufactured by Federal Seaboard Terra Cotta Corporation. In designing the building, Hood had considered several different colors for the terracotta panels, including "Chinese red", orange, yellow, and gray. Ultimately, blue-green was selected for its "atmospheric quality", which was suitable regardless of the color of the sky on any given day. The terracotta panels between each story are laid in six glazed courses or layers, which gradually become lighter on higher stories. These panels were designed to give the appearance they were shimmering, giving the facade a slightly different tint during different times of day. The terracotta panels were built to the minimum thickness required by city building codes. McGraw-Hill executive James H. McGraw Jr., who had selected the building's blue-green terracotta panels, was elsewhere for much of the building's construction in 1931, but was supposedly "appalled" at the color of the building when he returned. The building was nicknamed the "Green Building", the "Green Kremlin", the "green giant", and the "green monster" due to its color.
There are more than four thousand windows, each of which contains a frame painted apple green. The windows are grouped into sets of three or four, separated horizontally by dark metal spandrel panels, and were designed to the maximum height allowed under city construction codes of the time. Due to restrictions on the amount of glass a facade was allowed to have, the windows were divided horizontally by metal bars. The vertical mullions between windows, as well as the tops of each window sash, were painted in vermillion. The windows and terracotta panels were juxtaposed to emphasize the horizontal dimensions, a characteristic of the International Style; it stood in great contrast to Art Deco facades, which were more vertically oriented. The only deviation from the facade's horizontal emphasis is on the eastern facade, which contains a pair of blue-green vertical strips at its center. After the structure's completion in 1931, Hood and McGraw-Hill had compared the facade to an automobile, a common Art Deco symbol.
The 32nd and 33rd floors consist of projecting sets of piers, between which are pairs of windows. These two stories originally contained the McGraw-Hill executive offices and were designed to emphasize the importance of McGraw-Hill's corporate leadership. A vermillion strip ran underneath the projecting course that surrounded the penthouse. The western and eastern facades are clad with horizontal "ribs" at the 34th and 35th stories. A set of Art Deco-style letters with the words is mounted in front of the 34th story windows. These letters, custom made of terracotta blocks, stood against the blue and green terracotta panels of the facade, concealing the mechanical equipment atop 330 West 42nd Street. They were painted white with orange stripes, but that color was removed when McGraw-Hill sold the building. At some point in the late 20th century, the New York City Landmarks Preservation Commission (LPC) approved a move to change the letters to "GHI", representing former owner Group Health Insurance, although it was later changed back.
Features.
The McGraw-Hill Building contains of interior space. As designed, McGraw-Hill used about three-quarters of the total internal space. McGraw-Hill required about for office space, while another were rented out as office space at a rate of .
Lobby.
The original lobby was reportedly demolished in 2021, but covered about and led from the 42nd Street entrance to two elevator banks. The lobby's design was a continuation of the exterior, a common trend for Art Deco designs. It originally consisted of a passageway from the 42nd Street entrance, whose walls were decorated with similar dark-green and light-blue bands as the entrance way. There were doorways which led to the bookstore on the left (east) wall and to the bank on the right (west) wall. The walls of the elevator lobby contained solid green enamel walls. The elevator doors were made of metal and decorated with bronze stripes, while floor-indicator markers hung above the doorways. Elevator staff wore green uniforms to correspond with the green baked-enamel interiors of each elevator cab.
Upper floors.
Industrial uses were placed on the second through tenth floors, which were larger and relatively poorly lit, while offices were placed on the smaller, better-lighted upper floors. The industrial stories were largely designed for functional purposes, with elevator banks at the center of each floor. The ceilings of these industrial stories were generally between tall and the floor slabs were intended to support heavy loads. The printing plant was placed below the sixth-floor setback while the book production was housed in the loft space above the setback. The bindery was on the fifth floor, the press room on the sixth floor, and the composing room on the seventh floor. These stories were converted to standard office space by 1933.
The upper stories were designed in a relatively simple style characterized as "Raymond Hood Colonial". The ninth through 15th floors had been exclusively intended for rental use, while McGraw-Hill generally occupied the 16th to 33rd floors. On the office floors, the natural light illuminated each story to a depth of . Few partitions were erected on these stories, creating an open plan with various open spaces for McGraw-Hill's subsidiaries. Except for the 32nd and 33rd stories, there were generally no private offices, as an employee who desired such privacy could work from home instead. The penthouse at the 32nd and 33rd stories originally contained the corporate suites of McGraw-Hill Publishers. The McGraw-Hill corporate offices were relatively conservative in design, being designed in the Georgian and Colonial Revival styles. These stories also contained a cafeteria for McGraw-Hill executives and a 250-seat auditorium.
History.
Development.
The McGraw-Hill Publishing Company was formed in 1917 when James H. McGraw and John A. Hill merged their respective companies. It was then headquartered at the Hill Publishing Building at 475 Tenth Avenue, at the corner with 36th Street. With numerous acquisitions of other companies over the following decades, the McGraw-Hill Publishing Company found its existing space insufficient by the late 1920s. The twelve-story building at Tenth Avenue was expanded by an additional story and some freight elevators in that building were converted to passenger use. Even so, by 1929, employees of that building were being asked to walk up or down some flights rather than take the elevators. The same year, a committee was appointed to oversee the development of a new building.
The new-building committee considered numerous sites on the area bounded clockwise from north by 47th Street, Second Avenue, 34th Street, and Ninth Avenue. The group identified Larkin's 42nd Street lot, as well as another lot at Eighth Avenue and 41st Street half a block east, as feasible sites. In May 1930, McGraw-Hill Companies bought the 47,500-square-foot Larkin site at 326–346 West 42nd Street and 327–345 West 41st Street. The Larkin site had been selected specifically for its convenience and relatively low price. McGraw-Hill intended for its skyscraper to accommodate both commercial and industrial uses, and much of Midtown Manhattan was not zoned for such a purpose. Furthermore, the site was near the major rail hubs at Grand Central Terminal and Pennsylvania Station; post offices; and engineering societies such as the Engineers' Club.
Construction began on December 29, 1930, when the first rivet was driven by the publishing company's vice president James H. McGraw Jr. Starrett Brothers, the main contractor, hired about 800 construction workers for the project. Steel work started immediately afterward. The company secured a $3.8 million loan to finance the building's construction a week after work started. Work progressed quickly and was nearly completed by June 1931; that month, twenty workers received awards for "superior craftsmanship".
McGraw-Hill use.
McGraw-Hill's publishing division moved into the building by October 25, 1931. Six weeks later, the McGraw-Hill Book Company relocated from its longtime headquarters at 370 Seventh Avenue to the new building at 330 West 42nd Street. Construction had taken fourteen months from planning to completion. The building had initially been expected to cost $2.7 million but ran $642,000 over budget. As one of the tallest buildings in Hell's Kitchen at the time, the McGraw-Hill Building stood out from the rest of the neighborhood. The company had hoped that the building would be one of several on 42nd Street after a planned rezoning of the street that never happened.
Frank Gale of McGraw-Hill wrote in January 1932, three months after the building's completion, that only six of the 33 usable office stories had not been occupied by then. With the onset of the Great Depression, the industrial equipment on the lower floors became obsolete and was sold in January 1931. In addition to McGraw-Hill's headquarters, space was rented to tenants such as the J. C. Valentine Company; the Topics Publishing Company; Charles Eneu Johnson, a printer-ink supplier; Media Records, an advertising-statistics company; the International Development Corporation; the Edge Moor Iron Company; United Cigar Stores; the Home Owners' Loan Corporation; and the Adolphe Hurst Company, an importing concern. By 1935, the building was almost fully occupied. Subsequent tenants included pulp publisher Martin Goodman, who founded Timely Comics (Marvel Comics’ common name during the Golden Age) at the building during 1939, as well as soap firm Givaudan. McGraw-Hill suffered from financial issues of its own, occupying only 34 percent of the floor area by 1939.
During World War II, the McGraw-Hill Building's owners devised emergency blackout procedures in case of an air raid warning, because of the building's large number of windows relative to other structures in the area. The western part of McGraw-Hill's lot, which had not been developed for the McGraw-Hill Building, was proposed as the site of an interstate bus terminal in 1940, due to the building's proximity to the Lincoln Tunnel entrance to New Jersey. The terminal was approved in early 1941, but plans for the terminal were delayed by the war, and the terminal ultimately was instead built one block south in 1950. The adjacent lot ultimately was developed as a post office. In the mid-1950s, the Port Authority of New York and New Jersey started training "spotters" to look at traffic on the Lincoln Tunnel approaches from the 35th floor of the McGraw-Hill Building. The spotters used two-way radios to direct traffic, as well as a CCTV camera mounted on the top of the building.
The McGraw-Hill Companies moved some of its publications to 1301 Avenue of the Americas in 1964 due to a lack of space at 330 West 42nd Street. At that time, the company occupied 94 percent of the space at 330 West 42nd Street and was planning to expand the structure. The company also took space at 620 Eighth Avenue. McGraw-Hill then announced its intention to develop additional stories atop the Port Authority Bus Terminal annex, being built immediately to the east, but the plan did not come to fruition. The company was unable to expand to the west because the post office was there. Ultimately, McGraw-Hill announced in 1967 that it would construct a new headquarters at 1221 Avenue of the Americas, one of the "XYZ Buildings" at Rockefeller Center. McGraw-Hill sold 330 West 42nd Street to C. Russell Feldmann in 1970. The sale price was subsequently reported at $15 million. Although Feldmann wanted to convert the building into office space, his financial troubles led McGraw-Hill to retake the property in February 1973 to satisfy an unpaid mortgage of $11.1 million, netting McGraw-Hill a profit of $4 million.
Late 20th century.
McGraw-Hill moved to 1221 Avenue of the Americas in 1972. Its old headquarters at 330 West 42nd Street was placed for sale at less than $15 million, less than ten percent the $175 million construction price of its new building. Despite the relatively low price, 330 West 42nd Street stood vacant for three years, during which only a maintenance crew of ten workers was staffed in the building. The vacancy was attributed to developers' reluctance to take space on West 42nd Street, which was considered "tawdry", and the decline in the general neighborhood. During this time, McGraw-Hill lost $650,000 per year on maintenance and taxes for the vacant building.
The building was purchased in late 1974 by medical insurance company Group Health Inc. (GHI) for $5.5 million, becoming the GHI Building. At the time, GHI was headquartered at 230 West 41st Street, one block west, but urgently needed another . Through the end of the 1970s, the building was only one-third occupied, with most of that space being taken by GHI. The rundown character of the Hell's Kitchen neighborhood meant that rent at 330 West 42nd Street was relatively cheap and, thus, the office space was taken by organizations like the 42nd Street Development Corporation. Following lobbying from that organization, the LPC designated 330 West 42nd Street as a city landmark on September 11, 1979, and the building was listed on the National Register of Historic Places on March 28, 1980.
330 West 42nd Street was taken over by Newmark & Company in February 1980, although GHI remained in the building. The new owners commenced a $2 million rehabilitation of the building; to reduce vacancies, Newmark president Jeffrey Gural rented space to any tenants who could reliably pay. The lobby was renovated by architects Warner Burns Toan & Lunde and interior designers Valerian Rybar and Jean-Francois Daigre. Mechanical systems were also updated through the building. A site-specific artwork, an angular metal sculpture by Owen Morrel entitled "Boomerang", was mounted up the southeast corner in 1981. By the end of that year, 330 West 42nd Street was fully rented again, due in part to the redevelopment of the surrounding stretch of 42nd Street. Gural had become more selective with tenants, only accepting large leases and telling "The New York Times" in 1981 that he could bring the building to full occupancy "three times over in ten minutes". These tenants included a trading floor of Paine Webber, as well as the New York City Department of Cultural Affairs. The base of the building became a popular performance venue for bands.
330 West 42nd Street was declared a National Historic Landmark in 1989. GHI moved out of 330 West 42nd Street in 1994, taking space at its own building at 441 Ninth Avenue. The same year Deco Towers Associates, a foreign investment group, acquired 330 West 42nd Street as its sole property. The sale had become complicated by the fact that the Federal Deposit Insurance Corporation had taken over the building's mortgage holder, the American Savings Bank, which had gone bankrupt. A long-term restoration of the building began in 1998 and continued over the next two decades. Shortly after the project began. Deco Towers dismantled "Boomerang", having found severe deterioration in that sculpture during inspections over the previous five years. The company had offered to give the work to Morrel or restore it if funding was provided.
21st century.
330 West 42nd Street received some facade renovations during the mid-2010s. The restoration of the facade won an award in 2019 from the New York Landmarks Conservancy. At the time, the Service Employees International Union (SEIU) was a major tenant, although its lease was scheduled to run out in October 2020. Deco Towers announced in 2018 that it planned to convert the 16th through 34th floors into residential condominiums, following the expiry of SEIU's lease. However, the plan to convert the building to apartments was subsequently abandoned. By early 2021, the building had been vacated in preparation for its renovation.
In February 2021, the LPC approved a plan by Moed de Armas and Shannon Architects (MdeAS) to renovate part of the building. The plans called for renovating the facade and signs on the ground floor, as well as a new tenant doorway at West 42nd Street. MdeAS also proposed gutting the streamlined lobby as part of a series of changes to reconfigure the lower floors, formerly occupied by SEIU, for office use. After a tweet of the proposed design of the replacement lobby circulated, numerous preservationists petitioned the LPC to grant landmark status to the lobby's interior. A plan to remove the sign atop the crown, replacing it with one spelling out the building's address, was rejected by the LPC after opposition from preservationists. The following month, a spokesperson for the building's owner claimed that the lobby had mostly been demolished, but that pieces were being stored for reuse.
Critical reception.
Upon the McGraw Hill Building's completion, much controversy arose over its use of the International Style, which was then relatively new compared to Art Moderne and Art Deco. George Shepard Chappell, writing in "The New Yorker" under the pseudonym "T-Square", lambasted the McGraw Hill Building's use of horizontal lines, saying: "The fact remains that a tall building, considered as a mass, goes up, not sidewise." Chappell found the building's mass and color to be unappealing, though he did approve of the building's limited use of ornamentation. Alfred T. North commented on the building's controversy, saying, "Lacking all of the earmarks of historical architecture, this building is running the gauntlet of criticism." Ultimately, North was unable to determine the style in which 330 West 42nd Street was designed.
Others spoke more positively of 330 West 42nd Street. Upon Hood's death in 1934, shortly after the building's completion, the "New York Daily News" called the building "among the finest modern achievements in architecture", along with Hood's American Radiator Building, Daily News Building, and Beaux-Arts Apartments. The building was the only skyscraper in the city displayed in Henry-Russell Hitchcock and Philip Johnson's influential International Style exhibition at the Museum of Modern Art in 1932, and the only other U.S. skyscraper at that exhibition, besides the PSFS Building. Hitchcock and Johnson objected only to the crown, which they described as "an illogical and unhappy break in the general system of regularity". In subsequent years, McGraw-Hill came to characterize 330 West 42nd Street as an "International" style building.
With the greater acceptance of the International Style, the McGraw-Hill Building became known as an early example of that style, although other writers described it as having a blend of Art Deco and Art Moderne elements as well. Lewis Mumford wrote in 1953 that 330 West 42nd Street's horizontal facade emphasis was a "logical end" to the early-20th-century development of the skyscraper, alongside the Daily News Building's vertical emphasis, the Empire State Building's height, and the New York Hospital's "spacious setting". Meanwhile, Vincent Scully called it "proto-jukebox modern", When McGraw-Hill moved to 1221 Avenue of the Americas, "Architecture Plus" magazine wrote, "How could a corporate client, which commissioned such an outstanding structure in those difficult days of the Great Depression, find itself moving into one that is, in architectural terms, a nonentity?" During the building's 1970s vacancy, Paul Goldberger called the lobby "one of the best rooms of the period in New York". When GHI bought the building, an opinion writer for "The New York Times" celebrated the fact that the "distinctive green giant" would be preserved, even though it was not yet an official landmark.


Boston Manor

Boston Manor is an English Jacobean manor house built in 1622 with internal alterations, intensively restored in later centuries and Boston Manor Park is the adjoining publicly owned green space including a lake. It was the manor house of one of the early medieval-founded manors in Middlesex. Since 1965 its small part of the parish of Hanwell has been part of the London Borough of Hounslow in west London.
History of the former Manor of Boston.
The earliest reference to Boston (or Bordwadestone as it was then spelled) was around the 1170s. Bordwad has not been identified with a group of people or physical feature and so it is assumed the first part of this word means "Bord's". The final part of the word is the common ending "(" i.e. farmstead. It was towards the northern end its lands — its manor. The lord of the Manor is recorded as Ralph de Brito. There is no record as to where he built his manor house. He founded a chapel dedicated to St. Lawrence in the south of the manor on a site that is now derelict. The ecclesiastical boundary under this chapel was — or became over time — conterminous with the manor boundary. The approximate four boundaries were the Piccadilly line from the east end of Boston Manor Underground station's sidings to the Brent, the Brent down to the Thames, the Thames to Half Acre Road, and Boston Manor Road.
The northern extent of the manor was marked by a boundary stone. Later a tree to the west of it came to be the local Gospel Oak. Here the old pagan custom of blessing the field and crops took place whilst beating the bounds. Thus, the boundary of chapelry of St. Lawrence coexisted with that of the manor. It was a part of the parish of Hanwell until moved into Brentford.
Then in about 1280 King Edward I granted this area of the township to the prioress of St Helen's Bishopsgate. It is at this point Boston became a recognised rural settlement. The prioress received what amounted to "constructive possession" and ownership. The King did this to make raising tax easier and it had the benefit of deterring alienation of part, a process then called subinfeudation, keeping the land together until the dissolution of the monasteries.
The King may have favoured this particular Convent in Bishopsgate because it was full of the unmarried daughters of members of the Guild of Goldsmiths, and so by making them self-supporting by giving them the means to charge their new tenants rents and to sell the produce grown on their newly acquired demesne, he could justify taxing their fathers more heavily and collect the tax in the form of silver coinage, which was more convenient.
In 1539, Henry VIII's national reforms saw the convent dissolved and the manor (including its holdings) returned to the Crown.
The Crown granted the lands in or shortly before 1547 to Edward Seymour, 1st Duke of Somerset during the reign of Edward VI.
When the Duke was beheaded, his lands were forfeited under the Counter-Reformation of Queen Mary to the Crown until Queen Elizabeth granted it to her favourite Robert Dudley, 1st Earl of Leicester who immediately sold it to Sir Thomas Gresham, an internationally wealthy merchant and financier who had also bought Osterley as his summer residence. He later founded the Royal Exchange.
As Gresham died without issue, the property went to his stepson Sir William Reade who lived in Osterley so had to obtain a Patent of Possession in 1610 from James I so that he could inherit. He married Mary Goldsmith, who immediately after his death built Boston Manor House in 1622–1623. She then married Sir Edward Spencer of Althorp, who therefore gained the equitable ownership and who appears to have bought out the claim of the late William Reade's heirs so that upon her death in 1658 the lands passed to her heir John Goldsmith. In 1670 his executors sold Boston to another very wealthy city merchant: James Clitherow I. The price he paid for the house with its then for his own use, was £5,136, 17s, 4d ().
The manor was gradually reduced by the Clitherow family for the next 250 years. The neighbouring settlement of Brentford expanded onto the property of this manor, which largely became known as the Manor of New Brentford.
The population had grown so much by 1621 that the chapelry council assumed administrative township status known as the New Brentford Township — the letters NBT can be seen on local boundary stones.
During the 18th century the area was referred to overwhelmingly as "Boston Manor" in preference to "New Brentford".
John Bourchier Stracey-Clitherow was the last private owner of the manor. In 1923 he sold the final part of the estate: the house and purchased by the Brentford Urban District Council and opened as a public park in 1924.
The Green Flag Award scheme, which recognises and rewards the best green spaces in England and Wales, has given this award to Boston Manor Park in 2005, 2006, 2007, 2008 and 2009.
Boston Manor House.
History of the manor house.
The manor house was built in 1622-3 for the newly widowed, and shortly to be remarried Dame Mary Reade. whose late husband was granted a patent of possession for Boston Manor from James I.
To the north of the house the Clitherrow family added extensions that contained the kitchen services and quarters for the domestic staff.
John Bourchier Stracey-Clitherow was the last private owner of Boston Manor which he sold in 1923. The house and the surrounding was purchased by the Brentford Urban District Council which was opened as a public park in 1924.
The house was badly damaged during World War II by a V1 dropping across the road.
For a time it was used as a school. After extensive restoration work, was re-opened in 1963 by Queen Elizabeth The Queen Mother as a visitors centre and Museum.
Due to its unique architecture and decoration it has been often used as a setting for period films.
There came a time when the south west corner was propped up by scaffolding intended to be a temporary measure but which became a feature for several years. English Heritage judged that urgent work was needed in order to consolidate the foundations to prevent further deterioration and possible collapse. The lower courses of brickwork were visibly bowing out and a vertical crack could be seen running up the wall. This has since been repaired.
An organization called the Friends of Boston Manor now exists with the aim of helping to restore and maintain the historical aspects of Boston Manor Park and House.
Description of the house.
The manor house is a Grade I listed Jacobean manor house on the west-side of Boston Manor Road, Brentford, in the London Borough of Hounslow, England. Set in of parkland, it is Hounslow's only building of the Jacobean period. It is situated in beautiful grounds which gently slope down to the nearby River Brent, from which Brentford gets its name. The house has thick walls of red brick and stands three storeys high. The windows are set into stone architraves and a stone cornice between the second and third storeys of the house. It has three gables on the longer sides and two on the shorter with stone coping. The rainwater downpipe headers which collect from the roof gutters are each embossed with dates. The three on the original part of the house are dated 1662, this being the date that building began. Another is 1670, which was when the third gable was added, and 1915 for when improvements were made to the drainage system.
It was traditional with grand houses of this time to consider the front side of the house to be that side which looks out over an elegantly landscaped garden. However, during the ownership of James Clitherow (IV), the central ground floor window on the east side was converted into a doorway and a porch was added. It is fashioned from pale grit stone which has weathered to an almost light golden colour, with Elizabethan detail, and topped with a low ornamental balustrade. Considering its design and apparent age, it is thought to have been salvaged from another building.
Going through this porch and the new front doorway one comes into the entrance hall. It extends to the west side of the house and the former front door. Halfway between, however, is a wooden divide or screen which was added around the 19c, and the east half was given a new ceiling.
On the immediate left of the hall is the dining room. It is not very large and is painted in a bright yellow which was both popular and expensive when it was in fashion. It has a number of prints and paintings hanging on the walls of local scenes from times gone by.
Once back in the hallway and walking through the screen, there is to the left-hand side a door to the library, which is about the same size as the dining room. It has some interesting features. Unfortunately the room now remains locked and cannot be seen by visitors due to the dangerous condition of the wall on that side of the house. Beyond the library door is the west side door to the garden.
The west side of the hall also has a mostly original left hand winding Jacobean staircase.
The angle of ascent (or rake) of the stairs is more gentle than in modern buildings, with both a lower ‘rise’ to the next tread and deeper ‘run’ to the next step. The treads are bullnosed and obediently creak to each and every footfall a visitor may place upon them.
Square carved oak newel posts support the ends of banisters with carved tapered balusters running between. The opposite side of the stairs are mirrored with a Trompe d'œil balustrade. For this period in England, this is an extremely rare example of this technique and so is now been preserved behind transparent sheets. The design has striking similarities to those at Hatfield House.
A 19c addition to the top of the newel posts are small plaster or composition castings of lions which are sitting on their haunches, with their bodies erect and both forepaws raised from the ground (i.e., holding ‘sejant erect attitude’), Each animal hold a shield bearing the arms of a different Clitherow member. These may have been added for the visit of King William IV and Queen Adelaide; for although the Clitherow's were commoners they could nevertheless trace their family tree back to the reign of Henry V.
The two landings give a fine view over the garden with its cedar trees planted in 1754.
With the commanding view that the house provides to the south and south west, one can almost imagine a little over a hundred years before that, when the then King Charles I could have been pacing from window to window with his loyal supporter Sir Edward Spencer, watching Prince Rupert's troops engaging with the Parliamentarians during the Battle of Brentford. Apart from local folklore though, there is nothing to support this as having happened. It is almost equally disappointing to discover, that despite the historically rich ambience that follows one about from room to room, only one ghost has chosen to remain in residence. It is said to be that of the unquiet spirit of young master John Clitherow, who drowned at an untimely and early age.
After the second flight of stairs one arrives at the second floor. To the right
it the door to a small anteroom on the west side of the house. Next to this is the state bedroom with a splendid Jacobean decorated plaster ceiling in high relief. The central panel depicts a female figure representing ‘Hope’ with her cross-anchor, below is the word in Latin. This symbol pre-dates Christianity: "Which hope we have as an anchor of the soul, both sure and stedfast, and which entereth into that within the veil;" Hebrews 6:19 (KJV). Despite this, Dame Mary Reade died childless.
From here and though the doorway to the east side is the state drawing room; so called because this is where the ladies would withdraw after dinner, leaving the menfolk to smoke and sample the cellar. This is the room that Boston Manor House is so famous for. It is large, with a high and magnificent Jacobean ceiling, some with elements designed by the 17th-century Dutch artist Marcus Gheeraerts, and engraved by Galle. In one corner is recorded the date of building, and Mary Reade's initials in another. An equally ornate chimney- piece over the mantel is based on a print by the Flemish-born engraver Abraham de Bruyn which depicts Abraham about to sacrifice Isaac on the Mount of Moriah. All of these high relief mouldings are all acknowledged to be excellent examples of the Jacobean period.
On the wall along the final top flight of stairs can be seen some 18th-century wallpaper, which was discovered during restoration work. While it has become distressed with time, it is considered to be among the best examples which have survived into present times.
Like most houses that have served as homes, it has when needs prevail, been improved and modernised, by the Clitherow family. The original windows were replaced by box-sash and unfolding wooden panels or screens. These would be unfurled across the windows at dusk to keep in the heat, as well as keeping the house more secure. Central heating was also installed, as was gas for the kitchens.
The wall have been hung with hand-printed flock wallpaper. Much of the furniture in the house has been lent by the Gunnersbury Park Museum.
The art collection includes an oil on canvas of Christopher Clitherow by Godfrey Kneller; oils of Syon House and Isleworth by James Isaiah Lewis; an oil of James Clitherow (1766–1841) by Henry William Pickersgill; and an oil of James Clitherow (1731–1805) by George Romney.
Park opening hours and events.
The park is free and open to the public every day: 8am-dusk It has a modern and fully equipped children's playground, plus 3 tennis courts, and a basketball court. Friends of Boston Manor volunteers run a cafeteria at weekends. Recently a Nature Trail has been laid out. There are formal lawns and an ornamental lake with wild fowl. Car Boot sales are held first Saturday of every month from 9 a.m. to 1 p.m.
The manor itself is open on Saturdays and Sundays and Bank Holidays from April to October.
Transport and locale.
Two London Buses serve the area; the 195 and the E8. The area's local London Underground station is Boston Manor, served by Piccadilly line trains.
Its post town is TW8 BRENTFORD, in the TW postcode area.
The M4 motorway overpass runs through Boston Manor Park.
Popular culture.
Boston Manor is featured in the song Girl VII on the album Foxbase Alpha by UK pop band Saint Etienne.


Berden Hall

Berden Hall is a Grade II* listed Elizabethan country house in Berden, in the Uttlesford District of Essex, England. The house was built in the 1580s. In 2012 the house was on the market for £3.5 million.
History.
A manor house existed in Berden in medieval times when the Rochford family were lords of the manor here and probably founded the nearby priory. In 1583 it passed to Sir Thomas Ramsey who gave the estate and priory to the mayor of London and governors of several hospitals.
The current red brick house is Elizabethan, built in the 1580s. The house is very similar to Toseland Hall in Huntingdonshire, built about 20 years later, with an identical outline, but different details. Further additions were made in the 17th century when it was owned by the Meade family,
and the rainwater heads bear the date 1655. In the 1780s Thomas Hawkes owned Berden Hall, and in 1801 it still belonged to the Hawkes family.
Berden Hall became a Grade II* listed building on 26 November 1951. In June 2012 the house was on the market for £3.75 million with Bidwells.
Architecture.
Clive Aslet of "The Daily Telegraph" describes the "thick lime mortar joints that give a sparkle to Berden Hall’s facades", and the red bricks used on the house which are longer and thinner than those later used during the Georgian period. The house has three straight gables to each side and mullion-and-transom-cross windows, dated to the 17th century. There is a triple arch at the central doorway to the house, and inside is a winding wide Tudor staircase. The house has eight bedrooms, one of which is a master suite with two dressing rooms, a reception hall, drawing room, sitting room, dining room, kitchen, utility room, cloakroom, five bathrooms, two studies, a snooker room, a squash and tennis court and an indoor swimming pool, and outer staff buildings and stable block. The gardens contain a lake, footbridge and paddock in about 17 acres. There is a granary to the east of the house, about south of the village church.


Dominion Cinema

The Dominion Cinema is an independent Streamline Moderne cinema located in the Morningside area of Edinburgh, Scotland. The company was incorporated by William Cameron, on 13 May 1937 when he bought the land in Newbattle Terrace. The cinema was opened on 31 January 1938 originally seating 1300. It was designed by architect Thomas Bowhill Gibson in an Art Deco style.
The cinema, one of only two family run cinemas in Scotland has only been forced to close twice. The first occasion was in September 1939, when there were fears over air raids at the start of World War Two. However, the Dominion reopened a week later due to public demand. The second time, in 2020 as a result of the coronavirus (COVID-19) pandemic.
The cinema has had planned closures on three further occasions; in 1972, 1980 and 1998, each time to add more screens. The cinema still runs today as a four-screen venue, and in 1993 it was protected as a category B listed building. It is still run by the Cameron family.


Bispham Hall

Bispham Hall is a Grade II* listed Elizabethan country house in Billinge, now part of the Metropolitan Borough of Wigan, Greater Manchester.
The hall was built in 1573 but has been extended since. It is constructed to an E-shaped plan in dressed stone with ashlar dressings in three storeys, with a frontage of five gabled bays. The 2nd and 4th bays project but the 1st and 5th bays project even further and are wider. Despite interior damage caused by fire, the hall remains one of the most complete examples of 16th century architecture in the historic county of Lancashire. The surrounding park, at one time much larger than the 60-acre estate which exists today, had extensive woodlands which contain an 1815 monument to the Duke of Wellington and a smaller monument to either a horse or dog called Dash.
Bispham Hall was named after the Bispham family who acquired the estate by marriage in 1346 and held it until 1730. It then passed to the Leigh family of Whitley Hall, Wigan. In 1825 the property had descended to John Holt, who had inherited it in 1816 from his unmarried brother Robert. In 1841 John Holt left the property to William Mills, a distant relative of Cheshire, on condition that the latter adopted the surname of Holt. On William's death the estate passed to his son William Thomas, who died in 1857, leaving it to be divided between his six sisters, whereby it was sold in 1871 to coal-producer Meyrick Holmes Bankes of Winstanley Hall.
The Bispham estate was acquired by the Boy Scout Association in 1948 as an activity centre. The hall itself was gutted by a fire in 1977 or 1978, but has been since restored by the Vivat Trust and is now privately owned. The Scout activity centre provides, in addition to indoor accommodation facilities, field camping areas for large groups and smaller woodland clearings for smaller groups. Varied outdoor facilities are organised, including climbing, orienteering, canoeing and team sports.
Local legend tells how the ghost of Nellie Bispham haunts the woods around Bispham Hall.


Nichols Bridgeway

The Nichols Bridgeway is a pedestrian bridge located in Chicago, Illinois. The bridge begins at the Great Lawn of Millennium Park, crosses over Monroe Street and connects to the third floor of the West Pavilion of the Modern Wing, the Art Institute of Chicago's newest wing. The bridge opened May 16, 2009.
Designed by Renzo Piano, the architect of the Modern Wing, the bridge is approximately long and wide. The bottom of the Bridgeway is made of white, painted structural steel, the floor is made of aluminum planking and the 42" tall railings are steel set atop stainless steel mesh. The Bridgeway features anti-slip walkways and heating elements to prevent the formation of ice and meets ADA standards for universal accessibility. The bridge is named after museum donors Alexandra and John Nichols. The bridge design was inspired by the hull of a boat.
Construction.
The Nichols Bridgeway was added to the master plan of the Modern Wing of the Art Institute of Chicago in 2005. Construction on the bridge began on September 20, 2007. Construction was completed on April 8, 2009. The bridge officially opened, along with the Modern Wing on May 16, 2009.
On June 11, 2009, the Structural Engineers Association of Illinois (SEAOI) named the winners of its 2009 excellence in engineering awards. Arup and Wiss, Janney, Elstner Associates, Inc., received an Award of Merit for their design work for the Nichols Bridgeway.
Pop culture.
In the 2012 romantic comedy, "The Vow", the characters run from the Art Institute of Chicago across the Bridgeway to Millennium Park, where they kiss under "Cloud Gate".


Morgan-Copp-Mervau Building

The Morgan–Copp–Mervau Building, also known as the Corner Store, is a commercial building located at 101 North Mill Street in Northport, Michigan. It was listed on the National Register of Historic Places in 2000.
History.
The Morgan–Copp–Mervau Building was built in three sections. The first, a single-story building fronting on Nagonaba, was constructed in 1880 as a grocery and dry goods store. The store was owned by Northport native N. C. Morgan and his wife Abbie Voice. An attached two-story section was built on the rear in 1881-83; this served as the Morgans' home. The Morgans moved to Sault Ste Marie in 1887. The two-story section was extended to front onto Mill Street some time before 1905; this section was used for quite some time as Mervau's drugstore. A third section, built diagonally to front onto the Nagonaba/Mill intersection, was built in 1927/28.
In 1996/97, the building was rehabilitated and restored to its original appearance.
Description.
The Morgan–Copp–Mervau Building consists of three sections: a single-story false-front clapboard-clad section fronting on Nagonaba, a two-story false-front clapboard-clad section fronting on Mill, and a single-story cedar stickwork addition fronting onto the Nagonaba/Mill intersection. The first two sections form an ell, with the third section oriented diagonally to the first two.


Business- and Agricultural Bank of Jutland

Business- and Agricultural Bank of Jutland () is a listed building and a former Danish bank in Aarhus.
History.
In 1870 the firm D.B. Adler & Co., based in Copenhagen acquired the business and bank company "Adler, Wulff & Meyer", based in Aarhus. The new company was turned into a Kommanditselskab structure and in October 1874 the Jydsk Handels- og Landbrugsbank A/S company was formed with Christian Ludvig Kier as president until 1876 when it became a subsidiary of the Copenhagen Business Bank, under its own name for many years, effectively functioning as a branch. From 1921 NIels Jensen became director of the branch and later the assistant director of Copenhagen Business Bank in 1934 and the vice-president in 1948.
In 1944 the branch was moved to "Rådhuspladsen" and in 1990 the Copenhagen Business Bank, "Danske Bank" and "Provinsbanken" merged to form Danske Bank. The logo of the Copenhagen Business Bank was in use until the year of 2000 but the name and logo of Jydsk Handels- og Landbrugsbank was decommissioned.
Architecture.
Jydsk Handels- og Landbrugsbank was situated on Lille Torv in Aarhus, in a building drawn by architect Sophus Frederik Kühnel, constructed in 1899–1900 and listed in 1996 by the Danish Heritage Agency. The building is mainly inspired by Italian renaissance architecture with elements of the national romantic style.
The building is in 3 floors and sits on an inwardly leaning base of quarried granite ashlar topped with a bright profile strip. The outer walls of the ground floor is also granite ashlar but in different colors while red bricks are used on the upper floors and the low roof. The ashlar and brick sections are broken by a cornice and the brick section is topped with a heavy corbel cornice. The windows are framed in sandstone with twin arches above and rope ornaments on the sills below. The roof is half-hipped and topped with glazed tile. The interior features a marble stairwell with wrought iron railing and patterned masonry.
The building remains close to original condition with the only major change being a new the window towards Vestergade being changed to a door when a shop moved in, in 2008, and ground floor windows having been replaced. The walls, columns, vaults, panels and decorations are generally intact and original.


Stephen Avenue Place

Stephen Avenue Place, formerly Scotia Centre is an office and retail hub in downtown Calgary, Alberta, Canada. Located at 700 2nd Street SW, it stands at 155 metres (509 feet) or 41-storeys tall and was the tallest building in Calgary at the time of its completion.
Formerly known as the Scotia Centre, the building was purchased by Slate Asset Management in March 2018 and is currently undergoing a redevelopment project that will involve significant renovations to the three story retail podium and building amenities. The project will feature three restaurants run by Concorde Group and Oliver & Bonacini.
Stephen Avenue Place is named for George Stephen, the first Baron Mount Stephen, who was the visionary, businessman and financier behind the creation of the Canadian Pacific Railway.


St Andrew-by-the-Wardrobe

St Andrew-by-the-Wardrobe is a Church of England church located on Queen Victoria Street, London in the City of London, near Blackfriars station.
History.
First mentioned around 1170, St Andrew-by-the-Wardrobe was almost certainly founded considerably earlier. During the 13th century the church was a part of Baynard's Castle, an ancient royal residence. In 1361, Edward III moved his Royal Wardrobe (a storehouse for Royal "accoutrements", housing arms and clothing among other personal items of the Crown) from the Tower of London to just north of the church. It was from this association that the church acquired its unique name.
The Wardrobe and the church, however, were both lost in the Great Fire of London in 1666. Of the 51 churches designed by Sir Christopher Wren after the Great Fire, St Andrew-by-the-Wardrobe is among the simplest of his designs; it was erected in 1695.
The church was again gutted during the London blitz by German bombing; only the tower and walls survived. It was rebuilt and rededicated in 1961.
Advowson.
The advowson of St Andrew's was anciently held by the family of FitzWalter to which it probably came from the holding by Robert Fitzwalter (d.1235) of the office of Constable of Baynard's Castle. In 1417 it was held by Thomas de Berkeley, 5th Baron Berkeley (d.1417), as his charter dated 24 June 1417 appointing feoffees to his estate records. Berkeley's Inn, the town house of that family stood nearby, at the south end of Adle Street, against Puddle Wharf, as reported by John Stow in his "Survey of London" (1598)
Building.
St Andrew's is situated on a terrace overlooking the street, its plain red-brick exterior contrasting with the stone buildings on either side. The interior is aisled, with arcaded bays supported by piers rather than the usual columns. The original interior fittings were mostly destroyed during the war, and many of the church's features were procured from other destroyed Wren churches. The weathervane on the steeple comes from St Michael Bassishaw (which was demolished in 1900). A replacement pulpit came from the church of St Matthew, Friday Street. The font and cover also came from here. The royal arms, of the House of Stuart, came from St Olave Old Jewry (demolished, except for its tower, in 1887). There is a figure of St Andrew, dated around 1600, which stands on the north side of the sanctuary and an unusual figure of Saint Anne who is shown holding the Virgin Mary who in turn holds the Christ child. This statue, which is probably north Italian, dates to around 1500.
William Shakespeare was a member of this parish for about fifteen years while he was working at the Blackfriars Theatre nearby, and later he bought a house within the parish, in Ireland Yard. In his honour, a memorial was erected in the church.
Regular Sunday services are conducted there by the St Gregorios congregation of the Indian Orthodox Church.
The church was designated a Grade I listed building on 4 January 1950.


Municipal Art Gallery (Thessaloniki)

The Municipal Art Gallery of the Municipality of Thessaloniki in Central Macedonia, Greece was founded in 1966 as an offshoot of the Municipal Library. Since 1986 it has been housed in the Villa Mordoch on Vassilissis Olgas Avenue, a mansion designed by the architect Xenophon Paionidis in the eclectic style in 1905 and owned by the Municipality of Thessaloniki. Since 2013 it is housed in Villa Bianca, also on Vassilissis Olgas Avenue. It also uses the Makridis Room near the Posidonio sports centre on the sea front and the old Archaeological Museum (Yeni Cami) as permanent exhibition spaces.
The gallery has more than 1,000 works in its collection, and these are divided into the Thessalonian Artists Collection (3 generations: 1898–1922, 1923–40, 1941–67), the Modern Greek Engraving Collection, the Collection of Byzantine and Postbyzantine Icons, which covers a period of six centuries, the Modern Greek Art Collection, and the Sculpture Collection.
The gallery organises regular (mainly retrospective) exhibitions of Greek artists, produces numerous publications, has a specialised library-cum-reading-room, and offers guided tours for the public (booked in advance). Since 1986 it has held 55 exhibitions of Greek and foreign artists. One of its aims is to jointly organise exhibitions with major visual arts institutions in Greece and abroad. Thus it has presented such artists as Max Ernst and Nikos Engonopoulos (in 1997), Theofilos Hatzimichail (in 1998), and, for the first time in Greece, the works of Nikolaos Gyzis owned by his family (in late 1999). The latter include drawings and oil paintings from Gyzis’s travels in Greece, Asia Minor, and Germany, family portraits and scenes, allegorical subjects, genre paintings, and still lives.
The immediate aims of the Municipal Gallery include converting the second and third floors of the Villa Bianca into permanent exhibition spaces for works by Thessalonian artists and its collection of Byzantine icons.


Kemerton Court

Kemerton Court is the principal manor house of the village of Kemerton, near Tewkesbury in Gloucestershire.
The house is built of local Cotswold stone, dating from the late 16th century onwards. In the early 18th century a 9-bay baroque façade of some elegance was added by the squire, John Parsons III (1649–1722). Thomas White of Worcester and the Smiths of Warwick have been variously suggested as the architects. It is a Grade II* listed building.
Kemerton Court is set in parkland and is surrounded by a farming estate of around . It is owned by conservationist Adrian Darby, president of Plantlife and former chairman of the RSPB. He is married to Lady Meriel Darby, daughter of the former Prime Minister, Alec Douglas-Home, 14th Earl of Home, who was a frequent visitor to the Court.
History.
The manor was granted by King Henry III to Sir Robert de Musgrove (or Mucegros) in 1240. Since that time, apart from the brief period 1918–1949, it has remained in the possession of his descendants and relatives, passing through the families of Musgrove, Beauchamp, Lygon of Madresfield, Parsons-Hopton and Darby. The current owner is 24th in direct descent from Sir Robert de Musgrove. A notable 15th century owner was John Beauchamp, 1st Baron Beauchamp of Powick, Lord High Treasurer of England.


St George in the East

St George-in-the-East is an Anglican Church dedicated to Saint George and one of six Hawksmoor churches in London, England. It was built from 1714 to 1729, with funding from the 1711 Act of Parliament. Its name has been used for two forms of parish (areas of land) surrounding, one ecclesiastical which remains and one a Civil counterpart, a third tier of local government. The latter assisted public facilities in the late 19th century but ceded its dwindling purposes to the Metropolitan Borough of Stepney so was abolished in 1927. The church was designated a Grade I listed building in 1950.
In the 1850s, Archibald Campbell Tait, then Bishop of London, appointed a Low Church lecturer, which was contrary to the High Church attitude of the rector and curate. As a protest, there were catcalls and horn blowing, and some male members of the congregation went into the church smoking their pipes, keeping their hats on, and leading barking dogs. Refuse was thrown onto the altar. The church was closed for a while in 1859, and the rector, owing to his poor health, was persuaded by the author Tom Hughes to hand over his duties to a locum.
The church was hit by a bomb during the Second World War Blitz on London's docklands in May 1941. The original interior was destroyed by the fire, but the walls and distinctive "pepper-pot" towers stayed up. In 1964 a modern church interior was constructed inside the existing walls, and a new flat built under each corner tower.
Ian Nairn wrote of it: “A ruin among ruins, in the lost part of Stepney [after the Blitz, and before being blitzed by the Borough Council?] ... The old life has gone ... the new has not yet come ... It makes no difference to Hawksmoor’s bizarre poetry. This is probably the hardest building to describe in London ... This is a stage somewhere beyond fantasy ... it is the more-than-real world of the drug addict’s dream.”
The church still has an active congregation. In May 2015, the parish entered into a partnership with the Centre for Theology and Community (CTC), an ecumenical charity which is based in its East Crypt. Anglican clergy working for CTC now serve the parish, and the second floor is the home to the Community of St George, a group of lay Christians who assist in the worship and mission of the church.
St George-in-the-East is located on Cannon Street Road, between The Highway and Cable Street, in the East End of London. Behind the church lies St George's Gardens, the original graveyard, which was passed to Stepney Council to maintain as a public park in mid-Victorian times. In 1836, the parish of St George in the East was constituted as a Poor Law parish under the Poor Law Amendment Act 1834.
It appeared in the 1980 film "The Long Good Friday" starring Bob Hoskins. It also appeared in S02E01 of "Killing Eve".


Rego Park Jewish Center

The Rego Park Jewish Center (1948) is an Art Deco Streamline Moderne synagogue in the Rego Park neighborhood of Queens, New York City.
The architectural firm of Frank Grad & Sons designed the building. The facade features a mosaic by Hungarian-born artist A. Raymond Katz.
It is listed on both the New York State and National Register of Historic Places.


Dyrham Park Country Club

Dyrham Park Country Club is a country house, estate and golf club in Hertfordshire, England, near Dancers Hill, several miles northeast of Borehamwood, and to the north of Barnet. It is a white Palladian mansion, set in two hundred acres, with an 18-hole golf course, adjacent to East Barnet Golf Club. The estate was originally settled as a manor in Elizabethan times and the current Palladian mansion was built in the 19th century. The house was renovated in the 1960s and the golf course was established in 1963. The house has been listed Grade II on the National Heritage List for England since May 1949.
Golf.
In its history it has hosted numerous championships, including the 1974 JNF pro-am golf tournament, featuring 136 golfers. Due to its close proximity to Borehamwood Studios it has been extensively used as a filming location for numerous TV series and films, including "The Saint", "The Avengers" and "The Smile Behind the Veil" episode of "Randall and Hopkirk (Deceased)" in the 1960s and films such as "The Strange World of Planet X" (1957) and "The Secret of My Success" (1965). A lake is located in the grounds. Until 1965, the house and park lay in Middlesex.
The entrance gates are listed Grade II*.


Heald House

The Heald House is a historic house at 19 West Street in Waterville, Maine. Built in 1916 to a design by Herbert E. Knapp, it is the city's only substantial example of Prairie School architecture. It was listed on the National Register of Historic Places in 2005.
Description and history.
The Heald House stands in a residential area west of downtown Waterville, at the southeast corner of West and Carroll Streets. It is a two-story wood frame structure, with a hip roof, stuccoed walls, and a concrete foundation, and is scaled to fit in with the surrounding Colonial Revival and Queen Anne houses. It exhibits a mix of Craftsman and Prairie School features, the latter including extended eaves, and the former its exposed rafters. To the left of the main block a single-story enclosed porch projects, its openings consisting of rounded arches. The arches are repeated in the main entry porch, located on the right side of the front facade. The interior of the building retains original decorative materials, including mahogany French doors, parquet flooring, and marble thresholds.
The house was built in 1916 for Arthur and Helen Heald, who were Massachusetts natives. The house was designed by Herbert E. Knapp, a Waterville native who worked in the area, primarily as a building contractor, only until 1918. It is his only known architectural commission in the state, and is one of the state's few examples of Prairie School architecture.


Piazza di Spagna

Piazza di Spagna, at the bottom of the Spanish Steps, is one of the most famous squares in Rome (Italy). It owes its name to the Palazzo di Spagna, seat of the Embassy of Spain to the Holy See. There is also the famed Column of the Immaculate Conception of the Blessed Virgin Mary.
The square.
In the middle of the square is the famous Fontana della Barcaccia, dating to the beginning of the baroque period, sculpted by Pietro Bernini and his son, the more famous Gian Lorenzo Bernini.
At the right corner of the Spanish Steps rises the house of the English poet John Keats, who lived there until his death in 1821: nowadays it has been changed into a museum dedicated to him and his friend Percy Bysshe Shelley, displaying books and memorabilia of English romanticism. At the left corner there is the Babington's tea room, founded in 1893.
The side near Via Frattina is overlooked by the two façades (the main one, designed by Gian Lorenzo Bernini, and the side one created by Francesco Borromini) of the Palazzo di Propaganda Fide, a property of the Holy See. In front of it, actually in a part of Piazza di Spagna named Piazza Mignanelli, rises the Column of the Immaculate Conception, erected in 1856, two years after the proclamation of the dogma.
The Spanish Steps.
The imposing 135-step staircase was inaugurated by Pope Benedict XIII during the 1725 Jubilee; it was released (thanks to French loans granted in 1721–1725) to connect the Bourbon Spanish embassy (from which the square takes its name) to the Church of Trinità dei Monti.
It was designed by Alessandro Specchi and Francesco De Sanctis after generations of long and glowing discussions about how to urbanize the steep slope on the side of the Pincian Hill to connect it to the church. The final key was the one proposed by Francesco De Sanctis: a great staircase decorated with many garden-terraces, splendidly adorned with flowers in spring and summer. The sumptuous, aristocratic staircase, at the summit of a straight sequence of streets leading down to the Tiber, was designed so that the scenic effects increase more and more while approaching to it. In effect, the creation of long, deep perspectives culminating in monumental wings or backdrops was typical of the great baroque architecture. The Spanish Steps were restored in 1995.


Printemps

Printemps (; meaning "spring" in French) is a French department store chain (, literally "big store"). The Printemps stores focus on beauty, lifestyle, fashion, accessories, and men's wear. The Printemps was a founder and has been a member of the International Association of department stores from 1928 to 1997, an international body still active as of today.
Early history.
Printemps was founded in 1865 by Jules Jaluzot and Jean-Alfred Duclos. The original store was designed by noted architects Jules and Paul Sédille and opened at the corner of Le Havre and Boulevard Haussmann in Paris, France, on 3 November 1865. The building was greatly expanded in 1874, and elevators (then a great novelty) from the 1867 Universal Exposition were installed. Rebuilt after a fire in 1881, the store became the first to use electric lighting, in 1888. (Customers could observe the workings of the power plant behind a glass wall.) It was also one of the first department stores with direct subway access, the Metro being connected in 1904.
The policies of Printemps revolutionized retail business practices. The store marked items with set prices and eschewed the haggling based on customer appearance that had previously been standard in retail shopping. Like other (literally "big store", department store), Printemps used the economies of scale to provide high quality goods at prices that the expanding middle class could afford. They also pioneered the idea of discount sales to clear outdated stock, and later the use of window models to display the latest fashions. Printemps was noted for its branding innovations as well, handing out bouquets of violets on the first day of spring and championing the new Art Nouveau style, with its nature inspired motifs.
In 1904, a near collapse of the business led to the resignation of Jules Jaluzot. He was succeeded by Gustave Laguionie, who the following year announced the construction of a second store. This location, designed by architect Rene Binet, opened five years later and is famously dominated by a glass domed hall 42 meters in height, and a noted Art Nouveau staircase. (Removed in 1955.) The first store outside of Paris was opened in 1912 in Deauville. Pierre Laguionie, the son of Gustave, took the helm of the store in 1920, rebuilding it after another large fire in 1921. In 1931, Printemps created the discount chain Prisunic.
By 1970, there were 23 Printemps locations and 13 Prisunic discount outlets. The oil-price driven French economic crisis of the early 1970s significantly threatened the Printemps business model. In response, the firm was transformed into a limited corporation, with a controlling interest acquired by the Maus Frères, a Swiss holding company. Led by Jean-Jacques Delort, the firm embarked on a turnaround strategy, creating specialty stores and brands (such as Armand Thierry clothing) and branching out into retail areas such as food and mail. In the 1980s, the brand went global, opening stores in Japan, Istanbul, Jeddah, Dubai, Singapore and Kuala Lumpur.
Pierre Lagionie has been the first president of the International Association of Department Stores in 1928, a position he held again in 1937 and 1952. Jean-Jacques Delort was president in 1981.
Recent years.
The flagship Printemps store is located on Boulevard Haussmann in the 9th arrondissement of Paris, along with other well-known department stores like Galeries Lafayette. There are other Printemps stores in Paris and throughout France. The company has opened branches outside France in locations including Andorra, the Ginza shopping district in Tokyo, Jeddah, Saudi Arabia and Shanghai.
However, the franchises in Seoul, Kuala Lumpur and Singapore, which opened in the 1980s, and the one in Taipei, which opened in 1993, are closed, as is the only North American branch in Denver, Colorado, which had opened in 1987. A franchise that was supposed to open in 1998 in Ratu Plaza, Jakarta, was under construction and was being finished when the Asian economic crisis and the May 1998 riots hit, and the franchise never opened. On 15 January 2014, Printemps opened "its first new store in 32 years in the Carrousel du Louvre shopping mall in Paris."
The figures of the "Four Seasons" on the "façade" were sculpted by French sculptor Henri Chapu. Jaluzot was replaced as owner in 1900 by Gustave Laguionie, after the business came close to collapse. In the early 20th century, the building was then extended along the Boulevard Haussmann by architect René Binet in an art nouveau style. The building burned down, and its interior was rebuilt in the 1920s.
A remarkable feature of the Haussmann store is an elaborate cupola above the main restaurant in the store, installed during the 1923 reconstruction. In 1939, to avoid the risk that it would be destroyed in bombing attacks, the cupola was dismantled and stored at Clichy. It was restored in 1973 by the grandson of its original designer, using plans that had been kept in the archives of the family business. In 1975, the "façade" and cupola of the building were registered as historical monuments. Their slogan, invented in 1996, is "Au Printemps, nous avons des vêtements!", which is sung as a catchy jingle in advertisements.
On 16 December 2008, the Paris department store Printemps Haussmann was evacuated following a bomb threat from the terrorist group FRA (Afghan Revolutionary Front). The demining services found five sticks of dynamite in the toilet of the store. The FRA claimed this assassination attempt and demanded the withdrawal of 3,000 French soldiers deployed in Afghanistan.
Ownership.
Printemps and its subsidiaries were acquired in 1991 by François Pinault and merged with other holding into Pinault-Printemps-Redoute, now Kering, the parent company of Gucci and FNAC. In 1997, a complete renovation of the flagship store was completed. In 2006, PPR sold Printemps to the Italian Borletti Group (with equity partner Deutsche Bank), who made major investments to revamp the stores.
On 31 July 2013, Divine Investments SA (DiSA), a Qatari-controlled investment fund, announced it had bought Printemps. On 4 August 2013, labor organizations in France asked the Paris prosecutor's office to open a preliminary inquiry into the sale, in response to a complaint from labor representatives. On 8 August 2013, a French court rejected the request to stop the sale. A 2008 treaty exempts Qatari investors from taxes on the profits they make when they sell properties in France.


St Edmundsbury Cathedral

St Edmundsbury Cathedral (formally entitled the Cathedral Church of St James and St Edmund) is the cathedral for the Church of England's Diocese of St Edmundsbury and Ipswich. It is the seat of the Bishop of St Edmundsbury and Ipswich and is in Bury St Edmunds in Suffolk. Originating in the 11th century, it was rebuilt in the 12th and 16th centuries as a parish church and became a cathedral in 1914; it has been considerably enlarged in recent decades.
History.
A church has stood on the site of the cathedral since at least 1065, when St Denis's Church was built within the precincts of Bury St Edmunds Abbey. In the early 12th century the Abbot, Anselm had wanted to make a pilgrimage along the Way of St James to Santiago de Compostela. He was unsuccessful and instead rebuilt St Denis's and dedicated the new church to Saint James, which served as the parish church for the north side of Bury St Edmunds. Anselm was also responsible for building the abbey gate tower, known today as the Norman Tower, alongside St James's, which also served as the church's belfry and it continues in this function to the present day. The church is located about 200 yards from St Mary's Church, which is of a similar size.
This church was largely rebuilt, starting in 1503, in the Perpendicular style by John Wastell, a master mason who also worked on King's College, Cambridge. Further alterations to the building were undertaken in the 18th and 19th centuries, notably a new chancel and a hammerbeam roof by George Gilbert Scott. When the Diocese of St Edmundsbury and Ipswich was created in 1914, St James's Church was made the cathedral. In 1959 Benjamin Britten wrote the "Fanfare for St Edmundsbury" for a "Pageant of Magna Carta" held in the cathedral grounds.
From 1959 onwards there was renewed building work designed to transform the former parish church into a cathedral building. Between 1959 and 1970, the Victorian chancel was demolished and replaced with a new quire, a cloister was added on the west side; also transepts, a Lady chapel and a side chapel dedicated to St Edmund were built. The cathedral architect from 1943 to 1988 was Stephen Dykes Bower and he left £2 million for the completion of the cathedral. In the cathedral grounds a new choir school and visitor's centre, which were opened in 1990, were built by Dykes Bower's successor, Alan Rome. Work started on a Gothic revival style tower in 2000; funded by the Millennium Commission, the Stephen Dykes Bower Trust and others, the Millennium Tower was designed by Hugh Mathew, an associate of Dykes Bower. The 150 foot (46 metre) structure was built from 600,000 bricks and faced with Barnack and Clipsham stone. Its completion was officially celebrated on 22 July 2005. Further additions are the Chapel of the Transfiguration and the East Cloister, both completed in 2009, and the Crypt Treasury in 2012.
Interior.
The font was designed in 1870 by George Gilbert Scott, constructed on a medieval shaft, with a cover by Frank Ernest Howard of Oxford. The decoration was added in 1960. A painting, "The Martyrdom of St Edmund" by Brian Whelan hangs in the Lady Chapel. A sculpture by Elizabeth Frink entitled "Crucifixion" stands by the Treasury steps. Stained glass in the cathedral includes the medieval "Susanna Window" which has Flemish glass in the lower section and English glass at the top. The west window depicts the Last Judgement and dates from about 1900.
In addition to guided tours of the cathedral itself, visitors can view changing exhibits of art in the Edmund Gallery, and an exhibit of historic and religious regalia and artefacts in the Cathedral Treasures display.
Dean and chapter.
The Dean of St Edmundsbury is the head ("primus inter pares" — first among equals) and chair of the chapter of canons, the ruling body of the cathedral. Before 2000 the post was designated as a provost, which was then the equivalent of a dean at most English cathedrals. The first provost was John Orpen.
, the clergy are:
The cathedral, which is also a parish church, has not filled the position of Vicar since at least 2005.
Organ and organists.
Organ.
The Organ was rebuilt by Harrison and Harrison in 2010; Details of the organ from the National Pipe Organ Register
Bells.
A peal of 12 bells are located in the Norman Tower. The original ten bells were cast in 1785 by Thomas Osborn of Downham Market. In 1973 the bells were rehung in an iron frame at a lower level in the tower. Following a public appeal, a further two bells were added at Easter 2012. A thirteenth bell was added in 2013 which allows beginners to practice with a full octave, without having to use the three heaviest bells. The bells are rung on Sundays before the morning and evening services, and also for weddings and other special occasions.


University of Nevada Reno Historic District

University of Nevada Reno Historic District on the campus of the University of Nevada, Reno is a historic district that was listed on the National Register of Historic Places (NRHP) on February 25, 1987. It includes works by architects Stanford White and Frederick J. DeLongchamps. It includes 13 contributing buildings and two other contributing structures, including two separately NRHP-listed buildings, the Mackay School of Mines Building and Morrill Hall.
The 13 historic buildings are:
and the two other contributing elements are


Dedisse Park

Dedisse Park is a Denver Mountain Park located in Jefferson County, Colorado, USA. It was originally the scenic mountain ranch of 1860s pioneer Julius C. Dedisse; this of land was purchased by the City & County of Denver in 1919. In 1927-28 Denver constructed the high Evergreen Dam as a flood control measure on the notoriously flood-prone Bear Creek, creating the Evergreen Lake which became an instant hit with recreationists in summer and winter. Colorado's first mountain golf course, the Evergreen Golf Course, was constructed here in 1925, which features the rustic lodge Keys on the Green restaurant.


Bloomberg London

Bloomberg London is an office building in London, which was opened in 2017. It is owned by Bloomberg L.P. and functions as their European headquarters. It is at 3 Queen Victoria Street, to the west of Walbrook, on the site previously occupied by Bucklersbury House.
Design and build.
The building was designed by architects Foster and Partners with structural engineer AKT II, and constructed by Sir Robert McAlpine at a cost of £1bn. It consists of two buildings, divided by a covered arcade. The buildings are linked by bridges. The arcade contains several restaurants, and reinstates part of Watling Street, an ancient Roman road. Prior to construction, archaeological digs at the construction site yielded a collection of Roman-era inscribed wooden tablets now known as the Bloomberg tablets.
The building is clad in 9,600 tonnes of Derbyshire sandstone with bronze ventilation fins. Inside, the floors are linked by custom glass lifts and a 210m helical bronze "ramp", which dominates the interior of the building. The cores of the building are on the outside, to create a single open-plan space inside. Express lifts take visitors from the lobby, a self-supporting "vortex" of three curved timber shells, to the double-height pantry on the sixth floor, with view of St Paul's Cathedral. Then visitors must take a second lift or use the ramp to access other floors. The building houses 4,000 staff, with room to expand. All desks are electric adjustable-height.
The building features artwork by Olafur Eliasson and other artists. Outside, there is a three-part sculpture called "Forgotten Streams" by Cristina Iglesias, which evokes the Walbrook river.
In July 2018, the RIBA announced that Bloomberg London had made the shortlist of the 2018 Stirling Prize along with Bushey Cemetery, Chadwick Hall, the new build at Tate St Ives, Storey's Field Centre and Eddington Nursery and the Sultan Nazrin Shah Centre. In October it was announced as the overall winner.
Energy usage.
The building is noted for its energy-efficiency. It achieved a 98.5% score against the BREEAM sustainability assessment method, the highest design-stage score ever achieved by any major office development. Rainwater is collected from the roof to supply the vacuum toilets. The office floors are illuminated with 500,000 LEDs. The ceilings are custom aluminium "petals", inspired by the pressed metal ceilings of New York, which act as light diffusers, cooling elements and acoustic attenuation.
The design and building process of the building has been criticised as wasteful: it required developing specialised solutions not applicable anywhere else, and the construction required 600 tonnes of Japanese bronze and 10,000 tonnes of imported Indian granite, rather than using locally-sourced or recycled materials.
Bank Tube station entrance.
As part of the construction of the building, a new entrance to London Underground's Bank and Monument station complex was built. This provides direct access to the Waterloo & City line via four new escalators and two lifts – providing step free access for the first time. Construction of the new entrance began in November 2015, and the new entrance was officially opened by Mayor of London Sadiq Khan and former Mayor of New York Michael Bloomberg in December 2018.
The new entrance incorporates etched glass panels by artist John Hutton, depicting 66 figures based on the ancient Roman history of the area, including the Roman Temple of Mithras. The artwork was originally completed in 1962 on Bucklersbury House, the post war office building previously located on the site.
Mithraeum.
The building is on top of the site of the London Mithraeum. The Mithraeum was relocated to a different site in 1962, but as part of the construction of Bloomberg London it was relocated to close to its original site. It is open to the public.
The building also contains the Bloomberg Space, which displays artworks.


Saint Therapon (Mytilene)

The Saint Therapon church of Mytilene, Lesbos, Greece is a church located at the port of the town dedicated to Saint Therapon.
The erection commenced in the beginning of the 19th century and was completed in 1935. The architect was the native of the island Argyris Adalis, a student of Ernst Ziller. The architectural order follows the cross-in-square type; however, the monument constitutes a combination of elements from contemporary architectural trends that prevailed in the Western Europe (Baroque, Rococo, Neoclassicism etc.). Gothic elements are prevalent as well, adding an impressiveness and a distinctive style to the monument.


Church of St Mary le Ghyll, Barnoldswick

The Church of St Mary le Ghyll (also known as St Mary-le-Gill) is in Ghyll Lane, Barnoldswick, Lancashire, England. It is an active Anglican parish church in the deanery of Skipton, the archdeaconry of Craven, and the Diocese of Leeds. Its benefice is united with those of Holy Trinity, Barnoldswick, and St Michael, Bracewell. The church is recorded in the National Heritage List for England as a designated Grade I listed building.
History.
The present church was built to replace an older church on the site in about 1160 by monks from Fountains Abbey. The tower was added in 1524.
Architecture.
Exterior.
St Mary's is constructed in stone with a stone slate roof. The plan consists of a continuous nave and chancel, a south aisle with a porch, and a west tower. The tower has diagonal buttresses, and a stair turret at the southeast corner. It contains a string course with gargoyles, and has a three-light west window, two-light louvred bell openings, and an embattled parapet. On the south side of the church are three windows and a priest's door. On the north side are four windows, one of which is a lancet. The window at the west end of the aisle has three lights, and the east window consists of three stepped lancets.
Interior.
Inside the church is a five-bay arcade carried in octagonal piers. There is a complete set of box pews, and a simple bowl font, On the north wall of the nave is a complete 17th-century three-decker pulpit. Also in the church are painted boards with the Lord's Prayer, the Ten Commandments, and Creeds, and a churchwardens' pew dated 1836. There is a ring of six bells, three of which were cast in 1723 by Abraham Rudhall I. Another bell, by John Taylor and Company, was added in 1870; the remaining two date from 2007 and 2009, and were also cast by Taylor's.
External features.
A building in the churchyard dated 1824 was either a watch house or a bier house. It is a stone structure with a stone slate roof, and is listed at Grade II. The churchyard also contains the war graves of four soldiers and a Royal Navy sailor of World War I, and four soldiers and two Royal Navy personnel of World War II.


Santa Maria Assunta, Riola di Vergato

Santa Maria Assunta ("Assumption of Mary") is a Catholic church located in Riola di Vergato, central Italy. It was designed by Finnish modernist architect Alvar Aalto.
History.
Design on the project began in 1965–66. The Archbishop of Bologna, Cardinal Giacomo Lercaro secured Aalto's participation upon seeing his work in an exhibition in Florence at the Palazzo Strozzi. Lercaro had also commissioned architects Kenzo Tange and Le Corbusier to design churches in his domain. Because both Aalto and Lercaro died in 1976, and only some portions of the project masterplan were completed, this work could be considered posthumous.
Construction began in 1975. The church was consecrated in 1978. The Campanile was completed as late as 1993.
Architecture.
The church is structured by six asymmetric prefabricated concrete frames, or arches in descending size towards the chancel. They support a series of prefabricated light scoops, which are conic sections, giving the church its distinctive exterior profile, which some liken to an abstraction of the local Apennine mountains. The facades are faced with mortared stone, and the roof is copper sheeting. The interior is mostly whitewashed plaster, which advantageously reflects northern light brought in from the scoops above. Wooden pews, each slightly shorter in length than the preceding one as they approach the chancel are placed on the terra cotta tile floors.
The altar is unadorned and hewn from a single block of marble. The tabernacle was also designed by Aalto, although it is not in its original location. A slightly sunken hexagonal baptistery is appended to the northwest corner of the church, that has a large pyramidal skylight placed over the baptismal font as well as a vertical slit window viewing the river Reno, which flows by the church to the north.
The architecture references both the distinctive light fixtures Aalto designed as well as his bent plywood furniture produced by his company Artek.


Billings Chamber of Commerce Building

The Billings Chamber of Commerce Building, at 303 N. 27th St. in Billings, Montana, was built in 1911. It was listed on the National Register of Historic Places in 1972.
It is a three-story brick building upon a sandstone foundation. It was designed by architect G. McAlister in Italian Renaissance Revival style and was built by contractors Gagnon and Company.
It was built as an Elks Club building but the club lost ownership due to debts in 1918.


George S. Tiffany Cottage

The George S. Tiffany Cottage is a historic summer house on Aldrich Road in Islesboro, Maine. Built 1911-12 for a businessman from St. Louis, Missouri, it is a rare example in the state of the Prairie School of architecture. It was listed on the National Register of Historic Places in 1989.
Description and history.
The town of Islesboro occupies an eponymous island in Penobscot Bay, on the central Maine coast. The island is roughly shaped as two lobes joined by a narrow isthmus. A peninsula extends south from the southern lobe, ending at Pendleton Point, the southernmost tip of the island. Roughly midway on this peninsula, a smaller one named Shattuck Point juts west. The Tiffany Cottage is set on a waterfront lot on the southwest side of the Shattuck Point peninsula, accessed via Aldrich Road. It is a large two story V-shaped structure, with a hip roof and shingled exterior. At the point of the V, a bracketed gabled section projects toward the water, flanked by single-story entry porches. Windows are arrayed somewhat irregularly, with an emphasis on horizontal lines. One end of the building has a two-level porch under the roof, supported by Colonial Revival groups of posts. The interior of the house is predominantly Colonial Revival, with paneled wainscoting and a pilastered central hall.
The house was built in 1911-12 for George S. Tiffany, a businessman in the cotton industry from St. Louis, Missouri. Tiffany's father had been an early purchaser (1891) of land developed in the area by the Islesboro Land and Improvement Company, which promoted the community as a summer resort area. His father's house burned in 1910. This house was designed by the St. Louis firm of Mauran, Russell & Crowell, and represents a melding of the distinctive styles of the Colonial Revival and the Prairie School.


Walton Ranger Station Historic District

The Walton Ranger Station in Glacier National Park was constructed to "Standard Ranger Station, GNP" plans as a year-round station at Walton to replace the old Paola Ranger Station and to place a station near US 2, a well-traveled highway through the park. The National Park Service Rustic structure is typical of its time period.


72 Cadogan Square

72 Cadogan Square is a Grade II* listed house in Cadogan Square, London SW1.
The house was built in 1878, and the architect was Richard Norman Shaw.


Las Ventas

The plaza de toros de Las Ventas, known simply as Las Ventas, is the largest bullfighting ring in Spain, located in the Guindalera quarter of the Salamanca district. It was inaugurated on June 17, 1931. Its seating capacity of 23,798, makes it the third-largest bullfighting run the world, adjacent to bullrings in Mexico and Venezuela, respectively.
This bullring was designed by the architect José Espeliú in the Neo-Mudéjar (Moorish) style with ceramic incrustations. The seats are situated in ten "tendidos". The price of the seats depends upon how close they are to the arena and whether they are in the sun or the shade (the latter being more expensive). The bullfighting season starts in March and ends in October; bullfights are held every day during the San Isidro Fiesta, and every Sunday or holiday during the season. Bullfights start at 6 or 7pm and last for two to three hours.
History.
From 1913 to 1920, bullfighting gained such a momentum that Madrid's former main bullring at the Carretera de Aragón was not big enough. It was José Gómez Ortega "Joselito" who complained about the necessity of a new "monumental" bullring, to open this part of Spain's heritage and culture to the whole city of Madrid. Architect José Espeliú (friend of Joselito) began to work on the project.
A family called Jardón donated the land to the Madrid Provincial Council, provided that they could run the arena for fifty years. The deputation accepted the proposal on November 12, 1920. On March 19, 1922, in the exact center of the prospective arena, the first stone was placed. The construction of the bullring would cost 12 million pesetas (4.5 million over budget), and it would replace the old bullring, dating from 1874.
"Las Ventas" was finished in 1929 and two years later, June 17, 1931, a charity bullfight was held with a full-capacity crowd to inaugurate it. Bullfighting stopped during the Spanish Civil War and did not resume until May 1939.
The bullring was used as Francoist concentration camp.
There is a Pasodoble called 'Plaza de las Ventas' and the composer Maestro Manuel Lillo dedicated to this arena.
Structure and facilities.
"Las Ventas" is divided into a ring or arena, and a group of zones called "patios". Its architecture is Neo-Mudéjar, with ceramic representations of the heraldic crests of the different Spanish provinces. The arena has a diameter of 60 meters. The seating capacity is divided into 10 "tendidos" (group of 27 rows around the arena), some of them in the shade and the rest in the sun.
The president of the 'corrida' sits in the 10th Tendido. The Royal Box is of outstanding design, with its Mudéjar architecture, a complete bathroom and a lift. Opposite to the Royal Box, in the covered grandstand roof, is the clock. The bullring has five gates, plus three more called "toriles", from where the bulls enter the arena. The gate of the "cuadrillas", between "tendidos" 3 and 4, has access to the horse yard. Inside this door, the "paseillo" starts and the "picadores" (those who pierce the bull with the lance) come out from here to the arena ("suerte de varas"). The dragging gate, that leads to the skinning room, is between "tendidos" 1 and 2. The famous "Puerta Grande" (Big Gate), also called the Gate of Madrid, is between "tendidos" 7 and 8. Going out through this door, especially during the Fiesta of San Isidro, is every bullfighter's ambition.
There are also a chapel and a small infirmary with two operating rooms.
Other uses.
Cultural visits.
Las Ventas bullring is open during all year for cultural visits under the name of Las Ventas Tour. Tour includes an audioguide translated into 10 languages and the visit of the bullring and its bullfighting museum.
Concerts.
The Beatles performed here on July 2, 1965. In 1991, Diana Ross performed at Las Ventas for her Here and Now World Tour 1991-92, and in 1996, Australian rock band AC/DC performed at the bullring for their Ballbreaker World Tour, recording the performance for their concert video, "No Bull". In the summer of 2003, Radiohead played a concert at Las Ventas, their only stop in Spain that year. In 2009, Kylie Minogue performed there as part of her KylieX2008 tour, and on October 28, 2011, Coldplay performed at Las Ventas during the American Express "Unstaged" music series.
Red Bull X Fighters.
The venue has also hosted the Red Bull X Fighters FMX since 2002.
Tennis.
In 2008, the arena was converted into a tennis clay court and the Spanish Davis Cup Team, led by Rafael Nadal, played their semifinal against the United States, and won it in front of their home crowd.
Theatre.
Since 2014, the venue can be set up as a theatre, under the name Gran Teatro Ruedo Las Ventas, with a capacity of 858 seats.


Simonstone, Lancashire

Simonstone is a small village and civil parish in the Ribble Valley district of Lancashire, England. The population of the civil parish taken at the 2011 census was 1,154. It is about west of Burnley and south of Pendle Hill and Clitheroe along the A671 road. The village adjoins the village of Read, Lancashire and neighbours Padiham.
History.
St Peter's CE Church is the local Church of England building in the village and was founded in 1841. The interior of the building is modern and part is also used as the school hall and gym during the week. The building dates from 1879 and was originally a National School.
The Higher Trapp Hotel is part of the Best Western chain of hotels. It was originally built in the early 1900s as a private house, and now converted into a country hotel with 29 bedrooms.
Simonstone railway station was south of the village and closed in 1957.
Granville Technology Group was based in the village, until its closure in 2005.
Governance.
Simonstone was once a township in the ancient parish of Whalley. This became a civil parish in 1866, forming part of the Burnley Rural District from 1894 to 1974. With the creation of the new local government districts in 1974 Simonstone was included in Borough of Burnley. However, after a public campaign and Boundary Commission review completed in 1985, it subsequently became part of the Borough of Ribble Valley. During the process the neighbouring civil parish of Northtown was abolished with part transferred to Simonstone, and small adjustments occurred to the boundaries with Padiham and Altham along the river.
Together with Read, the parish forms the Read and Simonstone ward of Ribble Valley Borough Council.
Landmarks.
Huntroyde Hall.
Huntroyde Hall was originally built for Edmund Starkie in the 16th-century and has since been modified many times. Its estate, Huntroyde Demesne (known locally as 'Huntroyde') separates Simonstone from Padiham. The house remained in the ownership of the Starkie family until 1983.
Simonstone Hall.
The Hall dates from the 17th century and was originally the home of the Whitaker family. It is a privately owned listed building. The house was substantially re-built in the 18th century as an early example of Jacobean revival architecture. Ancillary buildings include a 17th-century barn and an 18th-century stables.
Education.
St Peter's CE Primary School is the village's only school, with around 120 pupils. The school hosts several village events throughout the year, including the 'School Gala' (or Summer Fair) held late in June. The village is in the catchment area of the Clitheroe Royal Grammar School.