It has HTC's signature all-aluminum construction, with large chamfered edges and machined ports.
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Many of the areas created by the chamfered corners are now used for parking.
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Microsoft got rid of the chamfered edge, which basically gives the Clipboard a cleaner look.
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There are no high-end extras like leather pads, memory foam, or chamfered aluminum edges.
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It has the same size screen, the same chamfered edges and the same button placement.
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The 7.1's chamfered edges are a nice touch you rarely see on phones this cheap.
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Here on the outside, we like our phones with chamfered edges, wraparound OLED screens, and slim builds.
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The shiny chamfered edge is as elegant on the Mi 5 as it was on the iPhone 5.
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Aside from the tagline, we only have a glimpse of what appears to be the device's chamfered edge.
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I also might have preferred not to have the extra bling of the chamfered edge, but that's just nitpicking.
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It has a slight curve on the back and (I'm going to say it) appropriately chamfered edges on the aluminum.
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A glossy glass back curves into a metal frame, which wraps around to the front and culminates in a chamfered edge1.
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The Note 9 also has a really nice matte aluminum frame with chamfered edges reminiscent of the old Galaxy Note 5.
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But what of its other products, the ones that steal the show and captivate us with flashy new features and chamfered edges?
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The thin layer of plastic between the glass front panel and the chamfered edges is one minor nit I could pick, however.
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It feels small, light, and thin as a result of these changes, although the chamfered edges might take some getting used to.
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In fact, the iPhone SE looks almost identical in design to the iPhone 5s, including the chamfered, sharper edges of the device.
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In other words, the weird little gadgets and toys that remind you that tech doesn't have to conform to perfectly chamfered rectangles.
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As opposed to the rectilinear tower blocks of the communist era, the library, though it matches them in height, is smooth and chamfered.
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The rear edge around the sides of the phone is chamfered (with a couple of unsightly breaks at the top) and weirdly sharp.
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HTC's own teaser for the upcoming HTC 10, which it released right after Mobile World Congress in February, features those same chamfered edges.
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From the back, though, we have a new design touch of pronounced chamfered edges, along with a camera bump and the familiar HTC logo.
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Design cues like the chamfered edges on the top (it's the tiniest bit wider) and curves leading to the flat bottom are the same.
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Maybe it's just me, but there's something about the Razer Phone's sharp corners, reflective chamfered edge, and thick micro-drilled speaker grilles that screams powerful.
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Unibody aluminum makes another appearance with HTC, this time with a 26-degree chamfered edge on the back that increases ergonomics and grip — a welcome addition.
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The pen has a new unibody design with chamfered edges that makes it feel more solid, but it still feels like a relatively simple plastic stylus.
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Apple was also responsible for teaching the world what a "chamfered edge" was with the iPhone 5, precipitating a wave of gadgets with similarly shiny extremities.
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Of course, in Apple's chamfered utopia, all devices sync with iCloud and Airdrop, you never have to manually update firmware, and batteries last all day long.
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A bright green chamfered edge runs all the way around the phone, and the back of the Black Shark 2 looks like a flashy sports car.
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In 2014, the commission signed off on a design for a triangular building with chamfered corners and an entrance on the intersection with West 10th Street.
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The phone's body looks similar to the existing 25S in size, but with curved glass around its edges, like the 25 and 25S, rather than chamfered sides.
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The first is that it's massive, barely qualifying as a phone, with a 6.4-inch display and hard, chamfered edges that make it feel like a weaponized phablet.
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It turns out Steve Jobs' legacy isn't all rounded corners and chamfered edges: he also (accidentally) bequeathed the San Fransisco Municipal Transit Authority $174 in overpaid parking fines.
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The edges are chamfered, a departure from the round edges of the iPhone 6s or a return to earlier iPhone designs, depending on how you look at it.
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And I'm also a fan that the chamfered edges retain the same color; on the white / frost Nexus 6P, those edges are silver and create a weird contrast.
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Though Cerdà designed the city before automobiles, he included wide streets and his famous chamfered (45-degree) corners in anticipation of urban steam trams distributing goods and people.
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The design hasn't changed at all beyond a new gold finish and some matte chamfered edges, and the mobile industry's recent bezel-killing trends haven't done it any favors.
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I stop to admire the subtly chamfered cuts on the blue-stained wood blocks, which create a triangulated pattern of light and shadow that recalls traditional western-African textiles.
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The 5se will also be ditching the chamfered edges for the 6's more rounded curves and will come in the expected Silver, Space Gray, Gold, and Rose Gold color.
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The aluminum unibody stuck around this year, with a weight of 161g and the addition of a chamfered edge around the back, making it easier to hold and non-slippery.
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The limestone and bronze tower designed by the architecture firm Snohetta with chamfered corners and a butterfly-shaped crown is slated to include 127 condominiums with views of Central Park.
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Its looks aren't drastically different, but there are now chamfered edges around the sides, and the gold accents on the blue model adds some style—something LG phones have traditionally lacked.
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As much as I like the iPhone 6S's curves (which harken back to the iPod Fifth Gen), I always loved the iPhone 53 and 5S's sharp lines, aluminum band and chamfered edges.
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Though, if I really nitpick, something about the hinges' rounded curves and not-quite-matching paint sort of stick out compared to other fine details in the system, like its gold chamfered edges.
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This happened when Samsung released the Galaxy Alpha in September 2014, which featured a new chamfered aluminum frame that was a big improvement in both strength and looks over the previous Galaxy S5.
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The leaked promotional video shows the evolution of HTC's design with a chamfered edge, camera bump and oval-shaped home button — and like previous HTC devices, the next phone still looks like an iPhone.
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A chamfered edge on the exterior of the cups catches glints of light in a pretty and inviting fashion, and the art deco-style Neumann logo speaks of the company's nearly century-long history.
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Ultimately, the Xperia 1's camera bump narrowly edged out the OnePlus 7 Pro's purely because the edge is chamfered and less sharp, and the LED flash can't be covered with your index finger.
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The iPhone 5, in particular, was a jewel; to me, its flat sides, chamfered edges and remarkable build quality suggested something miraculous, as if Mr. Ive had been divinely inspired in his locked white room.
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The new model charges over USB-C instead of Micro USB, and it has a tip with slightly chamfered edges to address complaints of the original model snagging when owners would slide it into their pockets.
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When I look at the iPhone as a phenomenon and an influence of my life, what stands out are not the glints of sunlight reflecting off its chamfered metal edges, but the glorious apps running on it.
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Apple has made a few changes to the paint on the iPhone SE — the chamfered edges are matte and not shiny — and the gold and silver hues have been updated to better match the iPhone 6S line.
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But since Motorola slightly changed the design of the Z4's frame — it now has a small chamfered finish that adds a slight curve to the back — none of the Mods that are available actually sit flush with the phone.
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It features seven ports in total: two USB-C ports with pass-through charging, two USB 3.0 ports, one HDMI port, one MiniDisplay Port, and an SD card reader packed into a round aluminum enclosure with chamfered edges and a convex glass covering.
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"At Amazon, Alexa is making its way to other devices, now including some of the Fire TV devices, and with Google this is part of a broader rollout of its new Assistant strategy," says Dawson, who also invokes the chamfered elephant in the room.
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For the Chromebook x360 14 G1, HP started out with a more premium aluminum body and spruced it up with chamfered edges and B&O-tuned speakers, and then gave it an optional 8th-gen Core i7 CPU, something HP has never done for a Chromebook before.
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And then wouldn't you know it, in early 2015, Samsung released the Galaxy S6 sporting a chamfered aluminum frame, and on the Galaxy S6 Edge, a screen with rounded edges on both sides of the device instead of just one like on the Galaxy Note Edge.
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"There are some design elements like that chamfered belt line it was obviously F-150 that's what we're going to submit — We're Ford, but we all understand that it is up to all of the platforms to ultimately decide what that thing is going to look like," said Grenier.
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From top to bottom, the new Inspiron 5000 and 7000 convertibles (available in 133, 14, 15, and 17-inch sizes, depending on the model) now look totally different thanks to redesigned aluminum bodies (instead of plastic) with chamfered edges and smaller bezels on the top and sides of their displays.
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The TL23.5's design is what separates it from the rest of the field, however, and it hasn't greatly changed from the T. The edges of the unibody aluminum chassis are now chamfered for greater comfort while shooting, the command dials are easier to turn, and the pop-up flash has been removed entirely.
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The chamfered corner pillars are similarly octagonal. This theme recalls Boston's historic architectural vernacular of chamfered bay windows on Beacon Hill and in the Back Bay.
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Chamfers are commonly used in architecture, both for functional and aesthetic reasons. For example, the base of the Taj Mahal is a cube with chamfered corners, thereby creating an octagonal architectural footprint. Its great gate is formed of chamfered base stones and chamfered corbels for a balcony or equivalent cornice towards the roof.
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Prominent in this property is the used of a chamfered front entrance gate. This front entrance into the property follows the chamfered pattern delineated by the city street at the corner of Salud and Aurora streets. This designed responded to city ordinances which mandated the incorporation of chamfered corners in urban city lots.
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The building's tower rises above these setbacks. The corners of the tower are chamfered to form an eight-sided floor plan, except on the building's northeast corner below the 35th floor, which is not chamfered.
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The arch is pointed and chamfered, and behind it are buttresses.
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The appearance of the interior of the church is "one of spaciousness, nobility and grandeur imparted by the handling of the proportions". It is "richly furnished in a high-church fashion". The tower arch is triple-chamfered, while the chancel arch and the transept arches are all double-chamfered. The arcades consist of double-chamfered arches carried on square piers that are set diagonally.
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The nave measures by . and has four bays. The south arcade has pointed arches of two chamfered orders and octagonal piers with moulded caps and bases. The north arcade has two bays; its arches also have two chamfered orders.
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A chamfer plane is a specialised plane used In woodworking for making chamfered edges.
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Two old chamfered posts have been placed under the southwest room to shore it up.
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The chamfered corner of the building has a smaller, more intimate room than the others, appropriately called The Chamfered Room. It has five doors, including three interior doors plus two exterior doors including the chamfered door. Other second floor facilities are the kitchen, bar, restrooms, a 16' x 16' balcony and a south-facing terrace. Casino guests also have access to a spacious courtyard on the ground floor featuring a central water fountain.
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1350, partly restored and of two cinquefoiled lights with tracery in a segmental pointed head, under a chamfered label; the western window is Victorian, except the internal splays and hollow chamfered rear arch, which are of the 15th century. Between the windows is a Victorian doorway. There is no chancel arch, but between the chancel and the nave is a chamfered and moulded beam, probably of the 15th century.The Monuments of North West Essex.
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Modest single story brick building with iron roof. Verandah at front and simple chamfered wood posts.
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Inside the church the four-bay arcades are carried on square chamfered piers with capitals carved with foliage. The arches are plain and chamfered. The chancel arch is sharply pointed, and its capitals are carved with angels. In the chancel is a brick sedilia with putti in terracotta.
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Tower showing the west door, and window within the blind arch Above the west tower door is a large blocked pointed arch, chamfered above the spring, and vertically edged with round moulded jambs ending in open cusped devices. Around the arch is a hood mould. Within the arch is a 14th-century (Pevsner) or late 15th-century (National Heritage) window surrounded by a hood mould. The window opening jambs are single- chamfered, with the arch double-chamfered, and lead to a Perpendicular window.
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Street corners in most of this zone have chamfered corners (Spanish: esquinas de chaflán), typical of Barcelona, Spain.
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The 14th-century builders nearly doubled the size of the fabric. They took down the north and south walls of the nave, and erected two arcades in their place, that on the north consisting of five arches, but that on the south of three, because the old porch was not demolished, but allowed to stand, which entailed a different proportion of the space. They rebuilt the bell turret on the older buttresses, and a new porch. The chancel arch is of two chamfered orders, with a chamfered hood-moulding towards the nave, and is carried on semi-round responds having moulded bases on square and chamfered plinths, and capitals, with square hollow chamfered abaci.
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Derryhiveny Castle is a tower house of four storeys. There are vaults on all four storeys. The upper rooms have two- and three-mullioned windows with fireplaces, including one with a chamfered lintel, curved downwards at each end and covered by a chamfered cornice. There are also remains of a bawn, wall walk and crenellations.
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Three-dimensional simple polyhedra include the prisms (including the cube), the regular tetrahedron and dodecahedron, and, among the Archimedean solids, the truncated tetrahedron, truncated cube, truncated octahedron, truncated cuboctahedron, truncated dodecahedron, truncated icosahedron, and truncated icosidodecahedron. They also include the Goldberg polyhedron and Fullerenes, including the chamfered tetrahedron, chamfered cube, and chamfered dodecahedron. In general, any polyhedron can be made into a simple one by truncating its vertices of valence four or higher. For instance, truncated trapezohedrons are formed by truncating only the high-degree vertices of a trapezohedron; they are also simple.
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The interior has a plastered four-bay nave with a 12th-century transitional chancel arch. The north transept arch is slightly later with a hooded mould and two chamfered orders. A fine carving of a woman's face can be seen below the right hand impost. A tall narrow chamfered arch has been formed between the nave and the tower.
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The house's location on a corner lot is accentuated by the polygonal porch and its main entrance set in a chamfered corner.
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On the northern wall is a recess with a double chamfered arch and an effigy of a priest from the 14th Century.
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Other decorative metal details include four types of molding (dentil, egg and dart, ogee, and plain), a large floral frieze, and chamfered metal panels.
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Accessed 2013-11-26. Matching porches are placed on the front and rear of the house, featuring chamfered and bracketed pillars and a bracketed cornice.
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The outer and inner doors of the porch have chamfered jambs and pointed arches. The east window has five lights and a Tudor arched head.
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1270 capital detail. The c. 1270 chamfered rebated chancel arch has a hood mould finished with human head label stops on both chancel and nave sides. Set within the arch is a further chamfered arch supported by responds--half-piers attached to walls supporting an arch--of semi-circular columns with flat-face faceted moulded bases, and foliate capitals that have been part-restored.
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The hall is constructed from ashlar sandstone with a stone slate roof, it is built in a rough "H" plan and has two storey with an attic. It has doubled chamfered mullion windows throughout some of which have had 20th century modification. The interior has chamfered beams in the left wing while the right wing has a large arched kitchen fireplace. Gives details of architecture.
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There is an elaborate oak main staircase with turned balusters and a painted well staircase with turned balusters and chamfered square newel posts with ball finials.
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The tower features chamfered vertical ribs of pre-cast panels of reconstructed polished brown granite, also used for the spandrel panels between the brown tinted glass windows.
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1350, and of the three cinquefoiled ogee lights with leaf tracery in a two-centred head; the internal and external labels are chamfered. In the north wall is a Victorian doorway, and further west a two-centred arch of c. 1450 and two hollow chamfered orders; the responds are moulded and shafted, with moulded bases and capitals. In the south wall are two windows; the eastern is of c.
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The pointed doorway arch is hood moulded, and has a continuous chamfered surround meeting a flat reveal, which in turn holds a further roll mould arch ending at the spring with capitals unsupported by piers. Within the porch are stone benches either side. The nave door, with its wrought iron face hinges, sits inside an arched opening with continuous moulded reveal surround, with simple chamfered hood mould above.
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At the gable the cladding is embellished by pierced white painted timber barge-boards. A single two light casement window lights the interior of the garrets. The window has a moulded timber frame with a central mullion that is hollow-chamfered on the exterior and plain chamfered on the interior. The leaded lights have diamond quarrels and each light is side hung on pintles fixed to the timber frame.
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With dispersive spectrometers, the crystal is a rectangular slab with chamfered edges, seen in cross-section in the illustrations. Other geometries use prisms, half-spheres, or thin sheets.
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Joists left exposed and visible from below are called "naked flooring" or "articulated" (a modern U.S. term) and were typically planed smooth (wrought) and sometimes chamfered or beaded.
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The elements of spare ornamentation might include "Italianate brackets and scroll-sawn ornament, lathe-turned or square chamfered columns, wood shingles on gable ends, and diamond-patterned windows".
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The Gothic Revival elements at the Ross Bay Villa include the porch with turned columns and trefoil in the gable; finials on four peaks; and chamfered exterior window detailing.
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The roof line of the original porch may be seen over the early door on the inside of the present south door, and is supported by a chamfered arch rib. The outer door to the first porch, now the inner one of the existing porch, is of two chamfered orders that continue to the ground, with a hood- moulding springing from carved terminals. Several courses remain of the diagonal buttresses which originally flanked this door.
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On the south side are three windows of identical style and construction, with twin lights and 'Y' tracery set within a chamfered pointed arch. The north side contains two identical plain lancet windows. The chancel east window with hood mould is of three lights with intersecting 'Y' tracery within a double-chamfered surround. Immediately to the east of the east window is a table tomb within iron railings, to Mary Skelton (died 1767).
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Surmounting the base is a smooth faced step with a chamfered central section on each face. The non-chamfered corners provide bases for columns with Doric order capitals and bases which surround a recessed plates of red polished granite. The plates bear an inscription and the cut and (originally) gilded names of the 51 local who served from the First World War. The uppermost section of the front plate bears an AIF badge.
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The understorey has a concrete floor and comprises mostly open play space. The concrete stumps have chamfered corners, and the southern and eastern sides are enclosed with modern crimped sheeting.
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Large plain chamfered spinal bridging joist with straight stops. Evidence for 2 opposing long windows. Moulded brick corbelling probably for a first floor fireplace. Arched doorway with exposed medieval bricks.
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The castle is around by . It originally had three stories, each one offset with a chamfered string course. The ruin includes the remains of a peel tower constructed of sandstone.
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3 Three conspicuous diagonal braces link together four paired, seven- inch square chamfered columns that support the massive, elaborate two tiered central portico which is capped with a gable roof.
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Pedestrianised Florida, Lavalle and other streets contribute to a vibrant shopping and restaurant scene where street performers and tango dancers abound, streets are crossed with vehicular traffic at chamfered corners.
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At the lower level are four two- light chamfered stone mullioned windows, and at the upper level six similar windows. In the centre of the wall are bronze war memorial plaques.
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Interior The arcades have double-chamfered arches on octagonal columns. The nave ceiling is of late-medieval origin with moulded beams and carved bosses and a font that dates from 1662.
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Pointed arch door opening to south elevation of tower, with chamfered sandstone surround, hood moulding above stringcourse, recent double- leaf door and overlight. Narrower pointed arched doors to chancel lean-tos in similar chamfered surround having original timber double doors with four vertical panels and corresponding fixed timber overpanel. Interior having timber queen-post trusses on rounded braces rising from wall corbels, exposed rafters to nave and chancel. Timber flooring and wainscot to raised pew seating.
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The remarkable (according to the listing) survival is the extension for the poor traveller's rooms. Modelled on a contemporary coaching inn it has three rooms opening onto the courtyard and three opening onto an unglazed gallery above. Below the handrail the gallery is filled in with lath and plaster, the whole supported on four large chamfered uprights to provide a dry walkway below. The rooms each have a door, window chamfered ceiling beams and a brick fireplace.
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These spaces are divided by timber posts, chamfered. Between the posts, curved, chamfered timber members meet to form a line of pointed arches, above which extends a frieze of white-painted, moulded timber uprights. Above the frieze are panels of pressed metal linking into the pressed metal vaulted ceilings, all highly decorative and painted in shades of blue. The floor is of boards of crows ash, carpeted in the chancel, along the aisles and path linking side porches.
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Of approximately square in footprint, the bottom stage contains a door and window on its west face. The restored 15th-century door, faced with decorative hinges, is set within a chamfered arch topped by a rectilinear enclosure; between this and the arch are spandrels with inset rosettes containing quatrefoils. Around the top of the squared surround is a rectilinear hood mould. Above the door is a restored 15th-century Perpendicular pointed arch window set within a chamfered reveal.
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At the east of the nave is an arch leading to the north transept. This chamfered arch was reused when the nave was widened in the 14th century, and is supported by semi-octagonal responds added in the 19th. The nave south wall arch to the south transept is 13th century, chamfered, with square responds. Between this transept arch and east wall is a blocked 15th-century doorway that led to the loft above a former rood screen.
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The building consists of three facades: a northern facade with five bays, a western facade with seven bays, and a single-bay chamfered facade at the intersection of the two other facades.
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The northeastern corner of the building contains setbacks at the 15th, 21st, and 22nd stories. The northwestern corner contains a chamfered elevation, a short diagonal portion connecting the northern and western facades.
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The common element to the design was Y-shaped tracery throughout, chamfered roof beams of timber. The Norman nave was marked by capitals in the Decorated Style with lozenges, rosette and chevron.
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The building incorporates Castle Bow a Grade I listed building which originally formed the east gate to the Castle precincts. It still has 13th century chamfered arches, and corner buttresses with setoffs.
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The chancel is low and narrow in comparison to the nave. Its three- light, arched windows also have tracery. The east window has three lights under a pointed arch, with chamfered mullions.
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It is accessed from the tower through a segmental arch with a single chamfered order. The nave has four bays. The chancel measures by . It contains an organ chamber and a vestry.
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Th The structure contains a 13th-century double chamfered chancel arch. The north wall holds monuments to Archibald Reed (1729) and Theresa and Harriet Charlton (1829), with a monument to Charlton of Redesmouth (1628) standing outside the south wall. The south chapel is remarkably large and accessed from the nave via a rounded, double-chamfered arch dated to 1609. The chapel contains a 13th-century window and a 17th-century square window and has a barrel vault roof formed of stone slabs.
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The main roof is a Dutch gable, with the gable projecting over a chamfered bay. Both floors of the chamfered bay have a small, multi-light window, while all other windows on the house are one-over-one sashes. 400 Franklin, also known as the Hundley-Clark House, is a two-story Dutch Colonial Revival structure, with the second floor featuring large gambrel gables. Both houses have similar full-width, one story porches, supported by plain wooden columns with tapered capitals.
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The double chamfered pointed tower arch springs from double octagonal responds--half-piers attached to walls supporting an arch-- with octagonal capitals. A 20th-century wooden Perpendicular screen with double doors separates lower part of the tower arch from the nave. The tower interior is unrendered, and within it, at the south-west, is a pointed arch doorway with oak door leading to the upper stages. The chancel arch is double- chamfered on both sides with part-octagonal responds and crenellated capitals.
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1 February 2015 The nave north arcade is Norman and might date from before 1150 and be part of the earlier structure which also contained the west tower. It is of three bays defined by circular piers topped by square abaci with scalloped cushion capitals, supporting chamfered semi-circular arches. The nave south arcade is early 13th century and Perpendicular. The piers supporting the semi-circular arches are narrower than those at the north, the arches having deeper chamfered reveals.
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San Francisco: Manatee Press. 2006. Page 243. Retrieved 30 November 2009. Many of the city's features (from house façades to chamfered street corners) are modeled on Barcelona's architecture, given the city's strong Catalan heritage.
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The nave's west gallery sits on four Tuscan columns of stone. The chancel measures by ; the floor is lower than the nave floor. The north wall has a chamfered squint, which opens to the outside.
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Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.
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There is a moulded and pointed arched north doorway with carved head labels to hoodmould, the door itself is plank wood from the 19th century. The porch has moulded 4-centred archway in parapet gable with diagonal corner butresses with small chamfered square-headed side windows, these were restored in the 19th century. There are 2 plain chamfered English Gothic architecture nave lancets to left of the porch. There are 3 lancets on the north and south nave walls, with 18th century wall memorials positioned between them.
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Cobra probes come in three-, four-, and five-hole configurations, the former used for two-dimensional flow measurement, the latter two for three- dimensional flow measurement. In the three-hole kind of instrument, there are two yaw direction tubes which are chamfered and silver soldered symmetrically on the two sides of a pitot tube. It is otherwise similar to the other kinds of yawmeters. In the four- and five-hole configurations, the central pitot tube is surrounded by three or four chamfered tubes, respectively.
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The roll mouldings of the arch are held in the beaks of these "fearsome", "wide- eyed horrors". Such "beakhead" decoration is a little-understood feature of Late Norman architecture: in churches, it may have been used to capture the congregation's interest or to inspire fear and awe. The moulding has two orders (recessed jambs which together form a chamfered opening): in contrast to the lavishly decorated outer order, the inner order is plain. Some Norman windows survive: these are large, round-arched and chamfered with deep splays.
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The chamfered corners each contain a single sash window per floor. The facades of the 8th and 9th floors comprise an arcade with one arched window in each bay, while the 10th story contains a pair of sash windows in each bay. At either chamfered corner, the 8th and 10th floors have a rectangular sash window, and the 9th floor has a rose window. The 11th and 12th stories comprise the copper mansard roof; the 11th floor is set back slightly and surrounded by a balustrade.
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The Grand staircase, with oak steps, is situated in the Stuart wing. On the upper floor are bedrooms with chamfered ceiling beams. The largest room, the Court Room, features a compartmented ceiling with a moulded surround fireplace.
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It features chamfered rustication, an octagon-shaped stone chimney, and a full-length front porch with four ornately turned posts and spindles around the top. It was listed on the National Register of Historic Places in 1987.
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The Dwight Pioneer Gothic Church uses board and batten siding, more often affiliated with barns, that emphasizes the vertical nature of the building. The chamfered corners on the towers and the window pediments further reinforces this characteristic.
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Abutting the southern corner of St Ann's and extending to the south east is a one storeyed brick extension with hipped corrugated iron roof and verandah awning on the north eastern side supported on chamfered timber posts.
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It is supported by twin-stepped clasping buttresses at the south-east and south-west corners, and an angle buttress on the south side. A moulded string course runs at the eaves, and a plinth just below the window line. There are five windows: one at the east end; one at the west end; and three at the south with two of these at the west separated by the church porch. The east window is of concave chamfered intersecting 'Y' tracery, creating three lights set within a chamfered pointed arch with hood mould.
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Running along the entire length of the eastern facade is a verandah, supported on stop chamfered timber posts, rectangular in section, with simple capitals and bases. The facade of the building is punctuated with five, irregularly spaced, French doors which are fully glazed within a cedar frame, with side opening transom lights above. Shade is provided to the openings with full length timber shutters. The soffit of the verandah is unlined with principal edge rolled framing members, and the floor is timber boarding, with chamfered weatherboards on the faces of the base of the building.
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The gentle swelling at base and cornice, observed historian Donald Hoffman, "came very close to the bell-shaped column the Egyptians had derived from papyrus". The corners of the building are gracefully chamfered as they rise to the top and the oriel windows are chamfered at their base. The floor divisions are not marked on the exterior; the unbroken edifice is interrupted only by a series of cantilevered window bays, separated by rows of single thin silled windows set into the vertical face. The entryways are small, single-height portals topped with plain stone lintels.
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Oculus windows to > one-storey element. Leaded lights. One storey entrance porch has double > doors in pointed arch doorway in chamfered stone surround beneath dentil > eaves. Principal gable (surmounting three storey element) has central flat > arched rectangular window.
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The church is constructed in red sandstone, with a plinth, chamfered quoins, and other dressings in grey sandstone. The roof is slate. It is a simple building, long and low. On the west gable is a double bellcote.
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The doorway is round-arched with a chamfered surround and timber panelled double doors with a date plaque above. The boundary walls are of random stone but the gate piers are of ashlar sandstone, supporting cast- iron gates.
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The inside of the tower measures square. The floor is lower than that of the nave and there are five steps through a tall arch that has chamfered orders. Internally, the nave measures by . There are three galleries.
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The columns and beams are stop chamfered in a traditional Victorian manner. The balustrading is also timber in an "X" pattern. The chimney and many openings appear to be original. The interior contains original mantelpieces and timber architraves.
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The Tithe Barn is a 14th-century tithe barn in Dunster, Somerset, England. It has a cruciform plan. The east front has central double doors in heavy oak with a chamfered frame. It is a grade II listed building.
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Inside the church is a deeply chamfered chancel arch. A passage staircase leads from the chancel to the pulpit. There is a west gallery, carried on thin iron columns. The chancel is floored with Minton encaustic tiles and mosaic.
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It had acquired the name Bow Bridge by 1707. The narrow bridge of three arches is wide. The main arch of the bridge is built from chamfered blocks of dressed stone. The bridge was restored after floods on 12 July 1982.
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In German, however, it was called a Kattenkopf (cat-head), and in this case it is a reference to the traditional way the top was notched and chamfered off so that in cross section, it resembled the ears of a cat.
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There are no windows in the north wall. The tower to the west is of ashlar. It sits on a chamfered plinth and has two stages, with a saddleback roof. There are small slit windows on the north and south sides.
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It is long and wide, with two aisles. The chancel is in length and in width. The arcades have three bays each; their arches are supported by ornamented shafts. The arches have chamfered orders, and the hood-mouldings are also ornamented.
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The corners of the building are subtly chamfered in at the bottom and rise toward a flaring cornice at the top, echoing John Wellborn Root's design of the Monadnock Building in Chicago. The building has now been converted to loft apartments.
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The chancel has 14th- centuryNorfolk 1: Norwich and North-East, By Nikolaus Pevsner and Bill Wilson, Northrepps entry, page 200. arcades of four bays supported on octagonal piers and double-chamfered arches. The compact west tower has a western doorway.
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At the chamfered corners of the building, the facade is recessed by up to from the lot line. Consequently, when 1 Wall Street was built, its main occupant Irving Trust embedded small metal plaques to assert the boundaries of its lot.
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The chapel is built in chequer brick in four bays. All the corners have chamfered quoins. On the west face is a central doorway above which is a rectangular datestone. Above this is a round-arched window and a clock face.
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Hardwood slabs are exposed on the east and west walls. Modern lapped boards clad the north front of the house. The verandah is supported on stop chamfered rectangular posts and has a gravel floor. The house has two corbelled brick chimneys.
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The shell is white and lustrous. Its length measures 6.5 mm. The seven whorls of the teleoconch are flattened, distinctly chamfered above the channeled suture. The body whorl is distinctly angulated at the periphery, where there is a prominent rounded thread.
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We supply the boards cut on the dimension demanded by the customer, with round or chamfered edge under the angle 45°, milled from the thickness 12 mm with a fillister, from the thickness 16 mm with a tongue and a groove.
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24) - which leads to the E end of the screens passage of the Giles' hall. A lobby inside this doorway had originally a room to each side, probably the 16th-century buttery and pantry as mentioned above, and the screens doorway, of granite, has a semi-circular head with continuous simple deep-chamfered surround (Fig. 25). To the left-hand, from the lobby is a heavy oak door frame with a two-centred arched and chamfered head (Fig. 26) leading to one of the service rooms, and opposite it, against the N wall a modern stair has been placed.
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There are remains of the original house at the north- west and south-west sides and there are vestiges of 17th century fabric at the rear (south), one room contains fireplaces with inscription "T. C. 1767" and stopped and chamfered ceiling beams. 'T.
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Internally, the tower measures square. It is entered from the nave through an arch of two hollow chamfered orders. The nave measures by . It is separated from the north and south aisles by five-bay arcades, with pointed arches and round piers.
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The double-chamfered nave arcade is supported on octagonal columns with moulded capitals. The west gallery has an arcaded parapet and below it a partition, constructed of wood and glass in the mid-20th century, separates the west end from the nave.
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Bache Hall, a former country house, is constructed in red brick with painted ashlar dressings and a slate roof. It stands on a painted chamfered plinth. The building is in two storeys with attics. Its southeast elevation has a slightly projecting central portion.
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The mausoleum is built of plaster and rubble. At the time of construction, it was entire covered with blue, green and white tiles. Turquoise blue was the dominant amongst the other colors. The building is square in plan and has chamfered angles.
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Inside are four-bay Decorated arcades with octagonal piers and double-chamfered arches. The five-bay oak screen is Perpendicular, restored by John Bilson in 1906. The font is of the same period, with an 18th-century cover. The pulpit is dated 1618.
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The Belen Hotel, at 200 Becker Ave. in Belen, New Mexico, was built in 1907. It was listed on the National Register of Historic Places in 1980. It is a two-story red brick flat-roofed L-shaped building with a chamfered corner.
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Here it featured segmental and Tudor arches along with openings with chamfered corners. There was a small projecting bay on the west side of the house with flat arches. It also had a front porch that had been removed at some point.
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Internally, the tower measures by . The nave measures by and is accessed from the tower through a high arch with chamfered orders. There is a 19th-century reredos, now in the tower, that depicts the Annunciation. There is 17th-century octagonal baptismal font.
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A number of timber honour boards line the walls. The ceilings feature exposed timber rafters with single ties. The rafter ends meet timber columns fixed to the walls and bearing on a small, shaped extrusion of stone. The timber structure is stop chamfered.
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The gable ends are decorated with scalloped bargeboards. The verandahs have chamfered posts with simple rectangular capitals and carved scalloped bases. The balustrades are constructed of square section balusters and handrail. The building has timber sash windows, and French doors opening out to the east.
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Stair turrets with copper-clad domes decorate the courtyard side of the King's Wing. The highest and most impressive tower stands above the Chapel. The chamfered corners of its multistorey spire are decorated with four obelisks. The Audience House (Audienshuset) was completed in 1616.
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The windows in the nave have two lights, and those in the chancel have three lights. Inside the church, the nave is divided from the chancel by a low wall and a double chamfered arch. The organ was built in 1871 by Gray and Davidson.
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The nave has 4 bays with octagonal piers on moulded bases. The arches are double- chamfered. The crossing piers are a continuation of the nave arcade, although on a slightly larger scale, with crossing arches. All of the piers are made from chalk blocks.
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The two-story, brick residence with a rubble stone foundation follows a rectangular plan. The main facade is asymmetrical. The open entry porch is off-center and features a superimposed chamfered balcony room. It is balanced by the stepped window stair set to the right.
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It features a two-story, porch supported by chamfered posts, simple cut-out friezes, and a Chinese lattice railing. Also on the property is a contributing late-19th century barn. and Accompanying photo It was added to the National Register of Historic Places in 1982.
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The west window is similar, but narrower, and of two lights. The south wall windows are identical: rectangular chamfered openings within which are three lights with cusped ogee heads. The parapet is of a coping set above a repeated c.17th-century cusped fretwork device.
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It had a four-centred, local green sandstone ogee arch, pointed and chamfered arch tower, parapet corbelling of the roofs, and an "impressive perpendicular chimneypiece". George Herbert of Swansea inherited Candleston from Margaret and Sir Richard Herbert. Mathew Herbert, George's son then held Candleston.
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Homestead Kelvin is a stuccoed single storey Georgian farmhouse. Hipped iron roof, cranked in vernacular fashion over wide high verandah on three sides. This is paved with sandstone. The roof supported on heavily chamfered timber posts and with an exceptionally finely scalloped timber valance board.
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The western wall has deep chamferboards which may be pit-sawn. The verandah has been closed in with flyscreen, but retains its splayed, chamfered verandah posts. The eastern verandah has been extended out to the east to form part of a large living room; the verandah posts, also splayed and chamfered, are now in the centre of this room, which links the original homestead remains to the rest of the later additions. An appreciation of the overall form of the house, including the now corrugated iron-clad gambrel roof, can be gleaned from the west, and a substantial brick chimney rises above the ridge of the roof.
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Two painted brick chimneys rise through the main roof. Addressing Percy Street, the front elevation is symmetrical about a projecting gable-roofed porch to the upper storey below which a small hipped roof shelters the ground floor main entrance steps. The projecting porch is crowned by a metal cross to the apex of the gable and is distinguished by decorative fretwork (incorporating a cross motif) to the arches and infill to the paired chamfered timber posts. The upper verandah is punctuated by pairs of chamfered timber posts carrying plain square timber capitals and the solid balustrades are clad with weatherboards and lined with vertical tongue and groove boards.
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The 13th-century north aisle is of limestone and ironstone work, with a string course at the eaves, and a plinth--defined by a simple raised band below the line of the windows--broken by an blocked chamfered and arched doorway to the west end. Both ends of the aisle are supported by clasping buttresses terminated with gables. An angled buttress of the same style sits between the two identical rectangular north windows, each of three lights with cusped ogee heads. The north aisle pointed west window opening has a chamfered reveal and a hood mould, with an inset window of two simple pointed lights.
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It is a three cell unit with an open hall, with one bay to the left of the wooden entrance porch and two bays to the right. A cross passage is orientated north and south, and there is a solar wing to the east; this wing was at one time thought to have been the chapel but is now recognised as the solar. It has a featureless ground floor while the first floor has three pairs of jointed cruck trusses, one of which is fully arch braced. There is a chamfered pointed arched opening in the east gable wall, another opening to the left, and a chamfered lintel over the fireplace.
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Among the church fittings are a reredos (not in situ) and other items from a bequest made by William Meadston of Woodbury (d. 1683). The chancel has a group of grotesque gargoyles: two on the North side and two at the East end; a smaller fifth gargoyle below the apex of the East gable supports an attached shaft for the gable cross. The 14th-century chancel arch is of two orders, chamfered to the East and with the outer order dying against the side walls. The nave has a North arcade of five bays with arches of two chamfered orders standing on octagonal piers with moulded caps and bases.
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The massive, square tower, which looms asymmetrically to the left of the main portal, encompasses four stories, each delineated by smooth stone stringcourses. Its open belfry, with double, arched openings on each of the four sides, is crowned by a pyramidal roof whose four chamfered corners each terminate at the cornice level in a small spire. A stringcourse just below the cornice carries (just above the chamfered corners of the belfry superstructure) four gargoyle-like, projecting blocks of stone, which may be sculptor's blocks left unfinished. The arched, tripartite window immediately above the main portal is echoed by similar window treatments in the wall dormers and another just to its left.
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The barn's overhang is supported by unusual chamfered stone piers. The Allstadt Cemetery is also nearby, serving as the central burial place for the extended family. Graves span the period 1821 to 1880, including the grave of five Russell family infants who may have died of diphtheria.
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The jambs are square-cut, each having five upright and flat slabs of similar heights, two per course. At the top of each upright, there is a plain chamfered impost. The arch is to the imposts; it is wide and to the crown. The jambs are thick.
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The first floors have two-light casement windows under chamfered ashlar lintels. Gabled dormers to the attics have two-light casements with small panel glazing. Similar two-storey cottages were built without dormers to their attics. All the houses have back yards enclosed by brick walls.
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Two tall, symmetrically disposed chimneystacks pierce the north-facing plane. The principal entrance is in the northern (rear) elevation. An open verandah extends the length of the southern (front) elevation and is supported by tapering timber posts that are stop chamfered. The posts rest on concrete plinths.
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They open by sliding along tracks to the inside of the wall. The floor is of wide raw cypress pine boards, which are hand-scrubbed clean to retain their bleached appearance. The exposed roof framing and trusses have been stained. All the major members are stop chamfered.
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Shaped as a longhouse, it is divided by eight pillars, the easternmost having chamfered corners. The roof was originally covered with slate. A flèche over the chancel houses the bells. The building's west end integrates the Rundetårn tower, which has a spiraling ramp to the top.
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The structure of the building also incorporates wooden beams and exposed wooden rafters. The overhanging porch is supported by four heavy wooden posts. These posts, which are chamfered, measure 8" X 8", and three are original old growth redwood. The porch rafters are finished with decorative details.
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The front of the house has two double-hung, six-over-six, windows on each side of the door. The front wood-paneled door has a transom and sidelights. The porch extends over the door and two windows. The porch has chamfered posts and turned baluster railings.
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Ponce, Puerto Rico. 26 August 2009. Page 24. Ponce's sights include monuments and architecture, such as its Monumento a la Abolición de la Esclavitud and Residencia Armstrong-Poventud, and charming pink marble curbs and chamfered streets corners, as well as historic houses, castles and concert halls.
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The spire is recessed behind an openwork parapet with gargoyles. Internally there are three arcades with octagonal columns and double-chamfered arches. The chancel is at a lower level than the nave. A gallery extends across the west end of the nave and the south aisle.
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All upper level bays open out onto individual balustered balconies, except for bays 2 and 3 and bays 5 and 6 of the west facade, which share wider, two-bay balconies. The chamfered bay contains a semi-elliptical balcony which smoothly turns the corner of the two facades.
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The undercroft consists of four bays with chamfered rib-vaulting; the masonry is "of high quality". The architectural historian Nikolaus Pevsner considered its undercroft to be "one of the best medieval crypts of Chester". Much of the structure above the undercroft has been changed or covered by modern materials.
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The east window has two pointed, chamfered windows, with mullion now removed. Set into the wall above the doorway is a stone effigy of a human head, which probably predates the church. On the floor is a recumbent stone which mentions four prominent members of the McCartan family.
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The west tower is on two levels, built over a hollow-chamfered plinth. The slate roof has ridge tiles at the crest and gable ends, with raised coped verges and cross finials. It is wagon-shaped and has carved bosses. The south wall with rood stairs is extant.
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The font is situated in the south aisle to the west of the south door. This is a plain, tub font with slightly bowed sides, resembling a chalice. It has a cylindrical stem and base, standing on two square plinths. The rim is chamfered and has slight damage.
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The building is designed by Heneghan Peng Architects, Buro Happold and Arup. The exhibition masterplan, exhibition design and museology is by Atelier Brückner. The building is shaped like a chamfered triangle in plan. It sits on a site two kilometers west of the pyramids, near a motorway interchange.
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These rooms are now partitioned into office workspaces and meeting rooms. The interiors are plain with stop-chamfering to doors and window frames. The apse stair has stop- chamfered newell posts with ball and half- ball tops and plain rectangular timber post balustrading. Much of the joinery survives.
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The structural system consists of trussed steel frame. Designed as a modern architecture tower, the curtain wall facade was originally golden glass. The tower is square in plan, with chamfered corners. The elevator core is unusual in that it is rotated 45 degrees relative to the tower's axis.
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The Blackburn House (also known as the Blackburn-Mastich House) is a historic residence near Athens, Alabama. The house was built around 1873. It is a one- and-a-half-story Saltbox-style house with an Italianate portico. The portico has four chamfered edge columns supporting a hipped roof.
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The left (west) wing projects forward by , it is in red sandstone with yellow stone dressings, and has chamfered quoins. The windows have architraves with keystones, and sills on corbels. The right (east) wing projects forward by , it is in brick with stone quoins, and contains square-headed windows.
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The remains of the original fence are located near the grave. The original fence posts are timber with decorative, chamfered tops. A number of other unmarked graves are thought to be located in the same area as Sarah Hardie's grave. The exact location of these, however, is not clear.
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The blue lias building has red sandstone dressings and a slate roof. It consists of an aisle with a projecting north east chapel. The nave and chancel are each of eight bays and have slim octagonal piers and double-chamfered arches. The tower is supported by set back buttresses.
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The twin-towered Virginia Street elevation is the glory of the Kanawha County Courthouse. Roofs of each tower are pyramidal with chamfered corners. The belfry openings are arched and flanked with smooth grey limestone masonry colonnettes. It was listed on the National Register of Historic Places in 1978.
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At the entrances to the transepts are two-bay arcades. The chancel arch is round and double chamfered. The font is octagonal and stands on a 19th-century base. It is carved with shields, the initials R. B., and the Hudleston arms, and carries an inscription in black letters.
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The other room is a staff room. The fireplace is sealed and the chimney breast has chamfered corners. The contractors' room has door which leads to the "truckport" outside. The room has a vinyl floor on concrete, which is probably contributing to the deterioration of the stone plinth.
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The chancel itself dates from the 14th Century, however the roof is a newer addition, dating from the 19th Century. The Chancel is separated from the Nave by a double chamfered arch on polygonal responds, and is also two steps lower than the main body of the church.
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The internal structure, three bays wide and two bays deep, has chamfered timber storey posts, girders and joists. The roof is supported on posts tenoned into a beam. The ceiling is lined with boards and there is a single rooflight. There is a timber stair of two flights.
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Interior The church has a treble-chamfered tower arch with stops to cover the nave windows. There is a tall moulded chancel arch. The chancel has a painted panel ceiling with crossing wooden beams running in a north-south direction. There are hanging pendant lamps in the nave.
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1875 and have a foundation of brick, finished to appear like the original foundation. The house has a tall raised basement, known as the garden level. The main entrance is flanked with window bays. The entrance has a small porch with a gable roof and two chamfered posts.
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The main facade is five bays wide, with a single-story porch extending across the front. The porch is supported by chamfered post with sawn brackets. Italianate brackets also adorn all of the roof eaves. The Lyman family owned land in this area for more than 200 years.
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The porch is supported by chamfered posts decorated with drop pendant brackets, and has a cut baluster rail. The roof lines of the porch, main roof, and cupola, are all studded with paired brackets. On April 13, 1984, it was added to the National Register of Historic Places.
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A wood front porch has chamfered posts and carved balusters. Its interior has been modified for its present use as a day care center, but still retains original woodwork such as the banister on the stairway. The hearth of one of the fireplaces still has its original tiling.
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This window was surrounded by quarter-round moulding of radius and the edges of the loopholes are neatly rounded. The west end of the building has marked resemblance in plan to the east end of Haughton Castle. At its north corner there is a turret 9' 7" by I3' 10" (2.92 by 4.22 m) internally with walls thick, having an external base course which butts irregularly against the double chamfered base of the main building. At the south corner, a narrow door with chamfered jambs and sill gives entrance to what must have been either a mural stair or a small turret; this formed a weak point both structurally and strategically and was twice strengthened and reconstructed.
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This early structure has been lined with horizontal timber chamfered boarding, possibly when the western room was added which is timber framed and clad with similar chamfered boards. Sections of brick nogging have been left uncovered on the upper external walls. Entrance to the cottage is through a small gabled awning on the south facing elevation which is supported on columns and identifies the place of entrance through the verandah. This small awning is emphasised by the placement of two substantial face brick chimney shafts projecting from the roof on this southern side symmetrically arranged on either side of the entrance, at the line on the roof where the pitch changes to accommodate the verandah.
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They connect to each end of the breezeway. All roofs are clad in corrugated galvanised iron. On the upper level the verandah edges are made with cast iron balusters and baluster panels, and tapering stop- chamfered timber posts. Below, fitted between each post, are deep, arched valances made of lattice.
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The base of the building fills the entire block. There are several setbacks between the base and tower portions of 20 Exchange Place, including at the 19th and 21st floors. The tower portion, rising above the 21st floor, is eight-sided in plan, with four chamfered corners between four longer sides.
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The hipped roof of the building is clad with corrugated iron sheeting. Verandahs line three sides of the building. The timber verandah posts are stop-chamfered and located between the posts is timber dowel balustrade. A gabled projection on the southern principal facade of the building emphasises the principal entrance.
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The original music room has since been converted into a kitchen. There is a less ornate fireplace on the south side. The mahogany staircase has turned balusters, a chamfered newel post and a scroll motif on the risers. The second floor has a similar layout although it is less ornate.
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On the southwest corner of the west (front) facade is a one-and-a-half-story projecting bay. At the first story this features a bay window. A porch stretches across the rest of the facade at that story. Its roof is supported by three chamfered and paneled posts with brackets.
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The base is a smooth faced step with a chamfered top edge. Surmounting this is the pedestal plinth which is smooth faced and capped with large cyma recta mouldings. The front face displays a high relief carving of a trooper's hat and bandolier. Rising from the plinth is the pedestal dado.
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It is credited to architect Archimedes Russell and was built in 1870. It is a two- story, brick Italianate style dwelling. It consists of a main block and rear wing with low hipped roofs. It features a full width, one-story front porch and small side porch with chamfered columns.
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Timber framed verandah has stop chamfered columns with neck mouldings. Verandah floor is tiled. The east elevation also features a projecting porch (timber framed) supported on masonry piers with a pressed metal ceiling (well overgrown with wisteria (Wisteria sinensis). Later verandah enclosures include use of pressed metal for walls and ceilings.
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The west wall of the nave has a three-light window. In the south wall are three large windows, one in Decorated style, the other two Perpendicular. Supporting the east wall are two brick buttresses. Inside the church is a three-bay arcade supported on quatrefoil piers, with double-chamfered arches.
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Late Victorian grandstand with timber framed roof structure above a raking stepped concrete base. Cladding is part corrugated iron, part weatherboard under a gabled roof supported by square timber stop chamfered posts with attached mouldings. Some vestiges of timberwork and decorative iron remain but much has been removed. Iron railings to steps.
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The 9 mm Mars is an experimental centerfire pistol cartridge developed in the late 19th century based on necking down the .45 Mars Long case. The bullet has two deep cannelures, and the case is crimped into both. The case mouth is chamfered on the outside to fit flush into the forward cannelure.
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The bullet has two deep cannelures, and the case is crimped into both. The case mouth is chamfered on the outside to fit flush into the forward cannelure. The cartridge headspaces on this conical forward crimp. This elaborate bullet seating was necessary to withstand the violent feed mechanism of the Mars Automatic Pistol.
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C. ' stands for Thomas Cotes. Also a small stone rubble rear wing with stopped and chamfered ceiling beam and tiebeam roof truss with angle struts. The 1875 rebuild is in a Jacobean/Queen Anne style had brick with stone dressings and tiled roof. Traces of the former house were still discernible c.
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The 8.5mm Mars is an experimental centerfire pistol cartridge developed in the late 19th century based on necking down the .45 Mars Long case. The bullet has two deep cannelures, and the case is crimped into both. The case mouth is chamfered on the outside to fit flush into the forward cannelure.
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The south arcade of St Peter's church Internally, the nave measures approximately by . The roof has alternating tie beams and false hammer beams. The south aisle is separated from the nave by a four-bay arcade which has octagonal piers and double chamfered arches. The aisle contains a bench sedile and a piscina.
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St Andrew's Church at Winterborne Tomson. This former parish church is named after St Andrew. It is a small twelfth century building, with flint and rubble stone walls and a chamfered plinth. The roof is tiled with stone eaves courses, and there is a small timber bell-cote at the west end.
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"Edmund Kinsman", "John Young". The clock face is early 20th- century. Inside there is simple arched piscina and a hollow chamfered ambry in the largely 19th-century chancel (built based on excavations made during the Victorian restoration) which has a fine 19th-century altar rail with iron- twist uprights to the Sanctuary.
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Both front and rear doors are replacements, but the windows still retain 6/6 sash. The front porch is nicely detailed with flush siding, bold chamfered posts with lambs' tongues, and molded railing. The interior of the house follows a hall and parlor plan. There was once a partition creating a center hall.
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Elevated passageway that communicates the primitive building with the enlargement. It is a building of square plant with chamfered corners, rear garden and interior courtyard. In some of its points it has four plants. The whole building rests on a basement of granite stone that serves as base to the brick canvases.
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Type H is a variant of the disk pommel, with the edges chamfered off. This is one of the most frequently found shapes throughout the 10th to 15th centuries. I, J and K are derived variants of the disk pommel. Types L to S are rare shapes, in many cases difficult to date.
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Hockenhull Platts consists of three humpback bridges which are approached and connected by causeways. The bridges are constructed from tooled blocks of red sandstone. The parapets are plain and are surmounted by chamfered coping stones which are joined by iron ties. The carriageway is formed from a mixture of stone setts and cobbles.
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The sanctuary is sparely furnished. Gently curved wooden pews with scroll armrests and recessed end panels flank the center aisle, leading to the altar. Its wooden flooring is now carpeted; the plaster walls have beaded wainscoting. Above, the wooden trusses with chamfered lower chords and collar ties that frame the roof are exposed.
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The verandah posts are stop chamfered. A modern steel stair is visible at the eastern end of the verandah. Internally, the rooms are divided by single-skin VJ walls, interior ceilings and corridor walls are lined with VJ timber. Bathrooms are fitted with post-World War II fittings of varying styles and standards.
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In the centre is a square pier supporting four square rib vaults, with the heavy ribs leading to transverse arches, all stop- chamfered. In the north-west side is a Norman round-arched doorway. A small window is contemporary with the doorway. The corners of the chapel are orientated towards the cardinal points.
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The Thomas L. Critz House, built c.1887, is a historic Italianate style house in Thompsons Station, Tennessee that was listed on the National Register of Historic Places in 1988. It is a two-story frame residence with a Central passage plan. It has a one-story porch with square chamfered columns.
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A one-story flat-roofed porch wraps around the front and both sides, supported by chamfered posts. Above the entrance on the second story is a projecting bay window. It has a flat roof with the same roof treatment as the main roof. The flanking windows are similar to their first-story counterparts.
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This motif of stacked pishtaqs is replicated on the chamfered corner areas. The design is completely uniform and consistent on all sides of the building. ;Dome The marble dome that surmounts the tomb is its most spectacular feature. Its height is about the same size as the base building, about 35 m.
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De Brome's chapel has a two-bay arcade with continuous hollow chamfered arches with Perpendicular windows. The tall arch in this aisle, connecting with the tower is a 15th- century remodelling of a late 13th century window. Adam de Brome's tomb, the 14th century slab rests on a modern chest. Church's canopied pulpit.
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A verandah with > similar valance runs the length of the western side. From this verandah, an > external timber stair leads to the Judges' chambers. > The Courtroom has exposed scissor trusses with stop-chamfered members, and > raked ceilings lined in diagonal boarding above. There is a dormer window to > each side of the ridge.
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Inside the church is a double-chamfered chancel arch, and arches between the chancel and the chapels. The chapels have wooden barrel roofs. There is a piscina in the nave and another in the chancel, both of which are damaged. The reredos is partly painted and partly in mosaic, with a marble triptych.
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Verandah beams have stop-chamfered edges in places. The slender, cylindrical timber verandah posts with square base and top are modern replicas of the original posts, which were more finely detailed. Paired columns are located at the main entrance. The timber verandah decking is supported on rendered brick piers with metal ant caps.
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Looking east from the nave towards the chancel with the transepts visible through the arcades on each side Internally, the aisles are divided from the nave with four-bay arcades of hollow chamfered pointed arches on octagonal columns with moulded capitals and bases. The arches between the nave and the transepts and the nave and the chancel are similar to those of the arcades except with the columns being semi-octagonal and attached to the walls. The arches between the tower and the nave and the tower and the west end of the north aisle are plainly chamfered on semi-circular attached columns. Arches between the aisles and the transepts are like those of the arcades, but spring from the walls without supporting columns.
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The verandah posts are square and sawn with chamfered corners. One post has a chiselled number in Roman numerals. The fascias have a beaded edge and a scotia mould that would have been under the missing gutters. There are three doors on each side, three windows on the east and two on the west.
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It has chamfered angles and a stepped plinth set on an oval platform on the breakwater. A square design was chosen because it made the living quarters more comfortable. Much of the original living accommodation inside remains intact. The tower's external features include a roll-moulded string-course projecting above the first floor level.
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Door entrances and windows on the ground floor are arched and surrounded by V-chamfered rusticated stone work. Ten of the houses still have their original fanlights. The upper floors throughout are of polished ashlar stone with basements of droved ashlar. The houses are of two or three storeys with attics to the colonnaded sections.
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The west tower has octagonal turrets which become angled buttresses above roof level and open tracery embattled parapet with corner crocketted pinnacles. The tower has a four-sided clock and louvred bell openings. ;Interior The church has north, south and west galleries supported by chamfered diagonal piers. There is a plaster rib vaulted ceiling.
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Stained glass window made by James Powell and Sons There are windows of various dates, and others were removed during the frequent extensions and alterations. The east window of the chancel was altered during the 17th and 20th centuries, but has 13th-century origins in the form of chamfered vertical sections with moulded splays.
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A three-story square brick tower is located above, and is capped by a domed hip roof. Gable roofs flank the tower with decoratively shingled gable ends. The windows are double-hung, one-over-one units, and the main facade has chamfered corners where the second-floor windows are accented with hoods and large brackets.
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Centred on the ridge is a skylight. The verandah is open on its two street elevations, with a concrete floor, dowelled balustrades and stop-chamfered posts. The south-eastern and south-western verandahs are enclosed and clad in chamferboards. At the rear is a brick safe with a steel door opening into the office.
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The north facade has a projecting bay window in its easternmost bay. The two dormers on the roof have a chimney in the middle. The south side has a similar treatment without the chimney. Another bay window is on the rear next to the porch, with a flat bracketed roof supported by chamfered posts.
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Fluted Doric columns and consoles support an entablature with denticulated cornice. A transom, sidelights, and ornate frontispiece frame the slightly recessed four-inch–thick (10 cm), mahogany door. In the rear is a similar portico with a less elaborate door, chamfered Doric columns and a molded entablature. There is much decoration inside the house.
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A one- story modern kitchen wing has been built on the west side near the south end. All windows have louvered shutters. Small vents are located above the second story windows. In the middle of the east facade on the first story an entrance is sheltered by a hipped-roofed porch supported by chamfered posts.
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Indian Range is a historic home at Davidsonville, Anne Arundel County, Maryland. It is a -story frame hip-roofed Carpenter Gothic style country "villa" with board and batten siding, steeply pitched cross gables, and tall, chamfered chimneys. It was built about 1852. It was listed on the National Register of Historic Places in 1986.
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It is a narrow stone packhorse bridge, on the southern outskirts of Dunster, with two arches over the River Avill. It has a roadway width of , a total width of and is long. The side of the bridge each have four narrow chamfered ribs. The approach from the village is via a raised causeway.
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The First World War Memorial is situated in Finch Hatton facing the Mackay-Eungella Road. The memorial rises to a height of and comprises a pedestal surmounted by a digger statue. The sandstone memorial sits on a base step with picked stone faces, margined and chiselled. Surmounting this are two larger steps with chamfered corners.
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North of the apse is a room called the lecture hall on the original plans. It has dark wooden walls and sliding doors, in contrast to the ceiling's golden oak curved rafters that converge at a decorative element. Other features include chamfered door stiles, wooden louvers for the stained- glass windows, and brass door hardware.
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The central block south of the hall contains the dining room and kitchen on the ground floor with bedrooms above. Both have chamfered beams made of elm which are approximately long. Centrally between the two rooms is a large medieval fireplace including a bread oven. Next to the kitchen is the large south store.
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Above this panel are chamfered columns supporting a foiled arcade. Above this is an area of pre- cast concrete tiled, centrally located on which is a lancet window. Surmounting the tower is an eight-side concrete spire. The side walls of the church consist of a series of reinforced concrete buttresses surmounted by pinnacles.
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This is unpublished with the archive held by Nottinghamshire County Council. It revealed the survival of stone fragments of both medieval and post medieval date, with notable high status examples of carved and chamfered material visible in the garden of Maun Cottage in particular and potentially relating to the gateway of the palace complex.
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The bank, designed in an elaborate Baroque style, is built on an L-shaped site with seven bays on King Street and eight bays facing Cross Street and between them a chamfered corner. It is constructed of Portland stone on a granite plinth and has a basement with four storeys above and double attics.
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The interior features chamfered posts, closely spaced joists, and fire doors. The building has been redeveloped as Miller's Court with 40 apartments, as well as office and project space for public and charitable agencies. Apartments in the $20 million project were marketed to Baltimore public school teachers. The first tenants moved in in July 2009.
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It is influenced by the Gothic Revival style and features thick chamfered posts. The windows are six over six sashes with flat lintels and sills. Built onto the rear of the house is a single-story kitchen wing. Like the main house block, it is capped with a bracketed hip roof and a wooden cornice.
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It is octagonal with carvings on each side of the bowl; these represent the symbols of the four evangelists interspersed with Tudor roses. Under the bowl is a soffit carved with angels. The bowl is carried on a stem with four buttresses, standing on a chamfered base. In the chancel is a 14th-century piscina.
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Inside the church the arcade between the nave and the aisle has three bays and pointed arches. The chancel arch is also pointed and is chamfered. The nave and chancel have barrel roofs. The font is in sandstone, it is octagonal in the style of the 16th-century, and on its sides are shields.
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The upper floors contain aluminum spandrels, many of which also contain medallions, as well as sash windows. These windows are grouped into three pairs per side. The corners of the tower are chamfered, with one window on each floor. At the 29th, 39th, 48th, and 55th stories, there are ashlar bands between each floor, instead of aluminum spandrels.
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The pedestal is in Aberdeen granite, and the column is in grey marble with a sandstone cap. The base is square, and carries a chamfered plinth with a pediment at the top on each side. From this rises a marble column with an Ionic cap. On each side of the plinth are bronze memorial plaques carrying lists of names.
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The gatepiers at the lower lodge have chamfered rustication and moulded cornices with elliptical ball finials. There are similar gatepiers at the upper lodge north of the house, and another at the entrance to the stable yard. Within the grounds are two lakes fed by a small stream. The stream is crossed by a small ornamental balustraded bridge.
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At the corner of Broadway and 19th Street, there was originally a tower topped by a cupola. This was later replaced by a chamfered corner containing window openings. The lowest two stories comprise the base of the building and were originally designed for commercial tenancy. Originally, the vertical bays within the base were separated by carved piers in relief.
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The Giles Gilbert House is a 13-room, two-story Late Victorian house clad in clapboard and sitting on a cut fieldstone foundation. The relatively plain facade is decorated with typical Late Victorian elements, including decorated trusses and oculus windows in the gables; and a jerkin head roof, chamfered posts, decorative brackets, and scrolled woodwork on the entry porch.
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The building is approached from the elevated carpark to the west. The western verandah is open, apart from a small store to the rear also of exposed framing. The verandah is framed in stop-chamfered posts and rafters. Opening onto the verandah are two substantial sliding doors clad in beaded boards, with panels of open timber battening above.
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The property then included four non-contributing structures in addition to the one contributing building. With . Moses J. Taylor was involved in the incorporation of Eustis as a town and served as its first town clerk. Italianate elements of the house include a cornice with decorative brackets, chamfered columns on its wraparound porch, and pedimented windows and doors.
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A tall brick chimney rises from the wall here. Inside, the sanctuary has the pews arranged with a center aisle and two side ones along the walls. The ceiling is made of beaded wooden boards that expose the hammerbeam roof's trusses. Chamfered wooden posts rise up to it from between the lancet window pairs on either side.
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The eastern verandah has been partially closed in. The verandah and awning are supported by chamfered posts with timber capitals resting on square concrete upstands; these posts are paired at the truncated corner. The exterior is further embellished with batten screens forming arches which run under the verandah. The battens have small decorative holes at their ends.
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The ground floor has three wide windows (one on each exposed face) under four centered, triple chamfered arches. The second floor features 2 windows on each face, one above the other. Each window is cusped and rests under a square head. The third floor features the clock on the southern face, and a solitary window on the north.
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There is a red marble step to the chancel end of the crossing. The crossing has a chamfered north east angle for a tower stair, with a door at the foot. Two small windows light the staircase to the ringing chamber. There is a complex oak roof in nine panels with heavy beams and pendant bosses.
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The bowl is also octagonal. Within the chancel there are two decorated windows with a priest's door in between them. On the eastern elevation there is also a decorated window under brick arch with drip moulds and tracery. The west door is perpendicular with a double hollow chamfered four-centred arch and fleurons and ball flower decoration.
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It features a two-story ornamental porch that spans the entire front of the building with chamfered posts and sawn balusters. Also on the property are a contributing two-story, single-pen log kitchen; a small stone shed-roofed greenhouse; and a corn crib. and Accompanying photo It was listed on the National Register of Historic Places in 1989.
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Its front facade is five bays wide, with windows framed by shouldered moulding. The mansard roof is pierced by three dormers with rounded tops. The main entrance is at the center, sheltered by a projecting with paired square columns that have chamfered corners and paneled bases. The interior of the building has been extensively altered over the years.
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In July 2000 the former Studebaker showroom was the Texas Texas restaurant. The building lost its cornice in 1988 but was still a fixture of Times Square. Its chamfered corners and broad arched windows were still evident to observers. The absence of its elaborate cornice hurt its chances of gaining national historic landmark protection against demolition.
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Across the first story of the north (front) facade is a wooden veranda. Its chamfered wooden posts with scroll-sawn side brackets hold up a flat wooden roof. Stone stairs, alongside a balustraded wooden wheelchair ramp, lead up to the deck, which has a latticework wooden drape below. A similar veranda is located on the south.
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The windows have been much altered as have the floor levels within the building.Davis, Page 302. Campbell comments on the possibility of Kilmaurs Place being built upon an older castle which is no longer evident.Campbell, Page 203 Tranter comments on the Garret in the steeply pitched roof and the chamfered surrounds on some of the windows.
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These rectangular towers with chamfered corners, occupied by windows over triangular terraces/veranda, creating personal viewpoints. The entrance has a triangular pediment that supports a window and connects to the second-floor veranda. The northern facade is symmetrical, with frame-less granite openings. The southern and eastern walls include framed openings with various, different granite sculptures.
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Both pieces are made from the latest Gorilla Glass 4 material. The rear glass bends around the long edges, while the front is completely flat. Xiaomi has set chamfered edges on the frame to complement the soft curve on the back, which works best in this combination. It also improves grip, enhances the appearance and makes handling more comfortable.
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Two of the effigies in the church The nave's ceiling is of wood and has carved hammerbeam trusses. The five-bay aisle arcades have moulded piers and two-centred arches. Between the steeple and the south aisle there is a chamfered arch. The vestry has in its western wall, an unglazed window that opens into the north aisle.
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The tower is three storeys high and has two vaulted rooms in the basement. Similar to the towers of Alnwick and Morpeth, the Embleton tower has stone groining. Built as a rectangle with a high, plain, chamfered base, it measures from east to west, and from north to south. A chimney projects near the centre of the east wall.
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The church is located in Antony at . Dedicated to St James, the church includes structural elements from the 13th, 14th and 15th centuries. Part of the nave and chancel survives from the 13th century and includes a sedilia and round-arched chamfered piscina. The tower was built in the 14th century and the aisles in the 15th.
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The Howes Building is a historic building located in Clinton, Iowa, United States. The four-story, brick, Neoclassical structure features arched windows, pilasters, and a chamfered corner. At one time it had a prominent entrance on the corner that was flanked by columns in the Doric order. The columns remain in place even though the entrance has been modified.
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Pictures on paper were sometimes pasted onto the koshi board (haritsuke-e, ); pasted-on pictures are characteristic of the Shoin style. The koshi boards may be fastened to straight vertical or horizontal rails, which stand proud of the planks; older rails are thicker and often chamfered. The rails are often grouped in clusters; this clustering is called fukiyose ().
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The awning is supported on stop chamfered timber posts. Sections of timber balustrade extend from the timber posts to the front face of the church. The entrance door is a double timber boarded door in a pointed arched timber doorframe. The awning covers a small concrete pad which provides a level threshold for entrance to the building.
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The verandah has a dowelled and cross-braced timber balustrade with diagonal lattice panels above. There is a pair of dowelled gates to the entry. The original gates were taller and remnants of these still exist stored under the building. The verandah also has chamfered timber posts with timber capitals, and a cast iron lace frieze with brackets.
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Bossages are also rustic work, consisting of stones which seem to advance beyond the surface of the building, by reason of indentures, or channels left in the joinings; used chiefly in the corners of buildings, and called rustic quoins. The cavity or indenture may be round, square, chamfered, beveled, diamond-shaped, or enclosed with a cavetto or listel.
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Both the gable end walls have a panel of ventilating weatherboards. The verandah walls are single-skin, lined internally, with chamfered stud framing exposed externally. The verandah walls have a ventilation flap at floor level and retain original double leaf doors with pivoting fanlights. The southern verandah retains a hat room enclosure at its southern end.
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Generally, the building retains early and original door and window hardware. The second floor of the William Street wing is notable for its exposed roof structure comprising multiple sets of Queens post trusses with unusual tusk tenon detailing and rafters. Members are stop-chamfered. The ceiling comprises beaded boarding laid diagonally and is raked to follow the mansard roof.
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One of the most conspicuous features in the Nave are the double- chamfered arches. Three on the north and five on the south side. These are supported on columns which are alternately clustered, with quatrefoil designs, and octagonal. The Clerestory windows are between the arches and not in the traditional place, which is to be above them.
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A hip roof covers the original portion of the house, while a gable covers a two-room ell added to the rear (also dating to the turn of the century). A shed-roof porch extends across the width of the main facade, supported by chamfered posts. The house was listed on the National Register of Historic Places in 1983.
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In the churchyard is a sandstone sundial dated possibly 1764. It consists of a chamfered shaft with octagonal cap, on top of which is a brass plate and gnomon. It is listed at Grade II. The churchyard also contains the war graves of nineteen service personnel, four of World War I and fifteen of World War II.
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The ceiling of the former laboratory is lined with flat sheeting with no cornice. The other rooms, formerly laboratories and store rooms, have plastered walls with rounded corners which are stop-chamfered near the ceiling. The hall walls are timber, vertically-jointed boards. There are no skirtings or rails throughout and all walls and ceilings are painted.
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There is a triple arch piscina with double "bason" (c.1260) and a 15th-century single piscina. The north and south chapels, flanking the chancel, open to the chancel by fine arches of two chamfered orders. The south chapel, now used as a vestry, has a four-light east window similar to that in the north chapel.
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A similar moulded cornice crowned with a gablet with obelisks on apex and kneelers above the windows of the two other remaining bays.British Listed Buildings , Inside a billiards room with 17th. century oak fielded panelling with chamfered beam and small panelled cupboard doors flanking fireplace. The original hall has been split with the insertion of an early 18th.
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Built of dark rubbed brickwork of fine quality, the house has two storeys and an attic and basement. The wide symmetrical front has a three bay central projection. There is a stone plinth, chamfered stone quoins, and an elaborate stone cornice. The central main entrance has a tall eight-panel door in a plain frame with a stone surround.
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To its east a porch extends across the rest of the first story. It has a gable roof offset to the east, supported by four chamfered posts with decorative capitals in pierced woodwork trim. The east profile has an inset porch on the second story near the front. It has similar decorative stickwork below its projecting gable.
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Alternatively, the posts can be planed, chamfered and profiled to give a highly aesthetic finish and further still, the posts can be altered with hollow voids along the edge to enhance the acoustic performance. Brettstapel can also be combined with concrete and steel to form composite structures for more demanding projects such as large spans, bridges and trusses.
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The middle stage of the tower contains small chamfered windows on each side and a clock face on the west side. The top stage has louvred, arched bell openings, and roundels containing quatrefoils. The bays of the nave are separated by shallow buttresses, and each bay contains a large lancet window. The east window consists of three equal lancets.
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The steep part of the roof is pierced by gable dormers with octagonal hood moldings. It is three bays wide, with its front entry in the leftmost bay. The front entry porch is Italianate in style, with square chamfered columns. A polygonal bay projects from one of the bays on the right side of the main block.
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The North-East Tower, also known as the Pendover Tower, was originally two-storeys high, with a third floor added on in the 14th century, followed by an extensive remodelling of the inside in the 16th century.; It has chamfered angles on the external corners to make it harder to attack the stonework, although this has weakened the structural strength of the tower as a whole. The North-West Tower had similar chamfered corners, but the Closet Tower was built alongside it in the 13th century, altering the external appearance.; Two more Norman towers survive in the innermost bailey, the West Tower, also known as the Postern Tower, because it contained a postern gate, and the South-West tower, also called the Oven Tower, on account of its cooking facilities.
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The undercroft has a concrete slab floor. Timber framing is exposed in parts of the range's ceiling, and some early corrugated metal ceilings within the northern and southern wings are retained. The piers are stop-chamfered. Early timber joinery is retained throughout the building, including: tall casement windows (to the exterior); double-hung sash windows (to the verandahs); and panelled timber doors.
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Remains of Madeley Old Manor, for which Ralph de Stafford, 1st Earl of Stafford (1301-1372), received a licence to crenellate in February 1347/8, together with Stafford Castle, "and to make castles of them".Cokayne, The Complete Peerage, new edition, vol. XII, p.175 Red Sandstone ashlar blocks with external doorway with portcullis groove and chamfered arch at its north end.
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This strengthens the theory that stones used at Escomb were brought from Binchester. Many of the stones show Roman tooling, which is common in Anglo-Saxon churches. The chancel arch is of typical Roman form, tall with massive stone jambs, simple chamfered imposts and precisely-cut, radial voussoirs. It is unlike the non-radial voussoirs that the Anglo-Saxons typically made.
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Inside the church, there is a four-bay arcade carried on octagonal piers. In the chancel is a 14th-century piscina, and a three-seated sedilia. There is another 14th-century piscina in the south aisle. The font dates from the 16th century and consists of an octagonal bowl in Ketton stone on an octagonal stem, standing on a chamfered base.
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South of the church there is the chamfered shaft of a sandstone cross, probably dating from the Middle Ages. North-east of the church is a stone cross. The base is from the Middle Ages, but the shaft and octagonal steps were replaced in the 1930s. The whole cross and the incomplete cross shaft have also been given Grade II listings.
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There are concrete stairs at each end. Some early fabric survives including the concrete stair with plain metal balustrading to the east, some joinery and stop chamfered concrete beams and posts to the ground floor. The interior walls are painted or plastered brick, with plain plastered ceilings and concrete floors (some with vinyl and carpet floor coverings). Suspended ceilings conceal plaster ceilings.
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Over the west and the north doors, there are angular 4-centred arches. The arcade to the chancel has 3 round piers, various moulded and undercut capitals and 'water-holding' bases. The arches are similar double-chamfered ones as seen in the nave. The same style of arches are also used in the nave, and in the transept crossing arches.
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The viaduct crosses the River Lagan. It is roughly 101m long, and 6m wide- It was only ever built to carry a single track. The viaduct consists of seven arches, 10m apart, with the piers being 1.5m wide. The piers and abutments are made of ashlar blackstone, whilst the parapets, which stand a metre above arch level, are coped with chamfered sandstone.
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The James Nathanial Burwell House, also known as Yellow House Farm, was built about 1842 near Ridgeway, West Virginia. The house is a late example of the Federal Style, with some Greek Revival features, unique in Berkeley County. The brick house is L-shaped in plan, with a five bay front elevation. A small porch features chamfered columns with a Greek Revival character.
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Murdostoun Bridge, dated to 1817, is a single-span segmental-arch bridge constructed predominantly of yellow ashlar sandstone, with chamfered wing wall, hoodmoulded arch ring and low ashlar parapets. Murdostoun Bridge crosses the South Calder Water which divided the Murdostoun Estate from the Allanton estate. The river is also the parish boundary. Equidistant between the Allanton estate village of Bonkle and Murdostoun Castle.
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Beyond this a central hallway runs parallel to the main facade, linking the north-eastern and south-western wings. This has a carpeted floor and stop-chamfered edges around openings. Rooms on the southern side of the corridor are the former nun's refectory, a small office (formerly work room) and the main staircase. This features a polished silky oak balustrade.
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The north wall of the church has stepped buttresses between the windows. The interior of the church is rendered and has octagonal piers supporting asymmetric, double chamfered arches. There are wagon roofs, galleries in both the north and south aisles, and a circular Norman font. The bench ends of the pews are elaborately carved and date to the early sixteenth century.
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It is a two-story, Frame Vernacular building, with an L-shaped floor plan. It has a steeply-pitched, side gabled roof. The symmetrical main facade is dominated by a two-story, hip roofed porch with chamfered post supports and a balustrade. There is a rear gabled, one-story ell, and a two-story shed roofed addition on the rear elevation.
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A third method was to nail planks either side of the wall plates to form a channel to hold the slabs, instead of mortising. This was a much quicker method of construction, but it required the use of sawn and dressed timber, and nails.Cox, pp. 47-48 Slabs were sometimes chamfered at one or both ends to fit into the mortises.
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The sala has nine kalasas, and one end has a trishula at its top (similar to a cross on a church). The temple facade has two pillars and two pilasters. The column bases are shaped like seated lions and the middle is chamfered, topped with a fluted capital. At the sides of the entrance mandapa are two standing dvarapalas with welcoming, bent heads.
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The chancel dates from the 14th century and has two bays. The tower is at the western end of the church and dates from the 15th century. The nave dates from the late 18th century when most of it was rebuilt. Inside the church there is a stone octagonal font attached to its base by 5 shafts with chamfered corners and rounded spurs.
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It supports a two-story, five-bay brick building with gabled roof shingled in polychrome slate pierced by two brick chimneys. The south (front) elevation has a full-width wooden porch supported by chamfered columns on both stories. The slope of the land means that the rear of the first story is underground. All windows have paneled wooden shutters with their original hardware.
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The general office (main chamber) has been upgraded to provide modern retail and a range of postal services. It has carpet over a timber floor, and modern joinery and retail displays. Many original elements survive, such as windows, strapped ceilings, consoles, an arch and chamfered plaster nibs. The ceiling is a modern, suspended type, and conceals air conditioning ducts and services.
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The James Williams House is a historic home and farm complex located at Kenton, Kent County, Delaware. The house was built in 1848, and is a two- story, five bay, center hall plan brick dwelling with Greek Revival details. It has a rear wing. The front facade features a three-bay porch with chamfered posts and sawn decorative brackets dated to the 1880s.
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The Blanton Log House, in Rio Arriba County, New Mexico near Los Ojos, New Mexico, was listed on the National Register of Historic Places in 1985. It is a log house built with horizontal logs with some mud plaster. It has a very steep corrugated metal roof, and vertical planking in both of its gable ends. It has chamfered porch posts.
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The current tower is high, constructed of concrete blocks in a square plan with chamfered corners, with a small porch at the base. A round gallery surrounded with a metal rail overhangs the tower. A self-contained beacon is installed on top of the gallery. The keeper's residence includes two cottages, timber-framed, clad with asbestos cement sheets and timber battens, painted white.
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The west verandah has exposed stud framing and is lined with chamfer boards. There are three sets of triple sash windows to the centre with timber doors to each side and an additional timber door near the north enclosure. There are tilting fanlights above all doors. The panel and sheeted French doors to north of the windows are stop chamfered to the interior.
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The hall has a fine ceiling divided into nine square bays with chamfered and label stopped beams and exposed joists. There are dragon beams to the corners supporting the jettied upper floor. There is a large inglenook fireplace with carved arcaded panelling with coat-of arms above. To the left is a carved 17th-century screen which opens to the entrance lobby.
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The top two storeys are in Georgian style and date from about 1744. Externally at street level is a 19th-century shop front with two chamfered piers. Behind this, the undercroft has two naves, each with four bays which are divided by octagonal columns. At the Row level overlooking the street is a wooden rail on a balustrade divided by two Tuscan columns.
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The main building is of masonry rendered and marked as stone with a gabled, corrugated iron clad roof and verandah to three sides supported on stop chamfered timber posts. It has three rendered brickwork chimneys with terracotta pots.LEP, 1991 Windows are twelve pane type with louvred shutters and doors six panel type. Simple semi-circular Georgian fanlight to the panelled (fielded) front door.
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Entry to the verandah is gained via stairs at right angles to the gable projection and through a set of double lattice doors. Its open edge is decorated with tapering, chamfered timber posts. Between each post is an arched frieze panel in-filled with timber battens and divided by a carved timber drop. The ends of the arched friezes rest on timber capitals.
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The Sprague, Brown, and Knowlton Store is a historic building located in Winterset, Iowa, United States. Built in 1866 to house a dry goods store, it is an early example of a vernacular limestone commercial building. with The two-story structure is composed of locally quarried ashlar and rubble stone. It features chamfered quoins and jambs, and a bracketed stone cornice.
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This consisted of large square blocks of stone built on a chamfered plinth up to a walkway about above the base. It was surmounted by an elaborately carved cornice, and a parapet topped by capstones. The gates and towers were also rebuilt in stone. It is thought that the north gate was a single arch, while the others had twin portals.
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The watch typically features a pair of pushbuttons at the 2 and 4 o’clock position. The dials for the minute and hour counters are at 9 and 3 o'clock respectively. There is a hand-applied date window at 6 o’clock. The watch also features chamfered square and oblong hours markers (dials with "waffle" type cross-hatched markers are later reproductions).
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The T-shaped frame building on a concrete block foundation is two stories high and three bays wide, with a one-story addition on the southwest. It has a cross-gabled roof of seamed tin with a plain cornice. A porch runs the length of the front (east) facade. Its flat tin roof is supported by four square chamfered wood posts.
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The warehouse extension at the western end of the site is attached to the warehouse. It occupies a large space and is fully enclosed with metal cladding except for doorways. It has a timber-framed double gable roof supported on stout stop-chamfered timber columns and trusses. The roof, like the exterior walls, is clad with later ribbed metal sheeting.
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The Creole cottage homes in the district all feature front facades with five bays and recessed full- length front porches supported by square or chamfered columns. Many of the houses were built as summer homes for residents of Mobile, for whom Montrose was a popular vacation destination. . The district was added to the National Register of Historic Places on June 3, 1976.
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A 1-1/2-story gabled wing projects to the rear. The house has four matching porches with cutwork trim, which give the house a distinctive appearance. The porches are identical, and are located in the four angles formed by the intersection of the wings. The porches have low-pitched hipped roofs supported by corner brackets on square chamfered-edge columns.
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The main entrance is located to the side of the bay in a porch supported by chamfered columns with decorative brackets. The cornice of the house features a patterned molding divided by ornamental brackets. The house's roof has a cross-hipped design with flared eaves. The house was added to the National Register of Historic Places on February 1, 2006.
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The nave contains three two-light windows each on the north and south sides. Much of the stained glass in the church dates to the 16th and 17th centuries. The two-centred and chamfered chancel arch dates to 1704, and the 13th century reset south doorway contains a panel of the same year, which is inscribed: "Sumptibus Ri. Brodrepp Armig. Anno Dom. 1704".
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Irregular fenestration with 2 3-light and 2 2-light modern mullion windows to ground floor street side and 3 3-light casements to upper floor. Upper floor close- studded to both sides. Irregular fenestration to rear with C18 and C19 casements and evidence for one C17 plain chamfered mullion window. 2 axial stacks and an C18 or C19 shallow pitched roof. Interior.
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The windows have curved pressed metal hoods with heart-shaped motifs (a later addition), and the bay window has smooth grey sandstone dressings. The gable ends have deep timber boarded eaves with terracotta finials. The verandah is supported on chamfered octagonal timber posts with rounded capitals, and has timber boarded spandrel panels with internally exposed bracing. The verandah ceiling is timber boarded.
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Entry and corner posts are generally with a chamfered apex. The collection of eucalypts is especially significant, as they represent a community type that is found exclusively on rock outcrops at higher altitudes. There is also a significant bunya pine, which appears to have been planted 40–60 years ago. The site contains 10 known graves and one unlocated grave.
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Its porch has square cut chamfered posts, is decorated with lattice work, and has a projecting gabled top. The right side bay is round with a conical roof section, and is clad in shingles cut in a wavy pattern. The deep cornice is decorated with brackets near the corners. The house was listed on the National Register of Historic Places in 1990.
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The use of board and batten siding, and the chamfered tower-roof corners emphasize the Gothic Revival building's vertical nature. The Pioneer Gothic Church is an example of wooden framed, Carpenter Gothic church building. It is an example of a rare type of building, as wood was scarce and fire frequent on the prairie that covered parts of early Illinois.Chiat, Marilyn Joyce.
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All that remains of the castle is the vaulted basement, and trace of a stair in a corner The tower is oblong, built of rubble, mainly freestone. It measured about by , the north-south axis being longer. The surviving windows have chamfered freestone dressings. The entrance was in the east wall, with three steps beyond leading down to the ground floor.
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The church is founded on clay or slate and is built on brick foundations. It features a sandstone plinth course with a chamfered weather which projects out from the walls. Above this is a slate damp proof course. The church walls are constructed of fine-quality red-blue mottle sandstock bricks within a soft lime mortar in English bond face brickwork.
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The east wall contains two two-lighted windows and a blocked doorway to the rood loft stairs. The south aisle is also thought to have been refaced. The plinth and string course are both chamfered. Each side of the porch has a 15th-century three-lighted pointed arch window. The west end contains a 14th-century two-lighted trefoil-headed.
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Inside, the building has been extensively modified from its original plan both during its days as a factory and afterwards for conversion into apartments and a library. Some original features remain in the main block. Most significant among them is the stairway at the main entrance. It has pine beadboard walls, chamfered newel posts topped by balls and molded railings.
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The Angelina River Bridge was a historic bridge on U.S. Route 59 (US 59) over the Angelina River in Lufkin, Texas. It was built in 1935 and added to the National Register of Historic Places in 1988. It was a poured concrete bridge supported by concrete piers, poured in sections about long. It had square balusters and rails with chamfered edges.
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The pairs of doors probably date to 1888-1889 and have stop-chamfered frames with flush- beaded panels to those in the 1888-1889 section. The play shed is a typical hipped-roof, 10-post type with an enclosure at the south-west end facing the road. The roof framing is painted. A palm tree on the Nerang Street boundary may be early.
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The edges of this split are chamfered, so that the clips can be engaged or disengaged, but only if they are carefully aligned by hand. When pulled tight, the links are securely fastened. There are no moving parts to the link, although some have additional swivel pieces. They can be made of any durable material; commonly brass, bronze, stainless steel or plastic.
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The house is 2-1/2 stories in height, with a hip roof topped by an elaborate square belvidere. A porch wraps around two sides of the main block, supported by chamfered square posts with brackets at their tops, and with spindled balustrades. Its interior retains original period decorative elements. A 2-1/2 story gabled ell extends to the right side.
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The front facade features a mid-19th century porch supported by chamfered columns connected on each level by a decorative cyma frieze and sawn balustrade. The tavern was built to accommodate travelers in the heavy migration through Cumberland Gap to the west in the early 19th century. and Accompanying photo It was listed on the National Register of Historic Places in 1982.
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Kashiki uses various painting mediums including acrylic, pastel, color pencil, and others. In some recent works, she has painted directly onto wooden panel. Since her graduate training, Kashiki began following a complex, ritualized process of her own. First sketched in pencil, her works are painted in acrylic, layer by layer onto a linen cloth mounted on large Chamfered wooden boards.
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The design varies between makers, mostly in its details. Gimson's tables are considered the finest and the canonical example of the design. Their edges are heavily chamfered, a typically Gimson feature, which is derived from the finishing of the original agricultural tools. This chamfer also has the practical benefit for a table stretcher of reduced wear from feet on an otherwise sharp edge.
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The square- based turned newels are topped by a moulded capital. The shafts have decorative circular moulded motifs at the top, the remainder is chamfered with recessed moulded detail. Internally on the first floor, offices flank the central foyer opening off corridors running north and south. From the foyer, the offices are accessed via paired timber doors in arched entrances.
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The verandahs are about wide, with stop-chamfered posts, arched boarded valance, a handrail but no balustrade between the posts, and are unlined. The external walls have exposed timber framing, lined with 185 chamferboards. The Brown Street side wall has five casement windows, with 3-panes per sash and 2-pane toplights. The height of the sill of these windows alternates from floor level to sill level.
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An image of Santa Catalina is located at the portico of the church while a separate antique image is located at the main altar. The bell tower at the left has chamfered corners and was covered by a domical roof. At present, it has been replaced by intersecting gable roofs. A marble engraving is present at the topmost part of the arched main doorway.
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Chamfers are also essential for components which humans will handle, to prevent injuries, and also to prevent damage to other components. This is particularly important for hard materials, like most metals, and for heavy assemblies, like press tools. Additionally, a chamfered edge is much more resistant than a square edge to being bruised by other edges or corners knocking against it during assembly or disassembly, or maintenance.
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The house was built to a cruciform plan and features porches with moldings, bracket (architecture)ing, and chamfered posts as well as tall, arched windows on the first and second floors. The gable windows have trefoil designs, a common Gothic feature. Both floors of the house have high ceilings. The house was added to the National Register of Historic Places on January 19, 2016.
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Churchyard cross In the churchyard is a preaching cross dating from the 14th century which is a scheduled ancient monument. A square plinth is set on a circular concrete base. In this is set a sandstone chamfered shaft, rectangular in cross-section, which is about 3.5m high. On the head are cinquefoil panels, those on the east and west sides containing depictions of the Crucifixion.
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The church has five bays. On the south front is a single row of windows with round heads and a single chamfered mullion. In the westernmost bay is a door over which is a smaller similar window, but with no mullion. The door has a keystone inscribed with the date 1717, over which is a sandstone sundial with a plaque including the date 1766.
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Roof eaves are studded with paired brackets, as are the cornices of projecting window bays on the front and side. The porch is supported by chamfered square posts, and features a low balustrade and a decorative valance. The roof is broken by gabled dormers with decorative hooded windows. The house's interior features original ornate wooden finishes, and fine fireplace mantels, including one of delicately veined black marble.
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The Eixample is characterized by long straight streets, a strict grid pattern crossed by wide avenues, and square blocks with chamfered corners (named illes in Catalan, manzanas in Spanish). Facade of the North Station The Bullring has been the centre of Valencia's bull fighting. It was built in 1841. It is a large, impressive structure in the style of a Roman Coliseum but employing Doric ornament.
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The church interior, using the cruciform plan, has a nave, a transept, and an apse. One enters the nave from a small vestibule (also known as a narthex) on the south side. A central aisle, with pews on each side, runs through the nave, ending at the walnut communion rail. A gallery supported by chamfered pillars is located at the back of the nave.
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The grave consists of a concrete cenotaph, placed on a stepped base which is wider than the cenotaph and has a height of . The cenotaph is wide and high. The top articulation of the cenotaph is chamfered. The monument is not placed in the centre of the concrete base but appears to be deliberately offset, although this may be the result of repair work.
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Both the main block and carriage barn have wooden corner quoining. Porches feature chamfered posts, and bracketed roofs with pendants. The house was built in 1865 for J.L. Prescott, owner of the Prescott Stove Polish Company, which was then located in North Berwick. The house is one of only two 19th-century houses of serious architectural merit; the other is the Queen Anne Mary R. Hurd House.
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Setback corner buttresses with sloped weatherings to all elevations. Paired lancet windows to nave with chamfered sandstone surrounds and hood mouldings on label stops. Foiled triangular opening to apex of east gable, over chancel roof, having timber louvres and sandstone surround. Triple lancet stained glass east window flanked by wall buttresses with weathered gablets, single lancet windows with leaded glass to flanking lean-tos.
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The gable side was fitted with two gables, each with a side façade with a chamfered round arch. Late Baroque wooden doors were removed during conversion work in 1950. The upper floor was formerly adorned with Renaissance windows, only two of which are still preserved. During conversion work in the late 18th century, the tracery windows were replaced with oval windows and the oriel window was removed.
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The chamfered parapets at the ends soften the corners of the building. The length of the building is emphasised and the design elements are visually integrated by vertical projections housing staircases. The staggered façade provides views to the exterior, while offering voids in between that afford "breathing space". The ground floor of the building was dedicated to public access and use for retail as well.
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The house is a two-story Greek Revival structure with a three-bay front and a front gable. Decorative features such as chamfered posts with small brackets, decorative window surrounds, a diamond- shaped window in the gable end and a two-story projecting side bay make this a Vernacular idiom of the style. A double-leaf door serves as the main entrance into the house.
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The John Davis House is a historic home located at Fayetteville, Cumberland County, North Carolina. It was built about 1870, and is a two-story, three bay, frame dwelling Late Victorian style ornament. It rests on a brick pier foundation and has a gable roof with flared eaves. The front facade features a one-story shed roof porch, supported by four chamfered posts with lacy sawn brackets.
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The Samuel Brown House is a historic house in West Richwoods, Arkansas. Located down a long lane south of Arkansas Highway 9, it is a single-story log dogtrot house, with its two pens separated by an open breezeway. Its gable roof extends over the front (western) facade to create a porch, supported by chamfered wooden posts. The house is believed to retain its original weatherboard siding.
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The entrances to the separate units are on the north and south sides, sheltered by small porches with chamfered square posts and Italianate brackets in the eaves. Windows are set in segmented-arch openings, with brick headers and brownstone sills; the entrances are also in segmented-arch openings. The duplex was built c. 1874 for H. Sidney Hayden, a local developer, as a rental property.
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The chancel has an east window of two lights with a circle in the head, originally c. 1250, and there are single lancets in the north and south walls. The vestry is of brick and is five steps below the chancel level. The 13th-century arch to the nave is of two chamfered orders, the inner one resting on moulded corbels supported by grotesque heads.
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The house, which consists of several bays, has white painted walls and slate roofs. Outside are several agricultural buildings which have been adapted to provide accommodation. The interior includes a fireplace with a chamfered lintel which dates from 1654, panelling and a 17th-century overmantel with a painted coat of arms which was brought from Weare Giffard Hall, near Bideford, a secondary seat of the Earls Fortescue.
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On top of the tower is a pyramidal roof. The southeast corner of the tower is chamfered and contains a canted stair turret surmounted by a pinnacle. At the west end are three lancet windows in an arched recess; it is flanked on each side by a porch. Each transept has a half-hipped gable, and contains windows similar to those at the west end.
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Between the nave and the aisle is a five-bay arcade carried on alternate circular and octagonal piers with chamfered bases and capitals. In the south wall of the aisle is a piscina (or an aumbry). The font has both Norman features and features from a later date, possibly the 17th century. It is thought that it originated in the 12th century and was embellished later.
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Traces of whitewash and paint are evident on the main beams, and the summer beam and posts are chamfered. The floor and some of its joists are partly original, and partly the work of the 1912 restorers. The only major structural member to have restorative work done was a post supporting the chimney girt. The right- side room, considered the kitchen, exhibits similar restorative work.
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The tower has three stages and a battlemented top with crocketed pinnacles at the corner and in the middle of each side. There are stepped corner buttresses and a clock face on the south wall. The aisles also have battlemented parapets with crocketed pinnacles at the tops of the stepped buttresses between the bays. Each bay has a four-light window under a chamfered arch.
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From the 12th century until 1619, only Lords of the Manor and parish priests were allowed to keep them. The tithe barn itself, a grade II listed building, dates from the 14th century but has been much altered and only a limited amount of the original features survive. It has a cruciform plan. The east front has central double doors of heavy oak with a chamfered frame.
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Kirkbride by A. Hendry : Accessed : 2010-03-07 In 1928, amongst the rubble, a cross was found carved on a slab. The stone had a chamfered edge and the cross bore an unusual lozenge-shape, cut out at the centre. It may have been the consecration stone of the chapel and was dated as possibly 12th century. The whereabouts of this cross is at present unknown.
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The front verandah has stop-chamfered timber posts, doubled at the central and end bays. The cast iron balustrade features the classical motif of a woman in flowing gowns at the centre of each panel. Below the balustrade is a pressed metal frieze, then a slatted timber valance. To the underside of the verandah has a ripple iron lining trimmed with moulded metal gutters.
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The hipped bullnose roof to the verandah is of corrugated iron, and framed with stop-chamfered purlins and shaped rafters. The gutter has a decorative metal acroterion remaining on one corner. Above is balustraded parapet of moulded plaster pedestals topped with ball motifs, concrete balusters and face brick surrounds. To each end are ornate metal rainwater heads announcing 1912 as the year of the building's construction.
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These have roofs separate to the main roof, and where un- enclosed, are supported by chamfered timber posts with timber capitals. Along the front and western verandah low benches have been constructed between the verandah posts. There is no evidence of an earlier balustrade. Steps lead from the front [south] verandah to a garden terrace with flagstone path and early stone-edged flower beds.
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The original south wing (i.e., east end) is a symmetrical single storey sandstone building facing south to the Great Western Highway. The gabled roof is clad in galvanised iron (Moorewood & Rogers) tiles and has a brick chimney at the east end. A verandah on the south side is broken back to the main roof and has a beaded verandah plate, stop chamfered columns and a flagged floor.
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The Royal George Hotel is a three- storeyed rendered masonry structure with a corrugated iron hipped roof concealed behind a parapet. The street corner of the building is chamfered, and the core of the building consists of the c.1850 section but essentially what is presented is a 1960s make-over of the Victorian hotel. It is believed that the surviving elements of the c.
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A verandah is on the north side, under the main roof with a slight change of pitch. A broader skillion is on the south side, again under the main roof but with a slight change of pitch. The roof is of corrugated steel, with exposed battens at the ends indicating the original timber shingled roof. The house has chamfered weatherboards to the gable end.
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The verandah is supported on stop-chamfered posts. The unique feature of Case Cottage is inside the cottage. The internal dividing wall can be removed to make a larger single space which served as the venue for local dances, with music being provided by the Case family, who made up the local band. The main room of the cottage has a pressed metal ceiling, and wall.
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On the E. 9th Street side, there are six pilasters, six two-story windows, and a mostly empty tympanum featuring an eagle and shield. Massive bronze doors are featured at both the Euclid Avenue and E. 9th Street entrances. The exterior walls are solid granite, unsupported by any other structure. The corner is chamfered to provide a transition between the two planes of the building.
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Williams–Brown House and Store is a historic home and general store located at Salem, Virginia. It was built about 1837, and is a 2 1/2-story, "L"-shaped brick building with Greek Revival and Federal style design influences. It features a double porch with chamfered edges ending in lambs' tongues. and Accompanying photo The house is occupied by the Salem Museum and Historical Society.
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The verandah walls are single skin with stop-chamfered framing exposed externally. The external walls are clad with weatherboards and the roof, which is continuous over the verandahs, is clad with corrugated metal sheeting. Some windows retain original fanlights and original timber hoods with battened cheeks. The interior layout is intact accommodating three bedrooms, a living room, kitchen with pantry and stove recess, toilet, and bathroom.
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The brickwork is laid for the most part in English bond with occasional vitrified (over-fired) headers. The south elevation is rendered over obscuring detail but the west side is exposed and the base of this wall includes a low brick plinth with a chamfered masonry cap. The use of brick, laid in English bond and including the masonry embellishment is an expensive one. However, from c.
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It has a front-facing gable and intersecting side gables, with a wooden entry porch in the ell between the front and east-facing wings. The porch has three chamfered posts and four square posts with a balustrade of turned balusters. A Sanborn fire insurance map recorded that the house, as of 1893, had a wood-shingled roof. By 1982, the roof was asphalt-shingled.
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The outer wall's shape was described by Paillet as a triangle with its two parallel angles having been chamfered and substituted with short curtain walls.Bylinski 2004, p. 160. Around the artificial mound upon which the fortress sits is a moat with a depth of and a width of . Al-Rahba's moat is considerably deeper than the Ayyubid-era desert fortresses of Palmyra and Shumaimis.
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The south verandah also has chamfered octagonal timber posts and timber spandrels (now partly obscured by later alterations). The end elevations are more utilitarian, with only three openings to the west and a small room under the skillion roof surmounted by a gable end to the east. The brickwork to the back (south) elevation has up-struck mortar. The interior contains some fine detailing.
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1960s-vintage pumps are situated on the islands, with three on the western canopy and two on the southern. A chamfered corner separates the two canopies. Multiple-pane windows surround the glass doors of the office station, as well as dominating much of the southern side of the building. Situated between the office and the café are two service station bays with roll-up style overhead doors.
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A handguard was added above the barrel to prevent burns, and the formerly fixed barrel changing handle was swapped for a folding unit. Certain parts were beveled or chamfered to prevent cutting soldiers' hands and arms. Other changes involved the bipod, pistol grip, flash suppressor, and sights. Over the years, additional modifications have been introduced as part of the Soldier Enhancement Program and Rapid Fielding Initiative.
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The stop-chamfered timber posts of the verandah are paired at the ends and the three central bays. Arched between these posts on both levels is a slatted timber valance. To the upper level is a cast iron balustrade with a clover leaf motif to the centre of each panel. The underside of the verandah is clad in ripple iron, with gutters to its internal perimeter.
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It is decorated with a large arcaded and elaborately carved upper panel. In the hall there is a framed ceiling, this is formed into six bays each of which has chamfered and stopped beams. There is also a stone fireplace in the hall. There is a variety of stained glass within the building including coats of arms, a sundial and depictions of various birds.
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The internal door which now unites the two lounges downstairs is said to be the door of Monmouth County Gaol.Label in the pub The building has been a Grade II listed building since 15 August 1974. It has a stucco frontage with chamfered quoins and a half hipped Welsh slate roof. The elevation is continuous with that of the Bull Inn which has a slightly lower roofline.
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The pointed tower arch, of three chamfered orders, is blocked and flanked by semi- circular headed niches. The chancel arch is pointed, has dog-tooth moulding and is supported on short columns with foliated capitals. Similar detailing has been used by Street throughout the chancel. Throughout the church there are wagon roofs, plastered in the nave and aisles and ornately painted in the chancel and transepts.
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The front and sides each have slightly projecting central sections marked by corner brick pilasters, that in front topped by a gable roof. A single-story gable-roofed portico shelters the main entrance, supported by groups of chamfered granite posts. The upper two levels have windows set in tall round-arch openings. To the rear of this main block stands a 1938 addition, two stories in height.
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Windows on the east façade are rectangular with eight windows at ground floor and five at first floor, all with gothic frames. On the south façade, the ground floor windows are taller with a number being two- and three-lighted and stone framed. A chamfered two-storey bay is located slightly to the right of centre. Windows on the first floor are simpler and less tall.
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Front verandahs to either side of the portico are ornamented with chamfered timber posts, a timber frieze on the lower level and fretwork brackets and cast-iron balustrading on the upper floor. These details were recreated in the 1983-1984 restoration to as close to the original as possible. A double rear verandah with formerly the same detailing, remains enclosed. The interior has been modified and refurbished.
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Biltmore Estate Office is a historic office building located at Biltmore Village, Asheville, Buncombe County, North Carolina. It was designed by architect Richard Morris Hunt and built in 1896. It is a 1 1/2-story pebbledash finished building with a hipped roof, half-timbering, brick trim, and chamfered and bracketed porch posts. It was listed on the National Register of Historic Places in 1979.
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Royal Coat of Arms The church is aligned east to west and has a west tower. The tower is tall and in two stages with blue clocks in west, north and south faced in deeply-chamfered recesses with hoodmoulds. There are three light louvred belfry openings with hoodmoulds. The nave and tower are constructed of sandstone and was completed in 1842 in the Gothic revival style.
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George Oscar Thompson House, also known as the Sam Ward Bishop House, was a historic home located near Tazewell, Tazewell County, Virginia. It was built in 1886–1887, and was a two-story, three bay, "T"-shaped frame dwelling. It had a foundation of rubble limestone. The front facade featured a one-story porch on the center bay supported by chamfered posts embellished with sawn brackets.
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The windows are single-or double-hung sash units topped by ogee pediments and enclosed in square frames. The front entry doors are in round-head openings, woth the other doors in square-head openings. A front fporch runs across the full width of the house, and has chamfered posts and ornamented balusters. Three additional small entry porches are located on different sides of the house.
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The front and side façades are covered in beige limestone, with decorative carved ram's heads on the chamfered corner and on the side of the building. There are two entrances at the front and side, and large aluminum-framed display windows line the front. A row of polished pink granite lines the base of the building. The building's Art Deco character is derived from the two upper floors.
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266 Great Western Highway consists of a pair of similarly scaled and configured retail buildings. Both have gabled roofs that assume a broken backed form above verandahs that span the footpath on the eastern sides of the buildings. The external surface walls are of textured cement render and symmetrical facades are designed with central doors flanked by large display windows. The varandah roofs are supported off similarly detailed chamfered timber posts.
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The interior is a maze of rooms set at different levels with low ceilings and a wealth of architectural detail. It retains its 17th century ambience, though many changes were made during refurbishment between 1984 and 1997. The Dining Room is to the right and the Sitting Room to the left of the hall. Both feature beams across the ceiling, flagstone floors, and fireplaces with chamfered stone lintels.
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The church is constructed in ashlar stone, with the vestry in sandstone and brick, and the roofs in stone slate. Its plan consists of a three-bay nave, north and south aisles, a chancel with a north vestry and a south chapel, and a west tower. The tower is in three stages, standing on a chamfered plinth. On the west side of the bottom stage is a lancet window.
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The entrance is flanked by pilasters, and has an entablature with slightly gabled pediment above. The flanking windows have simpler surrounds, similarly gabled pediments. The interior consists of a single large chamber with a raised platform at the rear, with beaded wainscoting and plaster walls. Heavy chamfered posts near the front were originally used to support the building's cupola, which was blown off in a 20th-century hurricane.
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Casino de Ponce in 1984 The Casino de Ponce is a two-story, concrete structure on the southeast corner of Marina and Luna streets in the historic urban center of Ponce. The area of the lot on which it sits measures approximately 38 X 36 meters. It has a chamfered corner at the intersection of the two streets. The architectural style is Rococo-like, including its main relief and mansard roof.
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Outside of aesthetics, chamfering is part of the process of hand-crafting a parabolic glass telescope mirror. Before the surface of the disc can be ground, the edges must first be chamfered to prevent edge chipping. This can be accomplished by placing the disc in a metal bowl containing silicon carbide and rotating the disc with a rocking motion. The grit will thus wear off the sharp edge of the glass.
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The Building at 1617 Third Avenue in Columbus, Georgia was listed on the National Register of Historic Places in 1980. Built around 1889, it is a Victorian shotgun cottage house, hence it is a one-story weatherboarded rectangular plan house upon a brick pier foundation. It has a hipped roof and a central chimney. Its porch, across the three-bay front facade, has chamfered columns with gingerbread brackets.
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Baston Lodge is a residential villa in St Leonards-on-Sea, Hastings, East Sussex, southern England. The building was designed by Decimus Burton (1800–1881) as a seaside villa for John Ward, a friend, and completed in 1850. The architecture is in the Italianate style, with coursed stone, chamfered quoins, and plain stone architraves and bands. It has low-pitched slate roofs with two main storeys, an attic, and a basement.
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The interior includes a Gothic chapel with a baroque altar, and a barrel-vaulted Knight's Hall with a large fireplace in the North East corner. The interior includes wooden panelling and hunting trophies. Several medieval wall paintings have been discovered during 20 century restoration of the upper chambers. There are several chamfered Late Gothic door frames in Haguaer marble that were salvaged by Fanny von Carolsfeld from the earlier building.
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Architectural elements included shingled intersecting gabled roofs with gabled ends and fish-scaled shingles painted in various colors. Assorted other details included a scalloped archway, chamfered posts, decorative wheel and quatrefoil brackets, and an entrance gable with a carved bridgeboard. Diamonds and rectangles were also incorporated into the structure via ornamental lintels and balustrades. A trapezoid cinder block structure approximately by stood next to the building to the east.
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At the north-west corner there was a thick square minaret 10–15 meters high with chamfered corners. There are three doorways on the north side, two of which lead into the prayer hall, whilst the east door leads into a separate room. At the time of the inspection, the mosque was used as a storehouse for a nearby farm ("Avi´s Ranch").Petersen, 2001, pp. 195-6.
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The current building was built between 1750 and 1753 in a classical style, by an anonymous architect. The brick and limestone church is quite homogeneous. It's composed of six bayed naves flanked by aisles, a three-sided transept and a choir with a polygonal ambulatory with a sacristy in its axis. The chamfered base is in dimension stone on the frontage, in rubble stones and sandstone for the rest.
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The cooled glass cane is cut into short segments which reveal a star pattern in cross-section. The segments may be beveled or ground, to reveal the characteristic chevron pattern from which the English name is derived. The chevron pattern becomes apparent after the beads' ends have been ground. Only rosetta/star beads with ground ends (either faceted, rounded, or chamfered), and with their inner layers exposed, are "chevron" beads.
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It is a two-story, wood- framed structure, roughly square in shape, with a tall bell-cast mansard roof. A porch extends across the front and around to one side, with chamfered posts and a decorative valance with curved pendant brackets. Similar brackets adorn the main roof cornice. The house was built in about 1860 by Alfred Paull, who was, along with his brother James, a leading developer of the area.
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The original southern doorway was less important and similar in style, but with chamfered jambs. The northern end of the east wall abuts the north range with a straight joint, while the joint of the north range with the west wall is obscured by plaster. The doorway in the east wall has been rebuilt in brick. The west wall of the hall is castellated and probably early nineteenth century.
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Three horizontal units laid over eight vertical posts that are chamfered constitute the plinth. Squinches and muqarnas are seen in the solid interior walls of the tomb and these provide the basic support to the octagonal spherical dome of the tomb. The dome with a square plan - in length and height - has a diameter of . The maximum height of the tomb is on its face overlooking the reservoir.
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29 October 1987. This design, along with the use of a mirror-image chamfered design of the front of the house proper, provided the property with a significant amount of frontal garden space, uncommon in city lots just two blocks from Ponce's main Plaza, as is the case of this house.Mariano G. Coronas Castro, Certifying Official; Hector M. Santiago, State Architectural Historian, Puerto Rico Historic Preservation Office. San Juan, Puerto Rico.
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The property is surrounded by a 4-foot plastered masonry wall with an 18-inch high wrought iron railing above. The small, diagonal front chamfered gate is also built in wrought-iron. The frontal facade consists of a concave shape and incorporates a podium porch, Ionic columns, a recessed loggia, and a cornice with a battlement parapet above. The raised loggia porch incorporates concrete balustrades the full length of the balcony.
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The east elevation has a tall wide gable with a large round window of circular lights around a central quatrefoil. At the north-east corner is a multi-stage square tower with stepped chamfered corners supporting an octagonal spire with lucarnes. In the centre of the elevation is a gabled porch with a cinquefoil window above a pointed arch with twin pointed arch doorways. To its left is the baptistery.
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The design is trimmed with chamfered merlons, battlements with gargoyles and machicolations to the corners. It is four stories, or approximately in height, with the first floor considerably taller than the remaining: it is about tall. This section is marked by grooves where other buildings abutted the structure, some stones with identifiable inscriptions. On the first floor, to the northeast, is an arched door that gives access to the interior.
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The design also has Tudor Revival influences in concert with the surrounding residences. Christ the King Church is on the eastern side of the Lamarck Drive corner on Main Street The posts have bases and stand in height, while the half walls stand approximately . Both structures are made of quarry-faced random ashlar limestone on a cut and smooth finished chamfer stone base. The posts have chamfered edges.
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It also has the ability to record HD videos. The hardware home button serves as the fingerprint sensor. The Galaxy Tab S2 8.0 takes design cues from the 2015 Samsung Galaxy A series phones because the device has a painted metal frame with chamfered edges and a plastic back, along with a camera design similar to the Galaxy S6. It is available in black, white, or gold/beige colors.
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The chapel is a plain structure, built of gritstone with quoins at the corners and a slate roof. It has a small, hexagonal bellcote on the west gable. The side walls have two cross-windows with rectangular panes of glass and the gable walls have windows with small diamond-latticed panes of glass. On the south side are two doorways with chamfered surrounds; over one door is a lintel dated 1703.
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Plasticine is used in long jump and triple jump competitions to help officials determine if the competitors are making legal jumps. A 'indicator board' is placed beyond and slightly above the take-off line. The edges of this are chamfered and edged with plasticine. If an athlete leaves a mark in the plasticine, it is considered proof that the jump was a foul, and the attempt is not measured.
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These may have served as squints originally. The structure dominates the nave through its sheer height, the use of massive square stone blocks with a smooth, plain finish, and the three moulded shafts on each side. The jambs terminate in bulky chamfered imposts. The arch has been compared to that of another Grade I-listed Anglo-Saxon church in West Sussex—the slightly older St Nicholas' Church at Worth.
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As originally built, the interior was very plain: most of the fittings post-date it by several years. The Lady Chapel of 1930 in the base of the tower is elaborately decorated with a carved reredos and rood screen of stone. Stencilwork patterns cover the ceiling and walls, and there is a Madonna statue. The chancel and nave are separated by a chamfered chancel arch with moulded columns and simple capitals.
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In the north wall of the chancel is a rectangular aumbry. In the south wall is an arched door, of planking over cross bracing and heavy surrounds, recessed within a plain right angle opening with pointed and chamfered double-arch head. From the 19th-century restoration are chancel altar rails, choir stalls, a brass eagle lectern, and a wood pulpit. The pulpit is octagonal with one side open and receiving steps.
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Mobile studs are permitted. 4 Split or fitted indexes are allowed with a holding system except in extra-thin calibers where the holding system is not required. 5 Regulating systems with balance with radius of variable gyration are allowed insofar as they meet the conditions of article 3, subparagraph 1. ;Wheels 6 The wheels of the going train must be chamfered above and below and have a polished sink.
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The Walter Gray House is a historic house in rural southeastern Stone County, Arkansas. It is located on the Melrose Loop, about south of Arkansas Highway 14 between Locust Grove and Marcella. It is a single-story dogtrot house with an addition to its rear. It is a wood frame structure with weatherboard siding, with a hip-roof porch extending across its front facade, supported by chamfered posts.
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The verandah has stop-chamfered timber posts and the ceiling is lined with wide, beaded timber boards. Two six- light double-hung sash windows feature on the building's eastern and northern elevations. A single, flat-sheeted door opens onto the south- facing verandah, as do two double-hung sashes above a narrow timber counter mounted with simple timber brackets against the wall. The interior of the building contains two rooms.
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The William Lawrence House is a historic house at 101 Somerset Avenue in Taunton, Massachusetts. It was built in 1860 by local carpenter Abel Burt for William Lawrence, a salesman. It is a two-story roughly square wood frame structure, with a mansard roof topped by a cupola. The main entrance is set in a round-arch opening with a transom window, and its front porch features chamfered posts.
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Exterior walls to the remainder of the building are rendered and finished with shallow ruled ashlar. The western elevation is punctuated by four large double-hung sash windows shaded by curved timber-framed window hoods. Verandahs wrap around the east and north. The south end of the east verandah is open and stop chamfered posts with capitals are supported on recent metal stirrups and bearers are supported on low masonry piers.
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The two small teaching rooms are lit from the south by a bank of casement windows and each opens to its adjacent verandah. The flat sheeted and battened ceiling across these rooms falls with the gable roof slope near the edges of the rooms. Throughout the building door mouldings, window frames, verandah posts and verandah rails are stop-chamfered. Many verandah posts survive within the enclosing boarding, some with capitals intact.
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The 1½-story structure is composed of locally quarried limestone. It features chamfered rustication, two octagon-shaped stone chimneys, cut out bargeboards with a pendant post at the gable peak, and a full-length Greek Revival-style front porch (a later addition). The rear frame addition and porch was built in either the late 19th century, or the early 20th century. The roof dormers are early 20th century additions.
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In the churchyard is a cross base which consists of a massive square sandstone block with a square socket partly occupied by a chamfered square shaft which may have once carried a cross. A sundial plate with a broken gnomon is attached to its top. It is listed at Grade II. The churchyard also contains the war graves of a soldier of World War I and another of World War II.
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The exterior is clad in cream-colored Bedford limestone cut into ashlar (squared and smooth) blocks. Decorative details that are consistent with typical Art Deco ornamentation are found on the building. These include stylized flowers, swags, dentils (rectangular blocks), and chevron (V-shaped) elements. The corners of the tower are chamfered with a 45-degree bevel cut and contain stylized eagle motifs that express the Federal government's presence in Dubuque.
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Two figures on the east face of the memorial representing stokers, one holding a shovel and the other a cleaning rag Standing tall, the monument was designed by Sir William Goscombe John. It is constructed in the form of a granite obelisk standing on a square chamfered pedestal. The obelisk is topped with a gilded flame. Each of its bottom corners is decorated with carved representations of the four classical elements.
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The groupings are divided by larger piers into 15 bays across the front of the building and 11 bays on the sides. The façade is covered in white aluminum and the corners of the structure are chamfered. The top two floors are also windowless and the parapet flares to form a cornice. Elevators, in three groupings, occupy a bay in the rear of the structure along with stairways.
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The date was commemorated by an inscription on the north wall. The church's original entrance doorway has been retained in the south porch: it has a round arch carried on chamfered shafts with Norman-style capitals. The detail on the stonework, although characteristic of the Norman period, is more intricate than usual. The arch has a hood mould, which sits clear of the abaci at the top of the shafts.
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A cast iron Italianate fence runs along the street side. It has simple spiked pickets between larger posts decorated with chamfered corners and floral rosettes. They are complemented by modern chainlink fences on the south and east; a row of Eastern Hemlock shrubs sets off the right-of-way at the northwest corner. All vehicular access to the cemetery is via the double-leaf gates in the fence along Harvester.
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The Woolworth's in downtown Seattle used similar architectural elements. Designed by company architect H. W. Stakes, the art deco building uses steel frame construction with a masonry curtain wall. The facade on the 2nd and 3rd stories displays alternating peach and cream vertical stripes of terra cotta tile with lotus motifs. The building has a grey medallion with a raised "W" on the chamfered corner on 9th and Market.
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This bathroom is clad with flat sheeting and the verandah?s two-rail dowel balustrade and stop- chamfered posts are retained. A small sunhood over the entrance is supported by curved timber brackets and clad in mini-orb sheeting, positioned higher than its original location. The low-waisted, 4-panel timber door features some early door hardware, including a central door knob and a door knocker, and has glazed upper panels.
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The sandstone blocks used in the construction of Pringle Cottage are generally coursed rubble, with picked faces. The cottage sits on a plinth of margined rock faced sandstone. The eastern facade of the cottage, which faces Dragon Street, is dominated by the ogee or double curved corrugated iron verandah, supported on chamfered timber posts. The returns of the verandah, above the line of the posts are infilled with timber lattice panels.
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The Ambrose Hopkinson House is a historic house located at 122 W. Elm St. in Olney, Illinois. The house was built in 1874 by owner Ambrose Hopkinson, a contractor and bricklayer who immigrated to Illinois from England. The two- story red brick house is designed in the Italianate style. The wraparound porch on the front of the house is supported by chamfered columns and has balustrades on both stories.
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The site's eastern boundary comprises a damaged but well- constructed rubble wall with chamfered granite copings. The southern and western boundaries are formed from hedge banks. Within the cemetery are the remains of 91 monuments of considerable diversity and several unmarked burial mounds. From the top of the entrance steps, a path (with traces of edging in- situ) extends through the centre of the burial ground, terminating at the southern boundary.
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Designer Alfred Shaw integrated art deco stylings with influences from three building types—the warehouse, the department store and the skyscraper. A warehouse block stands as the 18-story bulk of the building. Ribbon piers define the windows, and the building's chamfered corners, minimal setbacks, and corner pavilions disguise the edges of the mass and visually reduce bulk. The south corner pavilions are of greater height than the north corner pavilions.
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The Engleman-Thomas Building, at 200 S. Main in Aztec, New Mexico, was built in 1906. It was listed on the National Register of Historic Places in 1985. It is a brick-walled building with brick sills and segmental arches, and with "corbelled and zipperbrick cornice." Its interior includes a row of chamfered wooden posts with wooden corbel capitals running down the middle of the open first floor.
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There is no structural division between the nave and the chancel; the chancel, which occupies one and a half bays, is enclosed by oak screens. The north arcade has five two-centred, chamfered arches on octagonal piers with moulded caps and bases. The north and south arcades are in the Perpendicular style. The south aisle, wide, is in the Classical style with pilasters, entablature and a moulded cornice.
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The Kiiminki Church is an evangelical Lutheran church in the Kiiminki district of the Finnish city of Oulu. It was part of the town of Kiiminki until 2013 when that town was merged into Oulu. The church building has been designed and constructed by Matti Honka, an Ostrobothnian builder of churches in the 18th century. Kiiminki Church is typical for Honka as it is a cruciform church with its corners chamfered.
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In front of the enclosure is a painted timber fence with a centrally placed cast iron gate. The monument is of Helidon sandstone and sits on a granite base with rough stone faces, margined and chiselled around. Surmounting this are another two steps, both smooth-faced. The lower step has a chamfered top and the words Apple Tree Creek Roll of Honour carved in high relief on the front face.
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The main stair doglegs off the hall and has a grooved silky oak handrail and 6"x6" stop chamfered silky oak newels with sunk necking and domed caps. Ornamental consoles decorate the flat arched openings to the stairwell. The plaster ceilings to the lobby and hall are decorated with a border figure of tied bundles of straight twigs. The Wickham Street entrance stairwell has similar detailing but is narrower.
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The chamfered face displays a bronze plaque with the names of the 93 local men who fell in the First World War. These names were originally located on plaques attached to each tree. The memorial located in Queen's Park comprises a cenotaph sitting on a slightly larger base, both of rock faced pale grey granite. The cenotaph has three leaded marble plaques which are recessed into the granite.
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Maryborough railway station, platform from the north-west, 2007 The platform was constructed in stages. The first seven bays of the platform roof are three- bays wide, with exposed king-post trusses each with lower arched brackets, and side skillion extensions. These are supported on tapering chamfered timber posts with octagonal capitals and decorative strut brackets of similar design to that of the station. The roof is clad in corrugated iron.
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The gable above the portico is finished with multiple levels of trim. The tower that rises above the front is elaborately styled, with a clock in the first stage and belfry in the second. Its stages are basically square, with chamfered corners featuring panel sections on the clock stage and paired miniature Ionic columns on the belfry stage. The tower is capped by an octagonal slate roof and weathervane.
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John Archibald Phillips House is a historic home located at Poplar Bluff, Butler County, Missouri. It was built in 1891, and is a 2 1/2-story, irregular plan, Queen Anne style frame dwelling. It has a gable roof with fishscale shingles on the gable end and features a one-story, shed roof entry porch with milled and chamfered columns. Surrounding the house is an original cast iron fence.
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Cerdà's Eixample (Catalan for 'extension') consisted of 550 regular blocks with chamfered corners to facilitate the movement of trams, crossed by three wider avenues. His objectives were to improve the health of the inhabitants, towards which the blocks were built around central gardens and orientated NW-SE to maximise the sunlight they received, and assist social integration.Busquets, Joan Barcelona, the urban evolution of a compact city, 2005, , Harvard University, p. 122.
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The nave and flanking aisles are connected to the adjacent chancel and chapels with 14th-century arches. The north chapel has a 13th-century quadripartite vaulted on the ground floor with thick chamfered ribs springing from slender attached columns in the corners. The nave roof is restored 15th-century with crown posts and the aisle roofs feature moulded purlins. The chancel and south aisle roofs are 19th century.
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The roofs are decorated with scalloped barge boards, finials, and carved eaves brackets. The verandah has chamfered timber posts and ornamental timber valances. The internal layout comprises four substantial and two smaller rooms either side of a central corridor on the ground floor, and four large and two small bedrooms on the upper floor. The entrance hall has frescos on the walls and ceilings, and is divided with a decorative arch.
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Walls throughout the room are lined with vertical V-jointed tongue and groove boards up to picture rail height and plastered above. Timber skirtings and architraves have a simple chamfered detail. The southern wall has been modified at the eastern end, to provide a doorway and two servery windows into the adjacent kitchen. The floor is polished timber floorboards, with a section of bare concrete flooring adjacent to the kitchen.
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The Elias Crawford House is an historic octagon house located in Worcester, Massachusetts. It is one of two such houses in the city. The house was built sometime in the 1850s for an unknown owner; its first owner of record was Elias Crawford, a textile manufacturer, in 1870. It is a two-story frame house, with a wraparound porch, supported by chamfered posts, covering a portion of the first floor.
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A 19th-century-added arched squint is on each side of the chancel arch, each with a chamfered rebate as part of the arch. Set above each squint on the chancel side is a gable as moulding with, at its spring and point, a carved foliated detail. Within the chancel is a 14th-century piscina containing a quatrefoil shaped drain. Chancel arch with squint niches The north transept (or Priory End) windows, east and north, are 19th century but within 14th-century openings. The trussed roof is possibly 16th century with tie beam support added in the 19th. The south transept (or Hall End) east and south windows are 14th century although partly restored. The 15th-century south transept roof trussing is of hammer beam construction, with curved collar braces springing from beams which are supported by curved chamfered brackets. Running on the wall from the hammer beams to the roof line are wind braces, and to the ridge beam is roof truss framing.
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The West window of the north aisle is by the Royal Bavarian Art Institute for Stained Glass and dates from about 1850. The font is Victorian and has a square bowl of clunch with scalloped under-edge, resting on a chamfered square stem and four small stone shafts with scalloped capitals and moulded bases. The pulpit, which was added by Goodchild, is of stone and marble and replaced one from the 17th-century.
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Frederick W. and Mary Karau Pott House is a historic home located at Cape Girardeau, Missouri. It was built about 1885, and is a 2 1/2-story, Italianate style brick dwelling. It has a side-gabled roof, a projecting pedimented front gable and parapet chimneys. It features an overhanging eave with curvilinear brackets and modillions, tall narrow windows with round and segmental arches, and an ornate central portico supported by groups of chamfered columns.
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Another entrance was made for cattle to enter at a later date but this has been blocked up. Several of the windows have also been filled with stone. On the north-east face there were two-light chamfered mullioned windows on each floor while on the north-west wall they were one- and two-light windows. It has over 200 pigeon holes, which were installed after the original construction, possibly before 1780.
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Judge Thomas Dawkins House, also known as The Shrubs, is a historic home located at Union, Union County, South Carolina. It was built about 1845, and is a two-story clapboard dwelling with a hipped metal roof. The front facade features a five-bay wide verandah supported by six chamfered columns. It was the residence of Judge Thomas Dawkins, a well-known political leader in Union County during and after the American Civil War.
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The upper stories rise as a square tower with chamfered corners and is offset from the base. 20 Exchange Place was built between 1930 and 1931, for the newly merged National City Bank of New York and the Farmers' Loan and Trust Company. It remained the company's headquarters until 1956 and was ultimately sold in 1979. The 16th through 57th floors of the building were converted from commercial to residential space by Metro Loft Management.
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Ganjali Khan Caravanserai The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners.
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The church is constructed in snecked red sandstone with ashlar dressings and green slate roofs. Its plan consists of a six-bay nave, north and south aisles under separate roofs, north and south porches, a two-bay chancel with a north vestry and a south chapel, and a west tower above the west end of the nave. Its architectural style is Decorated. The tower consists of three stages standing on a chamfered plinth.
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The church is constructed of rubble limestone with herringbone stonework on the north and east walls, and stone-slate roofs. There are doorways to the north (now blocked) and south. The south door has a triangular head and is covered by a porch which has a chamfered segmental arch. The south wall of the nave contains two lancet windows and a two-light Perpendicular window with a square head, added in the 15th century.
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The exterior of the building remains largely the same today. It is cruciform in plan, the ground floor is entirely faced with chamfered limestone rustications with semi-circular headed openings. At the centre of each of the four facades is a large Venetian window with ionic columns on either side supporting a frieze and pediment.Pevsner N: Radcliffe E: Suffolk: London: 1974-: 146 On each side of the windows are niches carrying Etruscan type ornaments.
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The Francis and Abbie Solon House is a historic house located at 503 South State Street in Champaign, Illinois. Developer William Barrett built the house for himself in 1867. Architect Seeley Brown designed the house in the Tuscan Villa subtype of the Italianate style. The house features a wraparound front porch with chamfered columns and an entablature and frieze with decorative brackets and a central arch, all distinctive elements of the Italianate style.
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New Market, also known as the McDonald-Rhodus-Lesesne House, is a historic home and national historic district located near Greeleyville, Williamsburg County, South Carolina. It encompasses 2 contributing buildings and 2 contributing sites. The house was built about 1820, and a one-story, frame extended Double Pen house over a raised brick basement. It features a typical "rain porch" on the front of the house supported by four tapered and chamfered wooden posts.
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By 1900 it was home of William Hines, another worker at Eagle and Phenix, and his wife Clara. Its front porch includes some gingerbreading attached to its chamfered columns as a nod by the builder to popular styles. Includes photo from 1980 of both 1617 and 1619. Its National Register listing was within a batch of numerous Columbus properties determined to be eligible consistent with a 1980 study of historic resources in Columbus.
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The arcades consists of pointed arches carried on piers that have a chamfered diamond cross-section. Between the nave and the chancel is an oak screen incorporating the pulpit. It was installed in 1921 as a memorial to the First World War. It is also inscribed with the names of the civilians who were killed in the naval bombardment of 16 December 1914, the German Navy's only raid on mainland Britain in the war.
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The Nellie and Thomas Knotts House is a historic building located in Des Moines, Iowa, United States. This two-story dwelling is a gabled-ell type house that features a chamfered front section with gable-end detail, fishscale shingles, and a hipped porch. The property on which it stands is one of ten plats that were owned by Drake University. The University sold this lot and two others to Adam Howell in 1886.
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These parts are linked with an enclosed walkway, roofed with curved corrugated iron. The single skinned external walls of the main house have exposed diagonally braced timber framing, and are lined with horizontal boards. The verandah awning is supported on stop chamfered square timber columns, with square sectioned timber balustrade handrail and midrail. A centrally located entrance door on the eastern facade, is accessed via a small open tread timber stair onto the verandah.
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The F. F. Odenweller-James P. and Nettie Morey House is a historic building located in Des Moines, Iowa, United States. It is a 1½-story frame cottage that follows an irregular plan. It features chamfered corners, Stick Style strips, moulded lintels, beaded corner boards, decorative shinglework, and a small front porch with a shed roof. The property on which it stands is one of ten plats that were owned by Drake University.
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The interior of the store displays many of the original features in a large open-planned space. These include high coffered ceilings with diagonal boarding and ceiling roses, numerous chamfered timber columns with capitals and decorative cast iron vents in the walls. Most notable is the original timber service counter which stands free in the centre of the store. The counter is a large square with space in the middle for attendants.
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The former Grace Church Rectory is located in the town center of Windsor, on the east side of Broad Street, just north of the church itself. It is a -story brick structure with a steeply pitched slate roof. A projecting pavilion in the front is decorated with vergeboard, as are the main entranceway and other gable ends. A single-story porch extends to the right of the pavilion, supported by chamfered posts with Gothic brackets.
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152 Corinthian capitals atop decorated columns were in the same school as Inkberrow and Bromsberrow Place in the neighbouring county. The older east and front wings were made of stone; bent or chamfered roof beams vacated space in loft for living. Amongst the extensive stabling and outbuildings were hop kilns, a brewhouse, bakehouse and cider house, and octagonal dove cote. But the house was dilapidated by 1939 when occupied by the evacuated Westminster School.
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This section shows details of construction that contain both First Period and early Georgian features. The staircase in the front lobby has turned balusters that are possibly original, and are similar in appearance to balusters found at the nearby Smith House on Argilla Road. Both the right-side parlor and second-floor chamber have exposed beams with chamfered corners. The doorway between the parlor and the lobby is topped by a distinctive open latticework transom.
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The wall running along the south side of the churchyard and the lych gate are listed together at Grade II. The wall is in sandstone, is about high, and stands on a chamfered plinth. It is decorated with panels containing courses of pebbles. The lych gate stands opposite the south door of the church. It is timber-framed on stone piers, and has a roof of fishscale slates and terracotta ridge tiles with wooden finials.
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The other end bay is incorporated into the chamfered corner of the building. The middle bays - two to York Street and six to Barrack Street are arched with sandstone voussoir and sills. There is a circular opening on the corner which is characteristic to the style. There are three entrances, one pedimented one storey on the corner and two double height semicircular entries, one of which incorporates a pedimented doorway on the York Street side.
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The Edward Dickinson House is a historic house at 672 East Boswell Street in Batesville, Arkansas. It is a 1-1/2 story wood frame structure, with a steeply pitched gable roof and Gothic Revival styling. A front-facing gable is centered on the main facade, with a Gothic-arched window at its center. The single-story porch extending across the front is supported by chamfered posts and has a jigsawn balustrade.
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The first floor verandah is divided by two tapering piers that directly support a light fascia and balcony roof, treated as integral with the main roof behind and above it. The stuccoed piers reflect the Federation bungalow fashion emerging at this time. The openings are screened with mesh to exclude birds. The side elevations are equally varied, with a chamfered bay on the southeast elevation and a straight fronted gable on the northwest elevation.
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On the east facade is the main entrance, flanked by pointed-arch tripane windows in wooden surrounds. A small projecting wooden vestibule shelters the main entrance. It has a gabled roof with the same pitch as the main roof. The gently arched exterior entrance is built of an H-shaped bent with beadboard siding on the exterior, chamfered edges on the inside and intricate quatrefoil sawn tracery in the gable field above.
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A church clock is just below the belfry stage. Between the window and clock is a hooded slit window, a repeat slit window is on the north and south sides. The Belfry stage was added in the 13th century and is defined at its base by a string course with repeating dentils. Central to each side of the belfry stage is a chamfered window opening with a plain hood mould following a semi-circular head.
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Pevsner describes the interior as "sadly scraped"—scraping a typical 19th-century restoration method of cleaning and retooling. Nave from the chancel The 13th-century double- chamfered pointed tower arch is supported by twin octagonal responds. Sitting at the base of the tower arch is a 19th-century octagonal stone font. The bowl is panelled on each side with inset fields containing cusped and quatrefoil mouldings, floriate details at its base, all partly painted.
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Old Post Office is a historic home and post office building located at Kirkwood, New Castle County, Delaware. It was built about 1870, and is a two- story, five bay, frame double house with a mansard roof in the Second Empire style. The roof has decorative slate and the front facade features a full- width porch supported by five chamfered, wooden posts. Part of the house was once occupied by a post office and store.
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Regularly throughout the open section of the floor are substantial square planed stop-chamfered rendered masonry columns. The rear offices are formed with plaster rendered walls and feature similar coffered ceiling framing. The upper floor is accessed via a concrete stair in the southern tower, dating from the early 1940s. An open balcony on the first floor acts as an entrance vestibule to the courtroom which is entered via a double timber door.
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On both stories the windows are set in pedimented surrounds flanked by louvered wooden shutters. They are set with two-over-two double-hung sash windows. There is a verandah across the west front with a return on the south side of the house, both having a flat roof supported by eight square columns with chamfered corners, square capitals and rectangular bases. North of the main entrance, on the facade, is a similar pilaster.
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The Tomlinson House is a two-story, L-shaped Italianate wood-framed house clad in clapboard on a stone foundation. It is similar in size and massing as the nearby John and Rosetta Lee House. The front facade has a first floor bay window and paired and rounded-arch windows on the second floor, along with paired brackets along the roofline. A front porch is supported by chamfered wooden posts with arches.
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These are lined with the same wide, single-bead boards used on the walls. French doors open from each room onto the verandahs. The rear verandah has been enclosed at the northern end with wide, chamfered slabs, and currently functions as the kitchen. The floors of this enclosed verandah are of the same wide beech boards as the interior floors; the remainder of the verandah flooring is of more recent narrow hardwood boards.
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The high-pitched shingled roof had a short ridge, and the verandah roofs, also shingled, were supported on plain chamfered timber posts. Glass and timber-panelled French doors opened onto the verandahs from all rooms. The first front steps were of timber, but had been replaced by 1907 with masonry steps. Between early 1907 and mid-1909, the verandah roofs were replaced with corrugated galvanised iron; later the whole roof was clad with iron.
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The front gallery, running the length of the home, has chamfered gallery columns. Behind the gallery are two rooms of equal size, with one large additional room behind, all served by a central chimney with wrap around mantels. There is a dormer located above this section of the home. In the late 19th century or early 20th century, an additional three rooms were added to the rear of the home, along with side galleries.
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But the voussoirs is similar to that at Shobdon within a sequence of zodiacal beasts. There are two coffin lids in the church with foliated crosses. The early 14th century church of St George's has a single nave and chancel with an arcade of two bays and double-chamfered arches have a date of c1320, and two bays were added c. 1333–40. The north aisle was probably built after 1300Salter, p.
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Rendered 5-bay side elevation has round arched windows with chamfered surround separated by pilasters with offset; renewed glazing. Attached rear wing, former Sunday School, retains Welsh slate roof and ventilators. Interior partly converted to Coptic Orthodox liturgical use. Unusual aisled roof structure, wooden trusses rising from posts set on the very tall slender marbled columns with Corinthian derived capitals, which also support the high round arches of a wooden arcade; painted boarded ceiling.
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The Bussey School is located in the rural village center of Dixmont, on the south side of US 202/Maine State Route 9, east of its junction with Maine State Route 7. It stands just west of the Dixmont Corner Church. It is a single-story wood frame structure, with a gable roof and clapboard siding. The front-facing gable extends over a porch supported by chamfered square posts, with pilasters at the building corners.
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The Chancel is east to west, and north to south. The east chancel window, part of the 1868 restoration, is of three lights, the centre light running to the chamfered window arch, the outer lights running to the window arch spring. The mullions have three part circular shafts as dressing sitting on moulded bases, topped with floriated capitals. Above the two outer lights are quatrefoil rosettes set within fields of filigree style.
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Reviews have generally been positive, with The Verge giving the iPad Mini 4 a 9/10, praising the display, fast performance, great camera, and multitasking but disappointed with the speakers and chamfered edges. Apple iPad Mini 4 review The Verge September 28, 2015. Retrieved 2 November 2015. CNET also praised the new "more vivid" display and the slimmer design as well as the new features in iOS 9 that the device can utilize.
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The stage above this was added in the 13th century and has lancet windows in the north and south faces. The uppermost stage, topped with a shingled spire added during the Victorian era, contains one bell and has paired lancet windows. Internally, the tower is supported on two chamfered and moulded arches spanned by a barrel vault. The east arch is late-13th or early-14th century and now forms the chancel arch.
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Exterior walls are single skin with externally exposed stud framing lined internally with boards detailed with double beading. Internal partitions are also single skin with stop-chamfered studs and these, together with the ceiling, are lined with single-beaded tongue and groove boards. The rooms are generally without cornices except the 1901 addition which has a timber cove. Some joinery is painted, including four- panelled doors, French doors to the exterior and double hung windows.
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There are two additional monumental portals, the Portal of Muslim Ibn 'Aqil, north of the Clock Gate, and the al-'Amara, or al-Faraj Portal, at the southwestern corner. A courtyard surrounds the inner shrine, while the inner shrine is linked on the west to the Al-Ra's Mosque. The inner shrine is a large cube with chamfered edges, topped by an onion-shaped dome in height, and flanked by twin tall minarets.
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The hall contains heavy ceiling beams, dated to the late 16th century. The plastered ceiling in the inner room is dated to the early 18th century. On the first floor there are plain-chamfered ceiling beams and roof trusses, although this is obscured. In the 18th century the first floor was converted into an assembly room, and subsequently the High Sheriff for the county often met with noblemen of the county at the Bear Inn.
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A porch extends across the front facade, supported by plain chamfered posts. The gable ends of the roof are extended, with full pediments, and the door and window surrounds are more elaborate than are typically seen in the area. The interior of the house follows a standard central hall plan, but the detailing is again of a particularly high quality. The house was listed on the National Register of Historic Places in 1983.
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The mass of the house is broken up on every side in different ways, most noticeably at the front. The facade there, facing the street to the west, features the entrance's double wooden doors inside an enclosed porch on the north bay. It in turn has a pedimented roof. Above it rises a small turret with a window in the chamfered north and west and columns that rise to support a steep conical spirelet.
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The building has a ground floor verandah and first floor balcony with iron balustrading and chamfered timber posts and brackets. The timber posts on the ground floor have a recent concrete base. Paired timber doors with breezeway and fanlight assembly with leadlight detail are located in the entrance to the lounge bar area. Internally, on the ground floor, the ceiling in the lounge bar area has plaster cornices with egg and dart motif decorative detail.
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The very earliest screw-cutting lathes (in the late 18th and early 19th centuries) did not have them, but within a few decades, split nuts were common on lathes. The two halves of the nut have chamfered ends (60° to axis), which helps the threads to find engagement during the closing action. Usually the screw and nut are also oiled for lubrication. Such provisions prolong the service life of the threads by minimizing wear.
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Blackall Masonic Lodge is located in the centre of a level site at the corner of Hawthorn and Garden Streets. Its axis runs east west and it faces west and is parallel to Garden Street. It has a rectangular plan form and is two storeyed and supported on timber stumps. It has a gabled roof with a verandah on the north, west and east sides supported by chamfered timber posts at centres.
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The William Gabbert House is a historic building located on the east side of Davenport, Iowa, United States. The structure is one of the last remaining Gothic Revival houses left in Davenport. with The cross-gabled roof with the steep pitch and the small wall dormer are its distinguishable features. The chamfered corners on the windows and the diamond-shaped windows on the dormer and gable ends contributes to its sense of verticality.
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Early Saxon abaci are frequently simply chamfered, but sometimes grooved as in the crypt at Repton (fig. 1) and in the arcade of the refectory at Westminster Abbey. The abacus in Norman work is square where the columns are small; but on larger piers it is sometimes octagonal, as at Waltham Abbey. The square of the abacus is often sculptured with ornaments, as at the White Tower and at Alton, Hampshire (fig. 2).
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The front door opens onto a semi-internal entrance hall with timber lattice screens. Internally the residence has two principal rooms, a living room beyond the entrance hall and from this a bedroom with ensuite bathroom. Internal finishes include pressed metal ceilings and cornices, rendered walls and chamfered timber skirting boards. The adjacent building, St Brigid's, is of similar detail and houses two classrooms with access provided to the interior via broad concrete steps.
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A central passageway leads through the station to the main platform behind the building. There are skillion-roofed front verandahs, partly enclosed on the south-west side, either side of the portico. These verandahs have stop-chamfered posts and timber strut brackets that match those of the station platform. There is an extension at the south-west end of the station with skillion-roofed structures and a bracketed hood over the front windows.
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The facade is symmetrical, with tall sash windows flanking the central entrance. The entrance is in a slight recess, framed by pilasters rising to an entablature and projecting cornice. A multistage tower rises from the roof ridge, starting with a square stage, above which an octagonal stage has plain circular panels in four faces. The belfry is in the next stage, which is basically square, with louvered sides and chamfered corners decorated with paneled pilasters.
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The front porch has a hip roof supported by chamfered posts, and a turned spindle balustrade. The house was built in the late 1860s, and is one of the few Gothic Revival houses in the town. It was built by Wendell Bancroft, a prominent local businessman and banker. He owned a coal and lumber yard, was a founding officer of the First National Bank of Reading, and was a director of two other local banks.
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The Albert Ayer House stands in a residential area of southeastern Winchester, at the northeast corner of Brooks and Sanborn Streets. It is a 2-1/2 story wood frame structure, with a gable roof and clapboarded exterior. It has wide corner boards, and its porch, which spans the main facade, has chamfered square posts. The roof has side gables, with a center gable over the front, in which is a round-arch window.
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They contain loading and storage spaces, toilets, a staff office and a small outdoor bar. None of the structures with modern fabric are of cultural heritage significance. Throughout the interior of the first floor, floors are polished timber and walls are vertical timber tongue and groove boards finished with chamfered timber detailing: picture rail, architraves and wide skirtings. Generally, flat sheeting with timber cover battens line the walls between bedrooms and the ceilings.
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The Durgin House is a historic house in Reading, Massachusetts. Built in 1872 by Boston businessman William Durgin, this 2.5 story wood frame house is one of the finest Italianate houses in the town. It follows a cross-gable plan, with a pair of small side porches and bay windows on the main gable ends. The porches are supported by chamfered posts on pedestals, and feature roof lines with a denticulated cornice and brackets.
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The veranda runs the length of the north and west walls for protection from the day and evening sun. Inspection in the roof adjacent void reveals that it was constructed at the same time as the cottage. The veranda roof is supported on squared and chamfered columns which rest at the base on the sandstone flags of the floor. Most of these flags have shifted and many have subsided lowering the height of the veranda in diverse places.
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Kennedy Nolan's first project Leahy Swingler House was the renovation of a dilapidated Edwardian House in Melbourne's inner north. Kennedy Nolan's attention to the abstract form of architectural fundamentals is evident on the street elevation with an over-scaled chamfered chimney that accentuates the building's street presence. The commission was the catalyst for Rachel Nolan and Patrick Kennedy to begin their office. It received a Victorian chapter Australian Institute of Architects award for alterations and additions in 2001.
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It is supported on paired, chamfered posts with small curvilinear valances. On the northern frontage, substantial timber posts and bases with arched cast iron valances which are probably part of the 1885-86 building are located within the verandah. Internally, Stanley Hall comprises grander rooms relating to the projecting bays at the ends of the building, interlinked by more modest and service rooms, accessed by central corridors on each level. The building contains finely crafted elements throughout.
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Left bay in 19th-century brick now painted black and white in imitation of timber frame. The Lack, Brompton/Churchstoke The windows are late 19th century casements; first-floor window of right gable end has a moulded wooden cill of an earlier window. Brick addition has segmental- headed casement. The interior has been considerably altered in the early 20th century with new staircase and fireplaces but retains chamfered cross-beam ceiling with ogee stops to right ground-floor room.
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Clock Tower An interesting and unusual clock can be seen in the centre of the village. It was a gift of Mr W.W. Kettlewell, and was erected in 1897 to commemorate the 60-year reign of Her Majesty Queen Victoria. Squared, irregular coursed rock- faced sandstone with stone dressings, plain tile roof and wooden bargeboards. Commemoration tablet beneath circular clock face set in chamfered stone surround with the inscription: 'TIME FLIES DONT DELAY' - each word in separate spandrels.
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Equal length parapets with square chamfered coping projecting with angled surface on outer faces of bridge, vertical ends. Appraisal- ‘The ashlar bridge was built in conjunction with an extensive section of road in the latter part of nineteenth century. It has an elegant arch, the span of which is surprisingly large for a rural bridge. The bridge is expertly constructed of carefully cut ashlar and makes a significant contribution to the civil engineering heritage of the county.
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Equal length parapets with square chamfered coping projecting with angled surface on outer faces of bridge, vertical ends. Appraisal- ‘The ashlar bridge was built in conjunction with an extensive section of road in the latter part of nineteenth century. It has an elegant arch, the span of which is surprisingly large for a rural bridge. The bridge is expertly constructed of carefully cut ashlar and makes a significant contribution to the civil engineering heritage of the county.
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The interior of the building has been modernised but the chamfered beams remain. The Manor House is from the early 19th century and is also a Grade II listed building. It is a detached house constructed of dressed limestone, with a hipped roof of Welsh slate and brick chimney stacks. It is a two-storey building with three windows at the front on the upper floor and two on the ground floor with a central door.
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In the churchyard is a memorial to the family of George Gibson bearing dates including 1779 and 1811. It consists of a stone crocketed pinnacle on a square stone plinth, with cast iron urns on the corners. This is surrounded by railings high. The whole memorial stands high, and is listed at Grade II. Also in the churchyard are the remains of a medieval cross consisting of three chamfered stone fragments standing on a socket stone.
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The Anglican church in West Keal is dedicated to St Helen. The original church was consecrated in 1186, though little Norman work remains. The current church was built of Spilsby green sandstone and brick on a rise above the village in 1623 in the Early English and Perpendicular style, with buttresses and corners faced with Ancaster stone. The nave, with north and south aisles and clerestory, has five-bay arcades with double chamfered arches supported on hexagonal pillars.
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The ground floor Patrick Street elevation displays four chamfered timber awning posts symmetrically placed framing the openings along the front face brick wall. There are two large shop front display windows with an angled bay design. These windows flank a central doorway surmounted by a rectangular fanlight, a former public entrance to the bakery service area. Another doorway, surmounted by an arched fanlight, stands at the northern end of the front elevation, a private entry to a separate room.
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The south-facing front facade features a projecting central pavilion with white quatrefoil- pireced vergeboards at the overhanging eave. Dormer windows on either side are similarly appointed, as is the curving balustrade on an upper balcony. To the west of the doubled-doored entrance is a porch supported by chamfered posts and curved braces; to the east is a bay window. The east side has a similar porch but with a latticework frieze and arrows pointing to the entrance.
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A two-centred arch with chamfered columns and mouldings gives access from the nave. Inside, there is a 12th-century font of Sussex Marble. It was repaired in the 19th century using the similar Purbeck Marble, as the supply of local material from the quarries at Petworth was exhausted. The south aisle has an chest believed to be about 800 years old; another, dating from the 16th or 17th century but with a renewed lid, stands in the vestry.
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A shed-roof ell extends to the rear, giving the house a saltbox profile. The interior of the house includes features typical of transitional late First Period houses, included a beaded summer beam, a side-facing oven in the front right chamber, and an exposed summer beam in the upper left chamber with chamfered edges. The oldest portion of this house is the left side front, which was built c. 1704 by Stephen Bacon, one of Natick's early settlers.
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South Gate The , an Important Cultural Property, is the oldest extant example of a . It was built during the Kamakura period at the end of the 12th or the beginning of the 13th century. Gates in this style only appear in high ranking temples or Imperial Palace gates, thus indicating the former status of Shin- Yakushi-ji. The four posts of the gate have very wide chamfered edges and are placed on a platform of unhewn rocks.
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The church was rebuilt about 1872 in a Gothic style of fieldstone with stop-ended chamfered red brick trim. The attached Burgh Hall was erected in 1924 in a matching style. Note: This includes and Accompanying five photographs It was designated a New York City landmark in 1967 and added to the National Register of Historic Places in 2000. The 1818 rectory is listed on the National Register of Historic Places as the Moore- McMillen House.
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Tower from the west The tower is of three stages. The lower stages might be part of an 11th- century previously unbuttressed tower, and contains at its west side an early 15th-century chamfered reveal window opening with pointed arch surrounded by a hood mould with label stops in human form. The inset Perpendicular window is of three lights of panel tracery below, and six above. The panels are headed with trefoils, the lower within ogee heads.
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The chancel south arcade is 15th-century. Its piers are Perpendicular, with polygonal piers and capitals and chamfered arches. The furthest east south arcade contains within it a supplementary Decorative arch springing from the piers, this of ogee form with multi-rounded moulding, topped with a twin run of decorative battlements leading to a flat topped finial; this arch was rebuilt in the 19th century. At each side within the westernmost chancel bays are 19th-century wooden choir stalls.
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The west gable now incorporates a porch internally which appears to be a 17th-century addition. The ground floor rooms retain good 17th-century hearths especially the pleasant kitchen with its wide segmental ashlar arch. The dining room retains chamfered and quoined surrounds to the hearths and has 17th-century square oak panelling. The staircase with masonry centre wall and oak stairs has a massive oak door at the half landing which is secured from the flight above.
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At the base of the west buttress at the south side of tower is an inscription naming the mason Thomas de Somersby. The late 13th-century north aisle contains a single-chamfered pointed doorway at the west, and three windows, each with three lights, two of which were added during the 15th-century extension. The windows are traceried, with two incorporating quatrefoils. The nave Late Perpendicular clerestory windows are similar in style to those of the north aisle.
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The building faces northeast, is timber-framed, clad with chamferboards and stands on brick and concrete stumps on a sloping site. The front elevation is dominated by projecting end gable bays carrying panels with painted lettering RAILWAY (east bay) and HOTEL (west bay) below decorative battened, pressed metal gable infills. Verandahs to each level have weatherboard valances. The verandah to the first floor has stop- chamfered timber posts with long, elegant curved brackets and dowel and decorative panel balustrading.
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The First United Building was designed by Ar. Andres P. Luna with a rectangular plan. On the main facade is a central tower flanked by two chamfered corner towers on both ends of the building. The three towers have the same ornamental treatments of thin cylindrical moldings running up to the square plates and continued by beveled arches that relate to the windows at the sixth floor. There are octagonal windows flanked by stout finials above the arches.
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The church tower Both the church and the parish hall are rectangular wood frame structures built on concrete block foundations that have been simulated to appear as rusticated stone. The church's central tower is square in shape and it has a large diamond window centered on the front. The belfry is made up of eight chamfered columns with decorative gingerbread on its base and top. Located between the columns are crisscross braces that simulate a balcony effect.
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The arch to the tower is tall and moulded and is typical of fifteenth-century work. In the arcades between the nave and its aisles, the piers alternate between round and octagonal as was sometimes the case in medieval churches. The arcade to the outer north aisle has round piers, capitals and double chamfered arches and is said to reuse piers from the old church. The chancel arch is moulded and carried on demi-octagonal responds.
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The front section has a single-story hip-roof porch extending across its front, with chamfered square posts rising to brackets with jigsawn spandrels. Windows are set in segmented- arch openings, with headers that use alternating red and black bricks. H. D. Smith & Co. Works. Plantsville, Connecticut in 1893 The H. D. Smith & Co. was founded in 1850 by Henry D. Smith, who had invented machinery for automating the manufacture of previously handmade iron parts for carriages.
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The font is square with chamfered corners. The stained glass includes windows from the early 20th century designed by G. P. Hutchinson for Powells, a window by Karl Parsons dated 1926 depicting Saint Michael and Gabriel, and two windows by Heaton, Butler and Bayne dating from about 1915 and from about 1920. The three-manual organ was built in 1905 by Steele and Keay, with alterations by Rushworth and Dreaper in 1945, and by Ward and Shutt in 1978.
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The timber collar ties are stop-chamfered. The understorey has open playspace and is enclosed on the western side with corrugated metal and flat-sheeting. An Honour Board (1919) is mounted on the western wall of the building, listing the names of former students who served in World War I (WWI). It comprises an engraved marble board on a timber backing, and reads "SHERWOOD STATE SCHOOL - IN HONOUR OF PAST PUPILS WHO SERVED IN THE GREAT WAR. 1914-1919".
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A single-story porch extends across the front, supported by bracketed chamfered square posts; a similar porch is set on the right side near the rear. The neighborhood was laid out sometime after the railroad arrived at Newton Corner in 1844, and may have been designed by landscape architect Alexander Wadsworth. This house is estimated to have been built c. 1864, and was bought in 1866 by John Buckingham, pastor of the Chestnut Hill Unitarian Church.
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The interior rooms of the ground floor feature early chimney pieces, mantle pieces and cast iron fire grilles. The rooms are generally quite simple, with timber skirting boards, stained architraves and stained timber boarded ceilings. A timber stair leads from the rear of the central hallway and winds at the top to a first floor space, from which the principal rooms on this floor are accessed. This stair has square sectioned balusters and a chamfered newel post.
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Rood screen on right The square wooden bell turret has a slatted lower stage and a second stage consisting of two square-headed louvred apertures in each face. There is a pyramidal slate roof surmounted by a wrought iron weathervane. The truss at the west end defines the position of the former gallery, which was originally reached by a ladder stair set in the north-west corner. Four modern chamfered uprights support what is now the bell turret.
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Inside, nave has four-bay arcades of pointed arches chamfered in two orders. The columns have foliated capitals and are of four clustered shafts, except for the eastern bay, which is wider and is separated from the others by a round column. The nave roof trusses have tie-beams, king- posts rising to the ridge, and arch-braces rising from the tie-beams to meet the king-posts below the ridge. The chancel arch is moulded.
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The verandahs have been enclosed with weatherboard to part of the northern elevation, all of the western elevation, and most of the southern elevation. Closeup of the Burndale sign on the front of the house, 2015 The verandah is supported with chamfered square posts with shaped brackets and battened valances. The unenclosed sections of the verandah have cast iron balustrades and valances. Grape vines grow around the base of the house, on wires strung between the verandah posts.
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The windows to the left-hand linking range and the 'Hardwick Building' are four and six lights, with chamfered mullions. The two-storey 'Hardwick' range has diagonal offset buttresses. There are eighteenth-century battlements to the pele tower, with tall octagonal ashlar stacks. To the north of the servants wing are old stables and stable yard with a coach house and groom's cottage along with the laundry and wash house, which was once a brew house.
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The design began as an adaption of traditional residential architecture, with the front projection added to the standard square or rectangular layout. Due to a more complicated design, they were never constructed from logs and did not appear until around 1880. At the end of the 19th century, the design was a status symbol representing the wealth of prosperous farmers. The house most resembles a ship's prow when the projection is chamfered having an acute angle at the front.
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The twin lancets and sexfoil in the east wall St Andrew's Church The church is a relatively plain, uncomplicated structure, similar in layout to many 12th- and 13th-century churches in Sussex. The chancel, with its chamfered Norman arch, leads to the three-bay nave with aisles on the south and north sides. In the older south aisle, the piers have capitals decorated with a scallop design. The 19th-century north aisle is similar but wider.
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The former Machias railroad station stands on the north side of United States Route 1, at the eastern fringe of its downtown area. Just to its north runs the multiuse Downeast Sunrise Trail, which occupies the former railroad right-of-way of the Washington County Railroad. The station is a long rectangular single-story wood frame structure, with a gable roof that has broad overhanging eaves supported by chamfered braces. The walls are clad in weatherboard.
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The First World War Memorial is located in a prominent location facing the intersection of William and Steley Streets. It is surrounded by a low green painted fence of cast iron posts with decorative finials joined by circular rails. The sandstone and Italian marble memorial comprises a pedestal surmounted by a digger statue. It sits on three steps of red painted concrete which are surmounted by a base step of smooth- faced sandstone with chamfered corners.
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The more modest verandahs on the southern and western sides, now somewhat altered, have paired chamfered posts and brackets, and a continuation of the patterned timber frieze. A painted brick elevator shaft has been added to the southern elevation and a fire escape stair to the western elevation. The ground floor, consisting of three bars, service areas and an entry foyer, has been refurbished. Original openings to the verandah have been replaced by sliding glass windows and doors.
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A 1-1/2 story addition extends to the southwest, exhibiting similar styling. Porches extend across most of the main block and this addition, with chamfered square posts, jigsawn brackets, and decorative balustrades. Brackets similar to those on the porch are also found at the main roof cornice. The interior of the house features a fairly typical Georgian central hall plan, altered to open the spaces somewhat, and to provide access to the more modern wings of the building.
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The Hickman House is a historic house at 3568 Mt. Holly Road, in rural Ouachita County, Arkansas, south of Camden. The single story frame house was built in 1898, probably by George Edward Hickman, whose father John was one of the county's early settlers. The house is in Folk Victorian style; it has an L-shaped plan, sheathed in original weatherboard. Its principal ornamentation is in the chamfered posts of its porch, which also has sawn fretwork.
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To the northern or street elevation, the two-storeyed timber verandah which overhangs the footpath, has a skillion roof and boarded ends. Set on stone plinths, the stop-chamfered posts to the lower level are topped with timber cornices, and have a slatted valance above. The upper level balustrade, now clad in fibrous cement sheet appears to have a dowelled balustrade concealed beneath. The posts of the upper level are finished with scrolled timber brackets below the roof beam.
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The low-pitched nave roof has late 15th-century moulded tie-beams, purlins, &c.;, and the chancel roof is modern. The tower has simple chamfered arches to the nave on the east and north, and in its west wall is a doorway now blocked by a red brick buttress, but originally opening to a stair turret. The belfry windows are plain two-light openings, and the exterior of the church is very much overgrown with ivy.
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It is a two-story brick I-house, oriented east-west. A porch across its front facade was reported in 1990 to be collapsed, while the northern porch retained original chamfered posts, despite having been screened. The property includes as outbuildings a small pumphouse and a barn, and includes the family cemetery of William T. Capps, who built this house around 1875. It is one of the best-preserved 19th-century I-houses in this part of the county.
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Jacob H. Patten House is a historic home located in the former village of Lansingburgh at Troy, Rensselaer County, New York. It was built in 1881–1882, and is a two-story, two-bay-wide by three-bay-deep, Italianate style brick dwelling. It sits on a brick and stone foundation and a pitched roof hidden by a low parapet. The front facade features a one-story, shallow, hipped roof porch with square, chamfered columns and brackets.
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The Gin Gin complex consists of the station building which is a representative late Victorian building with curved and chamfered brackets to the shade and distinguishing porch with fretted gable. It is of comparable appearance to Esk, Bundamba and North Bundaberg railway stations. Accommodation is provided with ladies water closet, waiting room, lamp store, shelter shed and office. Booking windows face the shelter area and the platform and central shelter area post has curved decorative brackets facing three directions.
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Export House is of modular design, chamfered on the narrow west façade/parapet and lightly storey-grooved. It avoided the tri-dimensional symmetry of some of its shorter-lived contemporaries. Export House has no explicit or implicit reference to compulsory or encouraged complete demolition in the mid-term local plan. From 2000 to 2007 the structure bore an air pollution-stained upper exterior so appeared more brutalist than old and new buildings of the town centre.
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Rider disquiet over the crash safety of disc brakes led to the introduction of versions with chamfered edges to reduce the risk of the rotating disc acting as a cutting blade. In 2018, the UCI concluded the trial and legalised the use of disc brakes in all road racing events. While some professional teams still use caliper brakes, which are lighter and may be marginally more aerodynamic, an increasing proportion of teams have switched to discs as of 2018.
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Campbell is responsible for much of the scholarship since. have been slow to allow the Catherine panel as part of the altarpiece, though it is undoubtedly by van der Weyden or a near-contemporary follower. Evidence against this link includes the fact that the moulding of the window to the left of the Gulbenkian female saint is plain, while that next to Saint Joseph is chamfered. Such an inconsistency in a single van der Weyden work is unusual.
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The building is asymmetrically arranged with a number of corrugated zincalume-clad gables of varying heights and skillion-roofed verandah awnings. The verandahs to the south and east are enclosed with lattice panels and the awnings are supported on chamfered timber posts with decorative capitals and brackets. The verandah to the north (former fernery) is enclosed with lattice and timber louvers. The rear extensions and original kitchen wing are also constructed with gabled roof forms interconnecting at varying heights.
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The station is a single-storeyed, timber-framed building, set at ground level. It is clad in chamferboards and has a gabled corrugated iron roof. The rear roof extends over the original station platform and is supported at its outer edge by unusual tapered stop-chamfered timber posts with octagonal capitals and strut brackets. The main front entrance consists of a projecting gabled portico supported on pairs of timber posts and features a timber arch and gable infill.
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The porch, under the overhanging second floor, is supported by chamfered square posts. The kitchen ell is a two-story structure extending to the rear of the main block. The interior of the first floor main block is one large chamber, accessed via doors from a vestibule area, with a stairwell in the southwest and a narrow hall leading to a bathroom and kitchen. There are four bedrooms on the second floor, and two more in the attic space.
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James H. Parker House is a historic home located at Enfield, Halifax County, North Carolina. It was built in 1882, and is a two-story, three bay, Italianate-style frame dwelling. It has a side-gable roof with overhanging eaves and features a one-story porch with a low-hipped roof supported by paired (tripled at the corners) chamfered columns topped by built-up and scroll-sawn brackets. Also on the property is a contributing smokehouse (c.
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In the 1980s the ground floor of the 1883-5 block became a long transverse retail space and after 2004, two counters were formed with joinery and partitions. The entry doors are to each end, and the main retail entry door has been replaced with a reproduction, four-panel timber / glass door. The main chamber has a retailing "overlay" which retains large openings at each end, under raked ceilings. They have fluted reveals, and chamfered, square dressed architraves.
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The main facade is three bays wide, with corner pilasters rising to an entablature and fully pedimented gable. There are two entrances flanking a central window; each is framed by paneled pilasters and a corniced entablature, and topped by a smaller window. The interior has a vestibule under a balcony, which has a pressed tin roof and chamfered square columns for support. The main sanctuary has plaster walls with wainscoting, and its ceiling is also pressed tin.
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By 1638, with the blessing of the Matilde of Savoy, the order of the nuns of the Visitation, founded by Jeanne-Françoise Frémiot de Chantal, were able to found a monastery at the site. Under Matilde's patronage, they were able to commission the church from the architect Francesco Lanfranchi. The chamfered corner location gives the tall Baroque-style domed church a scenographic quality. As typical of Piedmontese Baroque architecture, the dome is close to the entrance.
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The gable ends have a louvered trefoil vent, and the south (front) elevation has a gabled dormer window with a pointed-arch window, a treatment echoed by the paneled main entrance. The south and west sides have shed-roofed porches with chamfered piers. This level of Gothic detailing is considered the finest Gothic in the Hudson Highlands. In 1982 it was added to the National Register of Historic Places as part of the Hudson Highlands Multiple Resource Area.
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Beaton–Powell House, also known as Home Place, is a historic plantation house located at Boykins, Southampton County, Virginia. It was built in 1857, and is a two-story, Greek Revival style, timber frame dwelling with Italianate style embellishments. It features a massive, elaborate two-tiered central portico supported by three conspicuous diagonal braces link together four paired, seven-inch square chamfered columns. and Accompanying four photos It was listed on the National Register of Historic Places in 2008.
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A single-story hip-roofed porch extends across the front, supported by chamfered square posts. Inside, the ground floor houses a dining room and kitchen behind the lobby, with an auditorium space on the second floor. The Danville Junction Grange was organized in 1874, and is one of six to be established in Auburn. It first met in a local school, building its hall was built between 1898 and 1901 (partly reflected in the different foundations for its sections).
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The house's interior has an unusual asymmetrical plan, diverging from the conventional central hall plans that typified area houses of the period. Its main (western) elevation features a series of porches supported by chamfered posts with decorative brackets. The house was built in 1853 by George W. Seaverns, whose only known description is as a "paper worker" in the locally prominent paper industry. A second owner, later in the 19th century, was Charles E. Stevens, president of the Mechanic Falls Manufacturing Company.
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Windows are double hung and finished with sandstone label moulds. The original wide awning on the north side of the building is supported on timber stop chamfered columns with capitals and pattern carved on the centre of the columns. Cast iron brackets provide further embellishment to the columns. Awnings on the south side of the building are typical of the 1902 railway stations in the Blue Mountains with a wide low pitched roof supported on steel brackets supported on stone corbels.
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Above the chancel arch are rood-beam and corbels, but there is no trace of the rood-screen. The churchyard cross Externally there is a projection from the nave which would have been the stairway to the rood loft, which may have been blocked up at the time that the Kemeys monument was installed. In the churchyard there is a modern churchyard cross, standing on the original chamfered base with five steps. Above the porch entrance is a sundial dated 1718.
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Vernacular or Folk Territorial style house in Española, New Mexico To further simulate a Greek Revival appearance the Anglos replaced the round tree trunk columns employed by the Hispanic builders with square ones, typically with chamfered corners. Often they were embellished with trim to simulate capitals and bases. Finally the Anglos introduced the pitched roof and the material to produce them. The ternplate roof was a metal one, made in strips and composed of an alloy of tin and lead.
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The front facade, facing east, is three bays wide, with a central entrance sheltered by an ornate portico with chamfered posts and elliptical arches. Above the entrance are paired round-arch windows; the remaining bays have sash windows. The south facade of the main block has an enclosed Colonial Revival porch extending across most of hits length. The house in 2014 The building interior follows a central-hall plan, with high-quality woodwork and marble fireplace surrounds on the first floor.
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The south chapel is also 14th-century with 15th-century windows, the one on the south side being three-lighted above a later rectangular door. The chancel was possibly reconstructed in the 16th century and has narrow round-topped windows at the east end of the north and south walls. The main east window is cuspless. Internally, the three-bay arcades on each side of the nave are 15th- century and are divided by hollow-chamfered octagonal columns with moulded capitals and bases.
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The church also owns a Jacobean chalice and paten dating to 1628, which is currently on display at the Victoria and Albert Museum. According to Pevsner, the church was rebuilt in 1873 with old materials except for the western wall, which has a triple-chamfered doorway and a sexfoil window that has over it a wavy frame. There is a small cusped lancet to the right. In the church the windows are said to be mostly pairs of lancet windows.
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The church is rendered throughout, with mid-19th-century plain wooden roofs supported by simple arch-braces, finished at their spring by carved stone corbel angels. The nave contains bays with double chamfered pointed arch arcades. The north late 12th-century arcade--Transitional (Cox); Early English (Pevsner)--of four bays is supported by round late Norman piers with simple frustum-style capitals of four facets. The two west bays are separated by a wall, previously the west wall of the nave.
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The hole in the shell, which has a "countersunk" appearance with chamfered edges, and which varies in size according to the species, is a characteristic diagnostic sign of moon snail predation. In the breeding season, the female moon snail lays a rather stiff egg mass which includes sand and mucus. These objects wash up on sandy beaches fairly often, and are known by the common name "sand collars" because of their resemblance to an old-fashioned removable shirt collar or false-collar.
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The Thomas Hunt House was a historic house in rural White County, Arkansas. It was located north of Plainview, on the east side of Arkansas Highway 157, just south of County Road 704. It was a single-story wood frame double-pen structure, with a gabled roof and a projecting front gable with a wraparound porch supported by chamfered posts. Built about 1885, it was a rare surviving example of the double-pen frame form, prior to its destruction by fire in 2015.
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The eight caissons at the interior of the lot are cylindrical and made of steel plates with a reinforced cutting edge and a concrete deck. The thirteen caissons at the lot's perimeter are rectangular and have four vertical sides made of planed timbers; they have a chamfered wooden cutting edge with steel reinforcement. The tops of the caissons were covered by horizontal lagging supported on falsework. The perimeter caissons were situated close together so as to make the foundation waterproof.
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"The Grosvenor Picture Palace" sign above the entrance The two-storey building is rectangular, and is on a corner site with a 3-bay chamfered entrance corner with a pavilion on top. Its facade features green and cream faience and terracotta tiles, and it has 4 bays facing Gosvenor street and 6 bays facing Oxford road. The centre of the Oxford road facade is marked with a raised torch in white terracotta. It has a small attic and a slate roof.
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The walls of the court room are rendered and scored up to a moulded plaster dado, and have painted brickwork above. The ceiling is lined with beaded tongue and groove boards divided by exposed stop-chamfered beams, with turned knobs at the intersections. The space has 4 pane, horizontally pivoting windows to the upper section and large double hung windows with arched heads in the lower section. Centred on each long side of the court are pairs of four-panel entry doors.
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Vol 15. No 4. 2007 376-382 Reproductive BioMedicine Online #Watrelot also recommends the use of a special type of scope with a 30-degree chamfered end which makes it possible to examine the inside of the fallopian tubes and visualise the depths of the folds under 100 fold magnification, so that mucosal damage can be assessed. Watrelot and Dreyfus (2000),Watrelot A & Dreyfus J. Explorations intra-tubaires au cours de la fertiloscopie. Reproduction Humaine et Hormones 13[1], 39-44. 2000.
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The hallway still features a segmented Federal archway with its keystone supported by a pair of reeded pilasters. The hand-hewn beams, doors, trim and wall finishes are also original to that period and style. Later renovations added interior rooms with Greek Revival features such as architraves, moldings, cornices and medallions. In the Victorian era, a Stick style porch with chamfered posts and an intricate cornice molding was built on the front and an oriel window on the southwest side.
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The boarded ceilings have been covered with a later suspended tile ceiling. The east wing is presently under a separate title and was not able to be inspected at the time of writing. It has been divided into retail tenancies with new partitions, ceilings and shopfronts, but above the rooflights and boarded ceilings are still evident. The first floor of the central area is also an open space with stop-chamfered timber posts supporting steel roof beams lined with timber boards.
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The Peter Van Dyke House is an imposing Second Empire structure sheathed in clapboard, with a four-story tower. It is profusely decorated with a porch, small balconies, anddifferently designed brackets along the eavesline, The mansard roof has arched or steeply gabled projecting dormers. The front entrance is located in the base of the tower, and is covered with a small porch with chamfered columns and decorative cornice. The entryway is through paired doors beneath a curved transom containing etched ruby glass.
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The parapet has an east end gable to the nave and to the chancel with an English gothic triplet east window. The chancel has 2 windows in north and south walls, the eastern being a single English gothic lancet window. The wide pointed chancel arch has chamfered archivolt supported on plain corbels with recessed undersides, the chancel floor has been raised in the 19th century with a step at the arch and before the altar. The roof is timber panelled.
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The corners of the verandah have been enclosed to the north for toilets and to the south for a small kitchen. Both enclosed areas open to the verandah. There are four timber casement windows to the west in the south corner and three timber casements windows to the west in the north corner. The open middle portion of the verandah has a timber handrail and two horizontal midrails and a single stop chamfered verandah post at the top of the stair.
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The church has a stunningly modern appearance being whitewashed inside and out, giving it a very neat and clean appearance compared to most English churches. In this respect it resembles many American and German churches and some of the Russian Orthodox Churches. It is also unusual in having a chamfered square tower, giving it an octagonal appearance, in being surmounted with a cupola, a golden globe with weather vane and a fenced viewing platform. These are all extremely unusual features in English churches.
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The chancel, nave and aisles were rebuilt (to the same dimensions as the original building) when English Gothic architecture was at its height, and the chamfered arches, octagonal pillars, chancel arch, blind arches and mouldings are considered good examples of their kind. The king post roof of the nave has also been praised. Interior fittings include a 14th-century Easter sepulchre with an ogee-arched roof, part of a sedilia, some Norman friezework, and a 12th-century square font in good condition.
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The reasons for using titanium as a linerlock material were due to its memory characteristics and corrosion resistance. The screws in the handle, and pivot are traditional straight-head screws to accommodate easy disassembly in the field with an improvised tool, if needed. Most models feature traction grooves for a more secure grip in a wet environment and a chamfered lockface. Early knives were made with black linen micarta and later models featured a proprietary green color made exclusively for Emerson.
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The rooms surrounding the central hall to the north, west and east have timber-lined ceilings, and french doors with arched upper panels opening onto the verandah and fanlights. Brick fireplaces with timber mantelpieces serve six of these rooms. The verandah has chamfered timber posts with cross-braced timber balustrades, and a timber- lined ceiling with exposed rafters. Wylarah Bathhouse and windmill, 1992 The grounds include lawns and gardens to the east and north, and remnants of the original orchard to the west.
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These beams are stop-chamfered and the end beams braced in each corner. The ceiling and walls are lined with timber, v-jointed tongue and groove boards, and the floor with polished timber boards. Fittings and fixtures within the space include a contemporary aluminium rail for picture hanging, reproduction suspended and wall light fittings, switches and power outlets, and strip lighting fitted discreetly to the upper side of the tie beams. A small kitchenette and fridge are located in the south-eastern corner.
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Solomon Wilson Building, also known as the Scheerer Building, is a historic commercial building located at Wabash, Wabash County, Indiana. It was built in 1883, and is a 2 1/2-story, two bay by seven bay, Second Empire style brick building on a stone foundation. It features a mansard roof with and elaborate dormer and a chamfered corner with a second story balcony. Note: This includes and Accompanying photographs It was listed on the National Register of Historic Places in 1984.
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Teague Barn Wabash Importing Company Farm Stable, also known as the Miller Barn, is a historic bank barn located in Noble Township, Wabash County, Indiana. Its original section was built in 1861, and is a three-story, post- and-beam frame barn on a limestone foundation. It measures 40 feet by 80 feet and features a paneled frieze and soffit, sunburst gable vent, and chamfered support posts. Note: This includes It was listed on the National Register of Historic Places in 2002.
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The Gilbert Hadley Three- Decker stands on a residential street west of downtown Worcester, on the west side of Russell Street between Pleasant and Larch Streets. It is a three-story wood frame structure, with a hip roof and clapboarded exterior. Its main facade is three bays wide, with the main entrance in the rightmost bay. A single-story porch extends across the front and wraps around to the right side, and is elaborately finished, with spindled friezes, chamfered posts, and decorative brackets.
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The formal entrance is sheltered by a broad single-bay porch, with chamfered square posts and a carved frieze and brackets. A second porch extends across the front of the ell, which features dormers with tall steeply pitched Gothic roofs. The interior of the house, like the exterior, features highly detailed fine quality woodwork. with The house was built, probably in 1887, to a design by Chester Wood, and is the rural community's only significant example of Second Empire architecture.
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The interior contains cross vaults of flat brick and plaster moldings can be seen in the arches. Other features include cul-de-lampe, cantilevered stone protrusions, while the aisles contain two archivolt ogives and chamfered edging. Pilgrims to this church come for the healing of fear and sore legs, and for the preservation of sheep. The church has a reliquary containing the bones of the patron saint, given by the Bishop of Orléans, transported from Orléans to Gondreville on August 25, 1855.
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The name of the building is painted within the porch gable, and below is painted details of the foundation and consecration. Over the remainder of the building is a corrugated iron gable-ended roof with two roof vents. Above the entry is a cast iron lace archway, and to either side are lace spandrels between paired chamfered timber posts. To the corners are cast iron lace brackets, although some are missing and one has been replaced by a bracket from a window hood.
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Interior of St John the Baptist church The parish church of St John the Baptist was first built in the 13th century. The current rock-faced, sandstone church has a chancel arch from that period and the blocked chamfered pointed doorway may also be from that century. The tower, on the west side of the church and built within the nave, is from the 16th century. In 1891, the church was rebuilt, retaining some of its historic features, by Nicholson and Son.
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In architecture and masonry, the term set-off is given to the horizontal line shown on a floor plan indicating a reduced wall thickness, and consequently the part of the thicker portion appears projecting before the thinner. In plinths, this is generally simply chamfered. In other parts of stonework, the set-off is generally concealed by a projecting stringer. Where, as in parapets, the upper part projects (is "proud of") the lower, the break is generally hid by a corbel watertable.
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The main block is three bays wide, with an elaborate center entrance that has sidelight and transom windows, and pilasters supporting and an entablature with a shallow gable. To its left is a single-story projecting window bay. The building's cornices are bracketed, and there is a porch extending along part of the ell, supported by bracketed chamfered posts. The house was built about 1883 for George McGlashan, a Scottish immigrant who was a part owner of the Maine Red Granite Quarry Company.
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Blacket's reinterpretation of the design is also evident in the internal form of the windows as each features chamfered stone reveals that follow the external gothic pointed arch. In contrast, the windows on Carpenter's drawings have revealing arches. All the church windows feature wire mesh security fittings on the exterior. One of the north windows in the nave and the vestry window have been modified and fitted with a small rectangular hinged section to allow air flow into the building.
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The construction of the wall is different each side of the porch and may indicate that it having been refaced in the 15th century or later. The chamfered plinth is lower on the west side and the east side has a string course which does not feature on the west side. Each side of the porch is a 15th-century three-lighted cinquefoil-headed and traceried window. The west end of the aisle continues past the foot of the tower.
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The floors are lined with non-original carpet or vinyl, coverings which are not of cultural heritage significance. The rooms feature a number of built-in timber cabinets, shelves, work benches, and freestanding furniture that are early or original. Original internal doors are timber with stop-chamfered detailing and have early or original brass (as well as more recent) door furniture. A number of recent doors have been installed throughout the 1909 core and are not of cultural heritage significance.
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The main church building was designed by Alexander Hinshelwood and constructed in 1874. It is described as a Gothic, gabled rectangular-plan church with: a square 3-stage belltower to NE corner with stone spire, squared yellow sandstone coursers with ashlar margins, set-back gabletted buttresses with sawtooth coping and hooded pointed-arch windows with chamfered reveals. The original interior is described as a galleried interior, entered from the narthex with flanking stairs to gallery. Boarded dado and timber pews.
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A skillion roofed verandah runs alongside the long north façade and returns along the adjacent west façade of the postal room. The timber posts are stop chamfered and original lace brackets are no longer in place. Part of the verandah adjacent to the residence is enclosed to form a "sleep-out" partially lined with flywire inserted between the timber studs of the frame. The external brick wall to this area has been painted; the rest of the walling is red face brick.
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The south-eastern elevation is in Flemish bond, while the rear and two sides are in colonial or garden wall bond. All windows and doors feature flat gauged arches with tuck pointing. The steeply pitched hipped roof, which retains the original shingles under the unpainted corrugated iron, is pierced by two tall, corbelled brick chimneys servicing five fireplaces. A timber-floored verandah, deep, surrounds the ground floor, while its concave profile roof is supported by flat, stop-chamfered timber columns.
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A balcony, or mirador, crowned the roof above the interior's stairs with turned balusters. The stairs leads up to the second and third floors and provides access to both wings of the house. The house was built with a chamfered corner, in compliance with the municipal building regulations before. The streets at the commercial concentrations at Binondo and San Nicolas districts in Manila were narrow; thus, corner buildings were mandated to be built with a chamfer or chaflan in 1869.
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The north-east corner of the verandah is chamfered, marking the position of the original gun-post enclosure. The name "MUSGRAVE" is discernable on the roof, painted in large green lettering. Three windows with individual hoods open out of the western facade of the upper floor, which appears to be clad in corrugated iron sheeting. A metal pole and cyclone wire fence bounds the front of the property in approximately the same location as earlier fences (according to early photographs).
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Each bay has leaded diamond paned casement windows, with concrete brackets, nib and hood surrounds. Both elevations have a concrete quarter-turn stair with landing at the eastern end, with a porch at the landing level, leading to the rear doors of the upper flats. The porch has chamfered upper corners and a square concrete corner post, and the stair has a solid concrete balustrade. The northern end has a basement laundry, and the southern end has two basement garages, with a small terrace area above.
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The original corners of the cade were tested at RWDI in Ontario, Canada. A simulation of a 100-year storm at RWDI revealed a vortex that formed during a 3-second wind at a height of 10 meters, or equivalent to the lateral tower sway rate causing large crosswind oscillations. A double chamfered step design was found to dramatically reduce this crosswind oscillation, resulting in the final design's "double stairstep" corner facade. Architect C.Y. Lee also used extensive facade elements to represent the symbolic identity he pursued.
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The pretty Tudor revival style is reminiscent of > contemporary churches and schools designed by the same architect, then > County Surveyor of Antrim. The middle and wing bays of the symmetrical five- > bay front project slightly and have tall double-shouldered gables with > curious finials like inverted gate posts. Beneath the datestone the central > front doorway has a four-centred arch, recessed surround, and a hood > moulding with big cabbage-like bosses all dulled by dark paint. The > intermediate bays have square windows with plain chamfered frames.
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They both have hipped "M" shaped roofs with central valleys and narrow boxed in eaves and are now clad in corrugated iron. They have encircling verandahs with stop chamfered timber columns and shallow concave curved corrugated iron roofs set down and separate from the main roofs. Both have two double brick chimneys with corbelled decoration, added later to the originally simple first stage chimneys. The first stage of the homestead was constructed in 1871 of cypress pine drop logs and the second, in 1879, of stone.
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The interior of each cottage contains four rooms - an enclosed front verandah, a kitchen with original stove recess, a bedroom, and a bathroom extension. All have been renovated at different times and contain a variety of linings, fittings and fixtures. Surviving early fabric includes: framed and ledged timber board doors, early locks and door handles, kitchen cabinets, chamfered architraves, and flat wall and ceiling linings with cover strips. Non- significant elements of the interior include: ceiling fans and lights, bathroom fit-outs, and modern shelving and cabinets.
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The single chamfered bay is particularly ornate, as it recesses slightly and then curves outward in a baroque fashion. At the ground floor, a wide, segmental arch opening with a hood-mould accesses secondary office space. At the upper level, a rectangular doorway is crowned by an intricate cameo with angel figures on either side of it. The upper level bay is framed by Tuscan columns which spring from a string-course at the baluster level and support a projection of the building cornice.
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The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin. The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately on each of the four long sides.
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The north wing verandahs have paired, white painted timber, tuscan columns with stone bases; those to the southern wing have square chamfered timber posts with curved timber brackets at the corners and are partially lattice screened to the west. The northern wing has French doors with large fanlights and timber shutters. The southern wing has casement windows and timber doors with glass panels. The entry hall, in the junction between the two wings, has a panelled cedar door with clear glass fanlight and sidelights at either end.
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Originally, the light comprised reflectors but changed to a dioptric (refracting) mechanism in 1838; the appearance of the original lantern is not known. The present lantern of 1856 is a 4.27 m (14 ft) wide chamfered octagon and the light remained fixed, instead of revolving. The present revolving apparatus was installed in 1873 and gives a group of five flashes, originally driven by a vapourising oil-lamp, but replaced by electric in 1973. The lighthouse is unusual in lacking any sort of harbour or quay facilities.
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Often, with internal splines, the splined portion of the part may not have a through-hole, which precludes use of a pull / push broach or extrusion-type method. Also, if the part is small it may be difficult to fit a milling or grinding tool into the area where the splines are machined. To prevent stress concentrations the ends of the splines are chamfered (as opposed to an abrupt vertical end). Such stress concentrations are a primary cause of failure in poorly designed splines.
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It is fronted by a two-story porch supported by heavy posts, with the second floor of the porch being enclosed. The original four square chamfered porch support posts have been exchanged with simple heavy posts and the original windows were redecorated by extending their frames. Due to the alterations of the house being used as evidence in the case of California v. Harada, its historical integrity and a majority of its features such as its wallpaper, fixtures, and overall structural design have been preserved.
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13 mm x 13 mm. Thus maximum number of faces can be 72, corresponding to an included angle of 5°. Steel polygons are made of high grade steel, hardened and subjected to a suitable heat treatment for stabilisation and the sharp corners are chamfered or rounded off suitably. The reflecting faces are lapped flat to within 0.0001 mm. According to IS : 6987—1973, these are divided into three types, 1, 2 and 3 having working faces between 5—20, 21—40 and 41—72.
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The moulded, stepped base is 'I'-shaped in plan and has bevelled corners. The square columns are stop-chamfered and flank the marble panel, which is visible from two sides. The front of the panel reads "COLINTON HONOUR ROLL" and lists the names of 43 men from the district who served in WWI, in two columns (25 on the left and 18 on the right) roughly in the order they enlisted. The decorative aedicule has a moulded cornice and is mirrored on the north and south faces.
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It is possible that this awning was added at a later stage as a narrower ground floor verandah sits underneath this awning. The ground floor verandah encompasses the hotel and was sheltered by the original line of the upper-verandah. It is decorated with an arched timber valance with crude circular and slot motifs and features slender stop-chamfered timber posts with simple capitals and simple timber brackets. This verandah sits on a raised concrete slab and is punctuated by double French-doors along the building line.
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There are only two windows on the north and south sides of either story, and one small one in the gable ends. The main entrance, in the middle of the south (front) facade, is a pair of doors with a shouldered architrave surround. From the entrance a narrow vestibule leads inside to a central hall where two small stairways on either side go up to the gallery, supported by four plain columns chamfered above the gallery level. Outside of the vestibule, the plain pine flooring is unpainted.
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The Lockers in chancel north wall, with rebated jambs and trefoiled head, stone division or shelf, late 13th¬century. In south transept south wall, rectangular, with chamfered and rebated reveals, 14th-century. In chancel, on the south wall, there is a double piscinae. with two-centred arches the moulding continued to form an intersecting arcade, free shaft to each jamb and in middle, with moulded capitals and bases, shelves within the recess, at level of abaci of side-shafts, two multifoiled drains, mid-13th-century, reset.
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Paddock Mansion, home to the Jefferson County Historical Society Headquarters since 1922, is a historic home located at Watertown in Jefferson County, New York. It was built in 1876 and is a -story brick structure on a high basement in the Stick / Eastlake style. It features a 3-story tower on the southeast corner and the eaves, gables, balconies, and front porch are supported by elaborate turned millwork and chamfered brackets and posts. See also: It was listed on the National Register of Historic Places in 1979.
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Two downpipes with prominent rainwater heads are located either side of the central window and the entrance door is located off-centre beneath the second last line of windows, towards the back lane. The pharmacy is located at street level with a recent shopfront of sliding glass doors to George Street. A deep awning returns around the corner a short distance into Turbot Street and is supported by iron tie-back rods. A doorway situated within the chamfered corner at street level, is no longer used.
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The porch floor is decorated with curlicues. The tower of the church, almost 27 meters high at the western end of the portico is divided into three sections: entrance porch, bell tower and level landing, upon which stands a pavilion topped by an octagonal chamfered cupola. Many of the same decorative motifs appear on the inside as on the exterior fascia; the pilasters of the arcs have the same capitals, and grooved fascia board frames. On the walls of the chapel also appears a ledge, beautifully decorated.
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The HABS analysis observed that the interior details of the house were of particularly high quality. Noteworthy features mentioned included "delicate and almost elaborately carved" fireplace mantels and chamfered joints in the wood paneling on the walls. HABS also saw indications that Sabine Hill's design might have been influenced by architecture in Williamsburg, Virginia, particularly the design features of the Capitol Building there. One design detail noted as similar to features seen in Williamsburg was the use of "marbleized" wood for wainscoting along the stairway.
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The Wesley Copeland House is a historic house in rural western Stone County, Arkansas. Located on the north side of a rural road south of Timbo, it is single-story dogtrot log house, finished in weatherboard and topped by a gable roof that overhangs the front porch. The porch is supported by chamfered square posts, and there is a decorative sawtooth element at its cornice. There are two chimneys, one a hewn stone structure at the western end, and a cut stone structure at the eastern end.
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Elaborate single-storey entrance bays flank the towers, with chamfered arches, ornate mouldings, Ionic columns and a cornice. Above the frieze is a scroll-moulded cartouche which is framed by the upper sections of the columns. Inside, much of Frank Matcham's original work remains, and the design is considered to be one of his finest and to display "his hallmark decorative richness". A narrow foyer leads to an auditorium shaped like a horseshoe, with seats arranged in a circle around it and in front of the stage.
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The detailing of the north-west front is more overtly Baronial, having a central tower-like pavilion with chamfered corners at the upper levels, a tall pyramidal roof, and a quadrant bartizan at the north-east angle. There are attractive interiors, particularly the stair with twisted balusters and timber arcading. Many fittings were moved here in the 1880s by Dorothea Veitch from Bassendean House. On the estate are a picturesque lodge, stables and groom’s cottage, and an artfully composed Z-plan complex including gamekeeper’s cottage and kennels.
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A single step angled buttress supports the aisle north-east corner. To the west of the aisle north windows and above the east of the porch is the aisle roof's single gargoyle- headed drain. The gabled porch at the west of the windows is 13th-century, its doorway with a pointed chamfered arch from the spring of part octagonal responds—half-piers attached to walls supporting an arch—with octagonal capitals. Attached to the responds to the height of the capitals is a cast iron double-gate.
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Plymbridge Drake's Trail The woodland is named after Plymbridge a historic bridge over the River Plym which is Grade II listed with Historic England. A bridge has existed at this location from as early as 1238 with the current bridge being circa 18th century but seated on earlier piers. It is made from Killas rubble with five semi-circular arches having parapets with chamfered granite coping stones. A number of tram and railway lines were constructed to transport granite and slate between Dartmoor and Plymouth.
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The monument was designed by Hobart architectural firm Hutchinson and Walker, after their entry had won a public competition held in 1923 for the structure's design. Their original design was for an obelisk that was to stand high, but it was decided to increase the height to . The obelisk itself is stood upon a stepped plinth made from bluestone, and the obelisk is made from grey granite. The shaft of the obelisk is tapered with chamfered edges and is capped with a pyramidal cap.
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A central supporting wall, forming part of the hallway of the upper level, supports the increased load. The upper level was originally used as a manager's residence. It has a timber balcony with a two- rail dowel balustrade, square stop-chamfered timber posts with shaped timber brackets above capital moulds, and covered by a bullnose corrugated iron roof on two sides. The floor of the balcony has been painted white, with dowels and timber brackets, and red/brown rails and posts on the balustrade.
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The north-western elevation to Mabel Street is the building's front and composed of the side of the enclosed verandah with a window, a central bay with gabled roof and a tripartite window arrangement of three casements and the broad, open verandah. The three-part window has a timber- bracketed, metal sheeting-clad hood. The verandah has stop-chamfered timber posts and dowel balustrading with solid top rail, while its ceiling is lined with tongue-and-groove boards. A series of French doors open onto the verandah.
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The corner section of the principal building, joining the two slab wings is a timber framed residence, clad with horizontal chamfered boards, single storeyed with a loft in the roof space. The building is clad with a corrugated iron gabled roof, the gabled ends on the northern and southern ends of the buildings. The pitch of the roof changes from being steep over the central core to a shallower pitch over the former verandah spaces. Two brick chimneys with corbelled tops project above the roof line.
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Fitzroy Terrace is a colonial Georgian breakfront terrace of seven two-storey houses designed by the architect James Hume in 1846. It is built in stuccoed brick lined out in imitation of ashlar with the central terrace of three stones projecting forward with a gable roof. The gable attic is lit by a semicircular fanlight to the rear and a pivoting sash window to the front. The verandah to the ground floor is supported on simple timber chamfered posts with wide boarded veranda divisions.
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Identified as standard type B/T4, Block D retains important fabric that identifies it as an 1880s Robert Ferguson design. It is a rectangular high-set, timber-framed building with a northern verandah and a gable roof. The walls are clad with weatherboards with ventilated gable ends, and the roof is clad with corrugated metal sheeting. The verandah has stop-chamfered posts and, although the roof space was not inspected, it is likely that the coved ceiling and timber roof trusses survive behind the later suspended ceiling.
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The house is lined on three sides with wide verandahs on both levels. The verandahs are incorporated under the main roof of the building and are supported on single stop chamfered timber posts with decorative cast iron brackets and, on the upper floor, cast iron balustrade panels. A valance of lattice marks the first floor level on the face of the verandah. The front facade of the building is symmetrically arranged and two large timber sash windows flank a central doorway framing double timber doors.
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Located in a central position on the Walker street boundary of the hospital site are four substantial rendered masonry gate posts with cast iron palisade gate. The central two gate posts are larger than the flanking posts and all feature steeply pitched double gabled cap. The faces of the central posts have trefoiled lancet-type recesses and this motif is repeated on the smaller posts with circular recesses housing trefoils. The corner edges of the posts are chamfered and the posts have enlarged bases.
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The two end bays have stop-chamfered corners to the ground and first floors which are rendered and painted. Engaged columns capped with foliated convex elements are located within the stop chamfers. Each end bay has a centrally located segmental arch which surrounds a rendered section containing two lancet-type windows with semi-circular heads. The first floor levels have three similarly styled windows, symmetrically placed, and the second floor levels have larger scale windows which project above the eaves line and have curved pediments.
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The two-story commercial and residential building occupies a corner lot on a main thoroughfare that leads to Davenport's Central Business District. It takes advantage of its location with two public façades and a chamfered corner, which is a common feature for corner commercial buildings in Davenport and across Iowa. The building also features a low hipped roof and dormers. The decorative elements are found in the pilasters and brick corbelling between floors at the corner and the west façade and at the cornice level.
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St Mary the Virgin, Hanbury - from the south The church, in the Early English and Georgian styles, is of part- dressed, coursed sandstone rubble and part sandstone ashlar, with slate and plain tiled roofs with parapets at the gable ends. There is a tower at the west, which was rebuilt in 1793, with three stages, three strings and a chamfered plinth. It has diagonal corner buttresses and pointed-arched cusped panels. The lowest stage of the tower serves as a porch and west entrance.
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At the top, a modern clock is placed below the eaves of the roof. The walls of the tower are mortared. Two staircases are connected to the tower, a spiral staircase with continuous windows with chamfered jambs on the south side, on the north side a renaissance rectangular staircase, which also covers the western frontage of the north aisle. On the ground floor of the tower there is a renaissance portal, which is semi-circularly arched and currently serves as the main entrance to the temple.
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The timber building comprises two intersecting barrel vaults, producing four identical round arched entrances at the ends of the vaults. Surmounting the point of intersection of the vaults is a tall fleche, in the form of a tower and dome, which doubles the full height of the building. The vaulted sections of the building are constructed with timber framed walls clad externally with horizontal chamfered timber boards and internally with diagonally laid tongue- and-groove boarding. The curved roofs of the vaults are formed with corrugated iron.
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Musgrave House is a low set timber building with a hipped, painted corrugated iron roof located on a corner block overlooking Cabbage Tree Creek and the foreshore reserve. The building faces south-east and the large block backs on to the Sandgate Golf Course. The building has a strong symmetry with a centrally located front verandah, central steps and extensions at each end. Wide eaves overhang the verandah which has a delicately detailed timber valance, dowel balustrades and chamfered timber posts with moulded timber capitals.
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The building has side entrances facing Battery Park which are labeled "First Class" and "Cabin Class". The facade of the ground through 12th stories is composed of buff-colored Indiana Limestone, which replaced the original cladding of red Milwaukee brick and sandstone. Though the spandrels of the windows are of green marble, and the water table below the first story is faced with granite. The southwestern and southeastern corners of the building, facing Battery Park, are chamfered and contain entrance doorways at the base.
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A second wing was added in 1860 which housed a second dormitory and a northern extension between the house and dormitories adding a dining room, kitchen and pantries. In 1861, the courtyard was enclosed by erecting an interior balcony supported by chamfered posts with dentilated moldings. Identical stairways, flanking the arched double-door leading to the chapel, ascended from the east end of the courtyard and connected to the second-story rooms. Light was provided by an octagonal windowed cupola centered in the roof of the courtyard.
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The house has very simplified Queen > Anne-style detailing in its milled porch columns and railing which extends > around three facades of the projecting wing. The house has a gable roof of > original metal standing seam, interior brick chimneys, a concrete block and > poured concrete foundation, and exterior of weatherboard siding. On the main > (W), south, and east facades is a two-story wraparound porch. The porch has > a concrete floor, original chamfered wood columns, cut out eave brackets, > and an original milled railing with square balusters.
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The Pierce House is a historic house at 128 Salem Street in Reading, Massachusetts. The 2.5 story wood frame house was built sometime between 1875 and 1880 for Samuel Pierce, owner of the nearby Pierce Organ Pipe Factory. The house has Stick style/Eastlake style features, including a steeply pitched gable roof with exposed rafter ends, and an elaborately decorated entry porch with square chamfered columns and brackets in the eaves. The house was listed on the National Register of Historic Places in 1984.
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The stone-built structure is in the Louis XVI style, a derivative of Neoclassical architecture. Elements of the Edwardian Baroque style, which Clayton & Black used in their 1904 commission at 163 North Street, have also been identified. The building has been said to stand "glowering ... across the entrance to Bond Street" at T.B. Whinney's Edwardian/Italianate Midland Bank branch of 1902. The two-storey building has six windows facing North Street, a chamfered corner entrance bay and three windows to each floor facing Bond Street.
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The Edward Frisbie House is located in eastern Branford, on the south side of East Main Street (United States Route 1) near its junction with Baldwin Drive. It is a 2-1/2 story wood frame structure, with a gabled roof, central chimney, and clapboarded exterior. A single-story shed-roof porch extends across the right side, with chamfered square posts and arched valances between them. The main facade faces north, and is five bays wide, with sash windows arranged symmetrically around the center entrance.
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Both elevations have concrete quarter-turn stairs with landings at the eastern end, with a porch at the landing level, leading to the rear doors of the first and second floor flats (the stairs to the second floor flats have more flights). The porches have chamfered upper corners and square concrete corner posts, and the stairs have metal rail balustrade with a circular pattern. A disused garbage chute is adjacent to each porch. The below floor area of the southern end of the building has been enclosed to form a small, one bedroom flat.
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The unusual urn-shaped font is carved from local stone with gadrooning and dates to 1771. The south aisle has five bays to the nave and is fitted with Decorated-style windows with the string course continuing above the 16th-century stone chamfered and carved pointed-arched priest's door. The gabled porch dates to the 15th-century while an 18th-century sundial is fitted above the 15th-century doorway. Inside the porch a 14th-century stoup can be found to the right while an image niche above the Norman doorway dates to about 1200.
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The gatehouse The house has five windows in the three-storey main block between small circular turrets with other octagonal and hexagonal towers. In front of the house is a terrace with a trefoil pierced parapet with statutes of lions rampant with swords on embattled octagonal gate piers which flank six steps. The coachhouse has a tall circular turret and contained a granary on the first floor. The gatehouse consists of a Chamfered double arch, with a parapet between circular embattled towers, with cast iron gates with heraldic motifs.
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The Kirkstall Viaduct remains in use today, with sections of the former Leeds Northern Railway line linking Leeds and Harrogate and connecting to . However, its immediate surroundings are mostly 20th century industrial buildings and industrial parks, which replaced the residential back-to-backs. Grainger supervised the construction of the whole the line from to Stockton-on-Tees via and ; his design features twenty-one segmental arches on large rusticated piers, with chamfered voussoirs and a moulded cornice and parapet. At its south end, over the canal, is a low elliptical arch.
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Wide verandahs to three sides are supported by chamfered timber posts with capitals and brackets, and feature fine cast-iron balustrading and a deep lattice frieze. Fire escapes have been added, and an early garage of lesser quality has been attached to the northeast wall. The main house comprises entrance vestibule, stair hall, living and dining rooms, study, library, breakfast room (with cellar below), and strongroom on the ground floor, and six bedrooms and two bathrooms on the first floor. Extra kitchens and bathrooms have been added throughout the house since the original construction.
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The Spring Bluff Station building is a single storeyed rectangular timber structure, centrally positioned on the south-east facing station platform. The building is timber-framed and clad with chamferboards, except for the rear elevation, which has exposed stud framing to the shelter shed and ladies waiting room (which appear to be the earliest sections of the building). The whole is set on low set concrete stumping. A gabled roof of corrugated iron projects towards the platform, supported by curved and chamfered timber brackets with single-faced bosses.
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Some of the building's timber verandahs were originally enclosed with weatherboarding, while others have been more recently enclosed with flat sheeting or chamferboards. Original timber verandah decoration, including stop chamfered posts, decorative post capitals and brackets, and solid timber valances, remains in many parts of the building, particularly on the facade addressing Cunningham Street. The ground floor verandah ceilings are lined with ripple iron sheeting, whilst those on the first floor are raked and have v-jointed timber board linings. Areas of unenclosed verandah have exposed timber floors.
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There was a genuine Tympanum in the north transept. The chancel was restored in the 14th century with ubiquitous window tracery. The oldest part of the church, the south arcade may have been built in the reign of Richard the Lion Heart, when Norman knights began to build churches in the county. The columnaded north arcade was built under King John characterised by leaf crockets, quatrefoils, and double-chamfered beams. Bromyard church was early favoured by generous benefactors, as the Hereford Red Book of the Exchequer testified in 1277.
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There is a simple chamfered doorway at ground level in the south wall, giving access to the sunken ground floor store room. The main entrance, also in the south wall, is on the first floor; this is currently reached via a stairway added around 1846, but would originally have been reached using a ladder. Above this entrance is an armorial panel, with the initials of Alexander Innes, who built the tower, and of Robert Innes of Invermarkie, his feudal superior. Also mentioned are Janet Reid, Alexander Innes's first wife, and Kate Gordon, his second.
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Both rooms had a centrally oriented chimney-stack on the south (rear) side, rising from fireplaces in the rooms to the roof. Only the general layout of these rooms can now be made out; parts of two original arched doorways between the two medieval rooms, and a chamfered arched opening, are the only other 13th- century features. After the Dissolution of the Monasteries, the Crown took possession of the manor and the Elrington family became tenants of the Crown. The transfer was completed in 1561, at which time the property was valued at £38.12s.4d.
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The frame -story building is placed on a low brick foundation of piers with a gabled roof and interior chimneys. A one-story veranda with a shed roof and chamfered posts, runs the width of the house on the riverside and the central dormer has glass doors cut into the eave of the roof and veranda. It is believed the house was built around 1795 and enlarged in the 1820s. The owner in 1863 was Colonel Ephraim Mikell Seabrook who had acquired the property from Dr. William Lowndes Hamilton in 1855.
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Lanthanum decahydride is a polyhydride or superhydride compound of lanthanum and hydrogen (LaH10) that shows promise of being a high-temperature superconductor. It has a superconducting transition temperature TC ~ at a pressure of 150 gigapascals (GPa), which is a record high as of 2019, and its synthesis required pressures above ~160 GPa. A cubic form can be synthezised at , and a hexagonal crystal structure can be formed at room temperature. The cubic form has each lanthanum atom surrounded by 32 hydrogen atoms, which form the vertices of an 18 faced shape called a chamfered cube.
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Door and window openings have elaborate sandstone reveals and triangular pediments. The awnings on both sides of the building have corrugated steel skillion roofs and elaborate decorative steel awning brackets, mounted on sandstone wall brackets. There is a small weatherboard addition to the south end of the main platform building which has 4 early stop chamfered timber posts at each corner, indicating that this is a weatherboard infill structure within an originally open awning structure. There are modern security screens to windows, and some modern timber flush doors.
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An asphalt driveway goes to the north of the building to the outbuildings in the rear. From it a stone walkway runs diagonally to the entrance. The house itself is two stories high, sided in clapboard three bays by three, with an exposed basement of mortared rubblestone faced in brick and mansard roof shingled in square and diamond-shaped wood. Steep stairs rise on the east (front) facade to the flat-roofed porch, detailed with chamfered posts and scroll-sawn brackets and railing to create a Picturesque effect.
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Bankstown ATC tower is composed of a square four-storey base in reinforced concrete with a face brick cladding, below a rectangular cantilevered walkway, also in reinforced concrete, around an octagonal cabin. The cabin is raised on a part-chamfered half-height duct and service space and octagonal cabin. The tower is built on standard raft footings, with a central stair in reinforced concrete. A single- storey brick wing (radio equipment room) extends westward from the tower base and a power house is located a short distance to the north.
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The shallow nave roof was re-pitched in about 1500 and has four bays with chamfered tie-beams and Perpendicular arcading, supported on carved struts on stone corbels. There is early plate tracery in the east window with a small Norman piscina and a 13th-century double piscina above. There is a low wide arch to the south transept with vestiges of mural paintings in reveal of the east window of the transept. There is an 18th-century communion rail and many monuments from the 17th and 18th centuries, particularly wall-mounted in the chancel.
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Both of the Smallwood Drive groupings of stones on the north side of Main Street have dominant octagonal gatehouses built upon four pairs of stained heavy timber columns supported by quarry-faced random ashlar half-walls on cut stone chamfered bases. The bases flank Smallwood Drive's concrete parallel sidewalks run along through the centerline of the gatehouses. The Main Street sidewalk passes in front of the gatehouses. The columns are braced with heavy timber lintel on open sides supported by pegged heavy timber brackets that form a lancet-head arch.
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The structures are topped by steeply-pitched and flared standing seam copper roofs that have weathervanes that are located nearly two stories above the street land grading and that depict flying birds. The Smallwood Drive gatehouse sides have tall and slightly tapered have quarry- faced random ashlar stone posts with chamfered corners on stone bases. These posts support flat cast capitals beneath wrought iron balustrades with filigreed corners. The structures still host original hexagonal metal and glass light fixtures that hang from metal brackets on the Smallwood Drive post faces.
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It also features a 2.1 MP front-facing camera and an 8.0 MP AF rear-facing camera without LED flash. It also has the ability to record HD videos. The hardware home button serves as the fingerprint sensor. The Galaxy Tab S2 9.7 takes design cues from the 2014 Galaxy Note 4 and 2015 Galaxy A series phones because the device has a painted metal frame with chamfered edges and a plastic back, along with a camera design similar to the Galaxy S6 It is available in black, white, or gold/beige colors.
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The capitals are frustum-style of four facets, with abaci of floriate detailing reminiscent of crocketing, except that on the pier respond at the west carved as flat leaf. In both aisles either side of the nave are rows of pews, provided by Sir Edmund Turnor in 1700. Within the south aisle are two stained glass windows. The chamfered chancel arch sits on polygonal responds with part octagonal capitals in which are embossed and painted cyphers of King George VI between lily floral motifs on one, and rose on the other.
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The 2-1/2 story wood frame house was built in 1881 by Winand Toussaint, a Belgian immigrant who worked in the furniture business, and may have been the designer of the house. It is an architecturally eclectic work, with elements of Second Empire (the mansard roof), Stick style, and Gothic Revival. The house has a cupola, and perhaps most distinctively, the house's corners are chamfered, with the main entrance at one of the angled ends. The house was listed on the National Register of Historic Places on October 17, 1985.
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At the top of the roof is an orange wooden cupola with octagonal rounded roof supported by round arches with keys and surrounded by a balustrade with chamfered newels and pointed finials. A stone water table runs around the building at the level of the top of the entrance steps. On both east and west facades are a nearly identical projecting two-story pavilion with a central pediment with returns. The centrally located entrances, reached by a set of stone steps, are double doors in concentric recessed round arches.
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West front of St Mary Guildhall The exterior of the west range faces Lincoln High Street, The facade consists of five bays, has shallow buttresses, chamfered plinth and band of Romanesque decoration with bird and beast masks to the northern part. Nearly central to the limestone frontage is moulded carriageway arch with segmental pointed inner arch, flanked by single buttresses. Above it are two reset masks. In the courtyard behind is a two-storey building, two bays, known as the Norman House, with a shallow central buttress and a moulded first-floor band.
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It is of ironstone and limestone work with a Collyweston slate roof. Ashlar is used in the east wall above the spring of the east window, and in the cornerstones and plinth. Twin stepped diagonal buttresses are at the south-east and north-east corners, with a further angled buttress on the south wall. A moulded plinth runs below windows on the east wall, and on the south wall where at the west, it is broken by a pointed doorway with chamfered opening and hood mould; the door is planked with decorative metal face hinges.
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The core has a gable roof which intersects at right angles with a gable roof over the western addition. A set of centrally located timber stairs provide access to the front verandah which has a balustrade with circular section balusters and is enclosed with metal framed insect screens. The front door is opposite the stairs and opens into the centrally located sitting room. It is flanked with double hung windows, the frames of which feature a chamfered detailing, and additional doors are located at right angles to the front face at either end.
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There is a restored shouldered-arched piscina in the south chancel wall. The diagonal offset buttresses next to the 3 stage tower have heavy plinth moulding broken by a pointed-arched west doorway, a 19th century restored 2-light window on the west side and small chamfered square-headed opening next to the middle stage on the north and south sides. There are 2-light belfry openings with rectilinear tracery and stone slate louvres. The buttresses at belfry level are clasping and the east pair are terminated above the nave roof with carved corbels.
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It is a three-story structure with a limestone facade on Jefferson Street, brick along Fourth Street, and a chamfered corner that joins the two elevations. The Jefferson street facade is livelier with short towers, pilasters between the widows, and Gothic arched hoods over tall, narrow windows. The Fourth Street facade is flatter, with wider windows and stone used for the keystones, hood molds, imposts, window sills, small columns and belt courses. with The building was built as an investment by local businessmen Thomas Hedge, Sr., E.H. Carpenter, John M. Gregg, and Wesley Bonar.
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1850 core consist of the relative sections of exterior walls, chamfered corner, door/window openings, and some internal structural walls. The ground floor has an awning to both Ann and Brunswick Streets. The awning is supported by metal tie rods fixed to the face of the building at the first floor window head height. The first and second floors have predominantly regularly spaced aluminium-framed hopper windows to the Ann Street elevation, and aluminium framed French doors with metal balustrades to the Brunswick Street elevation, with continuous cantilevered metal awnings.
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The Theodore Dean House is a historic house located at 26 Dean Street in Taunton, Massachusetts. The 2-1/2 story Italianate style frame house features a central gable pavilion and a front porch carried on chamfered posts. It was built in 1866 for Theodore Dean, who was the last owner of the Taunton Iron Works and president of the Eagle Cotton Mill,History of Bristol County, 1883 and president of a local bank. Dean's family had a long history in the community, establishing the iron works in the 17th century.
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Tap end studs have threads at extreme ends of the body with unequal thread engagement length, while double end stud bolts have equal thread length at both ends. Apart from these there are stud bolts for flanges which are fully threaded studs with chamfered ends, and double end studs with reduced shank for special bolting applications. For studs that are not completely threaded, there are two types of studs: full- bodied studs, and undercut studs. Full-bodied studs have a shank equal to the major diameter of the thread.
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In the centre is a chamfered doorway with a moulded arched head and carved spandrels above which is a canted oriel window with a steep roof against a gable with pinnacles and a finial at the top. The building is Grade II listed. The 1897 extension designed by Joseph Gibbon Sankey, at the rear of the building, was built in red brick and terracotta with Art Nouveau decoration. In 2014 the 1960s Chatham Tower was refurbished and the Benzie Building was built, to provide additional studio and exhibition space for the art school.
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One of the area's best Italianate cottages, the house's general plan features an ell, which the main entrance faces and into which the porch is placed. Some of the house's most elaborate features appear on the porch, including its delicate balustrade, the transom window over the front door, and chamfered pillars. Placed at different parts of the exterior are wide eaves with cornice, while the window hoods feature "gingerbread" carven brackets and decorative bargeboards. Combined with other lesser features, these elements produce the appearance of a master-designed house on a small scale.
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In the churchyard by the west wall are five tapering coffin lids of the 12th or 13th century with hollow chamfered edges. One shows faint traces of a raised cross. Relaid in the pavement outside the west doorway are about 150 inlaid slip tiles, square, of two patterns: one has a fish in a vesica piscis, four of the tiles forming a complete circular design; the other has a whorl of foliage forming part, probably, of a border pattern: late 13th or early 14th century. They are suffering from wear in their present position.
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Backed edge blades have one of the edges, generally a side one, rounded or chamfered by abrupt retouching. There are fewer types of these blades, and may be divided into those where the entire edge is rounded and those where only a part is rounded, or even straight. They are fundamental in the blade-forming processes, and from them, innumerable other types were developed. Dufour bladelets are up to three centimeters in length, finely shaped with a curved profile whose retouches are semi-abrupt and which characterize a particular phase of the Aurignacian period.
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To the northern (rear) of this bay the verandahs are timber framed with simple turned balusters, stop chamfered columns and fretwork brackets and infill mouldings. To the south of the central bay the verandah is stone on the ground level and timber above. The verandah fascia, at first floor level, is lined with a decorative timber panel with trefoil arched cutouts. Internally, the building is arranged around a central corridor running east west through both levels of the building from which smaller rooms are accessed, with major rooms in the transverse wings.
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The former Worcester Village School building stands on the south side of Calais Road, a short way east of the crossroads center of Worcester's main village. It is a 2-1/2 story wood frame building, with a front-facing gable roof and exterior finished mainly in wooden clapboards. The front facade is symmetrical, with a pair of entrances sheltered by a hip-roofed single-story porch supported by chamfered square posts. Bands of fishscale shingles separate the first and second floors, with paired sash windows on the second floor.
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Base, dome, and minaret The focus and climax of the Taj Mahal complex is the symmetrical white marble tomb; a cubic building with chamfered corners, with arched recesses known as pishtaqs. It is topped by a large dome and several pillared, roofed chhatris. In plan, it has a near perfect symmetry about 4 axes. It comprises 4 floors; the lower basement storey containing the tombs of Jahan and Mumtaz, the entrance storey containing identical cenotaphs of the tombs below in a much more elaborate chamber, an ambulatory storey and a roof terrace.
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This gives the cutting edge greater strength at the expense of sharpness. Cold chisels come in a variety of sizes, from fine engraving tools that are tapped with very light hammers, to massive tools that are driven with sledgehammers. Cold chisels are forged to shape and hardened and tempered (to a blue colour) at the cutting edge. The head of the chisel is chamfered to slow down the formation of the mushroom shape caused by hammering and is left soft to avoid brittle fracture splintering from hammer blows.
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Diagram showing floor truss system and concrete floor over steel pans The towers were designed as framed tube structures, which provided tenants with open floor plans uninterrupted by columns or walls. The buildings were square and on each side but had chamfered corners making the exterior of each building roughly wide. Numerous, closely spaced perimeter columns provided much of the strength to the structure, along with gravity load shared with the steel box columns of the core. Above the tenth floor, there were 59 perimeter columns along each face of the building spaced on center.
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At the level of the row are three round-headed chamfered arches, the piers of which pass down to the ground level, at the sides of the windows and entrance of the shop at this level. Above the arches, in Gothic script, is the inscription "Three Old Arches". Duplicated at the tops of the piers, between the arches, is the date "1274 AD". Above the arches are three sash windows, each with 12 panes and, in the top storey is another sash window, this one being tripartite, with 4:12:4 panes.
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The tower at the west end is narrow and relatively short; it has much narrow lancet windows and contains three bells, one of which may be 15th-century. In its present form, the church consists of a chancel with barrel roof and chamfered arch, nave with no aisles, vestry with an elaborate chimney, and a timber- framed, hipped-roofed porch. Ewan Christian's renovations in 1878 added a set of intricately carved choir stalls; one of the carvings represents a Native American. There are memorial tablets and stained glass windows commemorating members of the Stanford family.
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Some original timber verandah balustrading and chamfered posts are visible, again with the majority being sheeted over. Doors are panelled timber with fanlights, walls are plastered, and ceilings are boarded, some of which have been sheeted over with hardboard. Evidence of the former corridor linking the now demolished post-1899 extensions is visible in the first floor at the southern end, with timber and glass partitions dividing the space. The basement level has exposed porphyry walls to the lightwell, and a later lean- to bathroom is located on the south corner accessed via the verandah.
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Bridge at Stanton Drew The narrow limestone bridge over the River Chew is possibly 13th or 14th-century in origin with more recent repairs. The bridge spans about 12 metres, about 5 metres across footway, parapet wall to each side, about one metre high. Each side has two pointed arches with chamfered mouldings and relieving arch, central cutwater with off-sets to each side and pyramidal stone top, inner ribs to vaults; on east side, oval plaque with illegible inscription and strengthening with exposed steel girder. Ancient Monument Avon no. 162.
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The original corniced ceiling of the main hall is currently concealed by a lowered fake ceiling. Platform 3 has kept its original canopy with its elaborate cast iron brackets which depict cherries. some of the original chamfered wood and cast iron supports of the original canopy survive on platform 2. The station has similarities with other listed stations built at around the same time such as the listed Ladywell railway station, Blackheath station and Gravesend railway station which has the same elaborate cast iron supporting brackets as can be found at Lewisham.
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One of the chains, taken from the original Hungerford Bridge on the Thames Although similar in size the bridge towers are not identical in design, the Clifton tower having side cut-outs whilst the Leigh tower has more pointed arches and chamfered edges. Brunel's original plan proposed they be topped with then-fashionable sphinxes, but the ornaments were never constructed. Looking up at the arched ceiling of the interior of the abutment under the Leigh Woods side of the bridge, showing stalactites. The Leigh Woods tower stands atop a red sandstone-clad abutment.
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The two-storeyed filigree verandah extends over the footpath to the south and part of the east side, then continues along the eastern and western facades. It has stop-chamfered timber posts which are tripled at the splayed corner. The upper level mostly has a cast iron balustrade, with a cast iron fringe and brackets below, but as the eastern verandah returns the balustrade becomes timber lattice with a boarded valance below. The verandahs have a bull-nosed roof with shaped rafters, and a ripple iron underside with internal gutters to its perimeter.
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The neighborhood tavern was and is a fixture in what was a predominantly working-class German neighborhood of Davenport. This two-story commercial building capitalizes on its corner location by way of the building's main entrance that was placed in a chamfered corner. The oriel window on the east side indicates the location of the residential space above the tavern, which was a common feature in many of Davenport's small commercial buildings from the 19th and early 20th century. The structure is composed of brick, built on a stone foundation.
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The gripper rails are not fitted in the top and bottom stations, around Llanberis yard, on any pointwork, nor on the less steep lengths of railway just out of Llanberis and near Waterfall. At the beginning of the sections of gripper rail, the ends are staggered and chamfered to help guide the gripper into place. If a broken rack bar lifts under a locomotive, it can strike the gripper and jam under the train. In such an incident, the gripper has to be cut away in order to rescue the train.
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Saltwood, 2006 Saltwood is a single- storeyed chamferboard residence, with a hipped corrugated iron roof, located on the southern corner of Swan Street and Shorncliffe Parade. The building is sited on the crest of a rise opposite Moora park, with views over Moreton Bay and to the islands beyond. The building has concrete stumps and is built close to the corner boundary, with a large lawn to the east. The earliest northern section of the building has verandahs to three sides, with shaped timber brackets, chamfered posts with capitals, cross-braced balustrade and boarded ceilings.
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The Baldwin Spencer Building is constructed in stone and brick, which is styled in a type of the Early English Gothic. The key architectural elements include the heavily rusticated freestone walls, buttresses, a conical roofed round turret with spiral stair, dressed stone arched window heads, drip moulds and a parapet decorated with trefoils. Internally the original theatre, laboratory and staircases are still retained; one of the laboratories still contains its original slate benches. In the library, the ceiling is panelled timber with chamfered beams and decorated cast-iron vents.
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The George Bentley House is located in a residential area east of downtown Worcester, on the south side of Earle Street between Edward and Elizabeth Streets. It is a 1-1/2 story wood frame structure, mostly finished in modern siding. It has a steeply pitched gable roof with original bargeboard in the eaves, a bracketed hood over its front entry, and a side porch with elaborate woodwork trim and chamfered posts. The windows have decorative hood molding, and there are gabled dormers projecting from the roof faces.
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Above this is a smooth faced marble step capped with cyma recta mouldings and a leaded unveiling inscription on the front face. This is surmounted by a marble plinth carved to represent chamfered blocks and capped with a simple cornice. Rising from the plinth is the pedestal comprising recessed square plates of a finer marble with engaged pillars at each corner. The recessed plates bear the leaded names of the 292 local men who served in the first World War, including the 38 fallen whose names are recorded on the front face.
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The loco office is a low-set gabled timber building with a corrugated iron roof, set on concrete stumps and clad with chamferboards. Three of its verandahs are now enclosed and incorporated into the internal space. The open south-west verandah has stop- chamfered timber posts, simple strut brackets, and a timber handrail. The pay office is a weatherboard-clad timber structure with a gabled corrugated iron roof, connected by covered verandahs to the traffic manager and engineer's office and to the former loco office to the north.
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The next four and a half bays (two bays wide) are to the north-east of the original refreshment rooms and are an extension of the original design for the main station building. To the north-west of refreshment rooms is a new canopy erected to cover a steam locomotive. From the refreshment rooms, the platform is an island, servicing tracks on both sides. The first nine bays maintain the original bell-cast roof profile, while the final 24 bays are a higher, simple pitched roof with stop chamfered timber posts and angle strut brackets.
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The present house The present structure has been described as an extended house of considerable complexity and charm. Cellars in the west wing probably belong to the original building, while two small chamfered windows in the west gable seem to be the oldest features. There are fragments of the adjacent tower, which was demolished 1947, adhering to the east elevation. The rebuilding in the 17th century consists of an imposing seven-window harled front with an ashlar-faced three window centre, which is topped by a semicircular pediment, slightly advanced.
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Two-bay chancel with one window of 2-trefoil headed lights and cinquefoil in roundel with hood- mould to west and 3-light window to east with trefoils and cusping to outer lights flanking central trefoil headed light with trefoil roundel above, hoodmould, central stepped buttress and diagonal buttressing to east end. Interior: nave: trussed rafter roof. Open wagon roof to chancel; south arcade: three bays, simple chamfered piers without capitals. The land was given by Mrs Catherine Marriott, Lady of the Manor of Goodrich, so that the new church could be built.
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The Franklin Fairbanks House stands west of downtown St. Johnsbury, on the south side of Western Avenue (United States Route 2), between the Fairbanks Inn and the St. Johnsbury School. It is a 2-1/2 story wood frame structure, with a hip roof, clapboarded exterior, and brick foundation. It has a basic T-shaped layout, with gabled projections to both sides, with its main facade oriented facing east. It has high-style Italianate decorative features, including roof dormers with finials, a bracketed cornice, polygonal window bays, and a porch with chamfered posts.
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The entrance is set in the chamfered corner and is set below a Diocletian window and a series of bas-reliefs. ;Imperial Arcade, Western Road, Brighton (1923–24) "Unmistakably Art Deco" and resembling the prow of a ship, this curved shopping arcade is highly visible on its corner site and has strong horizontal lines contrasting with tall vertical windows. Hove's former fire station dates from 1926. ;Hove Fire Station, Hove Street, Hove (1926) Hove's new fire station, replacing an outdated facility in George Street, opened on 2 June 1926.
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The interior walls are constructed of granite, dividing individual spaces, with a staircase between floors addorsed to the south wall. The ground floor has a central pillar of granite, with chamfered rectangular section, paved with stone slabs and wood beams that support the first floor. The first floor includes wood flooring, with a similar central pilar, that is narrower and a two-flight wood staircase providing access to the second floor. The second floor has ample space, with wood flooring, and support for the ceiling and small trapdoor with movable iron staircase.
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Kolt Church consists of Romanesque apse, chancel and nave with two late-Medieval additions: the porch in the south and the tower in the west. The Romanesque sections are built of rough and hewn granite boulders on a chamfered base; ashlar were used in the corners and around the windows and doors. Gothic vaults were included in the chancel and nave in the late Middle Age. In the masonry of the tower a quantity of re- used granite ashlar is included which may have been brought here from a demolished church.
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The Asa Locke House is set on the south side of High Street, at the southeast corner with Overlook Way, in what is now a predominantly residential suburban area. It is a 2-1/2 story wood frame structure, three bays wide, with a front- facing gable roof and clapboard siding. A single-story porch extends across the north-facing front and around to the east side, supported by chamfered square posts with segmented-arch bracketing. The front door is set to one side, with full-length windows in the side base.
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The porch is supported by chamfered square posts, with large carved braces supporting its roof. The house was built in 1886 by Frank and Emma Cole, who lived there until 1929. Since its listing on the National Register, it has been recorded as demolished by the Massachusetts Historical Commission. It was originally set directly at the corner of Mason Street and Highland Avenue, but has been moved a short distance north of its original location and is now oriented facing Highland Avenue, standing on a new foundation with a garage underneath.
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The ground-floor windows are recessed, arched and set in surrounds with deep rustication and large keystones. A cornice between the ground and first floors supports Ionic columns in antis which rise through two storeys. The three bays which form towers are heavily rusticated—the outermost right to the top, and the chamfered entrance bay just at first- and second-floor levels, as far as a flattened semicircular pediment with the Royal Assurance Company's arms and an inscription. Above this is the clock face, then the slightly recessed cupola.
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Most buildings in the group do not feature iron: it is only present in the cast iron front of the building constructed as a store. Typical houses in the row feature porches with hip roofs, wooden posts with chamfered and reeded details, lattice-shaped valences, and ornamental brackets. Setting the complex apart from almost all other groups of rowhouses in the city is its general architectural style: it is a clear example of the Queen Anne style of architecture, which was rarely employed in the construction of rowhouses in Cincinnati.
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The building has a symmetrical elevation facing Julius Street to the northwest. This comprises a central recessed section containing the entrance stair and landings, with projecting wings, stepped in plan, to both sides. Either side of the entrance section, diamond paned corner windows step out to a small room with a chamfered outside corner, formerly the 'smoker's balcony', which has been enclosed with aluminium framed sliding windows. Each wing culminates in a projecting gable section, jettied at the first floor, with central diamond paned casement windows and cantilevered sunhoods, with timber shutters to the ground level.
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Syncarpia, a two- storeyed structure finished in imitation half-timbering, has a tiled hipped roof and concrete stumps. The building, located between Green Gables and Ainslie, has Old English architectural styling references, and fronts Julius Street to the southeast. The building has a symmetrical elevation to Julius Street, with a recessed central section comprising a ground floor verandah, and multi-paned casement windows with tiled hipped window hoods to the first floor. The verandah has a tiled skillion roof, timber floor, central square timber posts, and corner columns composed of chamfered posts with stucco infill panels.
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Bradwall Hall, 19th-century drawing Bradwall is home to three buildings that were Grade II listed from 5 December 1986, though none are open to the public: The 17th-century cottage and coach-house of the former Bradwall Hall includes a two-story building with three windows, made with brown brickwork and tile roof. Inside are chamfered oak beams, chimney corner (inglenook) and oak supporting beams (bressumer). The coach house is also oak framed with brown brick and roof tiles. Built around 1700, Plumbtree Farmhouse off Ward's Lane in Bradwall Green is a two-storey building with three windows, built with brown brick.
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The doors in this section of the building are four panelled with bolection mouldings on the horizontal edges of the panels and chamfered vertical edges. Above most of the doors but separated by two sections of timber slab, are operable transom windows, aligned with the ceiling line. A fireplace is found in the eastern corner of this section, formed by white washed bricks which project from one of the principal rooms onto the verandah space and taper towards the ceiling. A slender chimney, of unpainted cream bricks, projects from the roof and is crowned with a simple corbelled top.
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Curiously the arch stone is clearly shown without a chamfered edge in the detailed 'architects' drawings of 1883 however it does have one at present suggesting that it was turned around during restoration. One of the holes at the front that may have held a chain and cup has been filled in with cement. In 1923 it is recorded as being neglected and uncared for. The well house is built into a low bank and the spring's waters now flow through the grass into the nearby St Peter's Burn that then continues into the grounds of Houston House.
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Romanesque Arcade columns The four Norman arcades with cylindrical columns joined by chamfered rounded arches are possibly the most interesting feature of the church. They are likely to be from the church which was re-dedicated by Gerald of Wales in 1176. They have been the subject of a detailed study by Malcolm Thurlby.Thurlby M., (2005), Romanesque Architecture and Sculpture in Wales, Logaston Press. 261–263 During the restoration of the church in 1883 a similar column and parts of the bases of two other columns were found during the re-building of the south wall.
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The Tillson Farm Barn stands on the south side of Warrenton Road, directly south of the head of Glen Cove, and northwest of the Riley School campus. It is a single-story rectangular wood-frame structure with a gabled roof, weatherboard exterior, and granite foundation. The roof is capped by two square cupolas, each of which has paired windows on each side, with chamfered corner posts and a bellcast hip roof. The front facade faces south (away from the road, from which it is screened by trees), and is dominated by a large tracked board-and-batten door with a transom window above.
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Right angled and chamfered intersections of a PCB track In traditional printed circuit board (PCB) designing, a chamfer may be applied to a right-angled edge of a conductive junction in order to physically strengthen the conductive foil at that location. Chamfering of junctions may also be applied in high-frequency PCB design in order to reduce reflections. In high-voltage engineering, chamfers and rounded edges are used to reduce corona discharge and electrical breakdown. With modern computer-aided design, rounded curve transitions are often used instead of chamfers, to further reduce stress and improve evenness of electroplating.
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Upper part of the building The building of the former Casino of Toledo (Spain), whose real name corresponds to the one of Center of Artists and Industrialists, belongs to the trend of Eclecticism that develops In Europe in the 19th century. The architect, Felipe Trigo, mixed elements of the Renaissance, in the configuration and planning of the facade, and Mudéjar, in the use of the brick. The building, whose plant is a quadrilateral, has four floors and a tower; the latter form chamfered corner and houses the main entrance. The materials used in the exterior are very different.
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At the instigation of the French scholar A. Couchaud, all interior non-bearing walls were removed, in an attempt to restore the church to its "original" state. While some of these walls were indeed later 18th-century additions, many were integral to the original church, serving to delimit its functional spaces. Vlasopoulos also added "elaborate doorways, window mullions and above all the high chamfered marble crépis", which "detracted from the monument's authenticity", while the marble templon of the church was carried off and never restored. It is now known only through a drawing by the French A. Lenoir, probably sketched in 1840.
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Rear view, 2009 The Redland Bay State School is located off Gordon Road at Redland Bay, and consists of a number of timber buildings, including the early residence, an early school house and another early small timber shed. The residence is an elevated timber framed and clad building, set on square stumps, with a timber battened valance to ground level. The building has a square plan, with verandahs on the southern and eastern facades, and an eight-room interior consisting of various generations of growth. Generally the exterior of the building is clad with chamfered weatherboards, with simple framed windows.
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The station complex consists of a brick station building of a type 3, second-class design with a stone platform, completed in 1881; a type K signal box situated on the platform, completed in 1925; a railway barracks; engine shed; turntable dating from 1910; 5 ton jib crane; 20 ton weighbridge; 35 ton weighbridge; and a water tank. ;Station building (1891) The Narrandera station building is single storey and constructed of painted brick. There are rendered quoins and rendered surrounds to windows and door openings. Both the recessed entrance porch and the platform verandah have stop chamfered timber posts and iron lace brackets.
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The main part of the house was probably built between 1705 and 1707, based on an analysis of the construction methods used. It was built by Abraham Adams, a farmer and sea captain who was married to the granddaughter of jurist Samuel Sewall. Three of the four chambers in the oldest portion have exposed oak timbers with chamfered corners, while the fourth chamber and the first ell have Second Period fireplace surrounds. The house was surrounded by hayfields until the construction of the surrounding subdivision in the 1980s; as a consequence, it was known for many years as "High Fields".
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The front entry door has two leaves with stop-chamfered rails and tongue-and-groove boarding, and decorative early iron hinges. Internally, the nave and sanctuary combined measure approximately . Most of the internal finishes of the building are silky oak, including the varnished v-jointed tongue-and-groove boards lining the walls and raked ceiling; the timber scissor trusses of the roof framing, which are exposed internally; the arch of the sanctuary; and the altar rails. The nave is furnished with eight silky oak pews with pegged joints, and the table used as the altar is also silky oak.
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Constructed from timber and iron the hotel has a number of characteristics of the vernacular Queensland style. The main core of the roof is a simple pyramid with a separate roof over the upper verandah. There is a split-level timber addition on the northern side facing William Street which adjoins the core of the hotel and continues the ground floor verandah. A wide bull-nosed street awning extends from the base of the upper verandah out to the edge of the footpath along the frontages of William and Victoria Streets and is supported by stop-chamfered timber posts decorated with capitals.
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UBC Rose Garden A small number of large-scale, campus-wide events occur annually at UBC which are organized by university institutions, the AMS, and student constituencies of various faculties and departments. Additionally, a number of unofficial traditions exist at UBC: jumping from the Aquatic Centre's 10-metre diving board late at night and repainting the Engineering cairn so as to advertise other clubs. The UBC Engineering Cairn, a chamfered tetrahedral concrete block with a large red "E" on each of its three sides, shown here in its unvandalized state. Painting the cairn is a favourite hobby of student clubs and rival faculties.
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At the front, facing the garden, the hipped roofs of the main sections have prominent eaves, and the roofs of the tower sections have similar treatment. Number 1, at the southwest corner, has ground-floor rustication carried round on to its south-facing wall, and its windows are different. Similarly, number 48—the end house at the southeast corner—has a hipped-roofed south-facing wing with a hipped roof, in which the entrance is set in a doorcase flanked by antae. The corner of the house is chamfered and has a blank two-window range.
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The front facade is three bays wide, with the entrance in the left bay and two sash windows to its right; another two sash windows are found in the gable above. The entrance is framed by sidelight and transom windows, slight recessed in an opening with flanked by slender paneled pilasters. A single-story porch extends across the front, with chamfered square posts rising to decorative jigsawn brackets. The 1-1/2 story Greek Revival cottage is estimated to have been built in 1850, probably for a J. Comins, who was listed as its owner in 1855.
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The vibrating chamfered tip of the Z-pins locally heats up and softens the resin allowing the Z-fibre to penetrate the preform with minimal disruption of the long fibres. The remaining pin and laminate above the surface are removed to create a smooth and even surface The surface can be finished with a coating to seal the Z-pins inside the material. A hand-held ultrasonic gun can also be used to insert Z-pins on a small scale production. This is ideal for testing materials containing Z-pins because they can be easily inserted into any location on the material.
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The nave is long by wide at the east end and at the west. Remnants of 13th-century paintings The nave is separated from the south aisle by a two-bay arcade, built into the existing walls in the early 14th century, with a single octagonal pier and wide double-chamfered arches. The pier has a square base and an "undersized" moulded impost and is slightly higher than the responds, which are square, with the arches "dying away" into them at a low level. Above the western arch is the remains of an 11th-century window.
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The north aisle has similar features as the chancel with double plinth eaves course, gargoyles, battlements, buttresses, and three-light windows of standard tracery in hollowed pointed-arched recesses. The nave dates from 1476; it is visible as a clerestorey and includes three-light windows. 15th-century stained glass fragments are found in the east window tracery, and there are also late-17th- century windows resembling those of Low Ham Church. There is a small, almost triangular, arched, moulded doorway, an arched chamfered doorway, and a near semi-circular arched doorway with 19th-century wrought iron gates.
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The yoga teacher Benna Crawford notes that brick and block are usually synonyms for the same yoga props, but that manufacturers sometimes use "brick" for a slim one, about 2 inches (5 cm) thick, and "block" for a thicker one of 3 inches (7.5 cm) and above. Most yoga bricks are cuboidal blocks, often with chamfered edges for comfort. Well-designed blocks have unequal length, width, and thickness, offering three different heights for different uses in the yoga class. Some manufacturers have explored other shapes; for example, Yogamatters make an oval block, comfortable for sitting but less versatile as a support.
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Amex House, a nine-storey office block, opened in 1977. Amex House (demolished 2017) was said to "dominates the sweep of Carlton Hill" and was visible on the skyline from much of Brighton. Designed by British architecture firm Gollins Melvin and Ward,Architecture of the Gollins Melvin Ward Partnership – Lund Humphries 1974 – the building had prominent white horizontal bands of glass-reinforced plastic and blue-tinted glazing, and its corners were chamfered to give it a more rounded appearance. It was nicknamed "The Wedding Cake", and its clean, futuristic design has been said to evoke Thunderbirds.
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The lower part of the window is of three lights, separated by chamfered mullions and divided and topped by transoms containing castellated details, with tracery of trefoil heads and spandrels. Two further ranks of lights above are subdivided vertically into panel tracery--a Perpendicular style of upright straight openings above lower lights--with 'Y' tracery, trefoil heads, and quatrefoil openings. All lights are clear glazed within diamond leading. On the south and north side of the tower are blocked arches mirroring that on the west side, but cut through by the later added north and south aisles.
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Because the land is steeply graded toward the rear of the building, the front of the building appears to be at road level and the structure is elevated on timber stumps, which at the western end of the building are about high. The eastern boundary of the site is bordered by an early timber and wire fence, which replaced an earlier picket fence. The church is constructed with a timber frame and clad externally with local hardwood chamfered boards and internally with hoop pine boarding. The gabled roof of the building is clad with corrugated Zincalume sheeting.
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The first floor has chamfered stone-mullioned casements with stopped hoods and the ground floor has metal casements to ground floor, all with leaded panes. The original central doorway, door and door surround has been repositioned in the early century extension and comprises a studded plank door with decorative hinges within a roll-moulded Tudor-arched surround with raised, carved spandrels, and thin pilasters to either side supporting rectangular pediment. Banks Farm is another classic Cotswolds stone farmhouse with elements dating back to the 17th-century. It has two stone plaques on the front bearing witness to major rebuilding, in 1736 and 1784.
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There is decorative timber lattice, or a combination of lattice and fretwork, on each of the gables, including the front portico, but that on the western gable, which is a later addition, is much simpler in design. All the gables have timber finials. The eastern verandah has been enclosed, but the front and western verandahs retain their original timber detailing, including double chamfered posts with brackets and a simple dowel balustrade. A late 20th century deck extension off the enclosed eastern verandah, with its side entrance, has a replica gabled portico and steps, echoing that on the front elevation.
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Royal George Hotel and Ruddle's Building was listed on the Queensland Heritage Register on 3 August 1998 having satisfied the following criteria. The place is important in demonstrating the evolution or pattern of Queensland's history. The forebear of the Royal George Hotel was established on this site in 1850. Known as the Bush and Commercial Inn (later called the Freemasons Arms, Lamb Inn, and from 1863 the Royal George), that early hotel building comprising two brick sections including the distinctive chamfered corner section still apparent today, is believed to form the core of the Royal George Hotel.
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1 The good workmanship of all the parts of the caliber, including those of the additional mechanisms, must be in conformity with the requirements of the office of voluntary inspection of the watches from Geneva. Steel parts must have polished angles and their visible surfaces smoothed down. Screw heads must be polished, with their slots and rims chamfered. ;Jewelling 2 The entire movement must jeweled with ruby jewels set in polished holes, including the going train and escape wheel. On the bridge side, the jewels must be olive-drilled Montres/Watches: Terms of Art : «mi-glace»with polished sinks.
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The north aisle, comprising two medieval (the east-most) and two modern arches, has stiff-leaf decoration on the capitals of the former. St Paul's had a tower and belfry and there was a room over the church door. Inside, there is a fourteenth-century doorway to a former rood loft stair. In the south east corner where the altar stood (and stands) are three piscina recesses presumably credences with carved chamfered ogee heads of the fourteenth century. The remains (the lower halves) of two “good fourteenth century figures”Pevsner, Nikolaus; Harris, John; The Buildings of England, Lincolnshire.
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The front entrance is sheltered by a porch whose sections have a similar segmented-arch valances, supported by chamfered square posts. Windows on the second floor have elaborate surrounds with a bracketed sill and gabled hood. The frontmost section of the main block has a first-floor polygonal bay, topped by a turret-like roof with modillioned eave. The house was built for W.W. Fairbanks in 1852 and is the only documented residence in the city to be designed by architect Richard Upjohn, who designed several public buildings and churches in the area during the mid-1800s.
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Often the edges of shafts and holes are chamfered (beveled). The chamfer forms a guide for the pressing movement, helping to distribute the force evenly around the circumference of the hole, to allow the compression to occur gradually instead of all at once, thus helping the pressing operation to be smoother, to be more easily controlled, and to require less power (less force at any one instant of time), and to assist in aligning the shaft parallel with the hole it is being pressed into. In the case of train wheelsets the wheels are pressed onto the axles by force.
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Access is provided to the verandah via a centrally located open tread timber stair, which is emphasised with a planted trellis. Four half glazed French doors with transom lights above open from the homestead to the front verandah, and similar doors open on the north western and south eastern sides of the building. The corrugated iron verandah awning is supported on chamfered timber posts, and the soffit is clad with fibrous cement sheeting to the north west of the building. Internally, the Homestead is divided into three principal rooms, to which the French doors provide access.
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The verandah is supported on chamfered timber posts. Half glazed French doors give access to the three internal room from the verandah, though some of these have been replaced with single half glazed doors. Internally the Cottage is clad with fibrous cement sheeting, braced with timber strips. Several outbuildings of various ages surround the three principal buildings, these include a power house to the south-west of the homestead; an early bush house and entrance gates to the north west of the Dining Room; sheds, stores and garages to the north west of the bush house.
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In the first half of the fourteenth century, stone blocks replaced bricks as the primary building material in the dome construction of Mamluk Egypt and, over the course of 250 years, around 400 domes were built in Cairo to cover the tombs of Mamluk sultans and emirs. Dome profiles were varied, with "keel-shaped", bulbous, ogee, stilted domes, and others being used. On the drum, angles were chamfered, or sometimes stepped, externally and triple windows were used in a tri-lobed arrangement on the faces. Bulbous cupolas on minarets were used in Egypt beginning around 1330, spreading to Syria in the following century.
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It is supported by chamfered square posts and has a low balustrade. Second-floor windows rise through the lower portion of the mansard roof as wall dormers, and are topped by bracketed and pedimented gables. with The house was built in 1873 for Moses Webster, who was, along with Joseph R. Bodwell, a leading figure in Vinalhaven's highly successful late 19th-century granite industry. The two men, both New Hampshire natives, came to Vinalhaven in 1851, and began the expansion of its previously small-scale granite quarries, eventually providing stone for major buildings along the Atlantic coast.
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The external footprint of the tower is rectangular, roughly by , and it is about high. Stone water spouts project from the roof, cannon-shaped to the east frontage, and U-shaped on the other sides. Within the parapet, which is crenallated and supported by chequered corbels, there is a garret, and in the south east corner is a cap house: a small attic covering the stairway and opening onto the wall walk. The chamfered windows are small and irregularly placed, and corniced on the upper floors; their projecting lintels, unusual in Scotland, seem to have been intended to cast off rain.
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The Raymond Railroad Depot is located in the town's village center, on the east side of Main Street between Depot Street and the former right-of-way of the Boston and Maine Railroad Portsmouth Branch, now the Rockingham Recreational Trail. It is an oblong basically rectangular single- story wood frame structure, with a hip roof extending beyond the building dimensions to provide shelter on the adjacent platform areas. The roof is supported by chamfered square posts with sawn brackets, and also has exposed rafter ends as a decorative feature. The building is finished in a combination of wooden clapboards and scallop-cut shingles.
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Tower walls are reinforced with square and octagonal buttresses that taper abruptly with generous weatherings at transitional points and terminate in pinnacles, some with slender colonettes abutting chamfered edges, with ribbed, stepped, or gable caps. These buttresses are accented by heavy weatherings in lighter coloured stone (creating visual contrast while drawing attention to the points of stress on the building), and topped with pinnacles, thus emphasizing their massiveness, structural function, and verticality. They provide spatial rhythm on the east and west facades. A careful balance between horizontal and vertical elements can be observed throughout the interior and exterior of the church.
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The interior layout of the ground floor of the Royal Oak The ground floor pair of bars (one either side of the door) have been knocked through into the extensions to the rear to create an open-plan layout for the bar, which is a common feature of pubs. The ground floor also has a function room and kitchen. Studding at the back of the bar may be the original rear wall. Some of the principal timbers survive, such as some original chamfered beams that are visible except in the northern room, however most of the joinery has been replaced over the years.
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While most of these have been remodeled, the house at 202 Park retains its original appearance. It is a condensed version of the one-and-a-half story simplified Anne type which accounts for half a dozen houses in the proposed residential district (ill. 12). The Park Avenue house is one room deep rather than two, and shiplap is substituted for the half timbering in the gables of the larger examples. Details such as the projecting brick sills and segmental arches and the chamfered and cut-out bargeboard and stickwork, nevertheless, make it a pleasing, if modest, house.
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Construction materials manual l. Basel: Birdhouse ;, 2006. Print. 60. Plasterboard is commonly made with one of three different edge treatments: tapered edge, where the long edges of the board are tapered with a wide bevel at the front to allow for jointing materials to be finished flush with the main board face; plain edge, used where the whole surface will receive a thin coating (skim coat) of finishing plaster; and, finally, beveled on all four sides, used in products specialized for roofing. However, four-side chamfered drywall is not currently offered by major UK manufacturers for general use.
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The use of exposed chamfered brickwork and the use of exposed structural ironwork gives the building an industrial look, solid and compact on the lower levels but agile and transparent above, with its pierced parapets crowned by a pinnacle. The interior is an open space with two arches that support a stepped, symmetrical roof. Domènech incorporated the best of the applied arts and ornamental solutions that became permanent, such as the florid crowns of the capitals. Ceramics from the Pujol i Bausis factory were used, with designs by Antoni M. Gallissà, Josep Llimona, J.A. Pellicer and Alexandre de Riquer.
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Some art historians, including Martin Davies and John Ward,Davies and Ward have published, in 1957 and 1971 respectively, diagrammatic reconstructions of the altarpiece based on evidence available of the time. Campbell is responsible for much of the scholarship since. have been slow to allow the Catherine panel as part of the altarpiece, though it is undoubtedly by van der Weyden or a near-contemporary follower. Evidence against this link includes the fact that the moulding of the window to the left of the Gulbenkian female saint is plain, while that next to Saint Joseph is chamfered.
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Internally, the William Street section has a central entry vestibule, with rooms accessed via the rear verandah or through adjoining doorways. A concrete stair with an iron balustrade and timber handrail is located centrally in the linking section to the rear wing, and is accessed through an arch which has been enclosed to form a doorway . Timber staircases were originally located on the rear verandahs, but only one flight remains linking the basement and ground floor on the southern side. This staircase has chamfered newel posts with turned capitals, and a timber batten balustrade which has been mostly sheeted over with hardboard.
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Notable features on the Mustang GT include 20-inch wheels, a nose which leans forward, and a side scoop. For the first time in the Mustang's nearly 40-year existence, the scoop is a fully integrated design element that creates a triangular opening, and flows forward along the chamfered lower body line. The interior is trimmed in red leather, black accents, brushed aluminum, and borders on parody with red leather racing style seats draped over black forms atop aluminum pedestals. Similarly, the dash pad "eyebrows" overlook a metal band containing the gauges and vents, and the red lower section.
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The main church has a longitudinal plan, composed of an elliptical nave, rectangular presbytery, with chamfered interior angles, forming polygons, divided in two parts: a rectangular tower and, opposite it, an addorsed sacristy. The facades in limestone, are partially constructed with granite masonry and decorated with cornices and awnings. The west wall has a convex profile, with straight gable, dominated by a main portal with a decorated facade cut with ornated curves and cornices that frames a Portuguese escudo (shield), surmounted by a closed crown. Over the portico is a large rectangular window, with salient frame, topped by arch in brick.
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The former residence at 50 Guy Street is a one storeyed timber building with simple rectangular plan and encircled by verandahs on three sides. The building, which is slightly elevated from the ground level on short timber posts, is timber framed and clad externally with horizontal chamfered timber boards. The hipped roof of the building is clad with sheets of corrugated iron. The verandahs, on the principal facade to the east and on the northern and southern facades of the building have a bull nose curved corrugated iron awning supported on paired timber columns with decorative cast iron brackets.
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The investigation concentrated on determining why the inner lower boom had failed at 70% of its retirement life.Accident Investigation Report, page 26Accident Investigation Report, page 24 The fatal fatigue crack in the inner lower boom had initiated at a bolt hole at Station 143, the rearmost of five bolt holes for attachment of the inner engine nacelle to the lower boom. These holes were ⅞ inch (2.22 cm) diameter and were anodised to resist wear and corrosion. A cadmium-plated steel bush of length 1 ⅝ inch (4.13 cm), chamfered at one end, was pressed into each hole.
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The Ballplayers House recalls Vaux's design, albeit much altered in form and detail. In contrast to the brick and bluestone facade of Vaux's building, with its pointed arches and polychrome voussoirs, the facade of Ballplayers House is composed with graphic stripes of highly contrasting brick. In lieu of Vaux's bracketed eaves, pointed pinnacles and chamfered chimney, the new building boasts a simple roofline, topped with a sleek, factory-made cresting. Ballplayers House, detail of tile frieze The Ballplayers House is decorated with a tile frieze with a simple flower motif symbolizing a ball-field, and a zig-zag pattern symbolizing a bouncing ball.
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Smith, P., "Houses of the Welsh Countryside" 2nd Edition, 1988, RCHMW, 95, figs 47 and 67b The two trusses within the hall are a single pair of chamfered wooden speres or posts set in the floor and forming a box-frame which carries the roof, and a pair of arch-braced base-crucks with two tiers of cusped struts above the tie-beam, which spanned the whole width of 7.5 m. The analogies are with the partly aisled halls of important houses in north-east Wales and north-west England.“Britnell”, pp. 43–54 Gable and partition trusses, also aisled.
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The First Baptist Church is a single- story wood frame structure, with a front gable roof, clapboard siding, and a concrete foundation. A tower projects from its front facade, flanked on either side by hip-roof porches with bracketed columns and chamfered posts. The tower has a bullseye window at its middle stage, and an open belfry stage with decorative Stick woodwork, and is topped by an octagonal steeple. The two entrances, still framed by Greek Revival surrounds, lead into separate vestibule areas, from which stairs lead to the gallery, and entry is gained to the main sanctuary.
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In 1890 the building was expanded, doubling its capacity. Gombert's original design included plans for an addition to the west, but instead the Sisters hired E. Townsend Mix to redesign the addition. Mix followed Gombert's lead and designed a similar, compatible addition with limestone foundation and similar brick, but he added deeper bays with chamfered corners, brick corbels to support the cornice, and a more prominent chimney and dormers. Mix's design shows the flashier Gothic that was in style in 1890, as compared to Gombert's more austere Gothic section from 1878, and it may reflect the wealth of donors.
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The chapel has the nave and chancel in one, the north doorway, with a chamfered arch, is original. Alterations were made to the west doorway and the roof in the 15th century, in a Perpendicular Gothic style, with a crenellated wall plate and blank shields. The unusual tracery in the large two-light windows, originally dating from the 14th century, may have been added in the 17th century. One of the west windows is 17th century and repairs to the hospital are recorded in 1600, 1635 and 1649, the last for damage to the main hospital range, north of the chapel, during the English Civil War.
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The symmetrical western elevation consists of a recessed, central entrance, with bay windows to either side, flanked by projecting enclosed sleep-outs. The bay windows have leaded diamond paned casement windows (some of which have been replaced with aluminium framed sliding units), concrete brackets, nib and hood surrounds, and are surmounted by gables to the roof. The sleep-outs have leaded diamond paned casement windows above balustrade height (some of which have also been replaced with sliding aluminium framed units), with chamfered upper corners and non-original window hoods. The design and detailing of the sleep-outs indicate that they may have been enclosed after construction.
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The verandah awning which is supported on pairs of stop-chamfered timber columns with decorative fretwork brackets, features a projecting triangular pediment infilled with fretwork emphasising the entrance. The windows on the east and west sides of the building are shaded with corrugated iron clad timber framed hoods with vertical battened returns. The lower level of the western face of the building has two entrances' a pair of French doors and a more recent single door. Internally the building is arranged with rooms off a central hall, towards the rear of which is a timber boarded door leading to a timber stair with cantilevered treads providing access to the attic.
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The northern elevation is characterised by the facade of the gabled- core which displays a decorative scalloped valance along the facia board, an inscription in relief which reads "Erected AD 1861" and a large multi-paned window with a corrugated iron hood. The same fenestration is repeated on the southern elevation of the central core. The eastern elevation is characterised by the two original dormer windows in the roof which remain visible and the chamfered timber verandah posts which support the awning of the remaining portion of the original verandah. From the verandah two original double timber doors with glass panels gain entrance into the school room.
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The kitchen wing, the smallest of the three sections of the residence, comprises only two principal rooms and is of similar vertical slab construction, but the vertical slabs in some places are rounded and chamfered at the top and base. The building has a corrugated iron hipped roof, again steeply pitched over the main rooms and more gradual over the front and rear verandahs. An iron ventilator with decorative cap projects through the ridge of the roof. Attached to the south western end of the kitchen is a substantial brick chimney which services the main kitchen oven and a bread oven in that end of the building.
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At the north eastern end of the kitchen block is a small storage room, with raked ceiling, unpainted timber lining boards and a boarded floor. The 1890 section of the homestead, elevated on round timber posts, comprises five rooms of varying sizes all opening onto a wide verandah which surrounds the section. This section has a low pitched hipped roof clad with corrugated iron sheets, extending over the verandahs where it is lined with fibrous cement lining sheets with timber cover strips concealing edges. The verandah is supported on slender square planned posts which have partially chamfered corners and sit on the hand rail of the chamfer board cladded balustrade.
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The nave arcades, of three bays with octagonal pillars and arches of two chamfered orders, are probably 15th-century, while the two bays on either side of the chancel are of pseudo-Gothic character, and apparently of late 18th or early 19th-century date. Two of the pillars are Early English. The organ is situated at the east end of the north chancel aisle and was originally manufactured in about 1935 by the Positive Organ Company of north-west London and renovated in 1974 and 1993. The 15th-century font, which has an octagonal bowl of Purbeck marble on a modern stone stem, is under the east arch of the tower.
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Interior view towards south-east end, prior to the east window'a restoration in 2018 The slate roof has crested ridge tiles and stone coped gable ends. The tower, with an adjoining square stair turret, has battlements, gargoyles at the corners and lancet bell- openings with trefoil heads and slate louvres. There is a clock face above a niche containing a figure of Saint Helen (bearing an inscription of the Latin form, Helena) , over the chamfered, wooden-gated, arch doorway to the porch. The interior comprises a nave with a porch beneath the tower, and a chancel, with a transept vestry on the north side.
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Between 1971 and 1983 their sponsor's mark, used in the hallmarking to indicate them as the manufacturer, was M&H; and between 1983 and 2007 M over CH in a trefoil. Since 2007 their hallmark has been SH in a chamfered square. In 2007 the company launched its web site to enable trade customers to place orders more easily. As jewellery shops closed down and the traditional Department Stores who had historically been large customers of the business moved into new product areas, personal shoppers began to use the web site to find silver gifts that were increasingly difficult to find in the High Street.
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This single storey building had an entrance in both the north and south walls; in the east gable is a segmental arched window which may support a 15th-century. The existing building appears to be of 17th-century date,Close, Page 54 however, the more substantial west gable that rises from a chamfered base-plinth with an offset at the height of the main wall-head, may also be medieval. Records show that in 1857 the ivy-covered gables stood to their original height, but the side walls were already almost level with the ground. Clear signs of 'recent' repairs and consolidation are apparent.
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Chamfered corner of the Aqmar mosque in Cairo An unusually detailed description of the mosque of the Qarafa in Cairo, built by two noblewomen in 976, has been left by the historian al-Quda'i, who died around 1062–1065. He said, It seems probable from this description that the mosque had a portal that projected from the wall, as did the earlier Great Mosque of Mahdiya. In other respects it seems to have resembled the al-Azhar mosque in layout, architecture and decoration. Although the geographers al- Muqaddasi and Ibn Hawqal both praised this mosque, neither left specific descriptions of this or any other mosque.
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An o-ring boss seal is a technique for joining two fluid-carrying pipes, hoses, or tubing. In an o-ring boss (abbreviated ORB) system, a male-threaded part is inserted into a female-threaded part, providing a mechanical seal. This system differs from others in that an additional nut is tightened over an o-ring into a chamfered area, creating a fluid-tight seal. This system is used most frequently in hydraulics, although it has been applied to other systems including compressed air systems and vacuum pumps, such as many Robinair pumps, in which the intake tee has an o-ring boss seal on the bottom.
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Font by Charles Mawer, showing square symbolising Thomas the Apostle Between the nave and the north and south aisles are two arcades each of four doubly-chamfered arches, supported by circular columns with octagonal capitals. The chancel floor is three steps above that of the nave. It contains choir stalls designed by the architect William Swinden Barber on either side, and in a 1905–1908 chancel reordering these were augmented by two clergy seats and two prayer desks for the choir. The original choir stalls were described in 1880 as being "plain but very solid construction", like the nave pews which were also designed by the architect.
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The West and North transept windows have a curvilinear design - as did the former south transept window - of 4 lights with cinquefoil over. The North aisle has two 3-light windows in brick while the South aisle has two 3-light windows in curvilinearstyle, all in plain chamfered surrounds. In the North chapel, there are two lancets to the west, and two paired lancets with quatrefoils over to east, while the chancel has a 3-light Perpendicular window and a 2-light curvilinear window on the south wall. The chancel east window is a 5-light perpendicular window, while the chapel east window is a 4-light perpendicular window.
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The arcade continues in reduced form on the West and Washington Street facades, each being five bays wide. Above the ground floor, each floor of 21 West Street generally contains two rolled steel windows per bay, with wrap-around windows at the corners, each of these windows having four panes, two on each side. One exception to this is the second floor, which has three windows per bay, also with wrap-around windows at the corners; the second-floor bays are separated by purple and tan brick piers. Below the setbacks on the 21st and 26th floors, the corners facing Morris Street are replaced with a single diagonal chamfered bay.
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Now the location of a Farm to Table restaurant, the Hichborn House is located in the village of Stockton Springs, just south of United States Route 1 and the Stockton Springs Community Church on the west side of Church Street. It is a 2-1/2 story wood frame structure, with a hip roof, clapboard siding, and a stone foundation. The roof has broad eaves studded with paired brackets, has gabled dormers facing front, and is topped by an hexagonal cupola. The east-facing front facade is symmetrical, three bays wide, with its center entrance sheltered by a portico supported by clusters of chamfered square posts.
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The building retains hood mouldings and windows that rarely survive at other, similar schools and are distinguishing features. The gable ends of the side wings retain sheet-metal hood mouldings, over banks of timber-framed casement windows with fanlights and sunhoods, which indicate the location and size of the original narrow windows. In other locations above high level sills are original tall, narrow windows with vertically centre-pivoting sashes and later casement windows. Accessed by timber stairs, the verandahs feature a variety of high-quality, decorative treatments, including diagonally-laid timber board ceilings, brackets, stop chamfered posts with mouldings, and an elaborate, cross-braced balustrade.
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The vestry window at the south is of a single light with panes of glear glazing set in square muntins, within a double chamfered arched surround with hood mould. At the west side of the vestry is a plank door within an ogee-headed moulded doorway. North chapel from north-west The 1448 south chapel sits on a moulded plinth which runs over two twin- stepped buttresses, one angled and central to the south wall, the other diagonal on the south-east corner. The buttresses are topped by square-based pinnacles with blind cusped panels, crocketed above gables at each side, the pinnacle at the south-east finished with a finial.
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Built in the mid-1880s by Hispanic merchants who had prospered with the coming of the railroad, these represent an adoption of Anglo-American tastes and house design on the most refined and grand scale affordable. This house, like the others, has an overriding symmetry of massing, full front porch, centered entrance and center hall plan with four matching square rooms on each floor. The doors, windows and balustrades are stock elements shipped in over the railroad. The segmental molding window pediments, the stick and cut-out friezes, the boxed chamfered posts and the concentration of those posts to mark the centered entrance show the hand of a local builder.
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Smithield Chambers, 2015 An austere, two storey, rendered brick building in a classical idiom, Smithfield Chambers stands prominently on a sloping site to the northeast side of upper Mary Street, Gympie. Stables and a row of earth closets stand to the rear of the property. The rendered and painted front elevation is symmetrical about a central bay which at street level comprises a recessed main entrance with splayed reveals forming a shallow porch opening into the offices beyond. The entrance, now housing a set of modern steel framed doors, is flanked by sash windows with projecting moulded sills and chamfered surrounds enriched with roll mouldings.
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Internally, the former residence is accessed via a set of timber stairs in the south eastern corner of the building. The stairs have turned balusters and substantial newel posts with chamfered rectangular tops. On the first floor, the former residence partition walls have been removed, however the remaining large space retains its timber lined ceilings, a single fretwork ceiling ventilator panel, a former kitchen fireplace, and a fireplace in the south eastern corner with fine timber panelling and ceramic tiled surrounds. Some of the decorative ironmongery remains, including wall ventilator panels, escutcheon plates, and a teardrop- shaped door handle at the ground floor entrance.
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At the first story, the principal approach is created by broad steps of Texas Pink granite spanning the width of the building, leading to three arched entrances with keystones, alternating with four rectangular windows with decorative metal grilles. Limestone masonry walls are articulated by chamfered joints, rising to an overhanging stringcourse. The limestone walls of the upper stories are smooth in contrast, but are also divided into seven bays, featuring rectangular windows at the second story, and elongated fenestration formed by vertically stacked windows at the third and fourth stories. Above the entablature, the attic (sixth) story is similarly clad in smooth limestone veneer with rectangular fenestration flanked by flat pilasters.
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The 1887 Ferguson-designed school building is highset and aligned north-south, with a verandah on its western side; the former eastern verandah has been enclosed. It is clad in chamferboards and the gabled roof features high-level gable-end vents, board-lined eaves, and east and west-facing dormer windows. The northern and southern walls have banks of timber-framed casement and pivot windows, with modern louvred fanlights, sheltered by skillion hoods with decorative timber brackets. The western verandah wall has double-hung sash windows and panelled double-doors, all with fanlights; the balustrades are three-railed and some verandah posts are stop- chamfered.
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The balcony is detailed with columns and balustrading similar to that of the ground floor verandah and pavilion. The wing extending eastward, parallel to the Brisbane River, is a timber building constructed from vertical slabs with a hipped corrugated iron roof with shallower pitch over the verandahs which run along the north and south facades. The vertical timber slabs which make up the external walls are chamfered at the ends and fitted within beaded top and bottom plates and interspersed among the slabs are vertical uprights of sawn timber. Internally this wing is divided into three main rooms, with smaller rooms created on the infilled verandah along the southern side.
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Triangular parapet walls present dormer-like projections from the gable roof, the left one topped by a brick chimney, the right one by an open belfry, which has a pair of chamfered posts supporting the crosspiece from which the bell is suspended. The belfry is topped by a cross-shaped finial. The church was built in 1882 through the efforts of Dr. Peter Henry Steenstra, a minister from Cambridge, Massachusetts, who was a summer resident of Robbinston, and who had for several summers led religious services in less formal settings. Services ended in 1993, and the church was sold to the historical society in 2000, which uses it as its museum.
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In the south, the building has two-and-a-half registers; the western facade has two floors; and the east appears to include three-stories. In the western facade is a chamfered niche, with windows above it, with the central surmounted by garlands and scrolls, similar to those over the palace portico. Along the southern facade, overlooking the river, is a state room consisting of three balconies with balustrades, recessed central window and projected staircase. The imponent eastern facade includes a grande staircase, but with recessed central zone girded by the towers, and decorated by balustrades and ornamented platforms (festooned by wrapped garlands and dolphins).
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The memorial itself sits on a stepped base of five tiers which vary in size, the last two having chamfered tops Surmounting this is the pedestal itself, comprising a plinth capped with cyma recta mouldings and a dado. Both the plinth and the dado have marble plaques attached with lists of the fallen on the dado, and commemorative verses on the plinth. The dado is capped by a substantial cornice of cyma recta mouldings, on top of which stands the digger statue. The soldier statue stands with his head slightly bowed and hands crossed over a rifle which is in the reversed positioned and resting on his left boot.
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The verandah posts have been stop chamfered on the edges with two mouldings, a smaller neck mould and a larger capping mould, placed around the post above the stop chamfering, so that the finished verandah post reflected classical influence. A frieze of timber battens defines the lower verandahs on the NNE, SSW and WNW sides of the building extending from under the upper storey. The WNW verandah on the lower level has been partly enclosed using cement breeze blocks which adjoin a two-storey rendered block building that abuts the School House and houses bathrooms for the boarders. The upper level bathroom is at the level of the staircase landing.
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The CAD stage is also optimised for turret punching: an operation such as rounding a corner may be much quicker with a single chamfered cut than a fully rounded corner requiring several strokes. Changing an unimportant dimension such as the width of a ventilation slot may match an available tool, requiring a single cut, rather than cutting each side separately. CAD support may also manage the selection of tools to be loaded into the turret before starting work. As each tool in a turret press is relatively small, the press requires little power compared to a press manufacturing similar parts with a single press stroke.
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Wooden interior columns are rounded rather than chamfered as in other meetinghouses in Dutchess County. The second floor consists of a balcony, supported by the same post and beam framing as the roof, forming a gallery looking into the central area of each first floor chamber, divided in the same manner as the first floor. There is a provision to place wood planks over the gallery opening to the first floor, separating the second floor from the first floor completely. Retrieved November 3, 2009 The chimneys do not transition through the meeting area to the ground level, but rather are supported by the summer beam (lengthwise support beam) in the attic.
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It was converted shortly thereafter into a dining room and "dancing room" or ballroom for the spa complex. Orange Springs was in operation as a resort spa from the early 1790s until about 1850, after which the spa building was remodeled and enlarged for a family home. It features a two-story front porch supported by chamfered wooden piers with vernacular Doric order capitals. Also on the property are the contributing frame smokehouse topped with a pyramidal roof, dating from the period of the operation of the Orange Springs spa; a pit greenhouse; ice house; a granary, large barn, and cow shed built in 1916; and frame hen house (1908).
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The main entrance faces the street, and is sheltered by a porch supported by four chamfered square posts and covered by a modillioned roof. Windows are set in rectangular openings, with small single- pane windows in the upper half-story that have rounded corners. The interior retains many original features, and remnants of others, such as a part of a dumbwaiter used to bring food from the original basement kitchen to the dining room. with The house was built in 1855, and was inspired by the work of Orson Squire Fowler, who promoted the design and construction of octagon houses, resulting in a construction fad in the 1850s and 1860s.
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Other early doors and windows on the street elevations have similar fanlights above, and early windows are timber framed four-light casement windows with textured glass. The rear first floor verandah is enclosed by a continuous band of casements and some side windows retain metal window hoods. Ornamentation is modest, featuring a diamond motif evident around the main entrance doorway; in the feature panels of the first floor verandah balustrade; and underneath the painted verandah signage, where there are traces of diamond shapes that had been formed by attached timber battens (now removed). Verandah posts are chamfered with decorative timber capitals on both floors.
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163 North Street has been widely praised for its design. Descriptions include "the chef d'œuvre of Clayton & Black, an ebullient essay in Edwardian Baroque", "an example of Edwardian Baroque at its best: a confident composition" and "the most impressive" of North Street's many banks and offices. The building has a roof of green slate tiles, and the walls are faced entirely in "delicate" pink granite. It occupies the whole New Road/North Street corner, presenting wide façades to both: the nine-window range is arranged as a 4–1–4 composition with the middle set forming an entrance bay at the corner, which is chamfered.
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Entrance steps have a marker indicating the level of the 1893 flood. Verandahs have cast iron railings and valance, raked boarded ceilings, chamfered timber posts, and adjustable timber louvred panels fixed above railings at verandah corners and along the Welsby Street frontage. Wide step-out sash windows, flanked by narrow sashes, open onto the verandahs from principal rooms, and a lattice screen panel, with door, divides the northwest verandah. The rear of the building, consisting of a later addition which incorporates the original kitchen wing, has a corrugated iron half-gabled roof, timber batten skirt between stumps, sash windows with hoods, and a large panel of hopper windows with leadlight panels above to the southwest wall.
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The Galaxy S6 Edge is similar in concept to the Galaxy Note Edge, although the curvature of the screen is toned down in comparison. The Galaxy S6 Edge+The Galaxy S6 line retains similarities in design to previous models, but now uses a unibody frame made of aluminium alloy 6013 with a glass backing, a curved bezel with chamfered sides to improve grip, and the speaker grille was moved to the bottom. The devices are available in "White Pearl", "Black Sapphire", and "Gold Platinum" color finishes; additional "Blue Topaz" and "Emerald Green" finishes are exclusive to the S6 and S6 Edge respectively. The Galaxy S6 was also available in a limited Iron Man edition with six additional colour options.
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Internally, octagonal pillars bear parallel arcades of chamfered pointed arches that run along eight bays; these are interrupted only by a lateral arch that divides the western two bays from the rest of the church. The aisles of these bays are partitioned off to form rooms and the arch frames the organ loft. In these two western bays, a plaster vault forms the ceiling while the eastern six bays are covered by a timber barrelled ceiling supported on timber shafts that rise from corbels in the wall above each pillar. A boss rests where each arch between corresponding shafts crosses the longitudinal rib; these depict emblems of Saint Andrew, Saint Margaret, and each person of the Trinity.
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The neck is devoid of struts and consists of four flared rings detailed with small vertical slots, and is mounted towards the front of the Dalek giving the appearance of a prominent hump to the rear shoulder section. The dome, to which two cylindrical lights are fitted, is missing the chamfered lower section applied to previous variants. The gun is larger than that previously seen on the programme and is shown causing the complete disintegration of another Dalek. The eye design features five closely spaced discs of identical diameter behind an eyeball, inset with horizontal fins, on the front of which is a veined "organic" lens which glows with a yellow light.
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It was then largely farmlands, settled by farmers mostly of German, Swiss, French and Dutch origins. In the early years, the town officers met once a year in homes or taverns, but in 1872 the town decided to build its own hall. For $1000, Louis Severin constructed the hall at the corner of what are now Bender Road and Port Washington Road, a fairly simple one-story frame building with a front porch supported by chamfered posts and a lunette window in each gable end. With Over the years the surrounding cities and suburbs annexed bits of the rural Town of Milwaukee until in 1950, the City of Glendale was incorporated out of half of the remainder.
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Cochran's rectorship (1928–1943) is hung just above the lower set of windows. A pair of double red doors are located in the center of the tower, hung in 1952 as part of the church's centennial celebration. The central tower was not completed immediately after the laying of the cornerstone in 1852 but rather over the course of several years, only reaching the same height as the roof of the nave during the rectorship of George Carroll Harris (1859–1862). 1880 etching showing the originally planned spire The narthex of the church is located at the base of the tower, and there is a large bell tower chamfered into the southwest corner of the tower.
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In 14th century Egypt, the Mamluks began building stone domes, rather than brick, for the tombs of sultans and emirs and would construct hundreds of them over the next two and a half centuries. Externally, their supporting structures are distinguished by chamfered or stepped angles and round windows in a triangular arrangement. A variety of shapes for the dome itself were used, including bulbous, ogee, and keel-shaped, and included carved patterns in spirals, zigzags, and floral designs. Bulbous minarets from Egypt spread to Syria in the 15th century and would influence the use of bulbous domes in the architecture of northwest Europe, having become associated with the Holy Land by pilgrims.
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The angles of two columns have been flattened to give a view of the altar to the ringer in the tower and the easternmost arch has a curiously chamfered portion, the purpose of which is uncertain. At the junction of this arcade with the chancel are two 13th- century recesses, one having been cut away and afterwards filled up, and the other pierced to allow access to the south aisle. A hagioscope or squint has been cut in a very simple manner through the angle of the chancel wall giving a view of the high altar from the south aisle. The best alteration was the piercing of the north wall by two wide 14th-century arches.
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On the drum, angles were chamfered, or sometimes stepped, externally and triple windows used in a tri-lobed arrangement on the faces. Decoration for these first stone domes was initially the same external ribbing as earlier brick domes, and such brick domes would continue to be built throughout the Mamluk period, but more elaborate patterns of carving were introduced through the beginning of the sixteenth century. Early stones domes were plastered externally when not cut precisely enough, but improvements in technique over time would make this unnecessary. Spiral ribs were developed in the 1370s and zigzag patterns were common both by the end of the fourteenth century and again at the end of the fifteenth century.
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At the lower part is a late 19th-century wooden rood screen of Perpendicular style, of three sections--voided in the centre section and void above with panelling below in the outer, and tracery above in all, the top line with crenellations. The chancel and both side chapels are separated by screens of the same style and date, and include openings to the north and south chapels. Sited at the face of the screens within the chancel, and part of the same design, are choir stalls of mirror repeat. Behind the screens are chapels, north and south, each defined by two Perpendicular chancel bays, the north with heavily moulded arches, the south double-chamfered.
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A SIM card contains its unique serial number, internationally unique number of the mobile user (IMSI), security authentication and ciphering information, temporary information related to the local network, a list of the services the user has access to and two passwords (PIN for usual use and PUK for unlocking). SIM cards are available in three standard sizes. The first is the size of a credit card (85.60 mm × 53.98 mm x 0.76 mm, defined by ISO/IEC 7810 as ID-1). The newer, most popular miniature version has the same thickness but a length of 25 mm and a width of 15 mm (ISO/IEC 7810 ID-000), and has one of its corners truncated (chamfered) to prevent misinsertion.
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In the architecture of the Persianate Mughal Empire, hasht- behesht was the favorite plan for gardens and pavilions, as well as for mausolea (seen as a funerary form of pavilion). These were planned as square or rectangular buildings divided into nine sections, with a central domed chamber surrounded by eight elements. Later, developments of the hasht-behesht divided the square at 45 degree angles to create a more radial plan, which often also includes chamfered corners; examples of which can be found in Todar Mal's Baradari at Fatehpur Sikri and Humayun's Tomb. Each element of the plan is reflected in the elevations with iwans and the corner rooms expressed through smaller arched niches.
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The upper storey features large galleries with ovoid barrel vaults "of immaculate poros ashlar" (Andrews), supported by side walls of limestone blocks and by regularly spaced transverse arches every . These have collapsed except for the pilasters, set into the wall and topped by Byzantine-style chamfered imposts. One of the vaulted galleries in the keep The galleries feature mostly a uniform style—common in 12th-century French architecture—of double-arched windows set within a vaulted depression in the walls, with banquettes on either side. The galleries also feature niches and fireplaces similar to those of the outer curtain wall and the associated buildings, reinforcing the "stylistic uniformity" (Andrews) of the castle.
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Canambie Homestead is located on a substantial suburban block in central Buderim, on the high ridge which forms the spine of the plateau, facing southeast. It is a substantial, single-storeyed, exposed-frame timber building, constructed of local beech (floors, wall linings and ceilings), red cedar (joinery), and hardwoods (framing and roof structure), and set on low stumps, some of which have been replaced with concrete blocks. It has a short- ridged roof clad with corrugated iron, covering early shingle battens. The core of the house is surrounded by verandahs with simple chamfered posts with timber capitals and decorative timber brackets supporting the verandah roofs, which are separate from the main roof.
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The bulk of the north wall has been covered by the weatherboard additions.Davies, 2007, 3 The homestead has a steeply-pitched gabled roof with a small stone skillion to the rear, a further rear addition (in asbestos cement cladding with a cement floor) from the 1950s and an 1880s verandah addition (recently rebuilt) to the front. It has been extended by a gabled weatherboard addition to the side of the house and a smaller attached timber skillion addition, both dating to the 1880s period.Davies, 2007, 2 additions to the north of the cottage are timber stud-framed with nominally 1" x 6" (25 x 150mm) lapped timber weatherboards with a chamfered edge.
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The mausoleum is built of brick faced with Portland stone, is square with projecting chamfered corners, and surmounted by a pyramid. The form is an unusually grand classical temple, using Roman Doric order, fluted columns in antis on the face, prostyle on the angles. The mausoleum is a high point of the neo-classical period in Britain, which was much more concerned than the preceding baroque period that classical architecture should be used correctly according to ancient Greek and Roman precedent. However, the pyramid-shaped roof, the mausoleum's most distinctive feature, while usual in classical architecture may have been derived by Wyatt from a painting by Nicholas Poussin rather than directly from antique precedents.
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The symbolic representation of a V weld of chamfered plates in a technical drawing The symbols and conventions used in welding documentation are specified in national and international standards such as ISO 2553 Welded, brazed and soldered joints -- Symbolic representation on drawings and ISO 4063 Welding and allied processes -- Nomenclature of processes and reference numbers. The US standard symbols are outlined by the American National Standards Institute and the American Welding Society and are noted as "ANSI/AWS". Due in part to the growth of the oil industry, this symbol set was used during the 1990s in about 50% of the world's welding operations. An ISO committee sought to establish a global standard during this decade.
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The Colonel Asa Platt House stands in a predominantly suburban residential area northeast of the town center of Orange, at the southwest corner of Tyler City Road and Racebrook Road (Connecticut Route 114). It is a 2-1/2 story wood frame structure, with a gabled roof, two interior chimneys, and a clapboarded exterior. The main facade is four bays wide, with an irregular arrangement consisting of two closely spaced windows bays on the left half, a single window bay on the right, and the main entrance set off-center between these groupings. It is framed by sidelights, pilasters, and a half-round transom window, and is sheltered by a gabled portico supported by chamfered square posts.
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Headstone of Sir Francis Reid of Berden Hall Further churchyard grave markers are to the murdered parish constable Henry Trigg; to Thomas Beard (died 1800?); and to Mary Ann Griffin (died 1899 aged 34), wife of Lewis Phillips of Berden Hall. The Beard stone contains a serpentine moulding at each side of the top meeting a central circular moulded device, defining three engraved fields, and all with carved pictorial details, the central an angel holding an anchor. An overgrown slab running from the stone contains a similar circular engraved device. The Griffin stone is chamfered- arch topped with inset floral carving, semi-circular side columns topped with floriate capitals, and inlaid inscriptions.
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The House at 190 Main Street, also known as the William F. Young House, is a historic house at 190 Main Street in Wakefield, Massachusetts. The exact construction date of the 2.5 story wood frame house is uncertain: it follows a traditional three bay side hall plan, but was also extensively remodeled sometime before 1870 with Italianate styling, probably by William F. Young, a commuter who worked at a grocery firm in Boston. It has a round-arch window in the front gable end, and its porch features narrow chamfered posts topped by a flat arched frieze. The main entry portico is closed in, and it and the porch feature decorative brackets.
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Neither the house nor the Abbey still stand. By 1822, The Morning Post reported that all that remained was "a solitary fragment or two of stone wall, in what is called King John's Court, together with a few old buildings". Houses on nearby Grange Walk also incorporate some of the Abbey’s remains. Within the structure of the late 17th-century Grade II-listed houses numbered 5, 6 and 7 is part of one side of the late medieval stone gatehouse.5,6 and 7 Grange Walk, Southwark British Listed Buildings At number 7 is the chamfered south jamb of the gateway with two wrought-iron gate-hooks projecting from the wall and a ‘Gatehouse’ sign.
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Tomb of Jahangir with minarets The favoured form of both Mughal garden pavilions and mausolea (seen as a funerary form of pavilion) was the hasht bihisht which translates from Persian as 'eight paradises'. These were a square or rectangular planned buildings with a central domed chamber surrounded by eight elements. Later developments of the hasht bihisht divided the square at 45-degree angles to create a more radial plan which often also includes chamfered corners; examples of which can be found in Todar Mal's Baradari at Fatehpur Sikri and Humayun's Tomb. Each element of the plan is reflected in the elevations with iwans and with the corner rooms expressed through smaller arched niches.
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Original built in the 12th century, St Donat's retains architectural features from all five of its different stages of growth. The chancel arch is evidence of its 12th century construction, plain, round-headed with primitive caps. The double headed double-chamfered tower arch is believed to be early 14th century, while the north chancel chapel, with its square-headed three light eastern window, was added later that century. The chancel was reconstructed in the 15th century with many features from that build still in evidence: the piscina (altar basin) with cusped ogee hood, the nave with its north porch, the corbelled parapets to the nave with gargoyles and the corbelled tower battlements.
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The Observatory at Ratcheugh is a screen-wall built at the crag edge, incorporated into which are a number of turrets or towers; and having towards its northern extent a square-plan viewing tower built on open hollow-chamfered arches. The tower has a single enclosed room, each wall having three large round-arched windows affording commanding views to the north-east, north-west, south-east and south-west. The structure is described by Historic England as a gazebo and eye-catcher in the Castellated Gothick style, and is constructed in rough-faced stone with ashlar dressings. The Observatory was designed by (or follows a design outline of) Robert Adam, and dates from 1754–1770.
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In Germany, Peter Friedrich Voigtländer designed an all-metal camera with a conical shape that produced circular pictures of about 3 inches in diameter. The distinguishing characteristic of the Voigtländer camera was its use of a lens designed by Joseph Petzval. The Petzval lens was nearly 30 times faster than any other lens of the period, and was the first to be made specifically for portraiture. Its design was the most widely used for portraits until Carl Zeiss introduced the anastigmat lens in 1889. Within a decade of being introduced in America, 3 general forms of camera were in popular use: the American- or chamfered-box camera, the Robert's-type camera or “Boston box”, and the Lewis-type camera.
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The Robinson Plantation House is a historic house in Clark, New Jersey built around 1690 on territory that was part of the Elizabethtown Tract, and was once part of Rahway. It was added to the National Register of Historic Places in 1974 as Seventeenth Century Clark House. The 17th century frame house is characterized by its rubble stone foundation and massive fireplace foundation in the cellar, chamfered and carved summer beam, steeply pitched roof, crenellated chimney, diamond-paneled casement windows and broad overhanging corner pendants. A circa 1957 addition on the back contains modern utilities and the house was occupied as a residence until 1973, after which it became the Dr. Wm. Robinson Plantation & Museum.
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The chancel has 13th-century lancets, some of which have stained glass by Charles Eamer Kempe (one, of St Richard of Chichester, has been described as "of exceptional quality compared with most windows of this period [late 19th century] in Sussex"). The east window of the chancel has stained glass attributed to Thomas Willement. The south aisle, added in the 13th century and unblocked in 1867 during the restoration of that year, has chamfered arches supported on round abaci and octagonal responds. The oldest internal fitting is a 12th-century font of Caen stone, with a round bowl, foliage decoration in the form of honeysuckles, decorative mouldings and an arcade-style motif with scallop-shaped capitals.
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The church was enlarged by the addition of the nave arcades and aisles in the early or mid-13th centuryAccording to VHCB p.265 the arcades date from about 1220 and this was confirmed by RCHM, but Pevsner & Williamson (p.602) considered that the detail is too thin for that date and would put them later The arches at the western end of each arcade were added in the late 13th or early 14th century, those on the south being later. The columns are octagonal with plain chamfered bases and moulded capitals. There were originally deep solid responds at the eastern end of each arcade (altered to make a narrower additional arch in the 19th century).
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The posts supporting the skillion roof have chamfered corners and are set back in line with the rear of the "museum" wing. Internally, the "museum" wing currently houses two flats, but originally consisted of predominantly one large room with exposed tie-beams and hammer- posts with decorative curved timber brackets and raked boarded ceiling. A non- original ceiling has been installed to the underside of the tie-beams, and the space above, which is lit by the leadlight gable and dormer windows, remains intact with evidence of the original location of exhibits being visible. The original timber floor, consisting of alternately dark and light timber boards giving a striped appearance remains intact.
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Most ceilings are of flat sheeting, and timber framing is exposed within the range and the western wing. The piers are stop-chamfered, and timber seats supported by metal brackets are attached to some piers. Early timber joinery is retained throughout the building, including: tall casement windows (to the exterior); double-hung sash windows (to the verandahs); arched casement windows (to the eastern and western range projections); panelled doors on the first floor; low-waisted French doors with arched fanlights (to the entrance bay); a high-waisted timber panelled door (to the tuckshop, 1953); and an interior French glazed door (between classrooms on the second floor). Most windows and doors have early awning fanlights; and most windows retain their early hardware with winding mechanisms.
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The building has a corrugated iron clad gabled roof, steeply pitched over the rooms and changing to a more gradual pitch over the front and rear verandah. At the south eastern end of this section, projecting from the original dining room which was at this end, is another fireplace formed from bricks clad with corrugated iron sheeting projecting from the end of the building. Adjoining the dining room on the north eastern side is a skillion roofed and timber framed extension clad with horizontal chamfered boards. Most of this section of the residence is elevated only very slightly from the ground level, although a gentle tapering downwards to the north west necessitates open tread timber steps providing access to the south western verandah.
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The bolt face was rebated so as to surround the case rim, and was chamfered to fit the recessed receiver ring. Dual-opposed sprung claw extractors were inlet into the sides of the bolt, providing controlled cartridge feed. A fixed blade-type ejector was located at the rear of the loading platform. The original Johnson trigger mechanism, a two-stage or compound-motion military type derived, again, from his Model D, made use of a horizontal sear pivoted from the front; the trigger fit vertically through a pinned mortise in the sear and was shaped at the top so as to cam against the underside of the bolt and depress the assembly, releasing the firing pin; it was a cock-on-closing design.
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Monument to John Northcote (1570-1632), Newton St Cyres Church, Devon The monument to John Northcote (d.1632), his two wives, son, daughter-in-law, grandchildren, father and grandfather, exists in the north-east corner of the Northcote Chapel situated at the east end of the north aisle of Newton St Cyres parish church. His grandfather had purchased the advowson of the church, thus the family effectively controlled the church and as was common in such cases, set up its own family chapel. The monument is about 15 ft high by 9 ft wide the base of which is a plain chest tomb with black marble pilasters on the front at either end with a thick slab of chamfered black marble on top.
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The walls are Norman with chamfered string courses both inside and out, as are the carved stone inside the building, steps on which the font stands and the gargoyles. Surviving records from accounts at Durham suggest that monks paid for some of the early medieval building work, while the north and south aisles were later additions and probably paid for by three local families - the Askes, Kayvills (or Cavilles) and Portingtons. In the Portington chapel, a "coffin shaped cross slab with lead filled design" can be found on the floor dated from the early 13th century, also a second cross slab carved in relief, dated from the late 13th century. There is a shield below the cross head, probably the Caville coat of arms.
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Necks are then chamfered inside and outside. Afterwards the neck is turned to a thickness that will allow, at _bare minimum_ , total clearance in the chamber for the loaded round (it helps to keep the neck turner in a pocket when not actually in use so that its temperature does not vary over the process; otherwise one can get considerable changes in the neck thickness due to heating and cooling of the "neck turner". Remember that we are working in increments of - when one does the calculations, it is truly impressive how the dimensions of the neck turner can change over a 10 degree Celsius (21 degree Fahrenheit) range. The turner mandrel usually has to be lubricated between each case with a high quality lubricant.
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Thomas Telford worked as the county surveyor of Shropshire between 1787 to 1834, and the bridge is reported to have once held a cast iron plate above the centre of the arch inscribed with "Thomas Telford Esqr - Engineer - 1818", which is apparently visible in historic photographs, but has not been in place since at least 1985. The bridge design incorporates dressed red and grey sandstone abutments with ashlar dressings, these are slightly curved and ramped, with chamfered ashlar quoins, string courses, and moulded cornices. The structural cast-iron consists of a single segmental span with four arched lattice ribs, braced by five transverse cast-ironmembers. The road deck is formed from cast- iron metal deck plates, tarmacked over, and now finished with gravel.
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The tower from the west St Margaret's Church has a chancel, wide nave with a narrow clerestory above and narrow three-bay aisles on the north and south sides, a tall tower (topped with a spire) at the west end and a porch on the north side. The nave, chancel and chancel-arch all date from the 13th century. The aisles and their arcades are largely unaltered from their 14th-century origins: between them they feature various mouldings and designs typical of that period, including chamfered arches, octagonal columns and squinch corners. Many of the windows also date from that century, while others are a century later; trefoil-headed designs predominate, but there are some larger square-headed Perpendicular Gothic windows as well.
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The rear of the main block is extended by a shed-roof extension down to the first floor, giving it a saltbox profile, and there is a single-story gabled ell extending to the main block. The construction date of this house is not known, but it seems likely that the oldest portion of the house was built about 1680 by John Kingsley, as a three- bay "stone ender" house. This is based on the presence of a basement only under the eastern three bays. Differences in roof construction and window placement on either side of the central chimney indicate different construction periods, although both parts of the main block exhibit First Period construction methods, including heavy timber framing, chamfered beams, and gunstock posts.
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Grangehill, a two-storeyed Brisbane tuff and sandstone residence with a hipped corrugated iron roof, is located on an elevated position above Gregory Terrace to the northwest and has views over the surrounding suburbs of Fortitude Valley, Bowen Hills and Herston. The roof, consisting of U-shaped hips with a central box gutter, has a raised central skylight and two rendered chimney stacks with cornice detailing. The building has verandahs to the northeast and southeast, with the ground floor of the southeast verandah having been removed during 1960s extensions (retreat centre), and northwest verandah having been removed for the 1950s extensions. The verandahs have cast iron balustrade panels with timber rails, chamfered timber verandah posts, and a rendered masonry base.
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The tower is 14th-century and is the oldest part of the building: it is low, single stage and very plain with a pointed north door and a lancet window and a low unmoulded arch opening into the nave. It is located in a north transeptal position, frequent in early North Devon churches. The north and south aisles are separated from the nave and chancel by eight bays of chamfered arches, four on each side on stunted octagonal piers; these are mid-to late 14th- century, while a piscina of the same date can be found in the chancel. The chapel in the north of the chancel is early 15th-century, while the aisle windows are from the Perpendicular Period.
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A square-plan neo-Gothic church with a 3-stage entrance tower, hall and offices, and a basement, the architectural historian John Gifford describes the plan as "unexpectedly orthodox". The principal elevation is aligned with Gilmore Place, which provides access to the main church building as well as the office and function areas. The outside external elevations are of buff-coloured sandstone solid masonry construction, adorned with typical ecclesiastical architectural features including moulded capitels, long narrow lancets, chamfered reveals, an ornate rose window, arched windows and columns with moulded capitals. Internally, the layout is a T-plan interior typical of Presbyterian churches of this era, exhibiting a renewed emphasis on the pulpit as the focal centre around which the congregation assembled to hear the preaching.
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The guildhall was established as a meeting place for the Guild of the Holy Cross, a religious group of merchants in the town. It was sited adjacent to the 13th century guild chapel which was the place of worship of the merchants. The building, which is timber-framed with plaster infill, was completed in around 1417; the design made extensive use of jettied timber framing and featured a entrance to left end bay with iron gates at ground floor level and six leaded windows at first floor level; there was a wing to the south-east. Internally, the design involved a main hall, with a stone floor and chamfered ceiling beams, on the ground floor and two rooms, with spine beam, on the first floor.
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The south side of St Rufus Church, showing four of its five arch-pointed windows, with the tower rising in the background St Rufus Church is mainly rubble-built, with sandstone ashlar detailing, and a slate roof. Its five-bay north and south sides are buttressed, with crenellated walls and hoodmoulded pointed-arch windows with transoms and tracery and coloured glass, and with wide crowstepped gables at either end. Attached to the middle of the west gable is a square tower, which rises to a height of in four stages, each stage narrower than the one beneath it. In the southern face of the bottom stage is a large, pointed-arch hoodmoulded entrance, with chamfered edges and a fanlight above the doors.
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A 2008 view from Hyde Park Terrace, including entrances and severely blackened tower Externally, the church is constructed in rock-faced gritstone, with ashlar details and a pitched slate roof. The building was designed by local architect James Fraser and is in the Gothic Revival style. Though blackened by pollution damage, the exterior is noted for a tall southeastern tower of three stages, with shallow corner buttresses, a pair of lancet windows and carved corbels in the form of angels and grotesques, with an octagonal bell stage, surmounted by a tall stone spire, considered to be a significant local landmark. The elegant Victorian interior is a five-bay nave with a floor of red and black tiles, polished marble columns, foliate capitals and chamfered pointed arches.
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They are flanked by two cylindrical towers chamfered, such as blackbirds completion pentagonal. The cloth is west of the walls topped by an aqueduct built on arches go round, joining the Palace of the Counts of Ficalho, on the north side and a giant daughter seated in a pit, along the southeast corner, built in the seventeenth century to supply the palace. In later period opened the door to the Corredoura and New Gate. The wall of the fortress is reinforced by the Homage Tower, quadrangular, adjoining south cloth, left to bottom; by a semicircular plant cubelo the same side and a rectangular plant tower in the southeast corner, next to which is still visible part of the Barbican involved.
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Andrew Jackson Downing advocated "truth in architecture" while celebrating the picturesque and asymmetrical, and the use of tracery and carving as ornamentation. The Nicholson–Rand House is an American version of Gothic Revival as developed by Downing, built with native materials."Up for A Revival", Ruth Mullen, The Indianapolis Star, April 26, 1997 Downing's illustrations of country houses are reflected in this house's asymmetry, picturesque windows, projecting eaves with decorated rafter tails and brackets, board-and-batten siding beneath the gables, lacy bargeboard, the many dormers, the entrance porch with its chamfered posts and scrollwork brackets, and the shape of the chimneys. Still relatively rural today, in 1876 the house was two to three hours from downtown Indianapolis by horseback or wagon over of winding dirt roads.
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The second floor ceilings are generally coved, with the exception of the teachers room which is flat, and are lined with beaded timber boards. Most early timber joinery survives, including: double-hung sashes with awning fanlights to verandahs; casements with awning fanlights to gable end walls; casements to stairwells; arched windows to the undercroft of the central wing; dormer windows to the northeast wing; panelled double doors with stop-chamfered detailing and awning fanlights above (many retaining early hardware); panelled, folding timber door partitions between some classrooms in the central and southwest wings; and half-glazed partitions within the southwest wing. Most windows have wide concrete sills and lintels. Timber-framed, corrugated metal-clad window hoods shelter windows on the southeast elevations of the northeast and southwest wings.
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A slab of square marble slabs covers the bottom of the walls of the mosque. All this is topped with a splendid theory of interlocking polyblocked arches, which, in this case, are not blind in their entirety, because those in the chamfered corners let now see the angles of the square plant structure. This gallery is the only one that conserves remains of the pictorial decoration of the 11th century, whose motives were rescued by Francisco Íñiguez Almech after removing the liming with which they were covered after the passage of the Aljafería to chapel. Unfortunately, this restorer, praiseworthy for having saved from the ruin of the monument, worked in an age of different criteria to the present ones, because he intended to restore all the elements to their original appearance.
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The extensions at Canning Downs comprised the addition of timber wings abutting either side of the principal residence. Both of which were rectangular planned with hipped corrugated iron roofs and discrete verandah awnings on the front and side elevations. The wings were timber framed and clad with chamfered horizontal boarding, with decorative timber features including cross-braced balustrading and fretwork column brackets. Canning Downs station homestead and gardens, Warwick district, 1914 The Canning Downs estate was then subdivided, and that portions containing the residence and stables was sold to Henry Richard Needham on 2 March 1906 who owned it only until 9 January 1918 the ownership of the Canning Downs Homestead was transferred to John Hawkins Smith and Sara Barnes, parents of the present owner Charles Edward Barnes.
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Alongside its display are two aluminum endpieces with a tight grid of laser-cut holes forming the speaker grilles behind which sit two stereo sound speakers; the metal volume keys are smoothly inlaid on the left side of the frame. The unibody frame itself takes at least 200 minutes of precision CNC cutting to machine, and the final result is a solid slate of anodized aluminum, white polycarbonate, and tempered glass with chamfered, polished edges. Two capacitive navigation keys, "Back" and "Home", are located below the display, flanked by HTC's logo in the center. While other recent HTC devices (such as the One X) used a three-key layout with "Back", "Home", and "Recent apps" keys, HTC designers believed that using only two navigation keys as opposed to three would reduce user confusion.
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The control tower is a utilitarian design comprising a square four-storey base in reinforced concrete with a face brick cladding, below a rectangular cantilevered walkway, also in reinforced concrete, around an octagonal cabin. The cabin is raised on a part-chamfered half-height duct and service space and octagonal cabin. Bankstown is one of a group of control towers built essentially to the same operational and technical standards and specifications across Australia and Papua New Guinea from the 1950s until the late-1960s, when perimeter frame towers became the standard model for control towers at secondary and general aviation airports in Australia. Its design is derived from the 1950s air traffic control towers (Essendon, Hobart, Launceston and others), a design approach that was repeated and refined through the 1960s.
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Gone, however, as part of the 1930s alterations, are the original western porch, the gabled end walls and the slate roof with its central "belfry". The 1930s additions at the east and west ends generally take the form of simple gable-roofed wings in an extremely pared down style incorporating elements of both Inter-War Old English and Inter- War Gothic styles. The warm-red face brickwork of the walls, the wide-eaved red tiled roofs with exposed rafters and white-painted timber joinery are generally typical of the period and simply but carefully detailed. The symmetrical front elevation features a small projecting porch with gothic-arched opening decorated with chamfered bricks and hood-moulding and surmounted by a plaque bearing the St Andrew's cross (signifying the building's Presbyterian allegiance).
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The state government offices is a strictly modernist building that expresses that of a "soaring wonderment" as per the guidelines of the competition that was held in 1962. The form of the building (1 treasury place) is rectangular and horizontal with a centralised square tower in the centre surrounded by void space consisting of walkways leading to the tower from the outer shell of the building. Its use of off grey precast concrete walls results in the facade of the building being expressed as a repeating grid made from the tall sections of precast panels and the chamfered rectangular window cutouts that complete the grid pattern. The grid like formation of the windows are in close relation to that of the window formation of the old treasury building.
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Pioneer Cottage is located on a small parcel of land in a suburban street in central Buderim, on the high ridge which forms the spine of the plateau, facing northeast. It is a modest, single-storeyed, exposed-frame timber building, constructed of pit-sawn and hand-dressed local beech [floors and wall and ceiling linings], red cedar [joinery], tallowwood [bearers and wall plates] and hardwoods (wall framing and roof structure), and set on low timber stumps. It has a steeply pitched roof, with corrugated iron covering the original shingle battens, and two dormer windows on the southwest side, opening from an attic space. The four-roomed core is surrounded by verandahs with simple chamfered posts supporting the verandah roofs, which extend from the main roof at a different pitch.
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The bandstand is also an exercise in the language of classical architecture, using a simple square form plan with a pyramidal roof raised on composite order columns. The Mannerist composition of the screen derives from the Renaissance illustrations of the classical orders, in which the elements of the entablature surmounting the capital are interpreted as panels of open space between flat pilasters. The frieze band of the entablature is infilled with decorative cast iron panels, framed between chamfered square section timber posts and visually supported on corner brackets to the underside of the taenia, or plate that separates the frieze from the architrave below. Panels of decorative cast iron are fixed between columns to form a continuous balustrade, broken only at the top of the steps where it meets round iron posts with ball finials.
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The site was triangular, measuring 240 by 180 metres, and a moat – or more likely, series of fishpondsField Investigators Comments, F1 DJC 06-JAN-76 English Heritage – is still visible and waterlogged today. Some of the remains are also visible and the listing of the site may include part of the refectory, in particular "a chamfered pointed doorway" on its south west side.National Monuments Record, English Heritage9/96 Dodford Priory listing information The site was bought by the Chartist Co-operative Land Society in the 1840s to settle working-class families on four, three and two acre plots, where it was hoped they would be able to make a reasonable income. Around 70,000 members paid subscriptions in the hope of gaining a plot, which were allocated by the drawing of ballots.
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The Royal Oak in the era of horse-drawn transport, circa 1900 The date that the building was first constructed is uncertain, with best estimates putting the build date during the Georgian era around the late 17th century as a timber-framed house; this is determined by the chamfered beams and the rectangular lobby entrance with the front door centrally-located, opening to back-to-back fireplaces with main rooms to the left and right, known as a 'baffle-entry' layout. It transitioned into use as a public house by 1754, which is a common origin of country pubs. It was mentioned in the Melville's Directory of 1858, with Joseph Charlton as the licensee. In 1895 William Sayer, a former landlord of the pub, was killed in a collapse at a nearby chalk mine.
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The first-floor room was of some pretensions, having had two three-light windows with traceried heads and an oriel window, replaced in the 17th century, over the entrance to the side passage; the main ceiling beams have chamfered soffit-nibs. The second floor was once open to the roof, and the partition truss had shallow arch-braces to a collar-beam which had a central boss. The contemporary hall wing is of three bays; the floor area of the hall extended over all three, but the bay adjoining the range fronting the street had an upper story. The upper story was built above an elaborately moulded bressummer, supported by arched brackets, and there is a waist rail corresponding in height and in decorative detail in the east wall of the hall.
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Chamfered corner at Battery Place and Broadway Both the public and the federal government's United States Shipping Board started to distrust IMM following World War I: the public eschewed the company due to its usage of British ships, while the Shipping Board saw IMM as too large and anti-competitive. This led to a series of organizational changes, including the sale of all foreign-flag lines and even some domestic lines. The IMM merged with the Roosevelt Steamship Company in 1931 to form the Roosevelt International Mercantile Marine Company (RIMM), which continued to own 1 Broadway. The same year, RIMM acquired United States Lines (USL) and began merging its other operations under that name. By 1940, RIMM itself had merged into USL, and the next year, an USL subsidiary acquired 1 Broadway.
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Koongalba, 2015 Koongalba, a single- storeyed timber and iron residence, is located on a level site at the crest of a hill fronting Wharf Street to the north. The residence, consisting of the original building at the front with a later wing added to the rear, has views to the northeast towards the Maroochy River and is surrounded by landscaped grounds with substantial plantings of mature trees. Cross-bracing, 2015 The original building, of four rooms with a central corridor, has a corrugated iron gable roof with skillion roof verandahs to all sides, and timber perimeter stumps with concrete stumps internally. Verandahs have unlined ceilings, chamfered timber posts, timber brackets and capitals, a timber handrail with central support, and retains some of the original beech timber floor boards.
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The grey granite of the castle peeking from behind the medieval walls of the old city The internal lattice of columns and nerves of the second floor room of the castle The castle crowns the escarpment of Serra d' Ossa, with a commanding view of the local and distant routes, dominating one of the largest squares in Portugal: the municipality of Estremoz. An unusual rectangular building, the castle includes circular towers molded into the structure, providing the castle with an aggressive and powerful characteristics. The building is much larger at the base, and is chamfered to the height of its three storeys, and crowned by large merlons. The three floors are clearly delineated by a ring-shaped cornice at each level, typical of the Manueline style, these cornices are sculpted into a rope, tied at the frontispiece of the structure.
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This area was refurbished and extended in about 2005 to include self-contained accommodation for six priests and parish administration offices and community facilities including a large Function Room built over a little-used courtyard at the building's rear which connects with the main church building.Refurbishment and extension on Our Lady of Hal - John Kerr Associates - Architects In the three arches over the main entrance are decorative mosaics; the one in the centre depicts Our Lady of Hal, flanked by shields of arms. The entrance leads to a wide passage beneath a deep gallery in the west of the church directly into a wide nave without aisles. The roof of the nave sits on pointed arches of chamfered concrete sitting on corbel supports, while the roof above the nave is built with exposed rafters and dormer windows.
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Teaching and administration block C (central school), located to the southeast of teaching block A and fronting Kent Street to the southwest, is a two-storeyed rendered masonry structure, scribed to imitate stonework, with a hipped corrugated iron roof with projecting gables. The symmetrical Kent Street elevation (southwest) has a central gable section which consists of an entrance porch to the ground floor with double timber doors and a sash window either side, and a triple sash window to the first floor and rendered quoining to the corners. The porch has paired chamfered timber posts, arched brackets and batten balustrade, a concrete floor and hipped corrugated iron roof, while the first floor triple sash window has a long hood supported by curled metal brackets. Either side of the projecting gable section are two- storeyed verandahs which return at either end of the building.
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It is a single, compact volume which wraps itself around the corner in a dramatic curve that corresponds to the chamfered corner required since the late 19th century by city ordinances. The main two levels have nearly twenty-feet-high ceilings, thus giving the structure sufficient bulk so as to stand out within its context. Verticality is accented by the use of colossal Corinthian pilasters, square and paired at the facades to each street and round and single at the corner. The exterior is compositionally organized in three levels: the bottom one is a base executed in the pink limestone common to this area; the central and main body is defined by the aforementioned colossal pilasters, which articulate the openings of the two main floors in three-bay modules with additional one-bay modules flanking the longer, Amor Street facade.
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Due to the bilateral relations of Al-Buraq Mosque and Bab Hittah or Barclay's Gate transformed to the masjid, the historical background of one of them can give an approximate way to identify the other. According to Barclay and his followers’ archeological researches especially on the gate, the height and the width of the gate are known, which can also give an opinion about the masjid. The gate measuring 5.06 metres in width and 8.80 metres in height of the doorway (Al-Ratrout, 2004) provides insight into the dimensions of the masjid. According to archeological views; it can be concluded that this gate was used as an entrance gate to Al-Aqsa Mosque during the Umayyad period, in connection with structural features, such as the chamfered edge as a distinctive feature of all Umayyad gates leading to the enclave.
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Its most distinctive characteristic is a centrally-positioned Mansard tower over dormer rooms in the main roof, providing a central focus to the front elevation and a viewing room with vistas over Cabbage Tree Creek to Moreton Bay. Across the front of the main body of the building is a deep verandah. The Wharf Street elevation is particularly decorative, with paired, chamfered verandah posts with timber capitals and brackets; a decorative timber balustrade across the front verandah; decorative timber bargeboards and gable infills; an attic room with large dormer window over the front entrance and vestibule; and the elaborate timber viewing tower above this, complete with decorative bargeboards, spandrels beneath the guttering and acroteria. The rear elevation also has a central, decorative focus, where a dormer window and a room beneath this project from the core of the house, overlooking Cabbage Tree Creek.
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Already inside the oratory there is a reduced space of square plant but with chamfered corners, that turns it into a false octagonal plant. In the southeast sector, oriented towards Mecca, is located the niche of the mihrab. The front of the mihrab is conformed by a very traditional horseshoe arch, with Cordoban shapes and alternating camouflage threads, some decorated with vegetal reliefs and other smooth ones (although originally they were decorated with pictorial decoration), reminiscent of the mihrab thread of the Mosque of Córdoba, only what were rich materials (mosaics and Byzantine bricklayers) in Zaragoza, with greater material poverty than the Caliphian Córdoba, are plaster stucco and polychrome, the latter having been lost in almost the entire Palace. Continuing with the arch of the portal, an alfiz framed its back, in whose curved triangles two mirrored rosettes are recessed, as is the dome of the interior of the mihrab.
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Hyde and Pevsner, in the Buildings of England series, describe the interior of the church as being "a strange sight", because it is constructed entirely in thickly plastered, white-painted, rubble. The piers have a square cross section, are chamfered, and are "markedly tapered". The font, a survivor from the original church, is made in sandstone. It consists of a small octagonal bowl, the corners of which are carved with heads. This may date from the 12th century, but its stem and base are later. At the base of the tower is a wooden statue of Saint Martin and a beggar, dating from the 17th century. The reredos dates from 1870, is made from marble, and contains mosaics that depict the symbols of the Four Evangelists and the Passion. In front of the lectern is a display case made by Arthur Simpson in 1907 in memory of the artist Dan Gibson.
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Two vehicular-width gateways provide access to the hard- paved area in front of the church and feature dressed sandstone gateposts with intersecting gabled tops and stop-chamfered corners. A pedestrian gate with ornamental tendrils, curls and spears mounted between a pair of similar gate- posts is located opposite the main Hall entrance. The fence as a whole is generally in quite good condition but showing evidence of the general weathering and wear and tear common with such structures of this age (including open joints, various impacts from the laying of paved surfaces against the base, etc.). More significant however, was the condition of the gate posts either side of the two vehicular entrances which showed evidence of repeated and substantial impact damage and resultant movement - resulting in one post having to be dismantled and the body and jointing of the others appearing less than satisfactory.
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The school is a good, intact example of a suburban school complex, comprising the following building types. The Ferguson-designed school building retains some characteristics of its early standardised design, including: timber-framed structure with high- pitched gable roof; verandahs (eastern enclosed); decorative timberwork; gable-end windows with skillion hoods; coved ceilings with stop-chamfered timber collar ties; early internal linings; and ventilation features such as louvred gable vents. The suburban timber school building is a good, intact example of its type, retaining its: highset timber-framed structure with play space beneath; symmetrical plan form of classrooms and verandahs; projecting teachers room; coved ceiling and metal tie rods; early internal linings; and ventilation system including remnant vents at floor level and decorative roof fleche. Connected to the suburban timber school building by verandahs, the two sectional school buildings are good examples of their type and are externally intact.
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Microsoft regulates the appearance of the Windows key logo picture with a specially crafted license for keyboard manufacturers ("Microsoft Windows Logo Key Logo License Agreement for Keyboard Manufacturers"). With the introduction of a new Microsoft Windows logo, first used with Windows XP, the agreement was updated to require that the new design be adopted for all keyboards manufactured after 1 September 2003.Amendment to the Windows Key Logo License Agreement (page no longer accessible) However, with the release of Windows Vista, Microsoft published guidelines for a new Windows Logo key that incorporates the Windows logo recessed in a chamfered lowered circle with a contrast ratio of at least 3:1 with respect to background that the key is applied to. In Common Building Block Keyboard Specification, all CBB compliant keyboards were to comply with the Windows Vista Hardware Start Button specification beginning on 1 June 2007.
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All undercroft spaces feature face brick columns, which are rounded below head height. Rare surviving early educational murals of painted text and images, on topics such as tourism, transport, farming, sugar cane, and Australian states, are painted directly onto the bulkheads and walls of classrooms in Block B. Most feature a detailed image with adjacent wording. Murals to the understorey classroom of Block B have been covered, although it is likely that these survive underneath the recent paint. Most early timber joinery within the building has been retained, including: double-hung sash windows with awning fanlights to verandahs; casements and centre-pivoting windows with awning fanlights (some angled) to exterior walls; fixed louvres to the understorey level; dual timber panelled doors with stop-chamfered detailing and centre-pivoting fanlights; tall, centre-pivoting fanlights over verandah doors, and panelled, folding timber door partitions between some classrooms in Block B. Most windows feature horizontal painted concrete sills and lintels.
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The nave has, on each side of the chancel arch, the 13th-century respond column of the former arcades; they are semicircular with moulded capitals and bases. The 17th-century north wall has a reset late-15th-century three-light window; a reset 14th-century archway to the porch, of two chamfered orders (probably the old arch between the aisle and transept re-used), the lower order resting on mutilated corbels, reset and altered in the 17th century; and a slight recess close to the west end, as for the inner splay of a window. The 17th-century south wall has features similar to those of the north wall. Both walls have splayed plinths, but those on the south appear to be of rather coarse workmanship and do not extend round the porch, while those on the north are finely wrought and are carried along the east and west walls of the porch.
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The Eixample is characterized by long straight streets, a strict grid pattern crossed by wide avenues, and square blocks with chamfered corners (named illes in Catalan, manzanas in Spanish). This was a visionary, pioneering design by Ildefons Cerdà, who considered traffic and transport along with sunlight and ventilation in coming up with his characteristic octagonal blocks, where the streets broaden at every intersection making for greater visibility, better ventilation and (today) some short-term parking areas. The grid pattern remains as a hallmark of Barcelona, but many of his other provisions were ignored: the four sides of the blocks and the inner space were built instead of the planned two or three sides around a garden; the streets were narrower; only one of the two diagonal avenues was carried out; the inhabitants were of a higher class than the mixed composition dreamed of by Cerdà. The important needs of the inhabitants were incorporated into his plan, which called for markets, schools, hospitals every so many blocks.
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The nave arcades and chancel > arch are chamfered with moulded capitals on polygonal piers, and the nave > and chancel ceilings have painted wooden panels. The church retains most of > its original decorations and fittings: wooden rood screen and choir stalls > carved in a mixed Arts and Crafts-Perpendicular style by J. E. Knox of > Kennington; chancel floor inlaid with black and white marble; stone side- > chapel arch carved by Robert Bridgeman of Lichfield; octagonal font of > Frosterley marble with elaborate wooden canopy, also carved by Knox; stained > glass by Sir William Richmond in the east window of the chancel and in the > south window of the side chapel; and altar fittings by William Morris. Most > of the early 20th-century memorial windows in the aisles come from the > Whitefriars studio in London. A bell was taken from the 1838 church for use > as a call bell, and a further three bells installed in 1897 were recast as > six in 1960.
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In the church yard are some tombs of the Thatcher's, and for the > Woods who resided at Northwood, in this parish and Bicknor." Memorial stone for William Tylden, dated 1613. The Tyldens were an ancient landholding family in the area for at least three centuries and William Tylden's memorial stone lies set in the floor of the north chancel, showing his date of death as 23 December 1613 Samuel Lewis, in his 1831 Topographical Dictionary of England wrote of a "tower steeple and some fine remains of stained glass in the great east window." In 1852, Arthur Hussey described the church as having architectural features "certainly of a very early character" and further: > "In Wormshill church the arches, which are pointed, appear to be mere > perforations of the wall, the soffits being single, the angles not > chamfered, of the thickness of the wall, flat and plain from one side to the > other.
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Between them is a plain doorway, and there is a square recess with no sign of a drain below the south-east window. On either side of the east window are 15th- century image brackets carried by angels, whose very modern heads do not agree well with their mediaeval bodies, and in the north wall is a square plastered recess. The chancel arch has good moulded capitals and stops to its chamfered arch, but of the moulded base only a small piece remains. The nave had a rood- stair at the south-east, of which only the lower doorway remains, and next to it a wide two-light 15th-century window. In the north wall is a 17th-century window of three lights with a transom, and west of it a two-light 15th-century window, and there is a squint to the chancel in the north jamb of the chancel arch.
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That's simply not possible with a big-screen device, which adds considerable bulk and bulge no matter how thin phone makers try to squeeze it.”, praising the possibility and practicality to “simultaneously charge my phone and listen to music”, and reported that “smartphone sales are stalling, Apple's included. Perhaps in an effort to find some way — any way — to convince people to buy a new phone, Apple might figure it needs to build a device that appeals to us, compact phone devotees.” The Next Web described Apple’s iPhone SE as “the best looking phone it's ever made”, further mentioning that “the SE is essentially an iPhone 6S fitted into the compact, beautifully designed body of the iPhone 5 from 2012. It’s one of the only phones you could get with a bead-blasted aluminum body. I owned a 5S for years, and loved using it without a case because I couldn’t get enough of that unique satin finish and the classy chamfered edges.
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David Fasold, a promoter of the Durupınar site, stands beside what he claimed was a drogue stone (crosses are believed to have been added later) The Arzap drogue stones are a number of large standing stones found near the Durupınar site by amateur archaeologist Ron Wyatt with the aid of David Fasold and others. Fasold interpreted the artifacts as drogues, stone weights used to stabilize the Ark in rough seas, because they all have a chamfered hole cut at one end as if to fasten a rope to them, and his reading of the Epic of Gilgamesh, the Babylonian mythical account of the flood, suggested to him that such stones were used. Drogue stones were the equivalent of a storm anchor on ancient ships. They have been found in the Nile and elsewhere in the Mediterranean area, and like the stones found by Wyatt and Fasold, they are heavy and flat with a hole for tying a line at one end.
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Water was a distinguishing trait of the garden from the outset: the great pond, Estanque del Retiro, which served as the setting for mock naval battles and other aquatic displays, the great canal, the narrow channel, the chamfered or bellflower pond, created —along with the chapels— the basic layout of the gardens. Buen Retiro was described as "The world art wonder of the time", probably the last great creation of the Renaissance in Spain. Buen Retiro became the center of Habsburg court life at a time when Spain was the foremost power in the world. During the reigns of Philip IV and Charles II several magnificent plays were performed in the park for the royal family and the court. Paseo de la Argentina Lake, boats and the Alfonso XII monument The gardens were neglected after the death of Philip IV in 1665, but have been restored and changed on many occasions, notably after being opened to the public in 1767 and becoming the property of the municipality in 1868.
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The 14th-century chancel has a four-light east window with original jambs, but a late-15th-century depressed four-centred head; on the north side of it a 13th-century capital (now mutilated) has been built in as a bracket. The north wall has two original three-light windows with intersecting tracery in a two-centred head; a late-15th-century three-light window with a depressed four-centred head; and a 13th-century locker with trefoiled head and stone shelf. The south wall has three windows similar to those on the north; a small late-15th-century doorway; a blocked original doorway, only visible inside; a blocked low-side window; a reset 13th-century double piscina having one whole and two half semicircular intersecting arches with interpenetrating mouldings, carried on a central shaft and two detached jamb-shafts with moulded capitals and bases. The 13th-century chancel arch is two-centred, of two chamfered orders, the lower order resting on triple attached corbel-shafts with moulded capitals and modern corbels.
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Contributor Marilynn Johnson wrote: > The most successful American interpretations of the Talbert style of Modern > Gothic furniture were apparently the result of a collaboration between a > highly skilled Philadelphia cabinetmaker and carver, DANIEL PABST, and FRANK > FURNESS, a Philadelphia architect. Furniture believed to have been produced > by Pabst and Furness includes a desk that was handed down in the Furness > family, at least two suites of furniture owned by Theodore Roosevelt, and, > most impressive of all, a cabinet that has only recently come to light. Its > rooflike pediment, angular base, chamfered edges, truncated columns, > elaborate strap hinges, and decorated door panels all link this cabinet to > the Modern Gothic furniture of British architect-designers such as Burges. > The scrolling, finely carved brackets, however, specifically suggest the > form of Talbert's wall cupboard, and the cutaway pattern of stylized flowers > on the upper doors is reminiscent of the decoration on a sideboard that > relates closely to the Holland and Sons sideboard of 1867 and is illustrated > as number 20 in Gothic Forms.
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The circular form of the moat suggests eleventh- or twelfth-century origins, and the entrance to the site pointed away from the centre of the medieval town at the site now known as the Bull Ring, suggesting that it preceded the twelfth- century development of the town around the marketplace. The moat and its buildings illustrated in 1814, one year before their destruction Excavations during the construction of the Birmingham Wholesale Markets between 1973 and 1975 revealed a sandstone wall that included a moulding similar to those found on other sites in the West Midlands such as Sandwell Priory, probably dating it to the twelfth century. This wall had been incorporated into a later structure about 11m long and 4m wide with chamfered ashlar stonework – possibly a tower, an oriel window, the base of a stair or the end of a building – with a buttress that indicates a likely thirteenth century date. Further excavations as part of the redevelopment of the Bull RIng in 2000 showed that the moat was 2.5m deep.
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Boxmoor Skew Bridge in 2011, looking in a SSW direction from London Road Boxmoor Skew Bridge detail, showing the chamfered acute quoins and stepped extrados In 1839, George Watson Buck, having also worked on the London and Birmingham Railway under Stephenson before moving to the Manchester and Birmingham Railway, published a work entitled A Practical and Theoretical Essay on Oblique Bridges in which he also acknowledged Nicholson's contribution but, finding it lacking in detail, applied his own original trigonometrical approach and considerable practical experience to the problem. This book was acknowledged as the definitive work on the subject of the helicoidal skew arch and remained a standard text book for railway engineers until the end of the 19th century. Buck's trigonometrical approach allowed every dimension of a skew arch to be calculated without recourse to taking measurements from scale drawings and it allowed him to calculate the theoretical minimum angle of obliquity to which a practical semicircular helicoidal skew bridge could be designed and safely built. Buck, 1839, op. cit.
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In its current form, the church consists of a 6½-bay nave (of which the three westernmost bays form the church hall), aisles on the north and south sides, chancel with chamfered arch, apsidal Lady chapel with a lead roof, porch, vestry, clerestory and small flèche. Charles Eamer Kempe, an important stained glass designer of the Victorian era, provided the window at the east end and one in the south aisle, and many of the other windows (most of which are lancets) also contain stained glass. Local firm Cox & Barnard supplied three of these: designer Anthony Gilbert provided a window in the south chapel in 1955, depicting Saint George and commemorating parishioner George Howell; in 1960 Paul Chapman designed another window in the same part of the church, in memory of William Cheverton – it depicts Saint Cecilia holding a musical instrument and crowned with "an unusual halo resembling yellow laurel leaves interspersed with roses" – and in the same year, a window commemorating Halcyon Ann Lopez and depicting the virtue of Charity was installed in the south side of the nave. A new bell was cast for the church in 1961.
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