The surrounding decoration stretches and compresses to suit the ever-changing fenestration.
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You can require a certain type of fenestration and façade in your design ordinance.
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The Bauhaus was top of the list, and Johnson, too, fell hard for Gropius's unadorned facades and industrial fenestration.
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The houses, barns, cottages and cabanas, stripped of their fenestration and pared down to their faces, aren't quite faithful depictions, but they aren't unfulfilled abstractions, either.
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Along one side of the room, the artist has carved out rectangular sections of the wall to create D.I.Y. windows for the series "Fenestration 1" (2018).
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"Fenestration 2" (2018) consists of a series of arches molded on the opposite wall; imperfect and uneven, they crown only the plaster that has dripped and dried below them.
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The idiosyncratic structure is reminiscent of a crumpled paper cup that has been inverted and slashed by a capricious hand, with irregular bands of fenestration tracking the building's contours.
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As you circulate through the T-shaped gallery — Mr. Holl favors alphabet designs, and also eccentric fenestration — the convex walls and windows of Mr. Albenda's gossamer sculpture seem to expand and contract with surprising, and disorienting, force.
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On top of this wing, a ball-like structure with a small fenestration is visible.
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The building's round-arched fenestration is visually tied together by belt course slightly below impost level.
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Mansard roof detail, seen from the ground at Union Square The W New York Union Square building's most prominent feature is its four-story mansard roof, which contains dormer windows, escutcheons, and five decorative keystones with garlands. On the 18th story, the west and east facades contain fenestration in a 2-3-2 format and the south facade contains fenestration in a 2-3-3-3-2 format. On the 19th story, the west and east facades' fenestration is in a 1-3-1 format and the south facade's fenestration is in a 1-3-3-3-1 format. There are carved scallops atop each of the window groupings on the 18th and 19th stories.
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These homes have a single- story addition in the rear, simple fenestration, and a front entryway. The third style, used in only two homes, is a two-story rectangular balloon-framed building sheathed in clapboard, with a gable roof. These two houses had slightly home complex fenestration and a small front porch.
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In surgery, a fenestration is a new opening made in a part of the body to enable drainage or access.
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The zinc cladding homogenises the building mass and full-height vertical joints set up a basic rhythm for the fenestration.
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Side-view, showing the visitors' café below and above, the changes in fenestration from later building work to the state rooms.
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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 stairhalls indicate the four-part arrangement of both the salesroom area and the apartments on the upper floor. Plate glass filled the shopfront fenestration.
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Two windows are beside the door to the north and above are three symmetrically arranged over the first floor fenestration. An unusual feature of this section is a broad entablature that projects from the plane of the wall and is painted white. The gable ends have full triangular pediments and broad rectangular attic windows. The smaller wing recalls this with a white frieze featuring long rectangular fenestration.
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In the short term, children can have trouble with pleural effusions (fluid building up around the lungs). This can require a longer stay in the hospital for drainage with chest tubes. To address this risk, some surgeons make a fenestration from the venous circulation into the atrium. When the pressure in the veins is high, some of the oxygen-poor blood can escape through the fenestration to relieve the pressure.
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Fenestration is a mixture of small paned and large paned windows. Chimneys are similar to those on the house in being tall, narrow and rather Medieval in appearance.
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Other characteristics typically include small porches or balconies, Roman or semi-circular arcades and fenestration, wood casement or tall, double–hung windows, canvas awnings, and decorative iron trim.
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Treatment is often largely dependent on the type of cyst. Asymptomatic cysts, termed pseudocysts, normally require active monitoring with periodic scans for future growth. Symptomatic (producing or showing symptoms) cysts may require surgical removal if they are present in areas where brain damage is unavoidable, or if they produce chronic symptoms disruptive to the quality of life of the patient. Some examples of cyst removal procedures include: permanent drainage, fenestration, and endoscopic cyst fenestration.
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The terrace at Nos. 32-36 Gloucester Street is a plain fronted Mid Victorian terrace continuous in height and fenestration with Nos. 24-26 and Nos. 28-30 Gloucester Street.
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The building envelope should be examined thoroughly for cracks, watertightness (infiltration or leaks) and mortar joints. It is important to examine these exterior walls for future fenestration and air conditioning ducts.
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The internal faces of the lateral wings have fenestration similar to that in the main block. Their front faces have basket-arched sash windows, and the north wing has an additional basement window.
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The strictly symmetrical fenestration is a hallmark of Greek Revival classicism as is the center-hall plan. The liberal use of ornament and marble on the inside suggest the influence of Italian design.
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The fenestration and flooring were done by English carpenters. A carpenter named Edward Prince, who had arrived in Wellington in 1841, was employed in making the window frames, as well as some other unspecified work.
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Some of its fenestration also uses Gothic Revival detailing. A front bay window is surrounded with decorative wood carving, and in the rear there is a lancet window in the middle of the second story.
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The fifth story echoes the fourth-story fenestration and creates the building's middle section by an elegant string course of Greek fretwork. The bays above are elongated to enclose eleven bays of four-story stacked fenestration, with each window divided by decorative aluminum spandrels repeated from the base. Above the ninth story is a wide entablature, composed of a blank architrave and frieze, and a simple cornice. The interiors retain their original design and continue the spare ornamentation with emphasis on fine materials and abstracted geometric motifs.
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The architect was Frank M. Andrews, known also as architect for many of NCR's factory buildings (notable for their use of progressive fenestration) and the American Building (originally Conover) at Third and Main Streets in Dayton.
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A third order, the Paracryptodirans, are extinct. Reptiles are classified according to the pattern of fenestration in the temporal region of the skull. Testudines are placed in the subclass Anapsida because they lack fenestration.Romer, A.S. (1933).
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A smooth metal strip runs across the top. Above it is an apparent second story, sided in the vertical plywood that shelters the platform. It is recessed slightly from the mezzanine, with its fenestration echoing that below.
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It retains a number of important elements characteristic of potato house including: minimal fenestration, center aisle floor plan, double siding, and hatched loading doors. and ' It was placed on the National Register of Historic Places in 1990.
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Cast iron decorative brackets on timber moulded posts support the awning along both of the platforms. Fenestration includes timber double-hung windows with multi- paned upper sashes (coloured glazing), frosted glazing to bottom sashes, and timber panelled doors with multi-paned fanlights (coloured glazing). The building retains its original/early external configuration and fenestration. Internal: The interiors of the station building generally retain the original layout combining (from west to east) a waiting room, booking office, staff room, clock room, station managers office, ladies toilet and gentlemen's toilets.
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640 Broadway demonstrates Delemos & Cordes' competency for Neoclassic design. The Broadway facade shows a two- story base with second-story comer show windows, a limestone entrance leading to the upper floors with oval transom, a denticulated hood and paired, grouped and arched fenestration across the upper stories. Classical ornamentation, including cartouches, triglyphs, keystones, molded architraves and foliated capitals ornament the facade. The Bleecker Street facade shows the same two- story brick base, recessed fenestration, a historic wood sash and end bay at the west, similar to the Broadway facade.
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Havemeyer had originally asked Gilbert to design the western facade on the riverfront so that it would appear as massive as possible. While the initial proposals featured three different variants of window fenestration, the final plans simplified the design to the extent that the facades were all nearly identical. To save money, the windows' recessions were reduced in depth, but Havemeyer agreed to add rounded mullions between the two or three window panes in each bay. This serves to unite the "various levels of fenestration" on the building.
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This cubic Raumplan was tailored to the requirements of a medical doctor who needed a functional consulting room nestled within the corpus of a comfortable family home. The exterior envelope of the building is cubic and rendered in fine stucco punctured by symmetrical fenestration in the front façade and a functional asymmetrical positioning of fenestration at the sides of the house. The symmetry of the façade is maintained through the use of a classical wall projection which accommodates internal circulation. The interior of the Raumplan villa is clad with light colored woods and marble.
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The principal floor has fenestration of pairs of lancet windows divided by columns. The courtyard walls are decorated by reliefs illustrating The Creation. Today the palazzo is used as an exhibition centre. The inner courtyard of Corvaja Palace.
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Most windows are original steel framed awning windows, generally placed in groups of 3 or 4 vertically. There are some timber double doors and some timber flush doors with sidelights. Fenestration is symmetrical. The walls feature brick vents.
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Much of the original fenestration and ornamentation remains. Newer additions, such as a wrought-iron spiral staircase between the veranda and the second floor has, as with the additions, been designed to be sympathetic with what already exists.
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The fenestration of the windows on the front of the building are modern vinyl sliding sash windows that have replaced the original wood framed style windows. All the window apertures are topped with coquina stone jack arched lintels.
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A garden window or greenhouse window is a type of fenestration constructed as an exterior projection from a building, providing display space in the window. As the name suggests, small potted plants are often displayed in a garden window.
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The building is in very sound condition. Externally there have been some modifications to fenestration, and internally alterations were carried out in 1960s to convert to married quarters including new bathroom, kitchen, and toilet. However, the original fabric is substantially intact.
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The tall shaft of the building shows balanced fenestration, pilaster strips, and pinnacles. Further up, the attic storey features an arcade of paired windows with balustrades, topped off with a parapet roof decorated at the four corner towers with cupolas.
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The brick buildings are in the Colonial Revival style, with some fenestration elements influenced by the Art Deco and Moderne style. and Accompanying four photos and Accompanying map It was listed on the National Register of Historic Places in 2004.
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In English the word fenester was used as a parallel until the mid-18th century. Fenestration is still used to describe the arrangement of windows within a façade, as well as defenestration, meaning to throw something out of a window.
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Fenestration on the rear is asymmetrical and irregular. The kitchen wing, attached at the northeast, is a full two stories. From it another wing of one and a half stories projects further east. Both have identical treatments to the main block.
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The "four adjacent buildings constitute a solid front of excellent early turn-of-the-century commercial structures, displaying a continuity of fenestration and decorative brickwork." and The listed property includes just the four contributing buildings, on an area of less than .
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The upper-story walls are smooth, accented with thin, textured stringcourses, rising to gabled dormers that incorporate Romanesque leaf ornament, gargoyles, and finials. Like the facade, the east and west elevations are ornamented and symmetrically balanced, prominently featuring a projecting gable with a variety of arched fenestration. The 1929-32 addition to the south adds a massive eight-story block at the rear of the original structure. Although its walls are clad in granite and include arched fenestration to match the original building, the extension is distinguished by its flat roof, flattened elevations, and reduced ornamentation.
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A fenestra (fenestration; plural fenestrae or fenestrations) is any small opening or pore, commonly used as a term in the biological sciences. It is Latin for the word "window", and is used in various fields to describe a pore in an anatomical structure.
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The standard explain different methods to check the thickness and type of blast resistant glazing fabricated with laminated glass to glaze a fenestration The main keywords to present this standard are air blast pressure, blast resistant glazing, explosion, insulating glass, and laminated glass.
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The chapel itself dates from 1696. The chapel of Saint- Connay has a nearby roadside calvary. The chapel itself is a small rectangular building with 14th century fenestration within its south side. The north side and the chevet date from the seventeenth century.
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Its fenestration is haphazard. Its facade exemplifies Beaux Arts architecture, yet it lacks the elaborate cornice it originally had. It was lost many years ago. Architect J.C. Calderon has redesigned the parapet in red brick with stone put down in alternating stripes.
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Prague: Charles University. Perhaps the better hypothesis is that the space allowed room for the contraction of an enlarged pterygoideus muscle. In that case, this skull modification would represent an early form of skull fenestration for jaw muscles. The skull is shallow.
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At present the facade retains the upstairs original Greek Revival fenestration, while the first floor retains the four across pattern of the Italianate remodeling. Early photos show three windows with a centered doorway and two windows above to have been the original facade.
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There are suggestions that this lack of fenestration is a secondary characteristic and that turtles belong in Diapsida. Both sides cite strong evidence, and the conflict has yet to be resolved., 3rd ed. 2004 The shell of testudines distinguishes them from other vertebrates.
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It is of brick construction with two corrugated metal hipped roofs over the main structure and the projecting bay presenting an asymmetrical facade with a side verandah featuring hipped awning supported on turned timber posts. Fenestration includes narrow tall sash windows with segmental arch lintels.
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Another one, also in Italianate style, is the Andrew Vaughn House, also NRHP-listed. Both "feature arched fenestration and ornate eaves" and had had few changes since, as of the 1988 study. The house was built or has other significance in c. 1875, c.
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It retains a number of important elements characteristic of potato house including: tall and narrow proportions, triple siding, minimal fenestration, tightly fitting window hatches, and interior ventilation features (especially the slated floor). and ' It was placed on the National Register of Historic Places in 1990.
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Compared to above ground house, earth-shelters may have limited escape routes in case of emergency, which can fail egress and fenestration building codes. For example, a passive solar earth shelter with only one exposed side, and earth covering the other three walls and roof.
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This process has been implemented, for example, in the Dakin Building in Brisbane, California—in which most of the fenestration is designed to reflect summer heat load and help prevent summer interior over-illumination and glare, by canting windows to nearly a 45 degree angle.
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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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It is topped with a standing-seam metal gabled roof pierced by brick chimneys at either end. On the south (rear) side is a two-bay, two-story clapboard-sided wing added later. Fenestration is regular. All first-story windows are modern vinyl replacements for the originals.
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Fenestration is provided by groups of sash windows arranged symmetrically across the facade. The school was built in 1940 with funding from the Works Progress Administration, and originally served as the community's high school. The building was listed on the National Register of Historic Places in 1992.
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The ground floor contained a high verandah with zig-zag lattice-like detailing which contrasted with the building's asymmetrical plan and fenestration. In 1978, the house was dismantled to make way for extensions to Parliament House and was later re- erected in Kent Street, Millers Point.
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Everest Windows is accredited by the British Board of Agrément (BBA), the British Standards Institute (BSI), The Glass and Glazing Federation (GGF), The Conservatory Association, The Fenestration Self-Assessment Scheme (FENSA) and Interlay. The company also carries the Government Endorsed Standards Trust Mark through the GGF.
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Fenestration is varied. The third-story windows have pointed arches. The central window on the story below is a projecting bay window with a castellated top and diamond-shaped lights. Above the first story is a molded stone cornice with letters spelling out "1810 NIAGARA 1909".
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The windows of that story are similarly treated to those on the first story. The rear has a similar fenestration to the front but without the porch. On the east elevation is a small Dutch door next to the chimney. It has a small shed-roofed porch as well.
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It has clapboard and rolled composition roofing. Fenestration on the main block is regular 1/1 double hung woodsash. The partial second story contains a three double casement wood sashes with a common surround. It was added to the National Register of Historic Places on August 14, 1989.
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It is faced in half-timbered beige stucco on a metal lath. Some of the exterior has been defaced with spraypainted graffiti. Fenestration is irregular, determined by the building's use as a rail station. On the south side is an off-center projecting trainmaster's window and separate passenger and freight doors.
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In an architect-designed two-storey rear accommodation wing was constructed. In the ground floor windows were replaced with P&O; style fenestration and concrete awning. The hotel was owned by Mrs Waterstreet in 1914, giving its eponymous title. In 1929 it was reported that the Waterhouse family leased the hotel.
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As can be observed, the trim is a natural organic shape. These features are present only on the Yonge and College street frontages. The back of the building, facing the park, while maintaining a rather symmetrical and repetitive fenestration pattern, is sparse on decoration. Entrances have been kept rather nondescript.
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This is currently the house's main entrance. Fenestration on the portico consists of two long windows on the first floor to either side of the entrance, with sandstone sills and lintels. On the second story the windows are round-arched with radiating muntins. The roof above them has broad overhanging eaves.
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A dentil course of small blocks extends across the facade and is another classical feature. Fenestration includes rectangular windows topped with marble pediments and arched windows with prominent keystones. Three large windows on the second story are each topped with fanlights. Plaques with swag designs are located above the keystones.
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In 1971, good results were reported with lumboperitoneal shunting. Negative reports on shunting in the 1980s led to a brief period (1988–1993) during which optic nerve fenestration (which had initially been described in an unrelated condition in 1871) was more popular. Since then, shunting is recommended predominantly, with occasional exceptions.
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The north facade has similarly asymmetrical fenestration, with a projecting bay. On the west is a sympathetic wing built in 1983 in conformance with National Park Service standards. It is also brick with a flat asphalt roof, and has a simple limestone cornice. Two wrought iron gates protect the main entrance.
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The window bands are separated vertically by wide, unadorned brick spandrels. Two of the bays include fire escapes. The two side elevations incorporate four bays each, and are also defined by pilasters with ionic capitals. Fenestration Includes pairs of square-shaped window openings within each bay at each of the upper five stories.
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The fenestration on both upper floors demonstrates this arrangement of space. The ground floor has modern shop fronts with aluminium framed windows sheltered by a modern cantilevered awning. The front door is flanked by glass panels and has glass transoms. The timber staircase to the first floor remains, as do most internal walls.
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The roof is new wood shingles which faithfully replicate the roofing in historic photographs. Except for fishscale shingles above the window level, bevelled siding is used throughout. Fenestration is generally two-over-two double-hung wood sash. Small triangular windows in the gable and gablet light the attic and echo the roof line.
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Allen (1998–99), pp. 51–52 All four sides of the quadrangle are Grade I listed buildings. Pevsner described the second quadrangle as "a uniform composition", noting the "regular fenestration by windows with round-arched lights, their hood-moulds forming a continuous frieze". The Dutch gables have ogee sides and semi-circular pediments.
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The Church of San Roman (Spanish: Iglesia de San Román) is a medieval church in Sariego, Asturias, Spain. San Román is one of three parishes in the municipality of Sariego. The building is Romanesque in appearance but has older origins, as evidenced in the fenestration (a window is dated to the 10th century).
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The center flanking towers have flared pyramidal roofs and finials. Fenestration on the stucco and half-timber section in the rear consists of six rectangular windows and five doors. They are placed irregularly on the two stories. The only decorative touch is the triangular pediment on one dormer window at the roof.
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Drawing room, dining room and library interconnect and look south into the garden. Lanyon retained the vaulted rooms in the northern circular tower and the pentagonal rooms in its Georgian counterpart. He re-encased the entire exterior while respecting the original fenestration. At roof level he provided a flurry of candle snuffers.
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The library, in size, was built in keeping with Andrew Carnegie's specifications, being of a simple plan that was characterized by classical details, fenestration and modest interior appointments. Resting on a concrete foundation, it has nearly 4,000 cu. m. (141,074 cu. ft.) of interior space, 75 million bricks, 1,002 superficial sq. m.
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The porte-cochère on the west facade, the house's main entrance, is supported by granite piers and Doric order columns. It has a Guastavino tile ceiling to match the one on the veranda that encircles the rest of the house. The irregular fenestration includes fifteen dormer windows and a second-story oriel window.
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Hence at Easton Neston, while the two principal façades (West and East) are of three floors, the fenestration of the two less important side façades betrays the secret that there are in fact five floors: the windows of the two mezzanines, as befits the humble rooms they light, are a mere half of the size of those of the grander rooms above and below them. This makes the fenestration of the side façades a complex and interesting sight. Some years after completion of the house in 1702, Hawksmoor drew-up further plans for a huge entrance court. These designs, never fully executed but published in Vitruvius Britannicus, would have flanked the existing rectangular house with two wings, one containing stables and the other service rooms.
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The building facade consists of cylindrical glazed staircases intersecting with stacked rectangular floor planes to create a dramatic composition. A sequence of club rooms and open foyers lead to an 850-seat auditorium. Since Golosov's time some of the fenestration has been bricked over, reducing the original perforated cubic mass into a more solid box.
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Fenestration is all sash windows, with granite sills and lintels in front. A dentillated cornice encircles the building below the roof line. A single-story open porch extends along the south side of the house. Nathaniel Treat was one of the leading businessmen of the Orono-Old Town area, in the mid-19th century.
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The wide door, with its elliptical fanlight and sidelights, is set in a deep niche. The fenestration plays a major role in determining the feeling of the facade. The windows are unusually large for the period, some measuring over square. The variety of sash types, including 16/1, add to the richness of the design.
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A flat wooden roof extends out to cover the sidewalk on both sides, supported by smooth round wooden Tuscan columns. The second story is faced in brick. On the north face fenestration is one-over-one double-hung sash windows. Its middle three bays have a recessed porch with Ionic columns and a wooden balustrade.
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The fenestration includes large arched windows at both reading rooms, the adult room on the east side first story and the children's on the south side of the second story. Another arched window tops the arched main entrance on the corner. All have sandstone voussoirs. The mullions of the reading room windows are Ionic pilasters.
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Horizontal wood siding serves as the exterior walls. Horizontal aluminum siding was added to most exterior walls sometime after 1988. Fenestration is asymmetrical, and includes 1/1 double-hung wooden sash windows, and transoms with leaded glass in diamond patterns. It was built in 1902 by one of Groveland's founding citizens, Elliot E. Edge.
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Above it is ridged metal convex cornice that marks the roofline. It is topped by a parapet with four rows of recessed square panels. A flagpole is located in the center of the roof at the front. The east face has a similar, more restrained treatment, with the sandstone trim, stringcourses, cornices, and fenestration.
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At the center of the cornice is a gable projection sporting a stone that is carved with the word "HOTEL". The building originally occupied only half of its long, narrow lot. However a three-story addition around 1925 extended the building to the rear. The addition closely matches the original wing in scale and fenestration.
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The facets have an alternating fenestration of one and two windows. The roofline is decorated with a dentiled bargeboard. Above it is an intricate wood crest, and behind it several small dormer windows with trim similar to the roofline. Two chimneys rise from the similarly trimmed cupola in the center of the hipped roof.
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Fenestration is generally regular, although only a single window overlooks the entrance porch, and the front end of the main section of the house includes two irregularly placed windows., Ohio Historical Society, 2007. Accessed 2010-02-13. In 1997, the Harris Farmstead was listed on the National Register of Historic Places, qualifying because of its historically significant architecture.
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Each facade has a rhythm of fenestration within the three parts, the W being 2 : 5 : 2, the S facade 2 : 3 : 2, with a central ashlar door case to each elevation, the W one with pedimented head. The doors respectively leading to the main staircase hall, and the S or entrance hall (Figs. 19, 20).
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Armour Theatre Building is a historic theatre building located at North Kansas City, Missouri. It was designed by the architectural firm Keene & Simpson and built in 1928. It is a two-story, polychromatic brick building with Spanish Eclectic style design elements. It features a Mission tile roof, arched fenestration and decorative tiles, and glazed terra cotta detailing.
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The fenestration in an external wall assembly are the biggest wasters of energy. They waste heat by conduction, radiation and infiltration. This can be controlled to an extent by using multiple layered glazing systems and using low-e coatings on the glass. Additionally, it is important to seal the window and door systems to avoid infiltration.
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K Block is a simple rectangular, hip-roofed, three-storey, facebrick pavilion adjoining J block. Completed in 1920 it was designed to match and align with existing work. It features the regular fenestration rhythm of flat arched double hung windows of the earlier buildings in the group. The workshop spaces on each floor are now partitioned into smaller units.
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The building fenestration pattern is regular with triplet sash separating a single sash with a thin brick pier. All of the sash is double hung six over six. Limestone sills give some horizontal emphasis to the regular pattern of the windows. A thick limestone lintel above the third floor sash is a bold contrast to the attenuated detailing above.
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Fenestration is 2/2 framed by plum-colored louvered shutters on the first two stories. First story windows are headed by a molded projecting cornice. Second story windows are headed by a triangular pediment with a boss at their center. The gable dormers contain 2/2 windows flanked by a stepped architrave and headed by an open triangular pediment.
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16 gives the cost of the house at "about $75,000 independent of the grounds and furnishings." Its vertical framework comes from its heavy corner towers features and turrets that are one of three shapes: coned, hexagonal, and pyramid shaped. Randomly placed on the building are carving of animals, gargoyles, and other objects, fenestration, and intricate foliation.
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The gardens of the estate include several formal and informal garden elements that result from a landscape concept for the estate. There is a deliberate and considered relationship between these elements and the design of the main house. The layout of the large garden elements are arranged in response to the house's planning and fenestration. These elements, e.g.
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The two primary elevations are faced with glass panes and aluminum panels that alternate in a checkerboard pattern. The glass is tinted grey and the aluminum panels are slightly concave with a large X pattern located within each plate. The two narrow end walls are devoid of fenestration. These angular elevations are faced with variegated granite.
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The south aisle has six bays and is fitted with three-light flowing tracery windows, between stepped buttresses. Outwardly the north aisle had seven bays, because of the addition of the east chapel; its fenestration is similar to the south. There are four-light aisle west windows. Those of the north aisle have three cusped roundels beneath.
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Gardner Hall was designed in the Classical or Colonial Revival mode. Gardner is brick, three stories on a high granite basement, and capped by a parapet balustraded in the center. Corners are articulated with brick quoins. The fenestration is symmetric with double sash windows at regular intervals, trimmed in white, topped with flared brick lintels and a white keystone.
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The space saved was then used for office space.Remarks by Lee K. Jaffee, World Trade Center Press Conference, New York Hilton Hotel, January 18, 1964. In 1978, Yamasaki designed the Federal Reserve Bank tower in Richmond, Virginia. The work was designed with a similar appearance as the World Trade Center complex, with its narrow fenestration, and now stands at .
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This fenestration features a Tudor arch and extensive tracery. The building is located at 787 E. Broad Street. Thes stone building is the second church built by the local Episcopalian congregation. It was listed on the National Register of Historic Places on December 17, 1986 as part of a group of properties the, "East Broad Street Multiple Resource Area".
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A chimney and dormer pierce both slopes of the roof. There is no real cornice, just a row of wooden brackets under the eaves. A row of bricks on the third storey at the south (front) facade has been arranged in a corrugated pattern. Fenestration includes a first-floor triple window with curved transom top in stained glass.
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The two projecting wings are pedimented and have a boxed cornice with block modillions, round vents and Doric pilasters at the corners. The central section features a pedimented Doric portico sheltering a central entrance with a semicircular fanlight and sidelights. A Doric entablature extends across the central section. Fenestration is regular six over six with dentiled architraves.
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All fenestration has splayed-brick segmental-arched openings. They are mostly set with 16-over-4 double-hung sash windows; on the southernmost bay of the ground floor there is a double window. Patterned brick beltcourses delineate all three stories. Between the pavilion and tower the roof is pierced by two hipped-roofed dormer windows on either facade.
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For cases of recurrent pericardial effusion, an operation to create a hole between the pericardial and pleural spaces can be performed, known as a pericardial fenestration. The congenital abscence of pericardium is rare. However, if it happens, it is usually occurs on the left side. Those affected usually do not have any symptoms and they are usually discovered incidentally.
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The first floor is separated from the second by a shallow hip-roofed porch. The upper level has a central group of three tall round-arch windows, flanked on either side small round windows. Fenestration and door placement on the sides is varied. The ground floor houses commercial space, and the upper level a large auditorium.
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At their north another steep gabled projection with quatrefoil and vergeboards shelters a taller, narrow tripartite arched window. At the very end is a smaller, narrower window with corresponding quatrefoil. On the east, a fifth window is located at the south end; otherwise, its fenestration is identical. The roof dormers, on both sides, have vergeboards that form quatrefoils.
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The bay's tympanum is undecorated. The arch impost line continues as a belt course between the pavilions and forms the sills for recessed wood-framed, fixed-sashed, nine-light windows on the building's second level. The windows are divided by Doric pilasters. Fenestration at the main facade's lower level is only narrow wood-framed double-hung glazed embrasures with two-over-two sash.
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The clerestory of Amiens Cathedral In smaller churches, clerestory windows may be trefoils or quatrefoils. In some Italian churches they are ocular. In most large churches, they are an important feature, both for beauty and for utility. The ribbed vaulting and flying buttresses of Gothic architecture concentrated the weight and thrust of the roof, freeing wall- space for larger clerestory fenestration.
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North of the house is a rear outbuilding, in a style similar to the main house. On the three sides of the main block is a wraparound porch. It has a shed roof supported by square wooden pillars that rise from the tiled deck. Fenestration on the first floor consists of narrow casement and one-over-oine double-hung sash windows.
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The interior is very plain, with wooden floors, paneled walls, and unfinished ceilings. The extant windows are a later modification, and do not reflect period fenestration. Traditional sources long maintained that the construction date of this house was in 1645. However, architectural analysis in the 20th century has shown that it was built using methods not adopted until the early 18th century.
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Cisneros, J. C., Damiani, R., Schultz, C., da Rosa, A., Schwanke, C., Neto, L. W. and Aurélio, P. L. P. (2004) A procolophonoid reptile with temporal fenestration from the Middle Triassic of Brazil. Proceedings of the Royal Society Series B 271(1547):1541–1546. The second youngest known owenettid, Ruhuhuaria, is known from the late Anisian Manda Beds of southwestern Tanzania.
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It is also the biggest employer in the area. In 2005 the company was nominated in the national G Awards, which take place annually and are open to all organisations in the glass, glazing and fenestration industries. Safestyle won the G05 Award for Best Promotional Campaign of the Year, following that in 2006 with the G06 Award for Best Customer Care.
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Saying that its: "Columns, symmetry and fenestration all contribute to its strong sense of proportion and formality", the city on January 1, 1995, designated it a primary local heritage site.First Church of Christ Scientist. Canada's Historic PlacesPrimary buildings. City of North Vancouver On January 4, 2008, First Church of Christ, Scientist sold its building to North Shore Bethel Christian Mennonite Brethren Church.
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The building is constructed of red Portage sandstone and is located in the heart of downtown Sterling. The church's square tower rises into the air and dominates the structure. The building also features some of the most elaborate stained glass fenestration in Sterling. In fact, it has been reported that locals sometimes knew the building only as "the church with the windows".
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In 1913, the hotel suffered a disastrous fire, completely destroying the second and third floors. Allen rebuilt the structure, but in a somewhat more modest style, with a shorter tower, plainer second floor fenestration, and plainer porches. The hotel reopened as the Allendorf in late 1913. In 1913, Henry Norton purchased the building, redecorated it, and renamed it the Hotel Norton.
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The northern external wall has been clad with a recent "pebble-dash" render. The front (eastern) wall has been painted and with the enclosing of the front verandah, is no longer exposed to the elements. It has two window openings symmetrically positioned either side of a central doorway. The western wall, built almost on the boundary of the allotment, has no fenestration.
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Sherman Free Library is an historic public library, located in the hamlet of Port Henry, in Essex County, New York. It was built in 1887 and has two rooms, and is a -story brick building topped by slate-covered, steeply pitched gable roofs, on a limestone foundation. An addition was built in 1907. It features deeply arched fenestration in the Richardsonian Romanesque style.
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The section of the building called the guild hall was built in two sections. The first, from 1833, was the original church and retains its original stone foundation. A section was added to the west in the 1880s with a brick foundation and fenestration and buttresses similar to the main mass. The entries to the guild hall section have Tudor arches.
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The windows and door all have simple molded surrounds. The barn features a similar array of fenestration, with a wide two-leaf barn door that has an opening for a hay loft above. The interior of the store building has the retail space on the first floor and a residential space above. Both spaces feature original wood flooring and simple trim lacking ornamentation.
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Kosciusko County Jail, Warsaw, Indiana Architect George Garnsey said that the Jail was constructed in a style known as Rock Glace. The building's appearance is of a small castle, with a turret, fenestration with pointed arches, and crenellations across the front elevation parapet. The jail is two stories on an elevated basement. The main entrance is up a flight of steps.
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The fenestration pattern remains intact with windows only in the eastern and western walls sheltered by original timber hoods with timber brackets and battened cheeks. The northern verandah is enclosed at the western end. A small teacher's room projects from both verandahs. A small enclosure of the northern verandah accommodates a store room that is not of cultural heritage significance.
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Bacteriastrum is a widely distributed marine, planktonic genus. This genus is often associated with Chaetoceros but differs in radial symmetry and fenestration of setae. The colonies tend to lie in girdle view, and the cells are separated by the curvature of the basal part of the setae, leaving a small gap between the cells. The cells are cylindrical and linked to form filaments.
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The Dexter Universalist Church, at Brown and Kirby Sts. in Dexter, New York, is a well-preserved, "modest" Greek Revival-style church that was built in 1841. In a 2002 review of the church, then vacant, it was deemed to retain "a substantial degree of historic integrity with its original form, fabric, and fenestration intact." It has leaded stained glass windows.
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The flat roof is topped with a cornice and parapet. Fenestration on the front pavilion consists of three round-arched openings. All are flanked by limestone Greek Revival-inspired Corinthian pilasters with a similar keystone in the arch. Above the pilasters on the facade is a frieze with rosettes at the ends and "UNITED STATES POST OFFICE" in carved lettering.
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It has a stone balustrade and other similar treatments to the porches on the southeast facade. Atop, a chimney rises from between two dormers. At the other end of the northeast facade, with fenestration similar to the rest of the house, is a flat-roofed balustraded porch, now enclosed. It has similar treatments to the doors and windows on the southeast facade.
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The exterior of the house is quite austere – seven bays in total, on two floors, with a three-bayed central prominent elevation surmounted by a pediment. The fenestration is of sash windows. (The ground floor windows are crowned by small round windows suggesting a non-existent mezzanine.) The centre bay contains a large central venetian window on the ground floor..
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The southern chapel and northern vestry/organ chamber lie under their own gables and have florid three-light fenestration similar to that in the aisles. Both porches have moulded outer doorways. The northern porch is vaulted. An unusual feature of the exterior walls is the widespread traces of former putlog holes, no doubt used for the scaffolding during the construction of the building.
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The north and south end walls have curvilinear parapets of Spanish extraction. These side walls have highly decorative terra cotta windows on the first floor. On the front elevation, the fenestration defines the seven bays of the structure and provides the architectural hierarchy typical of Renaissance Revival–style buildings. The windows on the first floor are of simple rectangular design.
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The building is supported by a steel frame, with socle (plinth) of dressed granite, marble columns and plastered brickwork. The roof is pitched, which distinguishes it from the multitude of later, taller buildings which had flat concrete roof construction. Timber-framed sliding sash windows provide elegant fenestration. The basement walls were constructed in brick and measure between 450mm and 500mm thick.
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The simple rendered arches have been overcoated. The windows are double hung, with scotia horns and a light arch effect in the top rail of the upper sash. Fenestration is in a broadly symmetrical pattern, apart from a single window on the ground floor. These windows all have segmental heads with prominent drip mouldings on both floors, and bracketed sills.
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An impressive large scale house displaying all the exuberance of a high Victorian residence befitting that of a successful country gentleman. The house is a two-storey verandahed structure of local timber with weatherboard sheeting. The plan is basically a square with projecting bays to the main rooms. These bay windows contain rather distinctive shaped fenestration recalling the English Gothic-Revival.
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The north and south ends are similar, with asymmetrical fenestration in both. A garret door remains in the upper gable end on the west profile. The main entrance, a recessed Georgian- style door with transom, opens into a central hallway that runs the depth of the original stone building. A parlor is on the east and a large dining area on the west.
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Die Kathedrale von Lausanne und ihr Marienportal im Kontext der europäischen Gotik. Freiburg: der Universität Freiburg. 124. Lausanne Cathedral Swiss historian Marcel Grandjean had earlier written. This English influence – that of Canterbury especially – which appears, according to Bony, through the elevation and proportions of the choir of Lausanne, the pillars of larger and smaller double columns, capitals with cross abacus, the fenestration of the passageway, etc.
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It projects from the flanking pavilions, which on this side of the house are partially screened by planting. The fenestration which is concentrated on the broad bay at the centre of the facade provides the essential rhythm and relief.Musson, p76, explains the concept of such neoclassical facades. Above the second floor, a balustrade not only hides the roof, but unites the projecting bay with its flanking bays.
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It measured 37 feet, 6 inches, by 13 feet, 9 inches. It retained a number of important elements characteristic of potato house including: tall, narrow proportions, minimal fenestration, ventilation features, and tightly fitting door hatches. and ' It was placed on the National Register of Historic Places in 1990. It is listed on the Delaware Cultural and Historic Resources GIS system as destroyed or demolished.
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Above the roof is a bracketed frieze giving way to the fasciae below the bracketed cornice. The roof's steep, nearly vertical pitch is pierced by two gabled round-topped dormer windows with louvered shutters. The top of the pitch is marked by a wood crown molding with built-in gutters. On the north the fenestration is duplicated with a three-sided projecting bay window.
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Raised intracranial pressure, if severe or threatening vision, may require therapeutic lumbar puncture (removal of excessive cerebrospinal fluid), medication (acetazolamide), or neurosurgical treatment (optic nerve sheath fenestration or shunting). In certain situations, anticonvulsants may be used to try to prevent seizures. These situations include focal neurological problems (e.g. inability to move a limb) and focal changes of the brain tissue on CT or MRI scan.
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The attic windows are six-over-six double-hung sash without shutters. On the north side, where fenestration is less regular, two shed-roofed dormer windows pierce the roof on the west side. The two-bay west wing was built separately elsewhere, moved and later attached to the main block. Its roof is similarly gabled, but in a saltbox style, lower in the north than the south.
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The differing finishes to the sandstone walls indicate that the building was constructed as various stages. The gable roof over the main structure remains, and has been over-sheeted with corrugated iron over original/early timber shingles. The skillion roof over the lean-to is similarly treated, however has partially collapsed. There is no evidence remaining of the interior joinery, including fenestration, mantles or floors.
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The south profile has a projecting central bay with hipped roof. Its diverse fenestration includes a band of four leaded windows and an oculus with keyed frame. On the porch side it features a three-part window with segmented arch light. On the north is a bay window similar to the one on the east, supporting a bumpout on the story above with another three-part window.
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Dictionary of Ohio Historic Places. Vol. 1. St. Clair Shores: Somerset, 1999, 641-642. The basic form is that of a rectangle with doors and larger windows on the front, while the side possesses lesser fenestration. Two sections deviate from the basic plan: a rear addition that projects slightly to the side, and a two-story front porch with a door and balcony on the second floor.
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It is now bowed, with a shed roof projecting from the first story. The two wings are similar to the main block in materials, decoration and fenestration. Their rear elevations, now facing onto the courtyard, have paired and single two-over-two windows shorter at the basement. An engaged elevator tower rises from the north wing's rear at the northwest corner of the courtyard.
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On the second story, fenestration consists of round-arched stained glass windows, less recessed but flanked by more ornate columns. On the side elevations, stone columns form round arches around all but the easternmost bay. Within their slight recesses are narrow four-paned stained glass. The rear bay is set off by columns like those on the corners and has no arch, but is otherwise similarly treated.
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Above them, and flanking a brass light fixture over the main entrance, are stone crosses with recessed middles set into the brick. A sloped cornice, at a higher level than that on the main facade, sets off the next stage. It has the bottom of a two-stage recessed arch on both sides. Its sole fenestration is the ornate narrow double window on the east.
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Doreen E. Greig, who was the first female president-in-chief of the South African Institute of Architects, described the building in her book as 'an immense building' with a 'sombre and monumental' aspect, which derived from the reflection of grey-green glass sheathing. Its facade are swollen and its vertical aluminium mullions are balanced by the horizontal glass spandrels, which also less obscure than the fenestration.
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Bay windows of three and four units respectively mark the two stories on the south. Above them a projecting pedimented gable has a small Palladian window at its center. The south profile is less decorated, with two groups of windows and a lancet on the first floor comprising its fenestration. On the east (rear) is a small single-story extension covered by a hipped roof.
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Two main surgical procedures exist in the treatment of IIH: optic nerve sheath decompression and fenestration and shunting. Surgery would normally only be offered if medical therapy is either unsuccessful or not tolerated. The choice between these two procedures depends on the predominant problem in IIH. Neither procedure is perfect: both may cause significant complications, and both may eventually fail in controlling the symptoms.
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On the facade, the most elaborate decorative features are reserved for the centralized three-bay section. Like the secondary elevations, the facade is composed of three horizontal zones. A rusticated base of alternating bands of limestone and brick courses is differentiated from the smooth limestone walls of the upper stories, which form the middle zone. The upper stories are articulated fenestration framed by colossal Tuscan order pilasters.
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Fenestration on both side profiles consists of five large round-arched stained glass windows framed by molded limestone casings with bracketed sills. On the east in the center is an engaged buttress added to shore up the wall. A three-bay projecting pavilion on the west supports the bell tower. Its entrance is a single door with round-arched window above and on the sides.
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Since students were forcedly right- handed, no shadow would be cast onto the page. The wall supporting the blackboard had no windows. This often meant a complete transformation of the fenestration of existing older buildings. Dormers were sometimes added to the roof to provide better light and ventilation and the larger classrooms favoured in earlier designs were partitioned to create smaller ones with better lighting.
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Fenestration surgery. Sadé graduated from Herzliya Hebrew Gymnasium, Tel-Aviv, in 1943, studied biology at the Hebrew University in Jerusalem for two years (1943–1945) and continued his medical studies at the University of Geneva, Switzerland, graduating in 1951. He returned to Israel to work at the Sheba Medical Center, Tel HaShomer. Sadé was married to Ruth and father to Yoav, Ayelet, Nadav and Ron.
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The latter renovation changed the facade from neo-Classical revival to Mission Style in 1939–40. The building is generally rectangular in plan, and is two and one half stories in height. Hale between 1915 and 1937. By 1919, the neo-Classical building had a hierarchy of fenestration typical of that style: rectangular windows on the ground floor with arched windows on the second floor.
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The church follows a three-by-four-bay layout with distinctive Federal touches as symmetrical fenestration, fanlights and rectangular gable massing. It is one and a half storeys in height with the dominant bell tower, added later, reaching two stories. Two major additions have been built, both much later but consistent with the original style. Much of the interior of the church is original.
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In addition to the alterations of c. 1700 to the main house at Shireoaks, various built developments around the Hall were carried out. A matching pair of two-storey rectangular outbuildings with steeply-pitched hipped roofs, now called the East and West Stables (but with domestic fenestration), were built at the north approach to the Hall, the space between them forming an entrance way.
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Belle Air is a unique surviving example of a wooden house with postmedieval-style exposed interior timber framing. It is probably the oldest plantation dwelling along State Route 5. Daniel Clark purchased the Belle Air tract in 1662. The original five-bay portion of Belle Air possesses architectural details characteristic of seventeenth century construction with a floor plan and façade fenestration characteristic of 18th-century design.
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The frame consists of symmetrical architraves with paneled corner blocks. The main entrance is sheltered by a tetrastyle, pedimented Tuscan portico on a brick podium. Frascati's Tuscan portico has stuccoed columns, a full entablature, and a pediment with a semicircular lunette in the tympanum. Fenestration throughout Frascati consists of six-over-six sash windows set in wooden architraves and flanked by original louvered shutters.
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There are small paired windows above the entrance and another larger pair on the second level. The rest of the fenestration on the side walls of the building is the same as that found on the front. The windows on the rear of the building have nine-over- nine lights. The polygonal smokestack contains some of the same decorative elements found on the school building.
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The church is predominantly Baroque in style. Its first level is devoid of any embellishment or fenestration save for the main semicircular arched portal and the wave-like cornices and rounded, high- relief pilasters. A similar motif has been adapted on the second level of the façade, which is pierced by three windows. The center of the softly undulating pediment showcases one blind window encased by pilasters.
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It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster. This helps to emphasize the surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion and change the view by controlling the shutters' heights.
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Charles M. Salisbury House is a historic home located at Lacona in Oswego County, New York. It was built in 1907 and is a -story, clapboard residence with a square plan, steeply pitched multi-gabled roof, an asymmetrical facade, and irregular fenestration. The facade features a large fixed-pane window with stained glass. Also on the property is a contemporary carriage house and a small residence.
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Bowden House was given a grade 1 listing in 1952, being one of less than 10,000 such buildings in the UK and so is in the same category as Windsor Castle, York Minster and Blackpool Tower. Bowden House is thus considered of exceptional interest and of national importance. The Register of Listed Building provides the following description: 5180 GREEN LANE ---------- Bowden House (Formerly listed as Bawden House and Outbuildings of Bowden House) SX 85 NW 8/5 7.1.52. GRADE I Listing NGR: SX8014358848 Circa 1509 manor house built for John Gyles, remodelled with new south-east and south-west fronts circa 1700-04 for Nicholas Trist. 2 storeys. South-east facade, symmetrical with central entrance; 5 bay with fenestration 2:1:1:1:2. South-west facade, also symmetrical with 5 bays and fenestration 2:2:1:2:2. Hipped Welsh slate roof with rendered stacks.
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The inspiration for the Baroque facade at Heythrop was Gian Lorenzo Bernini's final design for the Louvre, a plan never executed. Like Chatsworth, Heythrop Park comprises two floors linked by the giant order standing upon a raised semi-basement; the bays are articulated by a giant order with the Baroque inturned Corinthian volutes invented by Francesco Borromini. The elevation is broken by three projections, the centre being the central portico with Corinthian columns; this has no pediment to break the roof-line. In a break from his usual style, Archer has given the fenestration unusual emphasis by contrasting architectural detailing: the windows on the ground floor are from a design by Bernini, while those on the floor above are in a mannerist style with overlarge keystones penetrating the cornice, criticise this treatment of the fenestration as "fussy" and speculate it could be the result of input by Shrewsbury himself.
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The steam mill is an early industrial building from the district's history of economic development, whose gable projection and fenestration show traditional ruling- class architecture, thus stating the manufacturer's claim to importance. The masonry is made up of local quarrystones with skilful working of the natural bossage. Cornices, window arches and windowsills are made of red brick, contrasting with the grey walls. Small tie rod disks show the stretched ceiling construction.
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The Baroque's influence is manifested immediately on the museum's rounded corners, typical of these residence types in Ponce. The corner is framed by two rusticated pilasters and divided into three bays, by two pilaster strips or lesenes. Each bay contains a wooden movable louvreed window with glass inlets at its top, and a floral relief motif over the fenestration. The rest of the wall is decorated with floral garlands.
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The end elevations are unadorned except for the massive cornice and frieze that surrounds the house at the eaves. The cornice is decorated with a beaded molding inspired by an illustration in Asher Benjamin's American Builders Companion, 1805. The rear elevation has the same center door and fenestration as the front. There is a small two-story twentieth-century frame addition in the center of the rear wall.
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Alice Fox is Deputy Head of the School of Art at University of Brighton and works as a visual and performance artist with socially excluded groups. Jane Fox is a visual artist and a Senior Lecturer at University of Brighton. Gina Hartman continues to make music, including in the group Fenestration with Mark Flunder, formerly of TV Personalities. Tracey Thorn is a solo recording artist, author and newspaper columnist.
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The Walker School is a historic elementary school building on Berkley Street in Taunton, Massachusetts. It is a two-story brick Georgian Revival building, with a hip roof. Its main facade is 11 bays wide, organized in a 4-3-4 pattern. The main entrance is in the center bay, set in a round-arch opening, with the flanking bays having small oval windows; the remaining fenestration is sash windows.
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A T-plan house of high status, tree-ring dated to between 1545 and 1566.Tree ring dating undertaken on behalf of the Royal Commission, Historic Monuments Wales Medieval hall. The studding to the whole – infilled with oak panels – is largely hidden by render, the fenestration all later. On the north side – the original front – the massive wall-plate is supported by brackets springing from pilasters carved on the studs.
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A single storey extension was added to the rear (date unknown). This sustains the prominent entablature mouldings that run across the original facades, but much of its original fenestration and Classical detailing has been removed. The Silver Street elevation of this single-storey section now consists of a wide entrance with two plain pillars, creating a tripartite arrangement, and two small square windows. The internal timber stairs have been reconfigured.
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Fenestration consists primarily of picture windows arranged around the exterior. The projecting studio on the south side has glass walls on the south and west. On the west end, slate steps rise to a slate terrace, where the main entrance is located. A second stone stair rises from the parking area on the northwest to a wood staircase which ends at a secondary entrance on the kitchen wing.
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The tower was designed by Pritzker Prize- winning French architect Christian de Portzamparc. The interiors are by New York-based designer Thomas Juul-Hansen. The use of dark and light glass on the building’s exterior creates vertical stripes, while also manipulating sunlight and maximizing views. The tower is characterized by its rippled canopies and numerous setbacks on 57th Street, its mottled fenestration, curved tops, scoops and accentuated verticality.
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Fenestration consists of rectangular windows with granite sills and lintels along the north and south profiles, with an oculus in the gable apex. Stone steps lead to the paneled wooden and glass doors, sheltered by a curved canopy supported by large brackets at the sides. Inside the remaining original features include intricately molded woodwork and ceiling medallions, door hardware and a vault with a stone floor and brick walls.
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On this property he built his own home, which he called Richmond Villa. It is one of the few examples of Lewis's residential work, since his buildings were generally non-residential. He designed Richmond Villa in a Gothic Revival style, as he had done with Bronte House. The ground floor contained a high verandah with zig-zag lattice-like detailing which contrasted with the building's asymmetrical plan and fenestration.
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The first story has simple rectangular fenestration; the windows of the second through seventh stories have flat-arched lintels with triple keystones (some have end voussoirs), except for the second-story corner windows above the entrance porticoes which have molded surrounds with cartouche keystones. The top story has round-arched windows with keystones and is capped by a copper cornice with egg-and-dart and patterned motif moldings.
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This is flanked by a pair of sash windows, with slightly smaller sash windows above. An even smaller sash window is located in the gable end. Both side walls lack any sort of fenestration. The rear of the building has two windows on the first floor and one on the second, with an additional space on the second floor where there was once a doorway probably used as a loading entry.
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The courthouse in 1899, prior to renovations which more than doubled its size. Designed in the Second Renaissance Revival style, the original portion of the building is constructed entirely of white Georgia marble, and features the typical Italianate tripartite facade divisions characteristic of the style. The richly varied fenestration is one of the most prominent characteristics of the building. Various forms are skillfully used, resulting in distinct yet unified facade treatments.
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Fourteen three-storey bays, each with severely delineated fenestration, form the façade on either side of the central colonnade for a total of 28 bays. The structures at either end have an additional ten bays. Three rectangular windows fill each bay, lighting the interior hall with plenty of natural light. However, the building's external profile is hard and flat, with a line of huge columns, heavy ornamentation and strong symmetry.
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Surviving prints show a gambrel-roofed meetinghouse two bays wide with a tower on the front. Its siding seems to have been limestone rubble, although the first print shows a material that could be either in a coursed ashlar pattern or parging to mimic coursed stone. Fenestration consisted of three round-arched windows along the sides. It was dedicated on November 29, 1752, by Georg Wilhelm Mancius, Vas's assistant.
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The house itself was used to board faculty and some students. The interior was altered extensively during this period. Signs of former partitions remain on the floors of the large bedrooms upstairs, and the irregular fenestration of the side elevations also reflects this subdivision of the interior space. During the 1880s the basement kitchen was remodeled, with the shiplap ceiling added and the original fireplace and bake oven bricked shut.
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All three residences, 88 and 90 Prospect Street, and 127 Chestnut Street (1910–1913), were designed in the English Cottage style. The stucco structures have red tile roofs, recessed entries, exposed purlins, and irregular fenestration. This house is 1-1/2 stories in height, with its entry facing west, set under a cross-gable roof section with a clipped gable. There are recessed porches on either side, supported by heavy columns.
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All three residences, 90 and 88 Prospect Street, and 127 Chestnut Street (1910-1913), were designed in the English Cottage style. The stucco structures have red tile roofs, recessed entries, exposed purlins, and irregular fenestration. This house is 1-1/2 stories in height, with its entry set under a cross-gable roof section with a clipped gable. There are recessed porches on either side, supported by heavy columns.
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It has "with irregular stepped massing, recessed fenestration, a flat roof and rounded parapets," and a recessed entryway "under a buttressed mission-like arch." Its bricks were made at the New Mexico State Penitentiary in Santa Fe. The building was expanded to the rear in 1956 and 1957. It underwent a complete renovation in 1978 to plans by architect Charles Nolan. The building was in use as a dormitory in 1987.
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The southern entrance is partially enclosed with a simple metal balustrade and the stairs have been removed. The front of the entry porch is enclosed with chamferboards and has timber louvres within a lancet arch frame for ventilation purposes. A separately-roofed extension in the rear elevation accommodates the sanctuary. Most of the fenestration is restricted to the front and rear elevations and is in the form of lancet windows.
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With its linear pattern of fenestration distributed equally on all floors, it conveys a light feeling of a corporate office building. The Gooderham Building is set on a high foundation that reaches half a storey above the ground. These days, it is still being used as an office building. The 1st floor uses rectangular sliding windows on the south side, but it has fixed windows on the north side.
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He followed Fowler's plan exactly, including the cupola and alternating one-two fenestration. His only change was the material. Fowler had called for the wall to be made of a mixture of water, lime and an aggregate, since they were widely available around the country. The Estabrooks chose the Rosendale cement-grout mixture along with coarse local gravel since it was locally available and had proven more durable.
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The three-storeyed verandah ensemble has bays supported on single and paired posts, the lower two storeys with open balusters and the top level with flared shingled aprons topped by baluster-work. The fenestration comprises bracketed oriels, facetted bays and ranges of multi-paned casements. The wall-hung shingling imparts to the design an American Shingle-style flavour. The terraced garden includes a couple of very tall, shaft-like Washingtonia palms.
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Fenestration consists mainly of wood louvered windows with glass. Some have been substituted by contemporary metal louvered windows, which are found all over the rest of the building. A most significant feature of Ponce High School is its two-story high, elongated auditorium, which also contains a generous stage area and a U-shaped wood mezzanine supported from the concrete ceiling. Its original lighting fixtures were removed and replaced by fluorescent ones.
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The building is a two storied brick and concrete structure of 1000 sq.m.area, with vertical panels of dark face brick separated by lightweight panels containing fenestration and copper sun screens. It has a parapeted form with a simple monopitch roof. The plan comprises a simple rectangular office building with a small central wing containing toilets and service areas on the upper level and air conditioning plant and laboratories on the lower floor (ground) level.
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The Blaxland family chapel, named St Augustine's, was built in 1838 and a marble plaque, above the main door, attests to this fact. It is a rendered, single storey building of brick with corner buttresses and is rectangular in plan. In design it is Gothicised Georgian with pilasters, a string course and a pedimented gable. The pointed arch fenestration with simple tracery, coloured glass and quatrefoil vents are Gothic Revival in style.
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The center bay contains more ornate fenestration, except on the second floor, which also contains two large rectangular windows. The center bay on the third and fourth floors contains an oriel window that protrudes slightly and contains three window panes, with the center window pane being twice as wide as the side panes. The oriel contains a triangular pediment above it. The fifth floor contains three narrow rectangular window panes of equal size.
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Shutter-flanked double and single round-arched one-over-one sash on some of its faces echoes the fenestration of 19 North Grove Street. Other windows, particularly on the main block's west facade, are rectangular with recessed round-arched panels in their entablatures. A small porch with flat roof supported by two wooden pillars shelters the main entrance, a single door with transom. The interior has heavy molded window and door surrounds.
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The new post office was opened for business early in 1941. Louis Simon, the supervising architect at the Treasury Department, used the Colonial Revival style, standard for most post offices in small communities across the country at that time. Notable features of that style in the Lake George post office are the brick facing, eagle ornament and symmetrical fenestration. The projecting central pavilion with flanking bays is also a specifically Georgian touch.
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The Siemer House was a two-story brick building on a stone foundation. This late Victorian structure featured details that evoked the Italianate style: a cube- like mass, a bracketed metal cornice, the tall, narrow profile of the fenestration, and the centralized entrance. The windows were symmetrically placed on the façade with five on the second floor and two flanking the entrance on both sides. The windows were surrounded by small wooden headers and sills.
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E. L. Hitch Potato House is a historic potato house located near Laurel, Sussex County, Delaware. It one of the last surviving examples of its building type. It was built about 1920, and is a 1 1/2-story, gable fronted, balloon frame structure. It retains a number of important elements characteristic of potato house including: minimal fenestration, triple siding, interior and exterior doors, tightly shuttered windows, interior chimney, and storage bins.
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Shryock chose the Greek Revival style to symbolically link Kentucky, a young republic, with ancient Greece, the prototype of popular democratic government. He wanted the front of the building to duplicate the Temple of Minerva Polias at Priene. Greek temples had no windows, therefore the front of the capitol is devoid of fenestration. Other architectural features include a self-supporting stone stairway and a domed lantern above it to bring in sunlight.
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The structure of the house and arrangement of the various architectural features such as doors and windows is asymmetrical. On the western (front) facade, there are a door and two windows on the lower floor, with three windows above. The main entrance is to the left side, set apart from the windows by a blind bay, a treatment echoed in the second-story fenestration. The door has a segmental arch with transom.
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The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The building has landmark significance being on a prominent corner, and as part of a group of early 20th century buildings in George Street North, relating well in scale, materials, façade treatment and fenestration to the Metcalfe Bond Stores, the ASN Co building and the Old Bushells Factory at 88 George Street.
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The upper fenestration of both garages was similar. The Knickerbocker's street entrance was a single, wide, pointed arch stretching across all three bays with separate entrances. Its window spandrels had decorative touches that were intended to mimic Gothic tracery. On the Arnink, every bay had a separate garage; the western one was slightly larger and each garage had a pointed-arch entrance with an original folding door and a metal lantern-style light above.
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Limestone bands also go around the building at both the lower end of the brick and the top level of the fenestration. Both interior floors are . The lower floor has what was once a lecture hall with raised dais, two study rooms, two bathrooms and a boiler room. A staircase with a Craftsman-style bannister leads up to the main floor, where there are remnants of a cast iron mezzanine for book stacks.
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The envelope materials of the building comprising composite wall assembly, multi-glazed windows, and roof-top insulation, well exceed the fenestration standards of ASHRAE/ECBC. The roof is a combination of green roof, and the reflective paints and high SRI finish on the domes of the complex reduce thermal gradient differences after daylight hours. The hotel also has independent, programmable lighting controls installed in each area. Water is heated by means of solar concentrators.
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The 2009 International Energy Conservation Code (IECC) recognizes daylight zones around vertical fenestration and skylights, and requires that the lighting in these zones be controlled separately from the general lighting in the space. The 2010 ASHRAE 90.1 energy standard, expected to be published in the fall 2010, is also expected to address daylight harvesting. Meanwhile, ASHRAE 189.1, the first of a generation of sustainable construction codes, defines daylight zones and requires daylight harvesting control.
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A canopy extends out over the former platform, now filled with gravel and serving as a patio, a short distance on the south, and farther along the north. At the north end the wall curves into a five-facet section with full windows. A hip-roofed porte- cochère, now enclosed with concrete blocks painted with stucco, extends from the center of the east section. Fenestration is irregular; doors and windows have terra cotta surrounds.
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Fenestration above the entrances consists of tripartite windows o two-over-two flanked by one-over-one, with narrow one-over-one in the space between those windows and the pavilion corners in order to illuminate an interior stairwell. Brick between the stories is in a herringbone pattern. The pavilion is topped by a pediment above the molded raking cornice which marks the roofline. It has an oculus with rowlocks and keystones in the middle.
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The front facade has a central projecting section, with quoined corners and single-story porches on either side that shelter its entrances. The upper windows on the projection are tall composites with round-arch elements. Fenestration elsewhere consists of segmented-arch sashes on the first level, and round-arch windows above. The Maine Central Institute was founded in 1866 by Free Will Baptists as a private academy intended to supply students to Bates College.
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On the first floor facade two three over three double hung sash flank the doorway on each side and smaller similar windows are on the second floor above each and the door. A corbeled cornice sits below brick laid on edge giving a saw tooth look. The east and west sides of the building each have interior chimneys rising above the center of the peak of the gables. East and west exposures have little fenestration.
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The fenestration of the west-facing pavilion and back part of the west facade was altered to accommodate remodeling of the dining room and to increase the lighting of the master bedroom above it. On the interior, the remodeling was more thoroughgoing and utilized accepted Italian motifs of the Eclectic Resurgence. The interior has been little altered in the building's reuse. Victorian wall finishes were replaced with textured plaster painted in cream tones.
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Metal framing allowed higher interior spaces, more generous fenestration, and glass roofs, notably in the sunlit barrel-vault of the Gare d'Orsay. Laloux was awarded the American AIA Gold Medal in 1922, and the RIBA Royal Gold Medal in 1929. In 1932 he was elected into the National Academy of Design as an Honorary Corresponding Academician. In 1936, the year before his death, his successor as head of the atelier was Charles Lemaresquier.
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The Residences Providence (formerly The Residences at the Westin) is a high- rise residential tower in downtown Providence, Rhode Island, designed by TRO Jung Brannen and developed by The Procaccianti Group.The Procaccianti Group - TPG Development It is situated adjacent to the Omni Providence Hotel, a 25-floor hotel with similar fenestration and styling. The Residences Providence is slightly taller than its counterpart, rising an additional . The lower floors are an extension of the hotel.
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Turrets of similar height are also nearby. Inside, the Richmond has the oblong reading room with fireplace that characterizes Richardson's libraries. The only notable difference is in the front facade's remaining fenestration—the Crane Library has what Henry-Russell Hitchcock described as a "curiously modern" strip of windows, while Cutler's are more conventional for the time. At the time of its construction, only the east (front) facade of the Richmond Library was done in stone.
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It has a porch with a concrete deck, metal staircase and guiderails. Its roof is done in beaded wood paneling similar to that once used inside the school. The surrounding masonry work is different since the door was added later. Fenestration on that side consists of three aligned pairs of double-hung sash windows, one-over-one at the basement and first story, and two six-over-ones flanking a wooden door on the second.
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The only known substantial changes since the 19th century are the alteration to the fenestration sometime before its closure in 1943. The foundation was rebuilt in 1996. The construction date of the building is unknown, in part because the early history of Coplin Plantation is poorly documented. Bloomfield Plantation, encompassing this area, was organized in 1841, and Coplin Plantation was established in 1866, at which time this building appears to have been standing.
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Fenestration includes both single and paired rectangular double-hung windows. The building is sheathed in clapboard. The full front porch, originally screened, has been enclosed and a porte-cochère added over the front entrance; this was deemed sympathetic to the original design in the NRHP nomination. Other changes have included the addition of a one-story sun room to the north, shed dormers on the roof, and additions to the rear of the buildings.
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Each of the side elevations are also symmetrically composed with a regular fenestration pattern. All windows to the side and rear elevation have three vertical rows of glass louvres with flat arches of dark blue salt glazed voussoirs. The brick fire wall is evident approximately one third from the Drake Street end of the building. It divides both the walls and the hipped roof which has ventilators evenly spaced along its ridge.
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The tower lacks a spire but features narrow arched windows which emphasize its verticality, and echo the fenestration of the facades. The interior displays elaborate tracery trusses support on cast iron posts. The present altar and reredos were added around 1892 and were designed by Charles Haight of New York. In the two decades following the American Civil War, a number of institutional buildings were constructed in the Gothic Revival style in Middletown.
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A three-story building in brick it has a vigorously modelled street front with emphatic quoining used to define the edges and apertures of the facade. Those around the windows rise to form round-topped columns. There are echoes here of the fenestration of the second Government House but the relative simplicity and strength of the Dunedin building shows the designer his own master again and possessed of a corresponding new confidence.
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A simple box cornice highlights the transition between the roof and the vertical walls. The front façade of the building is divided into four bays. The central two bays are occupied by window openings (the sash themselves are missing), and the outer two bays are occupied by doorways. This fenestration pattern is repeated on the west (rear) façade, and a window opening is located on each end of the building as well.
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The inside walls of this projecting bay contain three stepped windows on the first level and paired windows on the second with the flanking torch motifs. The fenestration of the recessed facade plane which flanks the entrance bay consists of five basement-story windows and five windows on both the first and second floors. The basement-story windows have six-over-six lights. A stone band divides the basement-story from the first floor.
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Fenestration of the building is regular. There are arched and squared sash windows to the ground floor, with a fixed multi-pane window over the post boxes to the southern facade. There are tan painted, flat arched lintels over the southern facade windows and rendered voussoirs to the western facade. Doors to the building are non-original; however, there are some earlier doors with decorative fanlights located to the western porch side walls.
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The rectangular one-story brick building rises from a granite foundation to a hipped roof covered with slate tiles and a decorative ridge cap. The main block's fenestration consists of double-mullioned semicircular windows. A small wing on the north facade has hexagonal slate shingles and a Palladian window on its gable face; a chimney rises from its roof. It is complemented by a similarly-faced cross-gable on the south side with louvered oculus.
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There is photographic evidence that a more elaborate porch once sheltered the entry. The building corners have paneled pilasters, and fenestration generally consist of paired narrow sash windows; there are several projecting single- story bay windows. The octagonal cupola features small windows with segmented- arch lintels. The interior has had some alteration, principally the removal of several walls to create larger spaces, and the closing off of an entry into the kitchen space.
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The gable end of the commercial section forms the street facade. The original fenestration remains, including the design of the store front, the four-over-four double hung windows with peaked cornices and a fanlight near the top of the gable. The second floor of the commercial section originally served as a meeting hall and has an exterior enclosed staircase. The residential section is divided into three bays which front on the street.
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External: A large one to two-storey brick office building with hipped terracotta tiled roof, in an L-shaped form and accommodates administration and amenities and facilities for the engineers and field/admin staff. The building's fenestration includes a series of regularly placed tall timber sash windows and doors generally facing the courtyard. Internal: Interiors were not inspected (2009). However, the original drawings indicate a linear floor layout with offices around the perimeters opening into a central corridor.
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The McDowell house is a -story "half-house", with minimal fenestration so as to better retain heat in the winter, very typical of English vernacular architecture in the rural Hudson Valley during the colonial period. The minimal detail from the original house shows the influence of the waning Georgian style. The house may also have been influenced by Thomas McDowell's brief sojourn in New England after his arrival in America. Later styles are evident in some of the alterations.
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This two-storey governmental structure follows a Neo-Classical tradition, with an emphasized horizontality and symmetrical form, particularly on the design of its façade. The central bay had three arched entrances and two principal staircases built around the two atriums. The rectangular fenestration on the upper most story were decorated with rustication. The window-like portals opening out to small balconies were framed with pilasters topped with ornate capitals and were adorned with elaborate geometrical grillework.
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These families lived in and around Indore and went on to work for several structures for the Holkars. Today it stands proudly with its 7-story façade of carved stone and wood jails, jharokhas and chattries. The front bay has substantial forecourt assessed by a large fenestration in the front façade. All activity within this structure has been systematically removed and now boasts of a small office of the Joint Director, Archeology and Souvenir Shop run by the Archeology.
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Swiss Steam Laundry Building, also known as the Swiss Building, is a historic loft building located at Baltimore, Maryland, United States. It is a Romanesque Revival-style six-story structure. The façade is dominated by two five-story arched bays each consisting of tripartite fenestration at the corners and a cast iron storefront with an ornamental scroll and egg-and-dart molding at the cornice. The interior of the building features iron columns and wood flooring.
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Entrance to the mansion is by three segmented arches under the portico, or more formally, by climbing a double curved staircase behind the three arches. The stairs rise to an open loggia beneath the portico which gives access to the mansion's principal entrance. The fenestration is designed to indicate the status of their floor. Thus, small windows indicate the domestic ground floor and secondary upper floor, while the windows of the first floor piano nobile are tall and large.
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The rear of the building is clad in yellow COLORBOND sheeting. On the first floor facade the fenestration consists of pairs of arched windows, contained within arched recesses, alternating with rectangular windows arranged singly or in groups of two or four. Transoms divide these windows horizontally into three sections. The majority are filled with modern clear glass or glass louvers, but in the semi- circular transom lights of the arched windows early, opaque, textured glass is retained.
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The Eugene Merrill House from the southeast The Eugene Merrill House, at 2116 Second Avenue South, was built in 1884 by banker and lawyer Eugene Merrill, to designs by William Channing Whitney (1851–1945). The Merrill House is the oldest mansion in the district. Its rusticated red sandstone, bold massing, polygonal tower and characteristic clustered fenestration are marks of the Richardsonian Romanesque architectural style. It is now owned by Rhett A McSweeney and is the offices of McSweeney/Langevin.
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The Van Rensselaer Lower Manor is located along the NY 23 state highway on the east side of Claverack, New York, United States. It is a combination of two 18th-century houses, one stone and the other frame, later connected with a hyphen and then combined into one building and sided in wood. One local historian called the result a "growth" that no longer had any architectural merit. It retains much of its original interior layout, finishes and fenestration.
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St. David's Road Depot is a substantial building of three or four storeys in height, but with only two layers of fenestration. It is in the Interwear Stripped Classical architectural style It is completely cement rendered, with classical proportions. It has been built in the Interwar Stripped Classical style, elements of which include a decorative cornice and very high entablature which continue around the sides of the building. The windows have slightly projecting cement rendered sills.
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Fenestration in the tower includes typically Italianate round-arch windows, including paired ones on each side at the top stage. The property includes a two-story carriage barn which has similar decorative style. Charles F. Douglas was born in Brunswick, Maine, and was self-taught as an architect, opening a practice in Skowhegan in the 1860s. He designed this house for his family, and built it in 1868 on land belonging to his wife's family in Norridgewock.
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The Bakersfield Californian Building consists of two structures, both faced with reddish-brown bricks and with a primary facade facing east. Originally, the four-story main building was rectangular in shape, but over time additions made it L-shaped. A detached, rectangular structure, designed as a women's rest facility, is located at the northeast corner of the larger one. The fenestration of the primary structure is symmetrically laid out with steel sash windows on all four sides.
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Howard Payne House Howard Payne House, M.D. (1908 – August 1, 2003) was born in Indianapolis, Indiana. House founded the House Ear Institute in 1946 in Los Angeles, CA, and is often considered to be the father of modern otology. The House Ear Institute developed the cochlear implant and the auditory brain stem implant. House perfected many critical otologic surgical procedures, such as the fenestration operation in the 1940s and the stapedectomy surgery in the subsequent three decades.
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The upper storey of the Ann Street facade has three cantilevered concrete balconies with wrought iron balustrading and an oriel window. The eaves overhang of the roof skirts around the gable ends as a sunhood. The fenestration on the upper level has square heads while the lower level has gothic arches apart from a side doorway which has a semi-circular arch. The main entry off Ann Street is a broad gothic arched opening with stone trimmings.
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The upper and lower bands are white brick and stone and are each two stories high. The configuration of the fenestration is the same on both levels, although the scale is smaller in the upper band. The windows are paired vertically - an arched window above a square one - and contained within a quoined Gibbsian surround that encompasses the windows and the spandrel between. Similar limestone quoins are also found at the corners of the two bands.
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From around 1909 windows were rearranged and enlarged to provide a greater amount of gentle, southern light into the room and desks were rearranged to have the light falling onto the students' left hand side. This reduced glare, and, since students were forcibly right-handed, did not throw a shadow onto the page. This often meant a complete transformation of the fenestration of existing buildings. Windows were larger and sills were lowered to let in more light generally.
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Although modified over the years and repaired after fire damage, the Macquarie Schoolhouse still retains its original form and fenestration. Some of the internal joinery, notably the roof tie-beams, and the hardware on some doors still survives. In view of its age, the Schoolhouse has a high degree of original fabric. St John's Church is intact in its form and setting apart from the replacement of the original timber shingle roof with cement sheet shingles.
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People from all ethnicities may develop IIH. In children, there is no difference in incidence between males and females. From national hospital admission databases it appears that the need for neurosurgical intervention for IIH has increased markedly over the period between 1988 and 2002. This has been attributed at least in part to the rising prevalence of obesity, although some of this increase may be explained by the increased popularity of shunting over optic nerve sheath fenestration.
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The occipital region of Limnoscelis was relatively flat, similar to that of some basal synapsids. Limnoscelis had a single occipital condyle. Limnoscelis had an anapsid skull fenestration pattern, lacking temporal fenestrae. However, the supratemporal of Limnoscelis has been pushed posteriorly and ventrally, creating a “line of weakness” between the supratemporal, postorbital, and squamosal bones. This “line of weakness” has been proposed to be a precursor to the synapsid temporal fenestra, although this hypothesis has been challenged.
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Both houses have been seen as historically significant because of their status as examples of the period's transition between architectural styles: although both were clearly built in the Queen Anne style, they bear influences of the Neoclassical style that succeeded the Queen Anne as the premier style of the day. Built of brick with stone foundations,, Ohio Historical Society, 2007. Accessed 2010-10-22. the houses feature such distinctive architectural elements as circular turrets, prominent porches, and Neoclassical fenestration.
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Hardy, p. 91 Work began again in 1676, and the library (now the Fellows' Library) was completed by 1679.Hardy, p. 172Baker (1954), p. 274 Under Jonathan Edwards (principal from 1688 to 1712), further rooms were built to complete the quadrangle; the project was completed just after his death in 1712. Pevsner described the second quadrangle as "a uniform composition", noting the "regular fenestration by windows with round-arched lights, their hood-moulds forming a continuous frieze".
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TCI Umbria p. 94. A further section down the Corso was built in 1429-43, still keeping to the Gothic tripartite fenestration, to house the Collegio del Cambio, the "money exchange" that was the financial center of Perugia. The perimeter of the roof was originally crenellated all around, less for actual defensive purposes than as a symbol of Perugia's independence. Significantly, the crenellations were removed in 1610, when Perugia had submitted at last to papal armies.
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The main house is a -story, 11-bay clapboard structure of varied fenestration and form, reflecting considerable work and expansion in the first century of its existence. There are three entrances in the main facade, two with 19th-century panelled doors and the other with a vertical plank door and strap hinges. The main entrance has a shed-roofed porch. Large chimneys rise from the roof and two one-story wings project from the rear of the house.
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Bradley is one of the smaller manor houses of the early fifteenth century, and has the advantage of having a contemporary chapel detached from the main house. The architect may have been influenced by Dartington Hall, some six miles to the south. Interesting features include the missing gatehouse, the interior of the chapel, the fenestration of the east front and the wall paintings. The house is one of the most complete medieval manor houses in Devon.
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His desire to free himself from Wright's influence led him to explore spatial relationships between living, working and dining areas and how spaces could be closed off with folding screens.The house is built almost entirely of in situ concrete. Raymond's workforce were enthusiastic in their use of this new material, likening it to the walls of traditional kura storehouses. The house itself had metal fenestration, tubular steel trellises and traditional rain chains rather than rainwater downpipes.
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A large timber-framed sash window faces onto the front verandah and two similar windows line the northern side of the room facing the side verandah. This fenestration pattern also occurs in the rooms on the southern side of the house. A large fireplace with timber manell-piece is located in the centre of the rear wall. On the other side of the hall is the dining room at the front and the kitchen at the rear.
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Harold Severson, "West Concord House Once Magnet for Region's Movers and Shakers", Post-Bulletin, September 26, 1979; photocopy accessed from Perry Nelson House file, State Historic Preservation Office in the Minnesota History Center. The three finished facades have bracketed eaves extending around them, and plain eaves on the north facade. The building's fenestration consists of six-over-six double-hung sash windows in rectangular openings with heavy lintels. A long wood and stone wing extends to the north.
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The siting of the house in riverside grounds is indicative of a new wealthy class of family in the district during the mid-nineteenth century. As an historic house in a garden setting, it has landmark status on both the highway and river. It has a hipped corrugated steel roof and verandahs to the southern and eastern elevations with cast iron columns, decorative lace friezes and balustrading. Fenestration consists of large sashed windows and french doors.
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The National Fenestration Rating Council (NFRC) is a United States 501(c)3 non-profit organization which sponsors an energy efficiency certification and labeling program for windows, doors, and skylights. NFRC labels provide performance ratings for such products in five categories: U-value, Solar Heat Gain Coefficient, Visible Transmittance, Air Leakage, and Condensation Resistance. This allows architects, builders, code officials, contractors, home owners, and specifiers to compare the energy efficiency among products, and determine whether a product meets code.
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The Badin-Roque House is a historic house located along LA 484, about southeast of Natchez. Originally built in the early nineteenth century, it's a Poteaux-en-terre French Creole cottage with bousillage construction walls. Several alterations were made in the 1830s when a beaded tongue and groove ceiling was added, along with board and batten fenestration, and in 1850, when it was added the actual pitched roof and siding. with two photos and two maps With .
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The building entrance at the corner of Limestone and Ellenborough streets is symmetrically framed by identical breakfronts projecting toward the street alignment and between which the stairs to the foyer level are contained. The entrance comprises pairs of five panel timber doors under round arched fanlights accentuated by contrasting brick voussoirs, cement rendered label moulds and imposts and pedimented, bracketed string coursing to each street frontage. The ground floor fenestration comprises stilted round arched windows with five light fanlights and double hung sashes with light coloured brickwork voussoirs and cement rendered label moulds and imposts. The first floor fenestration comprises segmental headed double hung windows with five light sashes accentuated with dichromatic brickwork arches, cement rendered label moulds and imposts and contrasting brick string coursing at sill height The entablature which is punctuated with pairs of cement rendered eaves brackets bears the words DIAMOND 1897 JUBILEE TECHNICAL COLLEGE MEMORIAL in raised lettering to the frieze along the length of the two facades from the north east corner of the building to the south west.
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A corrugated iron awning is suspended above the entrance and extends from the second to the sixth bay, where it steps to above the first floor level. It is tied back to the building and has a valance of timber vertical boards with a scalloped edge. The southern end facade is void of fenestration, with four engaged pilasters dividing the space vertically. The central section comprises a gable end which has been extended to accommodate the extension at roof level.
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At the roof's ridge sits an octagonal ventilating element with a bell-cast roof. On the main (north) facade, there is a two-bay-wide projection with a hip roof and two wall dormers. There is a large roof dormer on the side (east) facade which provides exterior access to the hayloft. Other fenestration includes small square windows with fixed sashes near the eaves on all facades and four double-hung windows, two per level, in the main facade's pavilion.
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In 2007 the updated version of the ASHRAE 90.1 covers many sections of a building which include building envelope, HVAC, hot water, and lighting. The building envelope has to be categorized into 3 different categories of conditioned space which are (a)nonresidential conditioned space, (b) residential conditioned space, and (c) semiheated space. Each one has different requirements to meet. There are also mandatory provisions that building envelopes have to abide by which are insulation, fenestration and doors, and air leakage.
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The original clubhouse, designed by Bruce Price, was built in 1886 and demolished in 1927. John Russell Pope's clubhouse was constructed on the original stone foundations the following year. The clubhouse is U-shaped, with stucco over wood frame, low hipped slate roof, stone embedded in stucco, leaded glass casements, and mullions forming crossettes in continuous fenestration. Located at the foot of Tuxedo Lake, it commands a view to the other end of lake and two ranges of wooded hills.
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Built primarily of stone and designed by the firm of Cudell and Richardson, the eight-story Perry–Payne Building possesses unusual fenestration: its seven-bay facade is composed largely of windows, while the sides are almost windowless.Perry–Payne Building, Ohio Historical Society, 2007. Accessed 2013-09-22. Its design represents a crucial technological juncture: the exterior is primarily traditional stonemasonry, but reduced stonework – and thus exceptionally large amounts of window area – are permitted by the use of structural iron inside the building.
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The Deafness Research Foundation was founded by Collette Ramsey- Baker on February 1, 1958. Born in Waverly, Tennessee, Collette lived with substantial hearing loss for many years before she had her hearing completely restored at age 35, with an early fenestration operation. She then founded the Deafness Research Foundation (DRF). A recurrent model for the renowned painter Howard Chandler Christy and an avid golfer, she received letters of commendation from US Presidents Herbert Hoover and Dwight Eisenhower, Helen Keller and Cardinal Francis Spellman.
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The two six- over-six double-hung sash windows on either side of the main entrance have louvered shutters with stone sills and splayed lintels. Recessed panels top each window on the upper story. On either side of the pediment small gabled dormer windows with eight-over-eight double-hung sash pierce the roof. Side fenestration consists of two windows similar to the front windows at ground level, two small windows on the second floor and a fanlight at the gable apex.
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The bank was built using fireproofed steel frame construction, with the exterior faced with semi- enamel Terra Cotta. To enhance the contrast between the white Terra Cotta and the fenestration, the wood window frames were painted a forest green. The first level is topped with a four-foot cornice of Vermont granite, eleven stories higher from the twelfth floor to the fifteenth floor, an arcade was implemented crowning the entire structure. A walk on the roof offered views of the growing city.
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The corners on this rear part of the building are rounded, a somewhat unusual condition for corners in buildings of this type of architecture. After a recent remodeling, most windows and doors were finished in near-duplicative (usually louvered casement) designs. The new annex on the side features arched openings to the street and has glass fenestration. This addition does not contribute to the property's architectural value but due to its disposition and volume it does not harm the main structure's integrity either.
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Each bay contains a wooden movable louvreed window with glass inlets at its top, and a floral relief motif over the fenestration. The rest of the wall is decorated with floral garlands. The corner is accentuated with a round sitting nook or "glorieta", that is detailed with Ionic columns. Another interesting feature of the house are the balconies which are divided into three sections with Ionic columns and framed with Baroque moldings and sculptured faces on the central top part of the openings.
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All the windows are flanked by wooden louvered shutters, save for Palladian windows above the main entrance and in the gable fields. Fenestration is symmetrical except for the north (rear) elevation, where it reflects changes made to the interior of the house over the years. The wooden paneled front door, flanked by sidelights and topped with a transom, opens onto a broad center hallway. An original staircase and doors remain on the west side, while the entryways opposite are open.
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Murdoch's simplified classical design is based on a basic square, which provides the building with a regular proportion in terms of fenestration and other elements, including the (now enclosed) verandas and colonnades. The height of the building at the roof of the chambers is (excluding the flagpole). The building was constructed from Canberra clay brick, with timber and lightweight concrete floors. It was rendered originally in white concrete, since painted, except for a pedestal of bricks left with their natural colour.
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Existing lowset buildings were raised for increased ventilation with the added benefit of providing a covered play space in the understorey. In 1926 the Ferguson teaching building at Albert State School was raised on tall brick piers and the ground underneath was concreted to create a large, understorey play space. Another standard alteration was to the fenestration and classroom size of existing buildings. At schools across the state, windows were enlarged and sills lowered to let in more light generally.
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Lee House in Batesville, Mississippi was built in 1888. It was listed on the National Register of Historic Places in 1984. It was deemed significant as it is "the only Andrew Johnson residence in Batesville and is an excellent example of his ornamented L-shape cottage style." with It is a one-story ornamented cottage with a three-bay gallery with an intricate balustrade. It has irregular massing and fenestration, and a steep roof which is emphasized by a projecting pavilion.
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The inherent difficulty of adequately lighting barrel vaulted structures has been widely acknowledged.Friedrich Ragette, Traditional Domestic Architecture of the Arab Region, American University of Shadah (2003) The intrinsic engineering issue is the need to avoid fenestration punctures in stonework barrel vaults. Such openings could compromise the integrity of the entire arch system. Thus the Romanesque medieval builders had to resort to techniques of small windows, large buttresses, or other forms of interior wall cross-bracing to achieve the desired lighting outcomes.
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Five stories high, three bays wide by nine deep, its fenestration is similar to the larger Ilium Building a block to the east. The first story is faced in rusticated stone, the second through fifth in light gold brick with stone and terra cotta trim, and with carved stone panels beneath the third and fourth floor windows. These three distinct zones, along with the building's steel frame construction and use of an elevator inside, show the influence of early skyscraper design.
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The Mather Inn is a four-story rectangular building, constructed of concrete and steel with a brick facing. The front facade is divided into three bays, with a two-story portico sheltering the entrance in the center bay. The varied fenestration on the front, including bay windows flanking the center entrance and dormers on the hipped roof, make the facade architecturally interesting. The public areas of the interior are panelled in pine, and include a sunken dining room and men's clubroom.
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This block-long facility's 1979 (See "Changing Programmatic Needs Throughout History" in image carousel.) design consisted of a series of concrete, aluminum frame and tinted-glass kiosks of a futuristic appearance. Their location and design seriously detracted from the overall character of the building. A redesigned transit center opened in August 2006. The half-block east and west elevations, identical to each other, have eight fenestration bays and pairs of one-story entry doors located toward the center of each elevation.
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The Old Federal Building is a rectangular three story limestone Renaissance Revival structure on a raised granite foundation. It measures 64 feet by 103 feet, and is seven bays wide. The first floor is built of smooth coursed limestone with horizontal recessed joints, above which is a carved frieze. On the main facade, the two upper floors are of plain limestone block, with Ionic columns running the full height of the second and third floors, framing the central five-bay fenestration.
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The building's fenestration is similarly eclectic, including round and polygonal windows and colored-glass inserts next to angled muntins. Inside, the floor plan follows the asymmetry of the exterior trim. It has much of its original finish as well: herringbone-patterned oak panels below the front bay windows, plaster ceiling medallions and crown moldings in each room, light fixtures, staircase railing and narrow-strip oak flooring. Behind the house, on the property, is a modern garage added in the 1950s.
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Treatment of Aicardi syndrome primarily involves management of seizures and early/continuing intervention programs for developmental delays.Additional comorbidities and complications sometimes seen with Aicardi syndrome include porencephalic cysts and hydrocephalus, and gastro-intestinal problems. Treatment for porencephalic cysts and/or hydrocephalus is often via a shunt or endoscopic fenestration of the cysts, though some require no treatment. Placement of a feeding tube, fundoplication, and surgeries to correct hernias or other gastrointestinal structural problems are sometimes used to treat gastro-intestinal issues.
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The Mercy Hospital and Elizabeth McDowell Bialy Memorial House consists of two brick structures located near each other. The hospital is composed of four major, connected building segments dating from 1905, 1911, 1917, and 1948, ranging in height from two- and-one-half to five stories. Each building segment is separately symmetrical in massing and fenestration, but as connected presents an asymmetrical roofline and floorplan. The 1905 section is a 2-1/2 story brick structure, two bays wide, with a hipped roof.
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Exterior: Constructed in 1878 the Penrith Station Master's residence is a two-storey English bond brickwork residence with paint finish and double corrugated metal hipped roof. It presents symmetrical fenestration to both street elevations with no decorative elements or embellishments. Two brick chimneys with corbelled tops are the distinctive features of the residence's roofscape. The Belmore Street (front) elevation has a centrally located entrance door with transom above and two vertically proportioned double-hung sash timber windows with rendered sills on both sides.
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Other glazing material variations affect acoustics. The most widely used glazing configurations for sound dampening include laminated glass with varied thickness of the interlayer and thickness of the glass. Including a structural, thermally improved aluminum thermal barrier air spacer in the insulating glass can improve acoustical performance by reducing the transmission of exterior noise sources in the fenestration system. Reviewing the glazing system components, including the air space material used in the insulating glass, can ensure overall sound transmission improvement.
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This is topped with another section that is more ornate, yet lighter, detailed with two columns to make three bays, and finally the actual clock and roof. The clock tower is modeled after the Campanile of St. Mark's in Venice, which had collapsed and was being rebuilt shortly before the construction of the station began. It is an interesting effect of the tower getting lighter with higher elevation. The bottom tier is mostly stone with only a vertical line of very narrow fenestration.
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Despite the wide distribution, Heliorhodopsins are never present in true diderms, where there is a proper double membrane around the microorganism. It has been suggested that the function of Heliorhodopsin requires a direct interaction with the environment. Crystal structure of a monomer of heliorhodopsin from Thermoplasmatales archaeon SG8-52-1, based on . Crystal structures of Heliorhodopsins suggest they form a homodimer, contain a fenestration leading toward the retinal molecule and have a large extracellular loop facing the outside of the cell.
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The place is important because of its aesthetic significance. It is a landmark within the streetscape due to its scale and elevated location. The symmetrical design and repetitive fenestration pattern, as well as details including the decorative windows to the front elevation and the use of dark blue salt glazed bricks contribute to the aesthetic significance of the place. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.
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Prior to this, the technical facilities were updated and modifications made to the hall's interior. In the early 1970s, the swimming hall's glass roof was replaced by a solid lead roof, its transparent ceiling being replaced by an opaque acoustic layer. At the same time, the hall's fenestration was drastically simplified. Following the departure of the US military in 1994, the pool was once again opened to the public, but was forced to close for frequent repairs due to structural defects.
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Facing south-east with front and rear elevations of five bays, the house is a compact rectangle with a deceptively asymmetrical exterior. The fenestration of the front elevation is balanced, but at the rear the windows on both the lower and upper levels are irregularly placed to accommodate the off-centre stair. Consequently, the two rooms on the south-western corner on both the ground and first floors are relatively small. The light red bricks are, for the most part, in good condition.
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On the west it has been divided by a spandrel; on the east it is a small window that lights only the lower space. Two small windows on the upper story complete the fenestration of the main block. The older one-story frame rear wing with shed roof and brick chimney connects with the newer addition, a gable-roofed section wider than the main block on a concrete foundation sided in asbestos shingles. It has an entrance and porch in its east end.
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Construction of three highly streamlined fuselages started at Siebel. There were powered by an 800 hp Turboméca Turmo turboshaft driving a five-bladed Derschmidt rotor. The design originally featured a louvred fenestration for the anti-torque rotor that could be closed in high speed flight, but this was removed from the prototypes and the six-bladed rotor was conventionally mounted on the left side of the tail. The maximum speed was not limited by rotor considerations, but the maximum power of the engine.
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Timber framed floors to first floor. Distinction between new and old most evident in west facade where fenestration of extension is different to original building - windows in banks of three in former and in banks of four in latter. Distinction between new and old blurred in east facade as original verandahs north of entry demolished and rebuilt in style of new extension. It was built as part of capital works program carried out mid to late 1950s which also included new library.
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Above this level are paired arched lancet openings in each elevation of the third level and clock faces at the fourth level. Each face of the mansard roof is punctuated by a small louvered gablet. Simple struck and moulded string courses define the walls throughout the building and the lines of the 1890s and 1920s additions to the south are reflected in the later loggia parapet. Fenestration throughout is regular and repetitive with single window openings with arched heads and moulded archivolts.
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By not adopting the traditional hermetic, inward-looking hotel atrium, the hotel's design is intended to enhance interaction with the surrounding urban environment. The multi-coloured fenestration on the tower block juxtaposes the building's twisted cuboid form. This was designed to give the tower block the appearance of an oversized piece of pop art fronting Mohamad Sultan Road. These windows appear to be randomly placed, but have been placed to maximise the picturesque views from the hotel rooms and to protect the privacy of the hotel guests.
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Giant order, rendered pilasters divide the front elevation into ten bays of flat arched, four-pane casement windows with fanlights. The other elevations have a similar rhythm of pilasters and fenestration and the blind west elevations of the pavilions are defined by paired rendered pilasters. The west elevation is symmetrical about a flat arched, freestone entrance porch below a double height vertical stairwell window. A U-shape plan organised about a single-loaded corridor to the west of the main wing, the interior is now altered.
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The Red House is a 1903 apartment building on Manhattan's Upper West Side in New York City. It was built on land owned by Canadian architect R. Thomas Short of the Beaux-Arts firm, Harde & Short. He and his firm designed and built the building in a free eclectic mix of French late GothicThe salamander badge of Henri II appears high on the flanking wings and in the portico frieze. and English Renaissance motifs, using red brick and limestone with bold black-painted mullions in the fenestration.
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Each of the three main bays contains a pair of ionic columns on a block base supporting a banded arch with an engaged keystone with an acanthus motif. A stylized bas-relief eagle fills the space between the sides of the three arches and the engaged pilasters. The original fenestration was removed at the time of the 1949 remodeling when the openings at the side bays were filled, and a new contemporary projecting marquis was added at the central bay above the theater doors.
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On the upper storeys the fenestration consisted of a combination of fixed and top-hung sash windows, with a single round window incorporated into the facade at the Lake and Spence Street corner at the second floor level. Immediately above the awning there was also a series of narrow, rectangular, bottom-hinged windows. Early photographs suggest the upper storey windows were filled with opaque glass. The rear (north and east) walls of the building were unornamented and pierced by rectangular, double-hung, four-pane sash windows.
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The Lake and Spence Street corner of the building is pierced by a single rectangular window which is blocked out with a panel that supports an illuminated sign reading: "Bolands Centre". On the second floor level the fenestration is dominated by triple arched windows and large, arched windows divided by three thick, radiating concrete mullions. A large, round window also perforates the facade at the Lake and Spence Street corner. All the windows at this level are filled with modern, clear glass set in aluminium frames.
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I—houses, like other early > vernacular building types, used design principles that were of proven > utility and were passed from builder to builder by word of mouth. The > builder of the Buckridge Ranch House was probably not trying to design a > house similar to those popular in the American Southeast. That was an > unintended result of an effort to construct a simple, functional residence. > The building displays all the characteristics of a Tidewater I-house (form, > height, fenestration, roof, and porch) in an unusually pure example.
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Its rectangular shape and D-ended towers strongly resemble the early Norman "great tower" castles of Chepstow and Colchester, both of which date from the late eleventh century. The use of corbelled bartizans was common to Scottish castles of the twelfth century. The arched openings of the porte-cochere and the windows appear primitive in part because of their construction, but they also vary in shape from distinctly pointed to distinctly round. The fenestration as a whole represents a compromise between authenticity and modernity.
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Typical of the early homes built in the Park is the residence at 25 Prescott Avenue, built in 1891. The home was designed by Bates and serves as a fine example of the Shingle style with its undulating surfaces, diamond-paned fenestration, and gable roof. It was first acquired by Will Hicok Low, noted figure painter, muralist, and designer of stained glass. Low was a founder of the Society of American Artists and numbered among his friends Robert Louis Stevenson and Augustus St. Gaudens.
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On the northwest corner of the second story is an addition that gives the north facade an extra bay. Along the full length of the second story is a balustrade veranda that serves as a porch for the ground floor. It is supported by five square wooden pillars that rise to the overhanging eaves. Both stories have full fenestration with two-over-two double-hung sash windows and two entrances flanking the center, with those on the second story closer together and having no intervening window.
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The first and second stories of the building house its lobby and mezzanine. Fenestration consists mostly of simple sash, double-hung windows except for the second level of the facade, which is highlighted by a band of 12 arched windows. The relief patterns include a string course separating the first and second levels, rosettes on the second level, and an elaborate art deco design through to the final two stories. Some Mayan influences can be seen in the design details of the stepped parapet.
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On the western pavilion, a projecting entry bay is substituted for the easternmost window at ground level. The east and west profiles have projecting bays with staircased entries. On the east it is centered with an arched window similar to those on the auditorium wing between two cast-stone belt courses and framed with some slightly projecting bricks. On the west end, a small flat-roofed extension projects to the south, and the fenestration consists of a row of five smaller arch windows between darker belt courses.
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Fenestration on the west (front) facade consists of three six-over-six double- hung sash windows on both stories, one near the north end and the other two closer to the south. They have plain sills and lintels. In the bay above the main entrance, on the second story, is an eight-over-eight double-hung sash window half the height of the others. On the north and south facades there are two similar windows on the first and second stories, spaced closer on the lower floor.
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The fenestration is predominantly Gothic arched but some square headed openings and small quatrefoil vents appear high up in some of the gable ends. Two of the gable roofs have lower portions of a lesser pitch, creating a form of sun hood. Immediately below the eaves line of this feature of the roof is a band of glazing separated in one case by the tops of buttresses when they occur, and in the other by timber posts. Internally, a spacious stairwell leads to the upper floors.
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As at 6 January 2006, the cathedral and hall buildings are in very good condition and the ongoing maintenance is most likely a result of its continuous use since 1927. The cathedral retains a substantial proportion of its original fabric. The hall building underwent significant changes to its internal spaces during the 1970s with the installation of its mezzanine floor and office fit out. At the same point in time, the fenestration of the external facade was rearranged and the upper level windows installed.
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The inscription "Graham Court" appears above the arch, flanked by horizontal terra cotta panels with anthemion motif decoration. The arcade leading into the courtyard continues the treatment of columns and pilasters. A barrel vault, faced with Guastavino tiles, rises from the entablature and is decorated with broad ribs which extend from the columns. The pavilions of the midsection of the building, extending from the third through the seventh stories, are framed by quoins; the rusticated stone bands of the central pavilion are punctuated by fenestration.
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Its plan and its facade's fenestration is consistent with the pair-house style, although this was only built two rooms wide; perhaps Sorensen had intended to complete it out as a full pair-house later. It is termed a "Type IV" pair-house, and has an indented porch in what would be its center section (if the third room was added to the south end). Dykes Sorensen was a Danish farmer about whom not much is known; he obtained the deed for this property in 1871. With .
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The even fenestration pattern and the rusticated first story of the building are common themes in classically inspired architecture. The main entrances in the towers on the south elevation have heavy molded surrounds, ornamental reveals, and shelf heads. Above the shelf are two winged limestone lions holding a plaque. Stone carving on the exterior-primarily around the entrances and near the tops of the towers- combines classically inspired, Art Deco, and regional motifs such as winged lions, eagles, buffalo, Native Americans, wheat, and ears of corn.
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It is distinguished from the second story by a stringcourse and by the second story's smooth masonry. Differentiation also occurs in the fenestration. While the first floor has recessed, rectangular windows with simple moldings, the second-story windows are larger and elaborately detailed with classical moldings, balcony balustrades, and crowning triangular and segmented pediments, some of which are set within large arched niches with keystones. A continuous frieze, dentil molding, and cornice finish the top of the wall, where a parapet caps the composition.
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The fenestration at the west facade is similar to that at the main, except with circular arches at the upper level. At the lower level, another circular arch of larger proportions opens at the sixth bay. The interiors are divided into three separate apartments: two similarly distributed residential units at the first level and a single large apartment at the second. The living quarters, kitchen, and servants' quarters of the upper floor are reached via a series of louvered galleries that open to the courtyard.
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The facade is broken into recesses and projections, creating a dynamic composition punctuated by an arcaded entrance on the first level and Roman arches over the second- and third-story fenestration. Massive stone forms are relieved with fine decoration. The first story provides the greatest display of Romanesque ornament, featuring highly carved moldings and decorative stonework surrounding the main entrance. The building's corners are rounded by tall pinnacles with alternating bands of smooth and textured stone and are capped by conical roofs with layered trim.
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The facade's fenestration is composed of simple capiz window panels in checkerboard pattern. Above this row of window, on the transom are non-operable capiz shells framed in wood mesh. This combination of wood and capiz contrasts the simple Tuscan stone columns that form a colonnade on the sidewalk along the street. The 1,000-square meter house has two courtyards, one is an enclosed courtyard located at the center while the other courtyard is in U-shape configuration located at the rear side of the structure.
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Within the three housing styles used by Laverock, individual houses were differentiated by using different styles of wood ornamentation. The first style, used in 19 homes, is a two-story, L-shaped balloon-framed building sheathed in clapboard with a gable roof. These houses have simple balanced fenestration with the main entryway in the recess of the L, and a shed-roof front porch. The second style, used in 16 homes, is a two-story rectangular balloon-framed building sheathed in clapboard, again with a gable roof.
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Along with the Art Deco, Functionalist, and Free Classical styles of the period the Georgian Revival style was popular for new and modified hotels. The stylistic features of the Hotel include the use of face brick, rendered and painted details, regular fenestration, symmetrical façade, multipaned sash windows, parapet and pediments. The load bearing wall and timber floor construction is typical of the period. The employment of details is relatively utilitarian in comparison to excellent examples of the style but comparable to that of other Tooth & Co Hotels.
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The Weston Homestead is set on the southwest side of a rural stretch of US 201, southeast of Skowhegan center. It is a 2-1/2 story wood frame structure with an L shape, presenting facades to the northeast and southeast. The northeast-facing facade is the primary, six bays wide, with the main entrance in the third bay from the left, sheltered by a portico with Doric columns, and a minor secondary entrance sandwiched to the left of the rightmost window. The fenestration is irregularly arranged.
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No applied orders of pilasters or columns relieved the plain walls. Only the slightly arched window set in shallow moldings, the rusticated quoins at the corners and narrow central pedimented pavilion break the even rhythm of the fenestration. The broad plain hipped roof, broken only by small low-set dormers contrasts well with the multi-windowed façade and completes the austere but not unpleasant, finely proportioned building. The ground floor was used largely for the dormitory, classrooms, refectory, and infirmary of the orphanage, maintained by the nuns.
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Traditionally, planning and fenestration encouraged cross-ventilation for passive cooling in a variety of innovative methods, including fanlights, ceiling roses, and alignment of doors and windows to allow uninterrupted air flow. The veranda is the most typical inclusion in the plan, and can be used day and night as a semiexternal living space. In Brisbane, many people have tables and chairs for dining and a daybed or sleepout on their verandas. Whirly birds placed on roofs allow for hot air to be drawn out of ceiling spaces.
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The brick buildings are in the Colonial Revival style, with some fenestration elements influenced by the Art Deco and Moderne style. and Accompanying four photos and Accompanying map It was listed on the National Register of Historic Places in 2004. Mihran Mesrobian retired in the early 1950s and lived in 7410 Connecticut Avenue in Chevy Chase, Maryland in a house he designed himself in 1941. The house is a two-story building made of brick and includes a pavilion that transforms into a porch.
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A flowering Fenestraria rhopalophylla, so named due to the translucent leaf window on the tips of its modified leaf. Leaf window, also known as epidermal window, is a specialized leaf structure consisting of a translucent area where sunlight can enter into the interior surfaces of the plant's modified leaf where photosynthesis can occur. This is also known as fenestration. The translucent structure may include epidermal tissue, and in some succulent plants it consists of several cell layers of parenchyma, which may also function as water-storage tissue.
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While the later works added some character and aesthetic value, the fusion of periods has detracted from a clear emergent style. Nevertheless, the building has a forceful presentation to the street, with significant elements including the imposing two-storey presentation, prominent chimneys, arcaded verandah and scalloped balcony detailing. The internal staircase and fenestration are additionally of a high standard of craftsmanship (criterion d). Aesthetically, Tumut Post Office also contributes to the historic character of the immediate streetscape of this part of the Tumut Urban Conservation Area.
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Its two gables feature the same fenestration scheme used on the southern facade. Also, a bell tower-like finial projection with notched parapet cap features on this facade. Through a pointed archway, further entry can be gained to the rear of the Great Hall and the west-facing courtyard. The first storey windows on the remaining sections of this facade are square-headed, and sit at such a height in relation to the wall and steeply pitched roof that they have their own dormer roofs.
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However, the subsequent discovery of Microleter, which had a roughly equivalent phylogenetic position and a much more restricted temporal emargination, casts doubts on this hypothesis for the origin of temporal fenestration. Certain millerettids have also been observed to possess temporal fenestrae. The position of Australothyris also supports another hypothesis which argues that procolophonomorphs evolved in Gondwana (southern Pangea) before spreading to and diversifying in more northern regions, although Microleter, known from Oklahoma, once more casts doubt on this hypothesis. Cladogram after Modesto, Scott, & Reisz (2009).
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The front facade, facing east, has three large rectilinear opening on its first floor; the three sections are divided by heavy vertical stone members. A double transomed door occupies the center bay and is flanked by large nine-paned storefront windows. On the second story, large cut stones at the corners of the building give the suggestion of corner quoins. The fenestration of the upper level of the front facade consists of two double hung sash windows with six over six lights and heavy stone lintels.
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The western Beaumanoir type bell-tower porch dates to 1563 and the monumental entrance was completed in 1587. Between 1589 and 1610 the bell-tower was improved and crowned with lanterons in 1626. The church bells are dated 1599 and 1605 and a sun-dial dates to 1606. Between 1640 and 1652 the north aisle was built by Paul Prédiry and Mathurin Renault, master masons, and the fenestration came from the workshop of Jean Le Bescont and were transported from Landerneau to Saint-Thégonnec and erected in 1651.
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In 1871 he took his position with the railroad and remained in their employ through the 1870s, including during the time he designed the Amboy depot.Hill, p. 12. The building was designed to be a spacious and modern division headquarters while doubling as a depot for the citizens of Amboy; the southeastern half of the first floor was designed for such use. The depot section consists of waiting rooms and ticketing counters typical of their era while the headquarters portion of the building is well illuminated through ample fenestration.
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The platform building is a good example of a standard island building demonstrating the typical characteristics of Federation railway architecture used throughout NSW. The weatherboard overhead booking and parcels office and the goods lift tower display both aesthetic and technical achievements in design and construction. The Station Master's residence is a fine example of a grand two-storey railway residence with a prominent and landmark quality overlooking the railway corridor. Its distinctive architectural detailing and fenestration is evidence of prosperity in the railways and the importance given to the railway staff in the 1880s.
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Although it is unclear it appears that the original lift may still be in use. The Station Master's residence is a fine example of a grand two-storey railway residence with a prominent and landmark quality overlooking the railway corridor. Its distinctive architectural detailing and fenestration is evidence of prosperity in the railways and the importance given to the railway staff in the 1880s. The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.
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Balfron Tower is high and contains 146 homes (136 flats and 10 maisonettes). Lifts serve every third floor; thus, to reach a flat on the 11th, 12th or 13th floors, residents or visitors would take a lift to the 12th. The lift shaft sits in a separate service tower, also containing laundry rooms and rubbish chutes, and joined to the residential tower by eight walkways. The maisonettes are on floors 1 and 2, and 15 and 16, causing a break in the pattern of fenestration on the west side.
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The interior retains numerous original period features, include wall paneling and fireplaces. The house was built about 1795 by John Perry, the oldest son of Ivory Perry, one of Dublin's first proprietors. Unlike his father's homestead, which has undergone some significant alterations, this house has been relatively little altered, with changes in the type of fenestration and the addition of gable dormers being the most significant. Members of the Perry family lived here for over a century; a 20th century occupant was Jane Dooe, from whose family the name of the road is taken.
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The spiral staircase located in one of the towers also shows the influence of this tradition. The unusual positioning of the main reception rooms to the back of the ground floor, combined with the abundant fenestration on the lower two levels of the east tower, recall that a conservatory was once located here.” The interior of the Manor House is splendid, and is furnished with its original décor. Guided tours include the dining room; the grand salon (yellow room); the blue room; the bedroom of Louis-Joseph Papineau; and the seigneur’s office and library tower.
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It is a two-story, three-bay structure on an exposed stone foundation, topped with a truncated hipped roof pierced by two corbellled brick chimneys at the ends. A two-story, one-bay projecting pavilion is located in the center of the north elevation, matched by a two- story bay window on the south side. Attached to the west (rear) elevation is a two-story wing, also with a hipped roof and chimney, projects. On its west is a one-story wood frame addition with a gable roof and clapboard siding with irregular fenestration.
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Classical detailing appears in the cornice and in the porch. The boxed cornice has brackets and a frieze decorated by dentils. A pediment with Classical Revival decoration on its tympanum and dentils on its frieze is located above the steps leading to the main entrance. Of particular note in the fenestration are the second story windows which have a triangular top above which the brickwork is in the configuration of a four-center ogee and a key-hole, and an oval stained glass window on the south wall of the first floor.
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The Crowell–Smith House is set on a small residential lot between Main and South Streets in central Hyannis, a village of Barnstable. It is a two-story wood frame structure, five bays wide, with a hip roof, twin chimneys on the rear wall, and wood shingle siding. A 1-1/2 story gable-roof ell extends to the rear. The main entry has a Greek Revival surround with sidelight and transom windows, and an architrave with lintel above. Fenestration is uniformly 12-over-12 sash with shutters.
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A terracotta cornice resembling an arcade runs above the eighth story, while a smaller terracotta cornice runs above the ninth story. The decorations of the Corbin Building resemble those used on other nearby structures like the Potter Building and Temple Court Building. An identical fenestration pattern is used on the Broadway facade and on either of the outermost bays on John Street, collectively known as the end bays. These bays form the facades of the "end pavilions", the only parts of the building that are nine stories high.
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The fenestration of the main front is composed of elaborate tripartite windows with carved pilasters, except for the central bay, where there are double round-headed windows over the doorcase. The front door is flanked by engaged clustered columns and has an elaborate cobweb fanlight above. The datestone "1773" does not seem to relate to any part of the present building, but may indicate a previous phase of building activity. There are substantial ranges of limestone outbuildings to the south-east including one range with segmental and depressed-arch carriage arches.
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It has an elliptical fanlight in its east gable, among other varied fenestration, and a silo to the northwest. Also attached is a deep stone foundation that may be the remains of the original icehouse. A frame springhouse is slightly to the south, and a one-story granite shop to the northwest, also now in use as a garage. Just off the house's southwest corner is the privy, made of dressed granite with a flat roof, overhanging wooden cornice, mahogany door and six-over-six double-hung sash window.
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Classified specifically as a stripped classical art deco style, Eaton's College Street emphasized symmetry in the plan and rhythm in the arrangement of the fenestration, doors, and pilasters. A distinct repetitive pattern can be distinguished with the windows and pilasters, as well as with the arrangement of large entrances. Three small windows are on the upper levels between each pilaster, and three large shop windows between each entrance. The original Eaton's College Street was designed with large shop windows on the floor level to attract window shoppers and pedestrians.
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The floor level has a large, distinctive base, another classical art deco characteristic. In addition to the oversized windows of the floor level, the base was made more prominent through the use of the granite and stone carvings framing it. On higher levels, the fenestration became long vertical strips separated by large pilasters, which highlighted the verticality of the structure as opposed to its mass (another distinguishing feature of art deco buildings) (Morawetz 46). The pilasters of the upper levels have fluting and capitals of ionic composition and support a rather large entablature.
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A sympathetic hyphen connects it to a modern wood frame addition on the south. On the east elevation, the house's original front facade, is a centrally located main entrance flanked by two windows on either side, echoed in the dormer fenestration above. Most of this is shielded by closely planted shrubbery and an awning over the entrance, a double Dutch door with original strap hinges. On the west, what is now the recessed front entrance has a small wooden porch with two wooden benches along the sides facing each other.
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A wooden staircase with a slatted balustrade climbs to the main entrance, in the center of the facade. It is flanked by two six-over- six double-hung sash windows on either side with paneled wooden shutters. The roof's overhanging eave runs the length of the facade. The symmetry of the front is in contrast with the asymmetrical fenestration on the side elevations, with the first floor's two windows on the east facade occupying the middle and northern bays and the upper story windows in the bays not used below them.
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For many years it was the largest and most elaborate in the village. The oldest surviving house in the village, the Judge Blanchard home on East Broadway, is the only building to show clear influence of the Georgian architectural style common before the Revolution. It is a frame building on a raised foundation with symmetrical fenestration and a Palladian window above the entrance. It was built in 1790, before the emergence of the Federal style, exemplified by the Judge McLean home further down the street with its elliptical fanlight and sidelights at the main entrance.
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This is a large, rectangular, single-storey brick pavilion with sub-floor and a saw-tooth roof, located to the north of the Machinery Hill stands, with the rear wall erected along O'Connell Terrace. The front elevation, which faces south, has a centrally-positioned entrance with steel roller door on the upper level, accessed via a double stair. To either side of the front entrance are banks of hopper windows on both levels. The side and rear walls have less fenestration and there is a large rear entrance (another steel roller door) to O'Connell Terrace.
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As detailed in the National Register of Historic Places Inventory, the fenestration (window design and placement) is largely symmetrical, typical of the architectural style, and includes a central protruding oriel window on the second floor on the east front. Above this oriel window is an oculus with quatrefoil wooden tracery. The main entry is a four-centred arch flanked by sandstone labels painted off-white to match the ornamentation of the bargeboards. The first floor is largely encircled by a porch, which is adorned with iron ornamentation in the form of oak leaves and acorns.
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The hipped roof has a louvred gablet at its apex, a scheme mirrored on the eastern elevation. The eastern elevation has a similar fenestration pattern determined by the enclosure of the verandah. A transverse gable roof at the rear of the house extends across the southern elevation, with six-light casements under each gable end facing the east and west. Beneath a wide awning supported on timber battened brackets and attached to the southern wall is a five-light casement, louvres, a semi-enclosed stair with solid balustrade and the stove recess.
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Each of the breakfronts is heavily embellished with contrasting tuck pointed brickwork and cement rendered details. Cement rendered elements include the plinths, pilasters decorated with quoin stones to the ground floor and fluting to the upper section at the first floor level, sills, brackets, imposts, key stones, entablature parapet, pedimented gable and finials. The gable includes bullseye louvred vents. The fenestration to the breakfronts includes a round arched window with eleven lights to the ground floor and pairs of segmental arched windows with fanlight and double hung sashes within a single segmental arch.
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The 1924 Classroom Block is located on Limestone Street to the east of the 1901 Technical College building. It too is complementary in its scale and form and materials and as it is at the lower end of the site presents three storeys to Limestone Street. The Classroom Block comprises red brick tuck pointed masonry piers relieved with infill panels of rendered masonry below casement windows with fanlights and cement rendered flat window hoods. Each panel contains fenestration that comprises three eight-light casements with four-light centre pivoting fanlights above.
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Modern skylight Skylights are light transmitting fenestration (products filling openings in a building envelope which also includes windows, doors, etc.) forming all, or a portion of, the roof of a building space. Skylights are widely used in daylighting design in residential and commercial buildings, mainly because they are the most effective source of daylight on a unit area basis. An alternative to a skylight is a roof lantern. A roof lantern is a daylighting cupola that sits above a roof, as opposed to a skylight which is fitted into a roof's construction.
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Though sometimes disparaged in comparison with Freeman's earlier Richardsonian Romanesque works, this Classical Revival building rooted in north Italian 16th-century palazzo stylesNotably in the varied fenestration, the mezzanine windows, the richly sculptural frieze, pierced with windows, and the emphatic uppermost cornice. nevertheless incorporates some interesting design features. Chief among these is the fact that the building appears to be only four or five stories in height, when in fact it is twelve. The optical illusion is achieved primarily by the use of double-height windows which each span two floors.
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BBA approvals show compliance with Building Regulations and other requirements, including installation quality. The BBA also inspects for the Fenestration Self Assessment Scheme (FENSA), the Federation of Master Builders and for some certificate holders to check that installers demonstrate good practice on site. The BBA also run the Highways Authorities Product Approval Scheme (HAPAS) for Highways England, County Surveyors Society and other agencies in the UK. This is similar to the Agrément Certificate process but applied to highways products. Some of these have Approved Installer schemes linked to them and the BBA also inspects those.
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To emphasise the importance of this room, Mackintosh designed a full width bay window, projecting the facade outwards with a gentle curve. The two storeys above this featured a more regular pattern of fenestration with three individual windows per floor, recessed to different degrees. The asymmetry of the composition was continued by widening the left side windows and creating another gentle curve in this part of the facade, extending through both storeys. This repeated the curved form of the first floor and emphasised the heavily recessed entrance to the building below.
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19th century bulk transport innovations associated with canal and railway infrastructure allowed imports of blue slate from North Wales. These could be laid at much more shallow pitches on fashionable high status houses. Apart from imported slate, a striking characteristic of all of the new buildings of the early 19th century is the continued use of local vernacular materials, albeit in buildings of non-vernacular design. The new buildings were constructed alongside older wholly vernacular survivals and sometimes superficially updated with fashionable applied facades, fenestration or upper floors and roofs.
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A narrow road leads to the Jerusha Dewey Cottage, originally built by Bryant for a friend of his and later used as a guest house, after extensive renovation by the Fricks. It is therefore a mixture of brick foundation, board-and-batten siding, slate roof and a mix of fenestration styles. As at Cedarmere, two more modern buildings have been erected to support the property's current use as an art museum and sculpture garden. They are the only ones of the 11 buildings and structures at Clayton not considered contributing.
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Encompassing an entire city block, the rectangular building rises six stories (the fifth floor is concealed on the exterior behind the limestone entablature). The facade (south elevation) facing Broadway Street features a row of 18 engaged Corinthian columns with fluted shafts poised upon a rusticated base of arched windows aligned with the fenestration above. The colonnade is framed at each end by projecting pavilions, each with four columns and crowning pediments. The secondary east and west elevations are composed of 12 colossal Corinthian columns to match those of the facade.
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The building is divided horizontally into three parts. The main facade, on Adam Clayton Powell, Jr., Boulevard, is divided into five parts vertically as well, having slightly projecting central and end pavilions. The two-story rusticated base, consisting of limestone set in alternating wide and narrow horizontal bands which show only the horizontal joints, has simple rectangular fenestration and rises above an areaway with molded watertable and wrought- iron railing. Capping the base is a projecting stringcourse which is decorated with a wave molding on the center and end pavilions.
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It is located in Library Park in Clinton, which is framed by the town hall to the south, the library to the east and commercial blocks to the west and north. The library building is of similar size and height as the town hall. Built with money from James Stavely, a local settler, the two-storey red-brick building has a three-storey conical tower on the north-east side. The fenestration around the structure varies in shape and size; it features a bold roofline accentuated by brick banding and voussoirs.
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In 1931, a two-story wing with a full basement was added to the rear (east side) of the building under the direction of the Office of the Supervising Architect under James A. Wetmore. Like the 1911 alterations, this addition was sympathetic to the original building. The same quartzite stone was used, and cornice and fenestration patterns found in the existing structure were repeated in the addition. Handsome decorative elements and finishes in these areas included marble wainscot and trim, marble and terrazzo flooring, and brass elevator doors and frames.
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Designed in the Renaissance Revival style, the building is a study in formalism with touches of Art Deco details. The symmetrical facade is accented with classically inspired details such as the Doric pilasters and the evenly spaced fenestration pattern. Prominent Renaissance Revival details include the rusticated entry level, multi-pane steel casement windows, and the belt course that separates the first level of the building from upper stories. A sandstone frieze with alternating classical triglyphs (groups of three vertical bands) and metopes (interstitial spaces) with Art Deco stylized floral patterns wraps the building.
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The second-story fenestration is simpler, with rectangular windows and terra-cotta sills. Above the portico, the third-story windows are each framed with low-relief pilasters with stylized motifs and a terra-cotta- tiled stringcourse. The attic windows are capped by an additional tiled cornice and painted wood panels below a bracketed eave to the low-hipped roof clad with terra-cotta tiles. Framing the portico are two square, five-story Spanish towers that are simply treated at the lower stories, with curved corners and colossal low-relief pilasters.
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Fenestration consists primarily of regularly spaced rectangular windows with multi-pane configurations. The attic story is set back from the wall plane of the building and is surrounded by a classical balustrade and topped by a molded cornice. A corner door The main entrance, consisting of three arched openings, is located at the center of the south elevation. The central arch is topped by a keystone that contains a medallion with a carved shield motif, while the flanking arches each are topped by a medallion featuring an eagle holding olive branches.
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It assumed that the material properties are independent of each other. Therefore, each material property will be varied at a time, leaving the others constant at the default values (from EnergyPlus)and measured the mean absolute error (MAE) between the real indoor and the simulated temperatures. The range of material properties was given by an expert. The specific room under study has a lot of fenestration, so it is not so surprising to see that the influence of the solar transmittance of the windows is the most influential of all material properties analyzed.
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The Sail Loft is located in the village of Tenants Harbor, on the north side of Front Street and south of Maine State Route 131 (from which it is separated by an athletic field). It is a rectangular 2-1/2 story wood frame building, with a gabled roof, clapboard siding, and granite foundation. It has a few touches of Greek Revival styling, including corner pilasters and corner returns at the gables. Fenestration is somewhat regular, with seven bays containing sash windows and doors on the long sides, and two bays on the ends.
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The vestibule is flanked by narrow windows, and there are sash windows on the second level. Fenestration on the side walls is irregular, the most significant arrangement being a bank of seven sash windows on the lower level of the east side, a likely early 20th-century alteration made to satisfy new state regulations regarding natural lighting. The interior consists of single chambers on each floor, with a staircase in a corner near the entrance. The building has been fitted with electricity, but has never had plumbing or heat other than a wood stove.
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Historically, the era sits between the long era of dominant architectural style of religious buildings by the Catholic Church, which ended abruptly at the Dissolution of the Monasteries from c.1536, and the advent of a court culture of pan-European artistic ambition under James I (1603–25). Stylistically, Elizabethan architecture is notably pluralistic. It came at the end of insular traditions in design and construction called the Perpendicular style in church building, the fenestration, vaulting techniques and open truss designs of which often affected the detail of larger domestic buildings.
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The Avery Homestead is a two-story Colonial-style house that is believed to have been originally constructed around 1696. The main block of the house is built in the double cube of the Georgian style. It is unknown if the house originally began as a one-room one-story house with the original structure having been on the current east-end of the main block. The expansion and alteration of houses in this way was common in Ledyard and tool markings and different fenestration patterns are supporting evidence for this theory.
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In 1927 Buffalo architect Bryant Fleming was commissioned to do renovations on the house. He removed a veranda that had been installed around 1900 along with much of the front facade's three-dimensional decoration, making it more of a pure Federal building. To make up for the veranda he had the front lawn terraced and accentuated the front entrance with the fanlight and flanking pilasters, reinforcing those already found on the corners. The fenestration was further enhanced with square plaques at either side of the window heads and the grillwork windows in the attic.
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The First Presbyterian Church demonstrates this embrace more on the exterior, with its slightly different roof pitches, pointed arches and early Romanesque Revival massing and fenestration, whereas the interior is the open auditorium with dais reflecting services focused primarily on lengthy sermons. Construction of the building cost $35,000 ($ in contemporary dollars), an amount well over the original budget. To furnish the interior, the women of the church gave $675 ($ in contemporary dollars). At the end of construction money was also saved by building the steeple of wood rather than stone.
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The Elizabeth Boit House is a historic house at 127 Chestnut Street in Wakefield, Massachusetts. Elizabeth Boit, co-founder of the Harvard Knitting Mills, also built on the west side, creating an estate compound on the summit of Cowdry's Hill that included three residences, formal gardens, a playhouse, and greenhouse. All three residences, 88 and 90 Prospect Street, and 127 Chestnut Street (1910-1913), were designed in the English Cottage style by Wakefield architect Harland Perkins. The stucco structures have red tile roofs, recessed entries, exposed purlins, and irregular fenestration.
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At first floor level the three southern openings accommodate six-over-six sash windows original to the brickwork. Much of the elevation between the visible original windows and the inserted one at the north end was obscured by vegetation at the date of survey. However, if the fenestration was indeed symmetrical as suggested, then the remains of the earlier locations, queen closers or voussiors, should they still be in situ or later brick rebuilding may remain behind the vegetation. The north window, as noted, was put into the elevation in 1801.
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In the eastern section of the north (rear) elevation a nested pavilion three bays wide rises to an additional storey; an attached square brick chimney rises to its east. On the north and east are broad stone tiled sidewalks with shrubbery and decorative tree plantings enclosed by low stone walls on the latter. A parking lot roughly equal in area to the building is located on its west; to the south is an unnamed alley. Fenestration on the facades facing the streets consists of casement windows with a large single pane over a smaller one.
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Given the success of the Christ College buildings at Sandy Bay, Dirk Bolt was commissioned to design Burgmann College, a residential mixed-sex college at the Australian National University. Even though originally intended to consist of four wings around a central courtyard with attached service buildings, only two wings were completed to form an L-shape building. The college building could be regarded as a Japanese inspired design combined with Dutch pragmatism using sliding doors and windows similar to shōji screens, recessed horizontal fenestration, and a restricted palette of materials.
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The Jacob Blaustein Institutes for Desert Research has developed a solar energy research program focusing on how extremes of heat and cold in the desert can be mitigated through efficient storage of heat during the day for release at night. An adobe house was built with rational fenestration, small windows in the northern side and heat collecting concrete prisms in the windows of the south facing wall. The prisms are situated in the rooms. They absorb heat during the day and can be rotated to allow the heat to discharge into the rooms at night.
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His design was similar to others executed in his personal version of the Romanesque style. Architectural historian Henry-Russell Hitchcock described city hall as "one of Richardson's most Romanesque designs" and the building's NRHP nomination added: "Albany City Hall's banded arches, rhythmic fenestration, bold expression of materials and corner placement of the tower are characteristic features of Richardson's work often to be repeated by his followers."Liebs (1972), p. 12 alt=Close-up view of details on the building show a carved gargoyle hanging off the top of a column.
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The arches have a shutter in support and transition to the entablature, which opens a frieze corresponding to a mezzanine of three openings and bas-reliefs alluding to the human passions ("Pain", "Hate", "Kindness" and "Love"), subtitled on the architrave. Above, the denticulated cord ends at the frieze and the beginning of a strong cornice based on rebound corbels, which are dense, in a repetitive rhythm that runs throughout the building. Crowning the facade is the gable, rising over a high platform, with rhythmic fenestration and formal, ornamented balustrades. The lateral facades are symmetrical.
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Eocaecilia micropodia, an early caecilian that shares many similarities with Rhynchonkos Rhynchonkos shares many features with the early caecilian Eocaecilia, including an elongated snout, small limbs, and a similar skull. Based on these features, it has been suggested that caecilians originated from Rhynchonkos or another closely related microsaur. Carroll and Currie (1975), the first to suggest this possible relationship, noted similarities in temporal fenestration, palatal structure, braincase composition, and mandibular dentition. In the temporal region of the skulls of Rhynchonkos and caecilians, the number of bones is reduced.
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Applied tapestry-like panels are found on the second floor. The ends of the wings contain no fenestration and are the most decorative planes of the structure. The same tapestry-like panels found on the other facade planes are also located here, on both sides of a central, slightly recessed plane which contains banding and brickwork which comprise another tapestry-like design. The stone band which divides the basement-story from the first floor is interrupted by an elongated arch with a medallion containing an old city of Louisville emblem.
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The clock features four large black on white faces to each side. Fenestration is uniform; window openings are symmetrical about the corner tower with regularly spaced openings beyond to each facade, especially considering the arched bays of the adjacent Court House. There are narrow single upper and lower pane sash windows to the entry foyer, two pane upper and lower sash windows to the retail area with arched top sashes and modern windows to later rear additions. The ground-floor of North Sydney Post Office consists of four main areas.
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This determines the internal organization of his buildings and Loos regularly uses protrusions from the main block to create other areas of the building such as terraces. In the Steiner house, Loos uses his volumes to create a classical tripartite façade. He does this by creating a recess between the two wings of the house that continues straight to the roof. In general, Loos lets his fenestration be subdivided into squares and rectangles that all obey a modular system, which correspond perfectly with the geometry of the façade.
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A layer of mesh and plastic has been laid over the internal steel cross-ties to catch falling parts of the decaying structure. Some of the internal lining boards have come loose and need attention, and generally the building needs painting. There have been minor alterations to the structure, including the addition of the roller door, slight changes to fenestration, introduction of steel bracing rods and the loss of the metal ventilator, mini dome and flagpole. However, the building is largely intact and continues to clearly express a strong sense of architectural design.
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In the E. A Robinson building (1959) Kulka designed a double fenestration system so that offices within the deeper sections of that structure could benefit from internal glass facades which enabled natural light to permeate into these working spaces. In the entrance to Fletcher Building (1941-1942) Kulka designed a dramatic curved staircase lined with light marble and amber native wood. Fisher and Paykel (F&P;) head offices and factory, designed by architect Henry Kulka. Mt Wellington, Auckland, New Zealand, 1955 Innes Schweppes - Coca Cola Building, designed and realised by Henry Kulka.
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It housed the "Crown Land, Timber and Registry Office for the District of Alberta in the North-West Territories". This was the place that settlers registered their claims (land title) to free lands under the Dominion Lands Act. The design of the building is based on a basic plan drawn up by Thomas Fuller, Chief Architect of the Dominion, but is similar to the design of a typical Hudson's Bay Company warehouse. The original design is a bisymmetrical fenestration pattern, which includes a jerkinshead roof with narrow, hipped dormers.
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Harvard commissioned architects Sert, Jackson and Associates to design and build the facility. Sert, who had become Dean of the Harvard School of Design in 1953, had designed a number of other Harvard buildings, including Peabody Terrace, Holyoke Center (now the Smith Campus Center), and the Harvard Divinity School's Center for the Study of World Religions. These buildings were part of a modernist movement that sought to break away from the Georgian and related styles used at Harvard for hundreds of years. Thus, the Science Center is largely steel and concrete, with plentiful fenestration admitting natural light.
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The 1904 extension, consisting of isolation facilities and outpatients' accommodation, was in the Vernacular/Domestic style with half-timbered gables with jettying, prominent mullions and transoms to the bay windows, and a small tower. The new hospital, designed by Building Design Partnership, is in the form of an ark, and has a "nautical theme" appropriate to the seafront location. The exterior has curved corners and is clad in white precast concrete, intended to evoke the painted stucco which is closely associated with Brighton's seafront Regency architecture. The fenestration is irregular: many windows are at a low level to improve visibility for children.
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The buildings in the district were built between 1916 and 1928, and have for the most part escaped major alterations since their construction. Minor changes generally involve changes to store fronts, such as the boarding over of transom windows, the replacement of recessed entries with flush ones, and changes to the fenestration. The building at 108 Jefferson, built in 1927 to house a bar, has been extensively remodeled and does not contribute to the district's significance; the Star Theater building at 212-214 Bradley has also been extensively altered. The district was listed on the National Register of Historic Places in 1999.
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In The high valleys of the Gordolasque and the Vesubie, the most important battles unfolded, interrupted only by winter and the difficulties of communication. Belvedere was occupied, requisitioned, bombarded, taken and retaken by the French and Austro-Sards alternatively. ……..in the case of Belvedere. On 2 March 1793,General Brunet republican troops based in Saint-Julien, assaulted the village: "the soldiers quickly climbed the escaladèrent terraces, planted with olive trees that made them immune artillery fire and musketry" the Sardinian troops were forced to retreat hastily to Saint-Blaise, Saint-Martin, the Col de fenestration and even Entracque.
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The lighthouse is a tower with surrounding orthogonal base constructed of precast concrete block using a local aggregate and rendered walls and plinth with deep ashlar coursing. The parapet and entry foyers of the base structure are adorned in solid trachyte block. The lantern room is of metal and glass construction and sits atop this gallery, and has a decorative iron catwalk encircling the glass to allow for cleaning. Fenestration is simple, with windows to the work rooms being four-pane fixed timber lower sash, with the upper sash, with the upper sash a 2 pane hopper.
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A cornice, composed of a modified Doric order entablature with guttae details sits atop the two-story pilasters and contains the incised letters "UNITED STATES OF AMERICA" on the west elevation. The third floor of the building sits back slightly from the west and north faces of the building, and are divided into twelve bays of fenestration with the same replacement aluminum triple casement sash with trisected transoms. A simplified cornice with abstract carvings top the elevation. Bronze letters reading "ROBERT A. GRANT FEDERAL BUILDING AND UNITED STATES COURTHOUSE" are attached to the limestone adjacent to each entrance.
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Front facade fenestration at the first floor includes 12-over-12 double-hung windows set in arched openings with wooden panels above the windows, and six-over-six double-hung windows at the second floor. Four stone steps, flanked by two large lions, ascend from the driveway to the two-story central projecting portico containing four Corinthian columns with capitals modeled after James Stuart's conjectural porticos for the "Tower of the Winds" in Athens.Elevation and capital detail in Stuart, The Antiquities of Athens, London 1762. Its pediment has dentils and a central, small, leaded oval window.
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In 1884 the congregation decided to accommodate continuing growth by building the chapel on the western end of the lot. At the turn of the century the oil lamps that had originally lit the church's sanctuary were replaced with electric models, and in 1915 the rectory received its remodeled porch and some changes to the interior, such as the rear parlor fireplace. Eventually the congregation decided to combine the chapel and church into one large building. This began in 1924 with a simple hyphen, and culminated 15 years later with the current linkage and its accompanying changes to the chapel's fenestration.
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The fifth story has four sash windows on each bay, while the sixth story has four sash windows under a transom bar with two arched windows. The seventh story of each end bay is composed of two pairs of single-height arched windows in each bay, with terracotta surrounds. On each end bay, the eighth story has three segmental arch windows with four terracotta pilasters, while the ninth story has five narrow round arches, two of which are filled with brick. The six center bays on John Street also use an identical fenestration pattern to each other.
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On the south facade, the only other original one remaining exposed, the fenestration retains many of the same treatments, but with deeper recessing. A secondary entrance near the east corner has two paneled wooden doors with a crosetted upper light and blind transom. To its west, two barred windows open into the basement as the driveway rises toward the former loading dock at the end of the block. The water table continues, supported by brackets at the base of the two largest first-story windows, set with narrow four-light casement in the same surrounds as their counterparts on the east.
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The manorhouse is located in an urban space, on a berm along a main roadway, that includes gardens and forest to the rear of the building. The two-storey horizontal "U"-shape plan extends across the property, with inset secondary vain and a transversal chimney along the rectangular corp, covered in tiled rooftops. The structure includes a central portico with semi- circular frontispiece, interrupted by the coat-of-arms of the Pintos e Almeidas clan. The frontal facade includes fenestration that divides the floors in two, and includes a symmetrical layout, with framed windows and doors.
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On the basement level, symmetrical projecting door cases crowned with plain shields provide entrance to the stair halls. The roof, clad with asbestos cement tiles, is pitched and hipped except for the central range which terminates in a gable/pediment at both south and north elevations. The front gable is marked ROMA STATE SCHOOL with the date of construction, 1937, in the gable of the rear of the building. The building has relatively understated decorative features and fenestration patterns The main entrance is flanked by two grouped banks of casement windows crowned with a semi circular fanlight window.
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The verandah of the 1920 wing retains its laundry enclosure at the eastern end, and projecting from the rear of this wing are two stove recesses clad with weatherboards, reflecting the original domestic science classroom use. The building retains its original fenestration with some windows having high sills, however, the original timber-framed casement and double-hung sashes have been replaced with aluminium-framed sliding sashes in all but a few locations. The fanlights above these sashes are also replacements. Timber stairs provide access to the verandah and are original except for one steel replacement in the original location and configuration.
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Segmentally arched openings at ground level admit light to the basement, and ventilate the area beneath the veranda. The windows on the lower two stories are trabeated, with granite slab lintels and sills, while the third story is lighted by pointed and round arched two over two windows. Fenestration is irregular, with large triple windows in the south and east elevations on the first and second stories and in the second story of the north facade. On the east and west elevations, other windows are narrow but irregular in size, and are placed diagonally to light interior staircases.
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The building exhibits elaborate use of various coloured granite and marble finishes. Architectural terracotta tiles and bands of bronze and copper elements plus the associated bronze windows and curved fenestration to the corner make this building one of the most exquisite examples of the Art Deco style and detail in Sydney, if not Australia. Bas relief panels are strategically placed above the entrance in Pitt Street which depict the water industry and its progression of technology. Internally, in the entrance foyer marble and travertine surfaces are located on the floors and walls, and late 20th Century suspended ceilings have been fitted.
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The Craver farmhouse is a fine vernacular example of the Federal style of architecture. The Craver farmhouse also provides a rich historical example of the type of home in which generation after generation of upstate New York farmers resided and reared their families and retains a high degree of integrity of location, feeling, association, materials, and craftsmanship. In the spirit of Federal-style architecture, the Craver farmhouse is characterized by balance and symmetry in design, lightness and elegance in mood, and delicacy and finesse in execution. It retains a high level of historic integrity with its original fenestration and fabric largely intact.
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As at 7 February 2005, Challis House has historic and aesthetic significance at a State level. The facades of Challis House are good examples of restrained 1930s architectural Art Deco design. The elevation to Martin Place in particular has exceptional significance by virtue of the contribution it makes to this important "civic" precinct in terms of its sensitive scale, sympathetic sandstone, granite and bronze materials and complementary fenestration to the other nearby 19th Century and early 20th Century buildings. The 1937 rebuilding of Challis House signifies a major reconstruction period of many buildings in the Martin Place precinct.
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Neuro-ophthalmology focuses on diseases of the nervous system that affect vision, control of eye movements, or pupillary reflexes. Neuro-ophthalmologists often see patients with complex multi-system disease and “zebras” are not uncommon. Neuro-ophthalmologists are often active teachers in their academic institution, and the first four winners of the prestigious Straatsma American Academy of Ophthalmology teaching awards were neuro-ophthalmologists. Neuro-ophthalmology is mostly non-procedural, however, neuro-ophthalmologists may be trained to perform eye muscle surgery to treat adult strabismus, optic nerve fenestration for idiopathic intracranial hypertension, and botulinum injections for blepharospasm or hemifacial spasm.
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The house itself is a cubical steel frame structure on a cinder block foundation faced in prefabricated concrete panels with stucco parging topped by a bowl-shaped roof centered on a drain. At the main entrance on the curved eastern corner, there is an entrance portico. Fenestration consists primarily of paired steel eight- pane casement windows on both stories at either side of the corners. There is one small four-pane window in the second story above the main entrance and an additional window on the north of it in the first story to provide additional light to the kitchen.
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Two of the main rooms, the drawing and the dining rooms share masonry fireplaces which a substantial square planned chimney services. A timber one and two storeyed extension wing, dating from the 1950s, abuts the south-eastern corner of the house from the kitchen. Despite the substantial size of the wing, it is partially concealed by the large fig tree to the south of the house. The wing reflects the massing, form, proportion and fenestration patterns of the principal house, with a gabled corrugated iron clad roof and door and window openings similar to those of the house.
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Mannerism's most famous fresco: Giulio Romano's illusionism invents a dome overhead and dissolves the room's architecture in the Fall of the Giants. Like the Villa Farnesina in Rome, the suburban location allowed for a mixing of both palace and villa architecture. The four exterior façades have flat pilasters against rusticated walls, the fenestration indicating that the piano nobile is the ground floor, with a secondary floor above. The East façade differs from the other three by having Palladian motifs on its pilaster and an open loggia at its centre rather than an arch to the courtyard.
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The block-long south facade has seventeen fenestration bays as defined by vertical recessed window and spandrel panel openings. Stylized pavilions at the southeast and southwest corners contain two-story glass and aluminum framed entrances. The vertical thrust of the recessed window openings is interrupted by a Greek key belt course at the fourth floor level and terminated by a carved frieze and projecting cornice at the top of the facade. The view of this facade has been compromised by the installation of a pick-up/drop-off hub for the Southwest Ohio Regional Transit Authority's Metro bus system.
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The facing on them is black composite, with fenestration consisting of tall strip windows, some , with two-inch () mullions concealing the venting, on the south face. At the sixth floor the glass on the eastern side is white, with a diagonal divide between it and the black panels continuing to the next story where it ends at a small roof taking up the building's southwest corner. Above it the remaining three stories are all white, with the space above the roof opening up at a matching angle. On the roof the top of the elevator shaft and the hardware are all black.
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Signs with the company name were formerly located above the third floor on both the Park Avenue South and 17th Street sides. The facades of the fourth through fifteenth floors are largely uniform, with shallow belt courses and quoins in the spaces between each set of windows. Shallow balconies on the fourth floor, with stone colonnades, are located above the denticulated third-floor cornices on the Park Avenue South and 17th Street sides, and run across nearly the entire width of both facades. On the west and east facades, the fenestration or window arrangement is in a 2-3-2 format, i.e.
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Art Deco detailing of a door The building is an impressive five-story structure, creating the illusion of a solid limestone mass rising to a height of 94 feet. It is designed in the Art Moderne style, incorporating classical elements. A steel and concrete structure faced with limestone veneer, each elevation adheres to classical principles of symmetry and articulation by a regular rhythm of bays with a centralized principal entrance. Art Moderne elements are embodied by the sharp angles and zigzag surfaces seen in the stacked fenestration of the upper stories, and in the geometric, low-relief abstraction of the ornamentation.
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There are no randomized controlled trials to guide the decision as to which procedure is best. Optic nerve sheath fenestration is an operation that involves the making of an incision in the connective tissue lining of the optic nerve in its portion behind the eye. It is not entirely clear how it protects the eye from the raised pressure, but it may be the result of either diversion of the CSF into the orbit or the creation of an area of scar tissue that lowers the pressure. The effects on the intracranial pressure itself are more modest.
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Hoffmann Architects is a specialty architecture and engineering practice. Rather than design new buildings, Hoffmann Architects investigates causes of distress and failure in existing structures and develops rehabilitation strategies. The firm's architects and engineers also provide consultation services for new construction, particularly in the areas of waterproofing, design details, structural engineering, and building envelope elements. With an emphasis on construction technology and building science, the practice encompasses facades, including curtain walls, bearing walls, and fenestration; roofs, both low-slope and pitched; plazas and terraces over occupied space; parking structures, especially concrete and structural elements; and historic and landmark structures.
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Between the second and third postnatal weeks, around the time of hearing onset, the calyx of Held develops its characteristic, highly fenestrated (many openings) appearance. Fenestration results in the membrane being reduced to numerous small compartments, which increase surface area of the presynaptic cleft. As the membrane becomes increasingly pinched into these bulb-like structures, synaptic vesicles are further grouped into these spaces, resulting in an increased number of docked vesicles. To compensate for the available spaces in the calyx, glial cells with glutamate receptors and transports are used to fill open spaces, ensuring efficient uptake of glutamate in the synapse.
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In 1750, now well-known, the architect received an important commission to remodel Euston Hall in East Anglia, the Suffolk country seat of the influential 2nd Duke of Grafton. The original house, built circa 1666 in the French style, was built around a central court with large pavilions at each corner. While keeping the original layout, Brettingham formalised the fenestration and imposed a more classically severe order whereby the pavilions were transformed to towers in the Palladian fashion (similar to those of Inigo Jones's at Wilton House). The pavilions' domes were replaced by low pyramid roofs similar to those at Holkham.
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The Lincoln Building contains seven vertical architectural bays along the 14th Street facade to the south, and four bays on the Union Square West facade to the east. The ground floor contains storefronts and is the only part of the building that has been significantly modified from its original design. On the floors above, the architectural bays facing 14th Street appear to be wider than those facing Union Square, and the style of fenestration or window arrangement is different for each floor. The second through fourth floors are office floors, faced with limestone, with a cornice running above the fourth floor.
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A double door framed by a similar treatment to the main entrance below gives access. French doors in the other two bays round out the fenestration on the first story, with eight-over-one double-hung sash windows above in projecting moldings. Quoins interrupt the clapboard at the corners, with the whole facade topped by a frieze with egg-and-dart and dentil molding running continuously around the house, as does the modillioned block cornice at the roofline. The roof, topped by a balustrade of stick balusters and topped finial posts, is pierced by three brick chimneys and three gabled dormer windows.
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The fenestration comprised five windows at ground floor level, presumably repeated above but altered during the programme of work carried out in 1801 during which a larger west window was created for a new first floor parlour. All of the ground floor windows had stopped short of the plinth, the original extent indicated by the queen closers, and also by the rather abrupt truncation of the plinth where the new doors have been inserted. The north window, original to the brickwork of the elevation has been blocked. The French doors adjacent to the blocked window are inserted into one of the original openings.
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Pitti is alleged to have instructed that the windows be larger than the entrance of the Palazzo Medici. The 16th-century art historian Giorgio Vasari proposed that Brunelleschi was the palazzo's architect, and that his pupil Luca Fancelli was merely his assistant in the task, but today it is Fancelli who is generally credited. Besides obvious differences from the elder architect's style, Brunelleschi died 12 years before construction of the palazzo began. The design and fenestration suggest that the unknown architect was more experienced in utilitarian domestic architecture than in the humanist rules defined by Alberti in his book De Re Aedificatoria.
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The original building (lower half of image) before it was demolished Charles Street was originally an area of private housing leading from Crockherbtown to Bridge Street. Now no residential properties remain in the area. 71 Bridge Street is within a Conservation Area, which is an area designated by Cardiff Council as an area of special architectural or historic interest. The original building was built in 1984 and Cardiff Council said that it held "no historic significance and of little aesthetic value due to the inconsistent fenestration details and lack of presence at this prominent corner location".
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It is topped by a shingled gambrel roof, with three symmetrically-spaced hipped gables on the south pitch and two asymmetrical ones on the north. The top pitches are very shallow, sloped only as much as necessary to let water run off and hidden from view by a parapet with stepped brickwork. It slopes down to broad overhanging bracketed eaves on the south side and close ones on the north. On the west (front) facade, fenestration consists of one-over-one double-hung sash windows on the first story, with the centrally located main entrance recessed.
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A large vertical crack, which has been repaired, runs through east wall, from the roof to the ground, following the location of the interior chimney. Fenestration on the rear (north) elevation is irregular. The western (original) half of the building contains two widely spaced, double-hung, eight-over-eight wood-frame windows on the first story and one small rectangular eight-pane window centered in the half story. The eastern half features a single wood-panel door and a double-hung, twelve-over-twelve wood- frame window on the first story and a small rectangular six-pane wood-frame window above.
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Two stories tall, the library is a Neoclassical building with Palladian influences. Built of yellow brick, it occupies a raised stone foundation; the granite details at the top of the foundation sit above the ground. Multiple buttresses are placed on all sides but the rear (west), both supporting the roof and dividing the walls into segments. Numerous windows are placed mid the buttresses; between the ordinary windows found in most places and the massive fanlight-topped stained glass window at the center of the facade, the building has so much glass (all uninsulated) that it suffers substantial heat loss because of the fenestration.
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Fenestration on the south (front) facade consists of one large one-over-one double-hung sash window in a slightly projecting bay with a pair of smaller one-over-one windows at the second story. In the gable field is an even smaller attic window, set off by cream courses at the sill and lintel. A smaller one-over-one is above the main entrance. On the west side are a similar treatment as the front on the south, with a single small window on the ground floor to the north between two smaller non-projecting one-over-ones.
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The division between the second and third floors has a line of obliquely set bricks that runs beneath the stringcourses at the height of the second story lintels. The fenestration of the facade is simple and carefully balanced. On the east half, the gable end, a simple Palladian window is centered on the top half story and a broad single sash window with a stained glass transom and stone lintel and lugsill is centered on each of the two lower stories. A single story square hip roof brick entrance chamber fills the angle of intersection of the hip and gable roof sections.
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Its ornate Victorian architecture and idiosyncratic fenestration has survived, and it has become one of the most valuable commercial properties in contemporary Aspen due to its location a short distance from the Aspen Mountain ski resort's main lifts. At one point in the 20th century it was the office of an important local architect; and later a ski shop run by Olympic gold medalist Stein Eriksen. Its primary tenant is a clothing store run by Leonard "Boogie" Weinglass, the man said to have inspired a character portrayed by Mickey Rourke. In 2008 it sold for $14.6 million.
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By the first half of the 1880s the building was known as Wentworth Court and contained a ground floor and two upper levels. It was considered to be sufficiently important in the middle of this decade to warrant separate listing in Sands Sydney and suburban directory. Its mixed tenants included artists, merchants, watchmakers, surveyors, and most of all, solicitors and barristers. A photograph of the building taken in May 1926, shortly before it was demolished, shows its Elizabeth Street facade to have been a restrained three storey building with a high parapet and a simple tripartite fenestration pattern.
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Described as the "most elegant building in Townsville", the playful use of ornament and variation of window openings contributed to its "picturesqueness of design and gracefulness of outline". The fenestration on each level was addressed differently, varying from simple arches on the ground level to gothic forms on the third level. Other features included a truncated pyramid roof on the tower surmounted by an elaborate wrought iron structure with flagpole, Boyle's patent ventilators, an octagonal chimney and ornamental cornices and mouldings, especially on the tower. Brisbane contractors Madsen and Watson were engaged to construct the building for a sum of .
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The Jacob Blaustein Institutes for Desert Research facility was founded by Amos Richmond, and its faculty is part of the Ben-Gurion University of the Negev. It has a solar energy research program that has assisted in the development of passive heating, involving the mitigation of extremes of heat and cold in the desert through efficient storage from day to nighttime. One research project is an inhabited adobe house with rational fenestration. Prisms that transmit heat during the day are installed in the room and can be rotated to allow the heat to discharge at night.
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Pontifs was appointed master mason of the Rouen Cathedral on 17 May 1462 and succeeded Geoffroi Richier. He remained in this position until 1496. He introduced the systematic use of skylights in the cathedral, which will be taken up again in the future at Évreux, Fécamp and Eu. He continued the work of Jenson Salvart and Geoffroi Richier in the redevelopment of the north fenestration crossroads of the transept.. He also completed the Saint-Romain tower with the construction of a high floor, covered with an axe roof with curved slate panels from 1468 to 1478. It housed nine bells.
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Three face brick chimneys with terracotta pots punctuate the upper-floor roof, and two painted chimneys punctuate the rear additions to the ground-floor section of the residence. Fenestration is largely symmetrical to the front facade, and the openings of the ground-floor front facade retain original elliptical fanlights with rendered mouldings and keystones. The ground-floor projecting sills are painted a tan colour to match the column capitals and bases, and the window elements are painted dark green. The upper-floor French doors and windows to the front facade are also symmetrical and original, excepting the more recent, outer screen doors.
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The entrances to the Council Chambers and Town Hall Theatre are located in the end bays above which a raised signage panel on the parapet clearly denotes these functions. The central bay signage panel bears the name, Gayndah Soldiers' Memorial Hall. The fenestration comprises pairs of three-light casements and fanlight which are separated by pilasters with simple vertical detailing and articulated by raised vertical and horizontal rendered concrete bands. The pilasters finish to the underside of a wide string course that projects forward to form a hood at each entrance and at the centre of the building.
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Overall features of the building include slate-clad, Mansard roofs pierced by dormer windows accented by round or miter-arched lintels; broadly projecting eaves supported by elaborate scroll brackets; and generally regular fenestration, with paired and single double-hung sash predominating. Most window openings are rectangular and feature simple iron sills and flat-arched iron lintels; the second story of the front facade is enlivened by a prominent pair of round-arched windows with keystoned iron lintels. Third-story dormer windows are generally rectangular, although a few asymmetrically placed round- arched windows and oculi accentuate the Mansard roof.
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The next year, the post office was built for $90,000. Treasury Supervising Architect Louis Simon used an austere Colonial Revival design, demonstrated by the building's fenestration, brick facing and multi-paned sash windows. Variations on this basic design can be found in other New York post offices Simon built during this period. But to a far greater degree than other post offices he built during this period elsewhere in the state, he incorporated more contemporary, Art Deco and Streamline Moderne elements, such as the expansive brick face, the use of aluminum in the transom, the limestone scalloping and the lack of exterior ornamentation or cornice otherwise.
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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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A few years down the line, the holding company Anglian Group, was bought by investment group Alchemy Partners.Alchemy Partners is going window-shopping with £160m Monday, May 18, 2020 Anglian Group had been trading as Anglian Windows for nearly thirty-three years, but decided to rebrand as Anglian Home Improvements in 1999 due to an increase in their product range. The rebrand helped the company to continue performing well, with sales and profits growing, and they became a founder member of the Fenestration Self-Assessment Scheme (FENSA).Anglian register with FENSA The company took another turn for the worse between 2007/2008, with the country again in a poor economic state.
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The building is constructed of steel frame and reinforced concrete. The building envelope is uninterrupted marble and glazed brick piers with ornamental terra cotta spandrels terminating in a heavy decorative cornice exemplifying the craftsmanship of the early 1900s. It is composed of straight fronts, a flat roof, level skyline, subordination of ornament, a regular pattern of fenestration, and cornices of moderate projection. The lower four floors were designed to fill the building's footprint with the exception of the apex of the building, which faces Five Points, and was cut back 30 feet to allow a greater window area and a more majestic view of the building.
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Tinniswood (1999), 11, 22, 72) with current designs. Piano nobile of Belton House. 1:Marble Hall; 2:Great Staircase; 3:Bedchamber, now Blue Room; 4:Sweetmeat closet; 5:Back stairs & east entrance; 6:Chapel Drawing Room; 7:Chapel (double height); 8:Tyrconnel Room; 9:Saloon; 10:Red Drawing Room; 11:Little Parlour (now Tapestry Room); 12:School Room; 13:Closet; 14:Back stairs & west entrance; 15:Service Room (now Breakfast Room); 16:Upper storey of kitchen, (now Hondecoeter Room); Please note: This is an unscaled plan for illustrative purposes only. The second floor has a matching fenestration, with windows of equal value to those on the first floor below.
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The addition to Ormond Street is smooth rendered, with little decoration. Fenestration of Paddington Post Office is uniform and largely symmetrical to the southern facade. It has square four-pane windows to the first floor, a single upper and lower pane sash window to the second-floor tower and first-floor curved corner, and arched, single upper and lower pane sash windows to the ground- floor front section. Openings to the Ormond Street addition are symmetrical about the centre ground-floor doors, comprising single upper and lower pane squared windows to the first floor with projecting rendered sills, and squared windows and porch openings to the ground floor.
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Daines Barrington noted in 1784, after viewing several Smith of Warwick houses, found "all of them convenient and handsome" despite changes in taste.Quoted in Colvin 1995. Colvin summarised the elements by which a Smith house is easily recognizable: three storeys, with the central three bays emphasized by a slight projection or recession; uniform fenestration with exterior detail confined to keystones, architraves, quoins and a balustraded parapet, which was the most significant modernisation of a formula derived in essence from the late seventeenth-century model typified by Belton House. In the plans there was invariably a hall backed by a saloon in the centre, with a staircase set to one side.
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Monstera obliqua is a species of the genus Monstera native to Central and South America. The most well known form of obliqua is the one from Peru, often described as being "more holes than leaf" but there are forms in the obliqua complex with little to no fenestration such as the Bolivian type. An illustration of the general variation in adult leaf shape from different individuals of this species can be found in Michael Madison's 'A Revision of Monstera'. An hemiepiphytic climber like most other Monstera species, obliqua is particularly known for its foliage, which is often highly fenestrated, to the point where there is more empty space than leaf.
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Most notably, the dining room faces east so that the evening meal could be taken in the shade, while the parlor is across the house for diners to take advantage of the light afterwards, as per Downing's guidelines. The house also demonstrative of Withers' early, pre- Civil War work, when he was more conservative than Vaux. It uses more severe massing than he would later on, uses monochromatic materials and keeps its ornamentation to the minimum of the quatrefoiled vergeboard motif. He balances regular fenestration with the asymmetry of the house plan and the steep pitch of the gables to provide the overall Picturesque effect.
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The original courthouse resembles another Wind courthouse, the Thomas County Courthouse at Thomasville (1858), as well as Elam Alexander's Bibb County Courthouse (1829) in Macon; all three courthouses are in a brick vernacular style. The county paid for the building with $14,985 in Confederate money, which soon became worthless.The Georgia courthouse manual, 1992 The building was remodeled in 1892, with Bruce & Morgan as architects, one of sixteen Georgia courthouses designed by the firm between 1882 and 1898. The remodeled courthouse is Italian Renaissance Revival, with elements of Richardsonian Romanesque in the massive twin arches at the main entrance and Queen Anne style in the fenestration.
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His domestic work has not been much explored. But in his buildings for the University of Otago Bury produced one of colonial New Zealand’s most successful groups which became the core and template for a greater complex.(University of Otago Clocktower complex, University of Otago Clocktower Building.) Stacpoole considered Bury’s principal university building an improvement on what is usually taken to be its inspiration, Sir George Gilbert Scott’s Glasgow University, pointing to its livelier detail and better fenestration and tower. He called the main stairway "unquestionably the work of a very able designer" and said Bury’s professorial houses were "remarkably advanced for the 1870s".
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Henry C. Griggs, cofounder of the Smith and Griggs Manufacturing Company and a two-term member of the Connecticut General Assembly, which made small items like corset fasteners from the brass the city produced in great abundance, sold part of his lot to Republican editor J. Henry Morrow in 1883. Morrow built the building, the first of the four now in the district, to accommodate not only the paper's printing presses and editorial offices but its printing business. Stylistically it reflects different influences of the time. The corbelling and terra cotta panels are typical Victorian decorations, while the fanlight and fenestration anticipate the Colonial Revival style by a few decades.
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1 North Grove Street, at the southwest corner of the Neperan intersection, is a two-story, two-by-three-bay brick house with a flat roof pierced in its rear by a brick chimney. In the middle of the east (front) facade is a three-story tower, and a two-bay two- story projection with wraparound porch extends west from the rear. There is a decorative wrought iron fence along the sidewalk in front of the house, and a detached one-story garage is in the rear. Fenestration consists of single and double one-over-one double-hung sash windows with vertical-board shutters and stone lintels and sills.
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It has a trapezoidal plan and is 125 feet in height, with identical fenestration patterns on the northern, eastern, and southern facades. The exterior walls are made of limestone for the first three stories and terra cotta for the upper floors. The tower occupies the site of the first meeting house in Boston, erected in 1632; a plaque on the north facade of the building marks its former location. The land was subsequently acquired in the early nineteenth century by John Brazer, a local merchant, and in 1842 his heirs constructed the first Brazer Building, a three-story Greek Revival structure designed by Isaiah Rogers.
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The margins of the opening are smooth, and the inner border has fenestration connecting it to the inner structure of the crest. The back of the crest ended in a prominent V-shaped notch, a unique feature of this species. Although other parts of the crest have V-shaped breaks, the V shape at the end does not appear to have been due to breakage; the margins of the bone can be seen there, still encased by matrix. The crest probably had a keratinous (horny) covering and may have been extended by soft tissue in some areas, but the extent of this is unknown.
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The new frontage made prominent use of aluminum and modern typography, and the new upper floors were made from ferro-concrete. The experimental nature of the structure led to a disaster during construction in 1923, when one of the slabs of the new extension fell into the newspaper offices, which were still in use, killing 14 people. Mossehaus in 2006, on the corner of Jerusalemerstraße and Schützenstraße The use of strips and sculpted elements in the fenestration gave it a dynamic, futuristic form, emphasised by the contrast with the Wilhelmine style below. It was one of the first examples of a streamlined building, and hence a great influence on Streamline Moderne.
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A new owner proposed to remove the fenestration from the arched portico opening thereby restoring its earlier arcaded appearance. Whilst this was strongly supported from a heritage viewpoint, it was felt that these and future alterations should be carried out under the guidance of the Heritage Council. This led to the Interim Conservation Order in September 1985, followed by the Permanent Conservation Order being placed on the building 21 March 1986, signed by Bob Carr, the then Minister for Planning and Environment. In 1986, the glazing to the portico arches was removed and the original openings were restored, with timber shop fronts being installed.
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Chicago windows A Chicago window is a large fixed glass panel flanked by two narrower sashes of the same height, filling a structural bay. The large pane is a single panel of plate glass, and the flanking elements are vertical double-hung sash windows with no dividing muntins. The fenestration was first used by architect Charles B. Atwood in the 1895 Reliance Building, and immediately after by Louis Sullivan at the 1899 Carson Pirie Scott department store, both in Chicago, Illinois. The window design was made possible by advances in glass-making technology and steel structural framing, and became a defining feature of the Chicago school style.
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Decorated with an applied white cement rendered panel with a dentilled cornice and a decorative central tablet, the parapet front to Boundary Street screens a double gable roof clad with corrugated metal sheeting. Tucked within the base of the tablet, a narrow rectangular rainwater head and downpipes drain the central box gutter of the roof. Banks of large timber framed casement windows with fanlights run across the upper storey of the front elevation, lighting the front of the workshop/office area of the upper storey. This fenestration is enlivened with the inclusion of a number of decorative windows with a pattern of radiating lights.
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The building has landmark significance being on a prominent corner, and as part of a group of early 20th century buildings in George Street North, relating well in scale, materials, façade treatment and fenestration to the Metcalfe Bond stores, the ASN Co Building and No 88 George Street. Harrington's Buildings was listed on the New South Wales State Heritage Register on 10 May 2002 having satisfied the following criteria. The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales. The Harrington's Buildings site are of State heritage significance for their historical and scientific cultural values.
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The Willow Tearooms frontage on Sauchiehall Street, around 1903. Mackintosh's redesigned external facade was a carefully considered asymmetric, abstractly modelled composition with shallow curves on some areas of the surface, and varying depths of recesses to windows and the main entrance. The composition respected the urban context of the neighbouring buildings, matching the major cornice lines and heights of adjoining buildings, whilst still exploring emerging ideas of Art Nouveau and the modern movement. The ground floor entrance door is placed far to the left of a wide band of fenestration, both of which are recessed below the first-floor level, the location of the Room de Luxe.
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A copy of the marriage certificate is exhibited by St. Paul's in the church narthex. The church is included in the local Ellicott City Historic District. In a 1977 draft nomination for the church to be listed on the National Register of Historic Places (which appears never to have been submitted), it was noted that "In addition to its historical merit it is an outstanding example of American eclectic architecture, blending elements of the Gothic and Romanesque in its fenestration and entrances with simple granite architecture so indigenous to Howard County." St. Paul's Church created a chapel for the students of Rock Hill College in 1859.
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The > bracket and dentil motif of the principal frieze continues around the > returning entablature to terminate at the juncture of the house and gallery, > only to reappear in a modified form of elongated brackets spaced across the > wings, down the sides, and onto the rear. Meanwhile, the square, post and > lintel fenestration of the central block contrasts with segmental openings > in the wings. These features, together with the deep rustication of the > central pillars and the heavy cast-iron gallery railings, impart a heavy > sculptural quality to the facade. From every angle, front and rear, a > certain dynamism emerges from broken up surfaces and contrasting motifs.
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The structure is unified by the 1918-1919 brick facade to Adelaide Street, designed in a free classical idiom. The face-brickwork in this front elevation is a mottled, deep red, broken by a rendered ashlar base with exaggerated keystones to the windows, a central vertical rendered ashlar bay and pediment, and a rendered cornice and parapet. The central pediment is decorated with a garland of vine leaves and bunches of grapes, symbolizing the business of the firm that commissioned the construction in 1918, and bears the date 1871 (the year in which Quinlan, Donnelly & Co. was formed). The original fenestration pattern remains intact.
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The central gabled section has triple sash windows (the outer two of which are narrower) to both floors, and a base of dark brick to the ground floor sill height, with a lighter face brick to the first floor sill height, and stucco render above with face brick window heads and gable trim. The central block is treated in the same manner and has two sash windows to either side. The verandahs have been enclosed with stucco render over hardboard sheeting, and have a variety of fenestration. The ground floor has window awnings, with the central block having timber brackets with fibrous cement tiles, and the enclosed verandahs having metal sheeting.
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A distinctive feature that evokes the interpretative style of the mid-16th-century Italian Mannerist architecture is the ornamentation of the fenestration. This is most prominent with the second- and third-story windows’ display of the "Gibbs surround," which is characterized by keystones and spaced blocks surrounding large windows. Here, this motif is composed of terra-cotta displaying bead and reel decoration, elaborately carved quoins, keystones, and Doric order moldings. Framing the second- and third-story bays of the north and south pavilions are two-story engaged Corinthian columns, supporting a continuous architrave, which is capped with a dentiled cornice and a parapet of alternating brick panels and open balusters.
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Tracy Park's tower has an upper- most floor, completely surrounded by a slightly projecting Italiante balcony, supported by corbels, appears as a rectangular cupola and has Ionic pilasters at each corner; this structure is surmounted with a large finial. Much of the rear facade of the house was remodeled in the 19th century in a Tudor Gothic style. However, the haphazard fenestration suggesting mezzanine floors, and stonework and the need for a low buttress suggest that the lower floors, at least, may belong to the 16th and 17th-centuries. Facing the rear are a number of outbuildings, including the former stables, which date from 1849 to 1860.
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The House at 314 W. King Street was a two-story clapboard Queen Anne-style structure. It had asymmetrical massing and fenestration, a varied roofline, and a broad porch typical of the Queen Anne style. The house had a wide variety of surfaces used on the facades, including tongue-and-groove on the entire base of the wood superstructure, clapboard on most of the facades, fish-scale shingling on the gables, vertical panelling on the underside of the overhanging eaves, and diamond carved wood lintels over the windows. On the front facade, there was a tri-sided bay, with a stained glass center window surrounded by decorative spandrels.
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Aesthetically, the Glenmore Hotel is representative of the Georgian Revival style of architecture that was popular during the Inter-war period for the reconstruction or remodelling of earlier hotels. The characteristic features of the hotel include face brick walling, rendered and painted details, external tiling, regular fenestration, symmetrical facade, and multi-paned sash windows. As with most hotels, the Glenmore Hotel has been altered with the removal of the original facade balconies, parapet and bar although, the internal spaces have remained largely intact. Glenmore Hotel was listed on the New South Wales State Heritage Register on 10 May 2002 having satisfied the following criteria.
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The principal elevation is the north side of the main range, set parallel to the High Street onto which it fronts. The steps leading up to the front door extend onto the narrow brick pavement in front of the house. The fenestration is symmetrical comprising a centrally situated entrance flanked by a pair of Georgian six-over-six sash windows that are set back from flush with the fabric of the elevation. The first floor has a further five window openings, that to the west is now blank having been ‘stopt’ up in 1801 presumably with the window adjacent, this one has since been reinstated.
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A corrugated metal ogee style timber framed veranda, supported on timber square posts with moulded tops over timber board flooring, covers the entire ground floor elevation. The upper floor level features two windows that match and align the ground floor windows. The Station Street elevation of the residence is also similar to the front elevation in its symmetrical fenestration and window and door joinery as well as the ogee style veranda. The differences are the additional central window on the first floor level, and the L-shaped ogee verandah turned around eastern elevation with timber board enclosure featuring a small ticket window on the Belmore Street elevation.
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Largely windowless in comparison to the north and south, the eastern and western elevations have four columns of small, square aluminium-framed windows with opaque glass. The service core projects from the rear (northern side) of the tower with walls of painted concrete with off-form-patterned panels. The core fenestration is minimal, contrasting with the ample glazing of the adjacent northern elevation of the tower. The east and west elevations of the core have long, narrow ribbons of windows with high sills, and the north elevation has a column of small windows with a high sill and a spandrel panel of quartz aggregate.
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The church was appropriated by the abbey of Strata Marcella, and not the nunnery of Llanllurgan as stated The church lacks a chancel and the new fenestration is similar to that shown in Ingleby's watercolour; its arch-braced roof and wind-braces have been totally renewed. The font is heptagonal, with cusped circles on the sides; cut on the design of the old one. There is a shafted ashlar pulpit of 1859 by Sir George Gilbert Scott relocated from Hawarden church. Behind the altar is a stone carved reredos with white figures against coloured marble, which was given in me memory of J. W. Buckley-Willames in 1871.
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The home is historically important as the only known surviving example of work of local architect Robert C. Gass, and it is one of only a few well-preserved Victorian houses in Pacific Grove. The front staircase and other woodwork in the house was completed by carpenter C.E. Hovey who is known for craftsmanship in the area. and Among its prominent exterior components is the fenestration, which features leaded glass and Palladian windows. Built at the junction of Pine and Forest Avenues for a native Midwestern businessman who was involved in the dairy and egg businesses, the house is a prominent component of its neighborhood's built environment.
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While the later works added some character and aesthetic value, the fusion of periods has detracted from a clear emergent style. Nevertheless, the building has a forceful presentation to the street, with significant elements including the imposing two-storey presentation, prominent chimneys, arcaded verandah and scalloped balcony detailing. The internal staircase and fenestration are additionally of a high standard of craftsmanship. Criterion E: Aesthetic characteristics Tumut Post Office, while a fusion of architectural styles from two distinct periods, nevertheless contributes to the historic character of the immediate streetscape of this part of the Tumut Urban Conservation Area, where there are a number of valued buildings from the nineteenth century.
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Fenestration of Tamworth Post Office is regular, with windows and doors spaced between arches of the verandahs. To the ground floor original section of the building fronting Peel Street, there are two pairs of French doors at the centre, with fanlight and arched window over each and paired, side hung windows either side with arched fanlights over, of matching proportions to the doors. The 1966 addition to Fitzroy Street has modern automatic sliding glass doors to the Post Office and modern shop windows either side. The first-floor openings comprise French doors and modern flush doors to the original openings fronting Peel Street and to the eastern end fronting Fitzroy Street.
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The post box niches in the Post Office Lane facade have lockable gates and concrete steps, with brown tiled floors. The northern facade also comprises a variety of column types, both attached and freestanding, ranging from squat Corinthian-styled columns supporting the moulded window arches to Ionic-styled main columns and square corner pilasters. Fenestration of the building is symmetrical about the centre line of the front facade, with casement windows featuring arched fanlights in the verandah infills of the top floor and original French doors. Additions, largely in English Bond face brickwork, have occurred to the rear of the building and in several different stages.
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The author of a citation in the National Heritage List for England describes the Knutsford houses as "a series of eccentric buildings which are of considerable interest and importance" which "transformed the townscape of Knutsford". The architectural historians Nikolaus Pevsner and Edward Hubbard state that "any Royal Fine Art Commission now would veto such monstrous desecration of a small and pleasant country town". Yet they accept that younger critics might dub him "the Gaudí of England". They describe his motifs as a mixture of Classical, Italianate, Byzantine, and "Unprecedented", and comment on his liking for towers with a jagged outline, domes, and random fenestration.
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The addition also altered the original building's pure Foursquare design by adding 30 feet to the first and second floors plus two attic rooms with eight foot ceilings. Like with the construction of the original building, the addition used locally manufactured bricks and for consistency the new fenestration matched that in the original building. The addition also resulted in the dormers and chimneys being moved somewhat in order to maximize the symmetrical appearance of the now-modified Foursquare design. The added rooms featured hardwood pine flooring, modest string course moldings and corner blocks, while the existing rooms were left with their original plank flooring.
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The 1920s pattern of fenestration included a single arched door opening to Franklin Street and three arched window openings and a door opening to Kay Street; the two door openings have since been converted to windows. The bay has a parapeted flat roof, fronted with a balustrade of miniature ovals outlined in rendered cement and interspersed with piers topped with urns. A generally similar treatment tops the still open loggia connecting the post office to the neighbouring courthouse. The 1960s Kay Street wing is almost fully glazed with non-original shopfront glazing to the street and has an additional pavilion at its west end facing a right of way.
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Francis Morrone, also of the Sun, wrote: > The new façade ... uses glass bands, or "cuts," rather than conventionally > patterned fenestration, across a plane of ceramic tiles glazed so as to > change color subtly when viewed in different light conditions. For me, I am > sorry to say, it's all scaleless. Where Stone's original building read as > neatly scaled to its setting, Mr. Cloepfil's redesign reads as a piece of > abstract sculpture that, at building scale, seems all wrong. Paul Goldberger praised the new building's "functional, logical, and pleasant" interior in a review in The New Yorker, but wrote: > Ultimately, Cloepfil has been trapped between paying homage to a legendary > building and making something of his own.
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The 1937 infill to the northeast continues the original elevational treatments and is well matched to the original while the 1960s addition to the southwest corner in light brick with no texturing or banding and smaller vertical fenestration is less sympathetic. The solid balustraded, setback upper-storey (1990) contrasts with the rest of the building and disturbs the building's cohesion with the group. A barrel-shaped, corrugated metal hood has been added over the steps to the east entrance porch. The interior has been altered and is now a range of laboratories, lecture theatres, staff offices and ancillary service/storage/work areas arranged off the main east-west corridor of the original master plan.
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The church building itself is a circular timber frame structure in diameter on a foundation of a reinforced concrete basement on a bowl-shaped concrete slab that itself sits on a metre-thick (3 ft) gravel bed atop the permafrost that is generally found at 2 metres (6 ft) underground at Inuvik's latitude. Its walls are faced in wood siding with large painted rectangular grooves creating an ashlar pattern. Secondary entrances project from the north and west sides of the building. Fenestration otherwise consists of small lancet windows flanked by narrower ones, set with stained glass; there are three bays of these between the rear and front entrances and two between the rear entrances.
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Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".
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Angle tower of the Château de Valençay Relics of the 16th century include an outsized round tower at the western corner, capped by a dome à l'impériale, and the central block in the shape of a donjon, with a slender tower on each corner, grouped around the raking roof. Its feigned battlements are evocative of the Middle Ages, a retrospective formula stylistically derived from Chambord but somewhat vitiated by ample fenestration, including characteristic Renaissance dormers. The exterior has withstood time and the elements remarkably well. It is clothed in classical orders: the Doric order on the ground floor, the Ionic order on the first floor, and the Corinthian order on the second.
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The landscape architect for the original design was Royston, Hanamoto, Alley and Abey of San Francisco. The building itself is a five-story design plus a penthouse, with one subterranean parking level. The exterior features a skin that is an innovative all porcelain panel design, giving the building a shimmering appearance in the sunlight or uplights by night; moreover most of the fenestration was slanted approximately 45 degrees from vertical, designed to reduce glare and enhance energy conservation, but also lending a futuristic effect. In 2014, Westport Capital, the owner of the site (including 5000 Marina and the Dakin Building at 7000 Marina), applied for a permit to redesign the Dakin, presenting their preliminary plans in April 2014.
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His initial attempts in dogs were unsuccessful and all experimental animals died within a few hours; however, despite these failures, he successfully performed this operation in a young woman with tricuspid atresia in 1968 with Dr Eugene Baudet. The operation was completed on a second patient in 1970, and after a third case the series was published in the international journal Thorax in 1971. Dr. Guillermo Kreutzer from Buenos Aires, Argentina (b. 1934) without any knowledge of Fontan's experience performed a similar procedure in july, 1971 without placing a valve in the Inferior Vena Cava inlet and introducing the concept of "fenestration" leaving a small atrial septal defect to serve as a pop-off valve for the circulation.
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In addition, the proportions of the fenestration of Qantas House's curtain wall panels and the steel framed windows of the WL building are similar. In successfully taking advantage of its corner site, Qantas House also forms an elegant termination to the long view northwards along Elizabeth Street. The exterior of the building is in near original condition, the only notable changes having been the loss of the original cantilevered entrance awning and original exterior signage and the formation of a new entrance to the lift lobby at the northern end of the building. Internally, the double height volume of the foyer is intact although the current recent fitout has resulted in some partitioning of the space.
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Detail of the sculpted form of a head of a woman, with mask of a lion, over one of the windows in the northeast of the building The rectangular building plan, consists of three floors separated by friezes and decorated by differing stonework. The main elevation in the east, consists of six bodies, separated by pilasters, characterized by the type of treatment: simulating a rustic ground floor and turning into double pilasters on the upper floor. With open spans and regular rhythm, the bodies are differentiated by different fenestration sculptures. The standard windows on the ground floor are framed by straight lintels, as are the bay windows on the 1st floor, with similar framing.
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The house is two and a half stories tall. A two-story addition at the rear was added in 1969; the architect for the addition was Henry Miller. In the 1988 nomination of the Whitney Avenue Historic District, the house was described as follows: > The Charles Atwater House of 1890 at 321 Whitney Avenue, recalls McKim, Mead > and White's William Low House of Bristol, Rhode Island, of 1887 in its low, > spreading roof and banded fenestration with windows separated by panels; it > was designed by the nationally renowned firm of Babb, Cook and Willard. In 1890 the deed was put into the name of Helen G. Atwater, wife of Charles Atwater, when the property was purchased from previous owners.
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The studio, on the west side of Da Silva, is a two-story frame building with exposed basement, sided in rough stucco with carved reliefs of Native American scenes and a profile of Brunel and his wife with the legend "Le don de Dieu" (French for "the gift of God"). Its gabled roof, with broad overhanging eaves, is pierced on the south (front) by two gabled dormer windows. Fenestration is irregular and asymmetrical. alt=A light brown house with a dark roof and red trim in wooded surroundings Inside it has a garage and storage room on the first story, a living room, kitchen and dining room on the second, and bedrooms in the attic.
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Tullio, Pietro: Some experiments and considerations on experimental otology and phonetics: A lecture delivered at the meeting of the "Società dei cultori delle scienze ... e naturali" of Cagliari on 1st, July 1929: L. Cappelli 1929 ASIN: B0008B2T6Y During his experiments on pigeons, Tullio discovered that by drilling tiny holes in the semicircular canals of his subjects, he could subsequently cause them balance problems when exposed to sound. The cause is usually a fistula in the middle or inner ear, allowing abnormal sound-synchronized pressure changes in the balance organs. Such an opening may be caused by a barotrauma (e.g. incurred when diving or flying), or may be a side effect of fenestration surgery, syphilis or Lyme disease.
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Metal ventilators and brick chimneys are visible above the parapet. Original light wells have been covered up with either transparent or metal roof sheeting. A row or terrace type structure originally built as three shops, the Taylor–Heaslop building consists of three long narrow adjoining buildings on separate titles; 10, 12 and 14 Logan Road. 14 Logan Road is bigger than the other two shops, having a wider frontage and a greater depth of plan due to the truncated shape of the site. The facades of 14 Logan Road are distinguished from the facades of 10-12 Logan Road by the use of a different fenestration pattern and a more ornate style.
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The walls were then plastered with pale coloured clay, which required constant renewal. There are four images of the house in the 1790s. The 1790 watercolour, 'View of Rose Hill, Port Jackson' (artist unknown); two 1793 sketches by the Italian artist Fernando Brambila, the official artist to Alejandro Malaspina's Spanish expedition to the Americas, Micronesia, and New South Wales; and a 1798 engraving by James Heath which was published in David Collins' An Account of the English Colony in NSW (London 1798) (DPWS 1997: p. 17). The pattern of fenestration shown in these four etchings indicates that the house had two rooms with a central hall in a similar arrangement to the front central portion of the present house.
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Italian Renaissance windows to the right, a Victorian Porte cochere in the centre, simple Tudor mullion and Gothic tracery windows, plus pseudo-medieval battlements and chaste English renaissance gables. Due to successive remodelings and enlargements the architecture at Ashton Court is complex and seldom what it seems. The core of the house, a 15th-century manor, has been obliterated by later wings, which have in turn been remodelled and altered, most substantially around 1635. Therefore, the plan of the house has evolved as irregular with many juxtapositions and little cohesion; while the majority of the house was built in the 17th century, a time of classical architecture, remodelling and alteration to the fenestration has created an overall Gothic appearance.
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As a result of the changes in education philosophies and consistent with the alterations of other schools across the state, many of the buildings at Bowen State School had their fenestration altered to increase the amount of light into the classrooms, and many older windows were replaced with modern awning style windows. Application for a "proper" high school had begun in 1928 but it was not until 1961 that Bowen State High School was established on a different site and all secondary education was removed from Bowen State School. The High Top building was made available for the primary students. In 1965 the school held a Centenary celebration and unveiled a Centenary Gate at the Poole Street entrance.
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The building was designed in an eclectic combination of Renaissance Revival and Mediterranean styles commonly used by architects in California, such as Julia Morgan. The brick and concrete load-bearing walls are finished with stucco on the exterior, and inset with decorative colored tiles. The front elevation of the building is symmetrical, with a five-bay enclosed sun porch set back between the north- and south-end wings. Besides the symmetry, the hierarchy of fenestration found in Renaissance Revival buildings is also present: delicate arches of the porch window and door openings on the first floor, paired nine- light windows on the second story, and enormous rectangular openings on the third floor, further illuminated by the skylight above.
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These columns create a sense of internal colonnade within the space. The square plan provides many spatial and environmental qualities to the building; a 360° view of adjacent classrooms, a divide between the noise of the constant traffic on Warrigal Road and the students within in attempt to establish quietness and seclusion, and allowing sun and air to enter through the void which circulates into the classrooms. The two rows of small rectangular windows on the first floor also allow for such circulation, which are precedent of early Renaissance Florentine palazzo, a building form that Romberg admired. The square plan not only echoes in the fenestration, but also in the checked pattern on the courtyard pavement.
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The central block of the bath house is reminiscent of the original design seen in the 1928 architectural plans and in historic photographs. The minor changes include alterations to the original fenestration and the park side, vinyl window replacements, replacement of original columns with wider modern fiberglass columns, and the removal of an attractive balustrade on the beach side above the porch roof. The most impactful change, however, is the replacement of the building’s original restroom and shower wings. As originally constructed, these structures were lower and longer, with either a flat or open roof structure that created a theme of horizontality contrasting with and accenting the verticality of the main block’s Colonial Revival aesthetic.
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The Church of England parish church of Saint Mary is one of two existing round-tower churches in Berkshire. The other one is at St Gregory's parish church at nearby Welford. The interior of St Mary's church Unlike the three round-towered churches in Sussex, where the towers are plain flint cylinders with few openings, the tower at Great Shefford is built up of sections with ample fenestration, more like the East Anglian type. The base of the tower at least seems to date from the 13th century, and it joins the west wall of the nave in such a way that suggests it was constructed at the same time as the nave, which shows early Gothic features.
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Projecting from the north-west end of the nave is a wing with a semi-octagonal, pointed roof. Each facet of the west end is flanked by a buttress and in each facet are two tiers of fenestration, each window of two lights. Windows to the apse of the main church are taller, also of two lights.British Listed Buildings The south-west tower of the church is the most striking architectural feature of the building and makes the building a landmark - it is a tall square tower with a pierced two-light opening in earth side, a pierced parapet, angle buttresses with pinnacles and a short spire supported by carved buttresses with a ball flower ornament.
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Each purchaser bought a certain length of the façade, and then employed their own architect to build a house to their own specifications behind it; hence what appears to be two houses is sometimes one. This system of town planning is betrayed at the rear of the crescent: while the front is completely uniform and symmetrical, the rear is a mixture of differing roof heights, juxtapositions and fenestration. This "Queen Anne fronts and Mary-Anne backs" architecture occurs repeatedly in Bath. In front of the Royal Crescent is a Ha-ha, a trench on which the inner side of which is vertical and faced with stone, with the outer face sloped and turfed, making the trench, in effect, a sunken fence or retaining wall.
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Raglan Castle, Monmouthshire Raglan Castle, Monmouthshire Internal view of Carew castle From the later part of the 15th century, some of the Welsh castles underwent a transformation into grand houses. Some of these such as Chirk Castle and Powis Castle have remained as houses, but others such as Raglan Castle in Monmouthshire and Carew Castle in Pembrokeshire are ruins which can provide some idea of their grandeur. At Carew Sir Rhys ap Thomas from about 1480 onwards undertook a grand re- modelling including an almost entire re-fenestration with straight headed windows. This was continued after 1558 by Sir John Perrot, who replaced the north range with a splendid frontage with a long gallery at the second floor level in the fashion of Robert Smythson.
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The sheer walls of the central block rise without fenestration for four or five stories from the rock outcrop offering a defensive wall. Originally a steep covered passageway led up from the valley floor to the courtyard, where part of the lower "Gut Matzen" block now stands. On the eastern end of the upper block is linked to a six-story keep tower of ancient origin, notable for its round shape, unusual for the region. An upper ring wall with 19th-century machicolations forms the eastern boundary, with a door opening onto an upper drive; previously this was protected by a moat, later was filled in as part of the late 19th-century restoration works and made into a garden.
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Site map, 2016 Approached from North Quay with secondary access from May Street, the First Church of Christ, Scientist, Brisbane is located at the western end of Brisbane's central business district overlooking the Brisbane River between the William Jolly Bridge and the Kurilpa Bridge. Its careful composition of simple, cubic volumes of one and two storeys, enveloped in buff-coloured brickwork with concrete parapets and continuous window hoods derives from its unconventional floor plan, which fits inside the boundaries of its irregular shaped allotment. The boundaries are defined by low brick retaining walls. In response both to its siting on a busy thoroughfare and to the introspective nature required of its interior, its limited fenestration to North Quay gives the building an introverted appearance.
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Kohn strongly believed that a handsome building improved worker morale and productivity, and he was highly critical of architects who failed to adopt this view. "It is true of the mill engineer and unfortunately, of many architects that they consider the proper method of beautification of a factory building the application of pressed brick and a stone cornice to the exposed fronts of buildings otherwise stupid in mass, arrangement and fenestration." The Plain Dealer newspaper declared that the building was "positively pretty" after its construction, and nearly 90 years later was still calling it "graceful" and "one of the city's most distinguished early 20th-century industrial buildings." Architectural critic A.A. Kalish in 1924 called it "one of the most attractive factory buildings in America".
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The group of four buildings was classified as part of the George Street Business Precinct by the National Trust of Australia in the mid 1970s: "A group of four compatible Edwardian buildings containing interesting and lively fenestration which combine to present a picturesque street elevation. The group acts as a sympathetic extension to the remaining earlier buildings of George Street in scale and character to present a unified streetscape". The above listings indicate that the primary significance of the group is their contribution to the historic streetscape as well as their aesthetic value as a group of Federation period commercial buildings. The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.
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However, this results in hypoxia, so the fenestration may eventually need to be closed by an interventional cardiologist. In a 2016 review, Dr. Jack Rychik, head of the Single Ventricle Survivorship Program at Children's Hospital of Philadelphia summarized the long-term consequences of Fontan circulation as an "indolent and progressive state of heart failure" with predictable long term consequences on several organ systems. Chronic venous hypertension and lowered cardiac output are assumed to be at the root of lymphatic complications such as chylothorax, protein losing enteropathy and plastic bronchitis which may occur in the immediate post-operative period as well as in the medium term. New interventional and surgical strategies have been investigated to relieve the lymphatic complications associated with the Fontan circulation.
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In 1940, Thomas Hall was linked to Fletcher and Sledd Halls, forming a "UF" shape that can be seen from the air. From 1940 to 1949, the interiors of Buckman and Thomas Halls were renovated, and the wood structures were replaced by steel and concrete, at a cost estimated to be between $37,000 and $54,000. In 1974, Thomas Hall was added to the National Register of Historic Places, with the register reading :1905–1906, Edwards and Walters, architects. Brick, 3½ stories, H-shaped, hipped and pitched roof sections; crenulated parapet interrupted by stepped gables placed over a division, each with its own entrance and bay window; regular fenestration, stone quoins, elaborate arched large stone scroll brackets; connected to another building at E end of S wing.
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The land on which the Royal Crescent stands was bought from Sir Benet Garrard of the Garrard baronets, who were the landlords, in December 1766. Between 1767 and 1775 John Wood designed the great curved facade with Ionic columns on a rusticated ground floor. Each original purchaser bought a length of the façade, and then employed their own architect to build a house behind the facade to their own specifications; hence what can appear to be two houses is occasionally just one. This system of town planning is betrayed at the rear and can be seen from the road behind the Crescent: while the front is uniform and symmetrical, the rear is a mixture of differing roof heights, juxtapositions and fenestration.
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The Harbour View Hotel is a three-storey (plus basement) masonry hotel structure with remnant outbuildings and exterior walls. The most prominent element on the site is the three-storey hotel, which strongly addresses the curved corner of Lower Fort Street. The well-composed Inter-war Free Classical style facade with curved centre piece anchors the hotel building to the site and provides space between the two storey attached columns for sub-dominant groupings of pairs of double hung windows. The fenestration comprises multi-pane double-hung windows composed in pairs with projecting rendered frames, a deep rendered band with an entablature featuring a semi-circular pediment at the corner, and terminating on the top band with circular, raised decorative elements.
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As at 30 March 2011, Metcalfe Bond Stores and site are of State heritage significance for their historical and scientific cultural values. The site and building are also of State heritage significance for their contribution to The Rocks area which is of State Heritage significance in its own right. The building known as the Metcalfe Bond Stores has simple unobtrusive lines with pleasing rhythm and texture. The building has landmark significance as part of a group of early 20th century buildings in George Street North complementing in scale, materials, façade treatment and fenestration the ASN Co building, No 88 George Street, and the Harrington's Buildings, and being visible as a backdrop to Campbell's Stores from Campbell's Cove, Sydney Cove and Harbour, and Circular Quay East.
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The site and building are also of State heritage significance for their contribution to The Rocks area which is of State Heritage significance in its own right. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The building known as the Metcalfe Bond Stores has simple unobtrusive lines with pleasing rhythm and texture. The building has landmark significance as part of a group of early 20th century buildings in George Street North complementing in scale, materials, façade treatment and fenestration the ASN Co Building, No 88 George Street, and the Harrington's Buildings, and being visible as a backdrop to Campbell's Stores from Campbell's Cove, Sydney Cove and Harbour, and Circular Quay East.
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The fenestration of the bays other than the central one is uniform; there is a Palladian window at the second level in the center, and a half-round window at the third level, exhibiting tracery similar to that found in the entry windows. The interior of the house has a modified central-hall plan, with the central hall divided by a partition into a front public hall and a rear service hall, which is continued to the service rooms in the rear ell. The front hall is semi-oval in shape, and is divided crosswise by an arch. Doorways in the front half lead left and right into large parlor spaces, and a free-standing spiral staircase rises in the center.
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Their commons design features such as the overhanging roof and linear form are still recognized as typical of rail stations today While Warren and Wetmore designed other Central stations outside of New York City such as Mount Vernon and Hyde Park, the small Croton North station was a product of the railroad's own engineering department. It has many of the standard features of the era's stations, such as the hip roof with broad eaves to shelter waiting passengers and linear form, but reflects some other contemporary architectural trends as well. The faceted north end, breaking up the otherwise absolute rectilinearity of the building, is a mark of the Queen Anne Style then popular with homebuilders. The connection is further evidenced by the asymmetrical roof and irregular fenestration.
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Neoclassical elements surrounding the doorway and Spanish mission styling at the gables The cathedral's eclectic facade is a combination of Spanish mission and Neoclassical styles. Spanish mission features include curving bell gables, limited fenestration, clay roof tiles, a semicircular tympanum, prominent statuary niche, and comparatively unadorned walls. Neoclassical details surround the entry door; an entablature embellished with triglyphs is topped with a broken pediment above and supported by pairs of Doric columns below. View of the Cathedral of St. Augustine and the Slave Market after the fire of 1887 destroyed most of downtown On April 12, 1887, with Florida a part of the United States, the old Spanish structure burned once again, but the coquina blocks and cement masonry of the exterior was still salvageable.
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A clear example of the Gothic Revival style, the church is distinguished by a tall steeple crowned by a yet taller spire. The overall massing of the building is composed by its multi-gabled form and extensive fenestration, filled with stained glass, and the exterior is covered with rough-faced ashlar stonework. Slates cover the roof, and elements of copper and sandstone are prominent, due to the copper covering on the eight-sided spire and the large sandstone lintels surrounding the windows in the belfry and the main section of the building. Much of the building's ornamentation is also placed on the steeple, including windows with fleurs de lis and quatrefoils in their designs, and buttresses supporting the overall structure.
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The west and east elevations were predominantly windowless to occlude the harsh, low sun and were built of concrete to provide a thermal mass quality. In contrast, the photographic and computational spaces that required highly controlled light and ventilation conditions were located in the basement levels, which had deep floor plans and limited fenestration. An upturn in the city's economy and a modernising of the building codes that included a removal of building height limits in 1964 saw a considerable increase in the construction of highrise office buildings in Brisbane. Between 1950 and 1965 few office highrise buildings were constructed in Brisbane. These included: Mutual Life & Citizens (MLC) Insurance Building (1955); Friendly Society Building (1957), and the Taxation Building (1961).
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The north side of Wine Street now has just three buildings: The Prudential Building, now let out as office suites; across The Pithay, the Vintry Building which also offers rental office suites; and Southey House, now a block of 38 flats. Andrew Foyle, in his Pevsner Architectural Guide to Bristol, describes Wine Street as 'perhaps the saddest post-Blitz transformation'. He is dismissive of the buildings on the north side, berating the Prudential Building's 'dull stripped classicism' and describing the Vintry Building and Southey House as 'singularly unimaginative'. He is scornful of the Bank of England building on the south side, 'merely occupying the land, with bleak fenestration and a puny entrance', its 'weak' extension 'weakly set back over a parking access ramp'.
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A curved walkway with shrubs on the south, complemented by a driveway on the north, lead across the front yard to the sidewalk and street. Fenestration is irregular due to the many asymmetrical elements of the house form. On the west (front) facade many of the windows are set with nine-over-one double-hung sash windows; the exception is a wide one-over-one south of the main entrance, looking out onto the porch, and one-over-ones in the gabled projection at the north end of the attic and the shed dormer window that pierces the center of that section of roof between the gabled projection and a gambreled dormer. An oriel window projects from the center of the second story.
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Eastern gable ends of the main roof feature a rectangular gable vent with stone lintel and sill. The platform (north) elevation of the building retains its original fenestration with some modifications to the central window and two door openings. Changes include conversion of the central window with sidelights into a ticket window with aluminium frames and frosted glass to sidelights, the adjoining door opening to the west has also been converted into a ticket window with roller shutter, and the door to the eastern room has been replaced. The three-storey rear (south) elevation of the building presents a secondary and more ancillary elevation with all original window and door openings clearly visible, some bricked in and some converted into smaller window openings.
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Nine windows fill all bays in both stories, except for the post and lintel- surrounded main entrance in the center of the first story. The fenestration on the side of the original house and on the addition is more irregular: on the second story, a single window sits under the gable, separated by large amounts of brick from a trio of windows at the rear of the ell. Chimneys are placed at both ends of the roofline on the original house, with another such structure in the ell; the roof itself is metal. In early 1986, the Kirkwood House was listed on the National Register of Historic Places; its connection to Joseph Kirkwood qualified it for designation, as did its historically significant architecture.
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The first phase was the church with a round nave, about 15m in diameter, with a ring of eight columns, which distinguished a central area from an outer aisle. To the east was a rectangular presbytery of two bays measuring about 8m by 4m, with an apse at the east end. Below this lay a crypt, which may be the feature shown in the bottom left-hand corner of Samuel Buck 1726 engraving of the Preceptory. No clear indication was found of the fenestration except at the east end of the apse; and there was no clear point of access to the nave, though this may have lain on the north side where outside several rock cut graves into the local limestone, were recorded.
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In the 1780s the ruins of Bishop's Palace were recorded in some detail by Hieronymus Grimm, a Swiss artist working for Sir Richard Kaye, the Dean of Lincoln. These drawings show the Palace in an advanced state of decay, before the 19th century restoration work had begunThese drawings are in the British Library and in the King George III collection in the British Museum These include the a view of the Alwick tower with the oriel window lacking fenestration and without the present turrets and crenulation. Other views show the west side of the Great Hall and views from the south. One of these, looking towards the Cathedral, shows the house on the left, which was to be converted into the later Bishop's Palace in 1886.
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The upper floor of the gabled element features a central three part window opening, again shaded by an awning. The entire building is lined with a series of concrete rendered mouldings, at base level forming a plinth; at the level of the sill of the ground floor windows; at the level of the base of the round arched windows above the ground floor windows; at the line of the first floor; at the line of the sills of the first floor windows and, again, at the top of these windows, below the arched transoms. This banding is variously smooth rendered and moulded. The western, eastern and northern faces of the building, continue the banded mouldings, fenestration patterns and gable detailing.
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Claes-Göran Granqvist was born in Helsingborg, Sweden, in 1946. He is one of the leading figures of Swedish and international science in various fields (see his selected papers and books below) including nanomaterials; green nanotechnology; materials for solar energy utilization and energy efficiency (solar cells, solar collectors, energy efficient fenestration), electrochromic materials (smart windows); condensed matter physics; biomimetics; photocatalytic materials (air and water cleaning); materials for radiative cooling and superconductivity; fluctuation-enhanced sensing; etc. In August 2011, Science Citation Index shows that his h-index is 66; the number of citations to his papers is 18763. He published around 730 research papers in mostly refereed journals, over 30 books, had invited conference presentations at about 250 international conferences and chaired about 30 international meetings.
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The > locomotive also was in the same cylindrical style, with a floor 29.25 by 7.5 > feet (8.9 by 2.3 metres) and having similar fenestration, with seven windows > in each lower row. The upper window rows, however, were interrupted by a > glazed turret which was the engineer's cab and so had five windows each. For > the experimental train this cab only gave a view forwards and to the sides, > but drawings of hypothetical trains in service show the cab to have a 360 > degree view. Turning engines and marshalling trains to have the locomotive > in front would have been very challenging to the system (the experimental > line had no turntable), and running in reverse half the time would have been > desirable.
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The design of the meetinghouse came from Niels Edward Liljenberg, a Swedish- American architect. It is significant as a well-preserved example of a meetinghouse influenced by the Gothic Revival style, a popular style for Mormon meetinghouses in the Salt Lake Valley during the first decade of the twentieth century. The original architectural features are still evident, the fenestration patterns as well as the size of the openings have not been modified, and there have been very few alterations. The Murray Second Ward represents not only the growth of The Church of Jesus Christ of Latter-day Saints (LDS Church) and development of the Murray community, but the building is also an excellent example of the influence of the Gothic style in LDS Church architecture.
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An example of building design overcoming this excessive heat loading is the Dakin Building in Brisbane, California, where fenestration was designed to achieve an angle with respect to sun incidence to allow maximum reflection of solar heat; this design also assisted in reducing interior over-illumination to enhance worker efficiency and comfort. Advances include use of occupancy sensors to turn off lights when spaces are unoccupied, and photosensors to dim or turn off electric lighting when natural light is available. In air conditioning systems, overall equipment efficiencies have increased as energy codes and consumer information have begun to emphasise year-round performance rather than just efficiency ratings at maximum output. Controllers that automatically vary the speeds of fans, pumps, and compressors have radically improved part-load performance of those devices.
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The 1917 General and Commercial building is located in Ellenborough street adjacent to the 1901 college and is a simply decorated two storey brick masonry building with full height basement below street level. This building is constructed of tuck pointed brown brickwork relieved with red brick round arched fenestration at basement and ground level and segmental arched windows to the first floor all with cement rendered sills and double hung windows. The roof is divided into three bays of red painted corrugated iron hipped roofs with boarded eaves and the entrance is pronounced at the roof line by a raised parapet at the intersection of two bays. A steep narrow fire stair is located on the southern elevation and its landing is located about one metre above street level.
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Dominating the fenestration was a massive stained glass window in the gable, while the tower features Gothic windows on its lower stories and paired openings to the un-windowed belfry at its top. The spire is no longer in place on the tower; like the chapel and other additions, it had been removed by the late 1970s. Remaining in place next to the tower is an entrance, which prior to demolition sat in front of the church's four-bay southern side. Scattered other components of the building survived its demolition: part of the pulpit was given to a church in Ripley, the cornerstone from the 1818 church building was donated to other Presbyterians in the area, and numerous structural elements such as woodworking and stained glass were sold to members of the public.
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This improved privacy and kept cooking smells, noise, and any other indelicacies of the lower classes away from their more cultivated employers, thus allowing the great hall and its adjoining rooms to be more tastefully decorated and specifically employed. However it was essential that servants were close at hand, and so they were given their own specific floors, usually the lowest and the highest. These floors were often, as at Belton, distinguished by a different fenestration from the rooms of the employers in between. Hence at Belton can be seen the small windows of the semi-basement containing the kitchens, pantries and servants' dining halls. Above are the large windows lighting the principal rooms, while right at the top of the house are again the small windows of the servants’ bedrooms.
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The design and fenestration of the entrance façade is repeated at the rear on the garden façade, except that the roof balustrade at the rear is undecorated by urns and pediment. The house is built of Helmdon stone, a cream stone of exceptional quality, which has ensured that the carving appears as crisp today as it was on completion of the house in 1702. The two side elevations of the house tell the story of life in a country house before the age of the servants' bell. Until the invention of the remote bell situated in the servants' hall, which could be jangled by a system of ropes and pulleys from far away, it was necessary for servants to be located within earshot of a hand-bell or call of the voice.
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Fan vaulting over the nave at Bath Abbey The most spectacular of Bath's terraces is the Royal Crescent, built between 1767 and 1774 and designed by the younger John Wood. Wood designed the great curved façade of what appears to be about 30 houses with Ionic columns on a rusticated ground floor, but that was the extent of his input: each purchaser bought a certain length of the façade, and then employed their own architect to build a house to their own specifications behind it; hence what appears to be two houses is in some cases just one. This system of town planning is betrayed at the rear of the crescent: while the front is completely uniform and symmetrical, the rear is a mixture of differing roof heights, juxtapositions and fenestration.
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St. Nicholas, Kenilworth, west door 1570 North Scarle, Lincolnshire The development of the Norman revival style or Neo-Norman took place over a long time in the British Isles starting with Inigo Jones‘s re-fenestration of the White Tower of the Tower of London in 1637–38 and work at Windsor Castle by Hugh May for Charles II, but this was little more than restoration work. More surprising is the west door of Kenilworth Church, inserted in the tower in 1570 probably at the time of a visit of Queen Elizabeth. This appears to have been historic arch, sourced possibly from an unknown monastic building,Country Life, 12 January 2016 Another early example of Romanesque revival is the south porch of North Scarle Church in Lincolnshire. Pevsner suggests that it might be Elizabethan, but late 17th.
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In November of the same year he used it to operate on a patient with chronic otitis who had a labyrinthine fistula. Nylen's microscope was soon replaced by a binocular microscope, developed in 1922 by his colleague Gunnar Holmgren (1875–1954). Gradually the operating microscope began to be used for ear operations. In the 1950s many otologists began to use it in the fenestration operation, usually to perfect the opening of the fenestra in the lateral semicircular canal. The revival of the stapes mobilization operation by Rosen, in 1953, made the use of the microscope mandatory, although it was not used by the originators of the technique, Kessel (1878), Boucheron (1888) and Miot (1890). Mastoidectomies began to be performed with the surgical microscope and so were the tympanoplasty techniques that became known in the early 1950s.
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The Vivian Apartments, originally known as the Alco Apartments, are a historic, commercial/apartment building located in Portland, Oregon, United States. Built in 1912 at the northern end of Portland's eastside commercial core, the building typifies the mixed-use commercial development that occurred along Portland's streetcar lines in the eastside area during the early 20th century. It was noted for quality design and construction when it was built, and retains significant character-defining characteristics, including transom windows and recessed entries in the commercial spaces, original fenestration on the rear elevation, a prominent apartment entrance and lobby, and decorative cornice and masonry. The building's significance is strongly echoed in the 21st-century renaissance of mixed-use construction and streetcars in Portland, with a new-generation streetcar line on Martin Luther King Jr. Boulevard immediately opposite the west elevation.. The Alco Apartments were listed on the National Register of Historic Places in 2017..
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Block A, south elevation Block A is a symmetrical two-storey building set high on an open undercroft level and has a hipped and gabled roof clad with tiles. At the roof's central peak is a prominent metal ventilation fleche with round cupola, visible from the surrounding residential neighbourhood. The building character expresses a composed simplicity through the use of attractive, simple, and low maintenance materials with minimal decorative features, including extensive use of glazed dark face bricks internally and externally contrasting with smooth-rendered concrete dressings and plain, regular fenestration. The building comprises an undercroft level of open play spaces below two levels of teaching rooms and its facades are defined horizontally with three materials: smooth-rendered masonry with lined coursing at undercroft level; facebrick for the first floor up to the sill level of the second floor; and painted roughcast render above.
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In August 2007, the Lissan House Trust opened the house to the public for the first time and almost 5,000 visitors made their way to the estate in the eight days of opening, making Lissan potentially one of the most popular tourist attractions in Ulster. In 2010, Phase I of the Restoration of the Estate started and major structural restoration work was carried out on the main House including making the building structurally safe; re-roofing; removal of the 1940s cement render and its replacement with lime-washed lime mortar and re-fenestration with Georgian glazing. In addition, the interior of the house was re-presented, forest trails laid, an adventure playground constructed and an interpretative exhibition installed in the house. Funding for Phase II (the restoration of the interior decorative schemes, re-building the Conservatory and the complete restoration of the farmyard and outbuildings) is currently being sought.
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The extent of Inwood's contribution to it has been questioned, John Summerson believing it to be substantially by Henry William Inwood, who visited Athens in 1819 (after the initial plans for the New Church had been drawn up) and later published a book on the Erechtheum. In 1823 Inwood repaired the roof at St Anne's, Soho, and in 1825 carried out substantial alterations to Thomas Archer's church of St John in Smith Square, Westminster, intended to increase its capacity and improve lighting, in the course of which he rebuilt the galleries, created new doorways and altered the fenestration. In 1832 Inwood's designs for the new Westminster Hospital in Broad Sanctuary, made in collaboration with another son, Charles Frederick Inwood (1799–1840), were chosen from a number of invited submissions . The specifications had stipulated a Tudor-Gothic style, in sympathy with the nearby Westminster Abbey.
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The same article noted the building "houses executive offices, research and development facilities and product showrooms". In international design competition the Dakin building was awarded semi-finalist standing in the 1990 Quaternario Award, an international award for innovative technology in architecture. The American Institute of Architects 1990 article states that one of the bases for the international recognition is: “The two north facing atrium walls are faced entirely in glass... Due to the expanse of glass, the projecting atrium gives the impression of a greenhouse, creating the effect of extending the interior to an adjacent park and to the bay beyond”. The Quaternario judges focused on the technological aspects of the fenestration design where window angles were calculated to minimize interior glare and reduce interior over-illumination, while at the same time reducing solar heat loading and subsequent demand for air conditioning as energy conservation techniques.
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The station building A 1-1/2 story building of brick construction, the station's long, rectangular form is dominated by an expansive hip roof which overhangs the walls 6-1/2 feet and is supported by bracketed, wood outriggers. The west (front) and east (trackside) elevations are punctuated by round-arched fenestration, three doors with flanking windows on the east and alternating doors and windows on the west. Near the south end of the west facade, the eaves line of the hip roof is broken by a projecting gable with decorative infill in the peak which covers a projecting pavilion with a paid of round- arched windows. On the east elevation in a corresponding position a station agent's office projects in a similar fashion but also projects through the hip roof, without breaking the line of the eaves, and terminates in the form of a gable-roofed dormer.
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The ground and first floors are both low, the first being rusticated, the next two floors the piano nobile and the secondo piano, have tall segmented windows separated by pilasters, the tall windows are fenced by balustraded balconettes. The fifth floor is a low mezzanine beneath the projecting hipped roof, here the small oval windows are divided by the heraldic eagles of the Labia family. The facade on the Campo San Geremia designed by Tremignon which hints at the more floral Venetian Gothic style contrasts to the more classical canal facades. However the Venetian Gothic is more of a subtle suggestion than defining style, the typical central recessed loggias of the piano nobili, typical features of the Venetian Gothic, are however glazed, and the roof line, unlike on the water fronts, is concealed by classical balustrading, but the repetition and placing of the fenestration continues the theme of the canal facades.
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Unwanted heat transfer can be mitigated by for example using curtains at night in the winter and using sun shades during the day in the summer. In an attempt to provide a useful comparison between alternative window constructions the British Fenestration Rating Council have defined a "Window Energy Rating" WER, ranging from A for the best down through B and C etc. This takes into account a combination of the heat loss through the window (U value, the reciprocal of R-value), the solar gain (g value), and loss through air leakage around the frame (L value). For example, an A Rated window will in a typical year gain as much heat from solar gain as it loses in other ways (however the majority of this gain will occur during the summer months, when the heat may not be needed by the building occupant).
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In 2001, the studio received the monumental commission to design and create the entire stained glass fenestration for St. Martin’s Episcopal Church in Houston, Texas. The 36 window project, completed in May 2004, is the studio’s largest-ever one-time commission. Over 100,000 individual pieces of hand-cut glass make up the clerestory windows alone. The church’s Rev. Gibson, remarking on the coloration of the different blues within The Great Commission window, compared the work to Chartres stained glass: “...the bluest window I have ever seen, next to the Jesse Tree window in Chartres.”Parente, L. (Winter 2006). “The St. Martin's Commission: The Willet Stained Glass Studios’ Largest Commission (Yet)”. The Stained Glass Quarterly. 101 (4): 278-283. Nearly 20 years later, in 2018, the studio was again commissioned to design and fabricate the stained glass in the church’s new Christ Chapel and Parish Life Center.
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The modern village grew up at the foot of the chateau in the time of the Lefrancs, and its layout and facilities were shaped by the needs and gifts of the owners. The chateau was built on the foundations of the existing manor house in the emerging neo-classical style, similar in some respects to the Petit Trianon at Versailles (built between 1762 and 1768, a few years later than Pompignan). However, while the fenestration proportions are similar, the facades at Pompignan are much less ornate, relying for their decorative effect on brickwork details, the play of colour between brick and rendering, and on the indentations produced by the short nibs at the centre and either end of the main (south-eastern) façade. Both buildings are oriented towards views of landscape gardens, but Pompignan was planned as such, whereas the hameau at the Petit Trianon was added twenty years afterwards, by a different architect and patron.
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Their application of groin vaults to vast halls like the frigidaria in the Baths of Caracalla and Diocletian became highly influential in church architecture in the Middle Ages. The aspirations of church building reached its zenith then, and the groin vault was pursued aggressively for its ability to create strength, without massive buttress formations; in addition, it provided the church architects a remedy for the dim illumination inherent in the barrel vault design, since the barrel vault had to minimise fenestration to retain adequate strength. 20th-century structural engineers have studied the static stress forces of the groin vault design and validated the Romans' foresight in an efficient design to accomplish the multiple goals of minimum materials use, wide span of construction, ability to achieve lateral illumination, and avoidance of lateral stresses. A seminal modern design is the largest European train station, Hauptbahnhof in Berlin, which features an entrance building with a glass-spanned groin vault design.
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Typical window insulation film kit of plastic shrink film (folded-up) and a roll of double- sided tape One commonly used film is a heat-shrink plastic which is attached to the window frame using double-sided pressure-sensitive tape. A hair dryer is used to remove creases and improve optical clarity. Reduced heat flow also helps prevent condensation Condensation on Inside Window Surfaces CANADIAN BUILDING DIGEST, Originally published April 1960, A. G. WilsonQuestions about windows and condensation National Fenestration Rating CouncilStrategies to Prevent Condensation in Buildings Eduardo de Oliveira Fernandes, Vítor Leal and Francisco Craveiro IDMEC and DEMEGI, Faculty of Engineering, University of Porto Porto which is triggered when the temperature of the inside surface falls below the dew point. Assuming an outside temperature of 0 °C with wind velocity 15 mph and inside temperature 20 °C condensation occurs at only 30%RH relative humidity with a single-glazed system compared with 60%RH for a double-glazed system.
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These characteristics include: the prominent location at the corner of two main streets in the heart of a principal regional centre; the substantial nature of the two-storeyed, brick structure; the decorative parapet and other detailing to the street elevations; the extensive use of pressed metal throughout the public areas of the store; the provision of natural lighting via the fenestration in the main elevations and a roof lantern to the rear store; and the store and loading dock facility at the rear of the premises. The place is important because of its aesthetic significance. Prominently situated on a corner allotment in the principal street of Roma's central business district, the building is significant for the contribution of its form, scale and detail to the historical character of this area and to the Roma townscape. The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland's history.
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The Central Sydney Heritage Inventory contains separate listings for the building façades of 145–151 George Street and the former New York Hotel at 153–155 George Street: "Of environmental significance for its contribution to an architecturally diverse and historically important commercial streetscape of heritage significance as physical evidence of the growth and consolidation associated with the maritime activities at Circular Quay". The group of four buildings was classified as part of the George Street Business Precinct by the National Trust of Australia in the mid 1970s: "A group of four compatible Edwardian buildings containing interesting and lively fenestration which combine to present a picturesque street elevation. The group acts as a sympathetic extension to the remaining earlier buildings of George Street in scale and character to present a unified streetscape". The above listings indicate that the primary significance of the group is their contribution to the historic streetscape as well as their aesthetic value as a group of Federation period commercial buildings.
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Avenue Mozart was a prestigious street with several mansions. Guimard built with cut stone as well as his characteristic brick, for which he here used a low-contrast shade, and although the fenestration is highly irregular (including a corner window and characteristic lanterns above a long balcony on the top floor), the ground-floor and top-floor windows on the main façade are symmetrical, so the building is more redolent of the eighteenth century than his earlier more or less fantastical houses. The small corner lot imposed a triangular shape on the house but made internal load-bearing walls unnecessary,and to save space, he did not include a main staircase, installing a lift instead. The interior layout differed on each floor: studios for his architectural business occupied the ground floor, reception rooms the floor above (including an oval salon and an oval dining room), living quarters the second floor and his wife's studio the top floor; the vast studio window has since been altered.
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Annefield's significance is derived from the fact that it is a relatively rare example of the well-developed Italianate architectural style in Charlotte County, Virginia. Elements of Jacob W. Holt's interpretation of the Italianate style within Annefield include a stereotypical Holt front entryway featuring double doors with arched panels, surrounded by arched sidelights, and a round-ended transom flanked by a pair of round “pinwheel” windows. Other features include a fenestration pattern displaying pairs of arched windows matching those found in the entryway, a deep, bracketed cornice, and a mantel design that seems to be unique to Holt: a progressively-styled Italianate mantel from William H. Ranlett's The Architect (Volume I, plate 52) with the insertion of a Greek Revival-style frieze roll just above the firebox opening.Parlor mantle c. 2005 during restoration Another factor contributing to the significance of Annefield is the house's attribution to Jacob W. Holt, a prominent master builder of Piedmont Virginia and North Carolina during the middle to late nineteenth century.
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Generally, the facades are broken by a regular fenestration: with a mixture of vertical rectangular and rounded doorways, in addition to ocula, on the first floor, square windows on the intermediary levels and rectangular windows that include pediments on the third floor, while a large pediment completes the second-floor of the central body. In this central wing, entry is made by two rounded doorways in the courtyard, flanked on either side by three ocula; the second floor continues with square windows, while the third floor includes tall rectangular windows and pediments. Above the first-floor rounded doors are three large windows (the largest being the central), that are surmounted by a curved pediment with the image of Nossa Senhora da Oliveira (Our Lady of the Olive Tree), and topped by pinnacles. The first floor is taken up by agricultural dependencies: a wine cellar consisting of three naves, stables and a kitchen decorated in azulejo tile (showing an undetermined figure, meat and fish).
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Displaying a hierarchy of functions and materials - an impressive, classically styled masonry facade with entrance portico and columns masking a utilitarian, weatherboard-clad building behind - and retaining its early banking chamber, strong room and fenestration, the building has a high degree of integrity and is important in demonstrating the principal characteristics of its type. The building also contributes to our understanding of the work of notable architect Lange Leopold Powell who made an important contribution to Queensland's built environment, and was a key figure in the development of the Royal Australian Institute of Architects. Powell designed or modified numerous buildings for the National Bank of Australasia in Queensland, of which this is a fine example of those he completed in regional towns - characteristically a strong classically influenced street facade to an otherwise simple building. He also designed many other significant buildings, such as the Brisbane Masonic Temple, arguably one of his finest works.
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Reached for comment, the group said it no longer used that website and it had been hacked a few weeks earlier; The Daily Dot said the image appeared to have been one of many posted by the hacker at random. A man named Parker J. Wright replied to a reporter's query on Twitter by saying he was not the Parker Wright who had posted the video to YouTube on September 30 with the note "Are you listening?" alt=An empty room in an abandoned building with no finishes, cement structural systems visible, support columns in the middle, empty openings along a left brick wall through which a forest can be seen, and cement blocks and tires piled on the floor While the identity of the video creator remained unknown, the location at which it was filmed has been identified. A Polish Internet user who was following the story went to the former Zofiówka Sanatorium, near Otwock, a short distance south of Warsaw. One of the rooms there had the same fenestration and graffiti seen in the video.
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Two smaller resources from the early nineteenth century are also found along the 600 and 700 blocks of Fifth Street. The frame building at 708 Fifth Street (118-5318-0027) was likely built by prominent Lynchburg merchant Archibald Robertson (1783-1835) circa 1820. Perhaps the only intact example of frame commercial architecture from the period remaining in Lynchburg, the building presents a tight, three-bay façade along Fifth Street (while most of the façade is currently covered by T-111 siding and a later brick storefront, interior investigation reveals the building's true nature). The two-story, double-pile (the rear chimney has been removed below the roofline) building is of timber frame construction, and is covered by a side gable roof of standing- seam metal with a simple boxed cornice. While the first floor storefront has been remodeled by the addition of a brick façade and aluminum and glass commercial door, the second floor (underneath the T-111 siding) retains its original fenestration with a single-leaf doorway with a four-pane transom, which once opened onto an overhanging balcony, flanked by a pair of 6/6 double-hung sash.
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This profusion of large, mullioned windows, an innovation of their day, give the appearance that the principal façade is built entirely of glass; a similar fenestration was employed at Hardwick Hall in Derbyshire. However, despite the Dutch gables, a feature of the English Renaissance acquired as the style spread from France across the Low Countries to England, and the Gothic elements, much of the architectural influence is Italian. Statues of the Nine Worthies in niches on the piers of the Long Gallery (upper eastern facade) The windows of the second-floor Long Gallery are divided by niches containing statues, an Italian Renaissance feature exemplified at the Palazzo degli Uffizi in Florence (1560–81), which at Montacute depict the Nine Worthies dressed as Roman soldiers; the bay windows have shallow segmented pediments – a very early and primitive occurrence of this motif in England – while beneath the bay windows are curious circular hollows, probably intended for the reception of terracotta medallions, again emulating the palazzi of Florence. Such medallions were one of the Renaissance motifs introduce to English Gothic architecture when Henry VIII was rebuilding Hampton Court and supporting the claim that the English Renaissance was little more than Gothic architecture with Renaissance ornament.
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