I wanted this book to open out, to say: These things are all black.
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New worlds open out to them, beyond their little worlds, and widen their range of reflection, information, sympathy and interest.
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The hinges are a thing of metal beauty: they open out to a full 180 degrees and feel strong enough to hang a door on.
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Immediately to the left of the foyer, through a wide entrance flanked by columns, is a living room with a marble fireplace and glass French doors that open out to the porch.
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The main living room beyond has a wood-burning fireplace suspended from the ceiling and a dining area at one end with a curved wall of glass doors that open out to a covered terrace.
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The house's elaborate, sprawling, and labyrinthine structure—with 161 rooms, stairways that end in blank walls, closets that open up to the floor below, and cabinets that open out to hallways and ballrooms—was, the story goes, a means of keeping those ghosts at bay.
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The problem is that all these data points never connect to form an illuminating portrait; the book does not open out to become the sort of resonant narrative that Robert A. Caro and Ron Chernow have pioneered, in which momentous historical events are deftly recreated, and a subject's life is situated in a time and a place.
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This northwestern extension encloses the Belep Islands and other sand cays. Several natural passages open out to the ocean. The Boulari passage, which leads to Noumea, the capital and chief port of New Caledonia, is marked by the Amédée lighthouse.
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In the regions of puffs, the chromonemata uncoil and open out to form many loops. The puffing is caused by the uncoiling of individual chromomeres in a band. The puffs indicate the site of active genes where mRNA synthesis takes place. The chromonemata of puffs give out a series of many loops laterally.
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They left in April 2005 to move to a new location on Route 2. Also, Caldor closed in early 1999 when the chain went out of business. The Caldor wing was demolished in 2003 for a Lowe's, which does not open out to the mall. Many other tenants began to leave during the 2000s, leaving Latham Circle as a dead mall.
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Double doors open out to a small landing on the second level. The arcade provides public passage through the building on ground level and internal facades are symmetrical in layout with full-height glazing to the shopfronts. Ceilings and walls are finished with painted plaster with sandy-coloured terrazzo to the floors. Public spaces on the second and upper levels are reached by a masonry staircase at the rear of the building.
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At ground level, three large living rooms, such as the dining, drawing and billiard rooms, which open out to an enclosed verandah to the north. To the south are the smaller study, library, preparation rooms and toilets. There is cedar joinery throughout, including door and window architraves, skirting, staircases and cupboards, as well as, suspended timber floor, polished floorboards. Each of the main living rooms feature fireplaces, and ornate brass pendant or wall mounted light fittings.
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The highly detailed bathroom has an alcove bath, a built-in shower recess, a decorative sandblasted mirror designed by the architect and a strong single colour scheme of carefully detailed blue tiles. On the exterior, the main bedroom projects slightly and is supported by corbels. On the northern wall, multi-paned French doors open out to a small semi-circular "Juliet" balcony. These doors are surrounded with raised rendered decoration similar to that around the front entry door.
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The Redcliffe Parade facade steps up at parapet level to conceal the hipped roof of the ballroom space beyond which is clad in "super-6" profiled fibre-cement sheeting. Timber-framed doors open out to a centrally-placed balcony on the second level above the cantilevered street awning. There are four shop tenancies at ground level adjacent to the entrance to the arcade. Columns on this level are finished with terrazzo and some early mosaic tiling exists on one of the shopfronts.
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88, Parragon; 2004. The first floor windows are tucked under the eaves and raised from ground level, providing both privacy and providing light to the staircase and second floor gallery. Wright carefully sited the house to allow maximum southern exposure for the living room windows and skylights and to create a spacious yard for the perennial gardens. Leaded and colored glass accented doors and casement windows open out to terraces and gardens with garden walls and planters incorporated into the design.
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The O.C.T.C.’s dock at Salem was located in a slough off the main river. On December 18, 1914, the entire slough was frozen over with ice 2 to 3 inches thick. To keep the channel open out to the main river, the company had to deploy a launch to keep breaking up the ice every 15 minutes as it formed. The temperature the night before was 19 degrees above zero, lower than the previous lowest temperature recorded, which was 22 degrees.
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The railway cream shed sits within the southern end of the Amamoor railway station yard, facing west adjacent to the Mary Valley branch railway line. The cream shed is a square timber structure, set on low timber stumps and sheltered by a gabled corrugated iron roof. The shed is timber framed and is clad and lined with horizontal hardwood boards separated by open spaces, with the interior boards offset to cover the outside spaces. Double timber doors open out to towards the timber platforms on either side of the shed.
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So the Ayuntamiento (Council) set to work to solve the problem of squaring the Plaza, but it proved to be a difficult problem. Commissioners were appointed and they labored faithfully to evolve plans to remedy “certain imperfections which have been allowed to creep into the form of the Plaza through carelessness; and to add to the beauty of the town by embellishing the Plaza.” But they encountered opposition to their efforts. Pedro Cabrera's house lot fell within the line of a street that it was proposed to open out to the westward from the Plaza.
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The entrance doors open out to a long axial arcade running across a large garden court, past the hotel lobby and out through the coconut grove towards the sea and the horizon. David Robson in his book, Geoffrey Bawa: The Complete Works, states "the sequence of spaces is formal and controlled; the materials highly polished, light in tone and muted in colour and the architecture restrained but monumental." The hotel is an example of Bawa’s minimalist style, use of space, lengthy corridors, open views, water, terracotta tiles and frangipani trees.
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The VS campus covers . Between the classroom block and the science block, the "Eco-Street", which is planted with tropical vegetation and houses fish and turtles, forms a central artery providing natural light and ventilation to the classrooms, and also a setting for outdoor learning. Within it the Victoria Pool, Learning Garden, Bio Pod and Exploration Patch are intended to represent a move away from rigidly-structured, classroom-based instruction. The ground-level classrooms, known as Learning Studios (consisting of the Gentlemen, Professional, and Sportmen rooms) are air- conditioned and have sliding doors that open out to the landscape.
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The railway cream shed is located within the Melawondi railway yard facing east adjacent to the Mary Valley branch railway line, and is the only remaining structure within the yard. The cream shed is a square timber structure, set on low timber and concrete stumps and sheltered by a gabled corrugated iron roof. The shed is timber framed and is clad and lined with horizontal hardwood boards separated by open spaces, with the interior boards offset to cover the outside spaces. Double timber doors open out to towards the timber platforms on either side of the shed.
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Located adjacent to the railway line in station yards and built to a standard design, the small square sheds are clad and lined with horizontal hardwood boards separated by open spaces on both the interior and exterior, with those on the interior offset to cover the spaces on the exterior. The boards are spaced to improve air circulation, resulting in a cooler internal storage area. The sheds stand on low stumps, are sheltered by gabled roofs and have double doors that open out to platforms on either side of the shed for placement and retrieval of cream cans.
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The doors then open out to reveal the view from the top floor before the car drops briefly, pauses, and drops along the remainder of the shaft. The elevator then raises almost to the top, and immediately drops without stopping, in complete darkness. The elevator then ascends all the way to the top of the tower, shudders, and falls to the bottom of the shaft, to the area in between the two loading floors (to assure each ride is identical), with the elevator being finally returned to its load level and horizontally pushed back into place at the boiler room service doors. The height of the ride is and the elevator drop in total.
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The pulse of neutron radiation would cause immediate and permanent incapacitation to unprotected outdoor humans in the open out to 900 meters, with death occurring in one or two days. The median lethal dose (LD50) of 6 Gray would extend to between 1350 and 1400 meters for those unprotected and outdoors, where approximately half of those exposed would die of radiation sickness after several weeks. A human residing within, or simply shielded by, at least one concrete building with walls and ceilings thick, or alternatively of damp soil 24 inches thick, would receive a neutron radiation exposure reduced by a factor of 10. Even near ground zero, basement sheltering or buildings with similar radiation shielding characteristics would drastically reduce the radiation dose.
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The third floor houses a massive ceramic-tiled Hubbard Currence therapeutic tub (a full body immersion whirlpool installed in 1938 when other hydrotherapeutic pools were also added), areas for men' s and women' s parlors, and a wood panelled gymnasium to the rear. The most impressive space on the third floor is the assembly room (now museum) where the segmentally arched vaults of the ceiling are filled in with arched, stained glass skylights. Arched wood-frame doors surrounded by fanlights and sidelights open out to the small balconies of the front elevation. The basement houses various mechanical equipment, a bowling alley (since removed), and the Fordyce spring – a glazed tile room with an arched ceiling and a plate glass window covering over the natural hot spring (spring number 46).
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A Plaque about Carl Street On the Studio itself In 1927, Kogen purchased the mansion at 155 West Carl Street, which stood on two city lots, and asked Miller to help convert the structure into an aesthetically enticing, modern studio complex for emerging artists. From the outset, the central idea behind Carl Street Studios was to create a series of unique art studio apartments that would open out to closed communal exterior spaces fraught with gardens, fountains, koi fish ponds and, of course, art. A somewhat similar concept had already been established at the Tree Studios, located further south on State Street, earlier in the 20th century. However, unlike the Tree Studios complex, Kogen and Miller conceived of a studio complex whose interior and exterior spaces would themselves be innovative works of art, and not merely functional spaces for the production of art.
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Valentine Gunasekara deployed the novel methods of designing that he had picked up from his working stint in the States, such as design development through models. Regarding the in-built special qualities of old buildings such as walauwas, temples, monasteries and colonial buildings through redeployment of some of their architectural components, Valentine disliked most traditional design concepts relating to the basic constituents of form. Downward or overhanging roof slopes of traditional verandah spaces was the most problematic as well as disturbing for him and wanted these roofs and ceilings to open out to allow the beauty of the surrounding to fill in the space. Valentine considered that the spatial progression of a building at the boundary, where inside meets outside, is something that has to be more fluid, and this was achieved by raising the canopy or the roof edge up to ensure the outward draw.
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