Only its roofscape of peaks and valleys hints at a roiling inner life.
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For colder weather, there are sheltered spaces that have LED panels in the ceiling, allowing for a "simulated roofscape and virtual immersive experiences."
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Gustav Peichl museum roofscape Gustav Peichl (18 March 1928 – 17 November 2019) was an Austrian architect and caricaturist.
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It features an irregular plan, a cluttered roofscape, a variety of surface textures, tall chimneys with decorative brickwork, and a prominent semicircular bay on the main facade. The house was added to the National Register of Historic Places in 1978.
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The structure is capped by a busy roofscape. The main roof is a high-pitched gable that features small triangular dormers. The transepts have hip roofs, and they too have small dormers. The narthex's gable roof sits at a right angle to the main roof.
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Some of these elements are also found locally on Second Empire style houses. Its complex plan and roofscape, exemplified here by the full-height projecting window bays and gabled dormers toward the back of the structure, would be a feature of later Victorian architecture in Davenport.
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High Significance Fabric: The Grosvenor Street facade and a considerable part of the return along Milson Lane, at least as far as the south wall of the courtyard. The interior spaces of the 1890 building (stair hall, full height). Courtyard including surrounding walls and verandahs. The roofscape.
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The doorway, roofscape and top flats of 51 Cockburn Street appear prominently in the film Hallam Foe. Scenes for the film Avengers: Infinity War were filmed in the street in April 2017. The chase seen between Mark and Begbie in Trainspotting 2 includes a sequence on Cockburn Street.
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The Lindsay House is one of several Italianate style houses in the Fulton Addition. The two-story frame house is influenced by the Victorian styles of the era. It features an irregular roofscape, progressive setback of projecting masses, a bracketed cornice, window trim, double-door entry, and its original front porch.
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The building was designed by the architecture firm of Oakden, Addison & Kemp in association with John Beswicke. The design has strong influences of the English Queen Anne revival, then a new style in Melbourne. This is seen in the use of red-brick with rendered stripes, and the picturesque turreted and gabled roofscape.
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There are a few picturesque touches found on this house that distinguish it from the other houses in the neighborhood. The house is a frame structure that follows an L-plan with a front porch. The fanciful roofscape features a sweeping curve that extends over the porch. A small polygonal turret enhances the picturesque effect.
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The roofscape is significant in defining the character of the house. with Its main ridge runs the length of the structure, and it features short cross gables. The walls are a combination of brick and stucco half-timber in almost equal proportions. Together with Salisbury House, it is unique in Des Moines, and probably the state, for literally borrowing from England's domestic medieval architecture.
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The Jacobean north front of the house is constructed of ashlar and has a projecting porch with a bow window above. At each end of this facade are two flanking canted bays, each with a double height oriel window. Immediately on each side of the porch are two large windows of the hall inside. Hiding the roofscape is a parapet with vases erected in 1740.
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Thomas & Lawrance, 2016, 5, based on Ashley, draft Conservation Plan, 1989 The property was acquired by the NSW National Parks & Wildlife Service in 1989. Major conservation and restoration works were conducted in the 1990s, restoring the roofscape to its c.1900 form. The Kellion Estates kitchen was demolished and the exterior shell of the kitchen wing substantially reconstructed based on available evidence, with a modern interior.
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Roofscape of Meissen's old town Meissen (in German orthography: Meißen, ) is a town of approximately 30,000 about northwest of Dresden on both banks of the Elbe river in the Free State of Saxony, in eastern Germany. Meissen is the home of Meissen porcelain, the Albrechtsburg castle, the Gothic Meissen Cathedral and the Meissen Frauenkirche. The Große Kreisstadt is the capital of the Meissen district.
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The complex of corrugated iron roofs articulates separately the mass of buildings constructed over time. The original house has the largest roof, made up of hips and valleys, the rear wings are hipped and gabled and the verandahs are flat or curved skillions. Five brick chimneys stacks of varying sizes and the pointed cupola complete the roofscape. Bryntirion is an intact building that retains its 1860s core and garden setting.
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An attractive single storey red brick dwelling, House Hains has elevations articulated by a varied roofscape, painted woodwork, and verandahs with ornamental timber detailing. The property has three bedrooms and two entertaining rooms with kitchen, bathroom and servants room to the rear. A generous verandah off the dining room provides an outdoor entertainment space. It is a spacious house of pleasing proportions, having been originally designed to sit within two stands.
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Each of the pavilions each utilised low pitched roof forms that reinterpreted forms common in traditional farm buildings particularly skillion roofs that sailed above the lower scale colonnades to provide clerestory skylight. A central bell tower provided a focus to the complex and relieving verticality to the long colonnades and low pitched roofscape, with the advantage that it was climbable. A limited palette of material was maintained throughout.
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As at 10 September 2008, the station building was generally in good condition. Also in good condition were the lavatory building, the island platform and the pedestrian Subway. The station group has a high degree of integrity with minimal changes to the exterior of the buildings. The overall integrity of the station has been reduced due to the 1990s upgrade works, which obscure views to the roofscape of the building and impact on the setting.
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The construction of accommodation for enginemen, train guards and other on-board staff has been provided by the NSW Government Railways from the 1880s. In the late 1890s, a standard design of barracks was approved. Those at Mount Victoria reflected a standard arrangement with rows of four bedrooms on each side of the building. There was also a central kitchen and meal room, reflected in the roofscape by a large transverse gable.
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Once a pair of simple hip roofs surrounded by lower pitched verandah roofs, various extensions and alterations have created a complex roofscape of interlocking hipped roofs with box gutters, valleys and ridges. The roof is modest in scale and appearance due to the relatively low pitches used and the small size of the original elements. The house is largely constructed of timber. Simple timber posts support unlined verandah roofs with exposed timber framing.
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The entire Queen Street facade is repeated at each end of the side elevation, the central bays of which are plainer. Behind the parapet the building has an interesting roofscape of steeply pitched terracotta tiled roofs, one above the caretakers quarters and another over the lift room on the eleventh floor. At street level individual awnings have been located between the archways. From the rear laneway the building duplicates much of the front facade but is painted.
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The elaborately developed roofline. The keep's façade is asymmetrical, with the exception of the northwest façade, latterly revised, when the two wings were added to the château. The roofscape of Chambord contrasts with the masses of its masonry and has often been compared with the skyline of a town: it shows eleven kinds of towers and three types of chimneys, without symmetry, framed at the corners by the massive towers. The design parallels are north Italian and Leonardesque.
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Appian Way is a street located in the suburb of Burwood in Sydney, New South Wales, Australia. The state heritage listed Appian Way has been described as one of the finest streets of Federation houses in Australia. The picturesque houses create an asymmetrical, multi-gabled roofscape with a variety of materials used such as slate and terracotta tiles and feature varied designs. The houses are complemented with landscaped gardens, manicured lawns and a nature strip with Brush Box trees.
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The building is aesthetically distinguished. The façade materials are detailed in rich colours that make the building distinctive amongst the significant streetscape of Martin Place. In particular, the terracotta is aesthetically distinguished not least because of its contrast to the traditional masonry materials of the surrounding buildings. The roofscape has been designed to integrate service elements with the neo-Classical design of the remainder of the building, with respect for the high visibility of the roof.
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The three individual houses with different characters are grouped around a central, triangular courtyard. Noteworthy is the roofscape whose multiform design significantly contributes to the structuring of the building and gives rise to the impression of three independent buildings. The main building faces north; its narrow side marks the end of Rose Street coming from the Marienplatz. On the west side, the facade follows the convex shape of the street layout of Sendlingerstraße; the east wing facing the Rindermarkt has a straight baseline.
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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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He manages to persuade her to give him a job as a kitchen porter in the hotel. Hallam makes his home in the clock tower of the hotel because of its vantage point over Kate's home in a top flat, where he can spy on her. He also spies on Kate through a skylight on her roof, clambering over the roofscape to reach his vantage point. Hallam learns that another senior hotel employee, Alasdair (Jamie Sives), is having an extra-marital affair with Kate.
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Ruffinihaus: West corner on Sendlinger and Pettenbeck Streets East corner facing the Rindermarkt, with the Ruffiniturm fresco Roofscape of the Ruffinihaus. The connection between the southwest and northeast buildings is also clearly visible. The Ruffinihaus ("Ruffini House") is a group of three houses (also known as Ruffinihäuser) on the Rindermarkt ("cattle market") 10 in the Old Town of Munich, Germany. It was built by Gabriel von Seidl from 1903 to 1905 and is named after the Ruffiniturm ("Ruffini tower", demolished in 1808), which in turn was named after Johann Baptista Ruffini.
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The house from Bridge Street This two-story, frame house follows an irregular plan. It is eclectic in nature in that its builder borrowed from several architectural styles that are disassociated chronologically and based on a personal aesthetic. Though the practice was not uncommon in late 19th-century Davenport the other examples of eclecticism are transitional from one style to another. The Smith House features a complex roofscape that begins with a large main roof shaped as a truncated asymmetrical gable in the back and a neo-mansard in the front.
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By this time a first floor window opening in the south elevation was altered to a doorway and a steel gantry is installed, cutting into the original roof alignment above. The roofscape was further altered by the removal of the chimneys. Internal alterations included refurbishment of fixtures and finishes, replacement of original counter joinery, construction of timber-framed partition walls at first floor level, refurbishment of kitchenettes and amenities. The first floor rooms at the southern end of the building were fully refurbished with acoustic treatment for telegraph exchange.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. The building is a fine example of nineteenth century church architecture, showing a strong influence of an Early English Gothic style, which informed most ecclesiastical buildings of the second half of the nineteenth century. Elements of St Thomas' which show this Gothic influence include the steeply pitched and dominant roofscape; the picturesque setting of the building; bi-chrome brickwork; lancet and pointed arched openings; gabled porches; cruciform plan; heavy internal roof trusses and stained and coloured glass. The place is important because of its aesthetic significance.
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Steerpike first appears as a youth of seventeen years with an unclear past, working in Gormenghast's Great Kitchen under the chef Abiatha Swelter, whom he hates. On the day that Titus, 77th Earl of Gormenghast, is born, Steerpike escapes from the kitchen after Swelter collapses from drink. He is discovered by the chief retainer of the castle, Flay, and locked in a small room. Steerpike escapes through the window and climbs over the vast roofscape of Gormenghast, spending the night in a great stone square, before arriving by accident in the attic of Fuchsia, daughter to the Earl of Gormenghast.
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To the north of the Post Office site is Telstra property, containing a large, intrusive telecommunications tower that dominates the roofscape of the civic centre of Casino. To the west of the building is the former CBC Bank, separated by a laneway to the rear yard. Prominent street lighting is well spaced to the side at the front of the post office. The vegetation of the rear yard to the residence comprises garden beds of dense trees and shrubs, individual large trees, and to the front of the post office, isolated palm trees located at the footpath's edge.
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The statuary decorating the roofscape was never executed. The carriage ramp is an unusual feature, leading to the piano nobile. Bramham is a product of a grand tour; its creator Robert Benson, later Lord Bingley, completed his formal education with a grand tour in 1697, and whilst in Italy he began to envisage his new mansion in the Palladian manner complemented in a landscaped park, in the fashion made popular by Le Nôtre in France in the late 17th century. The architect of Bramham is unknown, although it is speculated that Giacomo Leoni was involved Bramham Park (Leoni was responsible for the rebuilding of Lyme Park in an Italianate style in the neighbouring county of Cheshire some years later).
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The house is a mix of every major style of Victorian architecture, including but not limited to: Eastlake, Italianate, Queen Anne (primary), and Stick. One nationally known architectural historian described the house as "a baronial castle in Redwood..." and stated further that "The illusion of grandeur in the house is heightened by the play on scale, the use of fanciful detail and the handling of mass as separate volumes, topped by a lively roofscape." The style of the house has been described as "eclectic" and "peculiarly American." Unlike most other houses dating from the period, this property always has been maintained, and is in nearly the same condition as when it was built.
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It has polished, painted, and turned timber posts and balusters, carved brackets and original or early skirting. The original flight of stairs accessing the basement level of the Post Office matches the main stair, with sheet vinyl treads. Signage on the Post Office is limited to the verdigris brass lettering "Pyrmont Post Office" above the first floor string course, a standard "Australia Post" sign attached to the right side of the Harris Street facade and smaller location and information signs located within the ground-floor porch area. The surrounding streetscape of Pyrmont Post Office is predominantly two to three-storey nineteenth to early- twentieth century mixed-use buildings, with Star City Casino dominating the roofscape to the rear of the site.
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A mid-18th century etching of the Palazzo del Quirinale by Giovanni Battista Piranesi: The colossal Roman "Horse Tamers" or Dioscuri are in the foreground, but the obelisk from the Mausoleum of Augustus (erected 1781 – 1786) has not yet been set up between them. An etching of the Hill, crowned by the mass of the Palazzo del Quirinale, from a series I Sette Colli di Roma antica e moderna published in 1827 by Luigi Rossini (1790–1857): His view, from the roof of the palazzo near the Trevi Fountain that now houses the Accademia di San Luca, substituted an imaginary foreground garden for the repetitious roofscape. The Quirinal Hill is today identified with the Palazzo del Quirinale, the official residence of the President of the Italian Republic and one of the symbols of the State. Before the abolition of the Italian monarchy in 1946, it was the residence of the king of Italy, and before 1871 it was, as originally, a residence of the Pope.
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