"Looking forward to seeing you Friday, but know that I will be intransigent on the choice of off-white roughcast," she said, as an assistant typed.
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The light casts gridded, rainbow patterns on the roughcast plaster walls and the floor made of pounamu, a beautiful serpentine marble that holds special value for Māori.
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According to the Encyclopædia Britannica Eleventh Edition, the central tower of St Albans Cathedral, built with Roman tiles from Verulamium, was covered with roughcast believed to be as old as the building. The roughcast was removed around 1870.
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Flint with limestone dressings, some roughcast. Old tile > roofs, aisles lead roofed. Modern vestry to north in C18 style, roughcast, > hipped tiled roof ... Other sources provide more specifics. The nave is 10th-century Saxon, built about AD 975.
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It is a two-storey L-shaped house in roughcast brick, with a thatched roof.
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The exterior walls are brick with continuous roughcast above window level and to gables, porch and verandah piers. The roof tiles are terracotta and the chimneys brick. ;Hyacinth Cottage - A single storey dwelling of Californian Bungalow style. The exterior walls are brick with roughcast above window head height, terracotta roof tiles and timber framed windows.
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The street-facing elevations have stepped parapets and are finished in roughcast cement render with decorative elements accentuated with contrasting paint colours.
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There is a separate Coflein listing at 19 Glendower Street. It describes an old pub with a two-storey, two-bay elevation and a roughcast exterior.
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Roughcast stucco was later covered by siding. Neighboring houses have eclectic architectural styles ranging from Italianate to crenelated Tudor Revival. The garden is named after Lorrie Dunington-Grubb.
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Historic view of Derrylyn Derrylyn is a large single storey federation cottage of two-tone bricks with a fine slate and terracotta roof punctuated by numerous tall roughcast chimneys.
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Pebbledash Pebbledashing Rock dash stucco Roughcast or pebbledash is a coarse plaster surface used on outside walls that consists of lime and sometimes cement mixed with sand, small gravel, and often pebbles or shells.Rough cast (Roughcast). In: The materials are mixed into a slurry and are then thrown at the working surface with a trowel or scoop. The idea is to maintain an even spread, free from lumps, ridges or runs and without missing any background.
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The 1977 edition of the Pevsner guides had described the Croft's design as "three ranges and a court, roughcast, with Tudor windows" likening it to the domestic architecture of C. F. A. Voysey.
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Fleetwood Museum is on two storeys. It is built of sandstone, rendered with roughcast lime plaster. The front façade has eight ranges of sash windows. The building is accessed from the front through two porticos.
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Other pipes linked to this channel from garderobes upstairs. A good number of different mason's marks are located on the stonework in the entrance pend and elsewhere. The building may have been harled, a form of roughcast.
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The two storeyed single pile brick building contained reception rooms and bedrooms. The house was coated in roughcast and this original Hunter roughcast, or harling finish, survives intact on the two chimneys which were encased by Macquarie's extensions to the roof in the 1810s. Fragments of the clay roofing tiles from the Hunter house can also be seen embedded in these chimneys. The outbuildings of the original Phillip house were retained by Hunter and were probably used as a kitchen and for other uses related to the running of the house.
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A divided timber staircase rises to the viewing area on the north face. Below the concrete capping to the walls on the east, west, and south elevations there are decorative panels of roughcast render between the projecting rows of bricks.
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The chapel is the oldest standing building in the London Borough of Sutton. It is constructed in partly roughcast rubble stone and brick. It has a tiled roof. The east window dates from the 15th century and has three lights.
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Detached five-bay three-storey over basement with attic storey former country house, built c.1750, no longer in use. Pitched slate roof with stone chimneystacks and cast-iron rainwater goods. Roughcast-rendered walls with limestone quoins and tooled limestone cornice.
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There is one listed building in the parish, the house at No. 5 Middlegate. It is roughcast with a green slate roof, and has two storeys and three bays. The doorway has an architrave with a pediment, and the windows are sashes.
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In the 1920s a billiard room was added. The house is constructed in buff-brown brick with orange brick dressings, and some timber framing and roughcast. The roofs are tiled. Its architectural style has been described as Arts and Crafts, or eclectic Vernacular Revival.
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Chapman-Taylor's houses were designed through to the smallest detail. Many of his surviving buildings include pieces of his furniture designs. Whare Ra, built 1915, Havelock North, New Zealand. Exteriors were characterised by high roofs with Marseille tiles, plain roughcast walls and small paned windows.
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The inn has three bays and is in two storeys. It is built in brick with a roughcast rendering on the upper storey. The roofs are hipped and covered in clay tiles. The central bay consists of a two-storey porch which projects forwards.
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A roughcast finish was applied to the whole exterior in 1898, but this has now been removed except on the outside of a blocked doorway on the south side. As well as this restoration, some work was carried out on the church in 1844 and 1914.
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A prominent gable with decorative frieze was supported on bracketed, dwarf posts, in turn resting on masonry verandah piers. A low, masonry wall extended between verandah piers. All walls were finished with a roughcast render. The gable and verandah remain as the most recognisable features of the early building.
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Well Bank House, number 20 near the south−east corner of the village, is a listed building dated around the late 18th to early 19th century. Like numbers 55–57 it is built of roughcast rubble with a pantiled roof, and this building contains a 19th-century iron range.
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Mickley Bridge over the Shropshire Union Several buildings within the parish are listed at grade II, the lowest of the three grades. The oldest listed building is Top of the Town, off Heatley Lane, a farmhouse dating originally from the early 17th century. It has projecting end bays and a tiled roof, and is part roughcast over brick and part timber framed, featuring some close studding with a middle rail. Two farmhouses on Heatley Lane are listed: Heatley is an L-shaped, red-brick building with a slate roof, dating from around 1750, and The Coronerage is a roughcast brick building with a tiled roof, dating originally from the early 19th century.
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Classrooms in 2015 Wooloowin State School's 1914. 1918 and 1925 buildings form a coherent group of one and two-storeyed classroom blocks linked together by verandahs. The buildings are masonry constructed on brick piers, which form an undercroft play area. Most of the exterior of the buildings are roughcast render.
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The church is built in an Early English style using roughcast rendered brick. The roof is of clay tiles and features a bell turret. The inside, which was built to accommodate approximately 200 persons, contains a nave, chancel, south-west porch and vestry. The octagonal font is of Devonshire marble.
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A basement was to provide access for a further two vestries. Finishes throughout the church included face brick internal walls with black tuckpointing, timber panelled ceilings and external roughcast render. A red tiled roof was to provide a contrast with the whitewashed external walls. Electric lighting was installed by Dudley Winterford.
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The farm and its associated barn are the only listed building in the parish, being designated at Grade II. It is dated 1739, the farmhouse is roughcast with a green slate roof, and has two storeys and three bays, and there is a lower right-angled barn to the right.
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The public hall is a double height space with a rectangular footprint. It comprises an auditorium, mezzanine and supper room. The main elevation is symmetrical and links to the former library via a low screen wall. It is constructed with a masonry frame and is finished with a roughcast cement render.
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Mrs. Minnie Alexander Cottage is a historic home located at Asheville, Buncombe County, North Carolina. It was designed by Richard Sharp Smith and built about 1905. It is a two-story, rectangular frame dwelling with a number of projecting bays. The exterior walls are plastered with a roughcast concrete aggregate.
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The north lodge with its gate piers, standing on the B5278 road, dates probably from the early 19th century and was possibly designed by George Webster. It is a single-story building in roughcast stone with ashlar dressings and slate roof. The gate piers are circular and rusticated with domed caps.
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The classrooms on the first floor were divided by folding partitions to provide one large room () for assembly purposes. The external brick walls above a string course were roughcast. Cavity walls were used which, combined with wide projecting eaves, provided temperature control inside the building. The construction was fireproof and soundproof between floors.
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The majority of the groups were built of London stock brick. Some had contrasting brick coursing and occasionally decorative patterns in diaperwork. Some of the groups at the northern end of the estate have a roughcast render that was painted cream. The roofing structures were used to give pattern to the groups.
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The house is set in a peaceful shadowy garden with large trees. Curtilage to be the lot boundary. The house was designed by J. J. Copeman and built by J. H. Gain in 1902. It is of tuckpointed Flemish bond brick with a hipped slate roof, moulded chimneys and projecting roughcast gable.
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145px Rhyd-y-gors Mansion was a tall imposing house of roughcast stone, coloured red. The house was of three storeys, each with a range of five windows, and an attic storey with three dormer windows in the roof. On each gable end were massive chimneys. A South wing was added in the 17th century.
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The Grade I listed parish church, dedicated to St. Andrew, is at the eastern end of the town. Its imposing four-stage tower with pentagonal stair-turret was being built by 1418. The entire church is built of granite blocks although the body is roughcast. It has a two-storey porch, battlemented like the tower.
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All of the windows on the three bay elevation are of plate glass, although those on the uppermost floor are smaller. The roof is of Welsh slate, and steeply pitched at the rear elevation which is two storeys. Two red brick chimneys are present. The painted, roughcast façade is remarkable for two band courses.
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19 St James Square, Burton House, is an early 19th-century, listed building. The three-storey building has a pebbledash (roughcast) exterior and operates as a guest house. The Dispensary (pictured above and below) in St James Square is also referred to as Cartref. It is recorded as being at 23 St James Square in at least one document.
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Its walls were of cavity brick, and cloakroom floors were concrete. The roof over the addition was finished with a fleche. Elevations were completed to harmonise with the existing building: brickwork above a cement bank course at first floor level was roughcast; and the face bricks below were finished with white struck joints. The extension cost .
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Although Stehlin proposed a new building, Merian restricted the rebuild to a refurbishment. The quintessential walls were roughcast and clad with cast iron and iron mouldings. The ground floor was clad with imitation ashlar and the windows were summated with acroterion. The first and second floors were separated by Gesims and the outer corners of the building were reinforced.
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This medieval and Elizabethan highest-listed building is open for film shoots, board meetings and has Victorian gardens.Great Tangley Manor – film and small venue The main front facing south-east is decorative timber frame with whitewashed render infill and remainder is brick and whitewashed extensions on the south wing, ashlar ground floor and roughcast above on rounded north wing.
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The house is built of rubble limestone with roughcast render and a stone slate roof. It is a two-storey building with attic and cellar. The house of 1590 had a three-room plan but later additions in the seventeenth century and around 1780 enlarged this, and internal remodelling was done in the late nineteenth and early twentieth centuries.
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Additions and alterations were made to the church in the 14th and 15th centuries. However, by 1796 it was in a dilapidated state. In 1840 it had a major restoration; the south porch, the roof bosses and the rood screen were removed. The exterior was covered in roughcast, a gallery was added and a brick vestry was built.
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80 There was also a butcher's shop and a smithy. The building was updated in the late 18th century. Sash windows were added, and the original triangular gables were replaced by a section with timber uprights which imitated the parapets of late Georgian townhouses. The timberwork on the first storey of Warwick House was later covered with roughcast.
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Windmill Quaker State is a historic service station located at Parkersburg, Wood County, West Virginia. It was built in 1928 by the Quaker State Corporation, and is an example of an architectural folly. It is a roughcast stucco building with a windmill atop the gable roof. It was listed on the National Register of Historic Places in 1982.
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By 1969, Monmouth Rugby Football Club purchased the public house as its headquarters. The Druid's Head Inn was grade II listed on 15 August 1974. The listing text indicated that there was a nameplate on the house which claimed a Chippenhamgate Street address, but asserted that it was in error. The pub has a two-storey, two-bay elevation with a roughcast exterior.
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Originally the roof was covered with red asbestos slates, which has been replaced with corrugated iron. Each of the individual pavilions has a separate roof, with ventilators and projecting gabled skylights. The 1934 addition is a three-storeyed masonry building with face brick and roughcast render which complements the earlier blocks. The original red asbestos slate roof has been replaced with corrugated iron.
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This overhanging shingled bell-turret sits on top of the tiled roof. St George's Church has a nave with no aisles, a narrower chancel and a bell- turret at the west end of the roof. There is a vestry on the north side. Most walls are roughcast covering flint rubble; the chancel is mostly of uncovered flint with some herringbone brickwork.
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Old chapel, built 1753 The Congregational chapel of 1753 is now used as a church hall. It is a roughcast building on a rectangular plan with a two-storey house attached. The old chapel has been designated a Grade II listed building by English Heritage. The newer chapel, completed in 1874, is in the style of a traditional parish church with a tower.
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Unusually, it is rendered with roughcast in the same way as the body of the church, producing a "heavy" effect. It has three tall lancet windows on the lower stage, and a much smaller lancet above. The three lancets depict the Resurrection, Crucifixion and Ascension of Jesus Christ respectively. Many of the internal fittings date from the 19th-century renovations.
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How Hill House was built to a vernacular Jacobean style in roughcast brick and is laid out in 2-and-a-half storeys. The roof is supported by gabled with moulded timber bargeboards and is covered in thatched roof. The interior remains original and includes a panelled hall, staircase and sitting room.How Hill House, National Heritage List for England, retrieved 24 June 2018.
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The roof has a timber fleche centred on its ridge, and extends to cover the front verandah. The symmetrical composition of the Gill Street facade features the two-storeyed timber verandah. The external walls of the front and side elevations are mostly face brickwork, which is now painted. Outside the verandah, the walls above the upper sill are rendered in roughcast.
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The date of its foundation is not known, but it appears in the papal taxation of 1306 as Karkastell. The present parish church was completed in 1815. Repairs in the early 1860s saw the roof replaced, roughcast removed from the walls, and smaller panes inserted in the windows. The pulpit and reading desk were moved to the east end and box pews replaced.
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Christopher Mayer (born Christopher Plummer, 1962 in Trinidad, West Indies, now Trinidad & Tobago) is an Australian actor well known for his work on the sitcom Hey Dad..!. He underwent a career change after leaving Hey Dad..!, and became a location manager in Sydney. He is the founder and director of two businesses, Australian Film Locations and modelling and casting agency RoughCast.
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Holy Trinity is constructed in roughcast stone, with ashlar dressings and a slate roof. Its plan consists of a five-bay nave and chancel in one range, a north transept, a north vestry, and a west tower. The tower contains a small square west window above which are two round-headed windows. The bell openings are plain and straight-headed with louvres.
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Rough Habit, a bay gelding with a distinctive white blaze trailing over his near-side nostril, was foaled on 2 December 1986. He was sired by Roughcast (USA) out of Certain Habit (NZ) by Ashabit (GB). Certain Habit was the dam of 11 named foals that were produced in Australia and New Zealand, producing 2 stakes winners in Rough Habit and Citi Habit.
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Hatfield Manor House is a remodelled 18th century Grade-I listed manor house in the village of Hatfield near Doncaster, South Yorkshire, which is based on an originally 12th century building. The building is constructed of roughcast ashlar and brick with a Welsh slate roof. It is built to a T-shaped plan in 2 and 3 storeys. The building is not open to the public.
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The church is constructed in roughcast stone with slate roofs. Its plan consists of a single cell (i.e. there is no transept and the chancel and nave share the same space with no dividing arches or screens between them). A vestry is attached to the east end of the north wall, and a porch covers the entrance at the west end of the south wall.
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The two-storey, three-bay street elevation has a pedimented entrance flanked by fluted columns. There is a roughcast exterior and a slate roof. The rear of the property is remarkable for the mid 19th- century, cast iron, Coalbrookdale verandah which runs the length of the three- story rear elevation. There is a 19th-century, formal, walled garden between the villa and Chippenham Park to the south.
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Norney Grange Norney Grange is the highest architecturally graded listed building in the Norney part of the parish, a rectangular late 1897-1903 built, roughcast stone home with yellow limestone dressings. Its interior is just as remarkable as its exterior, with among many carved features, a green marble chimney breast in end room to left and a half- dome ceiling with gallery landing to the rear.
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The exterior and interior of the building are substantially as they were when constructed. Exterior features include the curved entrance colonnade, "roughcast" stucco panels, gable treatments and tuck pointed brickwork. The interior has decorative metal and boarded ceilings, moulded plaster wall decoration and panels, leadlight door panels, cedar joinery, and clerestory windows to the Long Room. The place is important because of its aesthetic significance.
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The upper section is rendered with roughcast stucco. The facade of the building is symmetrically composed around a central round arched opening giving access to a recessed porch. The arch is surrounded by brick voussoirs, a large rendered keystone and several more regularly spaced overscaled rendered voussoirs. Flanking the archway on the ground floor are two vertical hung sash windows with timber framed and mullioned glass panels.
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Brookland is a historic home located near Flat Rock, Henderson County, North Carolina. It was built in 1836, and is a two-story, five bay, double pile, transitional Federal / Greek Revival style roughcast frame dwelling. The house was updated with Colonial Revival inspired expansions and alterations introduced in the late-19th and early-20th century. It was listed on the National Register of Historic Places in 1982.
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Stone and masonry veneer is sometimes considered siding, are varied and can accommodate a variety of styles—from formal to rustic. Though masonry can be painted or tinted to match many color palettes, it is most suited to neutral earth tones, and coatings such as roughcast and pebbeldash. Masonry has excellent durability (over 100 years), and minimal maintenance is required. The primary drawback to masonry siding is the initial cost.
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The kitchen and bathroom skillion on the east wall appears to be post war, whereas the store at the north east corner appears to be either Edwardian or between the wars. Both features are roughcast and the roofing is corrugated iton. Behind the house to the east there are a number of False Acacias and Oleanders. There is also a Wisteria growing against the southern verandah and a mature Lilly Pilly.
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It is constructed in red brick, some of which has been roughcast, and has red tiled roofs. The house has an L-shaped plan. The garden front is in two storeys and has five bays; there is a single-storey five-bay wing to the east, and a three-storey three-bay service wing to the north. In the garden front are three bay windows, a Venetian window and a door.
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Whilst some original materials such as slates and pavings were salvaged from the old village, most of the new building is in concrete. The entire load bearing superstructure of the new houses is of concrete blocks faced externally with a painted sand and cement roughcast rendering. Floor units, lintels and sills are of precast concrete.Allerdale 32-5 Once completed the radical development became the subject of considerable media attention.
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Wooloowin State School is significant also as an outstanding example of a school building designed by the office of the Queensland Government Architect, which at the time was the equal of any architectural office in Australia. It is exceptional in its quality and form and displays characteristics typical of its style through its simple massing, roughcast render and broad roof planes extending over verandahs with projecting gables and ventilators.
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Church of the Holy Cross The Church of England parish church of the Holy Cross was begun in the 13th century and enlarged later that century or in the early 14th. In the 15th century the chancel was lengthened and re-roofed. In 1891–2 the aisles were rebuilt and the south porch rebuilt. The building is of flint with limestone dressings, and the chancel is finished in roughcast.
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The left tower is sheeted in roughcast stucco above the bullseye and its base, and the roof is pyramidal with flared hips. There is a series of ten, slender wrought iron diagonal struts supporting a "flying" timber plate. The struts are wrought in an Art Nouveau pattern. The roofing tiles are English pattern, and the gutters are quad profile, copper, and mounted on square dressed fascia boards without detail.
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The site includes earthwork enclosures, and a 1960s excavation revealed a 15th–16th century round dovecote. There is supposed to be another dovecote here; location unknown. The house at the south−west end of the village, numbers 55–57, is a 17th-century listed building: a roughcast brick and rubble structure with a pantiled roof. This is a pair of houses; once a farmhouse with a cottage on the right.
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The church is constructed in limestone and flint. The upper part of the nave walls and the north aisle are roughcast. Brick repairs have been carried out to the chancel, and the roofs are covered in lead. The plan consists of a wide nave, incorporating the former south aisle, a north aisle, a south porch, a chancel with a chapel and a vestry to the north, and a west tower.
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Today's stucco manufacturers offer a very wide range of colors that can be mixed integrally in the finish coat. Other materials such as stone and glass chips are sometimes "dashed" onto the finish coat before drying, with the finished product commonly known as "rock dash", "pebble dash", or also as roughcast if the stones are incorporated directly into the stucco, used mainly from the early 20th through the early 21st Century.
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Other significant features of the garden are gravel paths, boundary wall, rustic "dolls house" of roughcast-covered fibro with unsawn timber posts and tiled roof, rustic gardener's shed of vertical boards with unsawn coverstrips and rafters, leadlight windows and tiled roof.National Trust 1985, amended Read, S., 2005 ;Condition The physical condition of the property was reported as good as at 1 October 1997. The archaeological potential was assessed as low.
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A small section of Brisbane tuff retaining wall forms a small terrace near Cavendish Road. On the Old Cleveland Road boundary stands a retaining wall from the former Thompson Estate. It is a masonry wall rendered with roughcast stucco and has piers with moulded caps. Between the piers is a balustrade of two metal pipes and at the centre of the wall are steps up to the former gate, which has been blocked off.
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As a mature style emerged, Chapman-Taylor's designs became more cohesive. Concrete was used as the preferred building material, finishing the outside walls in a roughcast plaster. Following in the footsteps and adhering to principles first exposed by John Ruskin and William Morris the consistency in his work became a result of his loyalty to their creed. Chapman-Taylor showed confidence to express his individuality and sense of freedom to explore and experiment.
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By 1904 he was setting out St John's Gardens at the back of St George's Hall, which now contain interesting examples of Victorian and Edwardian public sculpture. In 1906 he was working on the Hornby Library, designed to house Hugh Frederick Hornby's collection of books and prints. His last design for a library was that at Sefton Park, on Aigburth Road. The ground floor is of ashlar and roughcast, the first is half-timbered.
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Roofs are plain galvanised steel; walls are a combination of face brick and roughcast. The Ponrabbel engine, located to the SE of the main Stableyard building, is one of two steam engines from the Ponrabbel 2 dredge which cleared the River Tamar for about 40 years from the 1920s. The dredge went out of service in 1975. The Stableyard was in a fairly bad state of repair when the AMC inherited the site in 1977.
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Located on the corner of Essex and Gloucester Streets, the site falls from west to east. The building is adjoined at the east by Accountants House. Situated to the immediate south is the Bushells Building. The Model Factory building is a fine example of the Federation Arts and Crafts style, which is characterised by the integration of face-brick and roughcast detailing to external walls and the decorative design of the parapet walls.
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Pevsner describes the church as having a "humble 14th-century tower, roughcast, with a pyramidal cap; the rest from the outside looks all 19th century". The tower, on the western end, was built in the early 14th century and has a pair of angle-buttresses at each outside corner. The northernmost buttress is taller than the rest, having two stages rather than one. The west doorway has a very weathered, pointed arch.
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Other decorative elements include face-brick quoining, Art Nouveau signage, roughcast stucco render in some sections, and dormer windows. Hall and stage viewed from the dress circle, 2011 Internally the building features a large hall and stage, a library chamber and various administrative offices. The hall has a mezzanine dress circle level, with early timber and iron row seating. The ceiling of the hall and the proscenium arch are sheeted with decorative pressed metal.
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The Laundry (1918) is a large single-storeyed brick building on concrete foundations, with a concrete floor. Its architectural details show an Art and Crafts influence. The building has four large gabled roofs, each of which has two raised roof lanterns that allow light to penetrate the large interior spaces of the building. Externally, the building sits on a face brick plinth with roughcast stucco, painted pale yellow, above the windowsill level.
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The rest of the building has large casement windows throughout and is smooth rendered to sill height on the second floor and roughcast above. A short verandah with vertical timber louvres is located on the ground floor of the eastern elevation. McDonnell House is situated between Lewis House and Noble House. It is also two-storeyed and constructed of masonry but is more rectangular in plan with three short wings projecting on the western elevation.
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The west wall has considerable amounts of re-used stone. The vestry on the south side has square-headed doorway, and the east side has a window in a similar style. The porch is in roughcast render on the wall faces, and pilaster buttresses at the four corners with a blind arcaded window in Romanesque revival style. The Romanesque-style doorway is in terracotta and brick, with eaves courses in the same material.
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The timbering is covered with roughcast on the first storey of Warwick House. Regent House retains eight of the original wooden mullioned windows on the first and second floors, which alternate with 18th-century sash windows. The main doorway of Regent House is on the corner and is flanked by columns. Warwick House has an 18th-century doorway to the right side of the façade; its windows are all 18th-century sashes.
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The church was restored, and the north-east aisle rebuilt, in 1899–1900 by John Oldrid Scott. The church is built of flint rubble, with sarsen stone footings and some dressings, some roughcast, other dressings in ashlar. The writer Roald Dahl, who lived in Gipsy House in Great Missenden, is buried in the churchyard. There are two Commonwealth War Graves Commission memorials in the churchyard, marking the burial place of two British soldiers.
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It has been described as "the most interesting Arts and Crafts house in the region". The building consists of painted roughcast over brick or rubble stone. It has a plain tile roof incorporating a brick stack to the centre of front slope, a ridge stack to the rear left wing and a gable-end stack to the right wing. It is built in a U-shaped plan in the Arts and Crafts style.
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This room is set on masonry piers with roughcast stucco. In the understorey under the kitchen at the southern end of this side is a laundry. From the front, the house looms over the drive, which passes the house on the western side to reach the garages behind. A concrete path, with impressed and coloured diamond shapes, winds up from near the road to the front concrete stair with heavy, sweeping rendered masonry balustrades.
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Archnex, 2016, 12 & 4 It is a two storey house of rusticated ashlar sandstone with extensive use of timber shingle cladding to the upper storey. The multi-hipped roof is clad in slate with terracotta ridge capping. Features include the sheet metal verandah balustrade with decorative relief castings, rendered flat rain hoods over window and door openings and roughcast rendered entrance porch. This building is designed in the Federation Arts and Crafts style.
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Carthona is a single-story brick dwelling on a sandstone base. Soundly built the house features dichromatic and tuckpointed brickwork to the front elevation and decorative timber setailing to the verandah and gable end in the Queen Anne manner. The house features a hipped slate roof with terracotta ridge capping and a gable over the front bedroom. The tall chimneys have all survived and feature roughcast and cement detailing with terracotta chimney pots.
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It is a long and low church standing on a hillside. Constructed in roughcast stone with ashlar dressings, it has slate roofs. Its plan consists of a three-bay nave and a chancel in a single range, a south porch, north and south extensions at the east end, and a west tower with a northeast vestry. The tower has a saddleback roof, a blocked west doorway with an inserted window, and louvred bell openings.
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St Oswald's is constructed in roughcast stone with slate roofs. Its plan consists of a double nave, with a south porch and a southeast tower. The tower is battered (its walls incline inwards as the tower rises), it has lancet windows, and plain corner pinnacles. Interior showing the two tiers of arches and the remarkable roof beams Inside the church, the arcade has five arches rising from ground level, and four arches above.
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External: A single-storey face brick men's lavatory building with a parapeted gable on the platform side featuring roughcast frieze between moulded string courses. The roof is of corrugated metal with exposed rafters. The other features include a four-panelled door with arched fanlight, a louvered/fixed window on the north side with segmental brick arch and decorative stone sill, and a double window on the platform elevation with louvered upper sashes, segmental arch and decorative stone sill.
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Tower in grounds of Hall Bolton Hall is a country house near Preston-under- Scar, Richmondshire, North Yorkshire, England, in Wensleydale, some 3 miles (5 km) west of Leyburn. It was built in the late 17th century and rebuilt after a fire in 1902. It is a grade II listed building, as is an 18th-century folly tower in the grounds. It is built in three storeys of roughcast brick with ashlar dressing and a hipped slate roof.
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The house has a corrugated iron hipped roof, boxed timber eaves, guttering and linings which appear between the wars, or possibly post war. The four chimneys are brick without caps and are the only exterior part of the building that has not been roughcast. The north east chimney is the largest on the house and indicates that it once had two flues. The room upstairs on this corner is the only first floor room with a fireplace.
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The remainder of the brick walls from eaves to ground are roughcast, which would suggest post war. There is evidence all the way round the house of an encircling ground floor verandah presumably similar to that on the southern side. There are five stone sills/masonry sills at first floor level which appear to be original, three in the east elevation and two in the west elevation. All the ground floor apertures appear originally to have been french doors.
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It had a face brick and roughcast exterior, fibro cement slates to match existing buildings, and wide balconies on each floor. Each of the upper floors had four classrooms, and the lower storey contained purpose-equipped domestic science and manual training rooms. In the 1930s and 1940s, students from Windsor State School, further south along Lutwyche Road, attended woodwork and domestic science classes at Wooloowin State School's new facilities. The 1934 building was the last of the additions.
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The whitewashed roughcast Church of Newlands lies in open countryside some to the west of the hamlet of Little Town, Cumbria, England near the confluence of Newlands Beck, Scope Beck, and Keskadale Beck in the Lake District National Park and by road from Keswick. It is situated in the Newlands Valley, separated from Derwent Water to the east by the summit of Catbells. It is surrounded by the high mountains which encircle the head of the valley.
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Glenorchy Parish Church stands on an island site between the rivers Orchy and Orchy Bheag near the village. The category A listed building, constructed 1810-11 on the site of at least two earlier churches, is a rare example of an octagonal plan with adjoining tower. The little-altered, white-harled (roughcast) church has been restored to its original appearance in recent years. The site is probably early Christian in origin, and is associated with Saint Conan.
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Fluted timber posts (paired either side of the main door) support the verandah. ;Farmers Inn Built is a single storey, roughcast rendered brick building with a gable and skillion roof, and a verandah with end rooms (which were fairly typical of early inns). ;The Shamrock Inn Built An undated NPWS post card says early 1850s in three stages, the former inn reflects several vernacular building techniques. External walls are brick and there is a slab skillion at the rear.
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In the 1880s the house was a retreat for the social circle known as The Souls, which included Margot Asquith, and the house a favourite resort of her husband H. H. Asquith during his premiership. The parish church was designated as a Grade II listed building in 1959. It is constructed of rubble stone with ashlar buttresses, stone slate roofs and a roughcast tower. The tower is at the west end and dates to the fifteenth century.
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Their initial intention had been to demolish the hall, but they then decided to live in it. In 1873 Mond and his family moved into the newer wing of the hall and later that year the Brunners moved into the older wing. The roughcast was removed from the older part, much of the timber was replaced, and the attic floor was abandoned. In all, £2,000 (equivalent to £ as of ), was spent on repairs to the old wing.
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Roughcast render consists of a top-coat render and aggregate mix thrown onto a backing coat in a slurry form, the aggregate being totally encapsulated within the cementitious slurry. The aggregate may be any hard stone of an equal graded size to suit the particular application and creates a “lumpy texture” finish. This method is traditionally widely used in Scotland. An innovation is the inclusion of silicone water- proofers in pre-blended and pre-packed proprietary renders.
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Further east towards Pencombe along the Risbury road is Nash Farmhouse and Church House Farmhouse, both about north-west from the church. Nash Farmhouse (listed 1967, and at ), to the north of Risbury road, dates to the 17th century, and is of timber- framing with brick nogging (infills) with roughcast and stone rubble gable ends. It is of two storeys with a slate roof and diagonal chimneys. An extension is of the 18th century, with painted rubble walls.
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The house is designed in an eclectic, revival style with a solid character relieved by decorative patterns with Scottish references in architectural and decorative details. The building form is dynamic with multiple projecting rooms sheltered by steep, intersecting gables. The gable ends are decorated with timber panelling or terracotta shingles and the barge boards are moulded terracotta tiles. The exterior walls are roughcast stucco painted white with bands of red facebrick outlining features of the building.
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Webster's remaining wing is in roughcast stone with ashlar dressings and a slate roof. Paley and Austin's west wing is in variegated red sandstone. Its entrance front faces the east has a porch placed asymmetrically, which is flanked by turrets with domes and pinnacles. Behind the porch is a tower with a copper- covered ogee-shaped cupola, and to the right of this is another tower, which is broad and square with a lead-covered pyramidal roof.
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Individual elements were oversized to appear substantial as if under heavy loads. Bold, dark, earthy colours, darkly stained timber, rough-sawn weatherboards with mitred corners, roughcast rendering and face brickwork in dark colours were used to give the house a weighty gravity. The building materials and finishes were chosen to allow the building to mellow over time, providing it with a well-established appearance. The house designs take a formalist approach to planning including formal entry halls and traditional planning arrangements.
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St Oliver's National School Stonetown's national (primary) school, Saint Oliver's National School, was built in 1952 and is a detached nine-bay single-storey building. It has a pitched slate roof, clay ridge tiles, painted roughcast rendered chimney stacks, smooth rendered corbelled caps, and circular cast- iron downpipes and vent pipes. The school is surrounded by painted stone walls, wrought-iron gates, v-shaped stiles with stone steps. As of early 2020, the school had an enrollment of 26 pupils.
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In 1923 it was seriously damaged by underground mineral workings. In February 1924, a decision was made to demolish the building and build a new school on the same site in brick and roughcast with a stone base. During the rebuild, the pupils were taught on a part-time basis in the canteen of the former projectile works at Mossend Cross. In May 1926 the school was practically ready for occupation and was formally opened by HM Inspector William Robb.
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Derrylyn was listed on the New South Wales State Heritage Register on 2 April 1999 having satisfied the following criteria. The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales. Derrylyn, built in 1910, is a large single storey federation cottage of two-tone bricks with a fine slate and terracotta roof punctuated by numerous tall roughcast chimneys. The building is prominently sited on the corner of Dalhousie Street and Deakin Avenue, Haberfield.
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The house has a gablet roof with a smaller gable over the front bay; the small gable includes a fan-shaped window surrounded by a roughcast infill decorated with colored glass and stones. John J. Snyder, the house's first owner, was an early settler of San Andreas who later became a district attorney in the area. Snyder lived in the house until his 1899 death. Snyder's wife Elizabeth lived in the house until 1938, after which the house became a rental property.
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All structures were designed by James Knox Taylor in the Italian Renaissance style and are distinguished by red-tiled hip roofs, roughcast walls of stucco, and ornamentation of brick and limestone. The office building and laboratory is a 2.5-story structure located at the west end of island 3. It housed doctors' offices and a dispensary on the first floor, along with a laboratory and pharmacists' quarters on the second floor. In 1924, the first floor offices were converted into male nurses' quarters.
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He was in partnership with J. W. H. Lake from 1908. Waterhouse built up a substantial practice, particularly in the Cremorne-Neutral Bay area. Until the mid-1920s his domestic architecture drew on the Arts and Crafts Movement, with steeply gabled roofs, extensive use of sandstone in the basements, shingle tiles and roughcast exterior wall surfaces. Thereafter his style showed a strong Mediterranean influence, a notable example being May Gibbs's house, Nutcote, with textured stucco walls and symmetrical, twelve-paned, shuttered windows.
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The church dates from the early Norman era, being built in 1120 as the chapel to the adjoining Walmer Manor (now in ruins). The church is small, with a nave built of flint, and a roughcast lower chancel. The original Norman entrance door and chancel arch survive, along with two windows on the south side. However, the nave's north wall was removed early in the 19th century to build on an extended and deep north aisle between 1825 and 1826.
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St Michael's is constructed in stone rubble with ashlar dressings, the chancel is roughcast, and the roofs are slated. Its plan is cruciform, consisting of a two-bay nave with north and south transepts, a chancel with a south organ loft, and a west tower. The tower has angle buttresses, with a west doorway, and two lancet windows and a clock face above it. The bell openings consist of pairs of louvred lancets, flanked by a blind lancet on each side.
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This was the style for which Loos strove: a refined and intricate interior with a simple and nonthreatening exterior. The Steiner house has a stucco façade like most of his other buildings but not without reason. Loos built his buildings with roughcast walls and used the stucco to form a protective skin over the bricks. Loos did not want to use the stucco as a cheap imitation rock and condemned that practice; in general he used stucco for its functionality.
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As at 22 September 2011, Carthona is a fine example of the Federation Queen Anne style of architecture. Built for a tradesman plasterer, the house retains almost all its original detail including slate roof with terracotta ridge capping, roughcast and cement chimneys, leaded glass and etched coloured glass windows, ornamental plaster ceilings with Australian flora and fauna motifs and interior joinery with grained timber finish.Heritage Branch files Carthona was listed on the New South Wales State Heritage Register on 2 April 1999.
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John Thomas The exterior walls of the two-storey main building are painted, coursed and square stone. The hipped slate roof has three gabled dormers and red-tiled decorative cresting with finials. The later wing has a similar roof, albeit with two paired sets of dormers on either side of the front wall stack, although the walls are roughcast rendered with smooth rendered dressings enriched with some terracotta. Two doors with radial fanlights lead inside from the central Corinithian portico porch.
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Espie Dods House, side view, following storm damage to roof, 2015 The house is solid brick with roughcast render, the Federation era design influenced by the Arts and Crafts movement. It is built on two levels, the ground floor facing Wickham Terrace, and a full subfloor which was formerly exposed as the land fell away toward the rear of the house. The front elevation is dominated by a gabled projection with a window bay. A small porch with an oval window nestles in the angle.
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The west wing and stair-tower are ancient.Tranter, Page 22 The west wing bears a date stone '1602 or 1605' in the north gable, whilst the remainder was added in 1638,Salter, Page 54 this date being inscribed on a dormer pediment in the west wall; the lower floor is vaulted. Whitewashed roughcast harling covers the masonry; the roof has been lowered; the circular stair-tower has been significantly raised in height. No dormers are now present and the crow-steps have been removed.
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It sits on a base of face brick finishing at a header course of dark bricks. The upper portion of the external walls is finished in a roughcast cement render. The entrance to the male section is to the north and to the female side is entered from the south. The tram/bus shelters are on the footpath adjacent to the park and do not form part of the park but do impact on the integrity of the garden edge and views across and into the park.
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Inglesby was a white, two-storey rectangular building influenced by the Californian style architecture of the time, with a large garden buffering the house from the street. The building was structurally supported with a simple timber frame clad with white roughcast blocks. In terms of roofing, Desbrowe-Annear hinted at modernism by using a slightly pitched a tiled roof, but ensuring the roof appeared flat from the street. Moreover, each window incorporated small wooden eyelash like brackets, communicated with the wooden pergola, which divided the front garden.
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An ornate and highly individual treatment of the Federation idiom, the house displays a complexity of form and materials, ranging from its multi-gabled roof line, roughcast render and leaded quarry windows, to vigorous application to flat carved timber and stone work. Its ballroom is on the right hand side of the front door. The grandeur of this setting was quite deliberately achieved with the house capturing so well the architectural qualities of the time. The most distinctive feature of this house is its picturesque roofline.
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It is painted brick on the ground floor and roughcast render on the first floor. The building has an assymmetric front (north) elevation with a projecting gable to one side with a ground floor verandah on the northern and southern side of the building and first floor balcony wrapping around the north, south and west sides of the building. A simple timber bargeboard is located in the gable of the projecting wing. A series of windows appear on both floors of the projecting gable section.
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In 1765 Anne Susanna married the other heir to the Penrhyn estate, Richard Pennant, who later became the 1st Baron Penrhyn. In 1775 Pennant commissioned Samuel Wyatt to design what became the larger stone extension to the house. In a possible attempt to harmonise the older part of the house with the stone extension, in the early 19th century the timber-framed wing was coated with roughcast and castellated. In 1809 the Winnington estate was sold to John Stanley, 1st Baron Stanley of Alderley.
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The Paragon Theatre is a large timber building with a masonry facade prominently located on Churchill Street in Childers. The rear section of the building is a large shed-like form clad in unpainted timber weatherboards with a pitched, galvanised iron roof. The side walls have high level louvred openings under the eaves and timber framed windows in the lower section of the wall. The parapeted facade is composed of face brick pilasters which divide the surface into three bays rendered with roughcast stucco.
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The parish church of St Mary had its origins in around 1300 when the chancel was built. The nave and tower date from around 1450, and the aisle was added in about 1530. A gallery was installed between 1752 and 1756, but this was removed when the church was restored in 1840, at which time the vestry was added. The building is constructed of roughcast stone, except for the vestry which is squared red sandstone, and the tower which is random rubble red sandstone.
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Blair Pavilion is an extremely good example of the Federation Arts and Crafts style. It has typical features of the style including dark brickwork, with roughcast upper walls. The external aspects of the ventilation system have been skilfully incorporated into the roof design in the form of large fleches. The administration building was designed by A S Hook, a young English architect, who after a brief period of employment with the Queensland Department of Works, had a successful and important architectural career in New South Wales.
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It is simply decorated, with a roughcast rendered and half-timbered pair of projecting gable ends, brick verandah balustrades and verandah posts and triple casement timber-framed windows with toplights to the front facade. The centre building is also a double-fronted brick cottage with a terracotta tiled roof. Dating from s, its roof has hipped gable ends and the projecting bay of the front facade features a curved corner of moulded bricks. The entrance is framed behind a timber screen of open square lattice above a short brick balustrade.
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Inglesby, also called the Francis house, in South Yarra was one of Desbrowe-Annear's most famous houses, identified by Robin Boyd as an example of Melbourne's 'pioneer modernism'. It was timber-framed with plain white roughcast walls inspired by Californian architect Irving Gill. The plan of Inglesby centred on a large hall entered from the porch. It was flanked either side by the dining room and the living room accessed through sliding doors which when opened extended into a huge living area across the front of the house.
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A passageway connects Old Court to Bene't Street. Due to its age the rooms are large and contain antique furniture but lack basic facilities and plumbing. In 1919 the ivy was removed from Old Court and a roughcast rendering was put in its place, followed by a major restoration in 1952 paid for by donations from old members. During the summer months students are permitted to sit on the lawn in Old Court and garden parties may be held whereas, like other Oxbridge colleges, normally only fellows are allowed to walk on the lawns.
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Newlands Church is a 16th-century church situated less than 500 metres west of the hamlet of Little Town, Cumbria, England in the Newlands Valley of the Lake District. Its exact date of origin is unknown, but a map of 1576 shows a "Newlande Chap." on the site. The church exterior presents white-washed roughcast walls and a green slate roof; the interior displays two stained glass windows, a gallery, and a reading desk and a pulpit dated 1610. Tourists and hillwalkers visit on their way to the fells.
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This is one of a series of brick toilet blocks located throughout the site thought to be built between World War I and World War II. It has been refurbished, extended to the rear and none of the original fittings remain. The female toilets are housed partly in a concrete block extension and the male toilets are located in the original low-set brick building. The original part of the building contains glazed face-brick walls with feature panels of roughcast render. Set symmetrically above the rendered panels are fixed timber louvres for ventilation.
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These grounds include many circa 1922 landscape elements including waterfalls, benches, bridges, lawns, and a tennis court, which is considered a contributing structure. The grounds also feature a contributing caretaker’s cottage which is located directly behind, or east of the main house. The two- story cottage, originally built to serve as a stable and carriage house, features a roughcast plaster exterior and a double pile interior. While the exterior of the cottage remains largely unchanged since its construction in 1922, the interior was divided in half at some point in the 1930s or early 1940s.
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Bold, dark, earthy colours, darkly-stained timber, rough-sawn weatherboards with mitred corners, roughcast rendering and face brickwork in dark colours were used to give the house a weighty gravity. The building materials and finishes were chosen to allow the building to mellow over time, providing it with a well-established appearance. The house designs take a formalist approach to planning including formal entry halls and traditional planning arrangements. The plans were generated through a consideration of aspect, with living spaces well-oriented and internal layouts permitting cross ventilation.
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It features a roughcast rendered upper floor and square tower with battlemented parapet, bracketed, oriel windows, timber shingled gable ends, and sills and lintels and windows, dramatic arched brick verandah entries and timber slat balustrades to upper verandahs. A fine example of Federation Arts and Crafts style, with asymmetrical composition and a steep roof with deep gables. The brick render and shingle facade treatment of the different levels provide textures and colour to the elevations. The bay windows and intricate joinery provide further interest and also relief to the formal facades.
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The parish contains one listed building, Landywood Farmhouse, which is designated at Grade II, the lowest of the three grades, which is applied to "buildings of national importance and special interest". The farmhouse dates from the early 16th century and has a timber framed core on a sandstone plinth and a tile roof. It was altered and extended in the 19th century, the additions are in red brick and have been roughcast. There are two storeys and an attic, and a T-shaped plan, and the windows are casements with segmental heads.
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The verandah between the lower kitchen and the store room is of the same construction as the southern verandah and this verandah also apparently once wrapped right around the house. On the west front is a porch or porte-cochere again finished in roughcast and with pipe railings. The staircase to the upper flat would appear to be more recent than the rest. There is the feeling that the house may have originally faced the east rather than the west as at present because the staircase which is now closed off comes down in the central hall.
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The Meeting House with its large, galleried wood-panelled central meeting room is based on Briggflatts in Cumbria and was named after the Howgill Fells that surround that hall.Josh Tidy, Letchworth Garden City Through Time, Amberley Publishing Limited - Google Books The building is of two storeys with an irregular façade of three bays with a projecting entrance in the centre bay with a gable roof. The brick chimneys stacks are tall with moulded caps, while the stack on the front façade has weathered offsets. The walls have a roughcast surface while the casement windows with leaded lights sit within stone surrounds.
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Hamilton Lock and the Clonahenoge canal were built about 1755 to allow river traffic to bypass the Meelick rapids on the River Shannon. The lock is now disused, replaced by nearby Victoria lock, although the lock keepers cottage with roughcast walls (built 1755) is still in use for its original purpose. The lock is listed by the National Inventory of Architectural Heritage (a service provided by the Department of Arts, Heritage and the Gaeltacht) as being of special interest. Victoria Lock on the River Shannon at ClonahenogeVictoria Lock is the first lock on the River Shannon upstream of Lough Derg.
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Elsewhere there are terracotta "egg-crate" form vents. The right (southeast) tower has plain corners; the left (northwest) tower has piers at each corner. Both are crossed by string courses at the arch springing points and at the first floor line. A third string course runs through around waist level on the first floor, marking a change to roughcast stucco on the right tower and the brick base for a bullseye window on the left, originally intended to house a clock, the rear works of which would evidently have projected into one of the quarters rooms.
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It is considered to be the most complete example of the Arts and Crafts style in the country, and was the largest project of John Coates Carter. At the time of building, the abbey was called "the greatest phenomenon in the Anglican community at the present time". The roofs are of white roughcast with red tiling, and the abbey church has five side-windows and on the south a "tapering" tower with primitive crenellations. Caldey Island and Little Caldey Island have together formed an ecclesiastical district for as long as the locals can remember, with 20 Cistercian monks living at the monastery .
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Another entrance opens onto a vestibule through which the toilet wing is accessed.. The toilet wings have open air central walkways with skillion awnings over the toilets and change rooms on either side of the walkway. The external walls are generally cavity brick rendered with roughcast stucco and internal walls are of painted single and double brickwork. The asymmetrically arranged east facade features a decorative parapeted gable with loggia of round head arches with edge detailing supported on glazed brick columns which sit on a concrete slab. The gable has edge detailing which integrates a central cartouche-like element.
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The central administration area includes the Administration building, the Former Hospital, Pump houses and reservoir, Chapel, and Visitor's Pavilion. The Administration Building (1917) is a two-storeyed brick building with a terracotta-tiled roof, decorative fleche and brick chimneys, designed to be the centrepiece of the institution. Arts and Crafts influences are evident in the massing of the hipped roof forms and the use of unpainted brickwork contrasting with coloured roughcast plaster above sill height. The main entrance on the eastern elevation features an arched port cochere, adjacent to an oval driveway with formal landscape elements, including plantings of cycads.
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It has a large gabled roof and gabled roofs on the western wings, all of which have overhanging eaves. The roof is clad in dark concrete tiles and the building is rendered smooth up to sill height on the second floor, above which it is roughcast. There are two ground floor verandahs on the eastern elevation overlooking the cricket oval, either side of a central projecting gable. Noble House is almost identical to Lewis House but a concrete tiled roof has replaced the terracotta roof and it has a longer verandah on the ground floor on the eastern elevation.
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The external walls are tuck-pointed red brick to the mid-height of the double-hung windows which have decorative metal security grills placed in place, with "roughcast" stucco panels with brick quoining above. Raised several steps above the ground, the curved entrance colonnade has columns of Doric order supporting a moulded entablature. At its centre is a raised parapet with the Royal coat of arms in relief at its centre. From this colonnade, there is access to the public area through two pairs of French doors with leadlight glass panels, and access to the staff areas through timber panelled doors.
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After the siege referred to above, the upper storey and battlements of the ancient Castle were removed to render it indefensible. A medieval appearance becoming fashionable again during the 19th century, the Castle, which had become known as Atholl House, was raised in height and adorned with battlements once more. The many alterations in the fabric are largely concealed by the white harling (roughcast) on the walls. The collections of furniture, paintings, historical relics, weapons, embroidery, china, Highland artefacts and hunting trophies preserved in the Castle are among the finest in Scotland, as is the plasterwork and other décor of the principal rooms.
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Austerson Hall () is a farmhouse dating from the late 17th century. In brick with a roughcast finish, it follows a T-shaped plan and is grade II listed.Images of England: Austerson Hall (accessed 27 January 2009) Church House Farm () is an L-shaped, red-brick former farmhouse dating from around 1820. It has been used as a nursing home since 1989, and is also listed at grade II.Images of England: Church House Farm House (accessed 27 January 2009) The timber-framed Elizabethan building of Austerson Old Hall or Old Hall Farm was moved to Alvanley in 1974.
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92–93 The double-storied inn has bays built in brick with a roughcast rendering on the upper storey. It has clay tiled covered hipped roofs. Its other architectural features comprise a projecting two-storey porch with oak post- and-rail fence inscribed with a number of sayings on either side, lateral bay with four-light mullioned window in the lower storey and a three-light mullioned window in the upper storey, a tall rubbed brick chimneystack, and the inn sign located diagonally from the right corner. The inn continues to function as a public house and restaurant.
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It "retains a significant proportion of its historic fabric", particularly its interior roof structure. Hennerwood Farmhouse (listed 1973, and at ), west-northwest from the church and on a farm track leading south-west from the road to Risbury, dates to the early 17th century and is two-storey, of roughcast covered timber-framing with gable ends and a cross-wing. There are two blocks at the north-east, one possibly medieval, the other, 17th century. Adjoining the farmhouse is a 17th- century barn (listed 1973), with stone rubble ground floor walls and weatherboarding over timber-framing on the first.
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Three ancillary buildings stand against the rear (northern) boundary. From east to west these are; the cottage, the garages, and a small timber structure of one room. The cottage is a low-set, one-storey building with a roughcast rendered masonry core, a steep, timber-framed hipped roof clad with terracotta tiles, and two banks of small, casement windows that match those of the main house, including hardware. (Later, lightweight extensions to the core are not of cultural heritage significance.) The garages comprise two attached, timber-framed structures and the construction shows the western garage was built first.
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Extensive views are obtained from the dining and living rooms on the eastern side of the house. At the southern end of the block is a garage, accessed off Kingsford Smith Drive. This building is similarly designed with a Spanish Mission feel, with its roughcast rendered exterior walls and Cordova tiled roof. The grounds also contain stone terracing (which may be remnants of the Braeside garden); concrete paving and stairs, including access to the stairs at 25 Hillside Crescent; and a private air-raid shelter of concrete construction at the northern end of the block, erected during the Second World War.
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Old Barracks Wall (Fort Falkland) This former constabulary barracks was built around 1800. Irregular in plan and now in ruins, it comprises a partially roughcast rendered rubble limestone enclosing wall with a cut stone segmental-headed entrance to the east and is situated to the south of the River Shannon, adjacent to the bridge. Remains of structures within the enclosure include a barrel-vaulted powder magazine built around 1806, with a gun platform above. These walls are thought to be the perimeter walls of Fort Falkland from 1642.County Development Plan 2009–2015: Record of Protected Structures.
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The three main chimneys are irregularly placed in the upper roof hips, and are given a strongly arts and crafts flavour, the stacks being tapered and clad in roughcast stucco, then topped with long, tapering terra cotta pots. There is a fascia and boxed eaves to conceal rafters at the roof edges, and the eave soffits are boarded and raked at the same angle as the roof above. To the west elevation a projecting bay with tall sash windows to the angled faces are of face brick with contrasting, terracotta coloured brick quoins. Immediately behind there is a side access door to the stairhall and thus to the former quarters.
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Roy's Military Survey of 1747 shows the 'Marchland' farm buildings spread over both sides of the road through the farm with small areas of woodland located near to each group of buildings.Roy's Map Retrieved : 2013-06-22 In 1820 'Marsheyland' is recorded on Thomson's map with a single building only, located on the approximate site of Marshalland House. The later Ordnance Survey maps show a farm behind Marshalland House with two wings, expanding between 1856, 1897 and 1909 to include other outbuildings, a sheepwash across the road and a likely horse-engine. The dwelling house consisted of a central roughcast dwelling and side wings which were plain ashlar.
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His writing credits include Lap of the Gods (ESP); The Creatures (Black Box Films); Dead Man's Fall (Black Box Films), The Honest Men (Roughcast Productions). With Sandy Nelson, Keith wrote 'Bite the Bullet' for Oran Mor's A Play, A pie & A paper mache. Joyce McMillan wrote in The Scotsman "as well as some terrific comic dialogue, rich in cultural wisdom; and, as an added bonus, there are a couple of seriously fine songs, to remind us that amid all the celebrity nonsense of the rock scene, great music sometimes gets made, roaring out the truth of our time." He is currently finishing his first novel 'Halfway To Paris'.
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Constructed on a rendered masonry base, the building is timber framed with a roughcast rendered fibro exterior, save for the western aisle which has been built in rendered masonry subsequent to 1950. The main roof is sheeted in corrugated galvanised iron, and the cupolas and tapering roof to the square tower are made up of flat and curved pieces of galvanised sheeting. Rendered masonry steps provide access to each of the three front entry doors, which have two leaves in a round-headed opening. A path runs from the central entry to a metal gate, centrally placed in a rendered masonry fence along the street frontage.
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During the first major redevelopment of the hospital, when the new Lady Musgrave hospital and the first nurses' quarters were constructed in 1928, other new buildings on the site included a mortuary also designed by POE Hawkes which is used as such to this day. This is a small reinforced concrete building rendered with roughcast stucco. At the time of the development the curator of the Gardens, Mr Fred Lawrence, as engaged to lay out the grounds. The next phases of development, opened in 1938 resulted in the construction of a dedicated operating theatre, which was until this stage, housed in various other buildings on the site.
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23–30 High Street are "highly attractive" council houses of 1910. ;23–30 High Street, Brighton (1910; Grade II-listed) A short terrace of Arts and Crafts-style houses on a sloping site, this "highly attractive" composition was designed for Brighton Corporation as one of the earliest sets of council housing in the town. There are prominent mullions and timbered gables, and the walls are covered with roughcast. ;Winter Garden at Palace Pier, Brighton (1910–11) The landmark Palace Pier, built between 1899 and 1909 by Arthur Mayoh to a design by R. St George Moore, was immediately popular and received various additions over the years.
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El Nido is a large, Spanish Mission style residence situated prominently on the steep southern slope of Hamilton Hill, overlooking the Hamilton and Bulimba reaches of the Brisbane River, with views south/southwest across the city centre and east toward the mouth of the river. The house is accessed both from Hillside Crescent and from Kingsford Smith Drive, but sits well above Kingsford Smith Drive. It is a landmark building, seen from the river, from the Bulimba and Newstead areas, and from along Kingsford Smith Drive. The house is a substantial, roughcast rendered brick building of two storeys with a sub-floor, taking advantage of the slope of the site.
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Elements of the Spanish Mission style include: a complex main hipped roof and small ancillary skillion roofs at various heights, all clad in Cordova style terracotta tiles; the use of colonnaded verandahs with semi-circular arches, barley twist columns and wrought iron balustrades; and the white roughcast exterior. The entrance is from the western side of the building; the southern elevation, overlooking the river, is considered the "front". The originally open verandahs on the southern elevation have been enclosed with glazing, but the colonnade effect has been preserved. Internally, the house remains substantially intact, with original timber wall panelling in the public rooms, and decorative leadlight windows throughout.
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Roughcasting incorporates the stones in the mix, whereas pebbledashing adds them on top. According to the Encyclopædia Britannica Eleventh Edition (1910–1911), roughcast used to be a widespread exterior coating given to the walls of common dwellings and outbuildings, but it is now frequently employed for decorative effect on country houses, especially those built using timber framing (half timber). Variety can be obtained on the surface of the wall by small pebbles of different colours, and in the Tudor period fragments of glass were sometimes embedded. Though it is an occasional home-design fad, its general unpopularity in the UK today is estimated to reduce the value of a property by up to 5%.
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Lamb House is a large, two-storeyed, red brick residence with a multi-gabled roof clad in terracotta tiles. Conspicuously situated above the Kangaroo Point Cliffs at the southern end of the suburb, overlooking the South Brisbane and Town reaches of the Brisbane River, The house is an inner city landmark, prominent from many parts of the Brisbane central business district, the river and the Captain Cook Bridge and Pacific Motorway. Queen Anne influences are evident in the timber and roughcast gable infill designs, the ornate cement mouldings to the entrance portico- cum-observation tower, and the elaborate chimney stacks and tall terracotta chimney pots. Verandahs on three sides at both levels have timber posts, arches and weatherboard friezes.
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This I gave to the founder, together with the formula for the bronze alloy and other necessary indications. When the roughcast was delivered to me, I had to stop up the air holes and the core hole, to correct the various defects, and to polish the bronze with files and very fine emery. All this I did myself, by hand; this artistic finishing takes a very long time and is equivalent to beginning the whole work over again. I did not allow anybody else to do any of this finishing work, as the subject of the bronze was my own special creation and nobody but myself could have carried it out to my satisfaction.
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And so on it went - another vast plantation of concrete and roughcast replaced Craw Road and Riccarstbar Avenue, and there was yet another on what appears to be the present site of the Royal Alexandra Hospital. The Ferguslie cricket ground was to be preserved, and so, it seemed, was the old Canal Street with its ribbon of tumbledown tenements and what looked like an impossibly busy Canal Street station and its attendant coal yards and sidings. Castlehead householders, having survived Adolf Hitler’s bombs, feared that they were about to be evicted for some derisory compulsory purchase settlement. For some there would have been no alternative to becoming council tenants on this dystopian new housing estate.
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Interior of St Peter's Seminary in 1966 Determinedly modernist, brutalist and owing a huge debt to Le Corbusier, the seminary is widely considered to be one of the most important examples of modernist architecture in Scotland. Architecture critic Jonathan Glancey wrote: > The architecture of Le Corbusier translated well into Scotland in the 1960s. > Although the climate of the south of France and west of Scotland could > hardly be more different, Corbu's roughcast concrete style, could, in the > right hands, be seen as a natural successor or complement to traditional > Scottish tower houses with their rugged forms and tough materials. By the time it was completed in 1966, the number of candidates entering the priesthood had begun to decline.
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The façades are substantially intact with regard to expressing the original 1911 form of the building including the external brickwork, roughcast render, timber window and door frames, the suspended awning over the Grosvenor Street shopfront and the dramatically curved parapet around the flat roof. The addition of the penthouse to the roof of 117-119 Harrington Street alters the view and appreciation of the building looking east down Essex Street. The tiling around the Essex Street entry to the lowest floor and the subsequent removal of the tiles (leaving a cement rendered area) impacts on the integrity of the Essex Street façade. The interior structure of mild steel stanchion and mild steel main beam remains but all the timber joists and flooring have been removed and replaced.
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Architectural plans, Gympie Baby Clinic, 1925 The former Gympie Maternal and Child Welfare Clinic faces north-west onto Mellor Street and is flanked by the entry to the council car park on the northern side and the Town Hall on the southern side. With its symmetrical form and portico derived from a classical temple it displays elements of an Interwar Classical style. It is a single storey reinforced concrete structure with a painted roughcast finish, a multi-hipped roof clad in pre-painted square-fluted sheeting with battened eaves and an original fleche centred along its main ridge. Two concrete steps and a recessed concrete paved portico flanked by four Tuscan columns form the entrance to the building from Mellor Street.
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In 1965, Diana Vreeland, editor of Vogue magazine, said that "London is the most swinging city in the world at the moment."Quoted by John , Weekend Telegraph, 16 April 1965; and in Pearson, Lynn (2007) "Roughcast textures with cosmic overtones: a survey of British murals, 1945–80" Decorative Arts Society Journal 31: pp. 116–37 Later that year, the American singer Roger Miller had a hit record with "England Swings", which steps around the progressive youth culture (both musically and lyrically). The release in 1967 of Peter Whitehead's cult documentary film Tonite Lets All Make Love in London, which summed up both the culture of Swinging London through celebrity interviews, and the music, with its accompanying soundtrack release featuring Pink Floyd.
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Iron bands were wrapped around the tower to strengthen it but these soon snapped, and by the 19th century large cracks, which had appeared in the tower, were filled with broken bricks and rubble and covered over with roughcast as an interim solution. alt=Stone church with a square tower topped by a slim spire By 1867, church authorities deemed the problems with the tower as severe enough to warrant a major reconstruction of the church. George Gilbert Scott, who had recently designed the monumental London buildings of the Foreign Office and St. Pancras Station, was chosen to lead the project. Scott was a leading advocate of the Gothic Revival and saw the renovation as a chance to return St. Mary's to a state nearer to its earlier Gothic design.
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The purity of detailing is strongly exemplified by the integration of face brick and roughcast, and the strongly curved parapet walls, employing a palette of materials widely used in model workers' housing in England and in Australia. The model factory and dwelling is a complete contrast to the slum dwellings in Frog Hollow that it replaced and was constructed of "fire proof" materials with good ventilation and light levels, evidence of which survives. Within the output of the Government Architect's Branch this is a rare building type and is the only known factory and dwelling building designed to be leased. The record drawings and photographs of the substandard buildings in Frog Hollow and their demolition provide an insight into the slum dwellings owned by city aldermen that were concealed in the back lanes.
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The Mount Victoria Railway Station Group is of aesthetic significance for its cohesive group of Victorian Regency and Federation buildings and is an important landmark in the townscape of Mt Victoria, being located at the lower end of the town at the termination of the main street vista. While contemporary with the majority of station buildings surviving on the Blue Mountains railway line, the Platform 1 building and adjoining lavatory building do not derive from the standard pattern used for those buildings as it has been built for a side platform rather than an island platform. It has high quality detailing with its brick detailing, clearstory window and use or roughcast render. The signal box on Platform 2 is a representative example of its type, adapted to suit the side platform rather than the more typical island platform.
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The scale, form, use of materials and detailing of the building makes a positive contribution to the intact 19th and early 20th century streetscapes of the Gloucester, Harrington, and Essex Street precinct. The use of the combination of roughcast and face brick was prevalent in the design of workers' housing in England and in Australia. The building has technical significance in that the interior of the building was detailed to provide a "fireproof" form of construction with the steel column and beam in the front section of the building and the use of corrugated and pressed metal ceilings and stair soffits throughout the building. The building has technical significance in that the lower levels of the building were provided with through ventilation by means of shafts incorporated into the chimney breast which drew hot and stale air up to the roof level.
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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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As well as swimming instruction, life-saving was taught in many schools. Keen to promote their school as one of the most modern in the state, the Wooloowin State School building committee financed construction of a swimming pool, long, wide and deep at the deepest end, in 1916. This pool was enlarged to its present size in 1925. In 1918, woodwork and domestic science were added to the school curriculum, although no classrooms appear to have been designated specifically for these subjects. It is understood that Wooloowin was the first primary school to introduce these subjects, as provided for under the new syllabus provisions of 1915. Closeup of the rooftop ventilator, 2015 The first addition to the school was constructed in 1918. It was a brick building, with wide verandahs; roughcast externally and roofed with asbestos slate, which mirrored the 1914 side wing. This brought the number of classrooms to six, and was opened in September 1918. By 1921, school enrolment had grown to over 800, and in 1923 plans were prepared for a second addition, a two-storeyed stuccoed brick building with an asbestos slate roof, containing four classrooms on each floor with hatrooms and a verandah and a balcony on the north side.
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