224 Sentences With "soffit" | Random Sentence Generator

This can be achieved with soffit or valance lighting, or even plug-in torchier floor lamps that bounce light off the ceiling.

A 25-by-11-foot central gallery with a gold-leaf soffit ceiling and two giant bronze centaurs near the main entrance separates the public rooms from the bedrooms and kitchen.

Oversize armchairs and couches in the living room on the parlor level were upholstered in bold shades of lime green, tangerine, grape and yellow — "I wanted the room to look like a bowl of summer fruit," she said in a 2007 interview — and the dining room showcased a soffit ceiling with a painted blue sky and clouds, a feature that remains.

A grill that covers the venting opening on the bottom of the soffit is called a soffit vent. A soffit joist can be added to the framework instead of or in addition to lookouts.

Eaves or soffit lining on a house in Northern Australia. The flat section (underside) would be referred to as a soffit. In this example the soffit is fixed to the slope of the rafters. The fascias form the outer edge and have a groove in them to receive the soffit lining sheets.

Soffit lining a house in Northern Florida, United States. In this example the soffit is 12 inches wide and made from center lanced U groove perforated sections of vinyl in a return fashion and fixed to a truss roofing system. Soffit box providing a level mounting plane for kitchen ventilation hoods. Four panels showing the construction and finishing of an improvised interior soffit used to hide a vent duct in Michigan.

The performances "Love potion", "Kashtanka", "La Boheme" are marked with "Gold mask" and "Gold soffit" prizes.

The top of the triglyphs meet the protrusion of the cornice from the entablature. The underside of this protrusion is decorated with mutules, tablets that are typically finished with guttae. The cornice is split into the soffit, the corona, and the cymatium. The soffit is simply the exposed underside.

There is evidence of the entrances to Enoggera Road on the soffit. Wiring for lighting has been introduced.

The soffit in this extension is cement sheet or similar and the walls are rendered and face brick.

Uplighter trays are accommodated in a linear reveal along the mid-soffit spine and in the curtain wall transom.

The word is pronounced with the "long-a" sound, /ˈfeɪʃə/, rhyming with the Japanese word geisha. Specifically, used to describe the horizontal "fascia board" which caps the end of rafters outside a building, which can be used to hold the rain gutter. The finished surface below the fascia and rafters is called the soffit or eave. A soffit is also often installed between the ceiling and the top of wall cabinets in a kitchen, set at a 90 degree angle to the horizontal soffit which projects out from the wall.

Soffit (from French soffite, formed as a ceiling; directly from suffictus for suffixus, Latin suffigere, to fix underneath), in architecture, describes the underside of any construction element. In popular use, soffit most often refers to the material forming a ceiling from the top of an exterior house wall to the outer edge of the roof, i.e., bridging the gap between a home's siding and the roofline, otherwise known as the eaves. When so constructed, the soffit material is typically screwed or nailed to rafters known as lookout rafters or lookouts for short.

Approximately one-eighth of the painted surface of the south wall has been preserved. These fragments can be found in the soffit of the arch, a low register on the wall, and on the dado below the lowest register. Within the soffit was seven medallions with the busts of saints. There is only one that is well preserved.

There is a timber boarded soffit and asphalt lined floor to the first floor verandah and a shallow barrel vaulted plaster soffit with moulded cornice and concrete tiled floor to the ground floor verandah. There is a textured soffit to the western end addition of the southern ground floor verandah. The main addition to the Post Office is the 1966 Telephone Exchange western addition fronting Fitzroy Street, in sympathetic style and scale to the original building, comprising the western six arched bays. Roofing to this area could not be seen behind the parapet, but is presumably hipped similar to the original.

There is evidence of two entrances on the southern side of the soffit. The shelter stands in the forecourt of the Stones Corner Library.

It features a scrolled soffit of its molded brick doorway. and Accompanying photo It was added to the National Register of Historic Places in 1976.

Photograph of lookouts in the construction of an exterior soffit. The lookouts extend horizontally from the wall plate to the subfascia and are visible above the upper windows. In this example the lookouts are covered when the soffit is finished, as can be seen on the right hand side of the image. A lookout,PBS Glossary - Framing - Lookout lookout rafter or roof outlookerDefinition-of.

Soffits to the main roof are supported by long shaped soffit brackets and are lined with spaced pine battens. The low pitched roofs to the bay windows and porches are clad in roll-and-pan profile galvanised iron sheeting. All gutters are quad profile. Soffits to the porches and bay windows are supported on small shaped soffit brackets and are lined with fibre cement sheeting.

In 1986, Edmonton company Rainbow Metal Products built eves, gutters, soffit, and fascia for YESS, whose buildings are now recognized for their Late Art Deco architectural style.

1870, spanning Owenmore River. Abutment supporting soffit, having shallow segmental- arch with stepped elongated voussoirs. Spandrels with sneck-like levellers at voussoirs. Ashlar wing walls, extensive to west side.

Two bay windows have paneled aprons, round-corner windows, and bracketed cornices. The house has a low pitch hip roof with paneled soffit windows and paired-bracket cornice supports.

Most building materials are permeable to water vapour; brick, concrete, plaster, wood and insulation all can fall victim to interstitial condensation, this is why UK Building Regulations require roofs to be ventilated, either by the use of soffit vents, ridge vents, or replacement ventilation slates or tiles.A common method of ventilating a roof is to make openings in the soffit and ridge to allow natural air flow. This example also has ventilated exterior walls called rainscreen construction.

The corner entrance doors are set in arched polished black stone surrounds. The entrance foyer is a double-storeyed height space which is finely decorated with white marble panels set in black marble grids, and decorative plasterwork based on diamond and star patterns. Internally, this 1930–1931 section has a concrete-encased steel structure. The entire building is encircled with a stepped metal awning, which has a sheeted soffit on Brunswick Street and a pressed metal soffit with floral motifs on Wickham and Warner Streets.

1800, spanning Owenmore River. Segmental arch resting on squared ashlar abutments with squared rubble-stone soffit. Arch ring of regular ashlar voussoirs, with rubble-stone spandrels. Rubble-stone parallel wing walls and parapets of even length.

The ground- floor entry porch is housed behind the entry arch, and has a boarded soffit with a moulded cornice and attached fluorescent lighting. The floor has modern red tiles and there is a four-panelled early door to the right and a modern timber and glass door to the left, serving as the retail entry. The basement level has two concrete porches positioned on either side of the former laundry at the rear. Timber posts sit on concrete pedestals and support the skillion roof with a boarded soffit and attached fluorescent lights.

Doman, Robert. “£8m scheme restores Hawarden bridge to former glory.” leaderlive.co.uk, 13 November 2014. The work was carried out in two phases, strengthening was carried out before the erection of the soffit scaffolding, followed by abrasive blasting and repainting.

Soffit exposure profile (from wall to fascia) on a building's exterior can vary from a few centimetres (2-3 inches) to 3 feet or more, depending on construction. It can be non-ventilated, or ventilated for cooling attic space.

Bell turret has single lancet on each side, modillioned eaves, pyramidal slab roof with cross. Interior rendered except window reveals. Brick chancel arch with moulded ashlar soffit, responds and quoins. At North end, two wood cased columns supporting bell turret.

The roof is covered in wood shingles. There is an overhang, showing the rafters in the soffit area. The wall are covered with horizontal tongue-and-groove beveled siding. Corner boards at used where each wall section adjoins the next.

The underside of the eaves may be filled with a horizontal soffit fixed at right angles to the wall, the soffit may be decorative but it also has the function of sealing the gap between the rafters from vermin and weather. Eaves must be designed for local wind speeds as the overhang can significantly increase the wind loading on the roof. The line on the ground under the outer edge of the eaves is the eavesdrip, or dripline, and in typical building planning regulations defines the extent of the building and cannot oversail the property boundary.

The verandah awning on the ground floor has a thin gauge corrugated iron soffit and is supported on reeded cast iron columns and has a cast iron balustrade and pointed arched friezes which also feature a quatrefoil motif. The verandah on the floor above has square timber columns, cast iron balustrading and a timber boarded soffit. Centrally located on the ground floor verandah is a six panelled entrance door which is surrounded by rectangular transom window and sidelights of very fine stained glass panels from Munich. The entrance door opens onto a vestibule where access is provided to parlours on either side.

Both period exteriors consist of a limestone base, stucco finish painted brown up to the eaves, an exposed soffit with massive decorative rafter ends and a red clay tile roof. The 1908 windows and iron balconies are duplicated in the 1932 addition.

The resulting structure has a yellow brick facade. A corbelled soffit holds the Japanese-style tiled roof. A small wing shows signs of a Gothic Revival influence with its castellated roofline. The facade's second story is dominated by a hanging bay window.

The soffit is decorated with wood brackets. The front is split into three bays; the middle bay extends beyond the roof to create a large pediment. This dormer allows for an attic. The main set of double doors is beneath a stilted arch.

Throughout the house, wall sconces can be found in the shape of a hemispherical shade suspended beneath a square bronze fixture. On the second floor living and dining rooms, spherical globes within wooden squares are integrated into the ceiling trim, further tying the two spaces together visually. Soffit lighting running the length of the north and south sides of the living and dining rooms, as well as soffit lighting in the prows of the living and dining rooms, are covered with Wright-designed wooden grilles, backed with translucent colored glass diffusers. Because these lights are all independently operable, different effects can be created within these spaces.

The eaves project c. 60 cm out from the walls, providing some northern and eastern sun shading. The soffits appear to follow the roof pitch. The rafters are exposed on the original section, and the soffit is lined with timber boards, as is the porch ceiling.

Stucco lines the mosque's interior, with ceiling arches containing medallions. The soffit of the nave is painted stucco. The drum which sits underneath the dome of the mosque is octagonal on the outside, but square in shape internally. Red paint is used to decorate the drum.

A soffit is an exterior or interior architectural feature, generally the horizontal, aloft underside of any construction element. Its archetypal form, sometimes incorporating or implying the projection of beams, is the underside of eaves (to connect a retaining wall to projecting edge(s) of the roof).

The building was supported on 214 piles, bored to a maximum depth of around 13 metres. The building frame was made of reinforced concrete infilled with flat soffit slabs and 2,100 square metres of windows. Its architecture has been ridiculed as 'drab' and unfit for the 21st century.

Wood brackets decorate the soffit of the tower's eaves. The belfry was probably added to the building at a later date, probably in the 1850s or 1860s. The vestibule at the front of the building was also probably added at that time. The belfry roof is covered with asphalt shingles.

Load bearing brickwork supports partition walls. Ceilings are rendered flush based on half inch plaster blocks, attached to the soffit of the terra-cotta blocks. Flat roof structure similar to floor structure above. The building is in the Federation Romanesque style, an early example of the influence of American Romanesque.

The gutters have acroteria, decorative rainwater heads and moulded soffit brackets. The core of the ground floor is a single room meeting hall. It has a high (about ) boarded ceiling, and awning windows with sills at eye height. The pair of entry doors are six-panelled with an arched fanlight.

At the west end of the south wall is an original round-headed Saxon window. The south doorway is 17th century, with a modern porch. The chancel is about long and wide on the interior. The chancel arch is of one order with the late Saxon feature of a soffit roll.

Its main entrance is centered on the front facade, and is sheltered by a Federal-style portico supported by slender columns, with a decorated soffit. The interior has retained significant amounts of original 18th-century woodwork. The house was built c. 1792, and is a well-preserved local survivor of the period.

Coffered ceiling of the barrel-vaulted nave in the Temple of Jupiter at Diocletian's Palace in Split, Croatia. Built early 4th century. Nave of Lisbon Cathedral with a barrel vaulted soffit. Note the absence of clerestory windows, all of the light being provided by the Rose window at one end of the vault.

It is octagonal with carvings on each side of the bowl; these represent the symbols of the four evangelists interspersed with Tudor roses. Under the bowl is a soffit carved with angels. The bowl is carried on a stem with four buttresses, standing on a chamfered base. In the chancel is a 14th-century piscina.

The concrete finish to the original structure is shutter or board finished and is aesthetically laid in the soffit area and horizontal on the abutments and piers. The bridge was reported to be in good condition as at 15 June 2005, but had been damaged by fire as a result of a fuel tanker accident in June 1999.

Light-wells were uncovered and re-glazed, with the original arched framing re-sheeted. Paint was removed from the hardwood timber posts and front awning's soffit cladding, and the showroom ceiling was sheeted with new plasterboard.Riddel, Brisbane Modern, 2009, p.10Robert Riddel, on-site signage, Queensland Department of Environment and Heritage Protection (EHP) site visit on 18 September 2015, .

It has six fine masonry spans, with relatively small round cutwaters, which are fitted on the upstream side with stout steel fenders to provide protection from debris. The centre of the bridge has a pedestrian refuge on each side. The arches have been reinforced by a layer of concrete in the soffit."Builth Wells Bridge" at brantacan.co.

A close cornice A close, closed, or snub cornice is one in which there is no projection of the rafters beyond the walls of the building, and therefore no soffit and no fascia. This type of cornice is easy to construct, but provides little aid in dispersing water away from the building and lacks aesthetic value.

An open cornice In an open cornice, the shape of the cornice is similar to that of a wide box cornice except that both the lookouts and the soffit are absent. It is a lower-cost treatment that requires fewer materials, and may even have no fascia board, but lacks the finished appearance of a box cornice.

Detailed view of viaduct's piers The viaduct's 13 segmental arches carry it across the valley of the Dollis Brook, and over Dollis Road. Each arch spans at the springer level, and is based on tapered piers. In each pier there is an opening with an arched soffit and a dished invert. The viaduct is made from brick.

Unusual for a Wright-designed house, it has a full basement. The house is constructed from concrete block with horizontal board and batten siding. A row of windows just below the soffit make the chunky flat cantilevered roof appear to float above the house. A carport attached to one corner of the house completes the design.

A kitchen and bathroom wing has been added to the rear of the cottage. The external walls of the cottage are of solid dressed sandstone now rendered both sides. The hipped corrugated iron roof is of timber collar tie construction with batten spaces indicating that it may have been previously shingled. The roof eaves have a timber boarded soffit.

A gable roof with two cornice returns on the Härnösands rådhus A cornice return is an architectural detail that occurs where the horizontal cornice of a roof connects to the rake of a gable. It is a short horizontal extension of the cornice that occurs on each side of the gable end of the building (see picture of the Härnösands rådhus with two of these). The two most common types of cornice return are the Greek return and the soffit return (also called a boxed or box soffit return). The former includes a sloped hip-shape on the inside of the cornice under the eaves which is sheathed or shingled like the rest of the roof above it and is considered very attractive; the latter is a simple return without these features.

The kitchen wing has a sash window similar to those on the main house's attic set in a central shallow-pitched dormer with overhanging eaves and a flat soffit. The ground floor windows on that wing have slightly pedimented lintels. Behind the house is a modern garage at the end of the drive. To its north are the smokehouse and gable-roofed privy.

The roll response of the Eindecker, on the other hand, was poor. This is often blamed on the use of wing-warping rather than ailerons - although the monoplanes of the time, even when fitted with ailerons, often had unpredictable or unresponsive roll control due to the flexibility of their externally braced wings. Immelmann's later Fokker E.II with the "soffit" surfaces fitted.

The soffit, bay window and single garage door at street level are currently painted a bright green in contrast with the facade. The interior is largely intact. The Japanese influence on the roof continues with its supporting rafters visible. After the city's fire department absorbed the company, the building was reused as a warehouse by the Southeastern New York Library Council.

Some of the smaller squared windows have thick stone lintels and all the window frames have been painted white. There is a first-floor balcony on the symmetrical, truncated corner of the building. The sandstone balustrade has rounded coping, supporting two thick sandstone columns. It has a v-joint boarded soffit, green painted concrete floor and a single pendant light at the centre.

Tunnelton station is a historic railway station located at Tunnelton, Preston County, West Virginia. It was built in 1912–1913, by the Baltimore and Ohio Railroad Company. It is a rectangular, one-story brick structure. The exterior walls are constructed of brick, stone and mortar, with ornate wood soffit, extended wood fascia, and Spanish style ceramic roof tile, topped with large tile caps.

Paired paneled pilasters flank the six- light sidelights aside the main entrance, topped by another four-light transom. The six-panel wooden door opens into a central hall running the depth of the house. In the middle an elliptical arch with molded soffit panels and reeded wood trim and keystones. A similar arch on the adjacent wall leads into the stair hall.

The first floor verandahs are supported by paired cast iron columns with corinthian capitals; these are in turn supported by masonry plinths. Between these are cast iron balustrades with timber hand rails. These columns support a dentiled soffit. Similarly paired cast iron columns support the first floor balcony and the ground level balustrade has moulded concrete balustrading with hourglass-shaped balusters.

The hipped roof is low-pitched and covered with asphalt shingles, interrupted by two front-facing dormers. Each dormer has white clapboard walls and two windows, with three small glass panes over one larger pane. The wide eave overhang is enclosed with a wooden fascia and a tongue-in- groove wooden soffit. There are three brick chimneys penetrating through the roof.

"In the specific instance of vinyl soffits, the soffit material can melt away and allow an open chase for flames to rapidly spread into the attic space," the draft said. The AP reported that one member of the International Code Council, an association which develops the building codes used to construct residential and commercial buildings, including homes and schools in most U.S. cities, counties and states, stated that he had "received word that the Ocean Isle Beach fire ... began outside and raced through the soffit and into the attic." One NC state code council member said it's too early to determine whether they will consider similar proposals for standalone homes, such as the one from the Ocean Isle Beach fire of October 28. "We look at every issue like this," he told The Sun-News of Myrtle Beach, South Carolina.

They rest on s burnt red, clay-tiled, terraced portico floor and steps, and support a plain, banded entablature and balustraded parapet, which conceals a shallow, hipped, corrugated steel roof. The deep portico retains a white-painted timber boarded and shaped batten soffit, with later pendant lighting installed, and a recent steel balustrade to the disabled retail entry terrace leading around from the western ramp. The ground-floor rear addition of the residence to the eastern side is a combination of face and cream-painted brickwork, with a weatherboard and asbestos cement-sheet laundry and bathroom addition to the northern end. There is a timber porch to the eastern wall, with a corrugated steel roof and timber boarded soffit, supported on squared timber posts and with a cream-painted, timber-slatted balustrade, unpainted timber floorboards and slate on rendered brick steps.

The eaves are broad and they overhang. The soffit of the eaves of the roof is covered with timber paneling. They are made of readily available timber (economical materials) that could be sourced locally and have enough tensile strength to carry lateral loads. Waterproofing usually includes the use of bituminous asphalt, galvanized iron flashing, copings and a layer of corrugated metal roofing under the tiles.

It is built in pale red sandstone ashlar and consists of a segmental arch with a coffered soffit which spans the carriageway. On each side of the arch is a rectangular portal for the pavement. On both sides of the portals are attached unfluted monolithic Doric half-columns at each corner. Across the top of the structure is a dentilled cornice which carries a panelled parapet.

In 1970, at a cost of more than $40,000, a number of tasks were completed in the restoration process. On the home's exterior, the fascia and soffit were rebuilt as needed and the roof was repaired as well. Also on the exterior, the wood surfaces were repainted. The repairs were conducted in a manner consistent with the original design and construction of the building.

At the front, and on the rear extension, the roofline is marked by overhanging eaves with a dentilled soffit. On the side elevations a parapet with the chimneys rises above the roofline. The six-over-six double-hung sash windows have just the sill and lintel. Above them, in the gable field, is a wide fanlight and "SEYMOUR PLACE" in metal lettering on the west side.

The exterior walls are constructed with concrete block and are finished with stucco. The roof is a wood framed gable design with asphalt shingles. The soffit is fitted with white aluminum ventilation panels and the fascia is fitted with white aluminum trim around the entire roof. A wood framed small gable roof with asphalt shingles covers the front porch, and is supported by two wood pillars.

Roof of structure in 2015 The Raymond Park (East) air raid shelter is a rectangular concrete structure comprising a heavy floor slab and a flat roof supported by four concrete piers. The second, lower part of the floor slab is also visible. The piers and the roof of the shelter are painted green. There is evidence of the two entrances on the southern side of the Soffit.

Soffit vents under the eaves normally provide the low vents. Louvered vents in gables can provide the high vents in small houses or short gables. If a ridge is open, some metal roofing systems can install ridge vents along the entire ridge line of the roof. Various types of turbine ventilators and exhaust fans can assist with attic ventilation and decrease the required area of passive ventilators.

On the northern (rear) elevation exterior walls end at the soffit line where the hipped roof extends to the eaves gutter. Openings on this elevation appear to have been altered and recent steps and ramps added. A recent projection has been built in the north-west corner of the verandah. The building was originally laid out as nurses' living quarters with verandahs on all four sides.

The main entry, with a later tiled porch and steps, later doors and board and batten soffit, is located on the corner, the residential entry and porch, with bullnose slate steps, earlier hexagonal pavers and corrugated iron soffit, is at the centre of the western facade. Glen Innes Post Office and residence was reported to generally in very good condition as at 22 June 2000. There is some archaeological potential to the remaining open areas of the site, including the residence yard and rear concrete yard for evidence of former structures and uses. The Glen Innes Post Office appears largely intact structurally, and retains the features which make it culturally significant including architectural features such as the large round arches, hipped slate roof, arcaded porches at street level, along with the prominence of the building in the streetscape and its overall form, scale and style.

The approach to the main gate was by a 365-foot-long drive which begun at Virginia Street and was bordered on each side by a continuation of the wall. The Mission Revival gateway was also designed by architects Harris and Shopbell in 1901. The overhanging hipped roof was clad with red barrel tiles, and the soffit was coffered. Extensions of the gateway are connected with the brick wall.

These are a modern version of the old storefront crank-up awnings of the last century. The two, three or four tension arms (width dependent) and a top tube are supported by a torsion bar. With a Traditional 'Open Style' folding arm awning the torsion bar a.k.a square bar fits into wall or soffit or fascia or roof mounted brackets that spread the load to the wall or roof truss.

On the soffit beneath the chancel arch is a humorous sketch: a man with a gaping mouth grimaces as he strains to hold up the arch. An example of one of the wall paintings in the church One theory is that these early paintings are part of a series painted at churches by monks from Lewes Priory, England's first Cluniac house. Others survive at the churches in Clayton, Hardham and Plumpton.

The finished surface below the fascia and rafters is called the soffit or eave. In classical architecture, the fascia is the plain, wide band (or bands) that make up the architrave section of the entablature, directly above the columns. The guttae or drip edge was mounted on the fascia in the Doric order, below the triglyph. The term fascia can also refer to the flat strip below the cymatium.

Existing and new walls, alike, were covered in uniform, lightly textured, pale stucco from the ground up to – and including – the eave soffit. A continuous canted ledge of painted redwood stretched around the house below the second floor windows. Additional redwood trim was employed in rectangles to wrap around each corner on the second floor. All windows and doors in the home were fashioned in leaded glass with nickel caming.

The body of the church is lit by lancet windows and there are lancet windows flanking the porch and a louvred lancet high under the roof. This is gabled and clad in corrugated iron sheeting with a belfry on the roof ridge. The church has wide diagonal beaded boards on eaves, soffit and doors. Scissor trusses support the roof and the ceiling is lined with diagonal beaded boarding.

The side walls are divided by brick piers into bays, with ventilation openings incorporated within raised brickwork patterns. Banks of rectangular awning windows connect the top of each bay with the roof soffit. Clerestory windows above this roof level run the length of the auditorium. The inclined face of the roof soffits are clad in flat fibrous plaster sheeting ornamented with regularly spaced cover strips painted a contrasting colour.

Below the roofline is a soffit supported by scrolled brackets. The building has seen multiple, sometimes overlapping, uses since its construction in 1889. It was originally built to store firefighting equipment on the lower level, and to provide a meeting space for the Grand Army of the Republic (GAR), a Civil War veterans organization, on the upper level. The town used the building for fire equipment storage until 1968.

The verandah has a timber balustrade and square timber posts with square capitals supporting a skillion roof. The skillion is timber-lined and the verandah soffit has a timber battened ceiling. The south-western frontage of the main building is clad in weatherboard with internally exposed framing and small openings. The building has large casement windows and timber French doors with fanlights with timber mullions opening onto the verandahs.

The roof has a tall weathervane, and a bell hangs from a frame to the soffit. The trophy room is located on the ground floor of the northern wing, within a student common area. The room is encircled with timber honour rolls, and has timber french doors with timber surrounds. The centrepiece of this room is a war memorial consisting of a white marble plaque with a richly carved pediment and entablature on round columns.

2002, pg.21. ISBN No. 1-902207-46-7. As with the M.5K/MG quintet of production prototype Eindeckers, the pilot was provided with a head support to help him resist the airstream when he had to raise his head to use the gun sights. Max Immelmann's Fokker E.II in late October 1915, showing the initial form of soffit surface that the larger Oberursel U.I nine-cylinder rotary engine and larger diameter cowl required.

In total, there are 40 windows (including the basement level) and eight iron balconies. Another notable feature of the home's exterior are the support brackets all around the soffit in the eaves of the roof. In 1997, Dorothy Kingery established a trademark for the home's façade, and her layer dispatched letters to local artists demanding that they either stop using photographs of it for their own gain, or give her 10% of their proceeds.

From the room which was formerly the shop, is the straight varnished cedar staircase leading to the attic. It has turned balusters and newel, a panelled spandrel below, and a beaded board soffit over the doorway. The balustrade to the attic is simpler with squared posts and balusters. The attic is a single long room with tongue- and groove beaded boards to the side walls, flat and raked ceiling, and end walls of painted brick.

Side verandah, 2015 The White Swan Inn is a one-storeyed building with a substantial attic above. It is constructed mainly of tooled sandstone laid in a coursed random pattern with has a corrugated iron hipped roof. The building is surrounded by a simply detailed verandah which sits on low stumps. The verandah roof is supported by timber posts and the soffit reveals battening for shingles though these have been replaced with corrugated iron sheeting.

This wing is approached from the Stair Hall along a timber verandah which continues around the wing. The upper level of this verandah also has a ripple iron soffit with internal gutters. The main stair arrives at the First Floor in the upper Stair Hall which has moulded archways less ornate than that of the lower level. From the mid-landing is a smaller stair of similar detail, which leads to the upper level verandah.

Junee Post Office is a cream painted brick building of various different types of brickwork, including English bond on the northern facade, Flemish bond on the eastern facade and Colonial bond on the southern facade. Posts, soffit and window sills are detailed in dark green, with cream painted window frames. It is a simply detailed building overall, with bracketed window sills and bracketed eaves. The most elaborate items noted are the elaborately moulded chimney tops.

The awning fascia and soffit appear to have been replaced in recent years. The shops have glass show-windows and tiled piers and plinths which have been over-painted. Glazed doors to the theatre are at the north-western end of the front and, if not original, appear to contain original leadlight upper panes. Above the awning are double piers (or "slimmed-down" pilasters) at each end supporting an entablature and small cornice.

In appearance fiber cement siding most often consists of overlapping horizontal boards, imitating wooden siding, clapboard and imitation shingles. Fiber cement siding is also manufactured in a sheet form and is used as cladding, it's also commonly used as a soffit / eave lining and as a tile underlays on decks and in bathrooms. Fiber cement siding can also be utilized as a substitute for timber fascias and bargeboards in high fire areas.

It is also used in a number of other construction applications such as fascias, soffit, shaft-liner and area separation, wall sheathing, and as tile backing (backer board) or as substrates for coatings and insulated systems such as finish systems, EIFS, and some types of stucco. Magnesia cement board for building construction is available is various sizes and thickness. It is not a paperfaced material. It generally comes in a light gray, white or beige color.

The openness of this edge affords passersby a view across the park. A decorative iron arch containing the words BOWEN PARK springs from freestanding painted concrete piers to form the main entrance to the Park. A freestanding pier to the north and south form narrower entrance ways. Pathway to the toilets, 2005 The toilet block on the Bowen Bridge Road boundary is a small single- storey loadbearing brick structure with a tiled roof with a timber battened soffit.

The upper level is divided into four bays each with multi-paned glazed doors opening to rendered bay form balconies. Concrete hoods on shallow corbelled brackets overhang the doors. Vertical chevron mouldings at the centre of a stepped parapet mark the second bay from the north, over The Paragon and hold the vertical sign advertising the restaurant. The building has its 1930s awning, with its original pressed metal soffit, extending over Froma Lane to the south.

The plastic clip or fixing mechanism is hinged from the top of the spacer and does not come into contact with the soffit of the concrete. The plastic clip or fixing mechanism is embedded only 5 mm into the spacer, which maintains the material integrity at the product's surface. The plastic in the clip or fixing mechanism is used only for easily attaching to and holding the reinforcement, leaving the concrete part to do the work of the spacer.

The bell is formed from cast metal and both the bell and the hammer are painted – the crown and yoke are hidden behind a fibrous cement soffit. The bell chamber is screened in each corner by louvred timber panels. Few early furnishings remain in the building apart from honour boards, framed portraits and timber seating in the upper vestibule. Early brick foundations are visible in the basement along with the timber floor boards, joists, posts and beams.

The Webster Congregational Church is a historic Congregational church off NH 127 on Long Street in Webster, New Hampshire, United States. The church was built in 1823 by George Pillsbury, a local builder, with interior joinery by William Abbot, another experienced church builder, and is an excellent representation of late Federal styling. The main facade has three entrances, each topped by a semicircular fanlight with reeded soffit. The central doorway has sidelight windows, while the flanking doors do not.

Above is a bracketed cornice and a stone parapet with circular openings, topped with urns. The clock tower is square in plan, with square pilastered corners and a clock face on all four sides. It is capped by a high-pitched truncated pyramid roof of corrugated iron, with horseshoe-shaped louvred vents, decorative iron cresting and a flagpole at its apex. The lower colonnade has a concrete floor, boarded soffit, and single- pane vertical sash windows with semicircular heads.

This façade has twelve pilasters with Corinthian capitols that mark off the windows, doors and niches. The lower level has three entrances and the upper level has three balconies with arches. The interior has a ceiling with a large soffit with an Art Nouveau style painting by John Fulton representing the Muses along with Tlaxcala landscapes. The Tlaxcala Museum of Art was inaugurated in 2004, located in a building constructed in the 19th century in the historic center.

The canopy is concrete with a brick support column, while the windows are large plate glass with aluminum frames, placed in several groupings. The building is highly horizontal; the canopy's inclusion as a soffit across the facade and the banks of windows help emphasize this design. In September 1960, the interior received a remodeling, with a replacement of the windows and doors with new, similar ones. A cast stone motif featuring a thunderbird was added to the canopies.

The present gate-way is within a wall of much later brickwork, the gate surmounted by a segmental arched soffit with tiled springing points. The top of the wall is stepped and the capping courses have a tiled finish. The gate is of wrought iron made to fit exactly the arched opening within the 20th century brickwork of the entrance. To the east, between the later brickwork and the adjacent property is a narrow surviving section of earlier brickwork.

The cornice is elaborately decorated with egg and dart moulding, and rows of rosettes on the soffit and face. The words, "THE BIG BLOCK" and "FINNEY ISLES & CO. LIMITED" are contained on the parapet in raised lettering. Above the parapet is a central raised classical pediment containing the date "A1909D". A concrete and glass overhead walkway that spans from the building to the opposite side of the Queen Street Mall intrudes into the facade at the first floor level.

A star and zig-zag motif was used on the soffit of the arch, ball flowers on the cornice brackets and a zig-zag on the cornice. The original roof covering was slate, with a pattern of half round and diamond slates being employed at the ridge and above the eaves. The octagonal porte-cochère terminates in a bell-cote, whose detail is a miniature of the main trefoil arch and medallion motif. The bellcote was roofed with lead.

The first-floor centre verandah is painted brown and cream and has a bituminous-coated floor, timber balustrade painted to imitate masonry and board and batten soffit. The ground-floor open arcade runs the entire length of the facade and comprises arched bays and a central colonnaded porch. This verandah has a pebblecrete floor, concrete steps, board and batten ceiling, black wrought iron balustrading and large pendant lights. The masonry arches have decoratively moulded architraves and prominent keystones.

The right field scoreboard, photo taken March 2011. On February 12, 2008, the Twins announced $22.4 million in upgrades to the original design, and increased the Twins ownership stake in the ballpark to $167.4 million, bringing the total ballpark cost to $412 million.Jim Molony, The upgrades were mainly based around increasing fan experience and comfort. The upgrades included an enlarged canopy soffit (the largest in baseball), protecting fans further from the elements, in light of the stadium not having a roof.

The roofs have deep, boxed eaves with decorative brackets and timber panelled soffit. The lower section of the ground floor is strongly expressed as a base with a rusticated ashlar-like finish to the render. The upper part of the facade is subdivided by a string course at the sill level of the upper floor windows. The exterior of the building features regularly placed rectangular windows, taller on the ground floor and smaller at the upper level with rectangular moulded panels between them.

The plaza was influenced by the New York Improvement Plan of 1907, which sought to create plazas and other open spaces at large intersections; a massive circular plaza was ultimately supposed to connect the Brooklyn and Manhattan Bridges, but was never built. alt= The Manhattan Bridge arch is one of the city's three remaining triumphal arches, the others being the Washington Square Arch and the Soldiers' and Sailors' Arch. Its opening measures high and wide. There are rosettes on the arch's soffit.

A major renovation project, lasting from 1985 to 1987, restored the building to its original 18th-century condition. Non-original walls and partitions were removed, opening the hallways in the two wings for free movement, and the main lobby and first floor foyer were restored. For the exterior, the roof, soffit, and facis were repaired and the brickwork was repainted in a Colonial ivory. The three porches, on the front and one on each wing, and the chestnut pillars were restored and reconstructed.

Teague Barn Wabash Importing Company Farm Stable, also known as the Miller Barn, is a historic bank barn located in Noble Township, Wabash County, Indiana. Its original section was built in 1861, and is a three-story, post- and-beam frame barn on a limestone foundation. It measures 40 feet by 80 feet and features a paneled frieze and soffit, sunburst gable vent, and chamfered support posts. Note: This includes It was listed on the National Register of Historic Places in 2002.

The monument takes the form of an aedicule with two pilasters holding a heavy entablature. The sarcophagus with the reclining statue of the dead cardinal is placed in a large rectangular niche forming an open tomb. On the back wall of the niche there is a relief set in a lunette depicting the Madonna with the Child flanked by two angels in adoration. The soffit of the architrave is decorated with rosettes and the painted coat of arms of the cardinal.

The fixtures are original. Adjacent to the western side of the Stock Experiment Station's northern wing is a small building, rectangular in plan with a Dutch gable roof clad with corrugated metal sheeting, weatherboard clad walls, and a concrete slab floor. The top section of the exterior walls is in-filled with mesh to the soffit allowing ventilation of the interior. A channel in the slab drains into a drainage trough running around the base of the south-western corner.

Additions to the building appear to have mainly occurred to the rear of the two-storey building towards William Street, comprising single-storey brick buildings currently used for storage of the higher rear dock area. This opens to the small rear yard accessed off William Street. There is a small balcony off the first-floor corner facade below a pediment with a rendered balustrade. It has an asphalt lined floor, masonite or fibre cement sheet soffit, and a flagpole projecting from the centre.

The awning has a pressed metal soffit with geometric motifs. The auditorium is entered via a passage between two shops; the entrance is marked with stepped surrounds surmounted by vertical banding in relief, which bear the words "Town Hall". The auditorium has a simple rectangular plan running north–south, with the stage and proscenium at the southern end, and is richly decorated in a blue and rose Art Deco scheme. The walls are rendered masonry with plaster decoration, and the floor is hardwood.

Dana house in 1967 The Dana House consists of three roughly rectangular painted brick sections, 2-1/2 stories in height, with a low-pitch hip roof. The main block, apparently adapted from a stock pattern by New Haven architect Henry Austin, has a three- bay front facade, with a single-story porch extending across its width, supported by turned posts. The building's roof has typical Italianate wide eaves, with a wooden soffit and corbelled brickwork arches underneath. A square cupola rises above the main block.

A parapet wall or cornice tend to preclude eaves, as an alternate design, both favouring flat roofs and weather-proof walls. Very pronounced overhangs (eaves) are characteristic to European architecture to shield the walls from rain, sleet and snow such as Swiss chalet style, Dutch, Romanian, and Tudor architecture. Soffit exposure profile (from wall to fascia) on a building's exterior can vary from a few centimetres (2–3 inches) to 3 feet or more, depending on construction. It can be non-ventilated or ventilated, to prevent condensation.

Inscribed 'ANDERSON FOUNTAIN A bequest from the late Dr Anderson to the inhabitants of Parramatta Erected February 1882 Trustee James Pye Esq Rocky Hall. ;Band Rotunda East of the centre of the square, close to Church Street, is a band rotunda (1891), octagonal, cast iron columns, iron lace valence, capped with a facetted copper roof with a central turret pyramid raised above an encircling collar, and wooden soffit lining. This delicately modelled structure floats, seemingly weightless, on an octagonal concrete paved dais. Erected by Ald.

The pointed arches used in Perpendicular were often four-centred arches, allowing them to be rather wider and flatter than in other Gothic styles. Perpendicular tracery is characterized by mullions that rise vertically as far as the soffit of the window, with horizontal transoms frequently decorated with miniature crenellations. Blind panels covering the walls continued the strong straight lines of verticals and horizontals established by the tracery. Together with flattened arches and roofs, crenellations, hood-mouldings, lierne vaulting, and fan vaulting were the typical stylistic features.

The soffit of the upper floor slab is exposed and now painted off-form concrete, bearing the lines of the boards employed in its formwork. The floor surfaces are variously covered with cement and bituminous or granolithic toppings and painted. Sloping floors at each level to the central courts where edge drains and sumps collected the water to convey it away deal with the problem of incoming stormwater caused by the central light courts in the change areas. The condition of the building is poor.

The main difference between the E.I and E.II was the engine - the former having the seven-cylinder 60 kW (80 hp) Oberursel U.0 rotary engine which was essentially a direct copy of the French-made 60 kW (80 hp) Gnome Lambda seven-cylinder rotary engine, while the latter had the nine-cylinder 75 kW (100 hp) Oberursel U I, a direct copy of the 75 kW (100 hp) Gnome Monosoupape Type 9-B2 rotary. The larger diameter of the E.II's nine-cylinder rotary mandated raising the upper nose paneling to match the larger-diameter cowl the U.I required — this also caused the outer edges of the upper nose paneling to overhang the fuselage's upper longerons, making it necessary to add "soffit"-like surfaces, projecting outwards and upwards from the upper longerons' forwardmost length behind the cowl to fully enclose the nose once more on all E.II and E.III aircraft. The "soffit"-like surfaces were eventually created from upward extensions of the sheetmetal panels on the sides of the forward fuselage, by the time the E.III was in full production. Production of the types, built in parallel, depended on engine availability.

The level of detailing present on the soffit indicates that the architectural detailing was as important as the structural design. The subtle arches, level springings and haunches along the main beam / girder complement the structural characteristics and potential of reinforced concrete, which allowed a lighter and more graceful bridge design. The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales. In 1999, one of four continuous two girder reinforced concrete bridges in NSW and the only example with concrete bearings.

The cable-stayed bridge is 315m long in total and spans the River Glomma as part of the new E18 link 80 km southeast of Oslo. It has a river clearance of 25m to the soffit of the deck and carries four lanes of traffic. The cable-stayed section consists of two spans with a single tower; the main span is 185m long and the back span has a length of 142.5m. A solid counterbalance abutment on the back span end was built to compensate the corresponding scope of works performed imbalance in dead load.

The shallow-pitched roof, constructed of deep timber trusses, is clad in metal sheeting. The Wickham Street shopfront is largely transparent and sheltered by a large, cantilevered awning that has a tongue-and-groove, v-jointed timber board-lined soffit with a stained finish. The timber entrance door is painted yellow and set within a timber and glass frame, adjacent to a masonry wall clad in random rubble stone. The shopfront comprises reconstructed floor-to-ceiling, steel-framed angled windows, standing on concrete and rubber pads and supported by timber mullions.

In the centre of this wall is a steep concrete stair with tubular steel handrail, which leads to the rear building. Separating the showroom and the rear building is a wide, earth-floored void and a second retaining wall. This void is protected by a roof overhang, and access is gained from the stair, through openings in the walls. The showroom roof overhang is set at a steep angle to allow natural light to enter the space, and louvres within its soffit are part of the original ventilation system for cooling the roof space.

Albert Park (North) Air Raid Shelter, 2015 The Albert Park (North) air raid shelter is a rectangular concrete structure comprising a heavy floor slab, which is covered with bitumen, and a flat roof supported by concrete piers. The original floor slab is still evident through the bitumen cover. The shelter is unpainted, and the soffit shows evidence of hasty removal of the blast walls; some reinforcing steel is visible protruding downwards. It stands on the footpath to the northeast corner of Albert Park with the canopies of large trees overhanging the shelter.

Above the front door is a wood sign with the name of the church and year of construction. The corner boards on the main building, in keeping with the Greek-Revival style however, terminate at the horizontal entablature wrapping around from the east and west facades, with decorative trim making the appearance of a pilaster cap. The frieze board of the gable then extends up the face of the gable from this horizontal detail. A cove trim piece is located at the juncture of the frieze board and wood soffit of the eave.

Roll formed metal fascias (the horizontally oriented metallic surface, with two "lines" along it, that is just below the corrugated roof edge, which overhangs the fascias by a few inches) on a house in Northern Australia. Portable roll forming machines make it possible to create long lengths on the building site, thus reducing joints. The eaves or soffit lining can be seen. Fascia () is an architectural term for a vertical frieze or band under a roof edge, or which forms the outer surface of a cornice, visible to an observer.

The second story has side by side windows over the bay and a single window above the paired windows. West elevation of the main section is a duplication of the east except there is but one window on the first floor nearer the rear. There is a wide wood frieze with center and top mouldings on the main section and wood soffit on the roof overhang with moulded wood eaves. There is one brick chimney which is located at the center of the exterior north wall of the main section.

The King Edward Park air raid shelter is a rectangular stone and concrete structure comprising a heavy floor slab, rear and side nib blast walls of sandstone, six sandstone piers and a flat concrete roof. The shelter is approached by two flights of concrete stairs from Turbot Street. All the stonework features a hammered finish. The concrete roof is new; there is no evidence of blast wall removal on the soffit, and there is an additional narrow course of stone between the walls and piers and the roof.

The chancel decoration was created by Emanuel Vigeland, the brother of the better known Gustav Vigeland. The church was restored in 1959–60 by the architect Finn Bryn (1890-1975). In 2007–2008 the church spire was repaired, and an old scroll was found in the soffit relating how the church's foundation stone was laid, who had participated in the construction of the church, and who had paid for the work. The cemetery, measuring 70 mål (), is planned to be expanded by 60 mål () and excavation work has started.

According to the Haskell Association "The house had lead paint on its exterior, which was in poor condition, and had to be removed before the playhouse was repainted. The playhouse also needed exterior carpentry work, including on the soffit, fascia and porch floors before painting could begin." The association was successful in raising enough money to complete the renovations to restore the playhouse. Some of his buildings have been razed. Two of his designs, the McPike Mansion and the Captain Leyhe House, are reportedly haunted, and are featured stops on the Alton’s Haunted Odyssey tours.

"Bargeboard" in A universal dictionary for architects, civil engineers, surveyors, sculptors ... London: Griffith and Farren. It is a sloped timber on the outside facing edge of a roof running between the ridge and the eave. On a typical house, any gable will have two rakes, one on each sloped side. The rakes are supported by a series of lookouts (sometimes also called strong arms) and may be enclosed with a rake fascia board (which is not a fascia) on the outside facing edge and a rake soffit along the bottom.

A wide box cornice with lookouts Box cornices enclose the cornice of the building with what is essentially a long narrow box. A box cornice may further be divided into either the narrow box cornice or the wide box cornice type. A narrow box cornice is one in which "the projection of the rafter serves as a nailing surface for the soffit board as well as the fascia trim." This is possible if the slope of the roof is fairly steep and the width of the eave relatively narrow.

The Eldorado City Hall, located at 1604 Locust St., is the former city hall of Eldorado, Illinois. Built in 1924, the building was Eldorado's first city hall; prior to its construction, the city government had been operated from the mayors' businesses. The architectural firm of Harry E. Boyle and Co. designed the building in the Classical Revival style. The brick building features a second-story entrance, brick quoins at each corner, a large dormer with a semicircular window on the front facade, and soffit ends supported by wooden brackets below the dormer.

The main entrance to the former residence on Hubert St comprises a timber-lined barrel vault supported on delicate metal brackets, over a central door with a coloured glass arched fanlight flanked by single windows. A second entrance is provided around the corner on the south elevation, which also has an arched coloured glass fanlight and an arched brick lintel. The verandah to the south, now partially enclosed, has a timber balustrade with timber posts, and timber battens to the verandah soffit. The brickwork to the south is unrendered, revealing splayed brick lintels.

This open-welled stair begins with a curtail step and handrail scroll, and features turned newels and balusters, and a boarded soffit lining. From the second landing is the entry to the Gallery through a similar doorway. At the top of the stair is a series of doorways to offices, formally the "Mayor's Room", the "Council Chambers" and the "Town Clerk", as announced by the painted signs on the doors' lock rails. Above this is a further stair of similar character but of lesser width which leads into the clocktower.

The former library has plain brick walls and banks of frosted glass windows running below soffit level, turning the corner at the southern end. Attached to the northern wall is a plaque commemorating the hall's opening. The tower is ornamented with a pattern of lines formed by raised brickwork. Two semi-circular elements protrude through the tower continuing the curve of the auditorium roof, a single aluminum-clad truss towards the front and a section of curved roofing at the rear, sheltering a garden bed which was originally a small pool.

Running along the entire length of the eastern facade is a verandah, supported on stop chamfered timber posts, rectangular in section, with simple capitals and bases. The facade of the building is punctuated with five, irregularly spaced, French doors which are fully glazed within a cedar frame, with side opening transom lights above. Shade is provided to the openings with full length timber shutters. The soffit of the verandah is unlined with principal edge rolled framing members, and the floor is timber boarding, with chamfered weatherboards on the faces of the base of the building.

The frieze is narrow and comprises alternating projecting fluted and fielded recessed panels surmounted by a flat door hood over shallow fluted modillions. The jambs and soffit of the entrance are panelled, the configuration of the panels to the jambs matching exactly that of the door itself indicating that they are contemporary. The door is eight-panel type, two short panels at the top over two taller panels, repeated below the lock rail. The door knocker on the central muntin is a ring knocker and has a fleur-de-lis motif.

The concrete structure in 2015 The Morningside air raid shelter is a rectangular concrete structure comprising a heavy floor slab, which is now covered by concrete pebbling, and a flat roof supported by concrete piers. There is also a coloured mosaic on the western side of the floor slab. There is evidence on the soffit of the two entrances on the Wynnum Road side. The shelter stands within a vegetated road reserve, west of the Morningside Railway Station, with a canopy of mature fig trees and camphor laurels.

From the south, the arch is also a prominent part of the streetscape. The Dornoch Terrace roadway is supported by a painted concrete vault, generated by a basket-handle arch and sprung from concrete abutments on either side of Boundary Street. The abutments stand proud of the surrounding stone retaining walls and feature a plinth and impost painted in a contrasting green. The off-form striated finish of the vault's soffit is evident beneath the paintwork, whereas other parts of the bridge appear to be rendered and painted.

There are asphalt shingles on the roof and there is a simple wood soffit and fascia. The facade of the house, or south elevation, is symmetrical with a door in the center and matching wood, two-over-two double hung windows on either side. The door and windows are constructed with sandstone lintels; there are sandstone and granite quoins on all four corners and on the corners of the north shed roof addition. The front porch is not covered, consisting only of a concrete slab at the threshold which is approximately eight inches high.

The main, double height theatre block is set back from the street frontage behind an 80 ft X 40 ft (24.4m x 12.2m) forecourt lined along the sides by arcaded walkways which terminate in small shops on the street frontage. The blocky massing of the front facade is symmetrical, centred on a large semi-circular arch over the main entrance. This features a scalloped Moorish soffit and enriched label panel and mouldings. The arch is set in an ornate central tower with the entrance reached via a grand flight of steps.

There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia. The minimum wall thickness for brick was set at 13.5", and 12" for concrete.

The main entrance, on the Exchange Place elevation, has a round arch surrounded by eleven granite "coins" representing the countries where City Bank Farmers Trust operated offices. There are also granite medallions flanking and above the arch, as well as the National City Bank's seal at the top left and the National City Company's seal at the top right. Two vertical illuminated signs, one on either side of the arch, contain the word . Within this arch, there are steps leading to doors underneath a large grouping of windows, while a lamp hangs from a soffit at the top of the arch's ceiling.

Originally, transite had between 12-50% of asbestos fiber added to a cement base to provide tensile strength (similar to the rebar in reinforced concrete), and other materials. It was frequently used for such purposes as furnace flues, roof shingles, siding, soffit and fascia panels, and wallboard for areas where fire retardancy is particularly important. It was also used in walk-in coolers made in large supermarkets in the 1960s, 1970s and even the 1980s. Other uses included roof drain piping, water piping, sanitary sewer drain piping, laboratory fume hood panels, ceiling tiles, landscape edging, and HVAC ducts.

There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia. The minimum wall thickness for brick was set at 13.5", and 12" for concrete.

The Midland Railway - Butterley's mainline steam locomotive, ex-British Rail 4-6-0 Class 5MT 73129 crossing the stone causeway over Butterley Reservoir The tunnel was 2,966 yard (2712m) long, wide at water level, and from water to soffit (depending on the water level). At the time of building it was the third longest canal tunnel in the World after Sapperton and Dudley. Thirty-three shafts were sunk during construction with the workings dewatered using a Woodhouse steam engine. Water was provided for the Cromford Canal from the Butterley Reservoir situated on the hill above the tunnel.

W. A. Grubb & Co. butchers were the first tenants of the building, occupying the shopfront for many decades. The appearance of the shopfront was later modified by the conversion of a central door bay into a window and the application of tiles up to the window sill line, prior to complete removal and reconstruction as part of the mid-1980s redevelopment. Also removed at this time was the awning which had a soffit lining of Wunderlich pressed metal which also appears to have continued onto the adjoining awning at 147 George Street. Style: Edwardian;National Trust of Australia: "Neo Georgian".

The ground floor has an awning to the Queen Street frontage and to the northern end of the Ann Street frontage. The awning is supported by steel tie-rods fixed to the exterior of the first floor, and has decorative pressed metal soffit and fascia, with the name HOTEL ORIENT in relief. The Queen Street frontage has an entrance at the southern end, with regularly spaced sash windows fronting the street and returning along the Ann Street frontage. The entrance is accessed via a flight of steps to recessed doors which have a leadlight fanlight panel.

There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia. The minimum wall thickness for brick was set at 13.5", and 12" for concrete.

There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia. The minimum wall thickness for brick was set at , and for concrete.

A joist hanger. Joists may join to their supporting beams in many ways: joists resting on top of the supporting beams are said to be "lodged"; dropped in using a butt cog joint (a type of lap joint), half-dovetail butt cog, or a half- dovetail lap joint. Joists may also be tenoned in during the raising with a soffit tenon or a tusk tenon (possibly with a housing). Joists can also be joined by being slipped into mortises after the beams are in place such as a chase mortise (pulley mortise), L-mortise, or "short joist".

Access is provided to the verandah via a centrally located open tread timber stair, which is emphasised with a planted trellis. Four half glazed French doors with transom lights above open from the homestead to the front verandah, and similar doors open on the north western and south eastern sides of the building. The corrugated iron verandah awning is supported on chamfered timber posts, and the soffit is clad with fibrous cement sheeting to the north west of the building. Internally, the Homestead is divided into three principal rooms, to which the French doors provide access.

The western facade of the church houses two entrances, the principal entrance to the body of the church and the entrance to the base of the tower. The principal entrance to the church is via a centrally located double timber door with circular motifs on each of five panels on the exterior aspect. The door is protected by a small open porch, which has a gabled awning clad with cordova tiles and a vaulted concrete soffit supported on substantial columns with Composite order capitals. On the fascia and surrounding the round archway is a relief moulding featuring crosses.

There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia. The minimum wall thickness for brick was set at 13.5", and 12" for concrete.

The house consists of the 1885 concrete section and a two-storey timber extension at the rear. The concrete section has a simple rectangular plan surrounded on three sides by a wide timber verandah, the soffit of which is clad with beaded boards and supported on pairs of square timber columns featuring large decorative timber sweeps. The high pitched double hipped roof of the early house, is clad with corrugated iron sheeting and abuts a smaller hipped section over the dining room. This principal roof is distinct from the hipped roof over the kitchen wing and later extensions.

The dominant semi- circular arch of the auditorium is broken up by a tall brick tower on the northern side of the main entrance. The exaggerated inclined soffit of the single-storey side walls of the hall cuts across the main elevation and around the projecting box of the former library on the southern side of the entrance. A smaller, secondary entrance on the far northern side is set back, and long brick planter boxes project towards the street. The pavement and stairs in front of the main entrances are of green concrete inscribed with a pattern of squares.

A whole house fan pulls air out of a building and forces it into the attic space or, in the case of homes without attics, through an opening in the roof or an outside wall. This causes a positive pressure differential in the attic forcing air out through the gable and/or soffit vents, while at the same time producing a negative pressure differential inside the living areas which draws air in through open windows. Powered attic ventilators, by comparison, only serve to remove some hot air from the attic. Intake air comes directly from outside, instead of from the house interior.

There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia. The minimum wall thickness for brick was set at 13.5", and 12" for concrete.

The altarpiece by Agostino MasucciThe interior of the chapel is covered with a rich white and gold stucco decoration which also extends over the outer surface of the entrance arch. The original Renaissance half-columns were embellished with Ionic stucco capitals with festoons and angel heads. The keystone of the arch is an escutcheon with crossed branches of lilies, a star and bread rolls (the traditional attributes of Saint Nicholas of Tolentino), flanked by two stucco half-figures holding garlands of fruit. The soffit of the entrance arch is decorated with angel heads, the dove of the Holy Ghost and decorative relief panels.

An EF1 tornado touched down near Stanley, nearly destroying a wall on one house and causing minor damage to others. It also deroofed multiple barns and sheds and leveled corn and tobacco crops; the total damage from the tornado was estimated at $110,000. Another EF1 tornado occurred between Maceo and Yelvington, causing $3,000 in damage to trees and the soffit of a house. An EF0 tornado near Lewisport and Adair downed tree limbs and snapped tree trunks, blocking roads and damaging the roof of a house; the tornado also damaged the metal roof of a barn.

A third feature was perhaps the most innovative: Wright specified that the ceilings for the second floor rooms be installed eight inches below the roof slab. The resulting air space was to be fed by vents beneath the eaves and exhausted through the chimney to create a constant stream of moving air. Modern homes often use a similar soffit and ridge vent combination to keep the attic and the floor below cooler. Yet, at the time of publication, most wood houses lacked attic ventilation because buildings were not constructed as tightly as those built in recent years.

They were only discovered in 2017, by the conservator-restorer Rade Mrlješ from the Belgrade's Institute for the protection of the cultural monuments. New photos showed that the 1921 photographs were taken with the Sun in its zenith, which shadowed the façade obscuring numerous ornaments which were visible on the latter photographs. There were ornaments in the shape of reeds, water grass and bamboo above the female head and the circular red-white checkered field. The soffit below the terrace, thought to be convex was actually concave, while there was a brushy treatment of the area above the two windows on the floor.

There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia. The minimum wall thickness for brick was set at 13.5", and 12" for concrete.

The clock tower has four clock faces installed of unusual design, having white lettering and hands on a black face. The two storey section has three rendered and cream painted corbelled brick chimneys with terracotta pots, punctuating the eastern and northern sides of the building and at the centre. The ground floor of the western facade is classically detailed, with a three-bay arched masonry colonnade, with tan painted keystones to the centre and tan and red painted dentilled entablature above. The colonnade is paved with red clay tiles and has a plaster soffit with moulded cornice.

Continuous girder bridges were one of the five reinforced concrete bridge types developed following the formation of the Main Roads Board in 1924. The bridge forms part of the Princes Highway and was part of the overall improvement works on the highway after the formation of the Main Roads Board. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The surface form and texture created by the formwork and shutter design on the soffit, abutments and piers demonstrates that the architectural attributes of the bridge were part of the overall design and were not purely utilitarian.

On the left margin is a rectangular space to facilitate passage over the bridge. Also part of this project was the erection of a cross, dedicated to the Senhor da Ponte (Our Lord of the Bridge) on the northern margin, but that did not survive to this day. The pavement is constituted from rectangular blocks, delimited by a paved walkway resting on corbels which allow the passage of pedestrians and by wrought iron guards paced by stone pillars. In the archway soffit there are various abbreviations, such as in the first arch (M, z, y, /, ///) and on the second arch various created from vertical lines.

The doors leading out of the grand foyer into adjoining spaces on the ground floor match those connecting the foyer and entrance hall. In front of these doors, the wide soffit to the balcony above is decorated with a distinctive pattern of swirls interlocking to form a series of circles and has a circular light fitting in its centre. Beneath the grand marble staircase, accessed through openings on either side, there is a storeroom which retains an original timber door featuring a simple geometric pattern of ribs. Next to this storeroom are stairs that lead down to the basement (currently not in use), which retain original handrails and brackets.

This feeling of strong verticality was even further emphasised by the deliberate stepping of the street awning over the entrance foyer doors. The awning itself retains its original pressed metal soffit, or underside lining, which is wholly decorated with characteristic geometric Art Deco motifs in a regular repeated pattern. The Art Deco linear geometric style is relieved internally by curved walls to the main stair, half landing and curved corners in the foyer and first floor lounge. The auditorium is distinctive through its Art Deco lights in two panels of nine wall lights to either side of the screen and the continuous ground glass box lighting with its chevron motif.

Lamington Bridge, 2001 Lamington Bridge is a low level bridge, designed for inundation, and crosses the Mary River immediately south of the city of Maryborough between Ferry Street in Maryborough and Gympie Road in Tinana. It is a reinforced concrete structure comprising eleven spans of clear or centre to centre of piers. The bridge is reinforced on both faces with eleven rails, which were erected as frames and are bolted to the pier tops underneath the concrete and spliced with fishplates. Deck and piers The bridge has a solid deck, wide, with circular segmental soffit and a depth at the centre of the roadway varying in each span from .

This former church has an exceptionally good interior with all its fittings and galleries. It has a conventional rectangular plan with shallow canted apse, faced in Bath stone which is enlivened by spirelet pinnacled buttresses diving the windows and with octagonal pinnacled turrets holding the corners whilst a larger pair flank the effectively recessed full height entrance bay under the parapeted gable. The soffit has a lrerne pattern of ribs over the large decorated west window, the tracery of cast iron. The porch proper is shallow and contained within the recess, a tripartite composition with an ogee arch to the central doorway with an ornate finial.

"The medallions were 72-74 cm in diameter, including the yellow-ochre frame...which was outlines with an inner black line and an outer white line. The background of the soffit was a blue-black and that of the medallions alternately green and red...the haloes of all the saints were yellow ochre, outlines in white and red-brown along the outer circumference." The entire south wall was covered with a fresco of the Anastasis originally. A door has been placed incorrectly due to construction to preserve the integrity of the building, so it seems as if the painting is cut short on one side.

Roofs were flat, hipped, gable, or flat/gable combinations with heavy shake shingles, while construction was frame with a medium-sand stucco finish. Interiors of the homes were defined by the use of terrazzo flooring, built-in kitchen appliances (toaster, blender and can openers), large fireplaces, walls of sliding glass doors on the rear of homes, sunken roman tubs in master bathrooms with windows overlooking a small private outdoor garden enclosure, and soffit lighting in living rooms. Stellar Greens is located off Mohigan Way, west of Eastern Avenue and consisted of 47 homes. Miranti Homes were the only all-block tract-built homes in Paradise Palms.

The 21st century in Russian comic opera began with the noisy premieres of two works whose genre could be described as "opera-farce": Tsar Demyan (Царь Демьян) - A frightful opera performance. A collective project of five authors wrote the work: Leonid Desyatnikov and Vyacheslav Gaivoronsky from St. Petersburg, Iraida Yusupova and Vladimir Nikolayev from Moscow, and the creative collective "Kompozitor", which is a pseudonym for the well-known music critic Pyotr Pospelov. The libretto is by Elena Polenova, based on a folk-drama, Tsar Maksimilyan, and the work premiered on June 20, 2001, at the Mariinski Theatre, St Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002".

They had four central piers supporting the roof slab, which allowed for the removal of the four blast walls after the war. There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia.

The original gothic imagery of the street level facade and on the soffit of the awning, reflected and set the scene for the lavish interiors. The detailing remains almost intact and in good condition, except where Art Deco decoration was substituted in 1937. The 1937 Market Street shopfront alterations have a high level of cultural significance as a fine and now rare example of Art Deco style of shopfront design, executed at a time when the Shopping Block needed a radical new image to counter flagging consumer support. Unfortunately, the alterations of latter decades have adversely impacted on the quality and integrity of this Art Deco decoration.

The original wall construction of the main range is for the most part lost through subsequent phases of development that replaced the original timber frame with a brick facade to the north and west. However, within the garret closet at the junction of the main range and east wing some wall construction remains in situ. The early remains comprise part of the south wall plate of the main range, part of the east wall plate of the east wing and a substantial post between the two. The lack of stave holes for in-fill on the soffit of the wall plate indicates that the two ranges are contemporary.

They had four central piers supporting the roof slab, which allowed for the removal of the four blast walls after the war. There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia.

The church is constructed in dark-red-brown Flemish bond brickwork, with painted render dressings defining features such as string courses, copings, lintels and sills (internally and externally). Stepped and plain buttresses support the exterior walls, and arched openings are constructed from multiple rowlock (brick-on-edge) courses. The prominent roof form is clad with rib-and-pan profile metal sheeting (replaced in 1997), and features flared eaves supported on decoratively trimmed rafters with a raked soffit of tongue-and-groove boards. The nave end walls are topped with stone cross finials, and gable ends to the vestries and entrance porch are finished with basket weave patterned brickwork.

The former Bundaberg Police Station Complex is a single storey rendered brick building, situated on the corner of Quay and Maryborough Streets and oriented towards the Burnett River. The building has a rectangular floor plan with a corrugated steel hipped roof behind a parapet which faces Quay Street and returns down the sides of the building to flanking verandahs that spring from below the soffit of the main roof and run down each side of the building. The eastern verandah is partially enclosed. The verandahs are supported on timber posts with decorated capitals and a vertical boarded scalloped valance to form a Tudor arch.

The east view of the house shows the original masonry construction on the southeast portion of the structure as well as the framed bedroom addition initiated in 1925 and garage built in 1993 on the northeast portion with 4-inch vinyl lap siding. There are two openings in the home: a window opening and a door opening in the framed addition. The window is vinyl-clad wood with the sash being six-over-six double hung. The large wooden soffit has a massive decorative cornice that is consistent in size and presentation on the masonry walls as well as the wood-framed walls on all elevations of the home.

The architects have used an unusual method of "hiding" the beam by curving the ceiling down from the rear stalls wall to the soffit of the beam, then curving up again to the edge of the circle. The plan shape of the dress circle is typical of the work of the architects, Kaberry and Chard. In the early 1920s, their circle balustrade designs (with their straight central portions curved around each side to side boxes) were in plaster with swags of classical ornament and cartouches. From about 1927 they simplified the design to unadorned flat panelling (as at the Magnet Theatre, Lakemba demolished; Montreal, Tumut).

Street view, 2015 Constructed in 1928 across two blocks of land, Uanda is a low-set, hip-roofed, single-storey timber cottage set in a leafy street among timber houses of the same era. Rectangular in plan with a central projecting front porch flanked by bay windows, the house is clad with weatherboards and has a simple valance of timber palings to the lower level. The bay windows have bell-curved, shingle- clad skirts and multi-paned sash windows below flat projecting roofs and are supported on exposed timbers with a bird-mouth detail to the ends. The roof is tiled and has short projecting eaves with v-j boarded soffit.

Pantheon (Rome) A coffer (or coffering) in architecture is a series of sunken panels in the shape of a square, rectangle, or octagon in a ceiling, soffit or vault. A series of these sunken panels was often used as decoration for a ceiling or a vault, also called caissons ("boxes"), or lacunaria ("spaces, openings"),An alternative, in a description of Domitian's audience hall by Statius, noted by Ulrich 2007:156, is laquearia, not a copyist's error, as it appears in Manilius' Astronomica (1.533, quoted by Ulrich). so that a coffered ceiling can be called a lacunar ceiling: the strength of the structure is in the framework of the coffers.

They had four central piers supporting the roof slab, which allowed for the removal of the four blast walls after the war. There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was by by high, and if concrete was used the dimensions were by by high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia.

The omission of the expansion joint removes a significant maintenance and durability issue, as it serves as a point of ingress for road salts which allows the abutment, piers and deck soffit concrete to come under chloride attack that can cause degradation and eventual span failure. A 1989 British study showed that the majority of expansion joints surveyed in existing bridges had failed and allowed water (and hence salt) ingress. The movement experienced at the abutment in an integral bridge is an order of magnitude greater than those designed with movement joints. The size of movement depends on the stiffness of the bridge structure and the fill adjacent to the abutment (which is subject to compaction).

Of the films Kostetskiy appeared in towards the end of his life, the most famous roles were in films directed by Vladimir Vorobyov: Including, Wedding Krechinsky, Truffaldino from Bergamo and Treasure Island. He also often participated in the duplication and dubbing of foreign and animated films. From 1990 until his death in 2014 he was a lecturer at the Department of Musical Comedy, Head of the Department of stage movement and speech at the St. Petersburg Conservatory. He was made an Honored Artist of the RSFSR in 1978 and awarded the St. Petersburg theatrical prize Golden Soffit for the role of Dr. Dorn in the premiere performance Notebooks of Trigorin of Theatre Comedians (interpretation of Chekhov's play The Seagull).

It has Egyptian-styled columns with classically moulded round arches, balustrade infills of each bay, vinyl tile covered floor, beaded board soffit and attached lights. The front facade is made of rendered brick and painted while the rear is face brick in a predominantly cream colour scheme with tan detailing, red lettering and red corner details around the clock faces. It has moulded string courses at regular intervals up the facade, with a wider band at the first-floor level and a finely dentilled cornice at parapet level and within the large pediment at the southern end of the eastern facade parapet. Openings are evenly spaced and have moulded arches with prominent keystones.

Adjacent to Young Street the single storey rendered masonry section has articulated engaged piers to its southern elevation, a hipped corrugated iron roof surmounted by two small ventilators, quad guttering, later sliding aluminium windows and boarded soffits in line with the rafters. The two storey rendered masonry section attached along its northern also has a hipped corrugated iron roof and quad guttering but has a flat soffit with timber cover strips and no evidence of articulated piers. It has a rendered masonry string course below the window line. The windows comprise groups of six top hung sashes to the western elevation with later aluminium sliding windows generally throughout the remainder of the building.

The stadium is designed like a concert hall with good acoustics in mind so as to optimise the atmosphere on match day. The corners of the stadium are enclosed and the stands are placed close to the pitch, with fans generating a "wall of sound" that can reverberate around the ground. The design extends to the shape and material of the roof and the seating, such as aluminium soffit lining to the roof, and aims to produce cleaner and quicker reverberation times that allow fans to sing in sync thereby producing chants that are louder and last longer. The stadium is also designed to maintain the character but noisier than White Hart Lane and facilitate a sense of "home".

Between 2003 and 2006 he was appointed chief stage director in the Komissarzhevskaya Theatre where he staged five productions and received the Golden Soffit Award for Dom Juan by Moliere and was again nominated for the Golden Mask Award. His productions One Flew over the Cuckoo’s Nest with Alexandr Abdulov and The Visit of the Old Lady with Maria Mironova in Lenkom Theatre also proved to be significant events in Moscow's theatre life. Morfov has received more than twenty national and international theatre awards, among which are the Golden Mask Award, Chaika [seagull], Crystal Turandot, etc. In 2005 he worked in the United States with Mikhail Baryshnikov on the theatre project Doctor and Patient by Rezo Gabriadze.

The stables present original sandstone external wall facades featuring extant heads and sills to some windows and a hipped slate roof with original eaves including fascias, soffits and soffit mouldings. The south elevation was treated as the prime side of the stables and the crook of the east and west wings enclosed the main stables-related working area. This elevation features window heads and sills to larger first floor window, WWII opening and sill to small window, original window frames and sashes and a recycled small window frame and sash at first floor level. The Western elevation was the least important side of the stables building and was originally a totally blank and recessive facade.

The fire was caused by an electrical ground fault inside a wall-mounted electrical receptacle. A refrigerated pastry display case was added, after original construction of the hotel, to one of its restaurants (known as The Deli). Unlike a modern display case, which would be totally self-contained (compressor installed in bottom of display case), this unit functioned like a walk-in cooler or central air conditioning system, with a pair of copper refrigerant lines connecting its evaporator to a condensing unit located outside the building. When this set-up was installed, the copper lineset was run through the same wall soffit as a pre-existing electrical conduit and in physical contact with the conduit.

The north side of the home shows the masonry structure with a chimney and the framed porch enclosure and bedroom addition that was initiated in 1925 as well as the north gable side of the garage built in 1993. The large wooden soffit has a massive decorative cornice that is consistent in size and presentation on the masonry walls as well as the wood-framed walls on all elevations of the home. There are two windows that are vinyl-clad wood, with the sash being six-over-six double hung. The west side of the wood-framed bedroom addition from 1925 and garage from 1993 can be seen with 4-inch vinyl lap siding.

It featured a hip roof over the operators bay, and two gable dormers over the freight/express section. It was later moved by the Grand Trunk to the west side of the mainline, opposite to its original location, likely around 1907-1908 (Requires confirmation.) At this time, a new operators bay was constructed and finished with a new gable roof to face the mainline. The freight/express section was also altered with the addition of one shed-roof dormer, which was also added to face the mainline. The station featured a combination of painted wood siding finishes: tongue and groove infill along the base course, doors, and soffit; and board and batten in the mid and upper courses.

To the eastern facade, there is a colonnade with burnt red, clay-tiled floor and steps, masonry arches and columns, board and batten soffit and pebblecrete curved ramp at the southern end. The clock tower is accessed internally via a recent steel vertical ladder from the ground-floor to the first, and via a timber ladder to the clock mechanism on the third-floor. French doors to the tower open out onto the northern facade first-floor verandah and the interior walls are rendered, with timber-boarded floors. The Post Office has been recently painted with a distinctive salmon-pink colour scheme including red detailing of arches, openings, posts and smooth columns.

The residence comprises the eastern section of the ground floor to the rear, and the upper floor. The ground-floor concrete-floor laundry and tiled bathroom is a later skillion addition with asbestos cement sheeting and raked timber boarded ceiling. The rest of the ground-floor and upper-floor walls are of plastered and painted double brick, excepting the upper-floor bathroom and store to the northeastern corner, containing asbestos cement sheeting and timber board lining. The ceiling to the ground floor is plaster and batten in the vinyl- tiled kitchen, with a scotia cornice, flush plaster with wide moulded cornice to the lounge room and v-joint timber boards to the main hallway and stair soffit.

Each floor has been reduced in height by 50 mm and structural floor beam depths have been changed. In addition, the level of the soffit has been decreased and the viewing gallery height has been reduced, which was intended to be double height. Despite its height reduction, the proposed height will still make 1 Undershaft the second tallest building in London and the United Kingdom upon completion. 1 Undershaft would replace the St Helen's tower, pictured above Following a recommendation by planning officers for approval, the scheme was approved by the City of London Corporation on 28 November 2016, with 19 votes in support and two against and given final approval by Mayor of London Sadiq Khan on 12 December 2016.

Changes appear to have been extensive to the interior of the building, particularly to the first-floor mail sorting room, which is currently open plan showing evidence of wall fabric removal and infill of openings. There is a ground floor colonnade to the southern facade with brown glazed tiled floor, cream painted original mini-orb iron soffit, ovolo cornice, exposed beams and heavy masonry elements including attached fluted columns and a rendered balustrade to the eastern of the three open bays. There is a brown tiled recessed side porch containing the post boxes enclosed by a lockable, grey painted wrought iron palisade fence and gate. The colour scheme of the exterior is currently apricot painted render with cream painted opening surrounds, columns and pilasters.

In foremost use soffit is the first definition in the table above. In spatial analysis, it is one of the two necessary planes of any (3-dimensional) optionally built area, eaves, which projects, for such area to be within the building's space. In two-dimensional face analysis it is a discrete face almost always parallel with the ground that bridges the gap(s) between a building's siding (walls) and either: their parallel extraneous plane (fascia) where such exists; or where no such plane, a point along (or the abrupt end of) the roof's outer projection (overhang). Soffits and fascias are archetypally screwed or nailed to rafters known as lookout rafters or lookouts for short, their repair being often undertaken simultaneously.

Several documented additions have occurred to Junee Post Office since first construction. These include the extension of the northern side of the two storey-section in -9, the addition of the verandah and a first floor balcony at about the same time, the extension of the verandah with the single storey addition to the north and the removal of the balcony . The eastern facade has an unusually wide, pavement-width verandah on the ground floor which has a low pitched roof clad in corrugated iron with a heavy, dentilled entablature, supported by paired, green painted cast iron posts. The pavement is a combination of bitumen and brick pavers and the soffit is green painted corrugated iron with an ovolo cornice, exposed beams and attached fluorescent lighting.

Thermal mass is ideally placed within a building where it is shielded from direct solar gain but exposed to the building occupants. It is therefore most commonly associated with solid concrete floor slabs in naturally ventilated or low-energy mechanically ventilated buildings where the concrete soffit is left exposed to the occupied space. During the day heat is gained from the sun, the occupants of the building, and any electrical lighting and equipment, causing the air temperatures within the space to increase, but this heat is absorbed by the exposed concrete slab above, thus limiting the temperature rise within the space to be within acceptable levels for human thermal comfort. In addition the lower surface temperature of the concrete slab also absorbs radiant heat directly from the occupants, also benefiting their thermal comfort.

Nave of Lisbon Cathedral with a barrel vaulted soffit. Note the absence of clerestory windows, all of the light being provided by the Rose window at one end of the vault. Although the dome constitutes the principal characteristic of the Byzantine church, throughout Asia Minor are numerous examples in which the naves are vaulted with the semicircular barrel vault, and this is the type of vault found throughout the south of France in the 11th and 12th centuries, the only change being the occasional substitution of the pointed barrel vault, adopted not only on account of its exerting a less thrust, but because, as pointed out by Fergusson (vol. ii. p. 46), the roofing tiles were laid directly on the vault and a less amount of filling in at the top was required.

The Russian opera is continuing its development in the 21st century. It began with the noisy premieres of two comic operas, whose genre could be described as "opera-farce": The first was Tsar Demyan – a frightful opera performance (a collective project of the five participants: composers Leonid Desyatnikov and Vyacheslav Gaivoronsky from Saint Petersburg, Iraida Yusupova and Vladimir Nikolayev from Moscow, and the creative collective "Kompozitor," (a pseudonym for the well-known music critic Pyotr Pospelov) to the libretto by Elena Polenova after a folk-drama Tsar Maksimilyan, premiere 20 June 2001 Mariinski Theatre, Saint Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002". Another opera The Children of Rosenthal by Leonid Desyatnikov to the libretto by Vladimir Sorokin, was commissioned by the Bolshoi Theatre and premiered on 23 March 2005.

The first-floor room was of some pretensions, having had two three-light windows with traceried heads and an oriel window, replaced in the 17th century, over the entrance to the side passage; the main ceiling beams have chamfered soffit-nibs. The second floor was once open to the roof, and the partition truss had shallow arch-braces to a collar-beam which had a central boss. The contemporary hall wing is of three bays; the floor area of the hall extended over all three, but the bay adjoining the range fronting the street had an upper story. The upper story was built above an elaborately moulded bressummer, supported by arched brackets, and there is a waist rail corresponding in height and in decorative detail in the east wall of the hall.

However, it appears, that by the 1930s, it contained the three existing shops. For twenty years from the early 1930s, part of no 56 was leased to the Union Bank of Australia Ltd (now the ANZ Bank). Alterations including the installation of bars over the bank windows (part of no 56); the installation of a glazed shop front to the adjoining shop (part of no 56); and alterations to the awning of the building including sheeting the timber soffit with pressed metal may have been carried out about this time. Tenants of the other shops at this time were tailor, A Crossley (54) and the local newspaper, the Isis Recorder (part of no 56), who remained a tenant until the 1980s, taking over the bank premises as well from the 1950s.

The square-planned bell tower on the southern elevation contains the entry to the church reached by a set of brick stairs with integrated brick planter boxes. The belltower has a flat concrete roof concealed by parapet walls and is surmounted by a bell enclosure comprising a circular colonnade of eight columns which support a faceted metal clad lantern roof and a weather vane in the likeness of a rooster, the symbol of St Peter. The soffit of this lantern roof is lined with timber boards and the door and window openings are detailed similarly to the nave. The semi-circular planned chancel with truncated low pitched metal clad roof adjoins the eastern end of the nave of the church and is similarly detailed with narrow windows on the north and south elevations.

The two Pulpits date from 1626, are of oak and of the same general design, set against the two responds of the chancel-arch, each of pentagonal form with a short flight of steps, base having a series of short turned balusters connected by segmental arches and capped by a cornice, the whole continued outwards as a rail to the stairs; upper part of pulpit, each face divided into two bays by turned columns with moulded bases and capitals from which spring segmental arches and the whole finished with an entablature; door similar but with one half-column only, between the bays and with strap-hinges; sounding-board resting on panelled standard at back with two attached pilasters; board finished with an entablature with segmental arches below and turned pendants, boarded soffit with turned pendant in middle. A view down the nave showing the twin pulpits.

The slabs at the entrances were of Kapunda marble. The elevations, similar on both Rundle and Grenfell streets, were of Italian style; the lower half dominated by the glass shop-fronts and arcade entrances, protected by verandahs supported by decorative iron columns, with a square balcony at the centre, behind which was an octagonal tower and dome, bearing an Australian coat-of-arms (not _the_ coat of arms — Federation was still 15 years away, but the design used bore a strong resemblance to that ultimately chosen). Inside, the ceiling featured wide cornices constructed of moulded galvanized iron, and the upper cornices being surmounted by a deep cove finished with panelled soffit, returning down the cove and across the ceiling, which is broken up into a series of deeply recessed panelled bays, glazed with diapered and coloured glass. Additional sunlight was supplied by circular bullseye lights in alternate bays of the cove.

The building has a pleasing balance in its design, with two symmetrically placed window openings in the upper level of the plain brick rear facade, and three door openings to the Stanley Street verandah. Despite the unequal sizes of the side additions, the building's appearance is unified by a street awning and verandah that run the full width of the Stanley Street elevation, with a chamferboard parapet each side of the central roof; and by the rear extension which also spans the full width of the facade. The eastern facade and the verandah are oversheeted with fibro, as is the soffit of the street awning. Facebrick coursing of the central core is English Bond brickwork, with corner quoins to the Stanley Street elevation, and round headed openings with sandstone sills at first floor level in the southern face, one of which has been extended to form a doorway.

The fan-forced evaporator unit in the display case was not properly secured, and thus was able to vibrate constantly while in operation; these vibrations were carried along the copper refrigerant lines, causing the pipes to rub against the electrical conduit in the wall soffit and make them vibrate as well. Galvanic corrosion occurred, in which the copper refrigerant pipes were in physical contact with the aluminum electrical conduit, causing the conduit to erode over time. Galvanic corrosion and vibration – as well as jagged edges and stretched wires resulting from poor workmanship during the installation – eventually resulted in the electrical wires inside the conduit missing chunks of their plastic insulation. The conduit was rendered un-grounded (there was no separate ground wire; the metal conduit itself was designed to function as the ground, so the disintegration of the conduit rendered the system un-grounded).

The original ceiling can still be reached from the ringing chamber in the central tower, and includes an arch- braced collar-beam truss, with traces of five cross-ribs equally spaced on the soffit of the four-centred moulded arch. The truss had slots for the panels of a boarded ceiling (a wagon roof). The entrance to the chancel from the crossing has a red marble step, with mosaic, and Minton encaustic tile panels of a three-branch lamp, then another marble step and black marble main chancel flooring in small paving slabs. In the sanctuary there are a further three marble steps, with paving of pink marble with black in square or zigzag patterns. Chancel, looking towards the altar and the great east window, St Padarn's Church, Llanbadarn Fawr Priests’ vestry, angle of wall adjoining to chancel There are three small square-panelled doors to the north wall of the chancel.

The E-shaped plan, of which the central range had been doubled in depth in the seventeenth century, was retained. Campbell presented a plan for the south elevation, which was modified in the execution, but he was principally involved in remaking the interiors, where his presence is commemorated in the stucco portrait bust of him in the soffit of the bay window at the south end of the Gallery, which is the sole surviving contemporary image of the Scottish architect; the plasterwork is associated with the "three Germans" alluded to in the correspondence from Lord Wilmington's gardener William Stuart, one of whom is thought to have been the Anglo-Danish stuccator Charles Stanley.A Danish biography of Stanley written by A.F. Busching in 1757 notes he worked in England for almost twenty years (1727-46) and, among other patrons "with fame for My lord Willington in Eastbourne, Sussex" (quoted by Geoffrey Beard, Decorative Plasterwork in Great Britain, 1975:59. The London plasterer John Hughes supervised the plasterwork.

His family origins were at Arezzo,Leoni liked to sign his medals, sometimes in Greek, as an Aretine; the marble monument to Gian Giacomo Medici di Marignano bears the bronze legend under the soffit LEO·ARRETIN·EQUES·F. though he was probably born at Menaggio near Lake Como, and his early training, to judge from the finish of his medals, was with a medallist or goldsmith, as Vasari says.Vasari, le vite...: "Lione Lioni Aretino" His earliest documentation finds him at Venice after 1533, with his wife and infant son, living under the protection of his Aretine compatriot (and possible kinsman), Pietro Aretino, who introduced him to the circle of Titian.Trevor-Roper, Hugh; Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517-1633, Thames & Hudson, London, 1976, p30 Taking advantage of his rival Benvenuto Cellini's being in prison at the time, he secured the role of designer for the Papal mint in Ferrara (1538–40) but was forced to withdraw under accusations of counterfeiting levelled by Pellegrino di Leuti, the jeweller of the Farnese Pope Paul III.

Toowoomba Railway Station (platform side), 2012 The Station Building (1874) is a substantial symmetrical building with an elongated rectangular plan with gabled bays to the east and west, and hipped roofs to the north and south. The building is finely detailed externally: the corners have pilasters formed by projecting quoins; floor and sill levels are articulated with string courses; the western ground floor openings have arched heads with keystones framed by continuous mouldings, and include a wide arch over a centrally placed entrance to the platform; the eastern ground floor windows have square heads and projecting quoins; the upper floor windows are framed with scrolled brackets supporting moulded projecting heads; the cornice has dentils and the gable ends have cartouches. Later alterations to the western elevation include concave awnings over the upper gable windows, and an enclosed timber verandah running between the two gabled bays with a corrugated iron awning projecting from the soffit. Two cast iron queuing rails are located outside ticket windows adjacent to the western entrance.

The E.III was basically an E.II fitted with larger, newly designed wings that had a slightly narrower chord of 1.80 meter (70-7/8 in), compared to 1.88 meter (74 in) on the earlier Eindeckers, going back to Fokker's original M.5 monoplane aircraft. The E.III retained the same 75 kW (100 hp) Oberursel U.I engine, and therefore also used the larger diameter "horseshoe" pattern cowling that also mandated the inclusion of the E.II's soffit-like extensions to the sides of the upper nose sheet metalwork, but had a larger 81 l (21.5 gal) drum-shaped main fuel tank just behind the cockpit, which increased the Eindeckers endurance to about 2½ hours; an hour more than the E.II. Most E.IIIs were armed with a single 7.92 mm (.312 in) Spandau LMG 08 machine gun with 500 rounds of ammunition; however, after the failure of the twin-gun Fokker E.IV as a viable successor, some E.IIIs were fitted with twin guns. Fokker production figures state that 249 E.IIIs were manufactured; however, a number of the 49 E.IIs were upgraded to E.III standard when they were returned to Fokker's Schwerin factory for repairs.

The easiest spotting features of a PD-4103 over the rare PD-4102 are that the later model included a rear luggage bay door on the left side that did not appear on either the PD-4101 or PD-4102, as well as an improved refrigeration system, using the same Ingersoll-Rand rotary vane compressor as previous models, but with a larger evaporator coil using a better expansion valve and a larger supply fan located over the rear passengers' seats. To further improve air circulation and fresh air intake, exhaust fans were incorporated into the soffit at the head of each interior luggage rack, which operated from the same rheostat that controlled the main blower. Also included was a new, higher rated Delco generator and an improved voltage regulator, a redesigned reverse gear solenoid on the transmission, various evolutionary improvements to the 6-71 GM Diesel (tougher alloy exhaust valves and improved S-55 injectors as standard) and other miscellaneous minor improvements, including the addition of a "black light" instrument panel, in which the instruments had radium painted figures, very similar to what Ford introduced on their 1950 Ford passenger cars. Production of this bus totaled 1,501 with Greyhound Lines buying a substantial quantity.