In April 1931, the Vancouver Art Gallery Association was established under the provincial Society Act, in order to establish and maintain a museum for the City of Vancouver. The Association opened the art museum to the public at 1145 West Georgia Street on 5 October 1931. The building was designed by architectural firm Sharp and Johnston, and featured four galleries, one of which included a sculpture hall, a lecture hall, and a library. The cost to construct the building was approximately CA$40,000.

Works by British, and other European artists dominated the works exhibited at the museum at the time of its opening. In 1938, the museum was the one of the buildings occupied by unemployed protesters during a sitdown strike in the weeks leading up to Bloody Sunday. Paintings were not damaged while the protesters occupied the building.
In 1950, the museum conducted renovations to its building, reshaping the design of the building towards an International Style of architecture; with the removal of the building's Art Deco facade. Renovations were also conducted to accommodate the 157 works bequeathed to the museum by Emily Carr, with the building reopened to the public in 1951. Cost for the renovation was approximately CA$600,000, funded by the City of Vancouver government, and funds raised by Lawren Harris.
In 1983 the museum was relocated to its present location, the former provincial courthouse. The building continues to be owned by the Government of British Columbia, although the museum occupies the building through a 99-year sublease signed with the City of Vancouver government in 1974; who in turn leases the building from the provincial government. Before the re-purposed building was opened to the public, it was renovated by architect Arthur Erickson at a cost of CA$20 million, as a part of his larger three city-block Robson Square redevelopment. The gallery connects to the rest of Robson Square via an underground passage below Robson Street.
Plans to build a new building for the museum were undertaken in 2004, a result from its need for more exhibition and storage space for its collections. In November 2007, the museum publicly announced plans to move to seek approval from Vancouver City Council to build a new building at Larwill Park, a block formerly occupied by a bus depot on the corner of Cambie and Georgia streets. However, in May 2008, the museum and the City of Vancouver government announced its intention to relocate to an area occupied by the Plaza of Nations. The Vancouver City Council later reversed its decision in April 2013, opting to approve the original proposed site in Larwill Park. In September 2013, the museum formally issued requests for qualifications to construct the new building, receiving responses from 75 architectural firms from 16 countries. In April 2014, Herzog & de Meuron's bid was selected by the museum. The development of the Vancouver Art Gallery's new building is the first project for the architectural firm in the country. Perkins and Will's Vancouver branch was contracted as the project's executive architects.
The cost to construct the building has been estimated to be CA$330 million, with the federal and provincial governments expected to provide CA$200 million, and the museum expected to raise the rest from public and private donors. Should the museum secure its relocation, the museum would occupy the building under similar arrangements as the former courthouse, with the museum leasing the property from the City of Vancouver. The building was originally planned to be completed in 2020. However, developments for the project stalled due to a funding dispute between the federal and provincial governments. In November 2021, the museum received a $100 million donation from Michael Audain to help fund the new building. The donation was the largest cash donation to a public art museum in Canadian history. However, as of November 2021, the museum still needed to raise another $160 million to fund the project.


The art museum is in the former provincial courthouse for Vancouver. The 15,300-square-metre (165,000 sq ft) neoclassical building was designed by Francis Rattenbury after winning a design competition in 1905. The building was opened as a provincial courthouse in 1911, and operated as such until 1979, with the provincial courts moved to the Law Courts south of the building. The building was designated the Former Vancouver Law Courts National Historic Site of Canada in 1980. Both the main and annex portions of the building are also designated "A" heritage structures by the municipal government. The Vancouver Art Gallery moved into the former courthouse in 1983.
The Centennial Fountain on the Georgia Street side of the building was installed in 1966 to commemorate the centennial of the union of the colonies of Vancouver Island and British Columbia; although it was later removed in 2017 as part of the Georgia Street plaza renovations. Shortly after the provincial courts moved out of the building, the building was renovated for museum use, and as a part of Arthur Erickson's redevelopment of Robson Square. The Annex Building is the only part of the building complex that was not converted for museum use.
The design of the building includes ionic columns, a central dome, formal porticos, and ornate stonework. The building was constructed using marble imported from Alaska, Tennessee, and Vermont. Construction for the building began in 1906 and replaced the previous courthouse at Victory Square. At the time, the building contained 18 courtrooms. An annex designed by Thomas Hooper was added to the western side of the building in 1912. It was declared a heritage site and retains the original judges' benches and walls as they were when the building was a courthouse.


The front lawn and steps of the building has hosted a number of public gatherings and protests. The building serves as the monthly meeting spot for Vancouver's Critical Mass, as well as flash mobs, the Zombie Walk, pro-marijuana rallies, and numerous environmental demonstrations. The steps on both the Robson Street and Georgia Street sides of the building are popular gathering spots for protest rallies. The Georgia Street side is also a popular place in the summertime for people to relax or socialize.
In February 12, 2007, the 2010 Olympic countdown clock was placed in the front lawn of the building. It was open for free for the public to see. The clock has since been disassembled after the games, with one half going to BC Place and the other to Whistler Village.
In June 2021, Cheryle Gunargie created a vigil in honour of the unmarked remains of children discovered at the Kamloops Indian Residential School. The vigil consists of 215 pairs of shoes, one for each of the children whose remains were discovered.


As of December 2018, the Vancouver Art Gallery's permanent collection had approximately 12,000 works by Canadian, and international artists. The museum's permanent collection is formally owned by the City of Vancouver, with the museum acting as the custodians for the collection under a lease and license agreement. The permanent collection acts as the principal repository of works produced in the Lower Mainland region, with museum acquisitions typically focused on historical and contemporary art from the region. Approximately half of the works in its collection were produced by artists from Western Canada. In addition to art from the region, the collection also has a focus on First Nations art, and art from Asia. The museum's collection is organized into several smaller areas, contemporary art from Asia, photography and conceptual photography, works by indigenous Canadian artists from the region, and artists from Vancouver and British Columbia.
The museum's photography and conceptual art collection includes photographs from the 1950s to the present, and includes photos by the N.E. Thing Co. artist collective, photographers of the Vancouver School of conceptual photography, and other artists including Dan Graham, Andreas Gursky, Thomas Ruff, Cindy Sherman, Robert Smithson, and Thomas Struth. The museum's collection of contemporary Asian art includes works by Eikoh Hosoe, Mariko Mori, Fiona Tan, Jin-me Yoon, Reena Saini Kallat, Song Dong, Wang Du, Wang Jianwei, Yang Fudong, and O Zhang.


Serving as a repository for art for the region, the museum holds a number of works by artists based in the Lower Mainland, in addition to artists based in other regions of British Columbia. The museum's collection includes works from Canadian artists, including members of the Group of Seven, Gathie Falk, Michael Snow, and Joyce Wieland. The museum's collection also features a significant number of works by Emily Carr, dating from 1913 to 1942. The painting Totem Poles, Kitseukla, by Carr, was among the original set of works acquired for the museum's collection prior to opening in 1931. The permanent collections of the Vancouver Art Gallery, along with the collections of the National Gallery of Canada, hold the largest number of works by Carr of any collection in the world.
The museum's also features a collection of indigenous Canadian art from the region, including works from Haida, Heiltsuk, Inuit, Kwakwakaʼwakw, Nuu-chah-nulth, Nuxalk, and Tlingit artists. Regular acquisitions of indigenous Canadian works was undertaken by the museum beginning in the 1980s; with the museum's practices prior to the 1980s typically leaving the acquisition of indigenous Canadian works for the collections of ethnographic, or history museums.
In 2015, George Gund III bequeathed to the museum 37 First Nations works, including totem poles by Ken Mowatt and Norman Tait, drawings by Bill Reid, and thirteen carved works by Robert Davidson. Other works in the museum's indigenous Canadian collection includes works by Sonny Assu, Rebecca Belmore, Dempsey Bob, Dana Claxton, Joe David, Reg Davidson, Beau Dick, Brian Jungen, Marianne Nicolson, and Lawrence Paul Yuxweluptun.


The Vancouver Telephone Building is a historic building located at 112 West Eleventh Street in Vancouver, Washington. It was completed in 1934 and was listed on the National Register of Historic Places on November 6, 1986.


Vanier Park plays host to one of Vancouver’s biggest summer festivals, the Shakespearean Bard on the Beach and formerly the Vancouver International Children's Festival. It is the biggest and most famous of the fifteen parks in Kitsilano.


The cathedral was established in 1606, built by the hundreds of thousands of Armenians who were forcibly resettled by Shah Abbas I in his new capital as part of his scorched-earth policy in Armenia during the Ottoman War of 1603-1618.
The varying fortunes and independence of this suburb across the Zayande River and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.


The construction is believed to have begun in 1606 by the first arrivals, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like an Iranian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.


The interior is covered with fine frescos and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of the creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a motif of a cherub's head surrounded by folded wings typical of Armenian art. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.


The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. The graves include those of Sir George Malcolm, an English army officer, Alexander Decover, Russian consul and banker, and Andrew Jukes, English surgeon and agent of the British government. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral. Graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard, there is a raised area with a memorial to the 1915 Armenian genocide in Turkey. Across the courtyard and facing the cathedral, there is a building housing a library and museum. Outside of this building are several carved stones showing scenes from the Bible.


The library contains over 700 handwritten books and many valuable and unique resources for research in Armenian and medieval European languages and arts. The museum displays numerous artifacts from the history of the cathedral and the Armenian community in Isfahan, including:
the 1606 edict of Shah Abbas I establishing New Julfa;
several edicts by Abbas I and his successors condemning and prohibiting interference with, or persecution of, Armenians and their property and affairs;
a historic printing press and the first book printed in Iran;
vestments, monstrances, chalices, and other sacramental artifacts;
Safavid costumes, tapestries, European paintings brought back by Armenian merchants, embroidery, and other treasures from the community's trading heritage;
ethnological displays portraying aspects of Armenian culture and religion;
an extensive display of photographs, maps, and Turkish documents (with translation) related to the 1915 Armenian genocide in Turkey.
The cathedral has greatly influenced the architecture and decorative treatment of many subsequent Orthodox churches in the region.


The Varaha Temple at Khajuraho (Devanagri: वराह मंदिर) enshrines a colossal monolithic image of Varaha, the boar incarnation of Lord Vishnu. This temple depicts Varaha as a purely animal form. The temple is located in the Western Group of Temple Complex Khajuraho Group of Monuments, a World Heritage Site inscribed by UNESCO in 1986 in Khajuraho. Khajuraho is a small village in Chattarpur District of Madhya Pradesh, India.
Varaha (Sanskrit: वराह) is the third Avatar of the Lord Vishnu, in the form of a Varaha (Boar).


Varaha is depicted in art as either purely animal or as being anthropomorphic, having a boar's head on a man's body. In the latter form he has four arms, two of which hold the wheel and conch-shell while the other two hold a mace, sword or lotus or make a gesture (or "mudra") of blessing. The Earth is held between the boar's tusks.
The Varaha Temple structure is one of the monuments among Khajuraho Group of Monuments, a World Heritage Site in India. It is dated to c. 900–925 AD. Inside the temple complex, Varaha Temple is located next (South) to Lakshmi Temple and opposite to Lakshman Temple.


The Varaha Shrine, built on a lofty plinth, is simple and modest. It has an oblong pavilion with a pyramidal roof of receding tiers, resting on fourteen plain pillars.  The shrine is built entirely of sandstone.
The statue of Varaha is 2.6 m long and 1.7 high. The sculpture is colossal and monolithic and made of sandstone. The sculpture is carved with numerous figures on its entire body (also seen in image). The sculpture carved between nose and mouth, depicts goddess (of Saraswati) carrying Veena in her arms.


The Varna Aquarium (Bulgarian: Варненски аквариум, Varnenski akvarium) or Aquarium Varna (Аквариум Варна) is a public aquarium in Varna, Bulgaria's largest city on the Black Sea coast.
The aquarium's exhibition focuses on the Black Sea's flora and fauna which includes over 140 fish species, but also features freshwater fish, Mediterranean fish, exotic species from faraway areas of the World Ocean, mussels and algae.
The foundation of the aquarium was initiated by Prince Ferdinand I on 6 January 1906 in the Euxinograd palace. Ferdinand entrusted Doctor Parashkev Stoyanov with the establishment of a maritime biological station. The monarch also requested assistance from the prominent German biologist Anton Dohrn, founder of the Stazione Zoologica in Naples, who provided Ferdinand with blueprints and photographs of the Naples station. On 25 January 1906, the Varna Municipal Council allotted money for the aquarium's construction and appointed a commission in order to select a suitable location for the building. The foundation stone was laid on 22 October the same year in Varna's Sea Garden in the presence of Prince Ferdinand and the Bulgarian Royal Family, as well as many important statesmen and intellectuals. The aquarium's edifice was constructed to the design of Munich-educated Varna architect Dabko Dabkov. The building's facade is decorated with a sizable bas-relief of a clam and smaller reliefs of popular Black Sea species.
The edifice was completed by 1911. However, the outbreak of the Balkan Wars in 1912 delayed the opening of the aquarium. In 1913, Ferdinand made the building property of Sofia University. World War I and the severe sanctions imposed on Bulgaria with the Treaty of Neuilly did not permit the unveiling of the aquarium until 1932, when the maritime biological station was inaugurated by Tsar Boris III. Until 1932, the building had accommodated army units, Bulgarian refugees from Thrace, the School of Mechanics and the School of Fishing.
Today, the aquarium's research unit, the adjoined Institute for Fish Resources, includes 12 scientists who conduct research related to hydrobiology, hydrochemistry, marine microbiology, ichthyology, plankton and benthos. The Varna Aquarium's library houses 30,000 volumes of specialized literature, including rare 19th-century books and maps.


Vastseliina Castle (Estonian: Vastseliina piiskopilinnus, German: Neuhausen, Russian: Novgorodok) was a castle of the Livonian Order, Bishopric of Dorpat. It was constructed by 1342 by the Landmeister Burkhard von Dreileben as part of the border fortifications of Old Livonia against Novgorod, Pskov and later Moscow.
Nowadays the ruins of the castle are located near Vastseliina (in Vana-Vastseliina village), Võru Parish, Võru County, Estonia.


The Therapeutic Baths’ Casino of Vatra Dornei, also known as the Vatra Dornei Casino (Cazinoul Bailor OR Cazinoul din Vatra Dornei), is an abandoned historic monument located in Suceava County, Romania in the town of Vatra Dornei.  It was built in 1898 by Austrian architect Peter Paul Brang while the territory was part of the Austro-Hungarian Empire.  It is located on the Dorna River.
It was initially constructed as an entertainment venue for tourists of Austria-Hungary whom would flock to the nearby therapeutic baths.  The baths offered mineral water treatments, carbonic acid baths, and mud wraps for visitors while the nearby casino offered poker, craps, and roulette.  The casino initially was designed to attract Viennese tourists looking for treatment.  Local authorities hired traveling bands from Vienna and the structure itself was built as a sister casino to the current Grand Casino in Baden bei Wien, Austria, mimicking its design.  In its heyday, the Casino attracted tourists from all over Austria-Hungary, mainly from Vienna, Berlin, and Budapest, but also Italian and Jewish travelers.
The Casino opened its doors in 1898 and served personalities such as Emperor Franz Joseph and Archduke Franz Ferdinand, but also other regional notables, such as Lucian Blaga, Nicolae Iorga, Corneliu Zelea Codreanu, Nichifor Crainic, Emil Bodnăraş, Eugen Jebeleanu, Zaharia Stancu, and Gheorghe Gheorghiu-Dej. The casino also hosted Soviet generals on their way to Berlin in World War II.
Today, the casino is abandoned.


Joseph II, Holy Roman Emperor, instituted a series of policies between 1765–1790 now known as Josephinism, which acted to decentralize church institutions.  In essence, this policy prohibited local churches from speaking directly to the Curia in Rome or other centralized bodies as with Orthodox churches.  Practicing Jews of Bukovina were also targeted by the occupying Monarchs.  The consequence of the policy was the bankruptcy and shuttering of over 800 monasteries and local churches and the forfeiture of their funds and vast properties to the government.  It also resulted in the centralization of active church property.  The newly acquired funds and properties were turned into public, secular church-fund bureaucracies (in German: Religionsfonds) resulting in the creation of 1,700 new welfare institutions and parishes.
After the annexation of Bukovina by the Habsburg monarch from the Principality of Moldavia in 1775 (which later became part of the Austrian Empire in 1804 and Austria-Hungary in 1867), the monarch appointed Baron Erzenberg as governor over the new military administration of the region.  At the time, churches and monasteries owned two-thirds of all wealth and land in Bukovina.
Under the June 19, 1783, imperial decree of Joseph II, the Baron was ordered to begin the centralization of church-owned lands and wealth.  The local Eastern Orthodox Eparchy of Bukovina, seated in Chernivtsi, was placed under spiritual jurisdiction of Metropolitanate of Karlovci.
Translated from Romanian, the decree ordered, in part:

fără amânare să se reducă numărul mănăstirilor, iar pământurile şi fondurile să treacă sub povăţuirea stăpânirii împărăteşti şi crăieştii Mării. Averea preoţilor care nu trăiesc în Bucovina să se confişte, iar din întreg fondul care se va forma pe această cale să se întreţină clerul ortodox şi să se creeze cel puţin o şcoală, fie la Cernăuţi, fie la Suceava, iar restul să se întrebuinţeze pentru scopuri folositoare.
 Without delay, by order there will be a reduction of the number of monasteries, and the lands and funds will pass under the wisdom and responsibility of the dominion of the Kingdom and in the care of the Monarch. The wealth of priests who do not live in Bucovina are hereby confiscated, and from the entire confiscated church-fund will support the Orthodox clergy but will also create at least one school, either in Chernivtsi or in Suceava, and the rest to remaining church-fund shall be allocated for useful purposes.
The order additionally required the confiscation of wealth from priests whom lived outside of Bukovina to establish a school in the territory, either in Chernivtsi or in Suceava.  In 1786, the Church-Fund of Bukovina was created from the possessions of the Orthodox churches in the territory, and like similar funds, it was to be a secular institution whose wealth was to be used for public benefit and public reinvestment.
The communal land upon which the Casino resides was old church land managed by the local church-fund bureaucracy known as Fondul Bisericesc al Bucovinei (Church-Fund of Bukovina).  A portion of confiscated church money, which was secularized, was used to fund the casino.
In 1805 after a scientific analysis and study of the natural and mineral springs in Vatra Dornei by chemist Hacquette de Nurnberg, Dr. Ignatius Plusch advocated authorities for the construction of public therapeutic baths in Poiana Negrii.  In 1810, he proceeded to lobby in Vienna for the Vatra Dornei baths.  The land on which the communal therapeutic baths were located was purchased by the secularized church-fund in 1870.  For those with extreme illnesses, a 20-cabin property was erected where, later, Hotel Nr. 1 would be built.


The casino's existence can be credited to then-mayor Vasile Diac of Vatra Dorna, who initiated and lobbied for the project but later committed suicide by shooting himself over allegations of fraud and theft of city funds.  The mayor pitched the project to Emperor Franz Joseph, whom approved the works.  The casino was to be constructed near the therapeutic baths and built on communal forested land, confiscated from the church.  The land required to be deforested.  A portion of the money needed to build the casino was appropriated from the Church-fund of Bukovina, raised through fundraisers and community donations, to which Emperor Franz Joseph had also contributed.  The remaining portion was borrowed from a bank in Vienna.
Construction of the building began in 1896 by Austrian architect Peter Paul Brang.  The building was designed in an eclectic style, with hints of German Renaissance Revival.  In 1898, a partial inauguration took place. The official inauguration occurred July 10, 1899 and hosted Emperor Franz Joseph and Arch Duke Ferdinand.
The building opened to serve Viennese tourists, with local authorities using gambling taxes to repay the debt and finance local services.  The casino comprised a theatre hall, a library, a restaurant, a confectionery, and public utility spaces.  Three large Murano Crystal chandeliers adorned the ceilings, initially being lit by candlelight followed by electrification and lightbulbs.  To accommodate the tourists, a train line opened nearby, and wealthy tourists were transported from the train station by coach to the therapeutic baths and to the casino complex.
Local urban myth has it that a secret tunnel was built under the casino to offer an escape route for winners of large sums as a way to avoid robbery and harassment.


After the Great Unification of Romania, where Romania gained possession, amongst other things, of Bukovina, the Austrians were required to pay War Reparations to Romania for World War I.  As part of their payment, the Austrians handed over the Church-Fund of Bukovina.  The land was reconstituted back to the Metropolis of Moldavia and Bukovina, with administrative rights changing hands several times between the Minister of Agriculture and the church leadership.
The Casino was then known as Central Pavilion of the Therapeutic Baths (Pavilionul Central al Băilor).  Since 1936, a number of functional changes of the building have occurred. Due to the functional changes, the artistic imagery in the casino's performance hall was altered.  In the back of the casino, a terrace overlooking the Spa Park was completed in 1937.
During World War II, the building was utilized by Nazi armies for military purposes. On the morning of September 29, 1944, during the withdrawal of German military units from Vatra Dornei, the casino building, and especially the inner spaces, suffered significant damage. In the spring of 1945, a number of repairs were initiated.
After the communists came to power in Romania, the casino property was nationalized and turned into a workers club, which combined propaganda, educational, and community center functions (similar to the Melnikov Clubs such as Rusakov Workers Club).  Party meetings would be held in the club, local syndicate meetings, local communist committee functions, but also host the National Chess Championship of Communist Romania.
In the early part of 1986, extensive restoration and renovation work of the surrounding perimeter had started; the street from the Dorna River was transformed into a boulevard. According to the statements of Ioan Corneţchi, former mayor of Vatra Dornei between 1986–1989, Dictator Nicolae Ceaușescu approved the remake of the Casino in 1987.  The work had to be completed within three years, and host the Ceaușescu's 1990 New Year Celebration, which never occurred due to the Romanian Revolution.
After the country fell into economic paralysis due to the 1989 Revolution, the interior of the casino was pillaged.  According to local records, after the first three months of the fall of communism, all chandeliers were stolen, copper tubs and plumbing was taken, the interior was stripped of metal, the Carrara marblework was taken, all decorative crystal glasses, windows, and kitchenware was taken.  Work ceased on the Casino.


After 1990, the casino was in the care of the Dorna Turism SA society. Then, by Government decision, in 1995, the building was transferred to the Local Council of Vatra Dornei. The council managed to approve a project in 1998, with funds from the Ministry of Culture and Cults (Ministerul Culturii şi Cultelor ) for the rehabilitation of the building, and local authorities spent huge amounts for the foundation and substructure. In 1998, at the initiative of Mayor John Moraru, the city Council of Vatra Dornei decided to establish the "Vatra Dornei Casino" Foundation in order to find the necessary financial resources for restoration and consolidation of the Casino.
However, in January 2003, the Archdiocese of Suceava and Rădăuţilor, as the legal administrator and successor of the church-fund of Bucovina (Romanian Orthodox Church fund in Bucovina) created on June 19, 1783, claimed the casino building.
On October 14, 2004, Government Decision No. 437 restituted the Casino, the Infectious Diseases building, and a building at the base of Runc Hill, to the Archdiocese, following an investigation by the Special Commission for Restitution of Religious Property.  Due to Property Restitution Laws in Romania, the Romanian Orthodox Church is one of the largest owners and administrators of historical heritage sites.
At the time the building was returned, local priest Mihai Valică of the local "Holy Trinity" Church in Vatra Dornei threatened state authorities with lawsuits for allowing the destruction of buildings.
A contract was signed December 2017 to fund the rehabilitation of the Casino with European Funds and turn it into a Museum.  It was signed in the presence of Director of Regional Development for North East Romania, Vasile Abu, and the Archbishop of Suceava and Rădăuţilor.


Vazhani Dam is a clay dam built across the Wadakkancherry river near Wadakkancherry in Thrissur district of Kerala. The water is used for irrigation and drinking purposes. The dam has a four-acre garden and the construction was completed in 1962.
Vazhani dam is built with mud and it is an earth dam like Banasura Sagar Dam


In the time of Pallibana perumal, it was decided to convert the Neelamperoor Shiva Temple into a Buddhist monastery. It is believed that the ten Brahmin families (later known as Pattiyillam Pottimar) came to Vazhappally by shaking the Shiva Linga of the temple of Neelamperoor and then merged with the existing shiva temple in Vazhappally. The Shiva lingam brought from Neelamperoor was first placed in the Devalokam at north part of Vazhappally gramam. Later, when they tried to shake the Shiva Linga but was unable to do so, Parasurama appeared to the grieving Brahmin family and offered him the Shiva Linga he had worshiped and advised him to build the temple on the Ardhanariswara concept. He built a huge shrine for the Shiva Linga and the Parvati idol.
The sanctum sanctorum was built inside the three walls of the rounded stone granite shrine to the east of the Shiva Linga and to the west the Parvathi idol. Dakshinamoorthy and Ganapathi were placed inside the sanctum sanctorum as a vision south. In the south-eastern corner of the Nambalam, there was a large Tidapalli built. Raja built the subshrine temple for Sastha at the Kannimoola outside the Nambalam temple. He was promoted to the position of temple tantric rites to the Taranalloor series and the Tulu Brahmin family of Kasaragod for priests for daily pooja. The main priest was appointed as an umbrella and provided accommodation in the Kuthasanthi Math.


The temple was very popular in the second Chera dynasty. After the fall of the Cheras, the place came under several rulers, the Thekkumkur and Travancore kings were prominent, witnessed many brutal wars, treachery, murder and annihilation. However, in all these cases, the temple was saved from destruction by the will of God and the prayers of the devotees. The legend behind this concept is that Chera king Palli Bana Perumal, when de-throwned by the Bhattas (learned Brahmins) following a defeat in argument, traveled to Neelamperoor. The news came to the ears of the Potti Leaders of the Pathu Illams (Chengazhi Muttam, Kainikkara, Eravi Mangalam, Kunnithidasserry, Athrasserry, Kolencherry, Kizhangazhuthu, Kannancherry, Thalavana etc.), that the king is going to install his own personal idol at Neelamperoor. The Potti Leaders of the Pathu Illams thus managed to run with the idol of Neelamperoor Shiva and install it at Vazhappally.


In ancient times, the temple had 54,000 para paddy fields (Punja nilam). The soldiers of the Chembakassery Raja killed a Unni of the Changazhimuttam madom family at Venattukara in Kuttanad, who had gone there to gauge the "Pata Nelu" of Devaswom. The Brahmins of temple urazhma installed a brahma rakshas in the temple to satisfy the Brahma rakshas of Changazhimattum Unni. Additionally a hanging tree was erected in front of the Rakshas shrine and the statue of Raja of Chembakassery was hanged. But later, these forms were removed in the late 19th century. Chempakassery Raja offered pujas to the temple as a sign of repentance for killing Unni. Raja appointed the members of the Thiruvenkathapuram Warrior as the heirs of "Panthiradi Choru".


Veøy Church (Norwegian: Veøy kyrkje) is a parish church of the Church of Norway in Molde Municipality in Møre og Romsdal county, Norway. It is located in the village of Sølsnes. It is the main church for the Røvik og Veøy parish which is part of the Molde domprosti (arch-deanery) in the Diocese of Møre. The red, wooden church was built in a long church design in the dragestil style in 1907 by the architect Karl Norum. The church seats about 212 people.


Towards the end of the 19th century, the island of Veøya had long since been depopulated, with the exception of the clergy family and its household, so it was difficult to maintain a main parish church such as the Old Veøy Church on the island. In 1901, it was decided to take the island's medieval church out of use as a parish church and move the church site to Sølsnes on the mainland nearby. The new church was designed by the architect Karl Norum. The new building was completed and consecrated in 1907.


Veltrusy Mansion (Czech: Zámek Veltrusy) is a baroque château in Veltrusy, Bohemia, located in the Mělník District of the Czech Republic. The mansion is situated near the banks of the Vltava River, about 25 km north of Prague. The mansion is open to the public for visits.
The mansion was initially built in 1716 by architect František Maxmilián Kaňka for Count Václav Antonín Chotek of Chotkov and Vojnín. The original mansion was extended in 1764 by architect Giovanni Battista Alliprandi on the orders of Count Rudolf Chotek of Chotkov and Vojnín, who also commissioned the interior decoration. Further extensions and the annexes of the mansion were constructed in 1804.


WikiWeb_Ventspils International Radio Astronomy Centre_1

Located in woodlands near Irbene, in Ventspils Municipality, Latvia, the centre was founded in 1974 by the Soviet military. It originally consisted of a 32-metre telescope, along with two smaller telescopes and a communications centre, and was known as Zvezdochka, meaning "Little Star". It was possibly used by the KGB during the Cold War to spy on communications between Europe and the United States.
It became a scientific research facility in the 1990s, established on 22 July 1994 as part of the Latvian Academy of Sciences, before becoming an independent organisation on 24 April 1996. It is now known as the Ventspils International Radioastronomy Center ("Ventspils Starptautiskais radioastronomijas centrs"), or the Irbene Astronomy Center.
Since 2019, Indra Dedze is the acting director of the centre, who replaced Valdis Avotiņš.


WikiWeb_Ventspils International Radio Astronomy Centre_2

RT-32 is a 32-metre (105 ft) parabolic radio telescope. It is made up of over 20,000 components, and the central cone weighs 80 tonnes. The fully steerable telescope observes at centimetre wavelengths. The combination of size and precision engineering makes the larger dish especially valuable to scientists. The structure was built by a naval factory in Ukraine, and the interiors are reminiscent of a ship.
The telescope is mounted on a 25-metre-high (82 ft) tower. It has an 11.45-metre (37.6 ft) focal length, and a 2.5-metre (8.2 ft) secondary mirror.
In its first upgrade since being constructed, RT-32 was temporarily dismantled towards the end of 2014, and moved to a purpose-built shelter for restoration. The restoration includes re-welding the panels, replacing rusted parts, and repairing damage caused by the passage of time, water ingress and lightning strikes. The telescope will also be upgraded to enable it to be controlled remotely, and to be able to make more precise and sensitive observations. The telescope will be used in Very-long-baseline interferometry. The restoration cost around €16 million overall, with the restoration of the telescope panels costing around €1.5 million; the restoration was funded by the European Union and Latvian state and Ventspils district governments. The dish of the telescope was remounted in June 2015, with the restoration due to be completed in October 2015.


WikiWeb_Ventspils International Radio Astronomy Centre_3

The centre also has a 16 metres (52 ft) parabolic radio telescope.


The site lies at the edge of Ty'n-y-ffrith, the 'house in the sheep pasture'.
The first theatre at the site was the Victoria Palace, which opened in July 1894. It was intended to be a temporary building, and it was designed as a 1,150-seat concert hall for Jules Rivière (then aged 75) and his 42-musician orchestra. Rivière had previously performed at the Pier Pavilion before he fell out with the Llandudno Pier Company. Victoria Palace attracted eminent visiting soloists including Sir Charles and Lady Hallé who in 1894 gave a piano and violin recital with Rivière's orchestra.
The Victoria Palace was the first part of a project that would have later seen the construction of a pier.
The theatre was later renamed as Rivière's Concert Hall.


In July 2005 the Arcadia theatre was demolished to make way for an atrium and meeting and conference rooms adjoining the North Wales Theatre and Conference Centre. The building was also extended to the west. After the redevelopment, the venue hosted a new 1,550 square metres (16,700 sq ft) arena, capable of hosting 1,800 seated, or 2,500 standing people, increasing the overall capacity of the venue to over 5,000 people. The western extension incorporated a café, restaurant and a box office, as well as office space.
The redevelopment cost £10.7 million, which was provided by Conwy County Borough Council, the European Union's Objective One Fund program, the Arts Council of Wales, Visit Wales and the Welsh Development Agency.
A competition to rename the building was launched in December 2005. Several months later, the name of Venue Cymru was chosen. It was re-opened on 15 January 2007 by Andrew Davies.
On 27 August 2010, Irish vocal pop band Westlife held a concert for Where We Are Tour supporting their album Where We Are and in 2016, a solo concert by the lead vocalist Shane Filan.
The Arena space been used for live rock band performances from acts including Bloc Party, Manic Street Preachers and Feeder.
In April 2020 Venue Cymru was handed over to Betsi Cadwaladr University Health Board where the arena was used to provide additional beds during the Covid-19 pandemic; it was named Ysbyty Enfys Llandudno. In May 2021 it was decommissioned, and was subsequently used as a Covid-19 vaccination centre.


The Verizon Building (also known as 100 Barclay, the Barclay–Vesey Building, and the New York Telephone Company Building) is an office and residential building at 140 West Street in Lower Manhattan, New York City. The 32-story building was designed in the Art Deco style by Ralph Walker of Voorhees, Gmelin and Walker, and was Walker's first major commission as well as one of the first Art Deco skyscrapers. It occupies the entire block bounded by West Street to the west, Barclay Street to the north, Vesey Street to the south, and Washington Street to the east, abutting the World Trade Center.
The Verizon Building was constructed from 1923 to 1927 as the Barclay–Vesey Building. It served as the longtime corporate headquarters of New York Telephone and its successor Verizon Communications. The building, being adjacent to the original World Trade Center to the south and 7 World Trade Center to the east, experienced major damage in the September 11 attacks following the collapse of the World Trade Center. Restoration of the building and damaged communications infrastructure after the attacks took three years and cost $1.4 billion. Part of the building was converted into 100 Barclay, a residential condominium development, in 2016.
The Verizon Building's architects intended for the structure to have an imposing form, with vertical piers designed as buttresses; setbacks at upper floors; and a program of elaborate ornamentation on the exterior and interior. The Verizon Building's design has been widely praised by architectural critics, both for its design scheme and for its symbolism. The building was added to the National Register of Historic Places in 2009, and its exterior and first-floor interior were declared city landmarks by the New York City Landmarks Preservation Commission in 1991.


The Verizon Building is on the border of  Lower Manhattan's Financial District and Tribeca neighborhoods. It occupies an entire city block bounded by West Street to the west, Vesey Street and the World Trade Center to the south, Washington Street to the east, and Barclay Street to the north. Adjacent buildings include 7 World Trade Center to the east and One World Trade Center to the south. The block is parallelogram-shaped, measuring about 210 feet (64 m) along West and Washington Streets and 250 feet (76 m) along Vesey and Barclay Streets. The total area of the block is 52,000 square feet (4,800 m²).
Prior to the 19th century, the Verizon Building's site was located off the shore of the North River (now Hudson River). The shore from Vesey Street north to King Street was infilled during the mid-19th century, and docks were constructed west of West Street. A wholesale market called the Washington Market was established on the future Verizon Building block in 1812 or 1813. To support the market and the nearby food businesses, about 35 three- to five-story brick structures were erected on the block. By the time the Verizon Building was erected, the site was located along the shoreline of the Hudson River. In the 1970s, Battery Park City was built on filled land along the shore, severing the Verizon Building from the waterfront.


The Verizon Building, also known as the Barclay–Vesey Building, was designed by Ralph Thomas Walker in the Art Deco style. It measures 498 feet (152 m) tall and contains 32 stories, with mezzanines above the ground, 17th, and 31st stories. The Art Deco style was not yet established when the building was erected, and contemporary publications described the building as being "Modernistic" or "Modern Perpendicular". Consequently, some architectural critics describe the Verizon Building as being the first Art Deco skyscraper. It was also the first major structure that Walker designed for McKenzie, Voorhees & Gmelin, and, as such, was aesthetically distinguished from the firm's previous commissions. The building was constructed by general contractor Marc Eidlitz & Son, with several consulting engineers assisting in the project.
Walker intended the Barclay–Vesey Building to be "as modern as the telephone activity it houses". His design took several elements from Eliel Saarinen's proposal for Chicago's Tribune Tower, as well as from Walker's own entry in the design competition for the Tribune Tower. Such elements included the Verizon Building's setbacks; its vertical piers; and its pyramidal roof, which had been a defining feature of Walker's Tribune Tower proposal. The Verizon Building's architecture has been compared to San Antonio's Milam Building, the largest pre-stressed concrete and brick office building and the first to have an integrated designed-in air conditioning system. Walker subsequently designed other Art Deco buildings in the New York City area, such as the New Jersey Bell Headquarters Building (1929), 60 Hudson Street (1930), 1 Wall Street (1931), and 32 Avenue of the Americas (1932), as well as telephone buildings in Upstate New York.


The massing of the Verizon Building includes numerous setbacks. Though setbacks in New York City skyscrapers were mandated by the 1916 Zoning Resolution to allow light and air to reach the streets below, they later became a defining feature of the Art Deco style. The lowest ten floors of the Verizon Building occupy the entire area of the city block. Above the 10th floor, there are setbacks on the north and south  elevations of the facade. Narrow and deep light courts, to the west and east, create an "H"-shaped floor plan from the 11th to the 17th floors. There are smaller setbacks at each corner on the 13th floor. The building rises as a 108-by-116-foot (33 by 35 m) tower above the 17th floor, though smaller wings flank the northern and southern elevations on the 18th and 19th floors. The rectangular tower is aligned with buildings on Broadway to the east, so it is parallel to Barclay and Vesey Streets.
During the design process, Walker had considered plans for "a series of stacked blocks connected by blunt transitions", though this proposal lacked a unified sense of character. The appearance of unity was ultimately attained through the inclusion of piers on the facade. These piers divide the facade into bays. The western and eastern elevations of the Verizon Building's facade are 19 bays wide, while the northern and southern elevations contain 23 bays each.
The Verizon Building's form was also influenced by its interior use. There were numerous functions that did not necessitate sunlight and could operate using artificial light, such as the central operating system and the mechanical space, which was placed inside the building's core. The mechanical core was an important consideration since, at the time, office buildings largely relied on natural ventilation through means such as light courts. Because the office space was placed on the exterior walls, the lowest ten stories did not need light courts. Also as a result, the base could occupy the entire lot area, with higher setbacks than in other office buildings.


Walker was inspired by Maya architecture in designing the facade. Above the granite base, the exterior is clad with brick in hues of green, gold, and buff, a material that Walker preferred for its texture and color. There is cast-stone ornamentation on the building's upper floors, as well as patterned motifs and limestone decoration on the lower floors. The builders used machines to create as many of the decorative features as possible. The Verizon Building also contains serrated stone-and-light-brick parapets, which, when combined with the building's vertical piers, give a naturalistic "alpine" look to the setbacks. When taken as a whole, the materials of the facade were intended to give an impression of stability and mass.
The facade also serves a protective purpose: the steel frame is enclosed within 12-inch-thick (30 cm), heavy masonry in the exterior infill walls. This was composed of 4 inches (100 mm) of face brick and 8 inches (200 mm) of terracotta, laid in Portland cement mortar with a waterproofing compound. Face brick on terracotta was used because it was cheaper than solid brick. The windows had wire-glass panes and hollow steel frames for fireproofing.
The ornamentation on the facade was carried out by Ulysses Ricci and John De Cesare.  Walker wanted the ornamentation to attract passersby and to temper the building's large mass. For the Barclay–Vesey Building, Walker eschewed traditional motifs, such as egg-and-dart patterns, which he saw as cliched. He wrote that the decorative elements should be "so complicated in its structure as not to be readily comprehended; its framework should be as hidden as the steel structure itself." It includes complex foliage; babies and animal heads; and a bell above the door, symbolizing the telephone company. The bell was the only decoration on the facade that indicated the building's original use as a telecommunications center. Though Walker characterized the ornamental program as "free and flowing", it was actually rigid and complex. Architectural critic Lewis Mumford stated that the ornamental program at ground level was an extensive "rock garden".


The main facades are on West and Washington Streets to the west and east, respectively. At the center of each side, there are large entrance portals that are three bays wide and two stories tall. These portals contain bronze-framed doorways with decorative motifs. Above the doors are bronze screens with vine-and-grape ornamentation; these formerly also contained motifs of bells to represent the New York Telephone Company. The main entrance portals are framed with a decorative limestone lintel depicting a bird and human figures. The limestone friezes above each set of doors depict a bell flanked by a Mongolian and a Native American, which respectively symbolize the Eastern world and the Western world. On the West Street facade, the main entrance portal is flanked on either side by two single-width double-height bays, a triple-width double-height bay, and another single-width double-height bay. These double-height bays contain storefronts. From top to bottom, the storefronts at the base are generally composed of a solid panel, glazed glass, and a decorative transom.
There is an enclosed, arched arcade above the Vesey Street sidewalk on the southern facade, measuring approximately 250 feet (76 m) long. There are 12 arches in total; each corresponds to two window bays above, except the westernmost arch, which corresponds to one window bay. The arches are supported by brick piers while the ceilings are composed of Guastavino tiles. The arcade was a compromise design because the city wanted to expand the street during the building's construction, while Walker wanted a larger base. The arcade was called "one of the most comfortable shopping fronts in New York City" when the Barclay–Vesey Building was completed, but because it was so dark, the arcade did not receive too much pedestrian traffic. Nevertheless, numerous enterprises were located in the arcade, including a circulating library. The Vesey Street storefronts were converted to office space by the 2000s.
The north facade also contains storefronts set within double-width, double-height arches. Two of the central arches were converted into rectangular garage openings.


On the second through 32nd stories, the window design is mostly consistent. Most window openings contain three-over-three sash windows, though some openings have been covered with louvered grates, especially in places where there are mechanical or communications equipment. The second-story windows are generally topped by elaborate triangular limestone surrounds that contain carvings of birds, grapes, and vines, except at the corners of the building, where the second-story windows contain lintels and sills with carvings of grapes and vines. The third-story windows also contain sills with grape and vine carvings. The fourth- through 32nd-story windows have plain, undecorated sills and windows. Each window bay is separated by vertical limestone piers.
Cast-stone decorative elements are concentrated above the 20th story. For example, at the 29th story, the corner piers contain elephant heads with geometrically-shaped ears and trunks. The 30th floor, 31st floor, and 31st-floor mezzanine contains five triple-height arched windows on each facade. Stone piers protrude above the rooftop level, which contains some mechanical equipment.


The building's basements are surrounded by a concrete cofferdam measuring 8 feet (2.4 m) thick. The cofferdam encloses steel braces that descend to 65 feet (20 m) below the curb.   Above ground, there is masonry encasing the steel superstructure. Brick, cinder, concrete, and other masonry materials are used throughout the interior. The floors are made of reinforced concrete, and wood was avoided in the building where possible, with steel doors used for fireproofing. The stairs and corridors were also designed to be fire- and smoke-proof, with partitions throughout the building. Some 5,000 short tons (4,500 long tons; 4,500 t) of steel was used in the substructure, while 5,000 short tons (4,500 long tons; 4,500 t) of steel was used in the superstructure.


The building was split mechanically into two sections: one serving the basements and lowest 16 floors, and another serving the 18th through 32nd floors. The 17th floor housed the mechanical equipment. This was in contrast to other buildings, where mechanical equipment were usually contained on their roofs or in their basements. The floors could handle live structural loads of up to 150 or 275 pounds per square foot (730 or 1,340 kg/m²), depending on the intended uses of each floor section. The Barclay–Vesey Building was equipped with electric ducts on every floor, so a wire could be brought to within 2 or 3 feet (0.61 or 0.91 m) of any point in the building. Two 110-to-220-volt direct current power lines provided power for the building's normal operation, though either line could provide all of the building's power if the other line failed. In addition, there were two 13,400-volt, three-phase alternating current lines for the telephone exchanges.
Heating and ventilation systems in the Barclay–Vesey Building were also divided into three sections: the basements to the 10th story, the 11th to 17th stories, and the 18th to 32nd stories. Air distribution to each section was controlled by a panel in the fourth basement, which operated pneumatic valves in the 10th story and 17th mezzanine. The heat was provided by four boilers, which were powered by coal bunkers with a capacity of 1,500 short tons (1,300 long tons; 1,400 t). The heat was then distributed to the upper stories through 3,000 radiators. Within the lobby, two recirculating systems were installed, taking hot air from the ceiling and discharging it into the floor. The restrooms had their own ventilation shaft, discharging air at the roof. There was also an ice-making plant in the basement, which could create 2,000 pounds (910 kg) of ice every 24 hours.
The building's water-supply system is divided into three sections. The basements and ground story were served directly by the New York City water supply system. The second through 16th stories were supplied by a 33,500-U.S.-gallon (127,000 L) tank on the 17th-story mezzanine. The 18th through 32nd stories were supplied by a 15,000-U.S.-gallon (57,000 L) tank on the 32nd story. The tanks on the 17th mezzanine and 32nd story were each served exclusively by two pumps, and a fifth pump could serve either tank. Hot water was provided by heaters on the first basement, the fourth story, and the 17th mezzanine. The original fire-protection system had tanks with a total capacity of 62,500 U.S. gallons (237,000 l; 52,000 imp gal), with a large tank on the roof and smaller reserve tanks on the eighth, 17th mezzanine, and 25th floors. The fourth basement had two motor-driven 250-horsepower (190 kW) pumps, which could provide 2,000 U.S. gallons (7,600 L) of water per minute.
The building's drainage system was divided into several sections. In the basements and the first story, the sanitary system discharged into ejectors in the fifth basement. On and above the second story, there were two main sanitary stacks serving alternate floors. The roof had a separate drainage system that connected directly to the city's sewer system. Subsoil water and floor drains emptied into a 70,000-U.S.-gallon (260,000 L) sump in the fifth basement. From there, two sump pumps drained the water out of the building.


In his design for the Barclay–Vesey Building, Walker believed that the structure should serve "as a machine which had definite functions to perform for the benefit of its occupants." The design scheme for the interior is a continuation of that on the facade, which was a relatively rare stylistic choice of the time, since many contemporary buildings were being designed with modern-styled exteriors and historically-styled interiors. Walker created the interior elements by machine when it was possible. Mumford likened this continuity in interior and exterior design to the works of Frank Lloyd Wright, Henry Hobson Richardson, and Louis Sullivan, which also exhibited such consistency. The interior space covers 1.2 million sq ft (110,000 m²). When used as a telephone facility, the Barclay–Vesey Building could accommodate 6,000 workers in 850,000 square feet (79,000 m²) of usable space.
There are 26 elevators to transport tenants to upper floors. The second through 16th floors are served by two elevator lobbies, while the 18th through 32nd floors are served by a single elevator lobby. When the building opened, there were four banks of passenger elevators with 24 cabs between them. Elevator banks A and B each had four cabs and served the lowest ten floors. They were manually operated, running at 700 feet per minute (210 m/min). Elevator bank C had eight cabs: two of these served all stories from the deepest basement to the 30th floor, while the others skipped all stories between the lobby and the 10th floor. Elevator bank D also had eight cabs, which skipped all stories between the lobby and the 16th floor. The two larger banks of elevators were fully automatic and could travel at up to 800 feet per minute (240 m/min). In addition, there was a service elevator, a "low-speed" freight elevator, and an observation cab running from the 30th floor to the roof. During the morning peak, the elevator system was designed to receive 180 persons per minute, with cabs departing the lobby every five seconds.


The lobby runs between the West and Washington Street entrances to the west and east, with a vaulted ceiling. The interior of the lobby includes buff-colored veined marble walls and floors. Travertine was used on the walls while Levanto marble was used for baseboards and trim. Toward the center of the lobby, there are two alcoves each on the north and south walls, which lead to the elevator banks. The northern alcoves both contain eight elevators while the southern alcoves both contain four elevators. All of the elevator alcoves contain painted ceilings and ornate bronze fixtures for ventilation and lights. The elevator doors were originally made of hammered iron, and the interiors of the elevator cabs had walnut panels. A telephone alcove is also placed off the lobby.  Since the upper floors' residential overhaul in the 2010s, the western half of the lobby is still used by Verizon, but the eastern half is used as a residents' lounge.
The lobby has an Art Deco decorative scheme. These works were designed by Ricci and De Cesare, and executed by Edgar Williams and Mack, Jenney & Tyler. The elevator doors are framed by bronze surrounds, while the elevator lobbies feature Levanto marble walls. Other doorways leading from the lobby, as well as the fluted pilasters along the lobby's length, are also made of Levanto marble. The doors from the lobby are made of bronze, as are the capitals of the pilasters, which incorporate grape-and-vine motifs.
The lobby features inlaid bronze medallions in the floor, which depict the construction of the telephone system. The medallion on the eastern side depicts a female telephone operator, and that on the western side depicts a lineworker. There are twelve ceiling murals that depict how human communication has progressed, from Aztec runners to the telephone. Nine murals (five at the western entrance and four at the eastern entrance) demonstrate the ancient methods of communication. The three center murals depict modern communication. Two bronze chandeliers with complex ornamentation hang from the ceiling. The chandeliers are suspended from motifs of "angelic figures".


The Verizon Building has five sub-basement levels, which house communications equipment. At the time of the September 11 attacks, Verizon was using the building as a main telecommunications switching center in Lower Manhattan, handling approximately 200,000 phone lines and 3.6 million data circuits. These circuits traveled as far north as 42nd Street. In emergencies, the 17th floor could provide services to the building's base. As built, the Barclay–Vesey Building contained a cafeteria and recreation rooms within one of its basements. These spaces contained trees and paintings. A mural, depicting a panoramic view of the Mediterranean from Spain, decorated one wall.
When the Barclay–Vesey Building opened, it contained an auditorium at ground level and a gymnasium at the ground-floor mezzanine. The lowest ten floors above ground were intended for use as office space serving the central telephone offices. The upper stories' corridors generally had terrazzo floors, as well as 4.5-foot-high (1.4 m) Botticino marble wainscoting beneath buff-colored plaster walls. The elevator lobbies on each floor were equipped with illuminated signs, indicating which sets of elevators served that floor. The 29th floor included New York Telephone's offices. The 29th-story corridors and anteroom had travertine stone floors, Levanto marble baseboards, Kato stone wainscoting, and plaster friezes and ceilings. White oak floors and curly maple paneling were used in the suite itself. The 31st floor contained an assembly room that could hold 6,500 workers. There was also a training school for workers.
The stories above the 10th floor have been converted into 157 luxury condominium units. There is a separate lobby for residents on the Barclay Street side, which connects to the original lobby. The penthouse apartment, a duplex unit on the 31st and 32nd floors, covers 14,500 square feet (1,350 m²) with a 96-by-33-foot (29 by 10 m) living room, advertised as the largest in the city. The building also contains an 82-foot-long (25 m) wading pool and a 300-foot (91 m) lap pool. Other features of the residential portion of the Verizon Building include rooms for wine-tasting and billiards; music practice; a fitness center; a children's playroom; and a residents' lounge. There are also four residential terraces.


The New York Telephone Company began to grow rapidly after World War I. An internal review of the organizational structure found that its New York City operations were housed in multiple buildings across the city, and were thus inefficient. The company's president from 1919 to 1924, Howard Ford Thurber, sought to centralize the company's operations into a single large headquarters to "satisfy the present demands and to reasonably anticipate future requirements". In the early 1920s, the New York Telephone Company started acquiring the entire block between West, Barclay, Washington, and Vesey Streets. The site was chosen "because real estate values in that vicinity were much lower" compared to the area around Broadway, being relatively isolated from the rest of the neighborhood. The company owned the entire block by 1923, by which it had spent $1.5 million on acquisitions.


In April 1923, the company announced that it intended to build a new headquarters at a projected cost of $11.5 million. The structure was to house 6,000 employees from the company's six central offices, who would work with 120,000 telephones, as well as mechanical equipment to support the company's equipment. The initial design called for a height of 404 feet (123 m), with 680,000 square feet (63,000 m²) of office space, and 38,000 square feet (3,500 m²) of commercial ground-floor storefronts. In addition, the building would be erected with a steel-and-concrete frame, as well as facade trim made of limestone and buff-colored brick. The building was to be designed by Ralph Walker of Kenzie, Voorhees & Gmelin, who was then thirty-four years old and relatively inexperienced. At the time, construction was expected to be completed in July 1925.
It is likely that Walker started planning the Barclay–Vesey Building in late 1922, while he was still designing the Tribune Building. Walker wished to create a "strong corporate image" for the structure. He further sought to ensure that the proposed headquarters would comply with the 1916 Zoning Resolution while also being spacious and relatively inexpensive. According to S. F. Voorhees, an efficiently designed building on the site could not be taller than 43 stories. Consequently, Walker created designs for a structure containing 10, 16, 26, 29, 32, 36, and 42 floors. Voorhees's studies found that a 16-story building was most efficient in terms of "quantities of space", while a 29-story building would have the lowest construction costs per square foot. The latter calculation also allowed the architects to determine how many basement stories were required. The height of the tower was in part influenced by how many elevators were required, since elevators took up a significant part of the rentable area on upper stories.
Walker tested out different architectural styles, such as the Gothic and Italian Renaissance styles, before settling on a "modernistic" Art Deco style. The 32-story proposal was ultimately deemed the most efficient. The blueprints for the 32-story proposal, with setbacks at the 10th, 13th, 17th, and 19th floors, were submitted to the New York City Department of Buildings in June 1923.


Demolition of existing buildings on the site commenced in May 1923, and foundation work began on June 20, 1923. Because the site was mostly artificial fill with riprap buttressing, water from the Hudson River sometimes leaked through to the foundation. The building's foundation needed to descend to the level of the bedrock, and the earth was described as having a slimy consistency below water level. Since the bedrock was deeper than originally anticipated, this allowed the builders to include five basement levels rather than four. To keep out the water and slime-like earth, the builders erected a cofferdam with 22 caissons. Each caisson measured 8 feet (2.4 m) thick by 40 feet (12 m) long and was sunk to a depth of 55 to 75 feet (17 to 23 m). The builders then laid down permanent steel struts to hold back the cofferdam. Not only was this likely the first such use of steel bracing, it saved $30,000 compared to the temporary wood bracing that had been used in previous projects.
During construction, almost 700 workers were employed for the project at any given time; tradesmen, such as plumbers and electricians, worked with concrete and steel contractors in overlapping shifts, in order to reduce delays. The superstructure incorporated 20,000 short tons (18,000 long tons; 18,000 t) of steel across its above-ground and below-ground sections, and the builders used six derricks to lift the girders from the street. Four temporary stairways, each containing 351 steps, were built to facilitate the construction of the upper floors. The floor arches were built starting in October 1924, and on average, one floor was completed per week. New York Telephone's vice president James S. McCulloh placed both the first and the last rivets.
The first employees moved to the Barclay–Vesey Building on February 19, 1926. All construction on the Barclay–Vesey Building was completed by June 1926. However, the New York City Department of Buildings did not declare the building to be completed until April 1927.


At the time of the September 11, 2001 attacks, the Verizon Building was  being renovated. The Verizon Building had been adjacent to 7 World Trade Center to the east and the World Trade Center's Twin Towers to the south, and when the three buildings collapsed during the attacks, the south and east facades were severely damaged by falling steel beams. The collapse of the World Trade Center causing partial collapses on some floor slabs close to the windows, though the building as a whole was not in immediate danger of collapse. Debris also sliced water mains, flooding the basements. As a result, underground cable vaults belonging to Verizon, along with other underground utility infrastructure, were heavily damaged from water and debris. The Verizon Building received only moderate damage because its thick-masonry design gave the building added strength. The masonry allowed the structure to absorb much of the energy from debris hitting the building, and damage was restricted mostly to impact points. Although no fires were observed in the Verizon Building, the ground-floor murals were damaged by smoke.
Tishman Realty & Construction, which had been planning work on the building prior to the attacks, did a quick assessment of the building in the days after the attack.  William F. Collins AIA Architects was the lead architectural firm working on the restoration, while Tishman Interiors managed the project.  The Excalibur Bronze Foundry and Petrillo Stone were hired as specialists to restore the intricate ornamental detail in the facade and in the lobby. Facade restoration involved carving motif designs in the ornamental limestone, and restoring the ceiling murals in the lobby. For the murals in the lobby, hypodermic needles were used to inject acrylic resin to restore the paint and plaster. On the executive office floors, workers restored the barrel-vaulted ceilings, plaster friezes, and other elements.  Restoration of the building also involved replacing a corner column; A+ Construction of Rye, New York was responsible for this work.  The building's 23 elevators were also upgraded, new fire alarms, building command systems, and chillers installed, and restrooms made accessible to those with disabilities.
Restoration of the building took three years, at a cost of $1.4 billion. The New York Times stated that the project would cost "three-quarters of the Chrysler Building's estimated total value." Throughout the restoration, the building continued to serve as a telephone switching center. In 2004, the New York Landmarks Conservancy awarded Tishman Interiors the Lucy G. Moses Preservation Award for its restoration work on the Verizon Building. The restoration was complete by late 2005. That December, Verizon announced it would move its offices from 1095 Avenue of the Americas to 140 West Street, where there would be space for 1,500 employees; the operations hub was relocated to Verizon's campus in Basking Ridge, New Jersey. The Verizon Building was added to the National Register of Historic Places in 2009.


The building was partially flooded by storm surges from Hurricane Sandy in 2012, which seeped into the basement levels, took all except one of the elevators out of service, and damaged the lobby murals. The next year, Verizon sold off the top floors to developer Ben Shaoul, the head of Magnum Real Estate. Verizon retained the 28th and 29th floors as well as the ground through 10th stories. In conjunction with this sale, Verizon moved 1,100 employees to Downtown Brooklyn and relocated others to 1095 Avenue of the Americas. To prevent against future flood damage, Verizon installed a storm surge barrier in front of the building.
Following Verizon's sale of the top floors, it was announced that Magnum Real Estate would convert the upper floors to a condominium complex known as 100 Barclay. Shaoul and the CIM Group added 157 units to the Verizon Building, and the condos were first listed for sale in early 2016. However, 100 Barclay's residential units remained largely unoccupied by 2019, leading Magnum Real Estate to reduce the penthouse's asking price from $59 million to $39 million. To fill up the unused units, Magnum Real Estate also started advertising to renters.


The Barclay–Vesey Building received much positive acclaim when it was completed. New York Telephone dubbed the headquarters "a symbol of service and progress", while Mumford said that the design "expresses the achievements of contemporary American architecture...better than any other skyscraper I have seen." Joseph Pennell called the Barclay–Vesey Building "the most impressive modern building in the world", and Talbot Hamlin predicted it would be "a monument of American progress in architecture." The building was on the frontispiece of the English version of Toward an Architecture by Le Corbusier, such was its stature. These favorable reviews have continued through the 21st century: the 2009 Guide to New York City Landmarks described the building as "one of the most significant structures in skyscraper design".
The design received awards from civic groups as well. In February 1927, the Architectural League of New York awarded Walker a gold medal of honor for the design, lauding its "quality of excellence" and saying that "A result has been achieved expressive of a high degree of skill and good taste in both general mass and in interesting detail." That October, the Broadway Association gave the New York Telephone Company an award for the Barclay–Vesey Building, calling it a "contribution to civic advancement."
Praise also focused on specific elements of the Barclay–Vesey Building. The architect Harvey Wiley Corbett said that the ornamental program was "straightforward and appropriate and eminently right". Mumford wrote that the Barclay–Vesey Building was "perhaps the first large structure" besides Chicago's Auditorium Building to "carry through with a significant scheme of decoration", in particular praising the lobby as "a gay efflorescence of remarkably good decoration". Similarly, Hamlin wrote that the lobby "proves that as beautiful a richness of color and form can be obtained freely and non-stylistically as in any of the historical styles".  Following the September 11 attacks, Verizon's corporate-real-estate manager praised the Verizon Building's resilience, referring to the building as a "tank".
Some parts of the design were also criticized. In 1991, New York Times architectural writer Phillip Lopate stated that "the corporate publicity aspects of the Barclay–Vesey lobby seem, by today's standards, overdone and kitschy" compared to Walker's later 60 Hudson Street commission, which was austere. Mumford, who largely liked the design, found the base–tower transition and the building's general shape to be an "annoying defect", believing that Walker could have designed the massing more creatively.


Walker 1926b, p. 413 gives the block's dimensions as being 212 by 255 feet (65 by 78 m).
Architecture and Building 1926, p. 111, gives a slightly different figure of 486 feet (148 m).
The firm was renamed Voorhees, Gmelin & Walker during the building's construction.
Architecture and Building 1926, p. 111, cites the arcade as being 250 feet (76 m) long, 17 feet (5.2 m) wide, and 18 feet (5.5 m) tall. Landmarks Preservation Commission 1991, p. 16, and National Park Service 2009, p. 19, cite the arcade as being 252 feet (77 m) long, 16 feet (4.9 m) wide, and 19 feet (5.8 m) tall.
Architecture and Building 1926, p. 110, cites the ceiling as being 25 feet (7.6 m) high. Landmarks Preservation Commission Interior 1991, p. 7, and National Park Service 2009, p. 7, cite the ceiling as being 22 feet (6.7 m) high.
According to Walker 1926b, p. 404, there were ten murals.
Architecture and Building 1926, p. 109, and Walker 1926b, p. 411, say that plans were made for buildings of 10, 16, 26, and 36 stories.
The other buildings were the Western Union Building at 60 Hudson Street and the AT&T Long Distance Building at 32 Avenue of the Americas.


The Vermont State House, located in Montpelier, is the state capitol of the U.S. state of Vermont. It is the seat of the Vermont General Assembly. The current Greek Revival structure is the third building on the same site to be used as the State House. Designed by Thomas Silloway in 1857 and 1858, it was occupied in 1859.
A careful restoration of the Vermont State House began in the early 1980s  led by curator David Schütz and the Friends of the Vermont State House, a citizens' advisory committee. The general style of the building is Neoclassical and Greek Revival and is furnished in American Empire, Renaissance Revival, and Rococo Revival styles. Some rooms have been restored to represent latter-19th-century styles including the "Aesthetic Movement" style.
Since 1994, Buildings and General Services Architect, Tricia Harper has been responsible for design and construction for the restoration and renovation project of the building and its grounds.
The Vermont State House is located on State Street on the western edge of downtown Montpelier, a block north of the Winooski River. Set against a wooded hillside (which was open pasture land earlier during much of its history), the building and its distinctive gold leaf dome are easily visible while approaching Montpelier, the smallest city to serve as capital of a U.S. state.


The current structure was designed by architect Thomas Silloway (1828–1910) amplifying the design of an earlier structure designed by Ammi B. Young, (1798–1874) later supervising architect of the U.S. Treasury. The first State House built in 1808 by Sylvanus Baldwin was replaced by the current Vermont Supreme Court Building completed in 1918.
The prior edifice, known as the "Second State House", was constructed on the same site between 1833 and 1838. Young's structure was of a more reserved Greek Revival design based upon the Temple of Hephaestus in Athens. Gray Barre granite is used for the two-story cruciform design with a Doric portico and a low saucer dome echoing William Thornton's earliest design for the United States Capitol. Young's structure was almost entirely destroyed by a fire in January 1857. Silloway was able to salvage the Doric portico, as well as portions of the granite walls. Silloway added an additional bay of windows on each side of the central portico and increased the height of the dome (copper on a wood substructure) to its current level. This may have been done to imitate the increased height of the new Capitol dome in Washington designed by Thomas U. Walter which was being constructed during the same time.
The dome and roofs were originally painted a dark terracotta red to suggest Tuscan tile. The dome was not gilded until the early 20th century, when many states did so as a part of the Colonial Revival style. The dome is topped by a statue named Agriculture, a representation of Ceres, an ancient Roman goddess of agriculture. The original statue was carved by Vermont artist Larkin Goldsmith Mead, who also carved the large bust of Lincoln in the Hall of Inscriptions on the State House's ground floor. This statue was installed in 1858. When the first statue rotted out a replacement based on Mead's original was carved in 1938 by then 87-year-old Dwight Dwinell, Sergeant-at-Arms (in Vermont this official position is similar in nature to the White House Chief Usher). In April 2018 the second statue was removed. The current statue was carved by Chris Miller out of a laminated block of mahogany and was based on a one-quarter scale model created by Jerry Williams which was also based on the original 1858 statue.
The Doric portico, the main ceremonial entrance, houses a granite statue of Ethan Allen. Ethan Allen was a founder of Vermont and commander of the Green Mountain Boys, an early Vermont military infantry active during the Vermont Republic, (1777–1791). The statue was carved by Aristide Piccini in 1941, to replace the original marble version carved by Larkin Goldsmith Mead in 1858. The architect Stanford White (1853–1906) considered Silloway's Vermont State House to be the finest example of the Greek Revival style in the United States.


The State House contains two primary floors accessible by a pair of circular stairways opening into the ground-floor Cross Hall. An elevator is also available. The Entrance Hall is of the Greek Ionic order and flanked by portraits of Presidents Calvin Coolidge and Chester A. Arthur, both native to Vermont. The tall double front doors were painted and then coated with a metallic powder to appear as bronze in 1859. The Entrance Hall contains a portrait of Montpelier native Admiral George Dewey on the bridge of his flagship during the Battle of Manila Bay. The Vermont State House does not have a rotunda, the dome being located almost directly above the ceiling of Representatives Hall on the second floor. The principal public room is the Hall of Inscriptions, a Doric pilastered corridor featuring eight monumental marble tablets incised with quotations about the distinct nature of Vermont's culture and heritage. The tablets quote the Vermont Constitution, Ethan Allen, Calvin Coolidge, George Aiken, Warren Austin, and Dorothy Canfield Fisher among others. Each tablet features fourteen gilded stars, representing Vermont's fourteen counties, the state's fourteen years as an independent republic, and being the fourteenth state to join the federal Union. The four corners of each tablet feature a sheath of grain, a detail found in the Great Seal of Vermont, designed by Ira Allen.
The ceremonial office of the Governor of Vermont, used during legislative sessions for meetings and bill-signings, is located in the second-floor west wing of the building. The Executive Chamber has been restored to its 1859 appearance with pediment hooded windows supported by Italianate-style brackets, and gilded Rococo Revival drapery cornices. A Wilton style carpet colored crimson, azure blue and gold was rewoven as part of the restoration. The Vermont Governor's working office and private apartments are located nearby at The Pavilion, built in Second Empire style and located just east of the Vermont Supreme Court. Portraits of Vermont governors (including Howard Dean, who is shown in an idiosyncratic pose in a canoe amid a natural setting) are displayed through the first and second floors of the State House, the corridors of which are a sort of state portrait gallery, commemorating famous Vermonters.
The two chambers of the Vermont General Assembly are on the second floor. While both chambers have overhead visitors' galleries accessible on a third-floor mezzanine, visitors are welcome to quietly enter and sit in the main floor of the chambers. Contrary to the tradition of decorating the upper house in red and the lower house in green, established by the House of Lords and House of Commons in the United Kingdom, Vermont reserves the state colors of green and gold for its upper house, the Vermont Senate. Red and gold is used for the Vermont House of Representatives which meets in Representatives Hall. A large plaster ceiling medallion in the center of the chamber in the form of a lotus with a center rosette of acanthus leaves hold a two-tiered electrified gasolier manufactured in Philadelphia by Cornelius and Baker. Each petal of the rosette weighs approximately 500 pounds. Brilliant axminster carpets have been recreated for both chambers based on old stereoscope views and small scraps found in an attic. On either side of the rostrum in Representatives Hall, are a series of connected elliptical-backed seats designed to fill the north wall of the chamber. The seats are upholstered and tufted in crimson and are used to seat members of the Vermont Senate during joint sessions of the General Assembly. The seats also accommodate the justices of the State's supreme court for the Governor's State of the State address and the inauguration of governors. Citizens frequently occupy these seats when the House is in separate session, or for large public hearings.
The second floor of the west wing includes the Cedar Creek Room, a large reception room featuring a mural painted by Julian Scott in 1874. The mural nearly fills the south wall and depicts the Battle of Cedar Creek during the American Civil War. The painting highlights the contributions of Vermont troops in the battle. The room is illuminated by two stained glass skylights in the deeply coffered ceiling dating to 1859 when the room housed the State Library. At some time the skylight was broken, and the opening closed. In 1970, while doing renovation work, workers discovered the broken pieces neatly stacked in the attic above the room. The pieces were reassembled, conserved, and reinstalled during the mid-1980s. One window (shown at left) depicts the obverse of the coat of arms of Vermont, which is a more painterly armorial representation of the Great Seal of Vermont (reserved solely for embossing documents), the arms are topped by the head of a buck white-tailed deer and circled by branches of Eastern White Pine (Pinus strobus). Pine badges were worn as an expression of Vermont identity by citizens while the state was a republic, and again during the American Civil War by Vermont's military regiments. The other skylight features the rarely seen reverse of the state coat of arms, a female personification of the state referred to as "Vermontannia." The wall stencils in the Cedar Creek Room are the original patterns, recreated based upon old photographs, and the colors were matched by paint analysis. It is seated among sheaths of corn and wheat, representing Vermont's agricultural history. This room is restored to its 1888 appearance when the room was converted from the State Library to use as a governor's reception room. The walls, and 20-foot ceilings are polychrome painted in a complex palette of tertiary colors: burnished copper, russet, salmon, and a deep blue-green with overlays of metallic stencilling. The style is largely of the Aesthetic Movement.
Most of the furnishings in the building date to the 1859 reconstruction of the State House, including the 30 black walnut chairs in the Vermont Senate chamber, still used for the same purpose today. Several American Empire-style sofas, a set of klismos chairs, carved black walnut Renaissance Revival-style chairs for the Senate President and House Speaker, and suites of Rococo Revival settées and chairs also date to the completion of Silloway's reconstruction. The majority of the lighting fixtures in the building are original, restored and electrified ormolu gas chandeliers and wall sconces manufactured in Philadelphia by Cornelius and Baker during the 1850s. The large two-tiered, 26-light chandelier in Representatives Hall features sculptures of mythological figures, including a copy of Vermont sculptor Hiram Powers' The Greek Slave, which became an abolitionist icon. Only the large portrait of George Washington, painted c. 1837 by George Gassner after Gilbert Stuart, which hangs above the speaker's chair in Representatives Hall, survived the fire of 1857.


Vermont's reputation for popular government is represented by the State House's nickname "the People's House." While its primary use is as the house of the legislative branch of Vermont government, it has from its beginnings also functioned as a living museum and state cultural facility.
The building is open to visitors with remarkably few restrictions whether the legislature is in session or not. The large Representatives Hall is used for evening concerts named "Farmers Nights" during winter months. During warmer weather, the public lawn on the south side is used for concerts by the Vermont Symphony Orchestra, municipal bands from around the state, marching regimental bagpipe tattoos, modern dance concerts, as well as to provide space for local residents to sit, eat, and play sports. Quilts, ceramics, photography and paintings by citizens periodically hang in the building's corridors, committee and caucus rooms, and dining room.
In recent years, each February 14 the columns of the portico and lawn are bedecked with red paper hearts by the so-called Valentine Phantom. Additionally, the public lawn and steps of the portico serve as a well-used platform for peaceful demonstrations, press conferences by various official and non-official groups, and for formally welcoming official visitors to the State of Vermont.
The House's backup generator in the basement was replaced by a 250 kWh battery in 2020, and supplies peak power and grid services to the public grid.
On June 12, 2013, Google added the Vermont State House to their Street View imagery.


The island covers 1.7 square kilometres (0.7 square miles); its highest point is 32 metres (105 feet) above sea level. The island is divided by a narrow piece of land (isthmus) creating the West Island, East Island and the largest Home Island. The island has a rich bird life with about 30 species breeding here. The well-vegetated island has areas of bog, grey basalt on the West Island and eastern shore and at least 156 species of plant.
Visitors can reach the island by ferry. In the summer ferries leave daily from Skarfabakki, Harpa, and Aegisgarour pier. In the winter, ferry service is from Skarfabakki on weekends only. The Reykjavík City Card includes free ferry transfer to and from the island.


About two million years ago during the Pleistocene, Viðey was an active volcano with a massive caldera.  The remains of this caldera are much larger than the modern island itself, with the island near the caldera's center.  The rest of the caldera underlies a large part of what is now Kollafjörður.


The Viaduc des Arts is a converted train line located in the 12th arrondissement of Paris which is now both a string of workshops for highly skilled artisans and, on the top level, a linear park.  It was, formerly, the “Viaduc de Bastille,” for the trains of the Paris-Bastille-Vincennes line.
This re-purposing project was designed by the architect Patrick Berger under the direction of the SEMAEST, a private-public consortium for infrastructure development.
The vaults of the Viaduc now host the workshops of artisans working in such diverse areas as glass blowing, furniture manufacturing and jewellery making. Thus, the Viaduc preserves the 12th arrondissement’s tradition of skilled craftsmanship.
The Promenade Plantée is a linear park built on top of the Viaduc.


In 1853, the private company “Société de Chemin de Fer Paris Strasbourg” was authorised to build a train line crossing Paris 12th arrondissement from Bastille to Verneuil l’Etang, passing through Vincennes. The project required massive construction work, including tunnels and crossings.
The “Viaduc de la Bastille” — a 1,5 km long viaduct consisting of 64 vaults—  was a major part of the overall project. The brick and stone construction is about 10 meters high.
The train line was opened in 1859. It ceased to operate in 1969 after the creation of the RER A regional transport line, into which a part of the original line was integrated. The Paris-Vincennes stretch was completely abandoned (except for the merchandise train station at Reuilly).
In 1979, the APUR (Atelier Parisien d’Urbanisme) was commissioned to rethink the use of the viaduct that follows the Rue de Lyon and the Avenue Daumesnil  Along with the choice of replacing the Bastille Station with a new Opera house (Opera Bastille), the decision was taken to re-purpose the railroad line itself into a public park, and to make use of the space under the viaduct’s vaults as places for artisans to work and display their wares. Indeed, the viaduc offered an attractive façade onto the Avenue Daumesnil and its vaults provided useful and unusual spaces is their own right.
In 1983, the plan for the public park - the “Promenade Plantée” - linking Place de la Bastille to Bois de Vincennes was one of the most important projects for the revitalization of the eastern neighbourhoods of Paris. The project was designed by the landscape architect Jacques Vergely and the architect Philippe Mathieux.
In 1988, the design of the architect Patrick Berger was chosen for the reconversion of the arcades into a strip of workshops, and the first part of the promenade plantée (from rue Picpus to rue Michel Bizot) was opened one year later. The occupation of the vaults by artisans began in 1994 and was completed in 1997.
The design of the re-purposing project consisted mainly of cleaning the viaduct and closing the vaults with glass walls on their two sides. The central parts of the arches were cleared out in order to add relief in the façade and to allow the shadow of each arch to highlight its curved shape. These changes allowed the 64 vaults (whose sizes vary between 150 and 460 m²) to be converted into a strip of workshops and cafés.


There are four all-seated stands: the West (Main Stand) and the East are on either side of the pitch, while the North Stand (Academy End) and the South Stand (Jail End) are behind each goal. The Jail End is so called because the old County Jail and Sheriff Court were behind it. The jails have since been converted to housing, but the Sheriff Court is still used. Away fans are housed in the Academy End. Home fans occupy all other sections of the stadium. There are corporate hospitality facilities and executive boxes in both the East and West Stands. The Sheriff Court is now closed.
The Dingwall campus of the Highland Football Academy is situated behind the Academy End. It has a three-quarter size 3G astroturf pitch under cover and a full-size Astroturf pitch adjacent to the East Stand, which has markings for football, 5-a-side football and field hockey. The Academy also has three full-size grass pitches, plus additional grassed training and warm-up areas.


The Victory Bridge or Haghtanak Bridge (Armenian: Հաղթանակի կամուրջ Haght'anaki kamurj) is an arch bridge for traffic linking across the Hrazdan River in Yerevan, Armenia. It connects the Mashtots Avenue in the east with the Admiral Isakov Avenue in the west. It was opened on 25 November 1945 and named the Victory Bridge to commemorate the Soviet victory over Nazi Germany at the end of World War II.
It was designed by architects A. Mamijanyan and A. Asatryan and consists of seven arches.


Victory Square (Belarusian: Пло́шча Перамо́гі, Russian: Пло́щадь Побе́ды) is a square in Minsk, Belarus, located at the crossing of Independence Avenue and Zakharau Street. The square is located in the historic centre of Minsk with the Museum of the 1st Congress of RSDLP, the main offices of National State TV and Radio and the City House of Marriages nearby. A green park stretches from Victory Square to the Svislach River and to the entrance to Gorky Park. Victory Square is the key landmark of Minsk, and holiday parades go through the square, while newlyweds traditionally take their picture at the square.


Post #1 at Victory Square refers to guard duty that is carried out by members of the armed forces and among students of general education schools and vocational schools in Minsk. Post #1 was initiated on 3 July 1984, on the occasion of the 40th anniversary of the liberation of Minsk. The guard of honor serves at Post No. 1 for one week from 9.00 to 17.00 in the cold and from 9.00 to 18.00 in the warm time of the day. The duration of each shift is 10 to 20 minutes.  The only breaks in maintaining the honorary were from 15 May to 1 November 1988, from 1 June to 20 November 2003, and from 1 December 2003 to 20 April 2004.


Prior to 1958 the square held a name "Kruglaya" (Round). Builders led by architect R. Stoler started constructing two round buildings around the square. During the Great Patriotic War the buildings were partially destroyed. R. Stoler returned to Minsk in 1957 to help rebuild these buildings. Before the Great Patriotic War a street car was running on Sovetskaya street through the square. Before the construction of the Victory Monument there was a memorial stone fenced with a chain.
In 1946 the BSSR government opened a competition for design of a Victory Memorial. Initially the site was planned in the vicinity of the current "Kastrychnitskaya" (October) square. Selected design provided for a 48-metre (157 ft) monument made of white pink marble. To open the memorial by the 10th anniversary of liberation of Belarus, the design was adjusted to use gray granite and make the column 10 metres (33 ft) shorter. Ukrainian quarries near Dnepropetrovsk and Zhytomyr provided the granite for construction. Leningrad Academy of Arts crafted the mosaic for the Order of Victory. Ukrainian carvers indented the granite reliefs. Leningrad factory "Monumentskulptura" cast bronze reliefs, sward and wreaths. On 3 July 1961, on the 17th anniversary of liberation of Minsk, Honourable Citizen of Minsk, Hero of Soviet Union colonel-general Alexei Burdeinei lit the eternal flame at the foundation of the obelisk. In 1984 architects B. Larchenko, B. Shkolnikov, K.Vyazgin re-designed the square from round into oval to fit the exits from metro station. On 1 July 1984 granite blocks were mounted with capsules containing soil from Soviet Hero Cities: Moscow, Saint Petersburg, Volgograd, Kiev, Odessa, Sevastopol, Kerch, Novorossiysk, Tula, Brest Fortress. In 1985 capsules with soil from Hero Cities Smolensk and Murmansk were added.
On 8 May 1985, in commemoration of the 40th anniversary of Victory in Great Patriotic War, a Memorial Hall opened in the pedestrian underpass under the Victory Square. The Hall honours the Heroes of Soviet Union who gave their lives to liberate Belarus from Nazi occupation. A circular gallery under the square connects the underpass with the Memorial Hall. Artist V. Pozhyak crafted a highlighted glass wreath in the center of the Hall. A bronze star of Hero of Soviet Union is embedded in the hall's wall. 566 names of natives from Belarus and other Soviet republics are listed on the wall. Those are the people who fought to liberate Belarusian soil and were awarded the title of Hero of Soviet Union for their heroic deeds.
In 2003 the square was slightly updated to improve the monument stability due to damage from metro trains running under it, as well as to replace the grown-up firs with grass lawns.


Vijaya Vilas Palace is one of the famous all time summer palace of Jadeja Maharao of Kutch located on sea-beach of Mandvi in Kutch, Gujarat, India.