The massing of 60 Hudson Street includes numerous setbacks. Though setbacks in New York City skyscrapers were mandated by the 1916 Zoning Resolution in order to allow light and air to reach the streets below, they later became a defining feature of the Art Deco style. 60 Hudson Street's massing mostly uses rectangular shapes in spite of its trapezoid-shaped lot. This may have been a response to architecture critic Lewis Mumford's previous criticism of the Barclay–Vesey Building's transition from a parallelogram shaped base to a right-angled tower, which he regarded as an "annoying defect". Walker subsequently wrote that Mumford's criticism made him realize "a building could take its own form regardless of the land below". Accordingly, Walker designed 60 Hudson Street as an intricate set of interlocking slabs, which architectural writer Robert A. M. Stern described as fulfilling "Hugh Ferriss's poetic conceit of the tall building as a manmade mountain".
On the Hudson Street elevation is a two-story screen, behind which rise three rectangular slabs. The northern, center, and southern slabs are respectively 15, 21, and 19 stories tall.  By contrast, the West Broadway elevation, which is perpendicular to both Thomas and Worth Streets, is symmetrical, with the top floors behind a central slab. Along the outer sections of the West Broadway elevation, the setbacks are at the 13th, 15th, 19th, and 22nd stories; the center section contains projecting dormers that rise an additional story above the previous setback, except at the 22nd floor. The series of setbacks on Thomas and Worth Streets are largely symmetrical, and are continuations of the setbacks on the outer edges of the West Broadway elevation. There are several projecting dormers along the setbacks near the western (Hudson Street) ends of both elevations.
60 Hudson Street's form was also influenced by its interior use, as it was a "hybrid building" that contained offices along with mechanical equipment. 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 office space, conversely, was placed on the exterior walls, so 60 Hudson Street did not require light courts that were as extensive as in nearby buildings.


A brick facade was used for 60 Hudson Street and for Walker's other communications buildings, since he preferred the material for its texture and its flexibility in color combinations. The brick ornamentation on the facade was concentrated around the base, as well as on the parapets on each setback (which were largely removed by the 1990s). The use of brick was likely influenced by Dutch and German Expressionism, as well as Walker's preference for "unity and harmony", his dislike of terracotta-on-brick ornamentation, and his observation that stone could change color within a short time. The brick was made by the Continental Clay Products Company of Fallston, Pennsylvania, which also made the facade for the David Stott Building in Detroit, Michigan. Walker also designed the facade with a grid of accented vertical piers, contrasting with horizontal spandrels. This emphasized the vertical lines of the building and, when combined with the setbacks, created an appearance of cascades.
The bricks were tinted in various tones of red, arranged in a gradient, inspired by Louis Sullivan's use of "tapestry brick" in different hues. 60 Hudson Street was one of the first structures to use bricks in this manner. According to Walker, this was inspired by Western Union's inclination toward using a distinctive design for the building. There are 19 shades of brick used in the building. Each shade was created by baking the bricks in a kiln run under varying circumstances. The darkest bricks were used in the base, and the bricks on upper stories contained progressively lighter hues. To create contrasts in the facade, the base also contained some light bricks and the upper stories also had some dark bricks. Though the facade mostly used brick in red and yellow hues, there were also bricks in very dark blue and purple hues. The facade served to give emphasis to the building's shape: the 1939 WPA Guide to New York City observed that 60 Hudson Street resembled "a huge red rock projecting out of the city". Stern wrote that 60 Hudson Street's decoration was "rather integral" to the brick facade, as opposed to at the Barclay–Vesey Building, which contained decorative elements and a facade in "contradiction" to each other.


The base comprises the first two stories. The lowest section of the facade is composed of three courses of pink granite, while the brick facade rises above that. Around the doors and windows, the brickwork is arranged similarly to curtains. The base is also divided vertically by stepped brick piers. The critic Paul T. Frankl stated that designs like that of 60 Hudson Street were effective, comparing them to "brick tapestries hung from the sky". Most ornamentation is made of brick, though the friezes, window frames, and doorways are made of bronze.
On the Hudson Street elevation, the facade forms a two-story "screen", behind which rise the upper stories. The main entrance archway is in the center of this "screen", near the intersection with Jay Street. It consists of five bronze doors beneath a bronze lintel, as well as a glazed window above the doors, which is subdivided by diagonal muntins. The other archways on Hudson Street include storefronts on the ground level, and curtain-shaped windows with vertical muntins on the second story. A smaller doorway faces the corner of Hudson and Worth Streets, on the northwest side of the plot.
The West Broadway elevation is designed similarly to the "screen" on the Hudson Street elevation. There is a centrally positioned entrance with five doors, a bronze lintel, and a glazed window with diagonal muntins. Three storefronts are on either side of the doorway on West Broadway; at the second story, two of these storefronts contain curtain-shaped windows, and the third contains a pair of sash windows set between vertical brick piers. On the Worth Street elevation, there are storefront windows at either end. The central section of the Worth Street elevation contains triple-hung windows, which concealed an auditorium inside. On Thomas Street, there are two storefront windows on the easternmost bays, as well as two double-height loading docks. The remaining bays on Thomas Street contain rectangular windows or ventilation grates, which are set between brick piers.


The rest of 60 Hudson Street's facade is modeled in a mostly consistent format. On Hudson Street, Walker designed the facade with a pattern of wide and narrow piers that alternate. On the other elevations, the piers were largely flat against the rest of the facade, except behind the setbacks at the upper levels, where the piers were more prominent and designed similar to buttresses. At several locations on the north and south elevations, there were windowless bays that concealed stairways behind them. On the Worth Street elevation, the center window openings on the third floor are filled with copper chevron-shaped louvers.


The lobby, a 25-foot-wide (7.6 m) west–east corridor between Hudson Street and West Broadway, is usually not accessible to the public. The corridor contains a barrel-vaulted brick ceiling. Extending off this corridor are two elevator banks, one on each side, as well as numerous additional doorways to service areas, stairwells, and the storefronts at each of the building's four corners. Also on the south side are a telephone alcove; an entrance to the lobby outside the building's former auditorium; and a passageway to the former cafeteria, Small vestibules separate the main corridor from Hudson Street and West Broadway. On Hudson Street, between the vestibule and the main hall, is a wide entrance hall. This space contains plaster on the upper portions of its walls, as well as an arched ceiling supported by octagonal brick piers.
Unlike most other Art Deco lobbies of the time, which incorporated traditional motifs with modern materials, 60 Hudson Street's lobby largely uses a modern brick design. The lobby is clad largely in brick and tile, though the floors are made of terrazzo tile and the bottoms of the walls are clad with red granite. A Western Union publication described the lobby as the "only all-brick corridor in any office building in America". Many elements of the facade were also used in the lobby, such as the brick reliefs and chevrons; curtain-shaped thresholds and doorways; use of bronze trim; and the mailboxes and doors, which are designed in a style reminiscent of the exterior setbacks. The use of interior brick is inspired not only by Sullivan's "brick tapestries" but also by designs of brick halls created by Peter Behrens, Barry Byrne, and Peder Vilhelm Jensen-Klint.
The tops of the walls contain curved covings, giving the appearance that the walls and ceilings have been blended. The lobby contains bronze and brick furnishings such as lampposts and signage. The lobby is illuminated almost entirely by sconces that provide indirect light.


The second floor contained a gymnasium, a library, and a school for the education of messengers, while the upper floors contained mechanical shops, offices, and equipment rooms. The ninth floor included laboratories for the company, and the 24th floor served as a "presidential suite". The eleventh through fifteenth floors were devoted to facilities for Western Union's different modes of communication: simplex printers, multiplex transmitters, marine and stock ticker tapes, Morse code equipment, and telephone equipment. Four additional floors were set aside for the possible future expansion of these facilities. This reinforced 60 Hudson Street's role as "the heart of a nerve system of wires and cables reaching to every corner of the nation and the world."
The building featured 70 million feet (21,000,000 m) of cable and 30 miles (48 km) of conduits, as well as a power plant. Pneumatic tubes led from 60 Hudson Street to twenty-five branch offices in Lower and Midtown Manhattan, allowing for the easy transport of pneumatic tube mail in the city. Some of these tubes were later repurposed to hold cables for the Internet companies that occupied the building.


Western Union began land acquisition at the site of 60 Hudson Street in 1924, ultimately buying up the whole block between Worth, Hudson, and Thomas Streets and West Broadway. The site was close to 24 Walker Street, as well as the company's major clients in Lower Manhattan: the American Stock Exchange at their Trinity Place building, the New York Cotton Exchange, the New York Produce Exchange, and the ticker service on Wall Street. It was projected that the Western Union Building's completion would raise land values along Worth Street.
In May 1928, Western Union filed construction plans for the Hudson Street site. Work started in August 1928, and excavations started the following month. At the time of the site's official groundbreaking, the building was expected to be completed in January 1930. Construction was to take two years because of the complexities of the project: the building was required to be fireproof and resistant to theft and outside interference, while the cable and conduit systems were supposed to handle 100 million messages yearly.


After Western Union left, 60 Hudson Street was converted into a colocation center and grew into one of the most important internet hubs in the world. Hundreds of telecommunications companies interconnect their respective internet networks (known as peering) as well as conventional TDM traffic through numerous meet-me rooms and optical and electrical lines placed throughout the building.  Many data center colocation providers are tenants in the building. Epsilon Telecommunications, one such company, has built optical and electrical cabling facilities throughout the building since 1997. Various data centers including Epsilon, Equinix, Digital Realty, and DataBank house internet and telecommunications providers for the purpose of collocating high capacity transport equipment used to terminate traffic both inbound and outbound with each other. The exteriors and ground-floor lobbies of 60 Hudson Street and two other telecommunications buildings were designated city landmarks by the New York City Landmarks Preservation Commission in 1991.
In addition, after Western Union moved out of 60 Hudson Street, some of the space was occupied by city and state agencies. This included the New York City Department of Correction, which moved there in 2002. However, this use was relatively short-lived, as the city's departments of buildings and correction left 60 Hudson Street in 2010, and the space was subsequently used by internet providers.
There has been some controversy about the usage of 60 Hudson Street as a colocation building. Residents of the surrounding neighborhood complained in 1999 that the cooling structures on the building were too loud. 60 Hudson Street's then-owners, Hudson Telegraph Associates, agreed to mitigate noise coming from the building. In 2006, a New York City panel approved the storage of nearly 2,000 gallons (7,500 liters) of diesel fuel on six floors of the building, part of some 80,000 gallons (300,000 liters) of fuel oil stored in the building. Community opposition had been raised regarding concerns that the presence of the fuel oil posed a fire hazard that could result in a catastrophic failure of the building. 60 Hudson Street underwent some renovations starting in 2015. Cordiant Digital Infrastructure announced in early 2022 that it would acquire the building's owner, DataGryd, whose sole property was 60 Hudson Street.


65 Broadway, formerly the American Express Building, is a building on Broadway between Morris and Rector Streets in the Financial District of Manhattan in New York City. The 21-story concrete and steel-frame structure, an office building, was designed by James L. Aspinwall of the firm  Renwick, Aspinwall & Tucker in the Neoclassical style. 65 Broadway extends westward through an entire block, to Trinity Place. Its most prominent feature is its H-shaped building plan, with light courts located between its wings.
The financial services company American Express had been located at the site of 65 Broadway since 1874, and purchased the lot in 1903. The current building was constructed in 1916–1917. It was the headquarters of American Express until 1974, and also contained the offices of other firms. After American Express moved out, 65 Broadway was occupied by American Bureau of Shipping and then by Standard & Poor's; as of 2019, Chetrit Group owns the building. The New York City Landmarks Preservation Commission designated the building as an official New York City landmark in 1995. It is also a contributing property to the Wall Street Historic District, a National Register of Historic Places district created in 2007.


65 Broadway was designed by the firm Renwick, Aspinwall & Tucker (later Renwick, Aspinwall and Russell), with James L. Aspinwall as the principal architect. The main contractor was the Cauldwell-Wingate Company, and several suppliers provided the individual materials for 65 Broadway. The building is also sometimes called the American Express Building or the Standard & Poor's Building, though both names may also refer to nearby structures. 65 Broadway is certified with green building standards outlined in the Leadership in Energy and Environmental Design.
65 Broadway contains 21 stories and a basement. The interior space is estimated as being 250,000 square feet (23,000 m²) or 350,000 square feet (33,000 m²). Of this, about 43,600 square feet (4,050 m²) is commercial space spread across the basement, first floor, mezzanine, and second floor.


The facade of 65 Broadway is arranged in three sections, consisting of a three-story "base", a "shaft", and a three-story "capital" on top, similar to the components of a column. This was a common setup for facades of buildings that were being erected in the late 19th and early 20th centuries. The western and eastern facades are both subdivided into three vertical bays.


The "tower" of the building consists mostly of terracotta and brick. It is 15 stories high along Broadway and 16 stories high on Trinity Place; the highest story in the tower section is the 18th floor. The center portion is significantly recessed, while the outer sections rise straight up from the base, creating an H-shaped layout for these floors.
The top of the facade is composed of terracotta and lacks most neoclassical ornament. The 20th and 21st floors form a two-story high colonnade. Arched "bridges" on the 20th and 21st floors connect the wings of the "H", forming an "8"-shaped layout. A large eagle, the insignia of American Express, is located at the center of each of these two "bridges". Under the "bridges" are coffered arches.


Plans for a new headquarters building at 63-65 Broadway were announced in March 1914; American Express president George Chadbourne Taylor had devised the idea for the new headquarters. The New York Times had described the brownstone pair as being "among the ancient landmarks" on the lower section of Broadway. Renwick, Aspinwall & Tucker created plans for a 32-story concrete-and-steel skyscraper. The building would house the entire operations of the American Express Company, which at the time was scattered between four locations. However, this plan was not considered further, likely because of World War I. Further, American Express vice president Francis F. Flagg denied claims that the company would erect a building in the near future, with "so many unrented offices" in the surrounding area.
Work on the structure restarted in 1916; the new plans were cheaper, costing $1 million. The revised plans, announced in February 1916, called for a 15-story structure that would be occupied entirely by American Express. The reduced height was likely to comply with the 1916 Zoning Resolution, which mandated that setbacks be included in buildings above a mandated height. By that time, the two brownstones had been demolished. It is unknown when the plans were changed to the current 21 stories.
The new office building at 65 Broadway was essentially completed in April 1917. American Express planned to occupy most of the space except for the top six floors, which would be leased out. By that October, all except one floor in the American Express Building were occupied. As originally laid out, the sub-basement (below the Trinity Place basement) contained power generation plants for the building. The first floor contained lobbies and the travel department, and the second floor contained the Foreign Department. The third floor housed a general cashier's department; the fourth floor included the treasurer's office force and financial traffic department; the fifth floor had the offices of several departments; the sixth through eleventh stories were for the accounting department; and the 20th floor was for chief officials' offices. At first, the 12th through 19th floors were unoccupied, as was the 21st floor. Following 65 Broadway's completion, it became part of lower Broadway's "Express Row", a series of express-mail companies that occupied buildings on the southernmost section of the street. On the city block where the building was located, there was a continuous series of masonry structures.


The 6th October Bridge (Arabic: كوبري 6 أكتوبر, Kubri 6 uktubar) is an elevated highway in central Cairo, Egypt. The 20.5-kilometre (12.7 mi) bridge and causeway crosses the Nile twice from the west bank suburbs, east through Gezira Island to Downtown Cairo, and on to connect the city to the Cairo International Airport to the east.
Its name commemorates the date of 'The Crossing', which commenced the outbreak day of the Yom Kippur War in 1973.


The 6th October Bridge has been called the 'spinal cord' of Cairo, with approximately half a million Cairene people using it on a daily basis. Due to its role as Cairo's central East–West automobile and truck route, the bridge and causeway is nearly always crowded with traffic, with the trip from one end to another taking up to 45 minutes.


798 Art Zone (Chinese: 798艺术区; pinyin: 798 Yìshùqū), or Dashanzi Art District, is a complex of 50-year-old decommissioned military factory buildings boasting a unique architectural style that houses a thriving artistic community in Dashanzi, Chaoyang District of Beijing. The area is often called the 798 Art District or Factory 798 although technically, Factory #798 is only one of several structures inside the complex formerly known as 718 Joint Factory. The buildings are within alleys number 2 and 4 on Jiǔxiānqiáo Lù (酒仙桥路), south of the Dàshānziqiáo flyover (大山子桥). The area is anchored by the UCCA Center for Contemporary Art, the largest and most visited venue in the area. In recent years, it has been the main venue for the annual Beijing Queer Film Festival and Beijing Design Week.


The district's popularity has exploded since the opening of BTAP and 798 Space in 2002, with scores of galleries, lofts, publishing firms, design companies, high-end tailor shops, and cafés and fancy restaurants setting up. In 2003, around 30 artists and organizations had set up studios or offices in the area, with 200 more reportedly on the waiting list to move in.
Fashionable clubs also sprang up such as Zhou Ying's "Vibes", known for its fetish nights. A former factory cafeteria became Yan Club (仁俱乐部), owned by well-known Beijing socialite and writer Li Xuebing or "Bing Bing" (冰冰), also owner of Sanlitun's Jam House. Notable performers at Yan included Morcheeba in March 2003.
In keeping with the area's "community spirit", most galleries and spaces in Dashanzi do not charge either exhibitors or visitors. Instead, they generally sustain themselves by hosting profitable fashion shows and corporate events; among others, Sony had a product launch gala at 798 space, and watchmaker Omega presented a fashion show at Yan Club. Others include Christian Dior, Royal Dutch Shell and Toyota; supermodel Cindy Crawford also made an appearance. Even Li Ka-shing's Cheung Kong Holdings held an event in the district, which some found unsettling given the real-estate industry's designs on the land it sits on.
As such, Dashanzi is now a center of Beijing's nascent "BoBo" (bourgeois-bohemian) community. Huang Rui and Xu Yong are good representatives of the type. A local guru of sorts is artist/curator/architect Ai Weiwei (艾未未), whose self-designed house in Caochangdi just outside the factory complex was a trend-setter.
In the absence of any rent control, tenants' costs have escalated. In 2000–2001, rents were 0.8 RMB per square metre per day (24 RMB or US$2.90/m²/month, or about US$0.27/sq.foot/month). They increased slightly to 30 RMB/m²/month in 2003, and then doubled to 60 RMB/m²/month (US$0.67/sq.foot/month) in 2004. Total costs can be quite high considering the average 200–400 m² area of the spaces, and the overhead of renovating and retrofitting the rooms to use modern appliances.
Another sign of creeping gentrification is the increasing number of luxury cars parked near the galleries; local artist Zhao Bandi purchased the first Alfa Romeo convertible in Beijing. Some (but not all) of the resident artists and their patrons are quite rich compared to other occupants of the area, the remaining factory workers. Some of the workshops are still operational on a small scale, mostly doing car repair or industrial laundry.
Some local artists such as Zhang Zhaohui, a New York-trained art critic and curator, and architect Zhu Jun, a new Dashanzi resident, have criticized the Art District as being less about art and more about show. Says Zhang: "Few of the artists come to seriously practice art. Most of them just come for opportunities to exhibit and sell works or just have parties and gatherings." (China Daily) On the other hand, young artists like Zhang Yue find this atmosphere particularly conducive to establishing one's career. In the course of one summer, Dashanzi Art District's Platform China Contemporary Art Institute and Unlimited Art Gallery afforded this rising artist two well-received solo shows.


In the days of Joint Factory 718, Dashanzi was chosen for its peripheral position well outside the city center. The artists who later moved there were attracted from the fringes of the city as well. However, the area today sits right on the strategic corridor between the Capital Airport and downtown Beijing along the Airport Expressway. In the context of China's current real estate bubble, the district is highly likely to be demolished in the near future. Hints of development are already appearing with the western entrances of the complex flanked by the Jiuxian and Hongyuan luxury apartment towers. There are all the current government projects which call for the expansion of the neighboring industrial park to turn all of Dashanzi into a high-tech development zone similar to Zhongguancun. Landowner Seven-Star Group thus hopes to re-employ some of the 10,000 laid-off workers it is still responsible for.

Influential members of the artist community and architects are lobbying various government instances to persuade them to allow the old buildings to remain, to help grow organically a cultural center that Beijing otherwise lacks. In 2003, International Architects Salon roped in architects from various international architectural associations and renowned architects like Bernard Tschumi and Coop Himmelblau's Wolf Prix to help emphasize how important attractive spaces like Factory 798 are to the international design community. They point out that such communities are important if Beijing, and China, is to become a major source of creative design instead of mere low cost low value-added manufacturing. (This issue has far-reaching implications in the domain of intellectual property protection in China - some experts believe that the local IP laws will start to be enforced only when China becomes a source of its own intellectual property.)
A crucial participant in the lobbying effort is resident sculptor Li Xiangqun, professor at the  Academy of Arts and Design of Tsinghua University, who was elected deputy of the 12th National People's Congress in 2004. Li presented the municipal government with a formal bill in February, requesting the suspension of the destruction plans and preservation of the buildings as part of an Olympic-caliber cultural center.
Professors from architecture schools such as Beijing's Central Academy of Fine Arts and the Southern California Institute of Architecture have proposed various development plans for the area that involve preserving the buildings, although those do not appear especially profitable financially.
Meanwhile, attempts have been made to appeal to the developers' sense of economics by pointing out similarities with New York's Greenwich Village and SoHo, where the high profitability of real estate is due partly to the presence of former post-industrial artists' dwellings. Those arguments have so far been ignored.
In 2004, Seven-Star Group froze the rental of new spaces and prohibited all renewals. Tenants resorted to subdividing and subleasing their spaces, to which the Group responded by attempting to forbid subleasing to cultural organizations or to foreigners, hoping to drive out the artists. Tenants, despite some of them having leases still valid for several years, were given the ultimatum of December 31, 2005 to vacate the premises.
By 2006, public outcry was relentless, and prominent cultural organizations from around the world spoke up. An unlikely duo including SevenStar, a government-led consortium acting as stewards of a pension fund for former factory workers, and Guy Ullens, a Belgian philanthropist who had amassed the world's largest collection of contemporary Chinese art, commissioned Boston-based design firm Sasaki Associates to produce a vision plan which sought to re-purpose the district into a stable source of revenue while providing a much-needed destination for China's burgeoning arts scene. The plan needed to inspire multiple stakeholders with often divergent interests. First, the city government in Beijing wanted to ensure that the district would a visible and acclaimed destination. Second, the land-holder, SevenStar Group, needed to generate a sustainable revenue stream to endow the pension fund of former factory workers. Third, international and Chinese non-profit cultural institutions investing in 798 such as the UCCA Center for Contemporary Art wanted to focus on culture and protecting the district's distinctive character. Finally, residents of adjacent neighborhoods were vocal about the need for community parks, recreation, and job opportunities.
Considering these voices equally, the Sasaki Associates master plan for 798 endeavored to reach consensus with a long-game approach to redevelopment. Leading with clear principles and detailed guidelines, the plan was an opportunity to codify the values of the district. To address the city's concerns, connections from nearby transit stations were strengthened, historic buildings were cataloged, and guidelines for their preservation and adaptive reuse were outlined. Next, a long-term strategy for obtaining revenue from new building leases was realized. A proposed arts school, artist-in-residence program, and requirements that tenants are involved in a creative industry provided cultural institutions with a sense that 798 would attract new talent and ideas. Last, multiple parks and plazas responded to community desire for more public open space.
By the end of 2007, it was decided that the area would continue in its current format of a special art zone.  In 2009, the area has been refurbished and is thriving. 798's abandoned factory buildings have been transformed into new museums, galleries, and cafes. Fallow fields and once hidden courtyards have reemerged as settings for outdoor sculpture, fashion shows, and other cultural events. The roads have been repaved, new galleries have opened, and a cafe culture is emerging. What began as a small collection of ephemeral studios and other workspaces has become the third most visited destination in Beijing, after the Forbidden City and the Great Wall.


7 Burlington Gardens is a Grade II* building in Mayfair, London. Formerly known as Queensberry House, it was later called Uxbridge House. The building is now home to the London flagship store of the American fashion retailer Abercrombie & Fitch.


Abercrombie & Fitch leased the location in 2005. Overnight in May, a two-story construction wall was erected around the building and was plastered with half-naked men and "Abercrombie & Fitch". The retail space occupies two floors within the building.
Abercrombie & Fitch's presence on Savile Row was initially criticised by the bespoke clothing manufacturers of the street. The Savile Row Bespoke was formed with permission of the City of Westminster to join Row tailors in protecting the image of Savile Row. Mark Henderson, CEO of Gieves & Hawkes was made Chairman and he commented that "Exploiting the Savile Row name to attract high-paying retailers and businesses, at the cost of this world-esteemed industry [Savile Row tailoring], is shortsighted." Another Row tailor, Thomas Mahon, negatively commented on the situation to The Times: "If the Bespoke businesses were driven out by crappy retail stores selling poor-quality clothes...then Savile Row's name would be irreparably damaged."
In 2020, Abercrombie & Fitch announced it was closing its Savile Row store, along with six other global flagship locations, in response to the global pandemic.


The monument is made of 52 stainless steel columns (or stelae), each 3.5 metres (11 ft) tall and weighing about 850 kilograms (1,870 lb). The stelae are grouped in four linked clusters that reflect the four locations of the bombings at Tavistock Square, Edgware Road, King's Cross and Aldgate East tube stations. The columns are anonymous, but each is inscribed with the date, place and time of the relevant bombing; a separate plaque lists the names of those killed. The form of the memorial, with many standing columns, has been compared to the Memorial to the Murdered Jews of Europe in Berlin, and the New Zealand War Memorial at Hyde Park Corner. A grass bank to the east of the memorial shields the site from the noise of traffic on Park Lane.
The proposal for a permanent memorial was announced on 13 February 2006, with £1 million of central government funding. The memorial was designed by a team including architects Carmody Groarke, engineers Arup, and landscape architects Colvin and Moggridge (see Brenda Colvin), advised by sculptor Antony Gormley, in consultation with representatives from the families of the victims, and also representatives from the Royal Parks and the Department for Culture, Media and Sport. The steel was cast by Norton Cast Products of Sheffield. Each pillar was cast in sand using the same mould, but using an open casting process that means each is slightly different, with a rough surface texture.
The proposed design was approved in November 2008, and the completed memorial was unveiled on the fourth anniversary of the attacks on 7 July 2009, at a ceremony attended by family members and relations of the victims and Charles, Prince of Wales, Camilla, Duchess of Cornwall, Prime Minister Gordon Brown, the Mayor of London Boris Johnson, and other political leaders and representatives from the emergency services.
The memorial was one of 102 structures given an award by the Royal Institute of British Architects in 2010.


The memorial was defaced with graffiti two weeks after its dedication ceremony in 2009, with words written on the memorial with a black marker pen. It was vandalised for a second time in 2014, on the morning of the ninth anniversary of the attacks. In the 2014 incident slogans such as "4 Innocent Muslims", "Blair Lied Thousands Died" and "J7 Truth" were stencilled in red and black on the memorial, and were removed shortly after being discovered by the park's manager.
In June 2015, there were concerns that the site was being used by a group of rough sleepers.


84 Plymouth Grove, now known as Elizabeth Gaskell's House, is a writer's house museum in Manchester. The Grade II* listed neoclassical villa was the residence of William and Elizabeth Gaskell from 1850 till their deaths in 1884 and 1865 respectively. The Gaskell household continued to occupy the villa after the deaths of Elizabeth and William. The death of Elizabeth Gaskell's daughter, Margaret Emily "Meta" Gaskell, in 1913, brought to an end the Gaskells' residence there.
The house itself was granted listed building status in 1952, partly due to its association with the Gaskells. This granted it protection from demolition, however, 84 Plymouth Grove slowly descended into a state of disrepair due to neglect.
The Manchester Historic Buildings Trust commenced a restoration project in 2009, aiming to see 84 Plymouth Grove returned to its state as the Gaskells left it. By 2011, the Trust had finished the exterior, which included structural repairs and removing the pink paint that had coated the house for various years. However, in May 2011 their project was marred by the theft of the lead roof, which caused "extensive damage" according to the BBC. On completion of the £2.5m restoration, the building was reopened to the public on 5 October 2014.


84 Plymouth Grove was designed in the Regency style, probably by architect Richard Lane, circa 1838, and was speculatively built as part of a wider development catering to the burgeoning middle-classes in the area, then on the outskirts of the city. The villa comprised drawing and dining rooms, seven bedrooms and a coach house wing. The lavish house was built in response to the newly emerging middle class citizens of Manchester. The city, which had rapidly expanded due to the industrial revolution, held various degrees of housing, ranging from, poverty-ridden slum housing to the new era of luxurious housing such as 84 Plymouth Road.
The design is striking; the house contains twenty rooms on two floors over a concealed basement with a front porch containing four columns carved with a lotus leaf shape, reminiscent of the Tower of the Winds in Athens. Stucco features on the front facade of the house. Despite the house's facade having a pink coat for years, earning it the nickname 'The Pink House', during the times of Elizabeth Gaskell the walls were described as a "stone-colour".


Elizabeth and William, along with their children, Marianne, Margaret Emily "Meta", Florence, and Julia, moved into the house (then numbered 42 Plymouth Grove) in June 1850, after the publication of Elizabeth's first novel, Mary Barton. However, they had lived in Manchester for some time previously as William Gaskell's job of assistant Minister at Cross Street Unitarian Chapel, required the family to move from Knutsford, in neighbouring Cheshire. The family had stayed at two different locations in Manchester, both of which have now been demolished.
84 Plymouth Grove's spacious accommodation concerned Gaskell, who, despite calling the house "a beauty", was concerned about residing in such an expensive house (the rent was £150 per annum) while others lived in poverty. Despite Elizabeth's concerns, the Gaskells were not frugal, with the twenty room house costing half of William's salary in rent. Elizabeth, feeling guilty, justified it by stating, "It is [William] who is to decide on all these things". Until the birth of their children they required only one servant, Betsy, however, at Plymouth Grove much more domestic staff were employed, including a cook, several maids, a handyman for outdoor work, as well as a washerwoman and a seamstress. Elizabeth trained her staff and looked after their welfare whilst they were employed at the house.
Charlotte Brontë, who visited the house three times between 1851 and 1854, described it as "a large, cheerful, airy house, quite out of Manchester smoke". The "Manchester smoke", as Brontë described it, was generated from the hundreds of textile factories and cotton mills situated within the inner city, in particular the Ancoats area. In the 1850s there were over 100 mills in Manchester. On one occasion, the meek Brontë even hid behind the curtains in Gaskells' drawing room as she was too shy to meet the other guests.
Barbara Brill, biographer of William Gaskell, stated that "Plymouth Grove could be likened to the activities of a beehive", due to the Gaskells entertaining many guests whilst living at the house. Besides Brontë, visitors to the house during Elizabeth Gaskell's lifetime included Charles Dickens, who, on one occasion in 1852, made an impromptu visit to the house, along with his wife at 10 am, much to the dismay of Elizabeth, who mentioned it to be "far too early". John Ruskin, Harriet Beecher Stowe, American writer Charles Eliot Norton and conductor Charles Hallé also visited Elizabeth Gaskell at Plymouth Grove. Hallé visited the house often, teaching Meta Gaskell how to play the piano.
Gaskell lived at Plymouth Grove with her family until her death 15 years later, in 1865, and all of her later books were written there, including some of her most famous works, such as Cranford and North and South. Gaskell died in Alton, Hampshire, in a house she had just secretly purchased, without informing William. She had planned to entice William into leaving Manchester and retiring there, but she collapsed suddenly in the arms of Meta, and died on 12 November 1865. Her husband, William Gaskell, a Unitarian minister and educationalist, survived Elizabeth by nearly two decades, dying in 1884 of bronchitis. Upon his death, his two surviving unmarried daughters, Meta and Julia, lived in the house (his two other daughters, Marianne and Florence, had both married, though Florence died 3 years prior to William's death). The two sisters continued living at Plymouth Grove and both were involved in various charitable causes throughout their lives. Julia, despite being the youngest, died before Meta, in October 1908, leaving Meta Gaskell alone at 84 Plymouth Grove.


The building was purchased in 2004 by the Manchester Historic Buildings Trust, with the aim of restoring the building and allowing it to be opened to the public. A blue commemorative plaque on the front of the house reads: "Elizabeth Cleghorn Gaskell (1810–1865) Novelist and authoress of Mary Barton and Cranford and many other works lived here (1850–1865)". In 2006, the house was in a very poor state of repair with severe structural problems, and was listed on the English Heritage Buildings at Risk Register. An article in The Independent noted the state of disrepair: "Structural cracks run through the walls, the foundations have to be underpinned, the whole roof replaced and dry rot eradicated, while the entire building must be restored and upgraded."
Restoration work began in September 2009. The house stands within a five-minute walk of Victoria Baths, another Victorian-era landmark requiring substantial restoration. The villa was given a £750,000 restoration of its exterior and a new roof was placed on the house in 2010. Lead was used at the insistence of English Heritage. However, in May 2011, metal thieves stole most of the lead from the new roof, which caused £250,000 worth of damage in the process and allowed rainwater into the house. The remaining lead was removed from the roof to deter any further thefts and a new roof constructed in its place.
Work on the first phase of restoration, which fixed the roof, drains and structural damage, finished in February 2013, with most of the external work complete and the building made water-tight. During this time, the pink paint covering the house was stripped off and replaced with an off-white colour.
In June 2012 it was announced that a grant of £1.85 million from the Heritage Lottery Fund had been secured, allowing restoration of the house's interior to take place. The funding paid for the restoration of the bedrooms and reception rooms and created a visitor learning area. The lottery grant was also used to help restore the house's garden, where the Gaskells once kept pigs, poultry and a cow.
The ground floor of the house has been fully restored in the style of an authentic Victorian home. Curators of the house researched what 84 Plymouth Grove would have looked like during the Gaskells' residence and borrowed a number of period items of furniture from the Manchester's art galleries and the John Rylands Library in order to recreate the Gaskells' study and other rooms. Heritage experts from the Whitworth Art Gallery were consulted to help find the right wallpaper and paint colours that would have been used in the house at the time. Armitage Construction, a specialist heritage firm founded in 1874, restored the decorative plasterwork and carpentry in the house using traditional lime plaster and woodworking techniques from the period. In February 2014 the renovators of the house were seeking a donation of a mid-19th century Broadwood demi grand piano—the model that Charles Hallé used to teach Elizabeth Gaskell's daughters at the house—for the drawing room of 84 Plymouth Grove.
The upstairs of the house has a number of rooms and performance spaces dedicated to educational work, literary and community events. Gaskell House reopened to the public on 5 October 2014. Curators of 84 Plymouth Grove hope that literary tourism will benefit the house, and make it a destination similar Shakespeare's Birthplace in Stratford-upon-Avon or the Brontë Parsonage Museum in Haworth.


84 Plymouth Grove has been variously described as located within Ardwick, Chorlton-on-Medlock, Longsight and Victoria Park.


Floor 34 and 35 are currently leased by Look Hotel Group (Chinese: 樂活商旅租). The 85 Sky Tower Hotel (ceased operations) (Chinese: 君鴻國際酒店) occupies floors 37 to 85, and it owns the observation deck. Office space and studio apartments occupy each side of the lower floors.


80-85: Mechanical / Communication Facility
76-79: Restaurants / Spa (Private Club) (ceased operations)
74-75: Observatory (ceased operations)
46-70: Guest Rooms (ceased operations)
43-45: Meeting Rooms and Ballrooms (no 44th floor) (ceased operations)
38-42: Hotel Facilities (ceased operations)
13-35: Office Residential
12: Nikko Plaza
8-11: Chien-Tai Indoor Amusement Park
2-7: Chien-Tai Daimaru Department Store
1: Lobby


Having been commissioned by the owners of the Canary Wharf Site to do the outline design prior to gaining site-wide outline planning permission, and because he had designed HSBC's last head office at 1 Queen's Road, Central, Hong Kong Island, Hong Kong, Sir Norman Foster (now Lord Foster of Thames Bank) was appointed as architect.
Construction began in January 1999, with work beginning on the installation of the 4,900 glass panels commencing in the summer of 2000. The work was carried out by Canary Wharf Contractors. In May 2000, three workmen were killed in a crane accident.
The topping out ceremony took place on 7 March 2001, with the hoisting in of the final steel girder attended by bankers, journalists and contractors. The first HSBC employees began work in the building on 2 September 2002, with phased occupation completed by 17 February 2003, and the building's official opening, by Sir John Bond, taking place on 2 April 2003.


Above the elementary school is a 904-unit luxury residential tower clad in stainless steel. The apartments range from 500 square feet (46 m²) to 1,600 square feet (150 m²), and consist of studios, one-, two- and three-bedroom units. All units are priced at market-rate, with no low or moderate income-restricted apartments. All units are rental-only; none are available for purchase.


8 Spruce Street opened in February 2011.
During the COVID-19 pandemic in New York City in 2020, about one of every five units were vacant. The building's owners, Brookfield Property Partners and Nuveen, placed the building for sale in November 2021 with an asking price of $850 million. Bloomberg reported in late 2021 that Blackstone Inc. would likely purchase the property for $930 million.


Early reviews of 8 Spruce Street were favorable. In The New York Times, architecture critic Nicolai Ouroussoff praised the building's design as a welcome addition to the skyline of New York, calling it: "the finest skyscraper to rise in New York since Eero Saarinen's CBS Building went up 46 years ago". New Yorker magazine's Paul Goldberger described it as "one of the most beautiful towers downtown". Comparing Gehry's tower to the nearby Woolworth Building, completed in 1913, Goldberger said, "It is the first thing built downtown since then that actually deserves to stand beside it."
CityRealty architecture critic Carter Horsely hailed the project, saying "the building would have been an unquestioned architectural masterpiece if the south façade had continued the crinkling and if the base had continued the stainless-steel cladding. Even so, it is as majestic as its cross-town rival, the great neo-Gothic Woolworth Building designed by Cass Gilbert at 233 Broadway on the other side of City Hall Park." Gehry designed both the exterior, interiors and amenities spaces, along with all 20 model apartments.
The building received the Emporis Skyscraper Award for 2011.


The 9/11 Living Memorial Plaza is a cenotaph located on a hill in Arazim Valley of Ramot, Jerusalem. The plaza, built on 5 acres (2.0 ha), is to remember and honor the victims of the September 11 attacks.


The cenotaph measures 30 feet and is made of granite, bronze and aluminum. It takes the form of an American flag, waving and transforming into a flame at the tip. A piece of melted metal from the ruins of the Twin Towers forms part of the base on which the monument rests. A glass pane over the metal facilitates viewing. The names of the victims, including five Israeli citizens, are embedded on the metal plate and placed on the circular wall. The monument is strategically located within view of Jerusalem's main cemetery, Har HaMenuchot.
The folded part of the flag is reminiscent of the collapse of the towers in a cloud of dust. The flag morphs into a six-meter high memorial flame representative of a torch. It is the first and only monument outside of the United States which lists the names of the nearly 3,000 victims of the 9/11 attacks.
The cenotaph was designed by award-winning artist Eliezer Weishoff. It was commissioned by the Jewish National Fund (JNF/KKL) at a cost of ₪ 10 million ($2 million). The inauguration ceremony was held on 12 November 2009 with representation from the US Ambassador to Israel, James B. Cunningham, members of the Israeli Cabinet and legislature, family of victims and others.


Following the 2018 Pittsburgh synagogue shooting, the Jewish National Fund and JNF-USA erected a stone plaque listing the names of the 11 victims of that attack next to the 9/11 Living Memorial Plaza. In February 2019, Pittsburgh mayor Bill Peduto visited the synagogue memorial and planted an olive tree beside it "as a symbol of peace and continuity".


Nightclub 9:30 was founded by artist and dancer Dody DiSanto and her husband, Jon Bowers, a local real estate developer and music enthusiast who had just purchased the Atlantic Building in 1979. The venue hosted its first show on May 31, 1980, featuring New York-based jazz-punk outfit the Lounge Lizards as headliners, and local new wave band Tiny Desk Unit as the opening act. New York's The Fleshtones were the first band ever to be booked at the club.
Since its origins, Nightclub 9:30, which allowed fans as young as sixteen to enter, was known as a progressive venue noted for its talent in discovering up-and-coming acts. During the early 1980s, it was the home for alternative music in D.C., just as the genre was beginning to blossom. By that point, the club was based around local bands, mainly from the punk, hardcore, and go-go scenes; D.C.-area acts such as Minor Threat (played there in '83), Fugazi (also played there in '94), Government Issue, Iron Cross, the Slickee Boys, Urban Verbs, Chuck Brown ("The Godfather of Go-Go") in '05, Maiesha and the Hip Huggers featuring E.U., Root Boy Slim and the Sex Change Band, Rites of Spring played in 1985, and Dain Bramage, whose teenage drummer, Dave Grohl, went on to become part of Nirvana and to found the Foo Fighters. (The Foo Fighters also played there in '99.) James Blood Ulmer played there in 1982.
However, in a very short time, the venue also became a regular stopping point for punk and new wave bands touring the East Coast. Some of the most notable performers in the early days of Nightclub 9:30 were Black Flag, the Bad Brains from D.C. (also played there in '92), the Red Hot Chili Peppers, the Psychedelic Furs, Einstürzende Neubauten, the Ramones, X, Blue Angel (with lead singer Cyndi Lauper), the Bangles, R.E.M., Hüsker Dü, Erasure, Richard Hell and the Voidoids, the Violent Femmes, the Butthole Surfers, That Petrol Emotion, the Police, the Replacements, Marti Jones, Marshall Crenshaw, Mod Fun, Nash the Slash, the Go-Go's, and BETTY, whose bassist and co-vocalist, Alyson Palmer, tended bar in the club at the time.
On May 21, 1981, Washington music programmer and writer Tom Terrell was instrumental in masterminding the U.S. premiere of reggae band Steel Pulse on the night of Bob Marley's funeral, which was broadcast live worldwide from Nightclub 9:30.
In 1986, after six years of operating the club, Bowers and DiSanto sold it to Seth Hurwitz and Richard Heinecke of It's My Party (I.M.P.), the Maryland-based concert promotion company they co-own.
Over the following years, as the club's prominence and lineup were growing, the need for a bigger space was becoming increasingly evident. In preparation for the move, the owners purchased and extensively renovated the former WUST Radio Music Hall at 815 V Street.
The old Nightclub 9:30 closed its doors on December 31, 1995. The club's final shows at the original location were memorialized on a two-CD set released in 1997 and entitled 9:30 Live – A Time, A Place, A Scene. This live CD, recorded between December 28, 1995, and January 1, 1996, includes local music from the Urban Verbs, Tiny Desk Unit, Mother May I, The Insect Surfers, Tru Fax and the Insaniacs, and Black Market Baby.


Before the reopening, the club owners organized a "christening" show for media and friends featuring the Fleshtones and Too Much Joy. On January 5, 1996, the new 9:30 Club opened to the public with a show that included the Smashing Pumpkins.
NPR's online music show All Songs Considered broadcast some concerts at the venue. There is an archive of these shows.
D.C. acts that played at the 9:30 Club in the 2000s include:  Good Charlotte and Vertical Horizon in 2004, Joan Jett (who lived in Maryland) in 2006, Mýa in 2007, and Wale in 2010.


Popular local band Emmet Swimming played one of the first shows at the new 9:30 on a snowy night and recorded part of their live concert CD Earplugs 50¢ at the venue.
Bob Dylan played shows on December 4 and 5, 1997, when he was in Washington, D.C., to receive the Kennedy Center Honors. Dylan returned for an unannounced show on April 2, 2004, before scheduled dates at the Bender Arena and the Warner Theatre.
On June 12, 1998, the Red Hot Chili Peppers performed a surprise eleven-song set at the club. Money Mark and the Propellerheads were the opening acts. The show, which was the band's first at the new venue (they had previously performed at the old 9:30 Club five times from 1985 to 1987), was their first public performance since reuniting with guitarist John Frusciante, who had quit the band in 1992; although the band had performed a short in-studio acoustic set of mostly cover songs a week early for a radio show in Los Angeles. The 9:30 Club show was seen as a warm-up for their performance the next day at the Tibetan Freedom Concert, which was held at the RFK Stadium in Washington, D.C.; when bad weather cancelled their set at the concert, Pearl Jam shortened their own set so the Chili Peppers could perform a few songs.
O.A.R., whose members grew up in nearby Rockville, Maryland, recorded the live album Any Time Now at the 9:30 Club on November 23 and 24, 2001. The venue also hosted the band's first four shows on their 2012 Extended Stay tour.
Gorillaz performed their 2nd concert in the U.S.A. ever at The 9:30 Club on February 26, 2002 (their 1st in the U.S.A. being in Boston, Massachusetts at Avalon Ballroom on 25 February, 2002); which also served as their 3rd concert in North America ever (their first being in Toronto, Ontario, Canada at the Toronto Docks on 23 February, 2002) as well as their 13th live concert overall (having already performed twice in London, England and once in Liverpool, England; Birmingham, England; Manchester, England; Edinburgh, Scotland; Dublin, Ireland; Paris, France; Osaka, Japan; & Tokyo, Japan between 22 March, 2001 and 28 September, 2001).
On June 2 and 3, 2002, Arizona band Jimmy Eat World recorded their live DVD Believe in What You Want at the nightclub, following the release of their album Bleed American. The video was released on November 26, 2002.
In 2003, local band the Pietasters released their first live video DVD, Live at The 9:30 Club.
The Beastie Boys performed at the club on June 17, 2004, after a five-year hiatus. This was a radio event sponsored by WHFS 99.1 FM, which gave away all the tickets for the event to listeners. A  thunderstorm delayed the band's travel from New York City.  About 8:30 p.m., Radio DJs the Junkies and Tim Virgin read a statement from the Beastie Boys explaining the situation, noting that they were on the train, and saying the show would go on at about 11:15 p.m. The crowd was disappointed, but the club relaxed its re-admittance policy and allowed everyone to leave and have dinner if they so desired. To further ease crowd tensions, the Beastie Boys' management had pizzas delivered to the club for fans. Mix Master Mike took the stage at 11:13 p.m. to warm up the crowd. The Beastie Boys came out minutes later on stage in front of a packed house. Posters of this late 9:30 Club performance are in the Beastie Boys' video "Triple Trouble", pasted on the walls of the streets the group walk through at 2:13.
The Smashing Pumpkins celebrated the release of Zeitgeist, their first album in seven years, at the 9:30 Club on July 10, 2007. The event was depicted in the band's 2008 DVD documentary, If All Goes Wrong.
Radiohead played a secret show at the venue on June 13, 1998, in which, Michael Stipe of R.E.M. fame sang with the band on one of their hits. They decided to play this show because their appearance at the Tibetan Freedom Concert held at the RFK Stadium was delayed to the next day due to bad weather. Additionally, the Beastie Boys, Ed Kowalczyk of Live, Brad Pitt, Jennifer Aniston, Dave Grohl of The Foo Fighters attended as part of the crowd.
Bob Mould performed at the club on October 7, 2005, and released a subsequent DVD of the concert called Circle of Friends.
On November 24, 2007, Hawthorne Heights guitarist and screamer Casey Calvert was found dead of a drug overdose on their tour bus, which was parked outside the club.
In September 2009, the newly reunited Alice in Chains kicked off their U.S. tour at the 9:30 Club with new singer William DuVall.
On December 28, 2009, Clutch recorded their DVD Live at the 9:30, performing their self-titled album, Clutch, in its entirety.
In May 2010, the legendary reggae band Steel Pulse performed their charity song "Hold On for Haiti" for the first time. All proceeds from the song go to nonprofit organizations Solar Electric Light Fund and Partners In Health, to solar electrify health clinics in Haiti.
On May 31, 2010, the 9:30 Club celebrated its 30th anniversary with a lineup stretching its history, including Tiny Desk Unit, The Fleshtones, Tommy Keene, The Slickee Boys, The Psychedelic Furs, Marti Jones and Don Dixon, Clutch, Trouble Funk, The Evens, Justin Jones, The Pietasters, Pete Stahl, Ted Leo, Bob Mould, and Dave Grohl. The event was hosted by Henry Rollins.
In June 2010, Courtney Love and the newly reformed Hole performed a disastrous set described by The Washington Post as a three-hour epic train wreck. A barely coherent Love stumbled, complained and stripped through an entire set composed mostly of incomplete versions of the band's songs. Most members of the audience left before the set ended.
On July 30, 2010, house music producer deadmau5 collapsed on stage in the middle of a set and was rushed to the hospital. He had been suffering from exhaustion and vomiting. This collapse led to the cancellation of the nine shows which followed the event.
On May 12, 2011, Adele performed at the venue as part of her Adele Live tour. She sold out the venue in less than two minutes, and the show grossed $45,000. Back in 2009, she also performed her debut concert tour An Evening with Adele on January 17.
On February 24, 2012, the Soul Rebels Brass Band were the subject of an NPR national broadcast of their show with Galactic live from the 9:30 Club. The broadcast was syndicated on NPR and through other affiliates across the United States, as well as webcast on NPR.org.
On September 25, 2012, Adam Lambert headlined a benefit hosted by Marylanders for Marriage Equality, a group working to garner support for the state's ballot-proposition to legislate marriage equality.
On June 12, 2013, Animal Collective performed a set of songs previously released on their LPs and EPs. The show was documented on the album Live at 9:30.
In 2013, hardcore punk supergroup, Off!, released the limited edition vinyl album, Live at 9:30 Club, which featured their performance from June 25, 2011.
The Pixies performed a surprise show on May 31, 2015, after their appearance at the Sweetlife Festival the day before.
In January 2016, 9:30 celebrated its 35th birthday by opening its doors for an interactive exhibition detailing the club's vast history, the "9:30 World's Fair". This exhibition highlighted the pieces of the old 930 F St. location that made the trip to 815 V St., while taking dedicated fans through a tour of the venue like it had never been seen before, including a look inside the dressing rooms and a peek at the hair dryer purchased specifically for James Brown.
On January 27, 2016, Jack's Mannequin returned to the road to honor the 10-year anniversary of the album Everything in Transit. Playing just weeks after the death of David Bowie, Andrew McMahon also performed an acoustic rendition of “Life on Mars”.
In March 2016, At the Drive-In's reunion tour was cut short after night one of two at the club, when singer Cedric Bixler lost his voice due to illness.
On June 6, 2016, Tom Petty's pre-Heartbreakers band Mudcrutch performed at the club on its very first tour despite being founded three decades earlier. While not performing any Heartbreaker's hits, their set included the traditional song "Shady Grove" (perhaps as a nod to the DC Metro Station), and a cover of Bob Dylan's "Knockin' on Heaven's Door".
On August 24, 2016, ZZ Top performed for a sold-out audience, the "Surprise! At the Club!" performance having only been announced two weeks prior. Jonny "2 Bags" Wickersham of Social Distortion opened the show, which saw ZZ performing all of their classic hits before concluding with a cover of Elvis Presley's "Jailhouse Rock".
In support of Wild World, Bastille sold out the club in minutes for their show on October 2, 2016, just months before playing EagleBank Arena.
The very next day, October 3, 2016, was another "Surprise! At the Club!": Green Day, in preparation for their international Revolution Radio Tour. An inside look at what the show meant to some of their fans can be seen in Episode 12 of Live at 9:30.
December 14, 2016 saw Jimmy Eat World return to 9:30 for another "Surprise! At the Club!"
On January 14, 2017, 9:30 opened its doors to celebrate the life and music of Urban Verbs' guitarist and NPR music librarian Robert Goldstein, with tribute performances including The Slickee Boys and Martha Hull & The 7 Door Sedan.
Later that month, the 9:30 Club partnered with Planned Parenthood for two shows. The first, a free event titled "Show Up!", took place on January 19, 2017 featuring Common and The National. The second was the official 2017 Women's March after-party/benefit show hosted by Funny or Die on January 21, 2017, titled "Laugh, Dance... then Get to Work!" Special guests at this performance included Senators Al Franken and Cory Booker, Sleater-Kinney, Sara Bareilles, Sam Harris of X Ambassadors, Ted Leo, Dirty Projectors' David Longstreth, The National, Ani DiFranco, Samantha Ronson, Macklemore, Tig Notaro, Janeane Garofalo, Lizzy Caplan, Ashley Judd, Rosario Dawson, Eric Andre, Michelle Rodriguez, Cameron Esposito and River Butcher, Ronna and Beverly, Casey Wilson, June Diane Raphael, and Morgan Walsh.
Four days after the 59th Annual Grammy Awards, Maren Morris performed her first live show as a Grammy winner to a sold-out crowd at the 9:30 Club.
Valentines Day 2017 was celebrated with Rick Astley, performing a number of popular covers in addition to songs from his newest album, 50, and the classic "Never Gonna Give You Up".
March 5 and 6, 2017 presented another "Surprise! At the Club!" with two nights of The Flaming Lips, hamster ball and all.
On August 19, 2017, 9:30 opened its doors to celebrate the life and art of prolific graffiti icon Cool "Disco" Dan, with performances from DJ Flexx, the Howard University Choir, and legendary go-go band Rare Essence, as well as an appearance by Mayor Muriel Bowser proclaiming August 19 "Cool 'Disco' Dan Day".


In February 2016, it was announced that the 9:30 Club had partnered with Squarespace, Shinola, and Destination DC to produce a new musically-centered variety show for PBS, featuring five acts per episode alongside a variety of comedy and short films. Artists include: Garbage, The Arcs, Tove Lo, Andrew McMahon in the Wilderness, Grace Potter, Trouble Funk, Troye Sivan, Frank Turner, Cold War Kids, and many more.
Live at 9:30 debuted in May, with a mix of contributors and hosts including Henry Rollins, NPR Music's Bob Boilen, Hannibal Buress, Jill Kargman, Ralphie May and Tony Rock.
While episodes are airing across the country, they are also available on www.liveat930.com.


99 Bishopsgate is a commercial skyscraper in London. It is located on Bishopsgate, a major thoroughfare in the City of London financial district. The building is 104 metres (341 ft) tall and has 25 office floors, with a total net lettable floor space of circa 30,000 square metres (322,900 sq ft). There are a further three plant floors at levels LG, 14 and 27.
The original core and steelwork was completed in 1976. At the time, it had the fastest lifts in Europe, running at up to 6.5 metres per second. The building was occupied solely by HSBC until the organisation moved to 8 Canada Square at Canary Wharf (that building subsequently became known as the HSBC Tower).
99 Bishopsgate was extensively damaged in 1993 by a truck bomb exploded by the Provisional IRA, which also damaged the neighbouring Tower 42.
The building was fully refurbished over a period of 14 months, which resulted in substantially improved cladding and a façade overrun which increased its overall height slightly. Larger, open plan floorplates were also created. It re-opened in mid-1995 as a multi-let office tower and is currently owned (leasehold) by Hammerson and managed by CBRE Group.
CBRE has produced an energy performance certificate (EPC) for 99 Bishopsgate which has resulted in a 'C' rating for the building. The factors that influenced the rating are the impact of specifying energy efficient plant and equipment during refits and the standard of building-related information made available for the purposes of EPC calculation. Considering the age of the building, a 'C' rating is considered impressive.
A public right of way exists through the building as part of the City of London 'highwalk' system, connecting a pedestrian bridge over London Wall to the walkways around Tower 42.


Año Nuevo State Park is a state park of California, United States, encompassing Año Nuevo Island and Año Nuevo Point, which are known for their pinniped rookeries.  Located in San Mateo County, the low, rocky, windswept point juts out into the Pacific Ocean about 55 miles (89 km) south of San Francisco and the Golden Gate.  Año Nuevo State Natural Reserve, formerly a separate unit of the California state park system, was merged into Año Nuevo State Park in October 2008.  The coastal geographic center, or coastal-midpoint of California is located at the Northern end of this park at N 37°09′58″, W 122°21'40", as the absolute geographic center of California falls at N 37°09′58″, W 119°26′58″W.
The reserve contains a diversity of plant communities, including old growth forest, freshwater marsh, red alder riparian forest and knobcone pine forest. Its four perennial streams support steelhead and coho salmon, and its wetlands are habitat to the rare San Francisco garter snake and California red-legged frog. Cultural resources include the remnants of a prehistoric Native American village site and a number of structures from the 19th century Cascade Ranch. In conjunction with adjacent and nearby public lands, the unit permits the protection of important regional ecological corridors.
The point remains undeveloped, much as Sebastián Vizcaíno saw it from his passing ship in 1603.


Northern elephant seals, California sea lions, sea otters, and other marine mammals come ashore to rest, mate, and give birth in the sand dunes or on the beaches and offshore islands. Hundreds of thousands of people come to witness it each year.
Año Nuevo State Park is the site of one of the largest mainland breeding colonies for the northern elephant seal (another is in Piedras Blancas State Marine Reserve and Marine Conservation Area—100 miles (160 km) south near the town of Cambria and the San Simeon approach to Hearst Castle). The seals attract so much interest that early reservations are needed during the winter breeding season. The males battle for mates on the beaches and the females give birth to their pups on the dunes.
From mid-December through late March, daily access to the reserve is available on guided walks only. Most of the adult seals are gone by mid-March, leaving behind the weaned pups who remain through April. The elephant seals return to Año Nuevo's beaches during the spring (females) and summer (males) months to molt, and can be observed during this time through a permit system.  Reservations for a guided walk during the breeding season are available by phone.


Año Nuevo State Marine Conservation Area and Greyhound Rock State Marine Conservation Area are two adjoining marine protected areas off the coast of Año Nuevo State Park. Like underwater parks, these marine protected areas help conserve ocean wildlife and marine ecosystems.
Pigeon Point Light Station State Historic Park, Butano State Park and numerous other parks and beaches are within 5 miles (8.0 km) of Año Nuevo.


Aşıklı Höyük is a settlement mound located nearly 1 kilometre (0.62 mi) south of Kızılkaya village on the bank of the Melendiz brook, and 25 km (16 mi) southeast of Aksaray, Turkey.
Aşıklı Höyük is located in an area covered by the volcanic tuff of central Cappadocia, in Aksaray Province. The archaeological site of Aşıklı Höyük was first settled in the Pre-Pottery Neolithic period, around 8,200 BC.
It is situated 1,119.5 metres (3,673 ft) above sea level, a little higher than the region's average of c. 1,000 metres (3,300 ft). The site itself is about 4 hectares (9.9 acres), considerably smaller than the closely situated site of Çatalhöyük (13 ha (32 acres)). The surrounding landscape is formed by erosion of river valleys into tuff deposits. The Melendiz Valley, where the Aşıklı Höyük is located, constitutes a favourable, fertile, and diverse habitat. The proximity to an obsidian source did become the base of a trade with the material supplying areas as far away as today's Cyprus and Iraq.


Aşıklı Höyük was first investigated by Professor Ian A. Todd when he visited the site in the summer of 1964. Todd emphasised the importance of the obsidian in the area, based on over 6,000 obsidian pieces collected from the surface layer alone. The site was classified as a medium sized mound and partly destroyed by the river situated next to it. On the basis of the lithics and animal bones located in the surface layers the site became known as a contemporary to the Palestine PPNB, which later was reinforced by ¹⁴C dates (based on five unstratified radiocarbon dates going from 7008 ± 130 to 6661 ± 108). The first comprehensive excavations took place relatively late: first when the government launched a plan that would result in the rise of the waters of the Mamasın Lake located close to Aşıklı Höyük, Professor Ufuk Esin (University of Istanbul) started the salvage excavations in 1989. Nine excavations have been undertaken up to 2003, uncovering approximately 4,200 square metres (45,000 sq ft) on the horizontal plain, making it one of the largest scale excavations in the region.


The newest dates for Aşıklı Höyük show that the occupational period was from 8200 to 7400 BC, extracted from 3 layers with a total of 13 phases; which places it in phase ECA II (correlating with the E/MPPNB in the Levant). It is known as one of the earliest Aceramic Neolithic sites on the Anatolian plateau, and the prior mentioned extraction of the obsidian source was likely to be frequented as far back as the Paleolithic nomadic hunter-gatherers. Due to its date and structural organization Aşıklı Höyük is known to be "a prime example of a first foray into sedentism".


After more than 400 rooms had been excavated, the total number of individual found to have been buried within the settlement did not surpass 70. All these burials were under building floors. The dead were placed in pits cut through the floor during the occupation of the building. The buried are people of both sexes and all ages. There is a variety of skeletal body postures, from burials in a hocker (fetal) position to extended skeletons facing upwards. Others are lying on one side, occasionally with the legs bent at the knees. The orientation of the burials varies within the buildings, as does the number of individuals buried inside them.
The male population had individuals up to the age of 55–57 years of age, while the majority of females died between the ages of 20 and 25. The skeletal remains of these women show spinal deformities indicating that they had to carry heavy loads. This does not itself prove that there was a division of labour between the sexes. The fact that the men seem to have outlived the women might be interpreted as sign that the women were subject to more strenuous physical labour than their male counterparts. From Natufian Abu Hureyra there are similar osteological signs, such as pathologies in metatarsals, phalanges, arm, and shoulder joints, being specific to females resulting from habitual kneeling in the use of saddle querns (grinding stones). The Neolithic evidence show indications of increased physical workload in the osteological material on both genders, where the male skeletons show signs of joint disease and trauma arguably caused by cutting timber and tilling.
Children represent 37.8% of the deceased, with 43.7% mortality within a year of birth. The skeletal remains are complete and with articulations intact, indicating that the burials have been primary. The graves contain either single or double burials. On one occasion two graves were found under the floor of room AB, belonging to an adjacent court (HG) with a large domed mudbrick oven paved with blocks of basalt. In one of the graves were the skeletons of a young woman and an elderly man; in the other a young woman buried together with her baby. The young woman had apparently undergone trepanation and survived only a few days after the operation. All skeletons were buried in the hocker position, a fetal-like positioning were the arms are embracing the lower limbs. From a different grave a woman shows signs of being scalped immediately after her death, according to the cut marks on her skull. As many as 55% of the skeletons show signs of being burned. The burial under the floor AB is accommodated by walls with the interior side were painted in a purplish red colour. The oven in HG indicates that this was indeed "special individuals of an elite class", claiming it can be compared to the "Terrazzo" Building at Çayönü and the "Temple" Building at Nevalı Çori and therefore have been a shrine used for religious ceremonies. Many of the burials contain burial goods consisting of necklaces and bracelets made of beads of various sorts.
70 burials in over 400 rooms suggest that some form of selection took place of who was buried at the site, implying that AB indeed could be the residence or resting place of people influential in terms of both economy and political power. Rooms containing hearths are more likely to contain burials; as many as 77%. It has been argued that the number of burials could be an underrepresentation inhered at the site, since a large part of the settlement remain unexcavated beneath the baulks. Later excavations which have been published suggest on the other hand that burials were not a general feature at Aşıklı Höyük and therefore the suggestions of burials being a privilege of the elite class do seem plausible. There has not been found a cemetery or any other sign of where the rest of the population might have been disposed of post mortem. This issue is not only limited to Aşıklı Höyük: there is also a lack of cemeteries on the PPNB "mega-sites" in the Levant, such ‘Ain Ghazal in the Jordan Valley.
It seems that in Aşıklı Höyük, as in the rest of the Anatolian and Levantine area, the burial and any other post mortem treatment was arguably an "upper class" phenomenon. This interpretation has been opposed, referring to the diversity of individuals in both sex and age in the graves. The burials including such a wide range of individuals do not directly coherent with the image of an "upper class" phenomenon. Burials could have been removed or replaced over time, giving a wrong image of the burials as belonging to the elite.  An alternative perspective has been suggested: "the Neolithic dead are not under-represented: rather, it is the architecture in settlements that are over-represented", meaning that in many cases archaeologists have drastically overestimated the extent to which all areas of Neolithic sites were occupied simultaneously. As for Aşıklı Höyük and other sites in the area: low numbers of burials in comparison with occupation span does not directly indicate a cult of the elite.


Aşıklı Höyük had a tradition to reconstruct or rebuild earlier structures. It followed a pattern where the structures were built "exactly on the same spot and with the same alignment as earlier buildings, using older walls as a foundation". The structural continuity at Aşıklı Höyük is outstanding, but there is no information to how long the use-life of a building was. If one estimates the same lifespan for a structure at Aşıklı Höyük as it was in Çatalhöyük, one could look at an age of 30 to 60 years before reconstruction occurred. If this assumption is correct; the deep sounding 4H/G from phases 2I up to 2B (eight layers in total) show that the time span of a structure could be from 240 to 480 years. Looking outside of Central Anatolian Neolithic, this type of building continuity is unparalleled both in ethnography and archaeology. This remarkable structural continuity may suggest a social system in which buildings where not privately owned, since one would expect them to be modified on a regular basis. It can be assumed that the rooms were distributed amongst the community members according to the change in both needs and statuses.
The building practises maintained their characteristics throughout the centuries. It has been claimed that the building continuity is a self-evident feature, since it is deriving from a particular set of foundation practices that can be explained in a functionalistic way. It has otherwise been argued that the extreme degree of continuity is inadequately explained by functionalism alone, since the structures located adjacent to open spaces could have easily been expanded or shrunk according to the specific needs, but instead remained identical. These functionalist parameters can also not explain the continued rebuilding of the hearths, which are always built on the same spot. Individual hearth sequences are often separated with 40 cm (16 in) of soil, and therefore there is no apparent reason (unlike the buildings) why the hearths should consistently be constructed in the same corner as in the successive buildings. In many cases neighbouring buildings do place their respective hearths in different corners. Micro-cosmological special codes or wind direction does not seem to be decisive for the positioning of the hearth. The structural and material remains indicate that the buildings were continuous entities with some form of fixed special identity where the special organization could not be changed by the temporary occupant.
Structural continuity was of great importance to the inhabitants of Aşıklı Höyük. The reason for this has partly been explained because they (the people) had a rigid adherence to traditions in terms of structural reproduction. The "traditional view" has been resented because "[In short,] labelling a society as conservative does not answer the question why the people under consideration were conservative". As an alternative approach, refers to a historical dimension of the building to be of such great importance that "people came to be bound between walls, metaphorically domesticated". The interpretation is that the walls are giving historical associations to the people living within them, giving a collective conscience lasting through time. The difference between this interpretation and the "conservative approach" is the potential explanation to why structural reproduction could have been important for the inhabitants of Aşıklı Höyük. The identities of the inhabitants were projected to the structural outcome of the buildings. The generality of this position is not meaningful on its own. It is not certain that the inhabitants of Aşıklı Höyük were aware of the total amount of building there was in the sequence in total. Perhaps the history of a building did not concern them in the same way as archaeologists like to think.
The lack of change over time suggests that the inhabitants of Aşıklı Höyük had a view of the past as a precedent for the present: a vital part of society that was 'reborn' in each reproduction, manifested in its building continuity. The structural reconstruction is a regional feature for Central Anatolia. With the exception of Jericho, most of the evidence from PPNB sites in the Levant indicates that structures were not reconstructed in the same loci, and some location structures differ in dates by several hundred years.
The buildings at Aşıklı Höyük are clustered into what has been interpreted as neighbourhoods. As this is a vague perception of the structural outlay of the community it describes them as clustered single and multiroom houses forming compounds, apparently sharing courtyard space for production activities and practising joint cooking and food consumption. Little can be said on the food storage, since there were no remains after storage bins, although storage rooms may be identified due to comparing structures on other sites (e.g. Çatalhöyük).
The average room size is 12 m² (130 sq ft) (at this time humans were 1.5 to 1.7 metres (4 ft 11 in to 5 ft 7 in) tall). From two or three up to five or six clustered dwelling formed a 'neighbourhood' or compound. The interpretation of the borders of these 'neighbourhoods' is problematic, since much of the site still lies under the baulks, is in situ or eroded. The distribution of single- and multi-room buildings does not seem to follow a pattern other than that the residential clusters seem to be divided by narrow alleys 0.5–1.0 m (1 ft 8 in–3 ft 3 in) wide, or open courtyard areas up to a diameter of 4 m (13 ft). The interior of multiroom buildings had openings in the partitioned walls, providing access to the individual rooms. Between the one building and the next there seems to be no communication, since there was no indication of doors in the exterior mudbrick walls. Since the buildings themselves do not have an entrance that can be traced archaeologically on the base of the walls, access had to be provided either through window-like openings high on the walls or from the flat roofs. Roof access is also known from Çatalhöyük, making this entrance more plausible.
Aşıklı Höyük does also have buildings that are bigger in size but without hearths. These are interpreted as public buildings or 'building complexes'. These are seen as some of the most enigmatic buildings found at the site, and diverge both in size and spatial organization. One of them (complex HV) being at up to 20 times larger than the largest loam buildings (i.e. 25 m × 20 m (82 ft × 66 ft) = 500 m² (5,400 sq ft)). They have a multitude of rooms and encompass elaborate and large internal courts; something that is not found in any other buildings. The walls are more robust and massive than other buildings, in some cases being referred to as "monumental walls", accompanied by parallel outer walls with relatively narrow space in between.
The interpretation of these buildings is difficult. The fact that they clearly differentiate from the domestic loam buildings indicates that they had special value in the society. They also do not incorporated into the clustered 'neighbourhoods', indicating that they served several neighbourhoods or the local community at large. With 500 m² (5,400 sq ft) the range of activities that could have taken place in this space could easily incorporate several hundred people. Yet, given that the estimated population of Aşıklı Höyük may have run into the thousands, only a selected group in the total population could have used the building at a given occasion. There is a variety of hypotheses regarding the nature of these monumental structures. There are other examples of these restricted monumental spaces on other sites in the Levantine PPNB (such as Nevali Çori, Behida, ‘Ain Ghazal), suggesting that they were used by an elite or for practising different social initiation rites.


There are no finds of any artefacts carrying religious connotations, symbolic or imagery, at Aşıklı Höyük, in the buildings, courtyards, dumps or open-workshop areas. The only finds include flint tools, which are counted as imports. Other than this there is found one single animal figurine made of clay that can hardly tell us anything of the religious belief of the inhabitants. The limited amount of burials compared to the estimated population makes it very likely that there may have been a cemetery where the deceased were buried, but it has not been found. There is also an absence of storage bins, making the distinction on autonomous households difficult.


ACC Liverpool is a multipurpose arena and convention centre (ACC) on the former Kings Dock, Liverpool, England. Opened in May 2008, it is part of Liverpool event campus - an interconnected arena, convention and exhibition centre - positioned on the banks of Liverpool's world heritage waterfront.
In 2016, the 4* Pullman Liverpool Hotel was opened, offering luxury accommodation with its 216 bedrooms.


ACC Liverpool was officially opened by Her Majesty Queen Elizabeth II and Prince Philip on 22 May 2008.
On the evening of 31 December 2017, a fire broke out in the car park and as a consequence, the Liverpool International Horse Show, taking place at the arena, had to be cancelled. The horses were safely evacuated from temporary stabling built on the ground floor level of the car park, and held on the arena floor and the land surrounding the building. The fire continued into the small hours of 1 January 2018. The structure had to be demolished later and cars were removed. Virtually all of the 1,400 cars there were destroyed, but no serious harm to people or horses was reported.


The building, designed by Wilkinson Eyre, Sport Concepts and Buro Happold, has a 3,725 square metre multipurpose hall on the ground floor, with a 1,350 capacity auditorium and 21 break out rooms above.
Large events can take advantage of the Liverpool event campus' interconnected facilities. By using the connecting lower Galleria, it is possible to extend exhibitions into the arena's 3,400m2 open floor area. This gives a total exhibition floor space of 7,125m2.
Exhibition Centre Liverpool, connected by a covered bridge, gives an additional 8,100m2 of multi-purpose exhibition space. The exhibition centre is also linked internally to the onsite 4* Pullman Liverpool hotel.
The John Lennon Peace Monument is on the waterfront adjacent to ACC Liverpool.


AF Borgen, originally known as Akademiska Föreningens Stora Sal, is the house of The Academic Society in Lund, Sweden, constructed in 1848, situated opposite the University Main Building in Lundagård. AF Borgen houses a great hall, which has held concerts by artists such as Depeche Mode, Phil Lynott, Accept and Uriah Heep.


The tower rises 44 floors and 180 metres (591 ft) in height, and stands as the 99th-tallest building in Hong Kong. The building was completed in 1999. It was designed by P & T Architects & Engineers Ltd. and Andrew Lee King Fun & Associates, and was developed by Henderson Land Development. The AIA Tower is composed entirely of commercial office space, and is an example of modern architecture. The tower has an in-house swimming pool and fitness centre.


The Main Portal entrance is at 856 Stanyan Street in eastern Golden Gate Park. The West Portal and South Portal are the two other designated entrances, also on park roads surrounding The Grove. Other secondary walkways enter naturally from the park roads and adjacent park areas.
Access to the Grove is open during the park's hours. Free guided tours—excursions are given monthly for the public (except winter).


1988
Isabel Wade and Nancy McNally envision:
"A beautiful grove where people could find solitude and hope while remembering loved ones… a place to provide a positive focus for our grief."
The idea was shared with mutual friends to create a living tribute to friends lost to AIDS.
1989
The Grove Steering Committee is formed to pursue the idea with the San Francisco Recreation and Parks Department.
(Winter) Three donations, in memory of prominent local landscape architect Stephen Marcus, provide initial funds for the Grove as a project of Friends of the Urban Forest.
1990
(February) The Grove Steering Committee chooses the long-neglected de Laveaga Dell for the AIDS Memorial Grove.
The de Laveaga Dell
The de Laveaga Dell was created through a gift from the estate of Jose Vicente de Laveaga in 1898. When the Dell was opened to the public on June 21, 1921, it included a lake, meandering stream, beds of irises, over-hanging oaks, and spectacular ferns. John McLaren supervised the development, that also featured rare rhododendrons, lush camellias, and artfully constructed faux boulders.
In the early days, the Dell was known as the Deer Glen and used by the zoo to house animals. In addition, there was a bear housed in the rise at the far western end, now known as the 'Fern Grotto'.
The Dell was well maintained during the first half of the 20th century, but later suffered from a lack of funds for maintenance.
(November) The first fundraiser was held at the residence of steering committee member James C Hormel.
1991
(September) The first Volunteer Workday in the Grove —  a Ground Breaking with Mayor Art Agnos and 75 community volunteers.
Twenty-two Bay Area landscape architects, garden designers, architects, artists and park personnel, under the guidance of renowned designer Garrett Eckbo, developed the basic design and Master Plan for the AIDS Memorial Grove.
1992
The AIDS Memorial Grove design's Master Plan is approved by the San Francisco Park Commission.
The Grove Steering Committee agrees to work with volunteers to clean up and restore the de Laveaga Dell.
The Committee also raised funds for the AIDS Memorial Grove Endowment — to commence paying for a city gardener position at the Grove, and to support maintenance of the Grove in perpetuity.
This project support configuration of volunteers and an endowment created a model to emulate for public—private partnerships in public spaces.
1993
(July) Kerry Enright hired as first Grove Executive Director. Initial position funds provided by Columbia Foundation and James C. Hormel.
The AIDS Memorial Grove and the City of San Francisco sign a ninety-nine year lease for the de Laveaga Dell site.
1994
(December) First official observance of World AIDS Day in the AIDS Memorial Grove.
1995
(February) The 'Main Portal' is dedicated by benefactor Steve Silver, the creator and producer of San Francisco's Beach Blanket Babylon, on his 51st (and last) birthday. In Steve's words:
"The Grove represents the spirit of the people who have left and the memories that will always be there."
(July) The first full-time gardener funded by the Grove begins as part of agreement with the San Francisco Parks Dept. The full-time gardener, Joan Chase Velluntini, has worked at Golden Gate Park for 20 years.
(December) On World AIDS Day the 7 ton Sierra granite boulder with inscribed Grove sign is installed at the entrance terrace of the 'Main Portal'.


WikiWeb_AIF Burial Ground Commonwealth War Graves Commission Cemetery_3

The cemetery, designed by the English architect Herbert Baker and located two kilometres to the north of Flers on the D74, holds the remains of 3,475 Allied soldiers, with over half of them unknown. There are also three German graves. Within the cemetery are special memorials to several soldiers who are believed to be among the unknown remains buried at the cemetery. In addition, there are further memorials to three soldiers buried in Flers cemetery whose graves could not be identified. At the far end of the cemetery is a Cross of Sacrifice.
The original interments, which took place in November 1916, are located in the southeast corner of the cemetery. Most graves are of those who died in late 1916 or early 1917, with others dating from March to April 1918 and then August to September 1918. One interment is of a casualty from 1914. Among the interments at the AIF Burial Ground is Sergeant Harold Jackson, a recipient of the Victoria Cross, who was killed in action near Thiepval on 24 August 1918. His remains were relocated here in 1927 during the consolidation of the various cemeteries in the area.


Officially named the AMP Centre, the AMP Place is a gold-coloured skyscraper located in the heart of the Brisbane central business district in Queensland, Australia. It can be seen from most parts of the city and is known locally as "The Gold Tower".
When the skyscraper was completed in 1978, it was Brisbane's tallest building. It consists of 35 floors and is 135 m (443 ft) high. The architects were Peddle Thorp & Walker.
In April 2021, CPP Investment Board and Dexus sold the building to Marquette.


ANZAC Square is a heritage-listed town square and war memorial located between Ann Street and Adelaide Street (opposite Post Office Square), in Brisbane, Queensland, Australia. It is a state memorial to the men and women who participated in overseas armed service and is named in honour of the Australian and New Zealand Army Corps. ANZAC Square is adjacent to ANZAC Square Arcade.
ANZAC Square was opened on Armistice Day, 1930. It is also known as 9th Battalion Memorial and Queensland Women's War Memorial. ANZAC Square was registered on the (now inactive) Register of the National Estate in 1980 and added to the Queensland Heritage Register on 21 October 1992.
ANZAC Square contains the Shrine of Remembrance and the 'Eternal Flame of Remembrance' held in a continuously lit bronze urn, dedicated on Tuesday, 11 November 1930.
There is also the World War II Shrine of Memories. Daphne Mayo sculptured the Women's War Memorial that forms part of the memorial's wall.
The external wall of the Shrine of Memories is dedicated to the 60,000 Queenslanders who fought in World War I. There are also war-related statues, for various wars, including memorial statues for the Queensland soldiers who fought during the Second Boer War (1899–1902), as well as World War II, the Vietnam War and campaigns in Korea, Borneo and New Guinea.
On 27 May 2022, a sculptural memorial memorial to Queensland’s Aboriginal and Torres Strait Islander service men and women, designed by Wakka Wakka artist, John Smith Gumbula and sculptor Liam Hardy, was added to Anzac Square. Cast in bronze, the memorial features life-size figures standing on a ‘Journey Stone’. Navy, Army and Air Force are represented alongside Aboriginal and Torres Strait Islander warriors and dancers, depicting a story of embarkation from home via air, land and sea.
On 25 April, every year, a Dawn Service is held at the Shrine of Remembrance and ANZAC Square.


Some of the symbolism used are as follows:
the 18 columns of the Shrine represent the year of peace after World War 1—1918.
also symbolizing the year (1918) are the number of stairs leading up to the shrine—19 stairs in the first row and 18 stairs in the second row.
the bottle trees commemorate the Queensland Light Horse Regiments, which served in South Africa's Boer War (1899–1902).
the palm trees are Middle East date palms and they represent Australia's success in the Middle East during both World Wars. Palms are also a biblical symbol of victory.
the three paths from the bottom of the stairs represent the three services (Army, Navy, Airforce)


Australia's involvement in World War I exacted a heavy toll in death and injury. Of a relatively small population of about five million people, 60,000 troops were killed and 152,000 wounded. Australia's casualty rate of 68.5% was the highest of the Allied forces.
The idea of a large memorial park and monument in the centre of the city commemorating those who had participated and died in the Great War was first raised in 1916. The original plan was to use the whole city block bounded by Ann, Edward, Adelaide and Creek Streets for the Square but as negotiations with Federal, State and local governments continued throughout the early 1920s, a smaller site was determined. In 1928 State and Federal governments agreed to grant lands for the Square and to erect flanking buildings to a co-ordinated design.
Anzac Square commemorates all Queenslanders who participated in war, not just Brisbane residents. In 1928 a competition for the design of a Shrine of remembrance was won by Sydney architects Buchanan and Cowper. Construction proceeded over the following two years and on Armistice Day 11 November 1930 the Queensland Governor Sir John Goodwin dedicated the Shrine and the Square. In 1933 the Square was declared a Reserve for Park purposes and the Brisbane City Council was appointed trustee of the site.
In 1932 the Queensland Women's War Memorial was unveiled. This memorial was an initiative of the Brisbane Women's Club and funded by public subscription. It was designed and executed by Daphne Mayo with assistance from George Harvey.
A memorial commissioned by the 9th Battalion (AIF) Association was mounted in the Crypt and unveiled by the Australian Governor-General Lord Gowrie on 17 August 1937. Commemorating the battalion's 45 officers and 1048 other ranks who lost their lives in the war, it was undertaken by former Brisbane sculptor William Leslie Bowles at a cost of £500. Bowles was noted for his memorial work, having been head sculptor at the Australian War Memorial in Canberra during the years 1924 to 1931.
In 1939 a memorial commemorating Queenslanders who served in the South Africa conflict 1899 to 1902 was relocated to the Square. This memorial, featuring a fully equipped mounted trooper originally stood near the intersection of Turbot and Edward Streets. It was designed by James Watts and sat on a pedestal constructed by local firm Lowther & Sons.
During the 1960s and 1970s various proposals were made to alter the Square as part of the redevelopment of property on the opposite side of Adelaide Street. These plans met with considerable public resistance. After a protracted public debate, a compromise plan involving limited encroachment on Anzac Square was agreed upon. This work was completed by 1984 and included the construction of a pair of elevated pedestrian bridges to Post Office Square, enlarging the crypt under the Shrine, and the realignment of the Adelaide Street entrance to the Square.
Originally envisaged as a First World War memorial, Anzac Square has become a repository for memorials of other wars. In 1984 the Second World War Shrine of Memories was relocated in the enlarged crypt under the Shrine and during 1988 memorials to those who served in the Korean and Vietnam wars were erected in the square.
Anzac Square remains as the focus of armed services commemorations, particularly on Anzac Day.