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Sunday, December 28, 2008
Chris Esposito's Lionel Layout
Olympus E-510 DSLR
Olympus 14-42mm f3.5-5.6 zoom
ISO 800 RAW
22 of 26
Currently re-designing part of the layout....adding all Lego modular buildings! It is now 9 square meters....!!
Eu estava super de bobeira aqui e resolvi fazer um layout da Ash Benson e acabou saindo uma galeria também. Ta super simples, mas se alguém quiser comprar só mandar email.
Blue Layout graphic available for download at http://dryicons.com/free-graphics/preview/blue-layout/ in EPS (vector) format.
View similar vector graphics at DryIcons Graphics.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Although the performance increases of jet-powered aircraft introduced towards the end of World War II over their piston-powered ancestors were breathtaking, there were those at the time who believed that much more was possible. As far back as 1943, the British Ministry of Aircraft Production had issued a specification designated "E.24/43" for a supersonic experimental jet aircraft that would be able to achieve 1,600 KPH (1,000 MPH).
Beginning in 1946, a design team at English Electric (EE) under W.E.W. "Teddy" Petter began design studies for a supersonic fighter, leading to award of a Ministry of Supply (MoS) contract in 1947 under specification "ER.103" for a design study on an experimental aircraft that could achieve Mach 1.2.
The MoS liked the EE concepts, and in early 1949 awarded the company a contract under specification "F.23/49" for two flying prototypes and one ground-test prototype of the "P.1".
The P.1 was defined as a supersonic research aircraft, though the design had provisions for armament and a radar gunsight. It incorporate advanced and unusual design features, such as twin turbojet engines mounted one above the other to reduce aircraft frontal area; and strongly swept wings, with the wingtip edges at a right angle to the fuselage, giving a wing configuration like that of a delta wing with the rear inner corners cut out. The aircraft featured an elliptical intake in the nose.
The P.1's performance was so outstanding that the decision was quickly made to proceed on an operational version that would be capable of Mach 2. In fact, the second P.1 prototype featured items such as a bulged belly tank and fit of twin Aden Mark 4 30 millimeter revolver-type cannon, bringing it closer to operational specification.
Orders were placed for three "P.1B" prototypes for a production interceptor and the original P.1 was retroactively designated "P.1A". The P.1B featured twin Rolls-Royce Avon afterburning engines and a larger tailfin. An airborne intercept (AI) radar was carried in the air intake shock cone, which was changed from elliptical to circular. The cockpit was raised for a better field of view and the P.1B was armed with two Aden cannon in the upper nose, plus a pack under the cockpit that could either support two De Havilland Blue Jay (later Firestreak) heat-seeking AAMs or 44 Microcell 5 centimeter (2 inch) unguided rockets.
The initial P.1B prototype performed its first flight on 4 April 1957 and the type entered RAF service as EE Lightning F.1. RAF Number 74 Squadron at Coltishall was the first full service unit, with the pilots acquiring familiarization with the type during late 1960 and the squadron declared operational in 1961.
However, while the Lightning was developed further into more and more advanced versions. Its concept was also the basis for another research aircraft that would also be developed into a high performance interceptor: the P.6/1, which later became the “Levin” fighter.
P.6 encompassed a total of four different layouts for a Mach 2+ research aircraft, tendering to ER.134T from 1952. P.6/1 was the most conservative design and it relied heavily on existing (and already proven) P.1 Lightning components, primarily the aerodynamic surfaces. The most obvious difference was a new fuselage of circular diameter, housing a single Rolls Royce RB.106 engine.
The RB.106 was a two-shaft design with two axial flow compressors each driven by its own single stage turbine and reheat. It was of similar size to the Rolls-Royce Avon, but it produced about twice the thrust at 21,750 lbf (96.7 kN) in the initial version. The two-shaft layout was relatively advanced for the era; the single-shaft de Havilland Gyron matched it in power terms, while the two-spool Bristol Olympus was much less powerful at the then-current state of development. Apart from being expected to power other British aircraft such as those competing for Operational Requirement F.155, it was also selected to be the powerplant for the Avro Canada CF-105 Arrow and led to the Orenda Iroquois engine, which even reach 30.000 lbf (130 kN).
The P.6/1 was eventually chosen by the MoS for further development because it was regarded as the least risky and costly alternative. Beyond its test bed role for the RB.106 the P.6/1 was also seen as a potential basis for a supersonic strategic air-to-ground missile (similar to the massive Soviet AS-3 ‘Kangaroo’ cruise missile) and the starting point for an operational interceptor that would be less complex than the Lightning, but with a comparable if not improved performance but a better range.
In 1955 English Electric received a go ahead for two P.6/1 research aircraft prototypes. Despite a superficial similarity to the Lightning, the P.6/1’s internal structure was very different. The air duct, for instance, was bifurcated and led around on both sides of the cockpit tub and the front wheel well instead of below it. Further down, the duct ran below the wing main spar and directly fed the RB.106.
The rear fuselage was area-ruled, the main landing gear retracted, just like the Lightning’s, outwards into the wings, while the front wheel retracted backwards into a well that was placed further aft than on the Lightning. The upper fuselage behind the main wings spar carried fuel tanks, more fuel was carried in wing tanks.
Both research machines were ready in 1958 and immediately started with aerodynamic and material tests for the MoS, reaching top speeds of Mach 2.5 and altitudes of 60.000 ft. and more.
In parallel, work on the fighter version, now called “Levin”, had started. The airframe was basically the same as the P.6/1’s. Biggest visible changes were a wider air intake with a bigger central shock cone (primarily for a radar dish), a shorter afterburner section and an enlarged fin with area increased by 15% that had become necessary in order to compensate instability through the new nose layout and the potential carriage of external ordnance, esp. under the fuselage. This bigger fin was taken over to the Lightning F.3 that also initially suffered from longitudal instability due to the new Red Top missiles.
The Levin carried armament and avionics similar to the Lightning, including the Ferranti-developed AI.23 monopulse radar. The aircraft was to be fully integrated into a new automatic intercept system developed by Ferranti, Elliot, and BAC. It would have turned the fighters into something like a "manned missile" and greatly simplified intercepts.
Anyway, the Levin’s weapon arrangement was slightly different from the Lightning: the Levin’s armament comprised theoretically a mix of up to four 30mm Aden cannons and/or up to four of the new Red Top AAMs, or alternatively the older Firestreak. The guns were mounted in the upper nose flanks (similar to the early Lightning arrangement, but set further back), right under the cockpit hatch, while a pair of AAMs was carried on wing tip launch rails. Two more AAMs could be carried on pylons under the lower front fuselage, similar to the Lightning’s standard configuration, even though there was no interchangeable module. Since this four-missile arrangement would not allow any cannon to be carried anymore and caused excessive drag, the typical payload was limited to two Aden cannons and the single pair of wing-tip missiles.
Despite its proven Lightning ancestry, the development of the Levin went through various troubles. While the RB.106 worked fine in the research P.6/1, it took until 1962 that a fully reliable variant for the interceptor could be cleared for service. Meanwhile the Lightning had already evolved into the F.3 variant and political discussions circled around the end of manned military aircraft. To make matters even worse, the RAF refused to buy the completely automatic intercept system, despite the fact that it had been fully engineered at a cost of 1.4 million pounds and trialed in one of the P.1Bs.
Eventually, the Levin F.1 finally entered service in 1964, together with the Lightning F.3. While the Lightning was rather seen as a point defense interceptor, due to the type’s limited range: If a Lightning F.3 missed its target on its first pass, it almost never had enough fuel to make a second attempt without topping off from a tanker, which would give an intruder plenty of time to get to its target and then depart… The Lightning’s flight endurance was less than 2 hours (in the F.2A, other variants even less), and it was hoped that the Levin had more potential through a longer range. Anyway, in service, the Levin’s range in clean configuration was only about 8% better than the Lightning’s. The Levin F.1’s flight endurance was about 2 ½ hours – an improvement, but not as substantial as expected.
In order to improve the range on both fighters, English Electric developed a new, stiffened wing for the carriage of a pair of jettisonable overwing ferry tanks with a capacity of 1,182 liters (312 US gallons / 260 Imperial gallons, so-called “Overburgers”). The new wing also featured a kinked leading edge, providing better low-speed handling. From mid 1965 onwards, all Levins were directly produced in this F.2 standard, and during regular overhauls the simpler F.1 machines were successively updated. The Lightning introduced the kinked wing with the F.3A variant and it was later introduced with the F.2A and F.6A variants.
Levin production comprised 21 original F.1 airframes, plus 34 F.2 fighters, and production was stopped in 1967. A trainer version was not produced, the Lightning trainers were deemed sufficient for conversion since the Levin and the Lightning shared similar handling characteristics.
The Levin served only with RAF 29 and 65 Squadron, the latter re-instated in 1970 as a dedicated fighter squadron. When in November 1984 the Tornado squadrons began to form, the Levin was gradually phased out and replaced until April 1987 by the Tornado F.3.
General characteristics:
Crew: 1
Length w/o pitot: 51 ft 5 in (15,70 m), 55 ft 8 in (16.99 m) overall
Wingspan incl. wingtip launch rails: 34 ft 9 in (10.54 m)
Height: 19 ft 7 in (5.97 m)
Wing area: 474.5 ft² (44.08 m²)
Empty weight: 8937 kg (lb)
Loaded weight: 13,570 kg (29,915)
Max. takeoff weight: 15,210 kg (33,530 lb)
Powerplant:
1× Rolls-Royce RB.106-10S afterburning turbojet,
rated at 20,000 lbf (89 kN) dry and 26,000 lbf (116 kN) with afterburning
Performance:
Maximum speed:
- 1,150 km/h (620 kn, 715 mph, Mach 0.94) at sea level
- 2,230 km/h (1.202 kn, 1,386 mph, Mach 2.1;), clean with 2× Red Top AAMs at high altitude
- Mach 2.4 absolute top speed in clean configuration at 50.000 ft.
Range: 1,650 km (890 nmi, 1,025 mi) on internal fuel
Combat radius: 500 km (312 mi); clean, with a pair of wing tip Red Top AAMs
Ferry range: 1,270 mi (1.100 NM/ 2.040 km) with overwing tanks
Service ceiling: 16,760 m (55,000 ft)
Rate of climb: 136.7 m/s (27,000 ft/min)
Wing loading: 76 lb/ft² (370 kg/m²)
Thrust/weight: 0.78
Takeoff roll: 950 m (3,120 ft)
Landing roll: 700 m (2,300 ft)
Armament:
2× 30 mm (1.18 in) ADEN cannons with 120 RPG in the upper front fuselage
2× wing tip hardpoints for mounting air-to-air missiles (2 Red Top of Firestreak AAMs)
2× overwing pylon stations for 260 gal ferry tanks
Optional, but rarely used: 2× hardpoints under the front fuselage for mounting air-to-air missiles
(2 Red Top of Firestreak AAMs)
The kit and its assembly:
Another contribution to the Cold War GB at whatifmodelers.com, and the realization of a project I had on the agenda for long. The EE P.6/1 was a real project for a Mach 2+ research aircraft, as described above, but it never went off the drawing board. Its engine, the RB.106, also never saw the light of day, even though its later career as the Canadian Orenda Iroquois for the stillborn CF-105.
Building this aircraft as a model appears simple, because it’s a classic Lightning (actually a F.1 with the un-kinked wing and the small fin), just with a single engine and a rather tubular fuselage. But creating this is not easy at all…
I did not want to replicate the original P.6/1, but rather a service aircraft based on the research aircraft. Therefore I used parts from a Lightning F.6 (a vintage NOVO/Frog kit). For the fuselage I settled for a Su-17, from a MasterCraft kit. The kit’s selling point was its small price tag and the fuselage construction: the VG mechanism is hidden under a separate spine piece, and I wanted to transplant the Lightning’s spine and cockpit frame, so I thought that this would make things easier.
Nope.
Putting the parts from the VERY different kits/aircraft together was a major surgery feat, with several multiple PSR sessions on the fuselage, the air intake section (opened and fitted with both an internal splitter and a bulkhead to the cockpit section), the wings, the stabilizers, the fin… This model deserves the title “kitbash” like no other, because no major sections had ever been intended to be glued together, and in the intended position!
The landing gear was more or less taken OOB, but the main struts had to be elongated by 2mm – somehow the model turned out to be a low-riding tail sitter! The cockpit interior was improvised, too, consisting of a Su-17 cockpit tub, a scratched dashboard and a Martin Baker ejection seat from an Italeri Bae Hawk trainer.
Since most of the fuselage surface consists of various materials (styrene and two kinds of putty), I did not dare to engrave panel lines – after all the PSR work almost any surface detail was gone. I rather went for a graphic solution (see below). Some antennae and air scoops were added, though.
The overwing tanks come OOB from the NOVO kit, as well as the Red Top missiles, which ended up on improvised wing tip launch rails, based on design sketches for Lightning derivatives with this layout.
Colors and markings:
There are several “classic” RAF options, but I settled for a low-viz Eighties livery taken from BAC Lightnings. There’s a surprising variety of styles, and my version is a mix of several real world aircraft.
I settled for Dark Sea Grey upper surfaces (Modelmaster Authentic) with a high waterline, a fuselage completely in Medium Sea Grey (Humbrol 165 – had to be applied twice because the first tin I used was obviously old and the paint ended up in a tone not unlike PRU Blue!) and Light aircraft Grey underwing surfaces (Humbrol 166). The leading edges under the wings are Dark Sea Grey, too.
The cockpit interior was painted in dark grey (Humbrol 32 with some dry-brushing), while the landing gear is Aluminum (Humbrol 56).
Once the basic painting was done I had to deal with the missing panel lines on the fuselage and those raised lines that were sanded away during the building process. I decided to simulate these with a soft pencil, after the whole kit was buffed with a soft cotton cloth and some grinded graphite. This way, the remaining raised panel lines were emphasized, and from these the rest was drawn up. A ruler and masking tape were used as guidance for straight lines, and this worked better than expected, with good results.
As a next step, the newly created panels were highlighted with dry-brushed lighter tones of the basic paints (FS 36492 and WWII Italian Blue Grey from Modelmaster, and Humbrol 126), more for a dramatic than a weathered effect. The gun ports and the exhaust section were painted with Modelmaster Metallizer (Titanium and Magnesium).
The decals come from several Xtradecal aftermarket sheets, including a dedicated Lightning stencils sheet, another Lightning sheet with various squadron markings and a sheet for RAF Tornado ADVs.
The code number “XS970” was earmarked to a TSR.2, AFAIK, but since it was never used on a service aircraft it would be a good option for the Levin.
The kit received a coat of matt acrylic varnish from the rattle can – jn this case the finish was intended to bear a slight shine.
This was a project with LOTS of effort, but you hardly recognize it – it’s a single engine Lightning, so what? But welding the Lightning and Su-17 parts together for something that comes close to the P.6/1 necessitated LOTS of body work and improvisation, carving it from wood would probably have been the next complicated option. Except for the surprisingly long tail I am very happy with the result, despite the model’s shaggy origins, and the low-viz livery suits the sleek aircraft IMHO very well.
A small event hosted at the NTM (Nederlands Transport Museum)
Our layout consisted of 3 modules, Tamàs, Ties and my yard. We also had some static display tables. All in all a fun layout at a fun event.
Next time I'll try to charge my trains before the event o,0
Also; check out Ties' film about the event here: www.youtube.com/watch?v=MtgEQxUw01g
Poster presentation
Poster design and layout for a conference show casing eye tracking technology
Images on poster show the different viewing preferences of audiences who look at ads with just images, just text, and a combination of images and text
The switching layout is now pretty much finished. All areas are polished off and it’s a blast to operate. I’ve been quite happy with all the subtle details I’ve been able to model with this layout. It’s very fun to operate and I think really compliments whatever is running at the time!
This was a promotional image from Rite-Aid's website featuring the store layout from the mid-late 1990s. This was the grocery area typically located on the right side of the store, between the pharmacy and photos.
| Premade | Layout responsivo para Wordpress!
Mudamos:
- Cores
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- E adicionamos + redes sociais caso desejado.
Valor: R$65,00 \ Vem com galeria inclusa
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Contato: flalannie@gmail.com • lannie design
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ROMA, METRO C SCAVI / I FORI IMPERIALI (2006-11). PUBBLICATO - ARCHEOLOGIA E INFRASTRUTTURE. IL TRACCIATO FONDAMENTALE DELLA LINEA C DELLA METROPOLITANA DI ROMA: PRIME INDAGINI ARCHEOLOGICHE, Bollettino d'Arte (2010).
1). ROMA, PRESENTAZIONE DEL VOLUME SPECIALE - ARCHEOLOGIA E INFRASTRUTTURE. IL TRACCIATO FONDAMENTALE DELLA LINEA C DELLA METROPOLITANA DI ROMA: PRIME INDAGINI ARCHEOLOGICHE. Mercoledì 15 giugno 2011 ore 17.00, Palazzo Massimo alle Terme, Largo di Villa Peretti, 6 - 00185 Roma.
1.1). ♦ comunicato stampa:
www.bollettinodarte.beniculturali.it/opencms/multimedia/B...
1.2). ♦ invito:
www.bollettinodarte.beniculturali.it/opencms/multimedia/B...
1.3). sommario:
www.bollettinodarte.beniculturali.it/opencms/export/Bolle...
______
1.3.1). Sommario: Italiano / 1.3.2). Summary: English -
- FEDORA FILIPPI, pp. 82-91, LE INDAGINI IN CAMPO MARZIO OCCIDENTALE. NUOVI DATI SULLA TOPOGRAFIA ANTICA: IL GINNASIO DI NERONE (?) E L’“EURIPUS.”
Nell’ambito delle indagini preliminari per la realizzazione della Linea C della metropolitana di Roma, la Soprintendenza Speciale per i Beni Archeologici di Roma ha diretto scientificamente la realizzazione di 10 sondaggi lungo l’asse di corso Vittorio Emanuele II finalizzati alla conoscenza delle preesistenze archeologiche e alla conseguente definizione delle Stazioni previste nel progetto preliminare a largo Argentina, piazza della Chiesa Nuova e piazza Paoli.
Le indagini hanno pertanto riguardato un’area urbana ad altissima sensibilità archeologica, qual’è il Campo Marzio occidentale. Esse sono state limitate nell’estensione e nella possibilità di approfondimento, sia dalla necessità di dover contestualmente garantire la funzionalità della città, sia dall’impossibilità di superare con lo scavo il livello della falda acquifera.
Si presenta un primo rapporto preliminare sui risultati, con una panoramica di carattere generale sulla stratigrafia complessiva e con un approfondimento sull’interpretazione topografica dei ritrovamenti afferenti alla fase romana, che ha consentito alcune precisazioni. Sulla base di un nuovo tratto di colonnato emerso in piazza Sant’Andrea della Valle rapportato a dati già noti, si ipotizza l’impianto di un quadriportico monumentale, forse il ginnasio di Nerone. Gli scavi nell’area di piazza della Chiesa Nuova hanno permesso di riconsiderare le fasi costruttive dell’Euripus e le sue funzioni, oltre che l’assetto topografico della zona del cosiddetto Cenotafio di Agrippa.
- RAFFAELE LEONARDI, STEFANO PRACCHIA, STEFANO BUONAGURO, MATTEO LAUDATO, NICOLETTA SAVIANE, pp. 82-91, SONDAGGI LUNGO LA TRATTA T2. CARATTERI AMBIENTALI E ASPETTI TOPOGRAFICI DEL CAMPO MARZIO IN EPOCA ROMANA.
Una campagna di sondaggi a recupero di nucleo, conclusa nel 2009 nell'ambito delle indagini preventive alla realizzazione della Metro C di Roma, ha fornito nuovi dati sui paleoambienti dell’antico Campo Marzio e l'occasione per riconsiderare alcuni aspetti della topografia antica dell'area. Lo studio, condotto nell'ambito della più vasta ricerca diretta da Fedora Filippi della Soprintendenza Speciale per i Beni Archeologici di Roma, ha portato al riconoscimento di tre comparti ambientali distinti, con caratteri naturali propri dell'evoluzione dei contesti fluviali: uno a ridosso dei colli Quirinale e Campidoglio (piana inondabile), uno lungo la sponda meridionale del Campo Marzio (riva convessa) e un terzo delimitato a Est e Sud–Ovest dai precedenti (fascia di meandri). I dati geologici, analizzati in relazione alle fonti letterarie e alle testimonianze archeologiche oggi note, permettono di valutare tempi e forme del popolamento dell'area in età romana.
Sono state riesaminate le attribuzioni relative a luoghi noti dalle fonti classiche, come la Palus Caprae e i vada del Tarentum, e le scelte edificatorie di complessi monumentali come il Pantheon e l'area sacra di largo di Torre Argentina.
In relazione ai sistemi di gestione delle acque, i dati raccolti contribuiscono a definite la relazione funzionale tra le zone di ristagno idrico e le opere idrauliche antiche, come la grande vasca osservata in diverse occasioni a Ovest delle Terme di Agrippa e il canale scoperto a tratti tra piazza Sant’Andrea della Valle e l'ansa del Tevere, riconosciuti generalmente come lo Stagnum Agrippae e l’Euripus delle fonti.
La variabilità morfologica e idrografica dei tre comparti sembra aver giocato un ruolo importante non solo nei processi di edificazione dell'area, ma anche nella ripartizione degli spazi simbolici.
- Roberto Egidi, pp. 93-123, L’area di piazza Venezia. Nuovi dati topografici, con Appendice di Silvia Orlandi, pp. 94-124, L’iscrizione del praefectus urbi F. Felix Passifilus Paulinus.
Vengono presentati i risultati delle indagini archeologiche di prima fase, propedeutiche alla progettazione definitiva della Stazione di Piazza Venezia e delle sue uscite.
Nell'area centrale della piazza (S18) è stato rinvenuto il tracciato della via Flaminia antica con resti di botteghe a lato; sono stati evidenziati i livelli severiani e flavi: Lo scavo è stato interrotto per la presenza della falda d'acqua.
Su via dei Fori Imperiali, lato Est del Vittoriano (S15, 15 bis) si sono rinvenuti: fogna di età traianea, pozzo medievale, strutture monumentali realizzate in connessione con l'emiciclo sud-occidentale del Foro di Traiano.
In via Cesare Battisti (S9), resti di una domus tardo-antica.
In piazza Santi Apostoli (S9 bis), un grande muro in laterizio di età imperiale riutilizzato in epoca tardo-medievale e poi rinascimentale.
In piazza Madonna di Loreto (S14) un complesso monumentale riferibile ad un edificio pubblico di età adrianea, relativo alla sistemazione del settore Nord del Foro di Traiano oltre la colonna coclide, costituito da due grandi aule gradonate: auditoria adibiti ad attività culturali; forse riconducibili all'Athenaeum, sorta di università, o istituto di studi superiori, fondato dall'imperatore Adriano nel 135 d.C. in cui esercitavano professori nominati dall'imperatore nelle cattedre di sofistica greca e retorica romana, e frequentato dalle classi sociali elevate che si esercitavano nell'apprendimento.
- MIRELLA SERLORENZI, pp. 131-164. LE TESTIMONIANZE MEDIEVALI NEI CANTIERI DI PIAZZA VENEZIA.
Le aree prese in considerazione in questo contributo si trovano in una zona abbastanza circoscritta e riguardano le indagini effettuate: a piazza Santi Apostoli e via Cesare Battisti, se pur con sondaggi ridotti; a piazza Venezia con un saggio dell’estensione di circa mq 900 e a piazza Madonna di Loreto con uno scavo ancora in corso della dimensione di circa mq 500.
La complessità dei rinvenimenti, e a volte la parzialità dell’indagine, non permette di delineare un quadro topografico certo, tuttavia sono abbastanza chiare alcune dinamiche che hanno regolato l’insediamento urbanistico nel periodo post antico.
L’elemento determinante per lo sviluppo dell’area di piazza Venezia è costituito dalla presenza della via Lata, che senza soluzione di continuità giunge fino all’inizio del XX secolo: il suo livello cresce nel corso del tempo per più di m 3.
L’inizio del VI secolo costituisce un periodo di degrado delle strutture romane dalle quali vengono asportati tutti i rivestimenti marmorei e riconvertiti ad altri usi. L’unico sito che fa eccezione riguarda il complesso sulla via Lata che mantiene la funzione originaria.
Più complesse sono le trasformazioni che avvengono durante tutto l’Alto Medioevo, periodo durante il quale continua l’impoverimento del tessuto urbano a detrimento degli edifici classici. La rinascita carolingia vede una ripresa delle attività costruttive ed una rioccupazione degli spazi, ma purtroppo il forte terremoto della metà del IX secolo pone fine a questa vitalità.
Nel periodo compreso tra X–XI secolo sono poche le tracce rinvenute nei cantieri di scavo, è noto tuttavia, anche dalle fonti documentarie, che la riorganizzazione urbanistica della città nasce proprio in questo periodo.
A partire dal XII secolo e in particolar modo nel XIII, in tutte le aree indagate sono presenti nuove strutture murarie che indicano una urbanizzazione assai articolata. Tali edifici sono poi successivamente cancellati dai poderosi resti delle cantine dei palazzi rinascimentali; tra essi si ricorda come caso emblematico l’edificazione del primo Palazzo Vescovile: il Palazzetto Venezia.
Tali strutture sono giunte fino al XX secolo quando, in particolare con la costruzione del Vittoriano e di piazza Venezia, furono demoliti una grande quantità di edifici.
- Rossella Rea, pp. 171-201, La sella tra la Velia e le Carinae. La Valle dell’Anfiteatro. I versanti sud–orientale e nord–occidentale della Velia.
Indagini archeologiche preventive sono state condotte lungo la tratta T3 in via dei Fori Imperiali, funzionali all’individuazione dei limiti dell’altura della Velia entro cui inserire la Stazione Fori Imperiali; nella piazza del Colosseo, a largo G. Agnesi e in via degli Annibaldi, in previsione dell’ampliamento della Stazione Colosseo della Linea B. Lungo le pendici Nord–Ovest della Velia è emerso un tratto del clivus ad Carinas fiancheggiato da resti di edifici databili dall’età flavia al IV secolo; lungo le pendici Sud–Est restano tracce delle strutture risalenti al I secolo, distrutte nel 1932 per la costruzione di via dei Fori Imperiali.
Nella piazza del Colosseo si conservano strutture di età giulio–claudia e parte di un ambiente ancora in costruzione della Domus aurea.
Alle pendici meridionali del Colle Oppio sono state rinvenute evidenze ascrivibili dal IV secolo a.C. all’età flavia.
1.3.2). SUMMARY / ENGLISH:
- FEDORA FILIPPI, pp. 82-91,Archaeological explorations in the western Campus Martius. New data on the ancient topography: the gymnasium of Nero (?) and the Euripus.
As part of the preliminary archaeological explorations for the realization of Line C of the metropolitana of Rome, the Soprintendenza Speciale per i Beni Archeologici di Roma has coordinated ten exploratory excavations along the axis of Corso Vittorio Emanuele II aimed at widening our knowledge of archaeological remains in this area and the consequent definition of the metro stations planned in the preliminary project at Largo Argentina, Piazza della Chiesa Nuova and Piazza Paoli.
The explorations thus involved an urban area of the highest archaeological sensitivity, namely the western Campus Martius. They were limited both in extension and in depth, due both to the need simultaneously to ensure the continuing function of the city’s infrastructures, and the impossibility of digging to levels deeper than ground water level.
The author presents a first preliminary report on the findings, including a survey of a general character on the overall stratigraphy of the area and a topographical interpretation of the finds relating to the Roman period. The findings have enabled her to draw some preliminary conclusions. One of the main results of the exploratory campaign was the discovery of a new stretch of colonnade in the Piazza Sant’Andrea della Valle. The author relates this to the previous archaeological data, and proposes that it formed part of a monumental quadriporticus, perhaps the gymnasium of Nero. The excavations in the area of Piazza della Chiesa Nuova permitted fresh light to be thrown on the building phases of the Euripus and its purpose. It also permitted a re–consideration of the topographical layout of the area of the so–called Cenotaph of Agrippa.
- RAFFAELE LEONARDI, STEFANO PRACCHIA, STEFANO BUONAGURO, MATTEO LAUDATO, NICOLETTA SAVIANE, pp. 82-91, Explorations along stretch T2. Environmental features and topographical aspects of the Campus Martius in the Roman period.
A core–sampling campaign, concluded in 2009 as part of preliminary investigations for the realization of Line C of the metropolitana of Rome has furnished new data on the hydrogeological situation of the ancient Campus Martius. It also provided an opportunity to reconsider some aspects of the ancient topography of the area. The study, conducted in the framework of the wider research project directed by Fedora Filippi of the Soprintendenza Speciale per i Beni Archeologici di Roma, led to the recognition of three distinct environmental sectors, with natural features peculiar to the evolution of fluvial contexts: one at the foot of the Quirinal and Capitoline hills (flood plain), one running along the southern margin of the Campus Martius (convex river bank) and a third delimited to the east and south–west by the preceding sectors (fascia of meanders). The hydrogeological data, analyzed in relation to the literary sources and current archaeological evidence, permit the chronology and forms of the settlement of the area in the Roman period to be evaluated.
The results of the exploratory campaign led to a re–examination of the attributions relating to sites known by the classical sources, such as the Palus Caprae and the vada (river shallows) of the Tarentum. They also help to explain the choice of sites for the construction of monumental complexes like the Pantheon and the sacred area of Largo di Torre Argentina.
In relation to water management systems, the data gathered help to define the functional relation between the zones of water stagnation and ancient hydraulic works, such as the large catchment basin observed on various occasions to the west of the Baths of Agrippa and the canal, of which stretches have been identified between Piazza Sant’Andrea della Valle and the loop of the Tiber, generally identified respectively as the Stagnum Agrippae and the Euripus of the classical sources.
The morphological and hydrographical variability of the three sectors seems to have played an important role not only in the urbanization of the area, but also in the way that symbolic spaces were defined and partitioned.
- Roberto Egidi, pp. 93-123,The area of Piazza Venezia. New topographical data.
The article presents the results of the first phase of archaeological excavation of the Piazza Venezia and its adjacent areas, preliminary to the final planning of the Stazione di Piazza Venezia (metro Line C) and its various exits.
In the central area of the piazza (S18) a stretch of the ancient Via Flaminia was uncovered, flanked by remains of shops; the Severan and Flavian levels were ascertained in the stratigraphy. But the excavation here could not go down to deeper levels, interrupted by the presence of the aquifer.
On the Via dei Fori Imperiali, on the east side of the Vittoriano (S15, 15 bis), archaeological remains of various date were found: a drain of the Trajanic period, a medieval well, and monumental structures realized in connection with the south–west hemicycle of the Forum of Trajan.
Remains of a late–antique domus were found in the Via Cesare Battisti (S9); while a large brick wall of imperial date, reused in the late–medieval and then in the Renaissance period, was found in the Piazza Santi Apostoli (S9 bis).
A monumental complex attributable to a public building of the Hadrianic period was uncovered in the Piazza Madonna di Loreto (S14). Forming part of the layout of the northern sector of the Forum of Trajan beyond Trajan's Column, it consisted of two large stepped auditoria presumably used for cultural activities. Perhaps they formed part of the Athenaeum, a kind of university or institute of higher studies, founded by the emperor Hadrian in 135 AD, where professors appointed by the emperor to chairs of Greek sophistry and Roman rhetoric instructed sons of the upper classes.
- MIRELLA SERLORENZI, pp. 131-164.The medieval remains found in the excavations in Piazza Venezia.
The article reviews the findings of the excavations conducted during building work for the construction of Line C of the metropolitana in a fairly circumscribed zone in Piazza Venezia and its vicinity. They concern the excavations of limited extent conducted in Piazza Santi Apostoli and Via Cesare Battisti; the excavations covering an area of c. 900 sq m in Piazza Venezia itself; and the excavation still in progress covering an area of c.500 sq m in Piazza Madonna di Loreto.
The complexity of the finds and at times the partial nature of the explorations do not permit a reliable topographical picture as yet to be defined. Yet some dynamics that regulated the urban settlement in the post–antique period seem fairly clear.
The decisive factor for the urban development of the Piazza Venezia area consists of the presence of the ancient via Lata, which survived without interruption until the early years of the 20th century: its level rose by over 3 m in the course of time.
The early 6th century represented a period of the deterioration of Roman structures, which were spoliated of all their marble revetments and reconverted to other uses. The one site that formed an exception was the complex on the via Lata which maintained its original function.
More complex are the transformations that took place through the Dark Ages, a period during which the impoverishment of the urban fabric to the detriment of the classical buildings continued.
The Carolingian renaissance was marked by a resumption of some building activity and a re–occupation of abandoned spaces, but unfortunately the powerful earthquake of the mid–9th century put an end to this revival. Few traces dating to the period between the 10th and 11th century have been found in the excavations; but that the urban reorganization of the city began during this period is known from the documentary sources.
Signs of a revival in building from the early 12th and especially in the 13th century are confirmed by the structural remains dating to this period that were found during all the areas explored. They point to a wide–ranging process of urban regeneration. These buildings were later demolished to make way for the massive foundations of the Renaissance palaces in the area; emblematic among them is the building of the first bishop’s palace: the Palazzetto Venezia.
These structures survived until the early 20th century when many buildings were demolished in the wave of urbanization at the turn of the century, in particular with the construction of the Vittoriano and the laying out of Piazza Venezia.
- ROSSELLA REA, pp. 171-203, The saddle between the Velia, the Carinae. The Valley of the Amphitheatre. The south–east and north–west slopes of the Velia.
Preventive archaeological excavations were conducted along stretch T3 of metro Line C in the Via dei Fori Imperiali, aimed at identifying the extension of the Velia (the hill connecting the Palatine and Esquiline), preliminary to the identification of the site on which to build the planned Fori Imperiali metro station. Other exploratory digs were conducted in Piazza del Colosseo, at Largo G. Agnesi and in Via degli Annibaldi, preliminary to the planned enlargement of the Stazione Colosseo of Line B. A stretch of the clivus ad Carinas flanked by remains of buildings datable between the Flavian period and the 4th century was found along the north–west slopes of the Velia, while traces of structures dating to the 1st century AD, destroyed during the construction of the Via dei Fori Imperiali in 1932, were found on its south–east slopes.
Structures of the Julio–Claudian period and part of a room of Nero’s Domus aurea, begun but never completed, are preserved in the Piazza del Colosseo.
Remains datable between the 4th century BC and the Flavian period were found on the southern slopes of the Oppian Hill.
Finally got around to taking some proper photographs -- so here they are.
An older style end-of-line train station building, retrofitted with a modern glass roof. This was built for the ParLUGment display at Ottawa Train Expo. It's been modified since then to stand alone without being part of a Train layout.
A video "tour" is available here: youtu.be/31Rja7h8Vhw
A small event hosted at the NTM (Nederlands Transport Museum)
Our layout consisted of 3 modules, Tamàs, Ties and my yard. We also had some static display tables. All in all a fun layout at a fun event.
Next time I'll try to charge my trains before the event o,0
Also; check out Ties' film about the event here: www.youtube.com/watch?v=MtgEQxUw01g
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Currently re-designing part of the layout....adding all Lego modular buildings! It is now 9 square meters....!!
This was a promotional image from Rite-Aid's website featuring the store layout from the mid-late 1990s. This was the photo processing area, they were typically located in the corner of the store, if you were standing in the entry, it would be straight in front.
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it worked
then R did it.
Congrats!
product idea design/ R
layout design/ M
Olá lindos! Eu adorei esse layout da Taylor, e me desculpem pelo espaço grande ali em baixo, é pq eu não sei o que colocar e peço para quem encomendar este layout, me diga o que colocar :)
Submitted materials, spread layout design for a new magazine on contemporary Hungarian fashion/beauty/photography.
This was the first round with 7 participants. I tried to define the feel and basic visual.
All the photos used for this layout submission are the property of their respected owners.
None is used for any printed or published material only for this one-time preview.
This is the main board on the layout with 3 circular loops, a turn table, bay platform and station.
A lot of work has beed done to the layout including heavy changes to the scenics and ballast added
HAHA, esse layout eu fiz em pedido de uma amiga a dona do blog LucyLovatoBR.tk, ainda estamos organizando o codigo por isso que ele ainda não foi ao ar.
Opinem !
The switching layout is now pretty much finished. All areas are polished off and it’s a blast to operate. I’ve been quite happy with all the subtle details I’ve been able to model with this layout. It’s very fun to operate and I think really compliments whatever is running at the time!
I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.
I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.
I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.
Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.
Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.
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The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.
The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.
The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.
A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.
The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.
The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.
The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work
In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.
The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.
The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.
The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.
On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.
The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.
The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.
The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.
There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.
The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.
The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.
The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]
The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]
The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.
The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.
Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.
en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford
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The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.
Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.
The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.
I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.
The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.
The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.
Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.
You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.
The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.
Simon Knott, January 2013
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Pictures from Norwegian LUG Brikkelauget's layout for the 50th anniversary event for LEGO Norway. This house was built by CowboyGibson. The limo is mine.
Since I feel like that picture was already confusing enough, let's look at the layout before we go any further. This store is certainly unique, to say the least, so hopefully the pictures will help this make more sense. For starters, this store is just a part of a multi-tenant building -- there are other stores in the "notches" in the bottom of the plan. Additionally, it was assembled out of various separate tenants, and is divided into four major spaces -- the front section, which is mainly taken up by the service departments, the back left section, which is on the same level as the front section and holds most of the grocery aisles as well as the perishables section, the upstairs (half a story above the main section), which includes the liquor store, health and beauty, and the pharmacy (a strange mixture :) ), and the downstairs (half a story below the main floor), composed of the general merchandise and home improvement section.
That's right -- the store has a fairly large home improvement section. It's essentially a cross between a Fred Meyer and a normal QFC, with a compressed version of Fred Meyer's general merchandise selection (mostly the home part) combined with a full QFC food selection.
I'll also note that this layout is not exactly what these pictures show. Sometime in the last few months, the central portion of the store was reconfigured, with a few aisles taken out to accommodate more self checkouts. Then, just recently, the back entrance and checkouts closed, supposedly due to issues with theft.