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Patpong gets its name from the family that owns much of the area's property, the Patpongpanich (or Patpongpanit), immigrants from Hainan Island, China, who purchased the area in 1946. At that time it was an undeveloped plot of land on the outskirts of the city. A small klong (canal) and a teakwood house were the only features. The family built a road - now called Patpong 1 - and several shophouses, which were rented out. Patpong 2 was added later, and both roads are in fact private property and not city streets. (The so-called Patpong 3 and Soi Thaniya are not owned by the Patpongpanich family.) The old teak house was torn down long ago and the klong was filled in to make room for more shophouses. Originally simply an ordinary business area, the coming of the bars eventually would drive out most of the other businesses.
By 1968, a handful of nightclubs existed in the area, and Patpong found some use as a R&R (Rest and Recuperation) location for U.S. troops serving in the Vietnam War, although the main R&R area was actually along New Petchburi Road. In its prime during the 1970s and 1980s, Patpong was the premier nightlife area in Bangkok, and was famous then for its sexually explicit shows. In the mid 1980s the sois hosted an annual Patpong Mardi Gras, which was a weekend street fair that raised considerable money for Thai charities. By late 1980s, however, the Patpongpanich family had begun to rent out small lots in the middle of Patpong 1 for a night market.[1]
Today, the nightlife areas of Nana Plaza and Soi Cowboy provide strong competition for Patpong. However, Patpong is the only one within the official entertainment zones decreed by the Thai government in 2004; this allows local venues to legally stay open until 2am, instead of the 1am legal closing time in other areas. Enforcement of that law was initially strict but has varied over time since.
In recent years, there has been a move away from the traditional sex venues in Patpong. Twilo hip hop bar boasts two live bands every night, and is very popular with both tourists and local Thais. Also, Muzzik Cafe has been completely renovated and is a very popular live music bar playing a mixture of Rock, Hip hop and Pop.
Next to Twilo is Funky Dojo with DJs regularly playing both club and house music. Park Bridge, another high class music venue, has just opened across Patpong 2 and is accessible from either the Foodland car park or the opposite building from the third floor. Radio City and Lucifer are also being refurbished, which will mean by November 2008 Patpong will be one of the main live music areas in Bangkok.
This is a photograph from the 30th Annual AXA Raheny 5 Mile Road Race 2014 took place in Raheny Village, Dublin, Ireland on Sunday January 26th 2014 at 15:00. The 'Raheny 5' has become one of the most famous road races in Ireland. The race has continued to grow year-on-year and this year was no exception on the year of it's 30th Anniversary. Almost 3,000 participants took part in the various events of the day. The incredible voluntary organisational work carried out by Raheny Shamrocks and the local community in staging the race every year must be acknowledged.
The weather was postively wintery today. There was an icy wind blowing into the face of the runners at various points in the course. This made for some very variable mile-splits. Overall the weather was favourable in that the rain stayed away and there was some helpful 'wind at the back' for the runners in places.
The race route starts at All Saints Park and goes into Raheny Village via Watermill Road. The route then turns west and along the Howth Road before turning left onto Sybill Hill Road. The route then turns left again onto Mount Prospect Avenue and continues until you run down to the sea-front and the Clontarf Road. The only real hill in the course is at the left turn from Clontarf Road onto Watermill Road. Finally, at the North East end of St. Anne's Park the race turns left and makes it way to the finish which is positioned at the start area of the race.
We have an extensive set of photographs from today's race at the 1 mile and then 400 meters to go. The full set is available at www.flickr.com/photos/peterm7/sets/72157640185381674/
Some links, related to this race, which you might find useful:
The Raheny Shamrocks Club Internet Homepage: www.rahenyshamrock.ie/ or www.rahenyshamrock.ie/news/axa-raheny-5-2013
Raheny Shamrocks Facebook Page: www.facebook.com/rahenyshamrock?sk=wall&filter=2
A GARMIN GPS Trace of the race route: connect.garmin.com/activity/24632342
Our Flickr Set from the Raheny 5 Mile Road Race 2013: www.flickr.com/photos/peterm7/sets/72157632621783395/
Our Flickr Set from the Raheny 5 Mile Road Race 2012: www.flickr.com/photos/peterm7/sets/72157629086163673/
Our Flickr Set from the Raheny 5 Mile Road Race 2011:http://www.flickr.com/photos/peterm7/sets/72157625939674838/
Our Flickr Set from the Raheny 5 Mile Road Race 2010: www.flickr.com/photos/peterm7/sets/72157623196555201/
The Boards.ie Athletics Discussion Thread for the Race 2013: www.boards.ie/vbulletin/showthread.php?t=2056776031
The Boards.ie Athletics Discussion Thread for the Race 2014: www.boards.ie/vbulletin/showthread.php?t=2057117075
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
State owned and run North Korean restaurant in Shanghai called Pyongyang Guan 평양관
Address:
359 Zhaojiabang Lu, 2nd floor, near Jiashan Lu
徐汇区肇嘉浜路359号2楼(近地铁9号线嘉善路5号口)
Telephone: +86 21 6417 1777
The John Muir National Historic Site is located in Martinez, in the San Francisco Bay Area, California. It preserves the Italianate Victorian mansion where the naturalist and writer John Muir lived, as well as a nearby 325 acres (132 ha) tract of native oak woodlands and grasslands historically owned by the Muir family. The main site is on the edge of town, in the shadow of State Route 4, also known as the "John Muir Parkway".
John Muir’s home was among the grandest of its time, and costing $20,000 to build, an extravagant amount in its day. An article in the Martinez Gazette, written while the house was being constructed, said “with but one or two exceptions, it will be the finest and most complete private residence in the county.”
The house, completed in 1882, was built for Dr. John and Louisiana Strentzel, Muir’s parents-in-law. The Strentzels gave their original house to John and his bride Louie as a wedding gift. When Dr. Strentzel died in 1890, the Muirs moved into this house.
The seventeen-room home is in the Italianate style of late Victorian architecture, and is constructed mostly of redwood. The architects were Wolfe and Son of San Francisco. The home incorporates key features of the Italianate style, including: a rectangular, symmetrical shape, wide eaves with brackets and cornices, a porch with balustrades, a square cupola and high, double-paned windows with hood moldings.
The interior of the 10,000 square-foot house with 12-foot-high ceilings has retained many of its original features, including the Douglas fir floor and black walnut staircase banister. Note the crack in the transom over the front door, which occurred during the Port Chicago explosion of World War II. Phone service was installed in 1884 by Dr. Strentzel, and the house was one of the first in the area to have it (the phone in the downstairs hallway is not original).
The house suffered some damage during the 1906 earthquake, including two of the Italian marble fireplaces. Muir replaced the east parlor’s damaged fireplace with a large, Mission style brick one. He described it in a letter to a friend, “In particular I've built a big fireplace, almost suitable for mountaineers, into which I roll a jolly pair of logs two feet in diameter and pile a half dozen smaller ones between and back of them making fires that flame and roar and radiate sunny heat like those we built on the frosty Coyote Meadows above the canyon of the Kern.” (January 7, 1907)
Furnishings in the home are from the period, but did not belong to the Muirs or Strentzels. An exception is John Muir’s original desk in his “scribble den,” where he penned most of his published works, including his books—writings that paved the way to preserving our nation’s most beautiful natural lands, or “wild places.”
Upstairs, the small balcony at the end of the hall is where Muir slept on many clear nights, seeming to prefer having the stars over his head to a roof.
When John Muir died in 1914 (nine years after his wife), his grown daughters Wanda and Helen sold the house. It remained in the hands of private owners until local citizens (including those who established the John Muir Association) worked for the historic structure’s establishment as a public treasure. The National Park Service bought the house in 1964, along with nine acres of the Muir’s fruit ranch. In 1993, NPS bought an additional 326 acres, known as Mt. Wanda.
Next to Alhambra Creek, about a mile from the house, Muir was buried next to his wife on what was once part of the original 2,600-acre ranch.
The grounds of the 9 acre main site contain grapevines and an orchard with many types of fruit trees as well as many mature exotic trees from around the world that were growing at the time Muir lived. Also to be found are exhibits and machinery of ranch life in the late 1800's.
A 'must see' on the same property is the preserved Vincente Martinez Adobe home built in 1849.
While living here, Muir realized many of his greatest accomplishments, co-founding and serving as the first president of the Sierra Club, in the wake of his battle to prevent Yosemite National Park's Hetch Hetchy Valley from being dammed, playing a prominent role in the creation of several national parks, writing hundreds of newspaper and magazine articles and several books expounding on the virtues of conservation and the natural world, and laying the foundations for the creation of the National Park Service in 1916.
The park's museum collection includes historic documents and artifacts that relate to the writing, travels, political activities and daily life of John Muir and his family in Martinez. Significant portions of the collections include over 1,000 plant specimens collected by Muir during his many travels, photographs of his travel, correspondence to and from Muir, books from his personal library, and first editions of his published works. Many of Muir's original items were graciously donated by Muir family members.
The collection also includes Victorian era furnishings, clothing, household goods, farm implements, books and textiles that are not unique to Muir or his home; however, these pieces allow us to interpret the day-to-day life on the Martinez fruit ranch. The collections are displayed in the home, carriage house and through exhibitions in the Visitor Center.
The Muir house was documented by the Historic American Buildings Survey in 1960.
It became a National Historic Site in 1964, is California Historical Landmark no. 312, and National Historic Landmark, and is on the National Register of Historic Places.
In 1988 nearby Mount Wanda Nature Preserve was added to the Historic Site.
Nero: the Man Behind the Myth
(May - Oct 2021)
Nero is known as one of Rome's most infamous rulers, notorious for his cruelty, debauchery and madness.
The last male descendant of the emperor Augustus, Nero succeeded to the throne in AD 54 aged just 16 and died a violent death at 30. His turbulent rule saw momentous events including the Great Fire of Rome, Boudicca's rebellion in Britain, the execution of his own mother and first wife, grand projects and extravagant excesses.
Drawing on the latest research, this major exhibition questions the traditional narrative of the ruthless tyrant and eccentric performer, revealing a different Nero, a populist leader at a time of great change in Roman society.
Through some 200 spectacular objects, from the imperial palace in Rome to the streets of Pompeii, follow the young emperor’s rise and fall and make up your own mind about Nero. Was he a young, inexperienced ruler trying his best in a divided society, or the merciless, matricidal megalomaniac history has painted him to be?
Nero was the 5th emperor of Rome and the last of Rome’s first dynasty, the Julio-Claudians, founded by Augustus (the adopted son of Julius Caesar). Nero is known as one of Rome’s most infamous rulers, notorious for his cruelty and debauchery. He ascended to power in AD 54 aged just 16 and died at 30. He ruled at a time of great social and political change, overseeing momentous events such as the Great Fire of Rome and Boudica’s rebellion in Britain. He allegedly killed his mother and two of his wives, only cared about his art and had very little interest in ruling the empire.
Most of what we know about Nero comes from the surviving works of three historians – Tacitus, Suetonius and Cassius Dio. All written decades after Nero’s death, their accounts have long shaped our understanding of this emperor’s rule. However, far from being impartial narrators presenting objective accounts of past events, these authors and their sources wrote with a very clear agenda in mind. Nero’s demise brought forward a period of chaos and civil war – one that ended only when a new dynasty seized power, the Flavians. Authors writing under the Flavians all had an interest in legitimising the new ruling family by portraying the last of the Julio-Claudians in the worst possible light, turning history into propaganda. These accounts became the ‘historical’ sources used by later historians, therefore perpetuating a fabricated image of Nero, which has survived all the way to the present.
Nero was born Lucius Domitius Ahenobarbus on 15 December AD 37.
He was the son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger. Both Gnaeus and Agrippina were the grandchildren of Augustus, making Nero Augustus’ great, great grandson with a strong claim to power.
Nero was only two years old when his mother was exiled and three when his father died. His inheritance was taken from him and he was sent to live with his aunt. However, Nero’s fate changed again when Claudius became emperor, restoring the boy’s property and recalling his mother Agrippina from exile.
In AD 49 the emperor Claudius married Agrippina, and adopted Nero the following year. It is at this point that Lucius Domitius Ahenobarbus changed his name to Nero Claudius Caesar Drusus Germanicus. In Roman times it was normal to change your name when adopted, abandoning your family name in favour of your adoptive father’s. Nero was a common name among members of the Claudian family, especially in Claudius’ branch.
Nero and Agrippina offered Claudius a politically useful link back to Augustus, strengthening his position.
Claudius appeared to favour Nero over his natural son, Britannicus, marking Nero as the designated heir.
When Claudius died in AD 54, Nero became emperor just two months before turning 17.
As he was supported by both the army and the senate, his rise to power was smooth. His mother Agrippina exerted a significant influence, especially at the beginning of his rule.
The Roman historians Tacitus, Suetonius and Cassius Dio all claim that Nero, fed up with Agrippina’s interference, decided to kill her.
Given the lack of eyewitnesses, there is no way of knowing if or how this happened. However, this did not stop historians from fabricating dramatic stories of Agrippina’s murder, asserting that Nero tried (and failed) to kill her with a boat engineered to sink, before sending his men to do the job.
Agrippina allegedly told them to stab her in the womb that bore Nero, her last words clearly borrowed from stage plays.
It is entirely possible, as claimed by Nero himself, that Agrippina chose (or was more likely forced) to take her own life after her plot against her son was discovered.
Early in his rule, Nero had to contend with a rebellion in the newly conquered province of Britain.
In AD 60–61, Queen Boudica of the Iceni tribe led a revolt against the Romans, attacking and laying waste to important Roman settlements. The possible causes of the rebellion were numerous – the greed of the Romans exploiting the newly conquered territories, the recalling of loans made to local leaders, ongoing conflict in Wales and, above all, violence against the family of Prasutagus, Boudica’s husband and king of the Iceni.
Boudica and the rebels destroyed Colchester, London and St Albans before being heavily defeated by Roman troops. After the uprising, the governor of Britain Suetonius Paulinus introduced harsher laws against the Britons, until Nero replaced him with the more conciliatory governor Publius Petronius Turpilianus.
The marriage between Nero and Octavia, aged 15 and 13/14 at the time, was arranged by their parents in order to further legitimise Nero’s claim to the throne. Octavia was the daughter of the emperor Claudius from a previous marriage, so when Claudius married Agrippina and adopted her son Nero, Nero and Octavia became brother and sister. In order to arrange their marriage, Octavia had to be adopted into another family.
Their marriage was not a happy one. According to ancient writers, Nero had various affairs until his lover Poppaea Sabina convinced him to divorce his wife. Octavia was first exiled then executed in AD 62 on adultery charges. According to ancient writers, her banishment and death caused great unrest among the public, who sympathised with the dutiful Octavia.
No further motives were offered for Octavia’s death other than Nero’s passion for Poppaea, and we will probably never know what transpired at court. The fact that Octavia couldn’t produce an heir while Poppaea was pregnant with Nero’s daughter likely played an important role in deciding Octavia’s fate.
On 19 July AD 64, a fire started close to the Circus Maximus. The flames soon encompassed the entire city of Rome and the fire raged for nine days. Only four of the 14 districts of the capital were spared, while three were completely destroyed.
Rome had already been razed by flames – and would be again in its long history – but this event was so severe it came to be known as the Great Fire of Rome.
Later historians blamed Nero for the event, claiming that he set the capital ablaze in order to clear land for the construction of a vast new palace. According to Suetonius and Cassius Dio, Nero took in the view of the burning city from the imperial residence while playing the lyre and singing about the fall of Troy. This story, however, is fictional.
Tacitus, the only historian who was actually alive at the time of the Great Fire of Rome (although only 8 years old), wrote that Nero was not even in Rome when the fire started, but returned to the capital and led the relief efforts.
Tacitus, Suetonius and Cassius Dio all describe Nero as being blinded by passion for his wife Poppaea, yet they accuse him of killing her, allegedly by kicking her in an outburst of rage while she was pregnant.
Interestingly, pregnant women being kicked to death by enraged husbands is a recurring theme in ancient literature, used to explore the (self) destructive tendencies of autocrats. The Greek writer Herodotus tells the story of how the Persian king Cambyses kicked his pregnant wife in the stomach, causing her death. A similar episode is told of Periander, tyrant of Corinth. Nero is just one of many allegedly ‘mad’ tyrants for which this literary convention was used.
Poppaea probably died from complications connected with her pregnancy and not at Nero’s hands. She was given a lavish funeral and was deified.
Centred on greater Iran, the Parthian empire was a major political and cultural power and a long-standing enemy of Rome. The two powers had long been contending for control over the buffer state of Armenia and open conflict sparked again during Nero’s rule. The Parthian War started in AD 58 and, after initial victories and following set-backs, ended in AD 63 when a diplomatic solution was reached between Nero and the Parthian king Vologases I.
According to this settlement Tiridates, brother of the Parthian king, would rule over Armenia, but only after having travelled all the way to Rome to be crowned by Nero.
The journey lasted 9 months, Tiridates’ retinue included 3,000 Parthian horsemen and many Roman soldiers. The coronation ceremony took place in the summer of AD 66 and the day was celebrated with much pomp: all the people of Rome saw the new king of Armenia kneeling in front of Nero. This was the Golden Day of Nero’s rule
In AD 68, Vindex, the governor of Gaul (France), rebelled against Nero and declared his support for Galba, the governor of Spain. Vindex was defeated in battle by troops loyal to Nero, yet Galba started gaining more military support.
It was at this point that Nero lost the support of Rome’s people due to a grain shortage, caused by a rebellious commander who cut the crucial food supply from Egypt to the capital. Abandoned by the people and declared an enemy of the state by the senate, Nero tried to flee Rome and eventually committed suicide.
Following his death, Nero’s memory was condemned (a practice called damnatio memoriae) and the images of the emperor were destroyed, removed or reworked. However, Nero was still given an expensive funeral and for a long time people decorated his tomb with flowers, some even believing he was still alive.
After Nero’s death, civil war ensued. At the end of the so-called ‘Year of the Four Emperors’ (AD 69), Vespasian became emperor and started a new dynasty: the Flavians.
[Francesca Bologna, curator, for British Museum]
Taken in the British Museum
A favourite from my own collection: this is a hybride between my 2 loveaffairs; Lego and Thunderbirds. This shows I'm not crazy; even Lego loves the spaceage of Gerry Anderson! Why? Because in 1965 Tb was suddenly hot in the UK, on tv, in the shops, with boys&girls. Gerry was the only one who used the term '2065', a thousand years later then the actual days the lived back then. Lego used that popularity in this ad to underline you could make even spaceships with Lego. This is almost the only outing into space by Lego, until about 8 years later with their own range of NASA-stuff in blue&white.
MAMIYA C220 professional
MAMIYA SEKOR 55mm
FUJI RDP3
This orchid is injured. But she is lively bright.
To Ms. M. M., I hope you will be fine soon. and I want to enjoy your particular music. But please still keep your own pace, don't hurry up.
光は射しています ^_^
Owned by: City of Albuquerque Solid Waste
Chassis: Volvo Xpeditor WX-64
Body: Amrep Octo
Type of truck: Automated Side Loader
Unit number: 974112
Additional notes: 1997
Location of photo: Albuquerque, NM.
A visit to the Museum of Somerset.
The museum tells the remarkable story of Somerset's history. Located at Taunton Castle, which was created from the 12th century onwards, and owned by the powerful bishops of Winchester.
The museum has deep roots. The successor to Somerset's County Museum, which was created by the Somerset Archaeological and Natural History Society. The society bought the castle in 1874. Since 1958 the museum has been managed and funded by Somerset County Council. A new gallery opened in 1974 called the Somerset Military Museum.
The Museum of Somerset is located in the 12th-century great hall of Taunton Castle, in Taunton in the county of Somerset, England. The museum is run by South West Heritage Trust, an independent charity, and includes objects initially collected by the Somerset Archaeological and Natural History Society who own the castle.
Until 2008 the museum was known as the Somerset County Museum. Heritage Lottery Fund support was obtained to improve the museum, and the new museum reopened at the end of September 2011.
Exhibits include the Frome Hoard, the Low Ham Roman Mosaic, the bronze-age South Cadbury shield and a range of other objects relating to the history of the county.
A look around Taunton Castle from the outside.
Grade I listed building (apart from the modern extensions).
Taunton Castle: Standing Buildings of the Inner Court
Summary
The standing buildings of the inner court at Taunton Castle (excluding the Wyndham Galleries, the Welcome Building, and the East and West Passages). Established by the Bishops of Winchester in the late Anglo-Saxon period, with successive periods of remodelling in the medieval and post-medieval periods. Later alterations, rebuilding and repairs in the late C18 by Sir Benjamin Hammet, and in the C19 and mid-C20. A museum since 1899 which underwent substantial refurbishment in early C21.
The ruins, earthwork and buried remains of the castle, including those of both the inner and outer baileys, are a scheduled monument.
Description
The standing buildings of the inner court at Taunton Castle (excluding the Wyndham Galleries, the Welcome Building and East and West Passages). Established by the Bishops of Winchester in the late Anglo-Saxon period, with successive periods of remodelling in the medieval and post-medieval periods. Later alterations, rebuilding and repairs in the late C18 by Sir Benjamin Hammet, and in the C19 and mid-C20. A museum since 1899 which underwent substantial refurbishment in early C21. The ruins, earthwork and buried remains of the castle, including those of both the inner and outer baileys, are a scheduled monument.
The history, evolution and a detailed description of Taunton Castle is beyond the scope of this document and is covered in Webster (2016) from which the following summary draws heavily.
MATERIALS
The buildings are constructed of random freestone rubble, Hamstone, chert and some brick under plain-tiled pitched and hipped roofs, with metal sheeting and glazing to the roofs of the early-C21 additions. The dressings are mostly Hamstone and there are tall stone and brick stacks to Castle House. The fenestration is of various styles and dates, and includes mullion and transom windows and timber sashes with glazing bars.
PLAN
The buildings form three sides of a roughly triangular-shaped courtyard. The north range contains the Great Hall; a shorter west range formerly housed the bishop’s chamber, while the south range contained a chapel and lodgings, and has a gatehouse at its centre. Castle House forms the east half of the south range.
DESCRIPTION
The NORTH RANGE/GREAT HALL appears to have originally been a C12/C13 first-floor hall with an undercroft which was altered to a ground-floor hall in the mid-C13. Alterations were also carried out in the C16/C17 when it was also extended to the east; with further alterations, including re-roofing, taking place in the C19 relating to its use as courts, and again in the mid-C20. The external (north) wall incorporates a length of C12 curtain wall and reduces in thickness at the eaves level of the medieval hall. It has a chamfered plinth to all but the west end, four shallow buttresses, all in Hamstone, and a further buttress towards the eastern end of different materials. The westernmost buttress overlies a blocked window, and to its left is the stone jamb of a medieval window. Set high in the wall are heavily-repaired, mullion and transom Hamstone windows of four and five lights under catslide dormers which appear to be C16 or C17, though two are C20 replacements. The eastern end of the range was rebuilt in the C16/C17, but the north-east corner appears to be original and retains a Hamstone clasping buttress. To the far left, in the set-back, upper part of the wall is an infilled oval window within a surround of brick headers. It is one of six that were added to this elevation in the C18; the others are no longer visible externally or not extant. The east elevation of the hall has a pair of timber mullion and transom windows of C16/C17 date which appear to have been re-sited here. The south elevation, facing onto the courtyard, has five oval windows set high in the wall, dating from around 1700 and repaired in the C20. A sixth window has been replaced by a doorway (infilled). Most of the hall elevation is obscured by the 1930s former museum entrance block and the flanking single-storey lean-to additions which were substantially rebuilt in the early C21, however, a number of former door and window openings of various dates are visible from within these buildings.
INTERIOR: the Great Hall is a single open space with an early-C21 steel-framed gallery at first-floor level. The roof dates principally to 1816, though the central truss may be mid-C19, and it consists of king post trusses with angled struts, strengthened by modern timbers.
The WEST RANGE is a rectangular, two-storey block, formerly comprising the Bishop’s apartment or Camera and an undercroft, which structurally forms part of the Great Hall. It has C12 origins and was extended to the south (the Gray Room) probably in the mid-C13, although on a slightly different alignment on its west side. It was raised in height in the C18 and underwent substantial refurbishment in the late C18. Its shorter, north elevation has a plinth which is a continuation of the plinth on the Great Hall, clasping corner buttresses, an inserted, late-C18 ground-floor window with wooden Y-tracery set within a round-arched brick surround and a crenellated parapet. At first-floor level are two lancets; one has been restored and the other rebuilt in the late C19. At the north-east corner is a square stair turret which breaks forwards slightly and has slit windows; its upper section was rebuilt in the mid-C20. The plinth continues along the west elevation which has been re-faced in chert and has two short buttresses; the southern one aligning with quoin stones and a vertical joint in the masonry which marks the earlier extent of the range. There is a tall round-headed opening which has a panelled door surmounted by a window with vertical glazing bars, all set within a brick surround, and accessed via stone steps with metal handrails. To the right is a pointed-arched sash window, previously a doorway, also approached from similar flight of steps. The first floor has four sash windows in Hamstone surrounds. The courtyard (north-east) elevation has a high parapet and C12 buttresses. The C19 entrance, which occupies the position of an earlier doorway, has paired wooden doors and strap hinges set within a recessed semi-circular surround with engaged columns and cushion capitals. The first floor was lit originally by four narrow windows with deep reveals; of which one window and the jamb of another are visible externally. A larger C18 window of four lights which contains fragments of earlier windows has been inserted in the position of one of the original windows. There is a drip mould and a relieving arch above. The original entrance located in the south-east wall is visible internally, but is not centrally placed relative to the structure and this may indicate the presence of an external stair to the first-floor room.
INTERIOR: the undercroft has an inserted barrel-vaulted ceiling and a mid-C20 concrete floor. Two fireplaces have previously been uncovered in the west wall; one is probably C17 and has Hamstone jambs with chamfer and roll stops, and the other is a late C18/early C19 insertion. A segmental-arched doorway in the south wall leads into the mid-C13 extension (the Gray Room) to the south. The room over the undercroft (the Somerset Room) has splayed stone reveals for three of the four original windows in its east wall; the larger fourth reveal is that of an inserted C18 window. The reveals of the two tall lancets in the north wall are also visible. The range has a flat, sheet-metal roof of early-C21 date.
The SOUTH RANGE/CHAPEL BLOCK to the west of the gatehouse is rectangular on plan and built on the line of the south curtain wall. It dates largely to around 1500, as evinced by the roof timbers, although it has earlier origins. It originally contained a first-floor chapel which was converted in the late C18 to a dining room for the judges (the Adam Library). To the south-west corner is a probable late-C13 circular tower which butts against the wall of the Gray Room to the north-east. Between the south range and the gatehouse is a narrow block of one bay which is for the most part later, probably post-medieval, infill. The south range was substantially remodelled in the late C18, at which time the tower was largely rebuilt. The outer (south) wall is faced in chert and has a battered plinth. The tower has late-C18, pointed-arched sash windows to both floors, and the conical roof was re-slated in the late C20. To the right (east) of the tower, the ground floor has a mullion window of two lights, three mullion windows with Caernarfon surrounds which were inserted in 1874 and 1910, and the remains of an earlier square-headed, two-light window (infilled). To the upper floor are a late-C18 quatrefoil window and a three late-C18 sashes. To the far right, at ground- and first-floor level are further blocked openings. The ground floor of the courtyard (north) elevation has two mullion windows of three lights which appear to be C16 and were reset here in the late C18. To the right is a blocked single window, an altered medieval doorway with modern timber doors and a relieving arch above, and a C13 lancet which may have been lowered. Four relieving arches are visible at first-floor level, and to the far right is a re-used Perpendicular window of four lights with a drip mould to the right-hand end. The narrow infill bay which is adjacent to the gatehouse has a pointed-arched doorway with chamfered jambs, traces of a window to the right of this, and a mullion window with leaded lights set in a square-headed surround of Hamstone to the upper floors.
INTERIOR: the interior of the south range is accessed from the altered medieval doorway at the east end of the range and also from the door in the narrow infill bay to the west. The main ground-floor room (the Coin Room) has a brick-built east wall which contains an infilled fireplace and a round-headed niche. At the west end of the range is a C18 open-string staircase which has slender, turned newels, a ramped handrail and metal balusters. The principal first-floor room (the Adam Library) is accessed from doorways at either end of the room. The door in the east wall dates probably to the C15 and has a stone surround with roll mouldings and a segmental pointed head. The room itself has late-C18 decorative scheme with an Adam-style fireplace at the east end, blind arcading of three arches carried on four wooden, fluted pillars to the west wall, and a barrel-vaulted ceiling with plasterwork panels and radial fluting to the tympanum at either end. The wagon roof dates to around 1500; it has been strengthened with additional timbers and a small section is exposed at the west end of the range. The first floor of the tower has a decorative plasterwork scheme, including a dentilled cornice, moulded dado with fluting, raised architrave and shutters to the windows and a fireplace with a decorative surround that has a frieze with foliate festoons and a central classical figure and a Greek key moulding and fluting to the mantel. The ground floor of the infill bay to the east has a short corridor containing an early-C20 cast-iron spiral staircase. A door in the corridor’s south wall leads into a brick-vaulted former strongroom that was inserted in 1910. The spiral staircase leads to the first floor, but not to the second floor, although a late-C19 plan shows a circular stair in the thickness of the south wall. It is now accessed from the gatehouse. The roof to the infill bay was previously hipped, but was replaced with a gabled roof prior to 1933.
The south elevation of the GATEHOUSE has a C13 or C14 plain chamfered, segmental-pointed archway with a portcullis slot. The upper part was rebuilt in 1495-1496 by Bishop Langton whose arms are displayed in a plaque above the arch. The first floor has an inserted, probably late C18, square-headed, two-light window with moulded jambs and a drip mould. Inset into the parapet is a further, repaired plaque containing a much-eroded relief carving of the arms of Henry VII. The passage has a blocked doorway in its east wall and a flat, plaster ceiling. The courtyard (north) elevation appears to be late C15 and of one build. There is a plaque over the archway and a blocked opening above this. The stair turret was rebuilt in blue lias in the 1880s. It has a chamfered plinth and lancet windows to each floor, rising to a string course and crenellated parapet. To the west wall of the turret is a doorway above which is a stone plaque that records the rebuilding.
INTERIOR: the room above the gateway is entered from the stair turret and also from the south range. It retains a boarded-over fireplace with moulded timber surround and mantel and a low, panelled wooden partition screen with a door at one end which divides the room.
CASTLE HOUSE is to the east of the gatehouse and lies along the inner face of the south curtain wall. It is a two-storey, four-and a half-bay range that was built as lodgings in the late C15, upgraded and converted to the single dwelling in the mid-C16, and remodelled around 1700. At the south end of the building is a cross wing that is considered to date from the second half of the C16 (Keystone, see SOURCES). It seems likely that it was originally two storeys, possibly a kitchen range with accommodation above, which was raised to three storeys around 1700. A two-storey extension (East Block) under a hipped roof was added in the C18. Castle House underwent sympathetic repairs and renovation in the early C21. The entrance front of the former lodgings faces onto the courtyard and was originally symmetrically fenestrated. It has a two-stage plinth to all except the left-hand bay and the scars of two buttresses. A third buttress is buried in the return wall of the cross wing. The entrance is to the right of centre and has a C18 door frame and C19 paired doors. The early mid-C18 shell canopy on carved brackets above the entrance does not align with the doorway. There is also evidence that the doorway been widened. To the left of the entrance is an inserted window of five lights under a concrete lintel and to the right are two, C20 two-light windows and a late-C19 mullion window of two lights. The stone jamb of an earlier window is visible to the right of the entrance. To the first floor, above and to either side of the door are three square-headed, Hamstone windows with arched lights and spandrel carving, which are probably late C15. The two other first-floor windows are post-1874 copies. The rear (south) elevation of the lodgings has two ground-floor timber mullion and transom windows of around 1700 with ogee moulding to the inner faces and a single timber window. To the far left, there is a 1930s two-light window in a Doutling stone frame. The parapet is crenellated. The cross wing breaks forwards of the former lodgings. It has windows of various styles and dates, including timber-framed mullion and transom windows of around 1700, as well as late-C19 and early-C20 copies and early-C19 sash windows. Most of the elevations of both the former lodgings range and the cross wing retain evidence of earlier openings that have been infilled or partially overlaid with inserted windows.
INTERIOR: the former lodgings has a good survival of fixtures and fittings which pre-date the refurbishment of around 1700, and its principal first-floor room (formerly two rooms) retains the best-surviving evidence of the building’s early history. It has a mid- to late-C16 fireplace with moulded surround, and to the left of this, set low in the wall, is a pointed-arched recess which has re-used C12 beakhead decoration to its north (inner) face. A fragment of a C16 wall painting is exposed in the west wall. A C15 doorway within this wall has a C20 door. Elsewhere, within the lodgings are C15 and C16 deeply-chamfered axial ceiling beams, some with stepped stops, though some have been re-used. A small closet on the ground floor contains oak small field panelling, some re-used, of early- to mid-C17 date. The lower two floors of the cross wing also retain some early fittings such as C16 chamfered ceiling beams and a large fireplace with timber lintel. Throughout the entire building there are fixtures and fittings dating from the refurbishment of about 1700. These include the main staircase located in the cross wing which has an open string, plain newels and a flat-moulded handrail; the balusters are turned except for the upper part which has stick balusters. In addition, there are bolection-moulded fireplace surrounds, one with a later C18 hob grate; timber bolection-moulded wall panelling; round-headed doorcases with panelled jambs, moulded imposts and keystones; moulded plaster cornices and two-panelled doors with H-hinges. There is also some C18 joinery such as fielded panelled doors and architrave. The roof timbers of the lodgings have been dated by dendrochronology to 1480 to 1482. They consist of three arch-braced trusses, with cranked collars to the outer trusses, a flat-topped collar to the central one which was formerly a closed truss and trenched purlins. The cross wing has late-C17/early-C18 collared trusses and a single row of purlins.
The former museum ENTRANCE BLOCK in front of the Great Hall was constructed in 1931-1932 on the site of the early-C19 Jury Room which had an open-colonnaded ground floor, but was found to have significant structural problems. The replacement building was designed by Stone and Francis and is a symmetrical composition in the neo-Georgian style, with a central entrance under a Hamstone triangular pediment, two timber mullion and transom casements both sides of this, and five matching first-floor windows. There is currently (2018) a café on the ground floor along with a rotative beam engine (museum exhibit), and the upper floor contains office accommodation.
Pursuant to s1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 ('the Act'), it is declared that the late-C20 portrait bust of Baron Harding of Petherton, the mid-C20 Wyndham Galleries and the early-C21 Welcome Building and East and West Passages are not of special architectural or historic interest.
History
From the late Anglo-Saxon period Taunton was the administrative centre for one of the largest estates of the Bishops of Winchester. Although the early origins of Taunton Castle are unclear, it is probable (Webster, see SOURCES) that the site initially comprised a minster church and a fortified episcopal residence. The early defences of the site, probably a motte castle and inner and outer baileys, may have been built by William Giffard, who was Bishop of Winchester 1100-1129. The castle underwent various phases of remodelling and repairs, being strengthened by Bishop Henry de Blois during the civil war between King Stephen and the Empress Matilda in the mid-C12. The overall form of the castle appears to have been in place by the beginning of the C13. Although it maintained the title and appearance of a castle, it seems to have served more as a centre for the estate than as a power base. That said, it was besieged in the mid-C15 and was garrisoned in 1497 during the Warbeck Rebellion of 1491-1499.
The castle appears to have fallen out of use by the early C16, but remained sufficiently defensible to become a Parliamentarian stronghold during the Civil War, and was besieged unsuccessfully by the Royalists in 1644. In 1649, it was confiscated from the Bishop of Winchester and was slighted on the orders of Charles II in 1662. It was, however, subsequently used as a prison and court, with the assizes and quarter sessions held in the Great Hall. In 1685, the trials following the quelling of the Monmouth Rebellion were conducted there. In around 1700 the eastern half of the south range was updated to provide substantial accommodation for the castle’s bailiffs and was renamed Castle House. In 1786 Sir Benjamin Hammet, MP for Taunton, acquired the castle and carried out extensive alterations in the Gothic style. Many of the walls were re-faced with chert and pointed-arched windows were added. The Great Hall was reordered and the judges’ lodgings in the west and south ranges were refashioned. Castle House entered a period of decline after the late Georgian period, with a succession of owners and tenants; its ground floor being used by a variety of schools from 1782 to 1901, but when the assize courts moved to the new Shire Hall in 1858, the castle lost its main role. The buildings subsequently fell into disrepair and the site was sold to the Somerset Archaeological and Natural History Society in 1874 which developed the museum. Repairs were carried out in the early C20 and new purpose-built galleries were added in front of and to the east (Wyndham Galleries) of the Great Hall in the 1930s. A major programme of refurbishment was undertaken in 2009-2010, together with building recording, archaeological watching briefs and historical research.
More detail on the history and evolution of Taunton Castle can be found in Webster’s 2016 publication (see SOURCES).
Reasons for Listing
The buildings of the inner court of Taunton Castle are listed at Grade I for the following principal reasons:
Architectural interest:
* as a remarkably complete example of a high status residence combining domestic and military architecture of the medieval and post-medieval periods;
* a significant proportion of historic fabric survives, providing evidence of the form and layout of the inner court and illustrating significant phases in the castle’s development;
* for the extensive range of high quality fixtures and fittings, especially those within Castle House.
Historic interest:
* for the site’s long documented history as an episcopal residence and administrative centre of the bishops of Winchester;
* the history and evolution of these buildings is illuminated by historical documentation and recent scholarship, and together with the abundant surviving archaeological evidence, they form a resource of great significance.
Group value:
* the inner court buildings have strong group value with the scheduled elements of the castle site, and with a number of other listed buildings including the two bays of the almshouses (Grade II) within the inner court, the former Grammar School (Grade II*), Castle Hotel (Grade II), Castle Lodge (Grade II), the Winchester Arms (Grade II) and, to the north-east, Ina Cottage (Grade II).
In India and the Middle East every family has their own, closely guarded, recipe for the spices that when prepared and mixed together are known in the West as Curry.. I know that a particular Yemenite family has different curries for use in soup and for other particular dishes. The soup curry is known as hawaij. This means there is not just one curry per family, but a family of curries for each family.
Perhaps some cooks do feature their own family's recipe in their published cookbooks. I have found a few curry recipes online.
Here is the best article I have found on the different spices used as ingredients in a number of well known currie powders:
www.lionsgrip.com/curingredients.html
According to Wikepedia;
1. Curry powder is a spice mix of widely varying composition based on South Asian cuisine. Curry powder and the contemporary English use of the word "curry" are Western inventions and do not reflect any specific South Asian food, though a similar mixture of spices used in north South Asia is called garam masala.
2. Curry powder is actually closer to the Tamil sambar powder,[citation needed] and the word "curry" is derived from the Tamil word kari meaning "sauce, relish for rice", or from the Kannada word karil or from the Telugu word kuura.
Use of curry was prevalent in South Asia much before the advent of Europeans in India. In fact, almost 4000 years prior to the advent of Europeans, curry with key ingredients of ginger, garlic, and turmeric was used in the Indus Valley Civilization.
I add:
1. However, traders from Arabia and from Portuguese Goa introduced very hot Brazilian chile peppers, and that added new dimensions to the curry ingredients and taste pallet. .
2. Also, their mixing of other Asian spices enabled the development of 'curi'.
Ingredients
Most curry powder recipes include coriander, turmeric, cumin, fenugreek, and chili peppers in their blends. Depending on the recipe, additional ingredients such as ginger, garlic, asafoetida, fennel seed, caraway, cinnamon, clove, mustard seed, green cardamom, black cardamom, nutmeg, long pepper, and black pepper may also be included. Quality curry powder will contain curry leaf.[4][citation needed]
I add: I have no idea what curry leaf is!!
Owned by Enid Blyton from 1929 until 1938.
She was inspired to write 40 books during this time whilst tending to the two acre garden.
The gardens are a series of formal, modern and naturalistic ones all joined up by wonderful curling pathways and beautiful views. Meander through the Cottage Garden, the Lavender Terrace, the Formal Garden, the Rose Walk and the Water Garden, all of which are teeming with wildlife. The gardens feature in the Most Amazing Gardens in Britain and Ireland and also The Good Gardens Guide.
Enid Blyton called the Old Thatch 'home' and spent many a happy afternoon watching the garden wrens flit in and out of a wonderful old yew hedge feeding their young.
Please note - the gardens are now permanently closed to the public.
Owned by: Republic Services, Inc.
Chassis: Mack MR
Body: Leach
Type of truck: Rear Loader
Unit number: 155
Additional notes: N/A
Location of photo: Asset Nations
I've owned these Keen sandals for a couple of years now. They are all one piece rubber, both the soles and the uppers.
While I could easily wear them, the strap in the back was very tight and jammed my toes into the toebox so hard that I could only wear them for an hour or so at a time. I had hoped they might stretch out, but the rubber always returned to its tight start when I took them off.
So recently I took my heat gun to the strap, stretching it while heating it. Now they fit perfectly, no squashed toes, and I like the comfort of my heel hanging out the back. like sandals and slippers are meant to be worn.
I was wearing them on my roof for my project, but the Uggs are better for that, as they protect my ankles better when sitting on the roof.
Owned by: City of Albuquerque Solid Waste
Chassis: Autocar Xpeditor WX-64
Body manufacturer: Wittke/Labrie
Type of truck: Automated Side Loader
Addition notes: N/A
Location of photo: Albuquerque NM
"The Worlds End" by Peter Goss. A modern image model railway based on Knaresborough
His own explanation;
Intrigue, folklore and architecture.
This layout combines the experiences gained on the Etton and Rowland’s Castle layouts. Its prime aim is to purely entertain. It was completed at the end of 2014 and has been ‘on tour’ at model railway exhibitions since then. This layout is based on the North Yorkshire market town of Knaresborough.
I started planning the project in 2009, and after extensive survey work and detailed planning model construction finally commenced in February 2010. Set in the time period around 2005-2015 and beyond hopefully, running stock includes the modern day colourfully liveried DMU’s and several long special trains including the Northern Belle Pullman, Scarborough Spa Express and the Tour De France. Whilst it has a ‘modern image’ leaning, it has only a simple branch line theme with trains running through the station on a twin track continuous circuit run. There is one crossover that is used to reverse a few of the trains back in the opposite direction.
The market town setting contains a very strong historical theme to continue the military overtone created on previous layouts. A bold proposal, but the finished effect hopefully captures a charming contrast between a bustling market town and wooded countryside horizontally, and a sheer cliff face and river gorge vertically.
This is a pilgrimage into model building construction that produced double the structures that appeared on the Rowland’s Castle layout. From Knaresborough Castle the Kings Tower and Courthouse structures are modelled, together with an array of architecturally interesting buildings taken from High Street and Market Place in the town centre together with parts of Finkle Street, Kirkgate, Waterside, Riverside and Water Bag Bank. The station and town scene to the left of the layout contrast with the deep River Nidd gorge with its sheer cliff faces in the centre, and Mother Shipton’s wooded countryside and the castle grounds on the right.
‘The Worlds End’ refers to the pub that features at the front of this modern image layout, which in turn is derived from the legend of Mother Shipton's prophecies. Also featured is the large stone built and ornate viaduct over the River Nidd which at 4mm to the foot scale is around 5 feet long and 14” high.
There are other scenes on the layout that will intrigue and entertain folks whilst watching the trains go by. Substantial numbers of metal cast and converted plastic model figures have been employed on the layout and inside coaches. Can you spot the Mother Shipton figure wandering around on the layout?
Towards the end of 2010 I began creating of a range of 'modern image' white metal cast model figures (Pete Goss Figures) with friend Tony Chadburn. These are used extensively on the new layout and are also available for general sale. The Sealed Knot figures are all converted ‘Call to Arms’ civil war figurines.
Many thanks to a few friends who assisted in the layout construction. Colin Stark for the layout boards and structure, Mick Nicholson signal construction (all working), Stephen Bellamy for advising on train compositions, and Julie for assisting with the figures and helping to run the layout at exhibitions.
SM City Cebu is a large shopping mall located in Cebu City, Philippines. It is the 4th shopping mall owned and developed by SM Prime Holdings, the country's largest shopping mall owner and developer. It is the company's first shopping mall outside Metro Manila and the 4th largest shopping mall in the Philippines. It has a land area of 11.8 hectares and a gross floor area of 268,611 m2 ( 2,891,300 sq ft ), becoming part of the world's 15 largest shopping malls and making it the 11th largest shopping mall in the world in 2009.
On an average day, more than 100,000 people visit SM City Cebu, with the figure increasing to 140,000 to 150,000 on weekends. Due to Cebu City's position as a transshipment point for the Visayas and Mindanao, and SM City Cebu's location close to the city's port area, the mall attracts a significant number of transient shoppers.
SM City Cebu proves that variety is the spice of life. You can find an array of exciting food choices, from fast food chains to elegant fine dining restaurants. You can also experience retail heaven with its many shops such as Oxygen, Penshoppe, Mango, Topshop, Promod, People Are People, The Body Shop, National Bookstore, Ace Hardware, Toy Kingdom, Toby’s Sport and much more.
The mall first opened in November 1993, and was seen as catering to the low and middle class of shoppers, in contrast to its upmarket competitor, Ayala Centre Cebu which opened a few months later. An expansion wing that particularly targeted upper class customers was added in 2007. As of 2009, the mall has undergone major renovations. Expansion plans with a hotel and convention centre are being developed. More shops are being proposed in 2012.
SM City Cebu is a four-level complex featuring eight cinemas with a total seating capacity of 8,848, a food court, a fully computerized bowling centre, 8,000-square meter amusement centre, and a 2,000-square meter trade hall. Before the addition of the North wing, it had a car park capacity of 1,629.
The North wing expansion, opened in 2007, features two floors of retail stores, restaurants, and cafes. It houses more than 200 tenants and caters to a more upscale clientele. The expansion also added three levels of covered parking, and a one level of roof deck parking.
SM City Cebu, opened on November 27, 1993 with an area of 161,562 m2 (1,739,040 sq ft ). Initially To attract shoppers, Manila-based movie and television stars and entertainers performed free concerts at the mall. Free jeepney rides to the mall were offered to fulfil the lack of available public transportation.
Construction on SM City Cebu's expansion building, dubbed the North wing, began in March 2006. The expansion, which was developed at a cost of Peso’s 1.3 billion ( US$30.5 million ), was built on the parking lot to the north of the existing building, temporarily decreasing the number of parking spaces by more than 30%. The North wing was started in April 2007, and opened in November 2007, featuring spacious hallways catering to the leisure market and upper class customers, while the existing mall, re dubbed as the South wing, is targeted for those who love the hustle and bustle. It increased the total gross floor area of SM City Cebu by 107,049 m2 ( 1,152,270 sq ft ), for a total of 268,611 m2
( 2,891,300 sq ft ).
IMAX ~ In early 2008, SM Prime Holdings signed a deal with IMAX Corporation for the opening of additional IMAX theatres, following the success of the country's first IMAX theatre at SM Mall of Asia. The IMAX theatre planned for SM City Cebu will replace cinema four screens. It will feature clearer picture quality due to its use of a digital projector rather than a film projector. A budget of Peso’s100-million ( $2.4 million ) was allotted for the renovation and was opened to the public last July 9, 2010 with James Cameron's Avatar in 3D
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"Pegatina 3D piso" "etiqueta de la pared 3D" "cartel 3D" "pegatina pavimento 3D" "pintura de la calle 3D" "pegatina 3D" "floor graphics 3D" "branding piso 3D" "publicidad piso 3D" "conceptos de suelo 3D" "3D envolturas de piso " " posters piso 3D " " envolturas de pared 3D " " envolturas de vidrio 3D " " envolturas de edificios 3D " " envolver piso 3D " " muestra de suelo 3D " " piso pintura 3D " " 3D " " ilusión " " cruzar los ojos " " sinyim " " street art 3D " " pintura 3D " " pintura anamórfica " " callejero "
"Autocollant 3D de-chaussée" "autocollant 3D de mur" "affiche 3D" "autocollant 3D de la chaussée" "peinture de rue 3D" "autocollant 3D" "graphique 3D de sol" "l'image de marque de sol 3D" "la publicité 3D de plancher" "sur les concepts 3D de sol" "3D enveloppements de sol " " sol 3D affiches " " wraps muraux 3D " " enveloppements de verre 3D " " enveloppements de construction 3D " " sol 3D emballage " " plancher affiche 3D " " peinture 3D de plancher " " 3D " " illusion " " croiser les yeux " " sinyim " " street art 3D " " de peinture 3D " " peinture anamorphique " " street art "
"3D-Grund Aufkleber" "Aufkleber der Wand 3D" "3D-Plakat" "3D Pflaster Aufkleber" "3D Straßenmalerei" "3D-Aufkleber" "3D-Grundgrafik " "3D-Grund Branding" "3D Bodenwerbung" "3D-Grundkonzepte" "3D Boden Wraps " " 3D-Grund Poster " " 3D Wand Wraps " " 3D Glas Wraps " " 3D-Gebäude Wraps " " 3D-Grund Wrapping " " 3D Bodendisplays " " 3D Bodenmalerei " " 3D " " Illusion " " überqueren Sie die Augen " " sinyim " " 3D Street Art " " 3D Malerei " " anamorphen Malerei " " Street-Art "
"3D стикер этаж" "3D стикер стены" "3D постер" "3D стикер тротуар" "3D уличная живопись" "3D стикер" "3D графика этаж" "3D брендинг этаж" "3D реклама этаж" "3D концепции этаж" "3D этаж обертывания " " 3-й этаж плакаты " " 3D обертывания стен " " 3D стеклянные обертывания " " 3D строительных обертывания " " 3D этаж упаковка " " 3D отображает пол " " 3D живопись этаж " " 3D " " иллюзия " " скрестите глаза " " sinyim " " 3D стрит-арт " " 3D картина " " анаморфное картина " " стрит-арт "
"3D 바닥 스티커" "3D 벽 스티커" "3D 포스터" "3D 포장 스티커" "3D 거리 페인팅" "3D 스티커" "3D 바닥 그래픽" "3D 바닥 브랜드" "3D 바닥 광고" "3D 바닥 개념" "3D 바닥 랩 " "3D 바닥 포스터 " "3D 벽 랩 " "3D 유리 랩 " "3D 건물 랩 " "3D 바닥 배치 " "3D 바닥에 " "3D 바닥 그림 " "3D " "환상 " "당신의 눈을 건너 " " sinyim " "3D 거리 예술 " "3D 그림 " "아나모픽 그림 " "거리 예술"
“3Dフロアステッカー” “3Dウォールステッカー” “3Dポスター” “3D舗装ステッカー” “3Dストリートペインティング” “3Dステッカー” “3Dフロアグラフィック” “3Dフロアブランディング” “3Dフロア広告” “3Dフロアコンセプト” “3D床ラップ” “3Dフロアのポスター” “3Dウォールラップ” “3Dグラスラップ” “3D建物ラップ” “3Dフロアラッピング” “3Dフロアディスプレイ” “3Dフロア絵画" "3D " "錯覚" "あなたの目を渡る" "sinyim” “3Dストリートアート” “3Dペインティング” “アナモフィック絵” “ストリートアート”
"3D vloer sticker" "3D-muur sticker" "3D poster" "3D stoep sticker" "3D straat schilderen" "3D sticker" "3D vloer graphics" "3D vloer branding" "3D vloerreclame" "3D vloer begrippen" "3D vloer wraps " " 3D vloer posters " " 3D muur wraps " " 3D glazen wraps " " 3D geveldoeken " " 3D vloer wrapping " " 3D vloer displays " " 3D vloer schilderen " " 3D " " illusie " " kruis je ogen " " sinyim " " 3D street art " " 3D schilderen " " anamorfe schilderen " " street art "
"3D kat sticker" "3D duvar sticker" "3D posteri" "3D kaldırım sticker" "3D sokak boyama" "3D etiket" "3D kat grafik" "3D kat markalaşma" "3D kat reklam" "3D kat kavramlar" "3D kat sarar " " 3D kat posterleri " " 3D duvar sarar " " 3D cam tamamladı " " 3D bina kaplamaları " " 3D kat sarma " " 3D kat görüntüler " " 3D kat boyama " " 3D " " yanılsama " " gözleri çapraz " " sinyim " " 3D sokak sanatı " " 3D boyama " " anamorfik boyama " " sokak sanatı "
"Sticker 3D piano" "autoadesivo della parete 3D" "poster 3D" "sticker marciapiede 3D" "street painting 3D" "sticker 3D" "grafica in 3D del pavimento" "marchio pavimento 3D" "pubblicità pavimento 3D" "concetti da terra 3D" "3D avvolge piano " " poster " " pavimento 3D impacchi parete 3D " " involucri di vetro 3D " " involucri edilizi 3D " " pavimento " " wrapping 3D espositori da terra 3D " " pittura in 3D piano" "3D " " illusione " " attraversare i tuoi occhi " " sinyim " " 3D street art " " pittura in 3D " " pittura anamorfico " " street art "
"สติกเกอร์ 3D ชั้น" "สติกเกอร์ผนัง 3D" "โปสเตอร์ 3D" "สติกเกอร์ทางเท้า 3D" "ภาพวาดถนน 3D" "3D สติกเกอร์" "กราฟิกชั้น3D" "แบรนด์ชั้น 3D" "การโฆษณาชั้น3D" "แนวคิดที่ชั้น3D" "3D wraps ชั้น " " โปสเตอร์ชั้น3D " " ตัดผนัง 3D " " ตัดกระจก 3D " " ตัดอาคาร 3D " " การตัดพื้น 3D " " การแสดงชั้น 3D " " การวาดภาพชั้น3D " " 3D " " ภาพลวงตา " " ข้ามตาของคุณ " " sinyim " " ถนนศิลปะ3D " " 3D ภาพวาด " " การวาดภาพ anamorphic " " ถนนศิลปะ "
"ملصقا 3D الأرض" "جدار ملصقا 3D" "3D ملصق" "الرصيف ملصقا 3D" "3D الشارع اللوحة" "3D ملصقا" "رسومات الطابق 3D" "العلامات التجارية الطابق 3D" "الدعاية الطابق 3D" "مفاهيم الطابق 3D" "3D يلف الأرض " " الملصقات الطابق 3D " " يلتف الجدار 3D " " يلتف الزجاج 3D " " يلتف بناء 3D " " التفاف الطابق 3D " " يعرض الطابق 3D " " اللوحة الطابق 3D " " 3D " " وهم " " عبور عينيك " " sinyim " " 3D فن الشارع " " اللوحة 3D " " اللوحة صورة بصرية مشوهة " " فن الشارع "
Owned by Pete Wright - Long Beach, CA
3rd Annual Whitter Area Classic Car Show
The videoes: www.youtube.com/watch?v=ojXYP0uXEBk&feature=c4-overvi...
Theres a point in your life where you realize you've learned to do most things you need for youself. It occurred to me on Friday that I'm rapidly approaching that point (tax season looms, I'm getting organized). I realized one of the few things that I still depend on someone else to do for me was getting my hair cut. Decided it was time to take matters into my own hands and just do it myself.
I think it came out ok.
Now... to do something about the scrawny neck....
Check out our new and improved sticker printing service at Zap! Creatives and create your own custom sticker designs...
Owned by Devon County Council and operated by Stagecoach on this tendered service.
The exercise was apparently to test the suitability of a narrower vehicle to run on some of Devon's typically challenging rural roads. The 8.5m-wide Dart/SCC later passed to Stagecoach outright, apparently unique in the whole group, who subsequently transferred it to their South East fleet.
Exmouth, 14/08/2003.
Owned by: DeKalb County Public Works, Sanitation Division
Chassis: CNG Peterbilt 320
Body manufacturer: McNeilus
Type of truck: Front end load garbage truck
Additional notes: This truck is powered by compressed natural gas.
Location of photo: DeKalb County, GA
If you want to use this image, ask permission PRIOR to use. Don't be a thief - under most circumstances, I'm quite reasonable.
Copyright 2012 - Alan B.
Eventually, we got our own swing set at the next house. It was awesome, but then we moved twice (3X really) in the next 4 years, which sucked.
Clint, Dad.
sitting on lap, swinging.
swing.
playground, Mom and Dad's house, Thousand Oaks, Woodbridge, Virginia.
July, 1976.
... Read my blog at ClintJCL.wordpress.com
The Natural Step Canada had it's own TIFF (The Toronto Inspirational Friend and Fundraiser) in Toronto, ON on Oct. 5th, 2011. Guests had the chance to walk the green carpet with The Natural Step at the exclusive wine and cheese reception, as well as rub shoulders with award-winning sustainability VIP Bob Willard, rising star Jennifer Reid, and Executive Director and Producer Kelly Hawke Baxter. Our all-star cast discussed how The Natural Step has captured the greenest hearts and minds across Canada by helping individuals and organizations join the sustainability walk of fame. www.naturalstep.ca/
To make your own random CD cover, follow these steps:
1. en.wikipedia.org/wiki/Special:Random
The first article title on the page is the name of the band.
2. www.quotationspage.com/random.php3 The last four words of the very last quote is the album title.
3. www.flickr.com/explore/interesting/7days/ The third picture, license permitting, is the album cover.
Photo: Sinulog street parade 07
Owned by the University of Edinburgh, this former Freemasons' Hall houses a concert hall and a museum of musical instruments.
St Cecilia's Hall is a small concert hall and museum in the city of Edinburgh, Scotland, in the United Kingdom. It is on the corner of Niddry Street and the Cowgate, about 168 metres (551 ft) south of the Royal Mile. The hall dates from 1763 and was the first purpose-built concert hall in Scotland. It is a Category A listed building.
The hall belongs to the University of Edinburgh, and houses part of the university's collection of musical instruments, including the Russell Collection and the collections of Rodger Mirrey and Anne Macaulay. It is used for a classical chamber music concerts and, during summer, as a venue of the Edinburgh International Festival.
Cecilia's Hall was originally commissioned by the Edinburgh Musical Society (EMS) and designed by the Scottish architect Robert Mylne, who also designed Blackfriars Bridge in London. The EMS was founded in 1728, and for its first 35 years its members met in the upper hall of St Mary's Chapel, a small church that formerly stood to the north of the present hall. In December 1763, after completion of Mylne's new hall, the EMS held an inaugural concert in honour of Saint Cecilia, patron saint of musicians.
St Cecilia's was the first purpose-built concert hall in Scotland when it was completed in 1763, not far behind the first in Europe, the Holywell Music Room in Oxford, built in 1748. Mylne designed the building with an oval concert hall on the first floor level with a rehearsal room on the ground floor. Originally, the main entrance opened out to a small courtyard off Niddry's Wynd, and a portico was added to the entrance around 1787.
In 1785 the City of Edinburgh commenced a major civil engineering project — the construction of South Bridge, a road bridge above the Cowgate to link the Old Town to the university in the south of the city, which was completed in 1787. The new bridge resulted in the loss of several ancient closes, including Niddry's Wynd; St Cecilia's Hall lost its original entrance courtyard. With South Bridge and its high tenement buildings looming over St Cecilia's, the Cowgate became a dark and undesirable location for Edinburgh's concert-goers, who by now were flocking to the newly built Assembly Rooms in the more fashionable New Town on the other side of the city. Audiences at St Cecilia's Hall dwindled and eventually the EMS discontinued performances; the last EMS concert was held in 1798. By 1801, the EMS had quietly disbanded and sold the hall to a Baptist congregation.
On 16 October 1821, St. Cecilia's Hall became the site of the Edinburgh School of Arts, now Heriot-Watt University, first lecture in chemistry. It was then home to classes between 1821 and 1837 when the institution moved to Adam Square.
The building was later used as a Freemasons' lodge, a warehouse, a school (headed by Andrew Bell), and as Magdalene Cairns's Excelsior Ballroom. It was purchased by the University of Edinburgh in 1959.
Owned by Enid Blyton from 1929 until 1938.
She was inspired to write 40 books during this time whilst tending to the two acre garden.
The gardens are a series of formal, modern and naturalistic ones all joined up by wonderful curling pathways and beautiful views. Meander through the Cottage Garden, the Lavender Terrace, the Formal Garden, the Rose Walk and the Water Garden, all of which are teeming with wildlife. The gardens feature in the Most Amazing Gardens in Britain and Ireland and also The Good Gardens Guide.
Enid Blyton called the Old Thatch 'home' and spent many a happy afternoon watching the garden wrens flit in and out of a wonderful old yew hedge feeding their young.
Please note - the gardens are now permanently closed to the public.
Lux Bus S.A, Cambrils operate this pair of Irizar PB bodied Volvo B12B coaches.
8264 BVF dates from 2002 and 0170 DWY from 2006.
They carry contract livery for Anex Tour, the Turkish owned holiday company and are seen in Salou in July 2019.
Owned by C. W. Griffiiths from new and fitted with a 9 speed Fuller gearbox to make climbing all those hills much easier.
Be Your Own Beloved Selfies - Day 21 - Beholding beauty.
"People often say that 'beauty is in the eye of the beholder'; and I say that the most liberating thing about beauty is realizing that you are the beholder. This empowers us to find beauty in places where others have not dared to look, including inside ourselves". *Salma Hayek*
I discovered this quote several weeks ago, and it stopped me in my tracks. I had intellectually known that beauty resides everywhere, and most especially inside my heart & soul, but it took this quote to help me really FEEL it. Being reminded frequently throughout my childhood and teen years that I was "too fat to ever get myself a husband", that "my style was ugly and weird" (and all sorts of other nonsense), I have always strongly doubted my worth and looked outside of myself for love. That is, until very recently. Now I know the truth, and I shall forevermore do my best to both behold myself with love, and as beautiful.
That's the legendary T. Casey Brennan on the left, a fixture around Ann Arbor.
en.wikipedia.org/wiki/T._Casey_Brennan
2011 Ann Arbor Art Fairs.
Ann Arbor, Michigan
I must be one of the only people around who has never owned a Mini.Seen at the Transport Extravaganza at Llandudno VTA423S a Mini 850. Photo taken 30/04/16
Well, having seen the world remembering D Day this week, the class of 1975 at Colne Valley High had their own day of memories of their own D Day, leaving school, on the evening of the 8th of June-a school reunion at Slaithwaite Cricket Club. This school year is the year we all turn(ed) 60-scary really.
We had a reunion four years ago, my first, and I really enjoyed it. Four years on, in changed circumstances and with a lot of shit having happened-and currently happening, I wasn't in the mood for it really. Knowing that I would regret not making the effort though, and having been asked to take a camera, I kicked myself up the backside and, for the first time in over 18 months, I put my glad rags on, gathered some gear and nipped down to the cricket club. I hadn't set foot in a bar for over 18 months either, having gone out four or five times a week for a few years I fell out with doing the same old thing and just stopped going out. Having been tea total until I was 42 but having developed a liking for wine in my forties, I felt that I was having a drink every evening out of habit rather than for pleasure so I decided to stop for a month-a month became a year and I don't miss it-yet! I haven't watched live TV for 17 years, it frees an amazing amount of time up to do other (real life?) things- I definitely don't miss TV either.
I'm sure I'm not the only one who finds it really strange to be meeting ghosts from the past, often long forgotten. How many would you fail to recognise without the name tag giving it away? Talking to people, it's obvious that many have fond memories of school, me? I despised every second, Junior school wasn't good but high school killed me, I was struck down with a blinding migraine that crippled me only weeks into the first term-stress related. There wasn't another boy from my old school in our form and seats are always in pairs, old schoolmates formed clicks and I was an outsider-for a while. I missed a lot of school, I didn't walk the streets, so long as I put my overalls on and worked my Dad turned a blind eye to me walking back home to work, having clocked in for the morning register. There wouldn't be any letters from him claiming that I'd been ill, I had to tough it out and make my own excuses, sometimes forging my own letters. I walked out early in the fifth form and never really went back. When I went to get my leaving papers signed at the end of the fifth form most of the teachers though that I'd left long ago. The truant officers were on my case, but, finding that I was working, and that I had no intention of going back to school, they agreed to calling it work experience but the deal was that I had to go to school one day a week. I chose Friday. The reality was that once every few weeks I went for first registration and then climbed out of the form room window, in C block, at ground level, and legged it back to work. During the reunion evening I glanced at the printed roll call of our school year that was on the tables, I searched for my name in 5B1, scanning the list over and over again-my name wasn't there! I don't suppose it's surprising really is it?
I used to do a lot of party photography but gave up years ago as I was getting asked to do christenings and weddings and the like and I've never wanted to turn a hobby into a job, what's the point? I haven't put a flashgun on a camera for years and, even though I use my cameras every day of the week, I had to reacquaint myself with indoor flash techniques again, which really means that I shot half a dozen test shots in my office at home before I turned out. Going around a room full of relative strangers, often not impressed at having a large professional camera stuck in their face, isn't for the fainthearted, and, like flash photography, you get better with practice-I'm definitely out of practice. I tried, but probably failed, to include everyone, some people seemed to stay out of my way, but I did try to be inclusive. Personally, I think that perhaps Michael Sykes was the only person that took a photo of me-so perhaps I was there after all! I was asked to write the opinion column in The Times a few years ago, I'd written a letter to the editor (as you do), and, having impressed the editor with my viewpoint on a subject that they were getting quite wrong, with a letter that was far too long to publish, but that I knew an awful lot more about than they did, the editor of the opinion column was asked to approach me with a view to me writing a column for publication the following day. It was bit surreal at the time and led to TV and radio interviews over the following twelve months-my ten seconds of fame I suppose. The problem was that I had to find a photo of myself in a suit to go with the column. At the time, thankfully, I often went out in a suit but I was always the man with the camera and no one took photos of me unless someone grabbed my camera. I did eventually manage to crop myself from a scene with lots of other people in it, tidy it up a bit, and it did the job.
It was good to catch up with some old friends and I think it's fantastic that Lynn, Michael and Dianne go to the trouble of organising these reunions (my apologies if anyone else is involved) They took the financial risk of hiring Storm to entertain us (and rattle my tinnitus) and kept their fingers crossed that we'd all stump up enough to cover the cost. Of course another reason for not missing a reunion is that you may not see some of these people again. I'm often amazed that someone from my schooldays appears at work as a customer, I haven't seen them for 30 or 40 years and they only live a mile or so away from me. Many people long for their schooldays back, often with the caveat that they knew then what they know now, the advantages of youth and the wisdom of age, personally, I wouldn't want to go back for love nor money. There's a lot I want to do but very little I'd want to repeat. I was in a dispute with a local hillbilly who used to drive for us a while ago, a man who was always complaining that everything about yesterday, the past, was better than today. He told me that he never got on with me because I was a progressive, always looking forward and he wasn't. I laughed and said thank f**k for that.
The photos aren't my best effort, autofocus doesn't like dimly lit rooms, if I took a photo of someone and it isn't here, it's probably because the autofocus didn't lock on-or the flash didn't fire, apologies to anyone I missed although I would guess that someone with a phone got you.
Will we have another I wonder? Time will tell.
A Dachshund created and folded by my from a square of canson paper (110 g/sm) in 2011.
Designing notes and more info: www.origami-brasil.com/2011/12/dachshund-opus-21 (pt-br)