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A beautiful retail store (skybox) featuring wood tiles floor, Carrara marble walls, and columns. Materials add a natural and earthy feel to the space, with a touch of elegance and luxury. It has high ceilings and plenty of natural light entering from the grid, creating a spacious and open feel, with a harmonious aesthetic that is both modern and timeless. The store can be adapted to sell any item, making it a destination for discerning shoppers looking for a unique and stylish shopping experience. The pack also includes display tables and AD stands, a modern reception desk, and also wall displays ( 1 LI each).
- Land impact: 30
- Size: 54 x 54 ( 2.916 sqm)
- Recommended parcel size : 4.096 sqm
- Easy rezzing with rez box
- all items are COPY / MOD / NO TRANSF
Additional photos on MP :
Tville MP Commercial Structures
You can buy it in my Mesh Store inworld (Rez Area with demo is also available) :
Lanhydrock, near Bodmin, is a magnificent late Victorian country house with extensive servants quarters, gardens and a wooded estate.
It is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. The kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant.
The house is set in wooded parkland of 1,000 acres and encircled by a garden of rare shrubs and trees.
Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons.
Don't miss
* There are 50 rooms to explore – allow plenty of time!
* Play the Steinway piano in the Long Gallery
* Look out for the museum and second-hand bookshop
The gardens
The historical garden with its 30-acres of woodland was laid out back in 1857, but its present format was actually established later on in the Victorian period, and many of the plants are no more than 70 years old. However, a grand atmosphere permeates the entire setting and compliments the brilliant planting of more modern times.
Explore formal parterres of dazzling bedding plants and wander along paths that wind through a woodland landscape planted in a semi-formal Cornish fashion - rhododendrons and Himalayan magnolias lurching to their full-size in the fresh Cornish air. Because the grounds lie inland and rise up to 130-metres above sea level, the plants have to cope with harsher climates than the lush valley gardens of the south coast. In spite of this, Lanhydrock still puts on one of the county's most colourful spring shows, with over 120 species of cream and white magnolias featuring amongst a flurry of wild blooms that carpet the woodland.
Learn more about the history and the work involved to keep the magnificent gardens maintained via the new interpretation on permanent display in the garden's thatched cottage.
Take-in the sweeping views over the gardens and the valley landscape, and it's pretty obvious that this is prime garden for walkers. Not only is there 30-acres of formal and informal woodland to explore, but the garden opens onto an extensive network of footpaths zig-zagging through 900-acres of beautiful countryside.
And with so much space to roam, Lanhydrock makes a very family friendly day out. Whilst the fresh air and colourful surroundings will captivate the kids' imaginations and wear them out, the restaurant has a fantastic children's menu and there are excellent baby-changing facilities on-site.
(visitcornwall.com)
Lanhydrock House (kornisch Lannhydrek) ist ein Herrenhaus nahe der englischen Stadt Bodmin in Cornwall. Es liegt fast 13 Kilometer von der Südküste Cornwalls entfernt im waldreichen Tal des Flusses River Fowey, inmitten eines 367 Hektar großen Anwesens, das bis zu 130 Metern Höhe ansteigt.
Lanhydrock House ist von einem attraktiven formalen Garten und einem Landschaftspark umgeben. Der angrenzende Hügel ist mit ausgewählten Bäumen und Sträuchern bepflanzt. Viele Teile des heutigen Hauses sind viktorianischen Ursprungs, einige sind jedoch mehr als 200 Jahre älter, sie datieren etwa um das Jahr 1620.
Lanhydrock war bis 1539 ein klösterlicher Bauernhof im Besitz des Priorats von St Petroc in Bodmin. Nach der Auflösung der Klöster unter Heinrich VIII. erwarb im Jahr 1543 die benachbarte Familie Glynn das Landgut. Durch Heirat ging es später an die Familie Lyttelton, ebenfalls durch Heirat 1577 an die Familie Trenance über.
Im Jahr 1621 erwarb der Kaufmann und Geldverleiher Richard Robartes aus Truro das Landgut und begann Lanhydrock House zu erbauen. Unter ihm entstand der heutige Nordflügel des Herrenhauses aus grauem Granit. Schon 1626 lebte der 1621 zum Baronet, of Truro, und 1625 zum Baron Robartes aufgestiegene Richard Robartes auf Lanhydrock. Sein Sohn, John Robartes, 2. Baron Robartes, trat 1634 das Erbe des Vaters an. John Robartes, 2. Baron Robartes, der spätere 1. Earl of Radnor, war zu diesem Zeitpunkt Vorsitzender der Cornish Parliamentary Party („Kornische Parlamentspartei“) im britischen Oberhaus. Zu Repräsentationszwecken ließ er bis 1651 Lanhydrock House um drei weitere Flügel zu einem Karree um einen Innenhof erweitern und das Torhaus errichten. Der Baustil des Hauses entsprach anderen Landsitzen in der Umgebung wie Penheale House in Egloskerry oder Trewan nahe St Columb Major.
m Einzelnen ließ John Robartes ab 1634 zunächst einen Eingang im Haus seines Vaters einfügen, der heute zum Ladenbereich führt und über dem die Inschrift „1636: ILR: L“ (für „1636: John Lord Robartes: Lanhydrock“) angebracht ist. Von 1636 bis 1640 dauerten die Bauarbeiten am Westflügel, der Südflügel stammt aus dem Jahr 1642. Die Erweiterungsmaßnahmen endeten 1651 mit der Errichtung des Torhauses, das ursprünglich als Jagdhaus gedacht war. John Robartes hatte sich in den 1650er Jahren, der Regierungszeit des Lordprotektors Oliver Cromwell, nach Cornwall zurückgezogen, wo er 1664 die Genehmigung zur Einzäunung eines 340 Hektar großen Wildparks erhielt. Seit 1657 gab es Rotwild im Park von Lanhydrock. Nach Wiedererrichtung der Königsherrschaft 1660 wurde John Robartes unter Karl II. in den Privy Council (Kronrat) erhoben, im Jahr 1661 Lordsiegelbewahrer, ein Amt, das er bis 1673 innehatte, sowie 1679 Earl of Radnor und Lord President of the Council. 1684 schied er aus allen Ämtern aus.
Die Erben John Robartes’, Charles Robartes, 2. Earl of Radnor (1660–1723), und Henry Robartes, 3. Earl of Radnor (1695–1741), zogen andere Wohnorte Lanhydrock vor, so dass der Reisende John Loveday der Ältere (1711–1789), Philologe und Antiquar, im Jahr 1736 ein „äußerst baufälliges und absolut unmöbliertes“ Haus vorfand. Beide Robartes wurden jedoch wie schon John Robartes in der Familiengruft auf Lanhydrock beigesetzt. Der Antiquitätensammler und Naturforscher William Borlase schrieb 1758 über Lanhydrock, dass „alles im Haus verwahrlost und verfallen ist“. Die Urenkelin von John Robartes und Erbin von Lanhydrock, Mary Vere Robartes († 1758), hatte zuvor erwogen, das Haus abreißen zu lassen. Doch ihr ältester Sohn George Hunt (um 1720–1798) ließ bis 1788 nur Teile des Gebäudes wie die Hauskapelle und den Ostflügel abtragen, wodurch das heutige U-förmige Bauschema von Lanhydrock House entstand. Er ließ die Fassade rot streichen, um das Haus dem modischen Ziegelmauerwerk anzupassen, und das Innere unter anderem mit Chippendale-Tischen und Axminster-Teppichen neu einrichten.
George Hunt vermachte Lanhydrock 1798 seiner Nichte Anna Maria Hunt (1771–1861). Schon 1788 hatte sie das Herrenhaus und die zerstreuten Ländereien übernommen. Unterstützt wurde sie durch ihre Verwalter William und Alfred Jenkins. Anna Maria Hunt heiratete den Londoner Anwalt Charles Bagenal-Agar (1769–1811), aus deren Ehe drei Söhne hervorgingen, von denen nur Thomas James (1808–1882) nicht schon im Kindesalter verstarb. In der Zeit der Anna Maria Hunt, die sich oft auf Lanhydrock aufhielt, wurden zum Schutz der Bilder in der Galerie Rollos und Öfen eingebaut.
Auf Anraten seiner Mutter übernahm Thomas James Agar 1822 die Bestallung und das Wappen der Robartes und wurde 1869 als 1. Baron Robartes geadelt. Nach seiner Volljährigkeit 1829 übernahm er einen Teil der Verantwortung für Lanhydrock. Im Jahr 1858 erhielt der Architekt George Gilbert Scott (1811–1878) den Auftrag, Lanhydrock House instand zu setzen. Scott übertrug diese Aufgabe seinem ersten Assistenten Richard Coad (1825–1900). Die Reparaturarbeiten am Haus, die von 1857 bis 1864 andauerten, sollten 1407 Pfund, 4 Schilling und 6 Pence kosten. Neben der Instandsetzung wurden das Brauhaus in ein Billardzimmer umgebaut, Glasscheiben in die Fenster eingesetzt, eine neue Remise erbaut und neue Gartenanlagen nach Plänen von George Truefitt (1824–1902) angelegt.
Am 4. April 1881 zerstörte ein Großbrand den Südflügel und einen Teil des Westflügels von Lanhydrock House. Gegen 13 Uhr hatte ein frei liegender Holzbalken im Küchenschornstein Feuer gefangen. Der Einbruch des Westflügeldaches führte zum Verlust der historischen Stuckdecke. Nur der Nordflügel mit seiner 29 Meter langen Long Gallery aus dem 17. Jahrhundert und das Frontportal blieben intakt. Lord und Lady Robartes, die seit 1839 mit Thomas James verheiratete Juliana Pole-Carew (1812–1881), blieben unverletzt. Ihr Sohn Thomas Charles Agar-Robartes (1844–1930), am 5. April aus London angereist, telegrafierte noch am selben Tag seiner Frau Mary, geborene Dickinson (1853–1921): „Galerie gerettet. Nicht ganz so schlimm wie befürchtet.“
Nach dem Ableben seiner Mutter nur wenige Tage nach dem Großbrand ließ Thomas Charles das Herrenhaus von Lanhydrock wieder aufbauen. Die äußeren und inneren Mauern der zerstörten Gebäudeteile hatten dem Brand standgehalten. Für die Sanierung des Hauses wurde der inzwischen selbstständige Architekt Richard Coad beauftragt, der für den Wiederaufbau der Innenräume den schottischen Architekten James MacLaren (1853–1890) aus Glasgow als seinen Assistenten heranzog. Die Ausschreibung der Bauarbeiten gewann die Firma Thomas Lang & Sons aus Liskeard, der Kostenvoranschlag belief sich auf 19.406 Pfund. Während sich Coad der Außenarbeiten und technischen Angelegenheiten annahm, entwarf MacLaren unter anderem den Esssaal im Stil des Ästhetizismus, die elisabethanische Teak-Treppe und den Rokoko-Kamin im Gebetsraum.
Da die Kosten der Instandsetzung den Voranschlag bei weitem überschritten, sie beliefen sich schließlich auf 73.000 Pfund, entstanden Spannungen zwischen dem Auftraggeber und dem leitenden Architekten. Thomas Charles, nach dem Tod seines Vaters Thomas James 1882 der 2. Baron Robartes, hinterfragte bei Richard Coad Zahlungen in Höhe von 10.000 Pfund für die Heißwasserzufuhr, die Bleiverglasung und die brandsicheren Zimmerdecken. Auch zwischen Coad und MacLaren gab es 1884 Differenzen. Das führte dazu, dass der Auftrag für die Renovierung der kleinen Kirche neben dem Haus durch Lady Robartes 1886 an George Vialls und nicht an Richard Coad vergeben wurde.
Im Jahr 1885 wurde das Haus durch die Familie Agar-Robartes wieder bezogen. Gemeinsam mit seiner Frau Mary hatte der 2. Baron Robartes zwischen 1879 und 1895 zehn Kinder, von denen nur eines 1884 im Säuglingsalter starb. Durch das Fehlen männlicher Nachkommenschaft in der Familie Agar erbte Thomas Charles 1899 den Titel Viscount Clifden von Leopold Agar-Ellis (1829–1899), dem 5. Viscount Clifden. Die neun verbliebenen Kinder der Agar-Robartes’ wuchsen auf Lanhydrock auf. Der älteste Sohn, Thomas Charles Reginald Agar-Robartes (1880–1915), genannt Tommy, war in der Politik tätig, wo er durch die Liberale Partei unterstützt wurde. Er starb 1915 im Ersten Weltkrieg an einer Schussverletzung in der Schlacht bei Loos und Hulluch (Teil der Herbstschlacht bei La Bassée und Arras), an der er als Captain des I. Battalion Coldstream Guards (Infanterie) teilnahm. Als zweitältester Sohn von Thomas Charles erbte deshalb Francis Gerald Agar-Robartes (1883–1966) im Jahr 1930 die Titel Lord Robartes und Viscount Clifden sowie das Anwesen von Lanhydrock.
Francis Gerald, der 7. Viscount Clifden, blieb ebenso wie sechs seiner Geschwister kinderlos. Einzige Enkelin von Thomas Charles Agar-Robartes, dem 6. Viscount Clifden, war Rachel, Tochter von Arthur Victor Agar-Robartes (1887–1974), die nach dem Zweiten Weltkrieg in Afrika lebte. Mit dem Tod Arthur Victors 1974, ab dem Jahr 1966 der 8. Viscount Clifden, erlosch dieser Titel. Schon in den 1920er Jahren führte die unsichere Zukunft der Landwirtschaft zum Verkauf großer Landflächen der Familie. 1953 entschloss sich Francis Gerald Agar-Robartes, Lanhydrock House mitsamt 160 Hektar Land an den National Trust zu übereignen. Oliver Sylvain Baliol Brett (1881–1963), 3. Viscount Esher und Vorsitzender des National Trust Historic Building Committee (Ausschuss des National Trust für historische Bauten), bezeichnete 1953 das Haus als „Nebensächlichkeit“ im Vergleich zu den übernommenen umliegenden Landschaften.
Francis Gerald Agar-Robartes lebte gemeinsam mit seinen beiden unverheirateten Schwestern Everilda (1880–1969) und Violet (1888–1965) bis zu ihrem jeweiligen Tode auf Lanhydrock. Schon 1954 wurden die ersten sechs Räume des Hauses der Öffentlichkeit zugänglich gemacht. Die Besucherzahl stieg mittlerweile von alljährlich 85.000 Mitte der 1980er Jahre auf mehr als 200.000 Besucher zwanzig Jahre später.
Lanhydrock war 1996 der Hauptdrehort für den Film Twelfth Night, or What You Will. Regie führte Trevor Nunn, Hauptdarstellerin war Helena Bonham Carter als Olivia. Weiterhin dienten Haus und Garten als Drehort für die Rosamunde-Pilcher-Verfilmungen Klippen der Liebe (1999) und Im Zweifel für die Liebe (2009).
(Wikipedia)
[Hefei, Anhui, China] The spacious access hall of the Anhui cultural museum, a free-admission educational venue in the provincial capital Hefei, exhibiting modern architecture and pieces of the province's history and traditions.
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…we went upstairs into a spacious studio. The invigorating, nutty smell of
oil paint delighted my senses. It seemed as if I had stepped inside of the
painting. The enormous room dissolved the concentrated scent of oil paints and transformed into Asian perfume. Stepping inside an artist’s studio every time put me into the position of Alice in Wonderland. Surrounded by scattered paintings, brushes, pallets, paint tubes, roles of canvases, and sketch pads, I was searching for the special conversational piece. If I could only find the right piece, which would be the artist’s favorite, I knew it
would break the ice. The first painting that caught my attention put me suddenly under hypnosis and I don’t recall for how long I was staring at it, whether it was a minute or an hour. This is not, in any way, an exaggeration but a real-live experience.
Evidently, Jaisini noticed that I was trapped by one of his paintings and broke the silence.
-Do you like that piece, or are you looking for a starting point to criticize it?
However it is, I welcome your criticisms rather than flattery.
-Your painting develops in my mind like photosensitive paper in a developer. On second thought, I sense an aesthetic pleasure from just the color harmony, but I still need more time-I said.
-No problem, take your time while I finish a sketch.
I had to postpone the interview in order to get a better look at the painting
that captured me. The artist put on some classical music. I began taking notes about what I had seen while he was silently sketching. As time flew
by, it was getting dark outside and the music ended long ago. I glanced at
the watch and realized that 4 hours had already elapsed and I didn’t even start the interview.
Jaisini was still concentrating on his work and it was obvious that I should’ve called it a day. Setting the convenient time for tomorrow I left.
…we met at the café.
I could tell that Jaisini was in a good mood and the interview has a better chance today. Perhaps his work went well, I thought. Jaisini greeted me as someone he had already befriended….
…-Positively, the painting I was contemplating in your studio sticks to my mind
Jaisini answered;
-It happens to many. I like this cafe. It is always so picturesque. The people
here make it colorful. For example, do you see that waitress?
-The small blond in her late thirties?
-Yes, her name is Nancy. Three years ago she told me that she wanted to become famous and in her free time she writes a script for a movie, convincing me that it will be the first script of its kind, a love story based on
her memoir.
Jaisini smiled charmingly, adding: -Oh, no, I am not joking. I believe in her. Once I invited her to the studio, as
she seemed like such a peculiar person. I was just finishing my painting called “Organ Grinder”. She declared frankly and firmly: ”I want this picture. How much?”
I explained to her that I don’t sell paintings.
Then I experienced certain chemistry. When such a “simple” person, but still
the one who writes the script, says: “I want the “Organ Grinder”, it was the
strangest thing. I didn’t like the painting one bit and after that, all of a sudden, I started seeing it in a different light of something very pure and
divine. She wanted so badly to own the picture that she induced her desire on me. I think that to create this “divine” we have to get down with people, declass to become simple and understand art with awe. Even though Gleitzeit is not for regular people, it can be understood by a mailman who asked me for an autograph, by an immigrant who came to the US to earn
money, or by a priest from England who told me that this art is for intellectuals, not for ambitious people who say, “I understand this art while others don’t.”.
-Do you think that your pictures relate to people as if they are puzzles of human life?
-When a man is awake, a man is asleep; everything encloses. And when you enclose your line you create the reality in which the man truly exists not knowing that he is entrapped in a secluded world of his own doing which he cannot escape. The enclosed line may provoke the desire to breakout, to find an exit.
-The question arises, what is fine art now and who needs it? The elite?
-Yes, but people crave art too if a mailman asked me for my autograph on a postcard after I had to explain him about the picture he saw. Before I explained the painting the man felt scared of breaking his head over it. It is understandable when in schools art is taught as an entertainment, not as a psychological significance, a process of growth, a visualization of today’s reality, an analysis of social life and ancient history, or the world’s history that brought people to the technical progress.
- To build a family is more important for that man.
-Yes, he understands his purpose of trying to build a family of five with eighteen grandchildren. A man’s genetic structure is of a turtle’s and is directed to one, laying eggs by any means and returning in a year through six thousand miles across the ocean to lay eggs again at the same place. But pay attention that bravado of the civilized world brings a realization that everything is a sham. Real is what is encoded by nature; real is when you see a beautiful ocean, a beautiful sunrise, or the grace of a horse. This is real.
- Then what is fine art? Is fine beautiful or good?
-Beautiful. It began from nature, from the copying of beautiful bodies of people and horses…. My main direction in art is most progressive, to achieve in composition the grace of color combinations, an intellectual color climax, tone, contrast, and so on. The idea of the painting unites in itself everything we see in the real world, but in an intricate, puzzle-like concept.
-Art in America is a tendency for immediate recognition. The remembrance is strictly visual since there was no comprehension. First they want to see that it’s different. What about Gleitzeit, how do you see this visual effect expressed?
-A regular person, either a lady florist, my tennis partner, or a teenage cowboy comes to my studio and says: “I don’t understand this art and
I don’t want to see it, it’s not mine. When the lady florist starts seeing some figures in a painting, she shouts, “I see! Look! Look! I see it now!” like a child. A man denies what he doesn’t understand as an immediate reaction. An everyday man is brought up on the understanding of natural grace. He doesn’t assimilate it in an abstract
way. He sees an egg and a hen and points out which are the egg and the hen. In my picture he can’t say that this is an egg and this is a hen at first. Moreover, he can’t say what came first, the egg or the hen. He sees something very simple or very complicating. The man refuses to do an effort. Slowly, not even slowly, but pretty quickly the man can
transform if he learns.
-Do you want to change the process of art cognition? The judgment is not based on the appearance since ‘we’ve seen all there is to see’ with and without philosophy, like when they sell us Coca-Cola they tell us about the transcendental. We are understanding folks. Do you want this “flat” cognition to change?
- A man is looking for an escape. I try to attach him to a thread in the picture, which is twisted, to untangle it. What is next? Did he learn something? Yes, and he also begins to understand abstraction after the knot is undone. This is flexitime. Will the work turn blank? No, since it still has an idea. If it would be an automated drawing by a schoolchild that may look like something there is no concept. In my art you have an idea and mastership. The key is the artist’s mastership. A weak painting will not survive. What is left to the spectator is aesthetic pleasure and confidence.
-What if people ask you for a simpler art? Why do they have to untangle your art?
- I answer simply. It’s not my doing and decision. I didn’t decide it. The art critics said so, they who studied art all their life and read volumes of books. They say that they analyzed it and it has this and that meaning, non other. That an artist is a reflection of society.
- Do you consider yourself a reflection?
-No, I don’t. Philosophers try to understand what is art and life. I only
insist that grace will not diminish in value.
… and I caught myself on a thought that I wanted to know how the story with the scriptwriter waitress ended. If the painting is still in the artist’s holdings I would like to see it to know why she wanted it so badly. And I asked…From 48 hours of the Interview with Paul Jaisini in his New York studio
These Western Bluebird nestlings are enjoying their luxury lodging — each bird has its own window to take in the view.
These birds had fledged when I checked in on them the next day. More photos and info on this bluebird family can be found here.
In the course of its expansion to the East, the Teutonic Order secured the conquered territories by building castles. While the Order achieved military successes in Eastern Europe, it suffered setbacks in the Holy Land. In 1291 Acre, the last stronghold of the Crusaders in the Holy Land fell. The Order moved its headquarters to Venice, but it was clear that a reconquest of Palestine was out of the question. Prussia offered itself as an alternative field of activity.
In 1308 the Order took over Gdansk and in 1309 Grand Master Siegfried von Feuchtwangen moved his seat from Venice to Marienburg. The fortress was expanded into a very spacious castle. Today complex is the largest brick building in Europe
After the defeat of the Order in the Battle of Grunwald (Schlacht bei Tanneberg) against Poland-Lithuania, the first siege of Marienburg took place in 1410. Heinrich von Plauen managed to hold the fortress.
In 1454, during the Thirteen Years' Prussian City War, Ludwig von Erlichshausen successfully defended the castle against the Polish King Casimir IV. Jagiello. However, as the Grand Master fell behind with the payment of the salaries, he had to pawn the castle to his rebelling mercenaries in 1455. They sold the fortress to the Polish king without further ado.
After WWII about 60 per cent of the castle was destroyed or damaged. It got reconstructed and by now is one of the hot spots of tourism in Poland.
Jordan - Jerash
Jerash, located 48 km north of Amman and nestled in a quiet valley among the mountains of Gilead, is the grandeur of Imperial Rome being one of the largest and most well preserved sites of Roman architecture in the World outside Italy. To this day, its paved and colonnaded streets, soaring hilltop temples, handsome theaters, spacious public squares and plazas, baths, fountains and city walls pierced by towers and gates remain in exceptional condition.
This fascinating city makes a great day-trip from Amman, particularly in spring, when the wildflowers are in bloom. The drive will take you less than an hour, but will transport you 2000 years back in time. Within the remaining city walls, archeologists have found the ruins of settlements dating back to the Neolithic Age, indicating human occupation of this location for more than 6500 years. This is not surprising, as the area is ideally suited for human habitation.
Jerash has a year-round supply of water, while its altitude of 500 meters gives it a temperate climate and excellent visibility over the surrounding low-lying areas.
The history of Jerash is a blend of the Greco-Roman world of the Mediterranean basin and the ancient traditions of the Arab Orient. Indeed, the name of the city itself reflects this interaction. The earliest Arabic/Semitic inhabitants named their village Garshu. The Romans later Hellenised the former Arabic name into Gerasa, and at the end of the 19th century, the Arab and Circassian inhabitants of the small rural settlement transformed the Roman Gerasa into the Arabic Jerash.
It was not until the days of Alexander the Great in the 4th century BC that Jerash truly began to develop into a sizeable town. But it was during the period of Roman rule that Jerash, then known as Gerasa, enjoyed its golden age. The first known historical reference to Jerash dates back to the 2nd or early 1st century BC. This reference is attributed to Josephus, a historian from the Holy Land, who referred to it as the the place to which Theodorus, the tyrant of Philadelphia, removed his treasure for safe keeping in the Temple of Zeus. Shortly afterward, Theodorus lost Jerash to Alexander Jannceus, a religious priest. Soon after Rome took control of Syria, Emperor Pompey, in 63 BC, named conquered Jerash as one of the great cities of the Decapolis
League. This brought great economic benefits to Jerash and trade flourished with the Nabataean Empire based in Petra. In 106 AD, Emperor Trajan annexed the wealthy Nabataean Kingdom and formed the province of Arabia. This brought even greater trading riches pouring into Jerash, which enjoyed a burst of construction activity. Granite was brought from as far away as Egypt, and old temples were rebuilt according to the latest architectural fashion. The city received yet another boost in stature with the visit of Emperor Hadrian in 129 AD. To honor its guest, the citizens raised a monumental Triumphal Arch at the southern end of the city. Jerash's prosperity reached a peak in the beginning of the 3rd century, when it was bestowed with the rank of Roman Colony. During this "golden age", Jerash may have had a population of 20,000 people. The ancient city preserved today was the administrative, civic, commercial and cultural center of this community, while the majority of the city's citizens lived on the east side of Jerash Valley. As the 3rd century progressed, shipping began to take over as the main route for commerce. Jerash fell into decline as its previously lucrative trade routes became less traveled and therefore less valuable.
By the middle of the 5th century, Christianity had become the major religion of the region and numerous churches were constructed in Jerash. Many churches were constructed of stones taken from pagan temples - and the remains of several can be seen today. Jerash was hit further by the Persian invasion of 614 AD and the Muslim conquest of 636 AD. A series of earthquakes in 749 AD did serious damage to the city and hastened its decline, and its population sank to 4000. The Crusaders described Jerash as uninhabited, and it remained abandoned until its rediscovery in 1806, when Ulrich Jasper Seetzen, a German traveler, came across and recognized a small part of the ruins. The ancient city was buried in sand, which accounts for its remarkable preservation. It has been gradually revealed through a series of excavations, which started in 1925, and continue to this day.
It's fair to say that 2019 will be a big year for Virgin Atlantic, not only has the carrier announced an order for new Airbus A330-900s at the 2019 Paris Air Show, but the carrier will also take delivery of their first Airbus A350-1000 which will mark a massive change for the carrier.
The 12 Airbus A350-1000s will replace the ageing Airbus A340-600s and the last remaining Boeing 747-400 fleet. The Airbus A350-1000s will feature brand new interior cabins; which sees the Herringbone Upper Class seats replaced in favour of a modified Reverse Herringbone layout with seats manufactured by Safran, going for the Cirrus NG model. The Upper Class bar will be replaced by a new social space known as 'The Loft'.
Premium Economy will be in an 8-abreast layout which will utilise Collins Aerospace MiQ seats which have been criticised for not being as spacious as their existing fleet. Economy will be in a 9-abreast layout with the seats being Recaro CL3710's.
Currently, Virgin Atlantic operates 14 Airbus A330s, which includes 4 Airbus A330-200s and 10 Airbus A330-300s. Virgin Atlantic have 14 Airbus A330-900s on-order with options for a further 6.
Since the unveiling of the new cabins, Virgin Atlantic have scheduled the Airbus A350-1000s beginning from 10th September 2019. As per Airline Route, Airbus A350-1000s will replace Airbus A330-300 operation on VS153/138 on a 6 times weekly basis operating excluding Thursday. From 25th September 2019, Airbus A350-1000s will be utilised on VS137/138, once again operating 6 times weekly excluding Thursday.
For the W19 schedule, Airbus A350-1000s are expected to continue service on VS137/138, but will operate excluding Tuesdays, although on selected dates will also not operate on Saturdays. So far, Virgin Atlantic have yet to release their Airbus A350-1000 schedule for the S20 schedule.
Victor Kilo Sierra Sierra is one of 10 Airbus A330-300s in service with Virgin Atlantic, delivered new to the carrier on lease from AerCap on 28th February 2011 and she is powered by 2 Rolls-Royce Trent 772B-60 engines.
Airbus A330-343X G-VKSS 'Mademoiselle Rouge' on final approach into Runway 27L at London Heathrow (LHR) on VS138 from New York-John F. Kennedy (JFK).
"Big 63" was a freighter spaceship, specialising in carrying small mixed cargoes over short hops. Its stub wings and lifting body hull gave it the ability to operate from the surfaces of planets with atmospheres.
The fuselage was quite spacious. Cargo was loaded via the large rear ramp. Unusually for a ship of this class, the area behind the pilot wasn't converted into a bunk area. Apparently this was to enable access for play though the top hatch, whatever that meant (I mean giant fingers reaching through the roof of the spaceship to manipulate the cargo? Really? That's just silly.).
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This ship was totally inspired by a micro-scale model by TenorPenny.
Temple of Apollo at Schwetzingen Palace and Gardens, Schwetzingen, Rhine-Neckar metropolitan area, Baden-Wuerttemberg
Some background information:
Schwetzingen Palace is a Baroque palace in the German state of Baden-Württemberg. It is situated in in the town of Schwetzingen, near the larger cities of Heidelberg and Mannheim. Schwetzingen was the summer residence of the Electors Palatine Charles III Philip and Charles IV Theodore (both of the House of Wittelsbach). Next to the palace itself and the most notable, spacious and ornate gardens, the compound also features a palace theatre, which is still in use today.
The origins of Schwetzingen Palace date back to 1350, when a small moated castle occupied the site. The main building, as it is still today, replaces a 17th-century hunting lodge built on the foundations of the moated castle of which it also retains some foundations and walling (hence the slightly irregular layout). It was built in its current form in several building campaigns between 1700 and 1750. Construction began in the reign of Johann Wilhelm von der Pfalz, for whom the palace was not yet to be an official summer residence, but a simple hunting lodge. The palace owes its current form to the Prince Elector Johann Wilhelm, who commissioned alterations in 1697. The addition of two wings, which mainly served as orangeries, significantly increased its size.
After Schwetzingen Palace had become the official summer residence of the electorate, the whole court – altogether more than 1,500 people – had to move to Schwetzingen in the time between the beginning of April and the beginning of November. The decision to make Schwetzingen the summer residence was owed to the fact that Mannheim as the elector’s former all-season seat, smelled badly during the summers. At that time, Mannheim was a major city and the streets were full of horse droppings, which exhaled a disgusting stench in the warmer times of the year.
That’s why Schwetzingen flourished under the Palatine Prince Elector Charles IV Theodore (1724 to 1799). However, it was his wife, Countess Palatine Elisabeth Auguste of Sulzbach, who wore the breeches and de facto ruled the Palatinate and Bavaria during the first half of their marriage. It was her, who was the legal heir by birth, but could not come into inheritance, as she was no male heir. Therefore her marriage with Charles IV Theodore was arranged to avoid a potential inheritance dispute within the different family branches. Not until 1760, it was reported that Charles IV Theodore freed himself from her dominance. However, all his life Charles IV Theodore was more interested in arts than in politics. In particular he was taken by music. Hence it is not surprising that even Wolfgang Amadeus Mozart was a guest at Schwetzingen Palace three times.
Under Elisabeth Auguste and Charles IV Theodore, Schwetzingen Palace reached the height of splendour. Both instructed the leading landscape architects of the age to design the gardens, including the Frenchman Nicolas de Pigage and later the German Friedrich Ludwig von Sckell, with assistance from many renowned artists. From 1749 onwards, they created a masterpiece of rare beauty and rich variety. The central part of the gardens, including the wings of the main building, which form a semi-circle each, leafy avenues and a circular parterre, is laid out geometrically, with a focus on symmetry and order. In the late 18th century, an English-style landscape park was added to the Baroque garden – the Arborium Theodoricum, as it is called, is one of the earliest of its kind in Germany.
Schwetzingen Palace Gardens are a cultural heritage site of European significance: more than 100 sculptures are scattered throughout this wonderful, and at times surprising, landscape. An assortment of whimsical buildings lends an exotic touch. The temple of Apollo, a small, round building, houses a statue of the ancient Greek god of light and the arts, playing the lyre. The bath house is a summerhouse with its own garden, modelled on an Italian villa. And, most spectacularly, in the Turkish gardens, there is a mosque designed by Nicolas de Pigage – the largest structure of its kind in a German garden. The mosque is also the earliest mosque-style building in Germany. It was built between 1779 and 1791, at a time when the “Turkish” style was fashionable in Germany. Ornamented with oriental details, the late-Baroque building was purely decorative and served no religious purpose.
Today, Schwetzingen Palace and Gardens are open to the public. The electoral 18th-century rooms can be visited within a guided tour, but unfortunately it is not allowed to take photos of the palace’s interior.
Nowadays, the town of Schwetzingen has more than 22,000 residents. In 766, it was first mentioned in a document. Originally it consisted of two settlements – Ober- and Unterschwetzingen – that grew together in the course of the 17th and 18th century. Both settlements belonged to the diocese of Worms, but later passed to the Counts of the Palatinate in the 12th century. Nowadays, Schwetzingen is not only known for its palace, but also for the cultivation of asparagus, of which it is said that it is the best asparagus throughout Germany. Asparagus is cut from early April to mid-June and during this time you can taste many different asparagus dishes in almost all restaurants of the town.
The Westin Bellevue Hotel Dresden (since has become Bilderberg Bellevue Hotel Dresden) is the best and most elegant hotel that I've ever stayed. And it wasn't expensive when I booked it. My room cost only EUR 84 per night including all fees and taxes.
Very spacious room by European standard, large bed, large bathroom, a proper desk and plenty of space for luggage and souvenir storage :D
Spacious exhibit hall during the process and each MOC has a display case
Engineering Brick Art at Morris Museum NJ
December 17, 2016 through February 26, 2017
A print of the late 1890s shows Birmingham New Street station as it most certainly is not today. The station at the time was shared between the London & North Western Railway and the Midland Railway, which operated side-by-side under separate roofs. This is the LNWR side, under the wide span of the original roof of 1854 - until the opening of St. Pancras in 1868, the widest single-span roof in Britain. The station was fronted by the elegant Queen’s Hotel, making for an attractive ensemble.
Bombing in World War II led to the demolition of the LNWR overall roof, and the Queen’s Hotel was deemed to be outmoded. With the centre of Birmingham in the throes of comprehensive redevelopment in the early 1960s, the opportunity was taken to sweep away the entire New Street station complex. British Railways sold the lucrative air rights above the station site, and an execrable office and shops complex was built above the station site, so typical of the era. The station platforms were cramped into a gloomy subterranean area, trains’ diesel fumes guaranteeing abysmal air quality. During the 1970s, British Rail chose New Street as a hub for its cross country services, so passenger volumes increased to far beyond the levels originally planned. Changing and waiting for trains was a singularly unpleasant experience.
Further redevelopment endeavoured to address these problems in part, although greater priority seems to have been given to the retail rather than the travelling experience. Now branded as Grand Central, the new complex officially opened in 2015. I have yet to use it: I have long preferred to take the Chiltern Trains route when visiting Birmingham, using the vastly more agreeable Moor Street station.
Back meanwhile to the print of Birmingham New Street in its happier days: a pair of LNWR 2-4-2Ts stand in the platform, awaiting their next duties on suburban trains. They are still fitted with upward-hinged smokebox doors, a feature that was phased out by 1900. The print is hand-tinted, but the man responsible clearly did not know his LNWR: the locos are shown in crimson lake colours, with polished brass domes. Crimson lake was the Midland Railway’s locomotive livery, while brass domes featured on the Great Western. Actual LNWR engines were in well-polished black - and no brass domes.
Veitshoechheim Castle, Veitshoechheim, Franconia (Bavaria)
Some background information:
Veitshoechheim Castle nearby the banks of the river Main is the former summer residence of the prince-bishops of Wuerzburg. Built from 1680 to 1682 on plans by the Italian architect Antonio Petrini it initially served as a hunting château. From 1749 to 1753 the famous German architect of the Baroque period Balthasar Neumann gave the castle its current appearance. He added an upper floor and two new wings.
In 1760 a huge château park of more than 120.000 square metres was laid out by prince-bishop Adam-Friedrich von Seinsheim, which nowadays is the only all-originally surviving château park from the Rococo period throughout Germany. The park contains fountains, water gardens, pavilions, artificial ruins and sandstone sculptures galore by the court sculptors Ferdinand Tietz, Johann Peter Wagner and Johann Wolfgang von der Auvera. Between 1806 and 1814 Veitshoechheim Castle was the summer residence of Ferdinand III, Grand Duke of Tuscany, who became prince-elector of Wuerzburg when losing his original princedom in the Treaty of Lunéville in 1801. After Napoleon’s fall in 1814 Ferdinand III was restored as Grand Duke of Tuscany and therefore returned into his home country. In the same year the duchy of Franconia was abolished and together with the whole territory of the duchy also Veitshoechheim Castle entered into possession of the Bavarian kings.
In 1918 this stately home fell to the share of the Free State of Bavaria. Since 1932 Veitshoechheim Castle is open to the public. Both château park and interiors can be visited. But if you plan to visit it, be careful as there’s another story about the wallpapers to be mentioned: Some of them still contain the colour “Paris Green” which was used to preserve both luminosity and durability. “Paris Green” comprises a heavy dose of arsenic, which at the present day is known as being able to cause intoxications just by breathing it. So don’t stay inside too long! ;-)
marketplace.secondlife.com/p/ANGEL-CREA-INDUSTRIAL-LOFT-G...
English :
Industrial Loft - Grunge Version - Mesh 05/03/2021
High ceilings - the 3 rooms as well as the inner courtyard are spacious for your comfort.
Dimension: 25 x 30 meters
Land Impact: 83
Ideal for a plot of land of 32 x 32 M or larger.
Can be copied and modified
The box contains the textures I used for this construction, so you can, if you wish, use them to modify different parts according to your taste.
Lights ON/OFF
Position the rezzer in the center of the area where you want to build.
The DEMO version is at your disposal before buying
Do not hesitate to contact me if you have any questions or need help: angeldelmundo.crea@gmail.com
Please leave a comment.
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Français :
Loft Industriel - Version Grunge - Mesh 05/03/2021
Grande hauteur sous plafond - les 3 pièces ainsi que la cour intérieure sont amples pour votre confort.
Dimension : 25 x 30 mètres
Impact sur le terrain : 83
Idéal pour une parcelle de terrain de 32 x 32 M ou plus grande.
Copiable et modifiable
La boite contient les textures que j’ai utilisées pour cette construction, vous pourrez ainsi, si vous le souhaitez, les utiliser pour modifier différentes parties selon votre goût.
Lumières ON/OFF
Positionnez le rezzer au centre de la zone où vous souhaitez construire.
La version de DEMO est à votre disposition avant d’acheter
N’hésitez pas à me contacter si vous avez des questions ou besoin d'aide : angeldelmundo.crea@gmail.com
Merci de laisser un commentaire.
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Español :
Loft industrial - Versión grunge - Mesh 05/03/2021
Techos altos: las 3 habitaciones, así como el patio interior, son espaciosos para su comodidad.
Dimensión: 25 x 30 metros
Impacto en el terreno: 83
Perfecto para una parcela de 32 x 32 M o mayor.
Se puede copiar y modificar
La caja contiene las texturas que utilicé para esta construcción, por lo que puedes, si lo deseas, utilizarlas para modificar diferentes partes a tu gusto.
Luces ON/OFF
Coloca el rezzer en el centro de la zona donde quieres construir.
La versión DEMO está a su disposición antes de comprar
No dude en ponerse en contacto conmigo si tiene alguna pregunta o necesita ayuda: angeldelmundo.crea@gmail.com
Por favor, deje un comentario.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The TIE/LN starfighter, or TIE/line starfighter, simply known as the TIE Fighter or T/F, was the standard Imperial starfighter seen in massive numbers throughout most of the Galactic Civil War and onward.
The TIE Fighter was manufactured by Sienar Fleet Systems and led to several upgraded TIE models such as TIE/sa bomber, TIE/IN interceptor, TIE/D Defender, TIE/D automated starfighter, and many more.
The original TIEs were designed to attack in large numbers, overwhelming the enemy craft. The Imperials used so many that they came to be considered symbols of the Empire and its might. They were also very cheap to produce, reflecting the Imperial philosophy of quantity over quality.
However, a disadvantage of the fighter was its lack of deflector shields. In combat, pilots had to rely on the TIE/LN's maneuverability to avoid damage. The cockpit did incorporate crash webbing, a repulsorlift antigravity field, and a high-g shock seat to help protect the pilot, however these did next to nothing to help protect against enemy blaster fire.
Due to the lack of life-support systems, each TIE pilot had a fully sealed flight suit superior to their Rebel counterparts. The absence of a hyperdrive also rendered the light fighter totally dependent on carrier ships when deployed in enemy systems. TIE/LNs also lacked landing gear, another mass-reducing measure. While the ships were structurally capable of "sitting" on their wings, they were not designed to land or disembark their pilots without special support. On Imperial ships, TIEs were launched from racks in the hangar bays.
The high success rate of more advanced Rebel starfighters against standard Imperial TIE Fighters resulted in a mounting cost of replacing destroyed fighters and their pilots. That, combined with the realization that the inclusion of a hyperdrive would allow the fleet to be more flexible, caused the Imperial Navy to rethink its doctrine of using swarms of cheap craft instead of fewer high-quality ones, leading to the introduction of the TIE Advanced x1 and its successor, the TIE Avenger. The following TIE/D Defender as well as the heavy TIE Escort Fighter (or TIE/E) were touted as the next "logical advance" of the TIE Series—representing a shift in starfighter design from previous, expendable TIE models towards fast, well armed and protected designs, capable of hyperspace travel and long-term crew teams which gained experience and capabilities over time.
The TIE/E Escort, was a high-performance TIE Series starfighter developed for the Imperial Navy by Sienar Fleet Systems and it was introduced into service shortly before the Battle of Endor. It was a much heavier counterpart to the agile and TIE/D fighter, and more of an attack ship or even a light bomber than a true dogfighter. Its role were independent long range operations, and in order to reduce the work load and boost morale a crew of two was introduced (a pilot and a dedicated weapon systems officer/WSO). The primary duty profile included attack and escort task, but also reconnoiter missions. The TIE/E shared the general layout with the contemporary TIE/D fighter, but the cockpit section as well as the central power unit were much bigger, and the ship was considerably heavier.
The crew enjoyed – compared with previous TIE fighter designs – a spacious and now fully pressurized cockpit, so that no pressurized suits had to be worn anymore. The crew members sat in tandem under a large, clear canopy. The pilot in front had a very good field of view, while the WSO sat behind him, in a higher, staggered position with only a limited field of view. Both work stations had separate entries, though, and places could not be switched in flight: the pilot mounted the cockpit through a hatch on port side, while the WSO entered the rear compartment through a roof hatch.
In a departure from the design of previous TIE models, instead of two parallel wings to either side of the pilot module, the TIE Escort had three quadanium steel solar array wings mounted symmetrically around an aft section, which contained an I-s4d solar ionization reactor to store and convert solar energy collected from the wing panels. The inclusion of a third wing provided additional solar power to increase the ship's range and the ship's energy management system was designed to allow weapons and shields to be charged with minimum loss of power to the propulsion system.
Although it was based on the standard twin ion engine design, the TIE/E’s propulsion system was upgraded to the entirely new, powerful P-sz9.8 triple ion engine. This allowed the TIE/E a maximum acceleration of 4,220 G or 21 MGLT/s and a top speed of 144 MGLT, or 1,680 km/h in an atmosphere — almost 40 percent faster than a former standard TIE Fighter. With tractor beam recharge power (see below) redirected to the engines, the top speed could be increased to 180 MGLT in a dash.
In addition to the main thrusters located in the aft section, the TIE Escort's triple wing design allowed for three arrays of maneuvering jets and it featured an advanced F-s5x flight avionics system to process the pilot's instructions. Production models received a class 2, ND9 hyperdrive motivator, modified from the version developed for the TIE Avenger. The TIE/E also carried a Sienar N-s6 Navcon navigation computer with a ten-jump memory.
Special equipment included a small tractor beam projector, originally developed for the TIE Avenger, which could be easily fitted to the voluminous TIE Escort. Models produced by Ysanne Isard's production facility regularly carried such tractor beams and the technology found other uses, such as towing other damaged starfighters until they could achieve the required velocity to enter hyperspace. The tractor beam had limited range and could only be used for a short time before stopping to recharge, but it added new tactics, too. For instance, the beam allowed the TIE/E crews to temporarily inhibit the mobility of enemy fighters, making it easier to target them with the ship's other weapon systems, or prevent enemies from clear shots.
The TIE Escort’s weapons systems were primarily designed to engage bigger ships and armored or shielded targets, like armed freighters frequently used by the Alliance. Thanks to its complex weapon and sensor suite, it could also engage multiple enemy fighters at once. The sensors also allowed an effective attack of ground targets, so that atmospheric bombing was a potential mission for the TIE/E, too.
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The TIE Escort Fighter carried a formidable array of weaponry in two modular weapon bays that were mounted alongside the lower cabin. In standard configuration, the TIE/E had two L-s9.3 laser cannons and two NK-3 ion cannons. The laser and ion cannons could be set to fire separately or, if concentrated power was required, to fire-linked in either pairs or as a quartet.
The ship also featured two M-g-2 general-purpose warhead launchers, each of which could be equipped with a standard load of three proton torpedoes or four concussion missiles. Depending on the mission profile, the ship could be fitted with alternative warheads such as proton rockets, proton bombs, or magnetic pulse warheads.
Additionally, external stores could be carried under the fuselage, which included a conformal sensor pallet for reconnaissance missions or a cargo bay with a capacity for 500 kg (1.100 lb).
The ship's defenses were provided by a pair of forward and rear projecting Novaldex deflector shield generators—another advantage over former standard TIE models. The shields were designed to recharge more rapidly than in previous Imperial fighters and were nearly as powerful as those found on capital ships, so that the TIE/E could engage other ships head-on with a very high survivability. The fighters were not equipped with particle shields, though, relying on the reinforced titanium hull to absorb impacts from matter. Its hull and wings were among the strongest of any TIE series Starfighter yet.
The advanced starfighter attracted the attention of several other factions, and the Empire struggled to prevent the spread of the technology. The ship's high cost, together with political factors, kept it from achieving widespread use in the Empire, though, and units were assigned only to the most elite crews.
The TIE/E played a central role in the Empire's campaign against rogue Grand Admiral Demetrius Zaarin, and mixed Defender and Escort units participated in several other battles, including the Battle of Endor. The TIE Escort continued to see limited use by the Imperial Remnant up to at least 44 ABY, and was involved in numerous conflicts, including the Yuuzhan Vong War..
The kit and its assembly:
Another group build contribution, this time to the Science Fiction GB at whatifmodelers.com during summer 2017. Originally, this one started as an attempt to build a vintage MPC TIE Interceptor kit which I had bought and half-heartedly started to build probably 20 years ago. But I did not have the right mojo (probably, The Force was not strong enough…?), so the kit ended up in a dark corner and some parts were donated to other projects.
The sun collectors were still intact, though, and in the meantime I had the idea of reviving the kit’s remains, and convert it into (what I thought was) a fictional TIE Fighter variant with three solar panels. For this plan I got myself another TIE Interceptor kit, and stashed it away, too. Mojo was still missing, though.
Well, then came the SF GB and I took it as an occasion to finally tackle the build. But when I prepared for the build I found out that my intended design (over the years) more or less actually existed in the Star Wars universe: the TIE/D Defender! I could have built it with the parts and hand and some improvisation, but the design similarity bugged me. Well, instead of a poor copy of something that was more or less clearly defined, I rather decided to create something more individual, yet plausible, from the parts at hand.
The model was to stay a TIE design, though, in order to use as much donor material from the MPC kits as possible. Doing some legwork, I settled for a heavy fighter – bigger than the TIE Interceptor and the TIE/D fighter, a two-seater.
Working out the basic concept and layout took some time and evolved gradually. The creative spark for the TIE/E eventually came through a Revell “Obi Wan’s Jedi Starfighter” snap fit kit in my pile – actually a prize from a former GB participation at phoxim.de (Thanks a lot, Wolfgang!), and rather a toy than a true model kit.
The Jedi Fighter was in so far handy as it carries some TIE Fighter design traits, like the pilot capsule and the characteristic spider web windscreen. Anyway, it’s 1:32, much bigger than the TIE Interceptor’s roundabout 1:50 scale – but knowing that I’d never build the Jedi Starfighter OOB I used it as a donor bank, and from this starting point things started to evolve gradually.
Work started with the cockpit section, taken from the Jedi Starfighter kit. The two TIE Interceptor cockpit tubs were then mounted inside, staggered, and the gaps to the walls filled with putty. A pretty messy task, and once the shapes had been carved out some triangular tiles were added to the surfaces – a detail I found depicted in SW screenshots and some TIE Fighter models.
Another issue became the crew – even though I had two MPC TIE Interceptors and, theorectically, two pilot figures, only one of them could be found and the second crewman had to be improvised. I normally do not build 1:48 scale things, but I was lucky (and happy) to find an SF driver figure, left over from a small Dougram hoovercraft kit (from Takara, as a Revell “Robotech” reboxing). This driver is a tad bigger than the 1:50 TIE pilot, but I went with it because I did not want to invest money and time in alternatives. In order to justify the size difference I decided to paint the Dougram driver as a Chiss, based on the expanded SW universe (with blue skin and hair, and glowing red eyes). Not certain if this makes sense during the Battle of Endor timeframe, but it adds some color to the project – and the cockpit would not be visible in much detail since it would be finished fully closed.
Reason behind the closed canopy is basically the poor fit of the clear part. OOB, this is intended as an action toy – but also the canopy’s considerable size in 1:50 would prevent its original opening mechanism.
Additional braces on the rel. large window panels were created with self-adhesive tape and later painted over.
The rear fuselage section and the solar panel pylons were scratched. The reactor behind the cockpit section is actually a plastic adapter for water hoses, found in a local DIY market. It was slightly modified, attached to the cockpit “egg” and both parts blended with putty. The tail opening was closed with a hatch from the OOB TIE Interceptor – an incidental but perfect match in size and style.
The three pylons are also lucky finds: actually, these are SF wargaming/tabletop props and would normally be low walls or barriers, made from resin. For my build, they were more or less halved and trimmed. Tilted by 90°, they are attached to the hull with iron wire stabilizers, and later blended to the hull with putty, too.
Once the cockpit was done, things moved more swiftly. The surface of the hull was decorated with many small bits and pieces, including thin styrene sheet and profiles, steel and iron wire in various strengths, and there are even 1:72 tank tracks hidden somewhere, as well as protective caps from syringes (main guns and under the rear fuselage). It’s amazing how much stuff you can add to such a model – but IMHO it’s vital in order to create some structure and to emulate the (early) Star Wars look.
Painting and markings:
The less spectacular part of the project, even though still a lot of work because of the sheer size of the model’s surface. Since the whole thing is fictional, I tried to stay true to the Imperial designs from Episode IV-VI and gave the TIE/E a simple, all-light grey livery. All basic painting was done with rattle cans.
Work started with a basic coat of grey primer. On top of that, an initial coat of RAL 7036 Platingrau was added, esp. to the lower surfaces and recesses, for a rough shading effect. Then, the actual overall tone, RAL 7047, called “Telegrau 4”, one of Deutsche Telekom’s corporate tones, was added - mostly sprayed from abone and the sides onto the model. Fuselage and panels were painted separately, overall assembly was one of the final steps.
The solar panels were to stand out from the grey rest of the model, and I painted them with Revell Acrylic “Iron Metallic” (91) first, and later applied a rather rich wash with black ink , making sure the color settled well into the many small cells. The effect is pretty good, and the contrast was slightly enhanced through a dry-brushing treatment.
Only a few legible stencils were added all around the hull (most from the scrap box or from mecha sheets), the Galactic Empire Seal were inkjet-printed at home, as well as some tactical markings on the flanks, puzzled together from single digits in "Aurebash", one of the Imperial SW languages/fonts.
For some variety and color highlights, dozens of small, round and colorful markings were die-punched from silver, yellow, orange, red and blue decal sheet and were placed all over the hull - together with the large panels they blur into the the overall appearance, though. The hatches received thin red linings, also made from generic decals strips.
The cockpit interior was a bit challenging, though. Good TIE Fighter cockpit interior pictures are hard to find, but they suggest a dark grey tone. More confusingly, the MPC instructions call for a “Dark Green” cockpit? Well, I did not like the all-grey option, since the spaceship is already monochrome grey on the outside.
As a compromise I eventually used Tamiya XF-65 "Field Grey". The interior recieved a black ink in and dry-brushing treatment, and some instruments ansd screens were created with black decal material and glossy black paint; some neon paint was used for sci-fi-esque conmtraol lamps everywhere - I did not pay too much intention on the interior, since the cockpit would stay closed, and the thick clear material blurs everything inside.
Following this rationale, the crew was also painted in arather minimal fashion - both wear a dark grey uniform, only the Chiss pilot stands aout with his light blue skin and the flourescent red eyes.
After an overall black ink wash the model received a dry brusing treatment with FS 36492 and FS 36495, for a weathered and battle-worn look. After all, the "Vehement" would not survive the Ballte of Endor, but who knows what became of TIE/E "801"'s mixed crew...?
Finally, the kit was sealed with matt acrylic varnish, and some final cosmetic corrections made.
The display is a DIY creation, too, made from a 6x6" piece of wood, it's edges covered with edgebonder, a steel wire as holder, and finally the display was paited with semi-matt black acrylic paint from the rattle can.
A complex build, and the TIE/E more or less evolved along the way, with only the overall layout in mind. Work took a month, but I think it was worth the effort. This fantasy creation looks pretty plausible and blends well into the vast canonical TIE Fighter family - and I am happy that I finally could finish this mummy project, including the surplus Jedi Starfighter kit which now also find a very good use!
An epic one, and far outside my standard comfort zone. But a wothwhile build!
Welcome to the tranquil beauty of Kenrokuen Garden in Kanazawa, Japan, one of the country's most celebrated traditional gardens. This scene captures the serene Uchihashi-tei, a charming wooden teahouse gracefully perched on stilts by the edge of a picturesque pond. Kenrokuen, translated as the "Garden of the Six Sublimities," exemplifies spaciousness, seclusion, artificiality, antiquity, abundant water, and broad views—the six essential elements of a perfect garden.
The Uchihashi-tei teahouse, with its intricate wooden construction and thatched roof, invites visitors to imagine the peaceful tea ceremonies that have taken place here for centuries. The architecture showcases traditional Japanese craftsmanship, with wooden beams and latticework that blend harmoniously with the surrounding nature. The teahouse’s elevated position allows for stunning reflections on the pond’s surface, enhancing the overall sense of tranquility.
The garden itself is a visual delight, featuring meticulously pruned trees, vibrant foliage, and carefully placed stones that guide visitors through a harmonious blend of natural beauty and human artistry. The lush greenery and hints of autumnal reds and oranges create a captivating contrast with the calm, reflective water, embodying the seasonal changes that are deeply appreciated in Japanese culture.
Kenrokuen Garden offers an immersive experience that invites you to slow down and connect with the timeless beauty of Japan’s landscape architecture. Whether you’re strolling along the winding paths, pausing to admire the picturesque views, or contemplating the serene pond from the teahouse, Kenrokuen provides a peaceful retreat into the heart of traditional Japanese aesthetics.
Spacious and practical, our 2-floor maisonettes are ideal for 2 couples or a small family!
www.oscarvillage.com/accommodation/two-bedroom-apartments...
📷 @spyros / 👩 @foxyarchaeologist
#OscarHotel #OscarSuites #OscarVillage #OscarSuitesVillage #HotelChania #HotelAgiaMarina #HotelCrete #Crete #Chania #AgiaMarina #summer #travel #instatravel #travelgram #2bedroomapartment
Pure serendipity! I happened across this barn and amazing cloud formations while driving through the beautiful state of Idaho.
Check it out...my new loft apartment. HUGE potential.
WELL, OK... I'm kidding about that but I am WORKING in this building on a massive empty floor with killer light & shadows.
Mentally place yourself in this room, (remote viewing if you know how )now turn around & you would see the image SHADOWS & TALL TREES right behind you.
Flushing, Brooklyn
NYC
This is a very nice and huge Kmart store I’ve ever been to. It’s very disappointing that it closing down but it’s understandable, the location for it is terrible since It’s next to Wegmans, and Walmart is down the street from it. 1990’s Kmarts are definitely one of my favorite Kmart stores from that era.
Kmart
Jamestown, NY
Spacious, tidy platforms proudly befitting traditions greet racegoers this day at the Racecourse Station set attractively in it's semi-rural position.
Applying power, passing by with quarried aggregates is loco 47 097 at about 14.45
35mm, Ilford FP4
18th April 1980
...I have no clue what she's doing. I thought she was throwing something, but there's nothing in her hand hah.
This was part of our project, before she got on her vehicle.
This is Catherine again btw.
We visited the Oysterville Cemetery yesterday for the first time in years. I had forgotten how spacious and lovely it is. It's a Who's Who of notables from the hamlet's early days. For example, this the grave marker of Oysterville's co-founder Robert H. Espy.
Here's the section of Oysterville's application for entry into the National Register of Historic Places that provides biographical information about Espy:
Espy was born February 10, 1826 in Allegheny, Pennsylvania. At the age of 15 he was apprenticed to a tailor but worked at that trade only four years.
In 1845 he left for Wisconsin, and in 1852, travelled overland to the Pacific coast arriving at The Dalles, Oregon on August 27th.
He worked driving an ox-team hauling freight between the Upper and Lower Cascades, wintered in a logging camp, and the following spring, continued on to Astoria where he was employed in a sawmill.
That summer Espy met Nahcotte while cutting piling in Pacific county, but returned to Astoria for the winter where he built a cabin and supported himself beachcombing.
That winter he apparently met Isaac A. Clark, a young man recently arrived from California where he had some limited success working the gold fields.
Originally from New York, Clark was also a tailor who lived for a time in Wisconsin and both men had strong religious convictions.
Together with I. A. Clark, Espy set out to keep his appointment with Nahcotte.
They traveled on foot and by canoe but some distance from their destination they were engulfed in dense fog that would have prevented further progress had Nahcotte not heard them splashing along in the stillness and signalled by thumping repeatedly on a hollow stump with a spruce knot.
They followed the sound as there were no visible reference points to navigate by and eventually they arrived at Nahcotte's camp.
The oyster beds proved to be exceptional. Clark and Espy both filed donation land claims Clark and Espy both filed donation land claims and Clark promptly platted a townsite. They built themselves a log cabin with the assistance of the Indian population already living there.
Oysters were loaded in a canoe and shuttled across the bay to Bruceport where there was an existing oyster exporting operation (founded in 1851 when a schooner loading a cargo of oysters there was burned to the waterline and sunk by the disgruntled ship's cook who escaped in a rowboat leaving the captain and crew marooned).
Soon ships came directly to Oysterville from San Francisco. The price was one dollar in gold for a bushel basket paid on delivery to the schooner which had an average capacity of between 1,200 to 2,000 baskets.
Oystermen would frequently trade their payment for supplies arriving on the same ship.
Chinook Indians were employed to gather, cull and pack the harvest which amounted to 50,000 baskets a year taken from Shoalwater Bay, most of which came from Oysterville.
For the first few years, the beach was open territory for oyster pickers, but soon it became necessary to divide the tidelands into restricted tracts called "whacks" with eight acres set aside for ships at anchor while loading.
Eventually, the cash price rose to a dollar and a half a basket.
Clark operated a store, and in 1858 was appointed postmaster. Espy continued in the oyster business until he was incapacitated by an illness in 1859.
After working a year as lightkeeper of the Shoalwater Bay lighthouse and then mining unsuccessfully in the Blue Mountains, Espy entered into a prosperous partnership with Warren and Company of San Francisco - later known as the Morgan Oyster Company.
landmarkhunter.com/188529-oysterville-historic-district/
The Espy Family of Oysterville
Author/historian Sydney Stevens says, “I often feel that the Espy family and Oysterville are so inter-related it is hard to know which has had the greatest influence upon the other.”
Sydney, herself, is an Espy descendent and lives in Oysterville – the village that her great-grandfather, Robert Hamilton Espy co-founded with Isaac Alonzo Clark in 1854.
Espy and Clark were guided to the area by Chinook Indian Chief Nahcati. The two young men eagerly began harvesting the native oysters of Shoalwater (now called Willapa) Bay, shipping them to California where hungry miners paid in gold for the succulent bivalves. Within weeks Oysterville became a rowdy, lusty boomtown – the busiest anchorage on the coast north of San Francisco.
When the Washington territorial government urged communities to form a militia, Espy complied and was soon elected ‘Major.’ He helped establish a Baptist congregation in Oysterville and, in 1892, donated the land and money for the church building that still serves as centerpiece to the village. When the oysters ‘failed’ in the 1880s and most of the townsfolk left, including his old friend Clark, Espy, his wife, Julia Jefferson, and their seven children stayed on.
In Major Espy’s dotage, when he needed looking after, his next-to-eldest son, Harry Albert Espy, moved back to his native Oysterville, bringing with him his own young family. Harry became a dairy farmer, and in the years that followed was elected justice of the peace, clerk of the school board, and Washington state senator representing Pacific and Wahkiakum Counties. He and his wife Helen Richardson’s seven children attended the one-room Oysterville School, went off to college and, eventually, to lives and careers far distant from the tiny hamlet. Even so, Oysterville was always considered ‘home.’
In 1971, Senator Espy’s youngest daughter, Dale, and her husband, Bill Little, retired to Oysterville and began to work on preserving the fragile remains of the once thriving boomtown. Their efforts, with the help their Oysterville friends and neighbors, resulted in the village’s designation as a National Historic District in 1976.
In 1977, Dale’s brother Willard Espy’s hugely successful book, Oysterville: Roads to Grandpa’s Village brought nation-wide attention to the remote corner of southwest Washington. And, shortly before Willard’s death in 1999, the Willard Espy Literary Foundation was formed. The foundation, headquartered in Oysterville, continues to support writers and artists by offering month-long residencies there.
Dale’s daughter, Sydney, and her husband, Nyel, now live in the Harry Espy home. Sydney’s part of the family legacy has been to ‘rescue’ the incredible collection of Espy family papers and documents, amassed over the century and a half of Oysterville’s history, and to turn the archive over to the Washington State Historical Research Center. Sydney’s book Dear Medora: Child of Oysterville’s Forgotten Years, based upon a small part of the collection, has been recently published by WSU Press.
“I have no doubt that Oysterville and the Espy family will continue to nurture one another in generations to come,” says Sydney. “It’s simply the way it is.”
spacious legroom...
Taken on: September 2, 2011
Location: Siesta Bus Stop, Brgy. San Roque, Tarlac City, Tarlac