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Taken 18/02/26; Previously known as the Russell Hotel, the building with is distinctively decorative 'thé-au-lait' (milky tea to me and you) terracotta cladding and was built in 1898. Designed by the architect Charles Fitzroy Doll, the inspiration for the building is said to be the Château de Madrid near the Bois de Boulogne in Paris.
Following an extensive renovation by the Principal Hotel Company the hotel reopened in in 2018, but was almost immediately sold on, then becoming the Kimpton Fitzroy Hotel.
I'm intrigued by pebble-clad masonry.
"Sault Ste. Marie (/ˈsuː seɪnt məˈriː/ SOO-seint-ma-REE) is a city on the St. Marys River in Ontario, Canada, close to the Canada–US border. It is the seat of the Algoma District and the third largest city in Northern Ontario, after Sudbury and Thunder Bay.
The Ojibwe, the indigenous Anishinaabe inhabitants of the area, call this area Baawitigong, meaning "place of the rapids." They used this as a regional meeting place during whitefish season in the St. Mary's Rapids. (The anglicized form of this name, Bawating, is used in institutional and geographic names in the area.)
To the south, across the river, is the United States and the Michigan city of the same name. These two communities were one city until a new treaty after the War of 1812 established the border between Canada and the United States in this area at the St. Mary's River. In the 21st century, the two cities are joined by the International Bridge, which connects Interstate 75 on the Michigan side, and Huron Street (and former Ontario Secondary Highway 550B) on the Ontario side. Shipping traffic in the Great Lakes system bypasses the Saint Mary's Rapids via the American Soo Locks, the world's busiest canal in terms of tonnage that passes through it, while smaller recreational and tour boats use the Canadian Sault Ste. Marie Canal.
French colonists referred to the rapids on the river as Les Saults de Ste. Marie and the village name was derived from that. The rapids and cascades of the St. Mary's River descend more than 6 m (20 ft) from the level of Lake Superior to the level of the lower lakes. Hundreds of years ago, this slowed shipping traffic, requiring an overland portage of boats and cargo from one lake to the other. The entire name translates to "Saint Mary's Rapids" or "Saint Mary's Falls". The word sault is pronounced [so] in French, and /suː/ in the English pronunciation of the city name. Residents of the city are called Saultites.
Sault Ste. Marie is bordered to the east by the Rankin and Garden River First Nation reserves, and to the west by Prince Township. To the north, the city is bordered by an unincorporated portion of Algoma District, which includes the local services boards of Aweres, Batchawana Bay, Goulais and District, Peace Tree and Searchmont. The city's census agglomeration, including the townships of Laird, Prince and Macdonald, Meredith and Aberdeen Additional and the First Nations reserves of Garden River and Rankin, had a total population of 79,800 in 2011.
Native American settlements, mostly of Ojibwe-speaking peoples, existed here for more than 500 years. In the late 17th century, French Jesuit missionaries established a mission at the First Nations village. This was followed by development of a fur trading post and larger settlement, as traders, trappers and Native Americans were attracted to the community. It was considered one community and part of Canada until after the War of 1812 and settlement of the border between Canada and the US at the Ste. Mary's River. At that time, the US prohibited British traders from any longer operating in its territory, and the areas separated by the river began to develop as two communities, both named Sault Ste. Marie." - info from Wikipedia.
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I confess that these trees are clad in man-made snow from all the Milky Way snow machines (apparently the best skiing surface is a mix of real and snow-machine snow...), but it certainly made them beautiful.
The lovely thing about skiing around Sauze d'Oulx is that much of the skiing is below the tree line - so it's really pretty.
Cladding of a building in Duesseldorf´s harbour area. Often photographed, still fascinating (at least to me). Rolleiflex SL66, Planar 2,8/80, Orangefilter, MLU, Acros (scan from negative).
Altro Whiterock durable, impact resistant and hygienic wall cladding great for healthcare, commercial kitchens, wet environments and as wall protection in areas with heavy traffic.
For more information visit altro.com/whiterock
Get to know about wall cladding types that are commonly used for both residential and commercial buildings. Go through the detailed information about exterior wall cladding, interior wall cladding, bathroom wall cladding and kitchen wall cladding, their benefits and purpose of use. Ensure your building (home) design with modern wall cladding look.
Residence Bognor Summerstrand, Infinity® decking, Tiger Cove, Apex® Cladding OJP Himalayan Cedar, LifeSpan™ Pergola, Savanna
Sculpture of Paper-clad Wire Clothes Hangers - hanging from ceiling at BYU Museum of Art. 'Untitled' sculpture by Dan Steinhilber, photography by Royce Bair
Atomium
The Atomium ( /əˈtoʊmiːəm/ ə-TOH-mee-əm) is a landmark building in Brussels (Belgium), originally constructed for the 1958 Brussels World’s Fair (Expo 58). It is located on the Heysel Plateau in Laeken, where the exhibition took place. It is now a museum.
Designed by the engineer André Waterkeyn and architects André and Jean Polak, it stands 102 metres (335 ft) tall. Its nine 18-metre-diameter (59 ft) stainless steel clad spheres are connected in the shape of a unit cell that could represent an iron crystal magnified 165 billion times. Tubes connecting the spheres enclose stairs, escalators and an elevator (in the central, vertical tube) to allow access to the five habitable spheres, which contain exhibit halls and other public spaces. The top sphere includes a restaurant which has a panoramic view of Brussels. The building was completely renovated between 2004 and 2006 by the companies Jacques Delens and BESIX.
This site is served by Heysel/Heizel metro station on line 6 of the Brussels metro.
History
Construction and Expo 58
The Atomium was built as the main pavilion and icon of the 1958 World Expo of Brussels (Expo 58). In the 1950s, faith in scientific progress was great, and a structure depicting atoms was chosen to embody this. The Atomium's nine 18-metre-diameter (59 ft) stainless steel clad spheres depict nine iron atoms in the shape of the body-centred cubic unit cell that could for example represent α-iron (ferrite) crystal, magnified 165 billion times.
The construction of the Atomium was a technical feat. Of the nine spheres, six are accessible to the public, each with two main floors and a lower floor reserved for service. Tubes of 3 metres (10 ft) diameter connect the spheres along the 12 edges of the cube and all eight vertices to the centre. The central tube contains the fastest elevator of the time with a speed of 5 m/s (20 ft/s), installed by the Belgian branch of the Swiss firm Schlieren (subsequently taken over by Schindler). It allows 22 people to reach the summit in 23 seconds. The escalators installed in the oblique tubes are among the longest in Europe. The biggest is 35 metres (100 ft) long.
Three of the four top spheres lack vertical support and hence are not open to the public for safety reasons, although the sphere at the pinnacle is open to the public. The original design called for no supports; the structure was simply to rest on the spheres. Wind tunnel tests proved that the structure would have toppled in an 80 km/h (50 mph) wind (140 km/h (90 mph) winds have been recorded in Belgium). Support columns were added to achieve enough resistance against overturning.
The Atomium, designed to last six months, was not destined to survive the 1958 World Expo, but its popularity and success made it a major element of the Brussels landscape. Its destruction was therefore postponed year after year, until the city's authorities decided to keep it. However, for thirty years, little maintenance work was done.
Renovation (2004–06)
By the turn of the millennium, the state of the building had deteriorated and a comprehensive renovation was sorely needed. Renovation of the Atomium, carried by Belgian construction companies Jacques Delens and BESIX, began in March 2004; it was closed to the public in October, and remained closed until 18 February 2006. The renovation included replacing the faded aluminium sheets on the spheres with stainless steel.
On 21 December 2005, the Atomium's new outdoor lighting was tested. The meridians of each sphere were covered with rectangular steel plates, in which LED lighting was integrated. The LED application illuminates the bulbs at night. The lights can also flash simultaneously or in turns at each meridian, symbolising the range of an electron around its core. In addition, the German industrial designer Ingo Maure created lighting objects and installations for the interior of the building.
On 14 February 2006, the Atomium was officially reopened by then-Prince Philippe, and on 18 February 2006, it opened again to the public. The renovation cost €26 million. Brussels and the Atomium Association paid one-third of the costs, the Belgian government financed two thirds. To help pay for the renovation, pieces of the old aluminium plates were sold to the public as souvenirs. One triangular piece about 2 metres (7 ft) long sold for €1,000. On the occasion of the reopening, a 2 euro commemorative coin depicting the building was issued, in March 2006, to celebrate the renovation.
Though the Atomium depicts an iron unit cell, the balls were originally clad with aluminium. Following the 2004–06 renovation, however, the aluminium was replaced with stainless steel, which is primarily iron. Likewise, while the subject of Atomium was chosen to depict the enthusiasm of the Atomic Age, iron is not and cannot be used as fuel in nuclear reactions.
LENS TEST: ASAHI PENTAX smc Pentax 200mm f2.5
Improvised portraits tests. In the neighborhood, Tokyo, Japan. © Michele Marcolin, 2023. K1ii + smc Pentax 200mm f2.5
Some time has gone since I cquired it, but it happened right that I completed the clad during the crush of my computer, so images, homework and everything ended up in a tail. Anyway...
This is not a lens: it is a plasma gun that liquefies everything around your subject! A fantastic tool! I can't possibly conceive how somebody can spend negative reviews on Pentax Forum lens listing not recommending it: must be the fruit of complete photographic infancy... the use of a faulty lens... or the need of a psychological-mental examination (at least an optometric eye test)!
The smc Pentax 200mm f2.5 has virtually the same lens design of the 135mm f 2.5, with which it evidently shares the same great sharpness wide open, the solid contrast/color rendering, and the essential, but effective mechanical quality (and also some negative points). It is an incredible photographic tool of a gone age, which pairs perfectly with Pentax K-1, offering yes a heavy combo, but very well balanced when hand-held. Not really saying that it is perfect or easy to hand-hold (despite you do it most of the time); but it is a lens that does not like strong light (not incidentally the 8 blades of its aperture close down until f32), therefore in low light it demands great care in nailing perfectly your subject in focus, due to the extremely thin DOF it achieves. And the weight becomes a challenge. It has also sometimes inconsistent erratic rendering, probably results of its extreme design.
I do not have a completely mint copy, despite functionally it has no problem. It is a foundling: I rescued it on the junk market in a very poor state. It took quite a while to restoring it, since some internal rings where oxidized and hard to remove. It is a lens that was manufactured in a industrial age (despite not in large numbers), with good quality standards, but without an eye to its maintenance in time and the manual built of the Takumars. Internal components often used to be fixed with bonds or solutions that are not impossible to overcome for a clad, but that were not originally intended for that. Solvents and a-like don't go well hand in hand with coatings and glass. Lenses are large and it is pretty challenging avoiding touching them or damaging them. Users were probably expected to buy a newer one, when something got compromised inside (during bubble economy time it might not have been an issue). My lens withstood my siege on my work bench for some weeks, before I was finally able to access the internal lenses, to remove the mold they had. And I had to use pretty unorthodox systems to complete the work. So, despite I originally acquired it to fix it end reselling it for good bucks, due to some faint marks that remained in a couple of spots and an internal ring that I had to force and recycle in a different way, I decided to keep it. But I am so glad for that, because I got to discover a marvelous photographic tool.
Ideal for environmental portrait (in a studio a 200mm is probably too long - min. foc. is around 2 m), astrophotography, travel photo, it has an amazing dreamy blur (the background one, but particularly the foreground). I can only compare it to H.I.H. smc Pentax* 135mm f1.8 for general rendering. Being a tool of its age, it comes with the usual 'disclaimer' of most legacy lenses: some CA in very strong light and some fall of contrast in frontal illumination. Nothing tragic: you know it, you avoid those situations - if you purchase one of these lenses and then complain, you are a fool. Better drop photography and go fishing. That is part of its charm. Beside, if I recall well, this was the first 200mm lens with an f2.5 aperture, put out by Pentax in a momento of show-off of its technological capability - I believe only Nikon had a Nikkor 200mm f2 (!!) that came out that same 1977, which is faster and with a very beautiful rendering, but less sharp wide open and with more CA. On digital this one still kicks!
From Wikipedia:
Locomotive #3768 was clad in a shroud designed by famed industrial designer Raymond Loewy in February 1936. This was a very concealing, enveloping streamlined casing which hid most of the functionality of the steam locomotive, leading to its nickname of "The Torpedo" by train crews. At first, the locomotive was not painted in standard Dark Green Locomotive Enamel (DGLE) but instead in a bronze color. It was later refinished in DGLE. A matching tender ran on unusual six-wheel trucks. Like most streamlined steam locomotives, the shrouds impeded maintenance and the covers over the wheels were later removed. For a time, the locomotive was the preferred engine for the Broadway Limited.
My model is also fully streamlined as well as fully functional. It uses a single battery box (which will be upgraded to use two when I have time) and two R/C train motors. I have already ordered custom rods for this locomotive and they should arrive after I leave for college. The custom rods will help the locomotive to run smoother as they will be able to slide under the skirt exponentially easier. Until then this is how she sits.
Potton Sunday morning cafe culture
Personally I think there should be laws against this form of hideous exposure of knobbly knees and any form of lycra.
www.freemoviescinema.com/science-fiction/video/latest/con... Full Feature
See more photos in set.
Starring Walter Brooke, Eric Fleming, Mickey Shaughnessy, Phil Foster, William Redfield, William Hopper, Benson Fong, Ross Martin, Vito Scotti. Directed by Byron Haskin. Producer George Pal gave us the sci-fi landmark Destination Moon in 1950. He then gave us the timeless classic War of the Worlds in '53. This, his third epic, was a grand effort, but fell shy of his earlier triumphs. On paper, it should have been another mega-classic. The team members from the earlier hits were reassembled. Pal as producer, Haskin directing, Lydon on screenplay, O'Hanlon writing. Conquest was also based on a popular book. Yet, despite all this pedigree, something fell short. Conquest would not go on to be remembered as one of the 50s mega-classics. Some of this obscurity may be due to Conquest being in the "serious" science fiction sub-genre, like Destination Moon and Riders to the Stars which tried to depict a plausible space-traveling future. Audiences were becoming much more entranced with saucers and weird aliens.
In some ways,Conquest is a remake of the basic story line from Destination Moon -- a crew are the first to land on a celestial body. They struggle to survive and yet courageously return. This time, instead of the moon, it's Mars. As a remake goes, however, it's worthy. The Technicolor is rich and the sets well done. This is an A-level production which at its release was the 2001: A Space Odyssey of its day. All the melodrama, however, starts to get in the way of the techno-gee-whiz.
Synopsis
Based aboard a rotating wheel space station, workmen prepare a big flying wing of a rocket ship. A group of potential crewmen train for what they think will be a moon landing mission. As the work nears completion, they find out that the real mission will be a landing on Mars instead. While aboard "The Wheel", we're introduced to the phenomenon of "space sickness" -- a mental breakdown due to workload and confinement for long periods. One of the crew candidates is scrubbed because of one such breakdown. Nonetheless, the multinational crew are chosen and embark for the long journey to Mars. After departure, it's found that General Merritt's old friend, Sergeant Mahoney, stowed away. On the way to Mars, a communications antenna is damaged and must be fixed via spacewalking crewmen. Just as the repairs are completed, the customary meteor arrives, threatening to hit the ship. General Merritt manages to fly the ship out of the way, but one of the crewmen on EVA is hit with micrometeoroids (like bullets) and killed. The General is also starting to show odd behavior, doubting whether their mission is proper or is an affront to God. Their evasive action puts them behind schedule, but they arrive at Mars. While attempting to land on Mars, the General has another bout of delusion and tries to abort the landing. His son, Captain Merritt, manages to take control and brings in the flying-wing lander to a rough but successful landing. The others go out to explore, but the General, now fully delusional, is venting rocket fuel in an attempt to blow up the ship. His son discovers this and the two struggle. The General's pistol discharges, killing him. Mahoney comes on the scene just then and accuses Captain Merritt of murdering the General. The rest explore a bit more, but pronounce Mars a dead planet. Despite this, Imoto discovers that his earth flower seed sprouted in martian soil. Earthquakes cause the escape rocket to shift off of perpendicular. They get it righted and blast off. On the way home, Mahoney and Captain Merritt make up and declare that the dead General was a hero, the man who conquered space. The End.
The color, the sets, models and background paintings are very visually rich. The whole image is a great snapshot of the future as people in the mid-50s imagined it would be. More tidbits in the Notes section below.
There is actually a subtle anti-war tone to the movie. No overt talk of nuclear dangers or menacing enemies. It is notable, however, that among the conspicuously international crew candidates, there is no Russian. Americans would "conquer" space with a few other nationals along for the ride, but NO Russians. There is also a poorly explained urgency to the mission. What's the hurry? Back in the Cold War, it was pretty common that WE had to get something before THEY did.
In 1949, Willy Ley wrote the book "The Conquest of Space," which speculated about how mankind might travel to other planets. This book was illustrated by space artist Chesley Bonestell. This book would become the inspiration for the movie.
From 1952 to 1954, Collier's magazine ran a series of stories about mankind conquering space. These were repeats by Ley and Bonestell of their 1949 book, but this time Collier's added material from "rocket scientist" Werner von Braun. Bonestell's new illustrations were clearly the prototype for the look of Conquest. People felt that mankind was on the verge of taking to the stars. The Collier's series expressed that giddy optimism.
The screenplay for Conquest added weak human interest sub-plots which almost negate the gee-whiz optimism that the visuals convey. The screenwriters were all experienced in their craft, so it's puzzling why such amateurish characterizations are so prominent. The comic relief moments are almost cartoonish. The whole leader-gone-mad sub-plot seems out of place.
A possible "message" to Conquest is that man is a fragile creature who may not be ready for the rigors of space travel. Certainly, people wondered about this, and other movies touched on the theme too, such as Riders to the Stars ('54). Our not being mentally ready yet was cited by the aliens in It Came From Outer Space ('53). General Merritt's dementia was foreshadowed in the breakdown of Roy early in the movie.
One thing that strikes the viewer is how much life aboard the space station is presumed to duplicate life aboard a navy ship. It's not overtly stated that the military should (or will) be the agency which "conquers" space, but from the ranks and uniforms and the navy-life scenes, that message comes through. Space ships will be like earthly ships.
On the surface, it seems like Conquest is blasting Christians as dangerous religious fanatics. This notion, that anyone who believes in God simply MUST be wacko, would be much more popular in later decades, but it was uncommon in the 50s. For that reason, the General's dementia deserves a closer look.
Actually, General Merritt was not the stereotypic religious fanatic. His son comments that he had never seen him carrying around and reading the Bible before. Instead of headaches or paralysis, the General's "space sickness" took a paranoid turn. He had rational misgivings about the Mars mission from the start, pre-dementia. His repressed misgivings are expressed in Bible verses dealing with sinners being punished by God. He once quotes from Psalm 38, then later from Psalm 62.
Throughout all this, God is not mocked. Indeed, only the "religious" man had the courage to go outside and give the dead Fodor a proper burial. The other non-relgious crewmen were at a loss for what to do.
The notion of impudent mankind trying to meddle in God's domain, is treated as a credible issue. In this, the pattern of the Tower of Babel is drawn. Prideful mankind thinks they can build their way into God's realm. God foils that plan. General Merritt's dementia seems motivated by a fear that this divine retribution could be coming again.
The writers of Conquest imagine a multinationalism in space. Most notable are two former enemy nations: Imoto is from Japan and Fodor is a German-accented Austrian, (as a stand-in for Germany). Imoto gets to make a little speech about why Japan went to war (lack of resources). Fodor gets to be seen as the cherished son of a classic "mama". By 1955, it was starting to become okay to look beyond World War 2.
At one point, the crew of The Wheel are watching a movie with many scantily clad dancing girls (much like sailors aboard a ship). The movie is a lavish musical number with many gold bikini clad pseudo-harem girls dancing while Rosemary Clooney sings about love "...in the desert sand." This clip is total non-sequetor to the high-tech space environment. What's interesting, is that it's NOT stock footage recycled. Clooney had not done any such movie. This dance number must have been staged and shot just for this scene in Conquest. Random act of musical. Gotta love 'em.
Bottom line? Conquest is an almost-epic. It's definitely an A-grade sci-fi movie, so it's well worth watching. The human story part gets in the way sometimes, but the visuals more than make up for it.
The window in the brick wall looks into what will be the workshop - small but dedicated to the bikes.
Grade II* listed Bedfont House, built in 1740.
Chipping Campden is a small market town in the Cotswold district of Gloucestershire. It is notable for its elegant terraced High Street, dating from the 14th to the 17th century. "Chipping" is from the Old English 'ceping', "a market or market-place", the same element is found in other towns such as Chipping Norton, Chipping Sodbury and Chipping (now High) Wycombe.
A rich wool trading centre in the Middle Ages, the town is now a popular Cotswold tourist destination, with honey-coloured limestone buildings. At its centre stands the Market Hall, built in 1627.
Phylogenetic position of the FslK.Phylogenetic trees were calculated using Maximum-likelihood (ML) and Bayesian inference (BI) methods, respectively. Both methodologies gave similar tree topology. The tree presented here is the BI tree. Numbers on major branches indicate SH-like approximate likelihood ratio test (SH-aLRT) probabilities/Bayesian posterior probabilities. Branches with Bayesian posterior probability less than 0.5 have been collapsed. The simple cladogram of eukaryotic groups on the top right corner was drawn according to the tree of life (tolweb.org/tree/). Ac, Acanthamoeba castellanii; At, Arabidopsis thaliana; Ce, Caenorhabditis elegans; Cr, Chlamydomonas reinhardtii; Dd, Dictyostelium discoideum; Dm, Drosophila melanogaster; Eh, Entamoeba histolytica; Hs, Homo sapiens; Mb, Monosiga brevicollis; Mm, Mus musculus; Pi, Phytophthora infestans; Pr, Phytophthora ramorum; Ps, Phytophthora sojae; Su, Sea Urchin; Tv, Trichomonas vaginalis. For abbreviations of fungi see Table S1.
Within the radioisotope thermoelectric generator, iridium alloy clad vent sets — virtually indestructible metal cups — encapsulate Pu-238. Iridium, among the platinum-group metals on the periodic table, is extremely durable and can withstand temperatures with a melting point of more than 4,000 degrees Fahrenheit. Since the 1970s, Oak Ridge National Laboratory scientists have custom designed the alloy cladding for space travel to ensure the fuel within would remain contained even during anomalous events. Credit: Carlos Jones/Oak Ridge National Laboratory, U.S. Dept. of Energy