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TECU® Gold and TECU® Brass from KME.
Technique: TECU® Gold Rhomboid Shingle-cladding and seamed-cladding & additional perforated TECU® Brass cladding elements to lower level cladding areas.
Architect: Studio Egret West, London
Installer: Prater Ltd, Surrey.
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
Victorian Alpine Huts survey, for Parks Victoria April, May 1994: Negative Sheet 1 of 31.
This hut was shown in the 1930s as a basic log structure with a skillion form semi-detached chimney part clad with corrugated iron sheeting and logs{ Stephenson: 137}. It was thought by Harry Stephenson to have been built by Fred Fry, Harry Norris, Joe McIlroy and Harry O’Brien { Stephenson: 137}. However descendents of the local forestry officer, Arthur Dale, believe he built it along with the similarly constructed Tomahawk Hut (q.v.) in the late 1920s, early 1930s { Walker}. Dale preceded Fry as forestry officer for the Mansfield district and, like Fry, needed base huts for his forest patrols. A photograph from 1939 shows members of the Melbourne Women's Walking Club (formed 1922) standing in front of a log hut similar to the present one but with what appears to be a log fireplace in place of the current stone one . Another photograph of 1947 shows Jack Lovick at the hut which is similar to the 1930s form. The log walls shown here, however, differ in part from those which exist today. An image supplied by John Mitchell (Kosciuszko Huts Association website 2004) from 1971 shows Bindaree in its earlier form, with the remains of a log and corrugated iron clad chimney resembling more the associated Tomahawk Hut (q.v.). First hut An earlier hut is depicted in a photo dated 1.1.1926 and named on the print as Bindaree. It shows an entirely different structure, being of vertical slabs with a shallow bark roof . This was reputedly the first hut at or near this site. Another photo of this hut, taken in 1916, has Jim Barclay standing in front of the hut, two years before his murder at Wonnangatta { Carroll}. The John Ware family settled on the Howqua River about six miles downstream from Fry’s Hut late last century. They moved upstream to a Stockyard Creek selection in 1925 and in time opened up the Upper Howqua for High Plains summer grazing use, leasing run E8 from c1909-32 along the Howqua River { Cabena, 1980}. They built mustering huts and yards throughout the area, including at Mt. Clear and on the Jamieson River3. Meanwhile John’s family moved into Merrijig, leaving a son Jack, to run the farm; Jack was also a skilled bushman and guided many tourists into the High Country. The first Bindaree Hut(s) may have been built by or for Jim Ware (son of John ) on the Ware’s grazing lease, E8. Jim owned a property at Merrijig from c1928-9 which was also called Bindaree. This served as a base for packing hikers and skiers to Mt. Buller and other High Country destinations. He and his wife Catherine lived at Merrijig until 1957 { Stoney: 37}.
With the end of Summer approaching, we get the first Commander Class entry in the Transformer Siege line, Jetfire.
Up until this point, the figures have been, at most, glorified Voyager figures, clad in armour add-ons that add some bulk and size to the main figure (Leader Class), but not to a point where their $70 CAD MSRP was justified.
The Commander Class, naturally priced more than the Leader Class, is probably close to double the size of a Voyager, close to 13 inches in height, and is even larger than the old Ultra Class figures.
Jetfire is a name used for several characters over the years, and the one the Siege line refers to is, of course, the original G1 character. Originally introduced as a scientist friend of Starscream, Jetfire initially aligns himself with the Decepticons at Starscreams urging, only to defect later on due to.... well.. reasons I can't remember, providing the Autobots with much needed aerial support and a mode of mass troop transportation.
There have been, unsurprisingly, several official toys for this particular version of the character, but none of the releases have ever actually resembled his G1 cartoon aesthetic... until now.
And it is glorious.
Jetfire towers over all of his namesake releases, and a large portion of my collection, if I'm being honest, with the exception of exceptionally tall Leader releases of the past. To put things in perspective, Jetfire is only slightly shorter than any of the recent combiner sets from Hasbro.
Being one of the larger figures, my first concern was that Jetfire was some airy, hollow brick, like larger figures of the past, artificially made larger. I'm happy to say that while things aren't perfect, at least this didn't feel like some oversized dollar store release. The figure is nice and hefty, and the various cavities are used to hide bits and pieces needed for conversion into vehicle mode. There's also a nifty flip panel to swap from Autobot to Decepticon.
Articulation wise, Jetfire isn't going to blow your mind (it's really the Deluxe size figures that seem to be winning at this game), but it's decent for a mass release figure. You've got head swivel and tilt up, shoulders, upper arm, wrist, limited waist, knees, and ankle tilt along with futzable heels. Overall, I find that the limitations of the legs and feet allow for some decent posing, but nothing overly dramatic.
While not a point of articulation, but it's worth mentioning that one of the good things Hasbro/Takara did was engineer a ring that holds Jetfires weapon when the fist is close,and when it is opened, the ring conceals itself into the palm of the hand.
There is some excellent detailing of little mechanical details on the body of Jetfire, no doubt made possible due to the increased price point. Use of multiple colours of plastic is also a nice touch, again, probably due to the increased price point. Face sculpt is definitely, unsurprisingly, an homage to the G1 animation model
Love the blue of the jet canopy.
Paint wise, well Jetfire isn't exactly a very dynamic looking fellow, being predominately a giant white robot with some red/white here and there for accents. As far as I can tell, actual paint apps on the figure include the thighs, feet, back of lower leg, the Autobot sigil, the red lines on the wings, white patch on the backpack, the various paint apps on the face and battle mask. gun barrels, and paint on the chest armour. Overall, paint masking is actually pretty good, probably due to the use of a unified production line shared with Takara.
So effectively, Jetfire is the base white of the plastic. The paint apps, possibly due to use of unified production, are cleaner than in the past (as with all of Siege), with some minor masking quibbles on the back of the leg and the silver on the face.
The benefit, as it were, to this lack of paint, is that it's quite easy to see if there are any poor finishes on the actual plastic itself. Couldn't find any, really. Assembly was good with no major gaps. Joint strength actually is pretty good, with the exception of the hips. Quality of the plastic is.. well, it'll get the job done. At least it's not as flimsy as the pre-Siege stuff on larger figures.
Collectors of the Siege line will undoubtedly know that the gimmick this time around is the C.O.M.B.A.T. system, where you attach various weapons and armour pieces to dedicated hardpoints on the figure (each sold separately, of course). In the case of Jetfire, this kind of has been a way of life for the toy since Day One, where the original figure featured removable armour and weapons, a gimmick that was carried forward to pretty much every other G1 Jetfire toy, though in varying degrees.
The base Jetfire figure, sadly, has fixed red ankle pods and red jetpack, both of which were removable back in the day.But you do get a battle mask (homage to the G1 toy which did not have a face even close to that of the animation model), chest armour (as mentioned above), wrist guns, wing and jetpack mounted guns, and a double barreled gun that can split into two single barreled pieces. There are also two three-piece blast effects that can be used to imitate weapons fires or jet booster discharge.
These loose pieces can be assembled into a single package that is applied to vehicle mode to make it even more menacing in appearance.
Having gone through it, transformation into jet mode is actually fairly well thought out. As mentioned earlier on, the cavities of the body are used to store various components that make up the jet form, most notable being the true nosepiece of the jet and extension to the jetpack boosters. The only disappointing/funny part is the head basically gets shoved up the jetpack intact.
As with other Siege figures, you can definitely see that Hasbro/Takara has upped their engineering game.. or at least they have the budget to have such items made, including the addition of additional supports for the jet to keep it standing, as it were.
Addition of the blast effect and care package of death, as stated, do add to the aggressive appearance in this mode, and is definitely awesome to behold, though from a toy perspective I do miss the more all-around bulking up of some of the other G1 Jetfire toys.
Overall, articulation limitations are a bit disappointing, at least for me, but the strengths of this figure outweigh the weaknesses. It is G1 in appearance, decently armed, and more importantly, gigantic in size. Truly one of those characters that they finally got around to making a worthy toy of.
That's about it for now on this figure... why for now? Because now I get to put on some Reprolabels that I've been savings since the middle of July.
Here's hoping they turn out..
Yesterday's GoodWill Shopping. Large & Small Skillets, Large Saute Pan, & Small Wok. All for less than $20.
42" long.
Tapered in 2 directions.
Steel frame/Zinc Chromate plated.
Clad w/Rice Paper>over Muslin,
this Light Fixture exemplifies "Modern Pendant Lighting".
My design. Chicago. Copyright © - All rights reserved.
Published by a wonderful Design blog called Materialiscious...
materialicio.us/2007/10/12/custom-kitchen-light-fixture-k...
AND
another wonderful Design blog called apartmenttherapychicago.com
chicago.apartmenttherapy.com/chicago/flickr-finds/flickr-...
A new section on my website:
LIGHTING
visible at www.kramerdesignstudio.com/lighting.htm
14 August 2005 - Provincetown, Massachusetts - A scantily clad transvestite walks down Commercial Street in Provincetown, MA.
Photo Credit: Jethro Soudant
Commercial_Proffesional Shop Fitters_Germiston_Eva-tech Cladding_Weavola_Clad Fascia_Profile: 3D Tread_Colorway: Xavia + Aruna + Rusteak_Installer: Deck It
... detail on The Moor Car Park in Sheffield City Centre, England.
(For information about the cladding see: www.bournegroup.eu/boss/projects-boss/the-moor-car-park-c....)
Photo 3 in Story Series of 6
Bruno watched as the events of the day unfold. And, eventful, it was. Kalim was a bit upset when I walked up. I had just walked past Rosie in the front of the enclosure who was poking leaves outside the netting with a long stick, trying to get to the leaves. Now Kalim was throwing a long stick at the large crowd that had gathered ... or, I should say at a very tall and large man clad in a yellow shirt in the crowd. For some reason, she didn't mind playing with his also very tall and large, dark and curly haired son, but she didn't seem to like his father at all. She would hit the foliage with the stick, and then throw it into the crowd when the man came near or spoke to her ... perhaps because the man kept calling her a "him?!" (LOL) Anyway, the man and the son would hand her back the stick or toss it gently near her as I stood there. And, she would take it back, hit the bushes angerly, or throw it toward the crowd. Finally, she just got too perturbed and spit at the man over and over.
As Bruno watched, his eyes seemed to say, "I wouldn't make her angry if I were you..."
I stayed far enough back to keep from the spit and the danger of the stick.
The man and son walked away, so Kalim quieted down, and Bruno climbed to the shelf above and peered over the side at us. Kalim played quietly near the netting.
Then, the man and son came back ... and Kalim became restless again. She picked up the stick again. I warned a family with young children, and a young woman nearby that she would throw the stick and spit. So, they removed themselves from harm's way. Then, Kalim started again. I told the man, "She only behaves like that when you're around." She really didn't like the man at all, and hit and spit again ... giving another throw or two of the stick at the crowd. But, this time, she also played tug-a-war with the boy ... he would pull with all his might, and she would just hold it ... and then give a tug or two that nearly knocked him flat. When she became tired of it, they tried to interest her with the stick again.
That's when a woman in the crowd became very angry. She exclaimed, "Am I the only adult here that doesn't think that is a good idea or example for the kids?!"
She made a few more angry statements, and then a man behind me said, "Well, I do think you are not the boy's mother."
She became more frustrated, and said, "Well, he's too old to be here with parents!"
The man stated, "Well, he is here with parents ..."
She couldn't believe it.
Shortly afterwards, the Public Safety Officers arrived and pulled the man and his boy aside and said they had received several calls on the matter. They told the men that it was reported that they had been seen taunting the animals, poking it with sticks, etc. I had not witnessed any such cruel behavior, though I did see that Kalim did not like the man. From what I saw, it only looked like the man and his son were trying to playfully interact with the animal. But, it was obvious that it wasn't the best of ideas ... and a bit dangerous.
The man and son's IDs were taken, they were interviewed, and then escorted off the property.
Then, Bruno jumped down and made his way to the back of the enclosure, for 2 keepers had come to check on them. He quietly held onto the netting and watched them, as they spoke gently to him and rubbed his fingers.
Kalim came over, and they looked her over and spoke to her. Then, Berani, Minyak (the once very sickly and depressed male) and Kalim's daughter came over. She stayed fairly high in the netting, almost taunting the keeper. The keeper tried to coax her down, and finally slowly shook the netting to try to get her down ... but this only led to Berani wanting to play and swing in the netting. And, Berani would shake the netting herself to get the keeper to do it again and again so she could ride in the netting.
About that time, 40 yr old Eloise came over to the netting near the visitors. She has Cerebral Palsy and mental disabilities, so she basically rolled over to the visitors. Her eyes are glazed over, and her movements are slow. Her bottom lip usually hangs open awkwardly. Shortly before, she had been pressed up against the observatory glass ... visitors (such as myself) whom didn't know her physical shortcomings would think she was quite sickly.
The keepers left, just after the main keeper handed a branch to Kalim. Kalim eventually pulled it through the netting and chewed on it awhile.
Berani came over to Eloise and loved on her a bit. Then, Eloise rolled over toward the oncoming Bruno. Bruno checked on her, and loved on her a bit, also. The orangutan world was right once more.
Los Angeles Zoo
11/24/08
ARTICLES & MISC ON KALIM I FOUND ON THE WEB:
An LA Times Article on Minyak, Kalim, and Bosco Berani:
articles.latimes.com/2005/mar/28/local/me-orangutan28
Life and Times Article on Minyak, Kalim, and Berani:
www.kcet.org/lifeandtimes/archives/200505/20050509.php
Kalim and Berani Bond:
russlings.blogspot.com/2005/05/motherchild-bond.html
The LA Zoo's Orangutans:
Cytoarchitectonic organisation of the habenulae in teleosts.(A) Drawings of adult male individuals belonging to different teleost species, placed in the context of a cladogram of the teleost lineage according to Nelson [28]. (B) Schematic representation of a teleost brain (e.g. D rerio), showing the location and orientation of histological sections shown in C–I. (C–I) Photomicrographs of cresyl-violet stained 10 µm-thick coronal sections taken at a midpoint between rostral and caudal ends of the Hb as shown in B. Each panel corresponds to a single species, as indicated in the letter code of the left diagram. C′ is a magnification of the square region depicted in C. Dorsal is to the top, and left is to the left. Arrowheads point to the subhabenular sulcus. Asterisks indicate the position of the dorsal-most neuropil region of the dorsal habenulae that is surrounded by a shell of cell bodies in some species. Abbreviations: A (anterior), D (dorsal), dHb (dorsal Hb), L (left), P (posterior), R (right), TeO (Optic Tectum), V (ventral), vHb (ventral Hb). Scale bars: 50 µm.
Snow clad forest.
The heavy snow makes the smaller trees bend down in supplication - please, no more snow.
Photo taken February 21, 2009 at Eik, outside Tønsberg, Norway.
TECU® Brass PROTEUS HR Honeycomb Rainscreen Panel System.
Manual burnishing / patination applied.
Lee / Fitzgerald Architects, London.
Installer: Roles Broderick Roofing, Chobham.
Realised: Autumn 2012.
Asbestos cement clad bungalow, this building was basically a wooden frame covered in asbestos cement sheeting.
The walls both internal and external, ceilings and cavity insulation (asbestos softboard) were asbestos cement sheeting.
The roof tiles were also asbestos!
A truly delicious confection, with similar partition wall, but extraordinarily and in complete contrast with quite a well made, banded front wall from period bricks. The cogwheel or circular saw motifs on the walls echo perhaps some communist industrial logo. The smart new door also harmonised with the rounded romanesque archway of the `1880s
www.naplesldm.com/pozzport.php
The modern sea-wall that shelters the port disguises history rather well. When the Roman empire fell, Pozzuoli, with the adjacent imperial glory of the port facilities of Baia, went into centuries of decline. As late as the 1880s, a travel writer in the New York Times could still say:
...The harbor of Pozzuoli is an interesting place to visit, if only to study the manner in which the ancients built their piers. There still remains the tremendous structure, or a very large portion of it, called by Seneca, Pilae, and by Suetonius, Moles Puteolanae. Of 25 buttresses, which supported 24 arches, 16 are left, three being under water. They are constructed of brick and pozzulana earth, and bear an inscription reporting that the pier was restored by Antonius Pius. A common, but very erroneous impression, owing probably to the fact of the pier now being called Ponte [bridge] di Caligula, is that it was connected with the ponton [sic] bridge which that emperor threw across the bay of Baiae in order that, clad in the armor of Alexander the Great, he might there celebrate his insane triumph over the Parthians.
Indeed, photos from that period show the pier/sea-wall of Pozzuoli to be low and jagged, essentially what is left of the old Roman structure (seen in the above image) after many centuries of neglect. (Sources differ as to how many arches the original Roman pier had.) After a century of talk about rebuilding the pier into a more modern structure, it wasn't until the early 1900s that this was done. Dvorak (sources, below) reports in 1904:
The largest and best-known Roman breakwater is that at Puteoli, commonly called the Bridge of Caligula. This great work consisted of fifteen tall piers of concrete, some of 52 feet square, others smaller, rising from 49 feet of water to some 16 feet above the surface. The tops of the piers were connected by arches, and the whole work was often referred to as the "opus pilarum," or "moles puteolanae." Unfortunately, but little of the old work is now to be seen, for the harbour is sheltered by a solid sea-wall, which has been constructed by filling up the spaces between the ancient piers. The work was originally proposed by Carlo Fontana, and, in spite of the adverse criticism of Fazio, will soon be finished.
The modernizing work was, indeed, finished and was, as noted, redone in the 1980s. Roman engineers built differently than modern ones. A modern seawall stops waves completely; the Romans, however, built separate piers (in this case, joined by arches) that were close enough to break the main force of the waves but still let sufficient water pass through. Without modern dredging equipment, this had the advantage of letting currents sweep through the harbor and keep the port from silting up. Perhaps the most interesting thing in the whole harbor was the small island off the end of the pier. It was covered with buildings and has disappeared completely; it is probably the one mentioned by the Greek historian Pausanias in the second century AD:
Off Diceearchia [the original Greek name for Pozzuoli, ed.], which belongs to the Etruscans, there is boiling water in the sea, and an island has been constructed artificially, that the water may be utilized for warm baths. The modern sea-wall of Pozzuoli (jutting out on the right in this photo) runs almost exactly east to west, pointing directly at Baia.
Much of the western part of the bay, off of Baia, has been studied and made available in the new museum in the Aragonese castle off of Baia; those waters are also now an "underwater archaeology park," but I don't know the extent to which such efforts have extended to Pausania's "artificial island." Also, there was apparently a second harbor at Puteoli. Ancient sources mention it and in the early 19th century, engineers planning to rebuild the harbor spoke of the existence of an extensive network of piers offshore below the old acropolis to the east of the main harbor.
2500 Lakewood Drive, Vancouver, BC.
Statement of Significance
Description of Historic Place:
Laura Secord Elementary School is located at the southeast corner of Lakewood Drive and East Broadway, in the Kensington-Cedar Cottage neighbourhood on Vancouver’s east side. The building is a two-storey (plus basement), red-brick-clad school. The main block was designed on the ‘barbell’ plan and built between 1913 and 1928, with its principal facade facing Lakewood Drive. Classroom wings flank a central core.
A brick gymnasium (1979) and a classroom wing (2001) are located south and east of the main building, creating a courtyard and the sense of a small campus. Large grassed playing fields and an adventure playground lie east of the school. The 1.31-hectare property is well defined, with formal curbs, concrete retaining walls, steps, fences, and plantings.
Heritage Value:
Laura Secord Elementary School has heritage value for its architecture, history, and the many associated stories generated by staff and pupils. Representative of many Vancouver schools, its construction in 1913 is linked to population growth during Vancouver’s tremendous expansion in the years preceding World War I. Substantial relative to the neighbourhood, the school was designed to enhance the status of public education and to promote the good taste of Vancouver and its citizens.
The evolution over time is representative of many schools. One of eight similar schools designed by School Board architect N.A. Leech, Laura Secord Elementary School opened in 1913 with eight classrooms and was intended to be built in two stages. The design has strong decorative elements, with patterned brick on the main facade. The completion of the second stage in 1926-28, to designs by Vancouver School Board architect F.A. Barrs, is built of less robust materials, reflecting taxpayers’ insistence on economy. Substantial renovations were made in 1957. A community building/gymnasium was added in 1979 and a new classroom wing opened in 2001.
Laura Secord Elementary School has value for features that represented good school design. The earlier parts created spaces that were fireproof, well lit, and well ventilated, to promote health and safety. The school has standardized furnishings, reflecting that schools are the product of society’s decision to organize public education with bureaucratic systems. The enduring belief in the role of the school in the community and the importance of supervised play is seen in the construction of the first auditorium/gym in 1926 and the new community building/gym in 1979. Students from the 1970s remember participating in shaping their physical environment: they planted trees along Broadway and Lakewood Drive, worked with the playground designers, and turned the sod for the new gym.
Heritage value is also found in the associations that former students, parents, teachers, and neighbourhood residents have with the school. The strength of these associations has been expressed by frequent reunions. Following the 75th reunion (1988), an alumni association and newsletter were organized and thrived for years as the ‘only alumni association for an elementary school anywhere in Canada.’ Events such as the Christmas Concert and Sports Day stand out in student memories. Many remember teachers for their ‘special’ talents. Some teachers spent much of their career here, including a principal, Mr. Ramage. Former students’ achievements are diverse, including homemaking, atomic researcher (Muriel Wales), and Provincial Premier (Dave Barrett). Student memories and teachers’ careers bind the physical place with the neighbourhood and individual histories; this forms part of Secord’s heritage value.
Source: City of Vancouver Heritage Conservation Program
Character-Defining Elements:
The character-defining elements of Laura Secord Elementary School include:
- sloped site that translates into a variety of entrance conditions
- corner location in a single-family residential content on a busy thoroughfare; set back from the street
- tradition of use as a school
Exterior features:
- form, scale and massing, as expressed by symmetrical form, barbell plan and commanding scale
-dual pitched gables with bargeboards
- concrete foundation, masonry construction and some cinder block walls
- yellow brick diamond patterning, projecting decorative corbelling, wide entrance staircase with metal handrail to the second floor, standard issue signage ‘LAURA SECORD SCHOOL’, double wooden-paneled door at the front entrance with nine panes and fixed five-paned transom and original hardware, ventilation panel in the gables, continuous sills, decorative projecting pilasters between fenestration
- fenestration: recessed double-hung multi-pane sash, functioning hopper transoms, fixed nine-pane windows in basement
Interior features:
- general: intact spatial configuration, high ceilings (some coved), generously proportioned wood paneled doors with wood surrounds, glazing and single pane transoms, high baseboards, large central hallways, bell system and clocks, public address speakers and exposed mechanical systems
- classrooms: millwork including built-ins, slate boards and their surrounds, cloakrooms with original hardware, benches and storage
- gymnasium/auditorium: clerestory windows, standard issue wall-mounted metal gym equipment, dressing rooms with built-ins and fixtures, original stage with stair access on either side, spot wells and storage underneath, designated equipment room and signage: ‘SHOES MUST BE WORN ON GYM FLOOR’
- stairwells: curved walls, wooden handrails, newel posts, banisters, twin bevelled detail on walls above the handrail and natural light in stairwells via bank of triple assembly multi-paned windows
- basement: padding on structural columns to meet health and safety requirements, ‘tuck-room’ with Dutch door and built-in shelving, doors with step-downs and metal handrails, children’s games in the poured concrete floor and bench attached to the wall
- other: fireproof projection room with heavy fireproof door between twin flanking staircase on main floor, kindergarten room with independent bathroom on main floor, deep interior window sills in staff room that has district wide 50’s XXX upgrade millwork and hardware, sub-grade boiler room with fireproof utility door, some original plumbing fixtures
Landscape features:
- perimeter of evenly spaced coniferous and deciduous trees, metal flagpole, covered play areas, multiple street entrances with a variety of entrance conditions because of the gently sloped site, ‘line up’ numbers 1-22 along north retaining wall on athletic field, at-grade children’s games (ie. hopscotch)
-school additions feel more residential in scale, but imitate features of the 1913 building, such as sash windows, built-in teachers’ storage, cloak area, bank of windows in stairwells to maximize daylight