View allAll Photos Tagged cladding
icc exhibition centre, darling harbour live, sydney. architects: hassell + populous. builder: lend lease.
The snow just kept falling on Christmas Day, but was actually very beautiful & the visibility wasn't bad. An unusual, but lovely Christmas Day.
Eva-Last, Infinity, Swiss Oak, Capped Bamboo Composite Decking, VistaClad, Infinity, Swiss Oak, Composite Cladding.
Residential - Decking - Cladding - Screens - Gates - Railing - Classic profile - Riided finish - Aruna colourway - Kleindmond - Western Cape - Installer: TBA
It was raining as I took this photo. Keeping the lens clear of water droplets ensured the photo was taken quickly! This is another old colonial house, where corrugated iron has been used to clad the walls as well as it's more normal use as a roof covering. The curtains inside suggest the house is very old, but I'm much less sure whether the house is abandoned. Probably not. Agapanthus flower heads are in the foreground.
A natty little porch with sloping roof has been built to remove any trace of the rounded arch with keystone (as next door) The natural choice of finish is stone cladding. Some of the mortar is a bit messy. One can't fault the wonderful pebbledash which masks the yellow brick with red banding. Mid to late 1880s I guess. The stock brick wall belongs to next door, but provides contrapuntal interest.
2 story stainless steel clad penthouse stair. Caliper Studio detailed, fabricated and installed for AVO Construction and Ben Hansen Architects.
Architects: Foggo Associates, 1999. Detail of patinated bronze panels forming the largest patinated exterior in UK (source: Emporis). The building is at 60 Queen Victoria Street, although this image was taken in Sise Lane, City of London.
TECU® Classic copper façade cladding from KME.
Angled-seam cladding technique, with vertical orientation of seams.
Architects: Anshen + Allen Architects, London.
Installer: Richardson Roofing Ltd, Staines.
Realised: Spring 2011.
Grøndalsvej 1. These large green buildings belong to Aarhus Kommune (municipality) and contain administration offices for the departments of Nature & environment, Traffic & roads and Disabilties & psychiatry.
Construction started in 2011 (after demolishing the older buildings serving the same purposes), but completion took 2 years, and even before they were commisioned, the municipality started discussions of selling them on, since their needs had changed. So far, no sale has happened, possibly because the buildings have been plagued with problems from day one. One major problem is the green cladding breaking up and dropping to the ground. Seeing them without any tiles missing has been a very rare sight, right from the beginning and in 2017 fences were put up all the way around the building to prevent pedestrians from getting to close and risk getting hit by a falling tile. Covered scaffolds were placed by the entrances to provide a safe access!
In winter 2017-18 all the green tiles were removed and replaced with... absolutely nothing! Half a year later, the buildings still stand as ripped skeletons. Scaffolds are up in several places, but there has been no visible activity for months.
Viewed here from the west.
From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations.
Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite.
I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy.
Residence House Dreyer, Composite decking board, Composite Cladding, LifeSpan™ Pergolas, Apex® Decking
Product Description
CCS wire is also known as "CP" wire, high-class and low-Carbon steel is chose as core, clad by non-oxygenic pure copper evenly by mechanical method, then plated by pure Tin. Due to the high purity of layers, the copper layer and tin layer are combined close-grainedly. Ccs wire can be sorted to annealed(A) and hard(H).
Tinned CCS wire combines the high electricity conductivity & magneto conductivity of Copper, high strength of steel and thermal conductivity, corrosion resistance of tin, has oxidation resistance at high temperature. Since its superior strength and weldability, resistance to bending, firm welding point, its anti-vibration up to 3-6 times of pure copper wire, easy to automate.
Application:
This wire is widely used for lead wire & jumper wire of electronic components, core of RF cable, it has become a perfect wire of communication, electronics and electric power industry.
TECU Oxid copper facade cladding from KME.
Angle-seam cladding technique, with variation of seam-centres.
Keith Williams Architects, London.
Installer: TR Freeman, Cambs.
Realised: Sept 2005.
Resident Lucy, Vistaclad™, LifeSpan™ Pergola, Infinity® Tiger Cove L-finish, cladding and Eva-tech®, Aruna
No visit to Cambodia is complete without attending at least one traditional Khmer dance performance, often referred to as 'Apsara Dance' after one of the most popular Classical dance pieces. Traditional Khmer dance is better described as 'dance-drama' in that the dances are not merely dance but are also meant to convey a story or message. There are four main modern genres of traditional Khmer dance: 1) Classical Dance, also known as Court or Palatine Dance (lakhon preah reach troap or lakhon luong); 2) Shadow theater (sbeik thom and sbeik toot); 3) Lakhon Khol (all-male masked dance-drama.); 4) Folk Dance (Ceremonial and Theatrical).
As evidenced in part by the innumerable apsaras (celestial dancers) that adorn the walls of Angkorian and pre-Angkorian temples, dance has been part of Khmer culture for well more than a millennium, though there have been ruptures in the tradition over the centuries, making it impossible to precisely trace the source of the tradition. Much of traditional dance (especially Classical) is inspired by Angkorian-era art and themes, but the tradition has not been passed unbroken from the age of Angkor. Most traditional dances seen today were developed in the 18th through 20th centuries, beginning in earnest with a mid-19th century revival championed by King Ang Duong (reigned 1841-1869). Subsequent Kings and other Khmer Royals also strongly supported the arts and dance, most particularly Queen Sisowath Kossamak Nearireach (retired King Norodom Sihanouk's mother) in the mid-20th century, who not only fostered a resurgence in the study and development of Khmer traditional dance, but also helped move it out of the Palace and popularize it. Queen Sisowath Kossamak trained her grand daughter Princess Bopha Devi in the art of traditional dance from early childhood, who went on to become the face of Khmer traditional dance in the 1950s and 60s both in Cambodia and around the world. Many traditional dances that are seen in performances today were developed and refined between the 1940s and 1960s under the guidance and patronage of Queen Sisowath Kossamak at the Conservatory of Performing Arts and the Royal University of Fine Arts in Phnom Penh. Almost all of the Theatrical Folk dances that are presented in modern performances were developed during this period. Like so much of Cambodian art and culture, traditional dance was almost lost under the brutal repression of the Khmer Rouge regime of the late 1970s, only to be revived and reconstructed in the 1980s and 90s due, in large part, to the extraordinary efforts of Princess Bopha Devi.
Classical dance, including the famous 'Apsara dance,' has a grounded, subtle, even restrained, yet feather-light, ethereal appearance. Distinct in its ornate costuming, taut posture, arched back and feet, fingers flexed backwards, codified facial expressions, slow, close, deliberate but flowing movements, Classical dance is uniquely Khmer. It presents themes and stories inspired primarily by the Reamker (the Cambodian version of the Indian classic, the Ramayana) and the Age of Angkor.
Folk Dance come in two forms: ceremonial and theatrical. As a general rule, only Theatrical Folk Dance is presented in public performances, with Ceremonial Folk Dances reserved for particular rituals, celebrations and holidays. Theatrical Folk Dances such as the popular Good Harvest Dance and the romantic Fishing Dance are usually adaptations of dances found in the countryside or inspired by rural life and practices. Most of the Theatrical Folk Dances that are seen in performances today were developed at the Royal University of Fine Arts in Phnom Penh in the 1960s as part of an effort to preserve and perpetuate Khmer culture and arts.
Shadow theatre comes in two forms: Sbeik Thom (big puppets that are actually panels depicting certain characters from the story) and Sbeik Toot (small articulated puppets). The black leather puppets are held in front of a light source, either in front or behind a screen, creating a shadow or silhouette effect. Sbeik Thom is the more uniquely Cambodian, more formal of the two types, restricting itself to stories from the Reamker. The performance is accompanied by a pin peat orchestra and narration, and the puppeteers are silent, moving the panels with dance-like movements. Sbeik Toot has a far lighter feel, presenting popular stories of heroes, adventures, love and battles, with or without orchestra and with the puppeteers often doing the narration.
Lakhon Khol is all male masked theatre presenting exclusively stories from the Reamker.
Most dance performances in Siem Reap offer a mixture of Classical and Theatrical Folk dances. A few venues offer Shadow Theater. Many of the dance performances in Siem Reap consist of 4-6 individual dances, often opening with an Apsara Dance, followed by two other Classical dances and two or three Theatrical Folk dances. The Apsara Dance is a Classical dance inspired by the apsara carvings and sculptures of Angkor and developed in the late 1940s by Queen Sisowath Kossamak. Her grand daughter and protégé, Princess Bopha Devi, was the first star of the Apsara Dance. The central character of the dance, the apsara Mera, leads her coterie of apsaras through a flower garden where they partake of the beauty of the garden. The movements of the dance are distinctly Classical yet, as the dance was developed for theatrical presentation, it is shorter and a bit more relaxed and flowing than most Classical dances, making it both an excellent example of the movements, manner and spirit of Classical dance and at the same time particularly accessible to a modern audience unaccustomed to the style and stories of Khmer dance-drama.
Another extremely popular dance included in most traditional dance performances in Siem Reap is the Theatrical Folk Dance known as the 'Fishing Dance.' The Fishing Dance is a playful, energetic folk dance with a strong, easy-to-follow story line. It was developed in the 1960s at the Royal University of Fine Arts in Phnom Penh and was inspired by the developer's interpretation of certain rather idealized and stereotyped aspects aspects of rural life and young love. Clad in rural attire, a group of young men and women fish with rattan baskets and scoops, dividing their attention between work and flirtatious glances. Women are portrayed as hardworking, shy, demurring and coy, whereas the young men are strong, unrestrained, roguish and assertive. As the dance continues a couple is separated from the group allowing the flirtations between them to intensify, only to be spoiled by the male character playing a bit too rough, leading to her coy rejection. He pokes and plays trying to win her back, bringing only further rejection. Eventually he gently apologizes on bended knee and after some effort, draws a smile and her attention once again. Just as they move together, the group returns, startling the couple and evoking embarrassment as they both rush to their 'proper' roles once again. The men and women exit at opposite sides of the stage, leaving the couple almost alone, but under pressure of the groups, they separate, leaving in opposite directions, yet with index finger placed to mouth, hint of a secret promise to meet again. (In an interesting side note, placing one's index finger to the lips to denote quiet or secrecy is not, generally speaking, a gesture found in Cambodia, but is common in the West. Its employment in the dance probably indicates a certain amount of 'foreign influence' amongst the Cambodian choreographers when the dance was developed in the 1960s.)
Source: Canby Publications Co., Ltd.
At about noon time, I went back to Sinaran Institute to get a nicely lit view of 1 Sulaman's Platinum Tower. All the sides facing Sinaran Institute were well lit by the afternoon December sun. Cladding for the middle section is underway now, and the southern wing is slowly rising higher and higher. In this photo, the Wismas and D' Sulaman Square is also visible.
Wonderfully rough and textured construction materials. Logs for columns, sticks for mullions, bark for cladding.
General notes here.
Citation by Samantha Westbrooke Pty Ltd
A manufacturing plant complex built in the International Modern style, consisting of rectangular
blocks with flat steel deck roofs, salmon and red brick, steel framed windows and cement sheet
cladding. There are entire curtain walls of concrete breeze blocks. There are lighting standards
with conical luminaries with dish caps. Signage is supported on a rolled hollow section steel
frame. The buildings are set within lawns with native planting at the entrance, a rock garden,
pool, and possible sculpture remnant.
The factory is centred on a 250-metre long main processing building flanked by various
storage and administration buildings. The whole complex demonstrates a unity of design in its
use of a low brick wall surmounted by corrugated cement sheeting or steel framed glazing.
Most south facing walls are completely glazed from the brick dado to the roof, while the north
facing walls and some south facing ones have a single strip of glazing along the top of the wall.
The brick dado is evidently designed to prevent damage to the fragile cement sheeting and so
is used only at the lower level. However, as a stylistic feature, this has also been employed in
the administrative buildings.
The production line is expressed by the long low main production building, with the tall milling
and mixing structure at the eastern end, where raw materials are prepared for processing, a
small tower housing the steam accumulator a short distance along, and the large storage and
dispatch buildings extending across the western end.
The administration block lies between the production building and Rowsley Station Road, with
a gatehouse and openwork, concrete block wing walls identifying the main entrance.
The brown coal and wood waste fired boiler is a prominent feature at the eastern end of the
site. This fully glazed wall to the north and south broken by strips of louvred venting and with a
probably accidental random checker pattern created by different coloured glass panes. The
steel chimney stands just south of the boiler house.
The elements that contribute to the significance of the site are those features constructed as
part of the original design (as shown in the representative design perspective from 1960) as
follows:
Gatehouse & Administration Block
Amenities Block
Boiler House
Bicycle Shed and Factory sign
Chipper House
Main Factory Building
Warehouse
Workshop and Store
Factory Supervision
The setting of the place including the boundary trees and rock garden at the front of the site
also contribute to its significance.
Comparative Analysis:
The style of the complex is derived from the Bauhaus influenced industrial or institutional
complexes generally in the United States, such as, Illinois Institute of Technology, Chicago,
Illinois (Mies van der Rohe 1939-1956) and General Motors Technical Institute, Warren,
Michigan (Eliel and Eero Saarinen 1946-55). Local comparisons include factories, such as,
ETA Foods, Ballarat Road, Braybrook (Frederick Romberg 1957-60), Australian Paper Mills,
Fairfield, General Motors, Dandenong and various oil refinery complexes. The survival of boiler
houses in factory complexes is rare, as are glazed curtain walls from this period.
Significance:
What is significant?
The CSR Mill designed by T. H. McConnell, which opened in 1960, located at 25 Rowsley
Station Road, Maddingley. The following elements contribute to the significance of the place:
• Gatehouse & Administration Block;
• Amenities Block;
• Boiler House;
• Bicycle Shed and Factory sign;
• Chipper House;
• Main Factory Building;
• Warehouse;
• Workshop and Store;
• Factory Supervision; and
• The setting of the place, including the boundary trees and rock garden at the front of the
site.
How is it significant?
The former CSR Mill, 25 Rowsley Station Road, Maddingley is of local historical and aesthetic
significance to the Shire of Moorabool.
Why is it significant?
The former CSR Mill, 25 Rowsley Station Road, Maddingley is of historical significance as the
embodiment of an industrial process and capital investment in a semi rural location. The
factory officially opened in 1961 by State Premier at the time Mr H. E. Bolte demonstrates the
decentralisation policies of the Liberal Government during the 1950s and 60s. The complex is
of historical significance for its associations with the development of employment and industry
in the former Bacchus Marsh Shire, which demonstrates the utilisation of valuable resources in
the area.
An extension of iron Aelfred designed by joel cooper and folded by me from an uncut irregular concave octagon. Named after a character in super paper mario since it has a comically large mustache. I'm pretty happy with the shininess of the paint. But I'm trying to get away from glossy acrylics and trying to transition into acrylics with more of a matte finish.
The reflective cladding makes for some interesting shots due to the distorting effect. Some of the 'window cleaners' were using a cherry-picker, but this chap had a very long pole which pumped water up to the brush. It looks as if he is cleaning the building which is actually behind him at the other side of the road.