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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..
Custom home with Profile-6 corrugated fiber cement boards. Designed by Faye and Walker Architects. Photo by Leonid Furmansky
Residence Bognor Summerstrand, Infinity® decking, Tiger Cove, Apex® Cladding OJP Himalayan Cedar, LifeSpan™ Pergola, Savanna
Residence Bognor Summerstrand, Infinity® decking, Tiger Cove, Apex® Cladding OJP Himalayan Cedar, LifeSpan™ Pergola, Savanna
Residence Bognor Summerstrand, Infinity® decking, Tiger Cove, Apex® Cladding OJP Himalayan Cedar, LifeSpan™ Pergola, Savanna
Residence Bognor Summerstrand, Infinity® decking, Tiger Cove, Apex® Cladding OJP Himalayan Cedar, LifeSpan™ Pergola, Savanna
2 story stainless steel clad penthouse stair. Caliper Studio detailed, fabricated and installed for AVO Construction and Ben Hansen Architects.
Kaiser Medical Office Building in Kona, HI. The exterior cladding is high-density fiber cement boards on an insulated rain-screen. Designed by Project Frog and Richard Matsunaga & Associates Architects, Inc.
Morningside, Manhattan, New York City, New York, United States
Prominently situated at the corner of West 103rd Street and Broadway, the Hotel Marseilles is a distinctive Beaux-Arts style apartment hotel constructed in 1902-05, at a time when this section of Broadway on the Upper West Side experienced rapid development aided by the opening of the Broadway (IRT) subway line, which included a stop at Broadway and West 103rd Street. A distinguished example of the wave of large-scale hotel construction that followed the passage of the Tenement House Law of 1901, the Hotel Marseilles was one of several grand hotels and apartment hotels, such as the Astor Hotel and the Ansonia, built along Broadway north of Times Square during the first decade of the twentieth century. The Hotel Marseilles, clad in brick with limestone, wrought-iron, and terra-cotta trim and crowned with a sloping mansard roof, illustrates the rise of the "modern French" style in commercial and hotel architecture.
The appearance of this style in the United States was the result of a sharp increase in the number of American architects attending the Ecole des Beaux-Arts in Paris and the concomitant ascent of France as the dominant influence in American architecture in the late nineteenth century. Erected for the Netherlands Construction Company and leased after completion to the Marseille [sic] Hotel Company, this apartment hotel was designed by noted architect Harry Allan Jacobs, a specialist in hotels and residential buildings. Largely intact, the Hotel Marseilles serves as a significant reminder of the development of Broadway and the Upper West Side in the first decade of the twentieth century.
The Development of the Upper West Side
The Upper West Side was largely undeveloped until the 1880s. Until urbanization at the end of the nineteenth century the area was known as "Bloamingdale," a name derived from the Dutch settlers who called the area Bloemendael after a flower-growing area in Holland. By the eighteenth century the Bloomingdale Road (later known as Broadway), following the course of an old Indian trail, provided the main link to lower Manhattan, encouraging the growth of small clusters of villages and the establishment of country estates in the adjoining areas by wealthy New York families.
The site on which the Hotel Marseilles stands was once occupied by a wood-frame outbuilding located on the grounds of an estate known first as the Humphrey Jones Homestead and later as the estate of Ann Rogers. The large stone house on the estate, located between the present 101st and 102nd Streets west of the present West End Avenue, was converted to a hotel in 1844 called the Abbey Hotel. In 1857 it was struck by lightning and demolished.
The Upper West Side was included in the Commissioner's map of 1811, which outlined New York's street grid, although the area remained essentially rural and most of the streets were not laid out until after the Civil War. land speculation, fueled in the post-war years by the creation of Central Park, continued throughout the 1870s despite wild vacillations in prices caused by the Panic of 1873. In addition to Central Park, other amenities made the Bloomingdale section attractive to developers.
Plans for Riverside Park and Drive were undertaken in 1876, and completed in 1900. Transportation improvements, such as horse car service on Broadway (begun 1878), the Ninth Avenue Elevated Railroad (completed 1879), and cable traction cars along Amsterdam Avenue (1885) further stimulated speculative interest.
From the time that development began in earnest on the Upper West Side, single-family rowhouses were built on the side streets and tenements and flats with commercial ground stories were built on the avenues because the noisy transportation lines made them less desirable for the development of rowhouses.
Broadway was planned as the spine of the Upper West Side. As early as 1868-71 Bloomingdale Road was replaced by a wide avenue designed to receive central grassy malls spanning West 59th to West 155th Streets. The avenue was initially known as "Boulevard" in the area where the Hotel Marseilles now stands, and the "Public Drive" further to the north. In 1898 the avenue was renamed "Broadway."
By the late 1890s land prices had reached such extravagant levels that developers could realize little profit from building single-family dwellings, making them too costly for any but the truly rich. By the turn of the century the stage was set for the large-scale development of apartment buildings and apartment hotels on the Upper West Side.
The biggest boost to the development of Broadway was the completion in 1904 of the Broadway (IRT) subway line, with stops at 72nd, 79th, 86th, 96th, and 103rd Streets.
Apartment Hotels
Apartment buildings, which had been introduced to New York in the third quarter of the nineteenth century, were initially termed "French flats" when they were intended to house the middle and upper-middle classes. All multiple dwellings for three or more tenants were legally classified as tenements, but in common parlance the tenement was often the overcrowded habitat of the working class.
Although many early French flats were quite large and sumptuously appointed, Americans of means were initially skeptical of multiple dwellings. The close proximity of neighbors and servants was thought to hinder privacy and lack decorum. A successful solution to the problem was the apartment hotel.
Apartment hotels were intended to house permanent and transient tenants as well as small families, in suites and single rooms, furnished or unfurnished. All were without kitchen facilities and instead the apartment hotel employed full-service staffs and provided ground floor kitchens and restaurants so that tenants could dispense with personal servants.
The first true apartment hotel on the Upper West Side was the original Beresford, constructed on Central Park West in 1889 (later replaced by its towered namesake), and the first wave of apartment hotel building soon followed, lasting from 1889 to 1895. During this period, apartment hotels because so nurcerous that they sparked a backlash among New York's social establishment; contemporary novelists such as Henry James thought them "vulgar."
A second wave of apartment hotel construction followed the passage of the new Building Code in 1899 and the Tenement House Law of 1901.
Under this law, apartment hotels were classified as hotels rather than tenements. Therefore apartment hotel construction was regulated by the Building Code rather than the more stringent Tenement House Law. As all hotels were considered to be commercial buildings rather than residential, the apartment hotel, compared to the apartment building, could be less fireproof, taller, and cover a larger portion of the lot, thus containing more units.
Therefore they allowed a builder a better financial return than an apartment building.
Unlike most apartment buildings, apartment hotels reserved ground floor space for commercial tenants. Thus ground-story storefronts were integral elements of the design of the apartment hotel. Broadway, the grand residential boulevard with compatible commercial uses, was ideally suited for this building type. In anticipation of the increased accessibility and convenience that the IRT would provide to the Upper West Side, many apartment hotels were constructed along Broadway in the early twentieth century.
The Hotel Belleclaire at 2171-2179 Broadway (1901-03, Emery Roth of Stein, Cohen & Roth) and the Ansonia at 2101-2119 Broadway (1899-1904, Graves & Etoboy), both designated New York City Landmarks, are particularly notable examples of this trend. Further to the north of the Hotel Marseilles, the Manhasset (1899-1905, Joseph Wolf) at 2801-2821 Broadway was also constructed in anticipation of the IRT.
Although it was built as an apartment building, it provided ground floor space for commercial tenants. The construction of these buildings, combined with Broadway's traditional role as the spine of the Upper West Side, contributed to its growth as a grand boulevard of hotels and apartment hotels in the first decade of the twentieth century.
Following World War I, newly-built apartment hotels introduced "bootleg kitchens" — a true kitchenette — into their suites, which were intended to warm up food provided by room service. Under the law stoves were still not allowed in living units of apartment hotels, but the law was not always strictly enforced.
This situation became a matter of public controversy in the mid-1920s when building inspectors found that same tenants were ignoring the law.
This is one factor that led to a complete overhaul of the old law and to the passage of the Multiple Dwelling Act of 1929, which altered height and bulk restrictions and permitted "skyscraper" apartment buildings for the first time, thus eliminating the economic advantages of developing apartment hotels.
This law, combined with rising labor costs and the onset of the Depression effectively marked the end of the apartment hotel; today most have been converted to conventional apartments.
The Beaux-Arts Style and The Hotel Marseilles
The Hotel Marseilles was built by the Netherlands Construction Company (J. Arthur Pinchbeck, president) and leased after completion to the Marseille [sic] Hotel Corrpany. It was one of several Beaux-Arts style hotels and aparinnent hotels located on Broadway. Its design, characterized by overscaled decorative classical elements and a mansard roof, illustrates the development of the "modem French" style in commercial and hotel design that began in New York in the 1890s.
The use of the "modern French" style in New York City coincided with the rise of France as the dominant influence in American architecture in the last quarter of the nineteenth century. This corresponded to a sharp rise in the number of American architects that studied at the prestigious Ecole des Beaux-Arts in Paris; over 350 of them were enrolled between 1890 and 1910.
After returning to America, these architects sought to advance the use of Beaux-Arts principles in American architecture, forming groups such as the Society of Beaux-Arts Architects to further this goal. One of the Society's founders, Ernest Flagg (1857-1947), designed a building in 1896 that embodied many of the ideas that he had learned as a student at the Ecole. The original Singer Building (1896-98, demolished) at 149 Broadway (later reconstructed as part of the Singer Tower) was a ten-story mansarded office building textured with polychromatic red brick and limestone trim and articulated visually by a tripartite scheme of base, midsection, and top.
Labeled "modern French," it reflected the "revival of interest in eighteenth-century domestic architecture, especially the French hotel particulier. now adapted to the prestige office building."
The "modern French" style, already so prevalent in commercial architecture, became widely used in new hotel construction in the first decade of the twentieth century.
One of the most notable was the Astor Hotel on the west side of Broadway between West 44th and 45th Streets (1904-09, Clinton & Russell, demolished). Slightly later than the Hotel Marseilles, it was a fully developed example of the "modern French" style with a brick and limestone facade terminating in an elaborate mansard roof. Further north on Broadway, the Ansonia was perhaps New York City's most sumptuous apartment hotel.
The "modern French" style reached a grand expression in this eighteen-story building, clad in stone and crowned with a richly decorated mansard roof. At the same time on the Upper West Side the Manhasset, faced in brick and crowned with a mansard roof, was stylistically similar to the Hotel Marseilles.
Harry Allan Jacobs, architect of the Hotel Marseilles, also promoted the "modern French" aesthetic in his designs. Similar to other contemporary commercial and hotel designs, the Hotel Marseilles is faced in brick trimmed with limestone and decorative ironwork and crcwned with a mansard roof with overscaled terra-cotta dormers. It is an elegant example of the "modern French" style in hotel design illustrating the profound impact of the aesthetic principles taught at the Ecole des Beaux-Arts on American architecture.
The Architect
Harry Allan Jacobs (1872-1932) was born and educated in New York City, and began his architectural training at the Columbia School of Mines. After graduating in 1894 he continued his studies in Paris at the Ecole des Beaux-Arts and was awarded the Prix de Rome by the American Academy in Rome. Following his return to this country, he joined the Society of Beaux-Arts Architects and began his own architectural practice in New York.
A notable example of his early work is the Seville Hotel (1901-04) at Madison Avenue and East 29th Street, an exuberant Beaux-Arts structure of brick and limestone similar to the Hotel Marseilles and begun a year earlier.
In addition to hotels, Jacobs's practice focused on the design of elegant residences. An important early example of this period in his career is the Charles Guggenheimer residence at 129 East 73rd Street (1907) in the Upper East Side Historic District. This neo-Italian Renaissance style townhouse, faced in limestone, served as a model for many of his later commissions.
Other commissions earned Jacobs wide recognition, including a new facade design for the house of philanthropist R. Fulton Cutting at 22 East 67th Street (1908) and a residence for theater producer Martin Beck at 13 East 67th Street (1921), both in the Upper East Side Historic District.
Later in his career Jacobs designed the neo-Italian Renaissance style Andrew Freedman Home (1924-25) at 1125 Grand Concourse in the Bronx, a collaboration with architect Joseph H. Freedlander (1870-1943), a specialist in institutional design. Jacobs returned to hotel design in 1927 with the neo-Renaissance style Hotel Elysee located at 54-60 East 54th Street.
Jacobs's career, spanning the first quarter of the twentieth century, embraced a wide variety of styles, including Beaux-Arts, neo-Federal, and neo-Renaissance. Undoubtedly the high quality of his work and the prominent social standing of some of his clients contributed to the extensiveness of his practice.
Description
This eleven-story Beaux-Arts style apartment hotel is located at the southwest corner of Broadway and West 103rd Street, extending approximately 101 feet along Broadway and 120 feet along West 103rd Street. The building is U-shaped in plan, with a courtyard opening to the south. Faced in stone and brick with wrought-iron and terra-cotta details, the facade is a rich Beaux-Arts composition retaining much of its original appearance.
Faced in coursed and rusticated stone, stories one through three on the Broadway facade are articulated by seven bays each. Stories four through seven are faced in brick laid in Flemish bond with glazed headers. The first story retains its original openings for storefronts flanked by stone piers and crowned by rectangular spaces designed to hold signage.
A projecting dentiled and bracketed cornice caps the first story. The arched bays of the second story are topped by voussoirs and large keystones. The third story has smaller, square-headed window openings; the center bay and the third bay from the southern end are flanked by slit windows.
The second bay from each end is flanked by oversized scrolled console brackets supporting a stone cornice above the third story. At the fourth story, these broad bays are framed by stone quoins which rise to the seventh story where they are crowned with scrolled consoles supporting a projecting cornice.
The windows in these bays are fronted by wrought-iron balconies. The spandrel panels contain stone panels with foliate ornament and keystones.
The remaining window openings have brick lintels and stone sills. The transitional eighth story is faced in stone. The ninth story, faced in brick, continues the pattern of the midsection, and is topped by a terra-cotta cornice interrupted at the second opening from each end to form double-height bays. The tenth story, set into a sloping mansard roof, has dormer windows topped with large and lavish triangular and broken segmentally-arched pediments executed in terra cotta.
The West 103rd Street facade, nine bays wide, continues the same overall design and articulation of detail as the Broadway facade. The stone base of the building decreases in height at the western end to conform to the sloping site. An entrance, located five bays from the eastern end, is topped by a transom faced with original ironwork and is flanked by pairs of large banded and fluted Tuscan columns on pedestals with pilasters behind. These support an entablature featuring garlands, mutules, modillions, and a stone balustrade.
Above the entrance is a large cartouche embellished with swags and a mask. The entrance is flanked by an areaway enclosed by wrought-iron railings and stone posts. The large window openings flanking the entrance are arched and contain stone balustrades at the base supporting square-headed windows topped by oculi.
The bay above the entrance has a paired window flanked by two slit windows separated by thick mullions; this pattern continues up to the ninth story.
The western elevation, visible above the neighboring building on West 103rd Street, is faced in brown brick with three window openings per story; the smaller center opening has been sealed with red brick. Light-colored brick bandcourses, marking returns of significant features of the West 103rd Street facade, have been obscured by gray paint. A painted sign reading "Marseille," executed in script, is located on the wall.
The Hotel Marseilles survives largely intact. In recent years the two southern bays of the first story of the Broadway facade have been altered for a restaurant; the entrances are surrounded in concrete, painted gray. The windows, tripartite single-pane with transoms and one-over-one double-hung, are aluminum sash. Aluminum spandrel panels have been installed in the double-height bays at the ninth story.
A projecting aluminum and glass vestibule has been installed at the main entrance on West 103rd Street. A new metal door (painted gray) has been installed in the areaway of the West 103rd Street facade; other basement openings to the west of the entrance have been sealed with concrete panels.
The wrought iron of the areaway fence has been replaced; the stone balustrade in the window opening to the east of the entrance has been removed. The mansard roof that crowns the building has been resurfaced with asphalt shingles, and in recent years it has been pierced by a row of double-hung windows at the eleventh story. In 1979-80 the Hotel Marseilles was redeveloped as subsidized housing for the elderly, a function which it continues to serve.
In 1990 the terra-cotta cornice and wrought-iron railing at the eighth story were removed due to unsafe conditions. At the time of designation a replacement cornice, cast from templates of the old cornice in an alternate material, was planned.
- From the 1990 NYCLPC Landmark Designation Report
Clad in the new GWR livery (sans GWR logos), 153372 pulls into Starcross working 2F45, the 1613 Paignton-Exmouth "Devon Metro" service, with cousin 150266 on the rear. The 153 has now moved on from GWR, working over pastures new with EMT.
Interesting pink painted stones in the lower part of the house, matched by pink painted bricks in the wall. All very curious. The doorway to the right is original. I am not sure what lurks behind the porch extension. The satellite dish is wildly out of keeping.
A few days after my last update, cladding continues around the eye at the Stephenson Street entrance to Birmingham New Street Station.
The entrance is still in use while the arms of the lifting machines reach over the general public below!
I like how the duct tape picked up the ambient green light this metal clad wall was having so much fun with, too.
I loved the colors in this photo...the kilt cracked me up too. Patrick clearly thought he was judging a Highland Games on this day.
Endosseous labyrinths of the left inner ears of some saurischian taxa derived from surface renderings of CT images, displayed on a cladogram. From left: the basal theropod Herrerasaurus ischigualastensis (MCZ 7063), the basal sauropodomorph Massospondylus carinatus (BP/1/4779), the basal eusauropod Spinophorosaurus nigerensis (GCP-CV-4229), the basal diplodocoid Nigersaurus taqueti (MNN GAD512), the derived diplodocoid Diplodocus longus (CM 3452), the basal macronarian Camarasaurus lentus (CM 11338), the basal titanosauriform Giraffatitan brancai (MB.R.2180.22.1-4), and the titanosaurian Jainosaurus septentrionalis (ISI R162). With respect to that of other sauropods, the vestibular system of Spinophorosaurus is highly remarkable in its elongate semicircular canals and its overall large dimensions (both absolutely and in relation to body size).
A newer house, perhaps on bomb damaged land. Its neighbours have stuck with the original wood and brick finish, but this is quite an exciting departure, perhaps influenced by cladding on older bay fronted houses in the neighbourhood. I rather like its boldness.
“We will take it from here Police Chief Robert Richards. Tell the few men that you have to leave the area at once. This is our investigation now.”
“I’ll be honest with you, this all seems a little fishy. Refresh my memory. You’re with the -STATEMENT CENSORED-? I’ve never heard of such a government organization.”
Unmarked gray vans had arrived unexpectedly about an hour ago bringing with them numerous individuals; some outfitted with unusual biohazard gear which covered their figure from head to toe and concealed their faces, while the rest were all dressed in simple gray suits who began flashing badges and taking quick control over the crime scene that was Martel’s cabin. Chief Richards knew this was a very unorthodox situation but was seemingly outranked by these newcomers. The man he now spoke with clenched both fists slowly, creating a muffled squeak from black leather gloves which were unique to all the other barehanded agents belonging to this unheard of organization.
“And I in turn will be honest with you Police Chief Robert Richards. The examination of the events which have taken place here is far beyond that of the resources your department can offer. Do you find there to be a problem with our credentials?”
Chief Richards was going to reply with a simple rebuttal which would only have wasted time, for all of their paperwork did check out, but before a breath could be taken the agent in the gray suit and black gloves responded having barely finished his last sentence.
“I did not think so. Thank you for your cooperation.”
His head still spinning with questions, Chief Richards gathered his men and looked back at the scene in a contempt form of wonder as the gray clad organization swarmed the area photographing, examining, and in the end removing everything that was not nailed down from the cabin. Each van was quickly being filled in a controlled manner with books, jars, and some stranger items that made Chief Richards take a second glance, unsure of what he saw. Even simple furniture was not spared in this well arranged whirlwind of confiscation.
____________________
Illustration and Excerpt from Signs of the Unknown: The Soul Thief
Subtle changes to window lights to the left, including removal or doorway. stone cladding Leytonstone E11
A fine mixture of grey white and red. Geraniums carefully chosen to harmonise with the cladding. Excellent.
If I had a do –over, I might have tried shaping the cladding with a heat gun and worked on ways to hide the zip ties – Such is life.
It is unusual to find such a fine garden in front of a stone clad house. Normally any flowing conucopia will take one's eye away from the master work on the walls behind it. In this case the cladding is discretely monochromic and the whole is satisfactory. What is not so succssful is the rather odd cladding around the shared moulding above the doors, especially since the next door house seems to have dispensed with it altogether.
Ancestral area reconstruction using the dispersal-extinction-cladogenesis model.Inset map shows the Madagascar and Indian Ocean Islands biodiversity hotspot (dashed line) and the distribution and number of species of Psiadia (negative values indicate recorded extinctions of putative members of the genus). Contours of smaller islands have been enlarged and highlighted for clarity. Branch colors follow the designated geographic areas on the inset map. Bold node numbers indicate differences in optimal resolution between reconstruction using the dec-model and statistical Dispersal-Vicariance analyses. Asterisks highlight nodes for which multiple equally probable solutions were retrieved using Lagrange and/or S-DIVA. Arrows indicate dispersal events between designated regions. Node numbers refer to per-clade results listed in Table S3. Geographic coverage is indicated by capitals following taxon names. Broken branches lead to nodes with low posterior probabilities (<90) obtained in BEAST.
Last night part of the CLAD team and Becky Bradley hit the Phoenix Zombie Walk 2013 to not only have some fun, but to connect with fans of comic cons...and...The Walking Dead- because come January 2014 Amazing Arizona Comic Con will be here in Arizona, and special guest Robert Kirkman, along with numerous other special guests ( amazingarizonacomiccon.com/) will be here! SPECIAL ANNOUNCEMENT- ON JAN. 24TH CLAD WILL BE HOSTING THE ZOMBIE BEAUTY PAGEANT under Jimmy Jay of Jay Comics. The Zombie Beauty Pageant is open to males or females age 16 and older. Rules and Guidelines will be shared soon, but we want you to start planning! Special judges for the pageant include: BigChris and his beautiful wife Beth, John Kestner, Dani Katurian. We are excited, ready, and looking to an Amazing time! Meanwhile enjoy the photos taken last night at the Phoenix Zombie Walk 2013 — in Phoenix, AZ.