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Coronation Street's new home at Trafford Wharf was revealed to the media for the first time on Friday November 29 2013. The final scenes on the old exterior and interior sets at Quay Street in Manchester will be filmed a few days before Christmas with cast and crew moving to the new Weatherfield in early January 2014. Viewers will see the first scenes on screen in March 2014. The new exterior set has been upscaled in size and Coronation Street itself is 2.5 feet wider allowing two cars to pass each other. But otherwise it looks exactly the same. A massive achievement by all involved.
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.
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.
Wood, formerly clad in lead sheet
4th century B.C.–early Ptolemaic Period (380–246 B.C.)
Egyptian
The fluid pose and chest-beating gesture of this extraordinary figure evokes a stately performance. Egyptian relief representations depict figures like this as part of a troupe of similarly genuflecting divine beings with falcon and jackal heads. These mythical spirits strike their chests to sound a rhythmic acclamation called henu in ancient Egypt. This troupe is usually seen attending the sunrise or the birth and coronation of a king; and three-dimensional figures of the same type were set around the processional shrines of certain gods, doubtlessly to accompany the epiphany of the deity during a procession.
It is not easy to explain the presence among the animal-headed divinities of the human-headed figure wearing—as seen here—the regalia of a pharaoh. Some scholars interpret the figure as the representation of an actual king. Others understand it as a mythical being that introduces royal aspects into the otherworldly ritual. Whatever its exact meaning, this masterpiece of the wood carver was certainly part of a temple's equipment. Its ritual character was further emphasized by a covering of lead sheet, now vanished.
Metropolitan Museum of Art
NYC
Louvre cladding was installed to the University of Western Sydney to act as a weatherproof form of ventilation.
Ten Marble Fragments of the Great Eleusinian Relief
Roman copy from 27 B.C.-A.D. 14
In this reconstructed marble relief, Demeter, goddess of agricultural abundance, and Persephone, goddess of the Underworld and of fertility of the earth, stand on either side of a nude youth. Demeter, at left, is clad in a long, woolen peplos, belted at the waist; she holds a scepter in her left hand. Persephone, at right, wears a long, linen chiton with buttoned sleeves and a himation; she holds a long, lighted torch against her left side. The scene is usually explained as Demeter and Persephone giving Triptolemos the ears of wheat so that he may teach men how to cultivate grain.
This relief is one of a number of Roman copies of a Greek marble relief made in the fifth century B.C. It is exceptional in that it reproduces a Greek work of art that still exists, now in the National Archaeological Museum in Athens. According to the original, the execution of the hair and drapery in this copy is sharper and accords with the style current in Augustan art. The original marble relief was found at the sanctuary of Demeter and Persephone at Eleusis near Athens, a site renowned for its secret cult of the Mysteries. Initiates from all over the Greek-speaking world participated in this secret ceremony of which we know very little. As Demeter gave grain to humanity, the rites at Eleusis may have celebrated this gift.
The renderings of the woolen peplos worn by Demeter and the linen chiton donned by Persephone show clear differences in weight and fabric. The peplos has wide, regular flutes, while the chiton is depicted with tightly crimped folds that suggest pleating. Unlike the regularly spaced folds seen in Egyptian or Assyrian representations, the fine, irregular texture of the linen suggests that the material has been bound and compressed, a technique still seen in certain regional costumes. In contrast to wool, which has a springlike elasticity, the fibers of linen are easily creased and pleated.
“full bodied” ceramic based panels designed and developed in Italy, the perfect example of style and quality in architecture. produced in a maximum size of 1,500 x 3,400 mm panels and in an optional thickness of 12, 20 or 30 mm. currently the largest manufactured ceramic panels in the world.
Please contact ogm for further information on Lapitec:
t. +44 (0) 1246 592014
e. info@ogm-group.com
Maximum Likelihood tree of 119 E. coli strains.Tree is shown in the rectangular cladogram format, but readers are reminded that this is an unrooted tree. Genomes consisting of raw reads are labeled in blue. Numbers at the internal nodes indicate the number of alleles that are shared exclusively by the descendants of each node. Zeros are not shown. Numbers in parentheses following the genome names are exclusive to that genome. Node A, leading to the 2011-12 European outbreak strains,and nodes B and C, also leading to particularly pathogenic strains, are discussed in the text.
A fine mixture of grey white and red. Geraniums carefully chosen to harmonise with the cladding. Excellent.
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).
Parish church. Medieval. Nave, chancel, west tower, south porch. Flint rubble with stone dressings, the nave and chancel plastered. The nave roof is clad with shingles, the chancel roof slated. Square tower, mainly of C14 date although the base may be earlier; the crenellated parapet was added in 1712. the belfry stage, which is slightly narrower, has Y-traceried openings. 4-bay nave, largely reconstructed in C15 with 2-light and 3-light windows of that date. Fine early C15 knapped flint porch with flushwork panelling across the whole facade and a crenellated parapet. Enriched entrance arch and hood mould, with leaf-carved spandrels; 2 trefoil-headed niches above. Original wooden lierne vault with carved bosses. Moulded nave doorway with medieval plank door. Early C14 chancel, heightened and refenestrated in C15; a blocked Cl4 window is visible inside. C19 wooden east window. Interior. C15 arch-braced nave roof in 8 bays with a crenellated wallplate (partly renewed) and arch-bracing beneath the ridge. The east bay is treated as a canopy of honour and has original painted decoration on boards based on the motifs for Jesusand Mary. C15 4-bay arch-braced chancel roof with C19 restoration and painted decoration. In the chancel an early C14 piscina with elongated trefoil arch. C15 piscina in nave. C15 carved octagonal font with small traces of original colouring: the bowl panels depict alternately lions and angels holding shields bearing a leopard, derived from the arms of Sir John Jermy who was Lord of the Manor. Part of the dado of the medieval rood screen is stored at the west end of the nave: there are traceried panels and some original colouring. C18 west gallery, enlarged in C19. At the east end of the chancel are C18 framed copies of the Lord's Prayer-and Creed. Furnishings mainly of c.1900. In the base of the tower an early C17 turret clock still in use.
britishlistedbuildings.co.uk
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.
clad in traditional chinese wedding apparel, the bride and groom look fondly at each other.
i'm quite happy with how this turned out. the only fiddly bit was painting in the embroidery. then again as the figurines are so small, all i needed to do was smudge on the colour with my super slim paintbrush. now all i need to do is make a bride and groom in traditional indian wedding costume and i would have made bride and grooms figurines of all the major races here in Malaysia. i think making a bride figurine in a sari will be an amazing challenge.
John McAslan & Partners, 2012. Corten-clad, 45m flue tower of the King's Yard Energy Centre, with a label on top in case you didn't know what it was. One of two built for the Olympics 2012, and going on to provide energy for legacy homes and businesses. Uses gas-fired CCHP and bio-mass fired boilers. London Borough of Hackney.