View allAll Photos Tagged cladding
Ty Nantglyn, Glascwm.
The example shows overlapping horizontal sawn timbers, fixed by nailing and providing external cladding and protection to the building. Timber cladding is often chosen for aesthetic reasons and in the example shown was a pre-requisite of planning permission to ‘fit in’ with the vernacular style of the existing properties in the vacinity
The cherry blossom season brings out masses of tourists in rented komonos. Kyoto, Kyoto Prefecture, Japan
Canon EOS R6 Mark II, Canon RF 28mm f/2.8 STM, bearbeitet in Lightroom.
Berlin U-Bahnhof Museumsinsel.
www.maxdudler.de/de/projekte/u-bahnstation-museumsinsel/
de.wikipedia.org/wiki/U-Bahnhof_Museumsinsel
en.wikipedia.org/wiki/Museumsinsel_(Berlin_U-Bahn)
The museum’s church was built at Silfrastadir, North Iceland, in 1842. It's rented out for various services, especially weddings.
I'm hoping this is sedimentary rock and not something man-made! The particles appear much whiter against the background when seen with the naked eye and look like tiny shells. I's cladding on my neighbour's wall (built approx 1968) and looks as if the 'cement' part has weathered out leaving the clasts more prominent.
The thick cedar cladding has visible stainless rivets to give a slightly industrial feel and break up the large areas
Majority-rules consensus of the most parsimonious trees returned by the cladistic analysis of the tales.Major groupings are labelled by region or ATU international type and indicated by the coloured nodes. Sub-types are indicated in the taxa labels (RH  =  Little Red Riding Hood; GM  =  Story of Grandmother; Catt  =  Catterinella; WK  =  The Wolf and the Kids; TG  =  Tiger Grandmother). Variants by particular authors, or from countries/ethnic groups that are discussed in the text have individual labels. Numbers beside the edges represent the level of support for individual clades returned by the bootstrap analysis.
Built in 1955-1957, this Modern building was designed by Eero Saarinen to serve as an art museum and cultural building, dedicated as a memorial to those killed in action during World War II and the Korean War. The building features a large mosaic designed by Edmund D. Lewandowski, completed in 1959, which displays the dates, in roman numerals, of the US involvement in World War II and the Korean War, and adorns the entirety of the upper facade on the west side of the building. The building is clad in concrete with recessed window bays on the upper section of the building, tapered concrete piers supporting the upper section of the building, a central courtyard between the wings of the upper section of the building, a podium with stone and concrete cladding, and a glass-enclosed staircase in the interior courtyard of the building. The building today serves as part of the Milwaukee Art Museum and as an event venue.
Purpose-built office building, 1936-8, by Stanley Hamp of Colcutt and Hamp. Later additions including additional two storeys of 1993, in a style and materials which broadly match the original building, as well as late-C20 alterations to the interior.
EXTERIOR: A steel-framed building with reinforced concrete and pot floors, clad in Portland stone on its riverside frontage with a mixture of buff brick and Portland stone to its land-facing elevations. It originally had eight storeys to John Adam Street, and a further three to the Embankment, where the ground level drops towards the river; two further storeys were added in 1993. The design and detailing of the building are strongly Moderne or Art Deco, a popular idiom for commercial buildings at this time. It is expressed here through the curved balconies to the river frontage, the bronze anodised bow windows within each recess, plentiful use of sculpture and the jazzy patternwork around the entrance portals, to the cornices and in the bronze railings and panels. Classical motifs are also deployed, for example the coffering under the colonnade and the carved putti in the side elevation door surrounds. Much of the carved stonework is figurative, but there are also four giant allegorical relief figures on the corners of the Embankment front, representing west-east: 'Dawn' (actually it is east to west!) (by Bainbridge Copnall), 'Contemplation' (by Arthur J Ayres), 'Inspiration' (by Gilbert Ledward), and 'Night' (by Donald Gilbert). In scale and visual power, the four allegorical figures along the riverside are impressive. They frame the advancing wings and their expressive gestures emphasise the verticality of the building. Carved under the direction of one of the foremost interwar British sculptors, Gilbert Ledward, the four sculptures are one of the few remaining architectural works by him in situ. Also important are the carved reveal panels to the entrance doors on John Adam Street by Newbury Abbot Trent depicting scenes of industry. Other sculpture includes carved coats of arms of UK cities at ground floor level to the east and west elevations, and smaller panels on a variety of themes including the signs of the zodiac, agriculture, and industry; the artists of these features are unknown, but their abundance, period character and considerable charm contribute to the interest of the building. The lettering above the entrances, in sans serif capital letters, was executed by George Manswell.
The building incorporates a roadway and promenade on the south side (known as Adelphi Terrace) with views across Victoria Embankment Gardens and the river. A garage undercroft takes advantage of the slope down to the Thames to allow vehicular access at street level from Savoy Place. The treatment of the drop in levels to the Embankment lends the building a particularly dramatic effect, with the two side wings projecting on square pillars over the upper road, which itself rests on a colonnade at Embankment level, running alongside Savoy Place. This multi-level arrangement was designed with the motor car in mind and is a characterful expression interwar modernity. The stone here is sharply-cut and unmoulded, in contrast to the more undulating upper floors with their curved balconies and bow windows. To Savoy Place, fluted classical columns and Deco bronzework illustrate the eclecticism that characterises the 1930s.
www.britishlistedbuildings.co.uk/101393391-the-adelphi-st...
Bayesian cladogram of 75 Atelomastix bamfordi individuals based on combined CO1 and 16 S mtDNA data.Clades are designated separate colours as per Fig. 1. Numbers on terminals indicate haplotype number. The * denotes major nodes with high support (posterior probability>0.85) and the numbered node indicates divergence estimate in millions of years with confidence intervals in brackets. NB the A. nigrescens branch has been truncated (//) for viewing purposes.
Originally posted to the Guess Where London group on 30-06-10.
Split Croatia- Pine-clad hills, secluded coves, beaches- Split and the Dalmatian Riviera have been premier destinations on the Adriatic since the days of theRoman Emperors.
In fact, medieval Split was built within and around the palace built for the emperor Diocletian in his retirement.
The charms that entertained Emperors are still evident today. The Dalmatian Riviera offers the traveler a heady blend of natural beauty and fascinating cultural sites.
Diocletian abdicated in 305 A.D . During his reign , the emperor ruthlessly persecuted Christians. Ironically Split’s St. Dominius’ Cathedral occupies his mausoleum.
As far as we know, the original settlers here were Dalmatians tribes, later joined by Greek merchants, who saw the value of the harbor and its proximity to the rich interior. The first Romans stablished a colony nearby at Selona in 78 B.C, taking full advantage of the same features. Selona eventually became the Roman administrative center for Dalmatia, especially after Caesar settled other Italian colonist there. Roman roads and aqueducts were added to exploit the rich mines and farms along the sunny coast.
Diocletian Palace- The heart of old Split is built within and around the sprawling 8.4 acre(3.4 hectare) Palace erected by Diocletians.
A rather unbalanced composition. Heaven knows why the lower part was deluged with dark coloured stone. the central drainpipe is infelicitious and the cladder has taken the easy way out by removing all trace of the gentle arch over the doorways.
I am a bit edgy about the spread of the bush. A fine piece of monochrome cladding does not need out of control foliage as competition. Once again, some original brickwork has survived next door.
About "Black Clad Burglar": Just a fun piece I decided to experiment with more-graphic body-shape styling...in this case, I wanted to infuse the portrait/figure with a sleek-aesthetic and have a free-play with the background.
I'm hoping this is sedimentary rock and not something man-made! The particles appear much whiter against the background when seen with the naked eye and look like tiny shells. I's cladding on my neighbour's wall (built approx 1968) and looks as if the 'cement' part has weathered out leaving the clasts more prominent.
Ralstonia solanacearum strains classified based on RIF genotypes.
The rooted neighbor-joining cladogram was constructed from 210 characterized Ralstonia strains from the PBC (Table 2), six reference strains from GenBank (see Table 1 for strain names)and the outgroup Burkholderia mallei. Identical sequences are represented only once and the number of sequenced strains is indicated on each leaf. Bootstrap values >50% (shown at the node) are expressed as a percentage of 5,000 replicates. All Rs strains (clade A) are clearly separated from other Ralstonia species. Rs1, Rs2, Rs3 and Rs4 are the four races of R. solanacearum, BDB is the blood disease bacterium and Rs†is R. solanacearum UW433 (ACH0732) which is an atypical race 1 biovar 2 strain [19]. Blue boxes contain strains of Rs races 1, 2, 4 and BDB that share an identical RIF sequence. In contrast, orange boxes contain only Rs3 strains showing that these RIF sequences are specific to race 3. Numbers in boxes next to tree leaves are egl sequevars obtained for those strains. Red text indicates Rs strains with no previous race designation.
Maximum Likelihood tree of O104:H4 E. coli strains.Tree is shown in the rectangular cladogram format and has been rooted with the outgroup consisting of two commensal strains (labeled in magenta). Genomes consisting of raw reads are labeled in blue. Colored dots indicate country of origin where known. 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 number of alleles exclusive to that genome.