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New Forest Phototrek, 15 February 2009 - Batch 1.
Finally got to use the voucher I got for my 40th birthday last year. Great day for anyone with an interest in photography - see www.photonewforest.com
Eva-Last, Infinity, Swiss Oak, Capped Bamboo Composite Decking, VistaClad, Infinity, Swiss Oak, Composite Cladding.
Comparison of cladograms based on WGPScanning (A) and CGH (B) data for the tested strains.
The UPGMA trees shown were calculated from difference matrices with BioNumerics. In WGPScanning analysis, amplicons in the tested strains that were identical to, larger than or smaller than those of N16961 were assigned values of 1, 2 or 0.75, respectively. For the region that did not produce any amplicons, a value of 0 was assigned. In CGH analysis, final absent or present calls for each gene of each tested strain were assigned the value 0 or 1, respectively.
Cladogram of sauropodomorphs showing the optimization of key features related to elevated tooth replacement rates.The light gray field indicates taxa that have at least three replacement teeth at each tooth position; dark gray field encapsulates taxa that have narrow tooth crowns. Silhouettes along the top of the cladogram show the number and size of replacement teeth in one tooth position. These include (from left to right): Patagosaurus (MPEF-PV 1670), Mamenchisaurus[47], Diplodocus (this study), Nigersaurus [Sereno, Wilson, Witmer, Whitlock, Maga, Ide and Rowe, unpublished data], Camarasaurus (this study), and the R?o Negro titanosaur (MPCA-79) [48]. Number of replacement teeth is unknown in Brachiosauridae, but the taxon is optimized to have had at least three. Cladogram based on [30] with the addition of Tazoudasaurus[49] and Bonitasaura[50]. [planned for column width].
Eva-Last, Infinity, Swiss Oak, Capped Bamboo Composite Decking, VistaClad, Infinity, Swiss Oak, Composite Cladding.
Eva-Last, Infinity, Swiss Oak, Capped Bamboo Composite Decking, VistaClad, Infinity, Swiss Oak, Composite Cladding.
Panel (A): Schematic presentation of a 32 kb contig located on P. falciparum Chromosome 10 (1404403 to 1436403 bp of the 3D7 strain) indicating the relative positions of the MSP3-like ORFs. MSP3.1 and MSP3.2 are genes known to encode merozoite surface proteins MSP3 and MSP6, respectively. Panel (B): ClustalW alignment and Boxshade representation of the amino acid sequences of the MSP3-family of proteins with related C-terminal sequence organization. MSP3.5 and MSP3.6 do not share the C-terminal sequence similarities with other members. Identical residues are indicated by white letters on black backgrounds, whereas similar residues are indicated by black letters on a gray background. Dashes represent gaps to optimize alignments. The pattern shared by MSP3-family members are: the N-terminal signal-peptide (dotted line-box); the signature sequence of the MSP3 family of proteins [1]; the glutamic acid rich region [2]; and the leucine-zipper domain [3]. Sequences highlighted in black are related to regions identified as targets of protective antibodies identified in MSP3.1. Panel (C): A cladogram showing sequence analogy between different MSP3-like ORFs derived by comparing the encoded protein sequences.
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Concatenated Maximum Likelihood tree.Phylogenetic tree inferred from a concatenated, partitioned alignment of 24 genes using RAxML. The branches of phyla with at least 5 representatives are colored, other lineages are all drawn with black lines. Support values are calculated from 100 rapid bootstrap replicates. This representation is a radial cladogram, in which branch length is not proportional to time, and some branches may be elongated so that the names of the taxa appear on the circumference of the circle. The original version of this figure is available in the Supporting Information: Figure S7.
The Woolworth Building, one of New York's best known tall buildings, is among the most famous skyscrapers in the United States. The tallest building in the world on its completion in 1913, Cass Gilberts graceful. Gothic-style, terra-cotta clad, sixty-story tower became the prototype for the tall romantic skyscraper that permanently transformed the skyline of New York and become the most potent image of twentieth- century urban America.
Built as the headquarters of F. W. Woolworth' s "five-and-ten" empire, the Woolworth Building became a symbol not just of Woolworth's personal success, but also of the new twentieth-century phenomenon of mass commerce. At its grand opening, during which President Wilson in Washington pushed a button to signal the lighting of the structure in New York, the Rev. S. Parkes Cadman christened the Woolworth Building the "Cathedral of Commerce. " The Woolworth Building stands as a watershed in the history of the American skyscraper. It is both the culmination of the early development of the tall office building that began before 1880. and the model -- in terms of height, profile, corporate symbolism. and romantic presence -- for the skyscrapers of the great building boom of the post-World War I era that culminated in the Chrysler and Empire State Buildings. Although long since stripped of its "world ' s tallest" title, the Woolworth Building remains one of the great symbols of twentieth-century America, and one of New York's and the country's outstanding landmarks.
The \oloolworth Building is a 60-story skyscraper, rising 792 feet above street level. It occupies the entire blockfront along the western side of Broadway between Park Place and Barclay Street. The 30-story tower rises above a 30-story base. The base presents three unbroken elevations, on Barclay Street, Broadway, and Park Place, and divides into two wings on its western face. The tower meets the lot line on Broadway, but is narrower than and does not extend as far west as the base beneath it. The tower has two setbacks, creating three sections of progressively smaller dimensions, and culminates in a pyramidal roof and four tourelles.
The elevations of the base and tower are divided into continuous vertical bays of windows and spandrels. In the tower and the portion of the base directly beneath it, there are three bays comprising respectively two, three and two tiers of windows. The bays in the base, north and south of the tower, on Broadway comprise three tiers of windows; the base elevations on Barclay Street and Park Place west of the tower are divided into six two-window-wide bays, the bay furthest to the west being slightly narrower than the rest. This is the basic organizational pattern for the entire exterior.
The first four stories are set apart from the rest of the building base in design and material. Unlike the upper stories, they are faced in Redford limestone above a seven-foot water-table in polished Rockport (Me.) granite,62 The three facades of the base are divided into three-story entrance and window bays, with a one-story attic level above. The width of these bays matches that of the window and spandrel bays in the base and tower above. Only the fourth story of the base of the western elevation is visible; it is plain.
The first four stories of the Broadway elevation focus on the three-story Tudor-arched entrance portal which is flanked on either side by two bays, one narrower and one wider and each divided into a storefront and two bands of windows.
The entrance arch and flanking narrow bays are grouped into a triumphal arch designed by the elaborately carved stone balcony and related ornament projecting out over them. The motifs of the carving are Gothic in inspiration. The balcony includes narrow panels with shields separating wide panels of Gothic tracery over the entrance and wide panels with stylized flowers over the flanking bays; the center panel supports a large eagle holding a shield. From either side of the entrance arch descends an elaborately carved niche with Gothic tracery and at its base a carved coiled serpent. Similar deep relief Gothic tracery with fanciful grotesques link the balcony with the arches of the entrance and flanking bays.
The entrance is through a Tudor-arched portal set within a shallow depressed arch. The depressed arch is outlined by a course of trefoil tracery; within each of the two spandrels between the depressed and the Tudor arch is a carved reclining figure in high relief. The portal arch is a complex form, with a wide intrados flanked on either side, at a 450 angle, by archivolts. The intrados is adorned with Gothic tracery. The archivolt facing the street is comprised of a series of small connected niches; the bottom niche at either side frames a carved treetrunk, the niche at the apex frames an owl with spread wings, and each of the twenty remaining niches frames a grotesque allegorical figure. The inner archivolt is similarly comprised of niches, with tree-trunks at the base and an owl at the apex, but with abstract foliage in the intervening niches. An identical archivolt frames the facing lobby entrance. The entrance itself consists of a large Tudor-arched window above a revolving door with flanking side doors. The revolving door is new, but retains its original configuration. Between the window and the archivolt is a flat band of strapwork and ornamental marble squares. The window frame, and the wide bandcourse separating the window from the doorway below, consists of highly ornamental Gothic tracery cast in bronze. The glass of the window is divided into three large vertical bays, each subdivided into nine panels of twenty-one panes each; this is its original configuration.
Both the narrow and the wide bays flanking the entrance on Broadway consist of a depressed-arch masonry opening with two stories of window bands above a storefront. The window bands on each story of the inner, narrow, bays contain three single-pane windows, while those in the outer bays contain five single-pane windows. Each depressed-arch masonry opening is adorned with an elaborate carved wreath surround, whose forms include swags and bunches of grapes. The upper and lower window bands are separated by a wide bronze band of Gothic tracery; the mullions separating each single-pane window from its neighbor has superimposed over it a slender bronze rod. This is their original configuration. The horizontal bronze bands at either end of the Broadway elevation are now obscured by a modern sign. The storefronts in each bay are separated from the windows above by a broad bronze panel adorned with trefoil tracery. All the storefronts have been replaced.
Six angled piers are carried down into the base; two end in the carved niches flanking the entrance, while four others end in corbels carved as allegorical human faces. The faces apparently represent, from south to north, the four continents of Africa, America, Europe, and Asia (similar to the four allegorical statues of the continents adoring Gilbert's earlier Custom House at Bowling Green).
- From the 1983 NYCLPC Landmark Designation Report
Maximum Parsimony Strict consensus tree of Campanula and relatives (D680).Part of the cladogram showing detailed relationships for outgroup and sister lineages, and clades Cam01, Jasione-Feeria, and Cam02 to Cam04. Values below branches indicate bootstrap support for the sustained clades. Gray boxes indicate the respective outgroup and sister clades; blue boxes refer to “Cam” clades containing at least one accession of Campanula (Cam01 to Cam17; see text). A blue dot indicates the crown node of Campanula s.lat. Pictures are representative specimens for clades Cam01 (Campanula primuliifolia), Cam02 (Campanula exigua), Cam03 (Campanula persicifolia), and Cam04 (Legousia falcata). All photos from Guilhem Mansion.
Venables Oak cladding on The River Rowing Museum, Henley, London UK. Architect: David Chipperfield Associates
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Coral lichen growing at about 1000 meters altitude in the Red Hills, Wairau Valley, South Island, New Zealand.
The wide full height bay looks much better for a lighter palette of stones. The dark red and yellow often looks rather heavy in such designs. Next door has retained the original door, churned out in their tens of thousands c 1900. Naturally an ersats JawJan door completes the makeover here.
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Eva-Last, Infinity, Swiss Oak, Capped Bamboo Composite Decking, VistaClad, Infinity, Swiss Oak, Composite Cladding.
I took this photo 3 months before the recent Grenfell Tower fire.
My intention was to show these older buildings being re-purposed and receiving a new life as city centre housing. Something they seemed to be doing rather well.
I thought at the time the cladding uplifted otherwise asethically bland buildings. The block in the distance (Allied Place) has cladding installed that acts as insulation in addition to its aesthetic qualities.
Since the Grenfell Tower fire cladding all over the country has come under get scrutiny, along with the Building Regulations allowing them to be fitted.