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Vues de la Fondation Carmignac. Les Jardins Nord et Sud présentent des sculptures In Situ d'artistes tels Ed Ruscha, Olaf Breuning, NILS-UDO. L'exposition inaugurale présente des oeuvres de la Collection Carmignac
L'exposition SEA OF DESIRE est présentée du 2 juin - 4 novembre 2018
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© CLAD / THE FARM
Août 2018
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[Photo réalisée dans le cadre de la mission de communication digitale de THE FARM pour son client]
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CLIENT : www.fondationcarmignac.com
AGENCE : www.thefarmcom.io
Cathedral of St Michael, Priory Street, Coventry
Grade I listed
List Entry Number: 1342941
Details
COVENTRY Priory Street SP 3379 SE Cathedral of St Michael 833/2/411 GV. I
Cathedral. 1951-62. Designed by Sir Basil Spence. Red sandstone ashlar with green slate cladding to chapels; concrete roof. Lofty space of 7 bays with nave; full height aisles; no clerestorey; full height Lady Chapel and Western (liturgical) porch; circular chapels to north-west (lit) and south-east (lit). Cathedral aligns east-west. Built at right angles to the ruins of the old cathedral, formerly Parish Church (q.v.) and attached to its north-east corner. Nave and chancel walls of new cathedral canted outwards in vertical bands, producing a 'saw-toothed' plan, with vertical 4-light stained glass windows facing north-west (lit) and south-west (lit). Porch with tall circular sandstone piers and 3 flat topped concrete vaults. Baptistry to south west (lit) with convex wall, partly solid and partly glazed with closely spaced vertical stone mullions; Epstein's sculpture of St.Michael and Lucifer attached to baptistry wall by the porch. Chapel of Christ the Servant to south-east (lit) circular with closely spaced vertical mullions. Chapel of Unity to north-west (lit) polygonal with largely solid walls of riven slate, and projecting fins tapering upwards, with vertical strip glazing to ends. East wall blind. West wall fully glazed, from floor to ceiling and wall to wall; 19 lights divided into 8 horizontal bands. Bronze glazing bars, plate glass with engraved figures of saints and angels by John Hutton. Low roof, crowned by openwork metal fleche crowned by cross designed by sculptor Geoffrey Clarke. Interior with cruciform reinforced concrete piers, tapering to the base and supporting concrete 'ribbed' canopy with panels of timber slats between ribs. This has the appearance of a vault but is structurally and visually separate from the walls. Interior contains fitments by the most prominent British artists and designers of the period. These include font and choir stalls designed by Spence himself, monumental inscriptions to walls and floor by Ralph Beyer, stained glass to Baptistry by John Piper and Patrick Reyntiens, to aisle walls by Lawrence Lee, Geoffrey Clarke and Keith New, to Lady Chapel by Einar Forseth, to Chapel of Unity by Margaret Traherne; pulpit and lectern by Spence, the latter with an eagle book rest by Elizabeth Frink, in bronze: tapestry to east wall of Lady Chapel, dominating the Cathedral,by Graham Sutherland, altar cross and crown of thorns by Geoffrey Clarke, large ceramic candlesticks by Hans Coper, chairs by Russell, Hodgson, and Leigh: mosaics by Einar Forseth, ceramic panels by Steven Sykes, etc.
Coventry Cathedral was one of the most important architectural commissions of its date in Britain, and was built following an architectural competition in 1951. The scheme was also notable in its period for the degree to which the bomb damaged shell of the Medieval church of St.Michael was preserved.
N.Pevsner and A.Wedgwood, B o E Warwickshire, pp 249-259 B.Spence, Phoenix at Coventry, 1962
Listing NGR: SP3362879067
historicengland.org.uk/listing/the-list/list-entry/1342941
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Coventry Cathedral
The ruins of Coventry Cathedral, destroyed in the Blitz of November 1940, with the new Cathedral alongside.
The Second Cathedral: St Michael's
After the Dissolution of the Monasteries and the destruction of the priory cathedral in 1545, Coventry ceased to be the seat of the bishop. The diocese was still Lichfield and Coventry, but there was no cathedral here as the bishop had moved his seat of business back to Lichfield. In 1837 Coventry was transferred into the diocese of Worcester and the old link with the Lichfield bishopric was lost. But times were changing: the old pattern of Church of England parishes and dioceses which had stood since the 1540s no longer matched the population size or location of late 19th century towns. Coventry was a bustling, growing urban centre, expanding thanks to the industry which was growing around it. The church was growing and new bishops were needed to oversee the spiritual needs of the expanding population. The diocese was revived in 1918 and a new bishop appointed: the 14th century parish church of St Michael became Coventry Cathedral.
The University of Birmingham Collaborative Teaching Laboratory seen from West Gate on the University of Birmingham main Edgbaston Campus.
I first noticed the castle style shapes and a pyramid from West Gate heading past University Station, so I headed left to check it out!
I would assume that the castle / pyramid look wont last for long once they finish off the cladding!
Cladogram of 18 A. actinomycetemcomitans strains and A. aphrophilus NJ8700 based on 150 core genes.In the cladogram, the paired strains (bracketed by red boxes) were more closely related to each other than to any other strain, indicating that they derived from the same ancestral strain through recent evolution.
Mineral deposition in the tympanic bullae of newborn Cetacea, Ruminantia and Hippopotamids represented in a simplified cladistic tree.Evolution of Cetacea and Arctiodactyla reflects progressive skeletal adaptation to aquatic/terrestrial life. We hypothesize that fetal and early post-natal mineral matter deposition in the tympanic bulla represents a key adaptive tract for immediate survival in the aquatic environment. Values of BMD, expressed as g/cm2 are rounded to the next decimal value.
Cotswold stone clad new build, I guess.. Doesn't compare with the wonderful cladding of east london. Far too homogeneous. New build estates seem to use a harmonising cladding, of a different colour to the local stone, which is here much yellower, and much too expensive for speculative estates. Is the stone here cosmetic? If so what's behind? The funny thing is that there is a brickworks a few miles away.
Birmingham New Street Station in the brilliant sunshine on Easter Monday 2015.
Station Street
Under cladding
Safari wanted to do a generic warrior dragon. This guy isn’t from any legend.
Featured on Life In Plastic: nerditis.com/2016/06/07/life-in-plastic-lair-of-dragons-s...
Built in 1935-1936, this limestone-clad Art Deco-style bank building, designed by Val. H. Heinhold, stands on Harrison Avenue near Fairmount Avenue in Cincinnati’s South Fairmount neighborhood. The original building, consisting of the central wing, was built to house the Central Fairmount Building and Loan Company, founded in the 1880s, and featured a large front lobby and banking hall, a decorative vestibule adorned with clocks over the doors on the exterior and interior, a rear office area, a private office in the southwest corner of the main floor, a vault in the northwest corner of the main floor, two restrooms with marble stalls and hexagonal tile floors, and a basement with garage door openings on either end. The interior of the building featured extensive and ornate decorative walnut paneling, a decorative ceiling in the banking hall made up of fiber ceiling tiles arranged in an Art Deco pattern, a herringbone linoleum floor with decorative accents, brushed nickel door hardware, and half-height partitions in the main banking hall to help ensure an efficient flow of customers and business through the building. The building was modified in 1949 with the addition of two small wings on either side of the original structure, housing additional offices, a new boiler room, a second safe in the basement, an air conditioning system, and a single basement garage entrance. The original chandeliers in the banking hall were replaced with a pair of large linear fluorescent fixtures, and four original window openings were retained, and two were enlarged to allow circulation into the new wings. The interior of the additions feature walnut paneling like the original building, but with a far more streamlined and simplified design, as well as simpler nickel hardware, and tile ceilings with integrated linear fluorescent lights. The building remained in this configuration until a third and final renovation carried out between 1978 and 1980, which saw the addition of a small wing in the northwest corner of the building containing two offices and an additional stairwell, the creation of a break room in the basement, the reconfiguration of the lobby and replacement of the original banking counters, and the partitioning of the large office in the north wing added in 1949 into two smaller offices and a hallway. Shortly after the final renovation, the Central Fairmount Building and Loan Company, founded in the 1880s, was consolidated with the Gem Savings Bank of Dayton, Ohio, becoming a branch bank for Gem Savings, and only remaining open a few years in the 1980s before the branch was closed due to a lack of business and financial problems of Gem Savings, which was eventually acquired by National City Corp in 1989 due to financial insolvency and mismanagement. In 1985, the building was bought by Bill Spetz, whom ran an engineering firm out of the building from that time until about 2019, keeping the building’s features preserved and well-maintained during its time under his stewardship. The building was sold to a new owner in 2022.
Detail view of the cladding of The Shard, London Bridge. With someone's window cleaning ladder leaning against the inside of the glass!
Lăcaşul de cult este ctitorit în anul 1734 de jupânesele Maria şi Stanca, sora şi respectiv soţia jupanului Manta Cupetu pe vremea domnitorului Grigore Ghica. Biserica este zidită în stilul arhitectonic Brâncovenesc, în formă de cruce, cu altar, naos unit cu pronaosul, pridvor sprijinit pe patru stâlpi cilindrici de piatra şi turlă care serveşte drept clopotniţă, situată deasupra zidului despărţitor dintre pronaos şi pridvor.
O particularitate rară de ordin iconografic este pictarea Mântuitorului la dreapta ,,bunului tâlhar” în Paradis, în planul al doilea, în spatele patriarhilor Avram, Iacov şi Isac, din marea scenă a Judecăţii de Apoi. Tot la capitolul particularităţi se remarcă şi pictarea în pridvor a unei „hore de doamne şi domniţe”, motiv rar întâlnit în pictura bisericească.
Biserica a fost restaurata intre anii 1924-1930 de arhitect restaurator N. Zane si pictor restaurator Paul Molda.
Partea de răsărit a curţii bisericii a servit în vremuri îndepărtate şi ca cimitir, fapt dovedit de cele câteva pietre funerare şi inscripţii rămase.
O istorie deosebită are şi clopotul bisericii care este construit din oţelul capturat de armata română în Primul Război Mondial după cum rezultă din inscripţia aflată pe exteriorul său.
House circa 1895 . The rest....
This area is known as the Harringay Ladder. I prefer to call it the Harringay Cladder.
File name: 08_06_007260
Title: Ice clad fishing schooner, fish pier
Creator/Contributor: Jones, Leslie, 1886-1967 (photographer)
Date created: 1917 - 1934 (approximate)
Physical description: 1 negative : glass, black & white ; 4 x 5 in.
Genre: Glass negatives
Subjects: Fishing boats; Ice
Notes: Title from information provided by Leslie Jones or the Boston Public Library on the negative or negative sleeve.; Date supplied by cataloger.
Collection: Leslie Jones Collection
Location: Boston Public Library, Print Department
Rights: Copyright © Leslie Jones.
Preferred credit: Courtesy of the Boston Public Library, Leslie Jones Collection.