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Cladding material play an important role in both the glance and effectiveness of your building and home. It is the external layer or covering of building acts as the most important purpose in protecting against climate. designcentralaustralia.com.au
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Photography: Terrence Smith Photography
Day Three - in Kruger NP
More often than not we saw the butts of the beasts as they scurried away from the poncho-clad humans snapping away with their noisy cameras. Rather fitting that this was what we saw since there was so much poop on the sides of the road that I felt like I was back home with my 3 dogs.
Stavropoleos Monastery, Bucharest, Romania
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Fine Homebuilding’s Best New House 2011, Green Builder Magazine's Home of the Year, Best Craftsmanship Award.
Built in 1886-1887, this Richardsonian Romanesque Revival-style mansion was designed by Henry Hobson Richardson for John J. Glessner, a machinery manufacturing industrialist, and his family, whom owned the Warder, Bushnell & Glessner Company, which later became the International Harvester Company. The house was owned and occupied by the Glessner family until 1936, during which time it witnessed the transformation of the surrounding neighborhood from a desirable and wealthy residential enclave full of some of Chicago’s wealthiest families into an industrialized district full of new factories and warehouses sprouting up among the decaying, subdivided, and crumbling victorian mansions, now home to a much less affluent population, a radical change from the state of the neighborhood when the house was constructed. After the death of Glessner in 1936, the mansion was deeded to the American Institute of Architects, whom refused the offer to care for the large and aging house. The house was then donated in 1937 to the Armour Institute, now the Illinois Institute of Technology (IIT). In 1945, the university rented the house to the Lithographic Technical Foundation, which installed large printing presses inside the house, and occupied the structure for over two decades. In 1963, the house was vacated by the Lithographic Technical Foundation, which moved its operations to Pittsburgh, and was narrowly saved from demolition when it was purchased from the Illinois Institute of Technology by a group of historic preservation advocates known as the Chicago Architecture Foundation in 1966. The house was subsequently restored and reopened as a museum in 1971.
The house was the last and most significant residential commission of Richardson’s career, with Richardson dying during the house’s construction at the age of 48. The house is notable for its solid and largely opaque facades facing the surrounding streets, creating a fortress-like quality, which contrasts with its translucent and more open facades facing the central courtyard. The precedent for this arrangement can be found in ancient Roman villas and Chinese Siheyuan houses, which often featured opaque facades towards the public rights-of-way next to them with small, minimal openings, with most of the spatial connection to exterior space being found in the central courtyards of these dwellings, with rooms being far more open to the courtyards than to the exterior, quite a departure from traditional European-American architecture. The exteiror of the house also takes precedent from Medieval architecture, especially the Romanesque movement of the early-to-mid-middle ages, which featured heavy masonry walls that required small window openings by necessity, though by the time the Glessner house and other Richardsonian Romanesque Revival-style buildings were designed with more modern structural methods, the utility of small window openings for structural support was no longer a requirement, instead, being utilized to create a sense of privacy and substantiality for a building.
The house features a rusticated sandstone exterior and wraps around a courtyard in the center that is open to the south side of the house, with the exterior facade facing the courtyard being clad in red brick with rusticated stone trim. The house features a side-gable roof with gable parapets, which is clad in red slate, with hipped dormers, multiple stone and brick chimneys, box gutters with copper downspouts, and conical roofs atop the towers. The exterior facade features small window openings with one-over-one double-hung windows, many of which on the second floor feature stone pillars with decorative capitals between the individual windows when arranged in groups, and some of which are so narrow as to be more readily classified as arrow slit openings, rather than as full-width window openings. The front door is demarcated by an arched transom beneath large voussoirs, and is flanked by ground-floor windows with a grid of nine openings on the exterior, which screen the wider and taller window bays behind them, with a carriageway on the south side of the Prairie Avenue facade that features a garage door. On the 18th Street facade, there is a recessed entry porch with a door turned perpendicular to the street, which opens to the street through a large archway beneath several large voussoirs, above which is a balcony with a small rectilinear opening, to the west of which is an attached rear carriage house with a double wooden carriage door, a small entrance door, and a rooftop cupola. The facades facing the courtyard feature larger window openings with stone sills and lintels, three semi-circular towers with conical roofs, with the courtyard feautring a large grassy lawn and paved walkways, which is enclosed on the south side by a brick wall that originally comprised the side facade of an adjacent house. Inside, the house features original woodwork, coffered ceilings, wooden floors, doors, fireplaces, wooden paneling, staircases, balustrades, plaster, and tile. The house has been furnished with period-appropriate items, as well as wallpaper, drapes, carpets and rugs, and were meticulously restored in the late 20th Century. Many antiques and works of art, significant items in their own right, were donated to the museum by the descendants of John J. Glessner to be returned to their original places within the house.
The house was listed on the National Register of Historic Places and as a Chicago Landmark in 1970, and is a contributing structure in the Prairie Avenue District, listed on the National Register of Historic Places in 1972. In 1976, the house was listed as a National Historic Landmark, owing to its major historical and architectural significance. In 1994, the nonprofit Glessner House Museum was established as an independent organization to serve as stewards of the house and manage the operations of the museum. The fully restored house today serves as a historic house museum, allowing visitors to experience one of the most significant surviving 19th Century mansions not only in Chicago or Illinois, but in the United States.
One of the Five Hundred Arhats (Go-hyaku Rakan) overlooking the path to Reigandō, Kumamoto Prefecture, Kyushu, Japan.
Chantilly Clad by Greenmeme, a temporary public art project on a vacant
lot, in the city of Long Beach.
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THE AUTUMN/WINTER 2025/2026 TRENDS
Clad in seed beads
Follow the fashion colors for the autumn and winter of 2025/2026 and be inspired by the surprising combinations of the color tones on beads and seed beads from the Preciosa Traditional Czech Beads™ brand. The 2025/2026 autumn and winter season will be distinguished by a pallet of fresh, dynamic shades.
Handmade dresses full of movement and dynamism reflect the color trends for the 2025/2026 autumn and winter season. Seed bead stringings, pendants and tassels adorn them. Seductive seed bead cords tied into knots combine the color shades with the unexpected harmonisation of perfection.
Cherry Lacquer
Design: Helena Chmelíková
Clad in the trending colors of Cherry Lacquer, in a dress sewn from beads and seed beads that provide the garment with playfulness, movement and meaningfulness. The sewn seed bead patterns create a refined and sophisticated appearance. The seed beads are set in motion by the distinctive pendants and tassels.
Future Dusk
Design: Helena Chmelíková
Clad in the trending colors of Future Dusk, in an unexpectedly provocative garment sewn from glass beads and seed beads in stylish, fresh menthol. The sewn bronze-mint details supplemented with seed bead cascades create a complex interplay.
Red Flare
Design: Alexandra Lysenko (Snow Mirna)
Clad in the trending colors of Red Flare, in cords crocheted in shades of red and brown. The long seed bead cords woven into a knot merge into a spectacular whole. They shine through the exceptionally blue pattern from the looseness of the cord.
Unexpected connection
Design: Alexandra Lysenko (Snow Mirna)
Garbed in the trending Unexpected Connection colors, in a dress of crocheted cords shaped into netting with seed bead rings. The seed bead netting is surprisingly interconnected by the flawless play of colors.
Colors: classic blue, radiant green, pistachio, pansy purple, blackberry juice, aubergine, melon, water pink, carnation.
Visit our website for more information about the trends