View allAll Photos Tagged coping
In the dying hours of the day, what do I do with myself now that she's gone?
I've been struggling to move on. It's funny what you retreat to at the end of a relationship, just comfort food, procrastination and a lot of music. Music's hard though, as so much of my favourite stuff is now linked to her. Iron and Wine, Holly Throsby, Songs: Ohia, all this stuff that I'd normally play now that I don't want to.
Strobist: Anyway, enough whinge, that's not what your here for. This is my entry for the Lighting 102 assignment, as I won't have time after this (cursed exams). I took this at 8.45pm, meaning that it was well and truly night over here. My aim is to show someone trying to distract themselves late in the afternoon, when not much is happening. To do this I actually put my 430EX outside my window with a 1/2 CTO and put the white point at 6500k. I started at f/2.8 and 1/8 power, but not enough was in focus so I pushed the ratio at both ends up a stop and got 1/4 and f/4.
I'd love some feedback on this, if you could.
Coronación de piscina en piedra natural Altamira vintage con efecto de cantos desgastados //
Pool coping in vintage Altamira natural stone with worn edges effect.
Ubicación: Dinamarca
Contacta con nosotros / Contact us:
Tel: +34 968725656
info@rosalstones.com
Foundation stone 7 Mar 1900 by Mrs George Brookman, opened 24 Feb 1903 as School of Mines & Industries. Location of Adelaide Technical High School until transferred to Glenunga Aug 1963. The School of Mines & Industries became the SA Institute of Technology 1960, amalgamated with the SA College for Advanced Education 1990 & became the University of SA Jan 1991. Originally only the main hall was named for George Brookman. (Brookman Building was his then business premises in Grenfell St; site now Grenfell Centre.)
“The foundation-stone of the School of Mines Buildings, which will occupy the site of the old Eastern Annexe of the Jubilee Exhibition Building, was laid on Wednesday afternoon by Mrs. George Brookman, the wife of the generous citizen who has given £15,000 towards this important undertaking. . . The foundation-stone, which is of Angaston marble, is situated at the south-western corner of the future building, which will consist of Auburn bluestone from the ground line up to the base. This will be of wronght Murray Bridge freestone, above which there will rise a red brick structure, relieved by Murray Bridge freestone dressings.” [Advertiser 8 Mar 1900]
“The new school may be described as of the Perpendicular Gothic style, but with features which ally it to the late Tudor period. The Public Buildings Department kept continually in mind that the building was to be used for scholastic purposes, and while compelled to keep within limits as to funds, every effort was made to give the city another edifice worthy to take rank with the fine buildings on North-terrace. . . The handsome rock-faced, bluish-colored stone in the base comes from Auburn, the freestone up to the plinth level, and forming the copings of the front entrance steps, with a small portion of the stone above the base, is derived from Lane's (now Torode's) quarry on the Murray River, while practically all the rest of the freestone has been obtained from Laycock's quarry, close to the town of Murray Bridge. The bricks used in the base and foundations are from the Metropolitan Company's Blackwood yards, and the remainder of the brickwork from the base upwards from Hallett's Brompton yards. The marble steps and flagging to the front entrance and the staircase hall were obtained from Mr. Herring's quarry at Angaston. . . From the tower, which is crenellated, and is 90 ft. high, a magnificent panorama of the city, with its suburbs, and the circle of the Mount Lofty Ranges can be obtained. . . On the east of the handsome hall is the main staircase, with its polished cedar handrail, broad steps, and convenient landings, lighted through beautiful stained glass windows.” [Advertiser 24 Feb 1903]
“It has often been urged that the only thing that is unfortunate about the Adelaide School of Mines is its name, which is apt to convey an inadequate impression of the multifarious operations carried on at that excellent institution.” [Register 24 Feb 1903]
“Sir George Brookman . . . The foundation of his fortune was laid by the success of his enterprise as one of the pioneers in the discovery and development of the auriferous resources of Western Australia. Early in the nineties of last century he organised the syndicate which laid bare the marvellous riches of the Golden Mile. . . a generous benefactor of the School of Mines and Industries and of the University. . . Many of the benevolent institutions of the State, notably the Children's Hospital, also had the benefit of his willing aid. . . during the war he was actively associated with the State Repatriation Board, the Red Cross. Society, the Anzac Hospitality Committee, and other undertakings with kindred aims. . . the Adelaide Electric Supply Company and the Bank of Adelaide. . . member of the Legislative Council.” [Advertiser 21 Jun 1927]
“Sir George Brookman . . . was born in Glasgow in 1850. A son of the late Mr. B. Brookman, he arrived in Australia in 1852. He received his schooling at the late James Bath's school, North Adelaide. In 1878 he married Miss E. M. Marshall, of St. Kilda, Victoria. Lady Brookman and a family of two sons and a daughter survive. They are Messrs. Norman and George Brookman, of Adelaide, and Mrs. G. Jennings, of London. [News 20 Jun 1927]
Kim Stanley Robinson speaking with attendees at an event titled "The Comedy of Coping: Alarm and Resolve in Climate Fiction" hosted by the ASU Center for Science and Imagination, and the Virginia G. Piper Center for Creative Writing at Whiteman Hall at the Phoenix Art Museum in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
Playa y bordillo de piscina en piedra natural Albamiel al corte.
Albamiel pool coping and terrace by Rosal Stones.
Contácta con nosotros /contact us:
Tel: +34 968725656
info@rosalstones.com
Kim Stanley Robinson speaking with attendees at an event titled "The Comedy of Coping: Alarm and Resolve in Climate Fiction" hosted by the ASU Center for Science and Imagination, and the Virginia G. Piper Center for Creative Writing at Whiteman Hall at the Phoenix Art Museum in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
Free form custom design concrete swimming pool with raised tile face beam includes water feature. Red brick safety ledge coping. Pool includes tile accents on steps and benches. For more information visit www.elitepools.com
by Patricia Spadaro
Try these practical tips for an enlightened approach to dealing with critics and criticism—and boost your self-esteem in the process
We all get hit by life’s slings and arrows from time to time. They can come from a resident critic—a family member, friend, or co-worker who always finds something wrong—or as the occasional put-down that catches you by surprise. What do you do when an insult is hurled your way, privately or publically? Do you pretend you didn’t hear it or hurl an insult right back? Do you internalize it or get angry and lash out?
You may not be able to stop someone’s nasty words or careless actions, but you can change how you deal with those barbs. They don’t have to take you down or tempt you to retaliate. Try these 10 healthy and empowering tips to meet insults and criticism gracefully and appropriately.
Tip #1: Assess Criticism and Who It Is Coming From
It’s important to get an accurate read on a situation to decide the best way to respond. There’s a big difference between constructive criticism from someone who loves you and getting bashed by someone who steals the stage to discredit you. You’ll need to get some objectivity before deciding whether it’s right to speak up or let it go.
Try this: Pull away from the situation and look at it without ego, as if you were observing someone else’s life. Is it possible you are being overly sensitive, or has someone treated you like a doormat without good reason? A clear sense of which it is will help you find the best solution.
Tip #2: Acknowledge Your Feelings
Pressure can build up when you don’t acknowledge what’s bothering you. When someone hurts you, especially someone close to you, you may stuff your feelings below the surface to avoid a confrontation. But your feelings are a key part of your internal guidance system—they warn you when something is wrong. By ignoring feelings, you create a larger problem to deal with later. By accepting the messages they bring, you’ll be able to deal more effectively with issues from the start.
Try this: Rather than slamming a lid over your emotions, notice them as they arise--without judging yourself or blaming others for making you upset. Ask yourself: If my feelings could talk right now, what would they say? What is this feeling asking me to do? What new choices can I make to help me feel at peace about this situation?
Tip #3: Draw Clear Boundaries with Big Critics
You get to choose who and what you will tolerate in your life. If you are in a personal or working relationship with someone who tries to whittle away your self-esteem by constantly judging and belittling you, you owe it to yourself to create boundaries and to tell that person how you feel when that happens. It’s important for your well-being to remove yourself from that toxic energy. It can weigh you down, stunt your creativity, and make you feel depressed or sick.
Try this: Decide on a specific action you will take if the judger in your life continues to bombard you with criticism. Clearly, lovingly, and firmly tell him or her what you will do if it happens again. For example, you may decide to leave the room, politely excuse yourself from the phone call, or, if it’s serious enough, end the relationship altogether. Be sure to follow through and take that action. When you honor yourself, you are training other people to honor you.
Tip #4: Look for the Nugget of Truth
The people in our lives—at home, at work, or in line at the grocery store—are often our mirrors. They reflect back the impact of our words and actions. Another’s words, though harsh or spiteful, can awaken us to an aspect of our own behavior we have refused to own up to. Although criticism can be hard to take, you can benefit from it by looking for the nugget of truth embedded in a painful situation.
Try this: Instead of overreacting to criticism and going on the attack, summon the courage to ask yourself: Does this criticism include the tiniest morsel of truth about me that I can learn from? Then ask yourself (and even the person who criticized you) how you can do better. That missing piece of information may very well be the key to your next spiritual and emotional growth spurt.
Tip #5: Correct Lies and Statements That Sabotage
When someone spreads dangerous rumors or lies that jeopardize your job or an important relationship, you can’t ignore it. This is not the time to chatter behind closed doors with friends or wring your hands with worry. This is a time for positive action. Don’t blame or shame the judgers by calling them names. Instead, focus on finding resolution by clearing inaccuracies in the sabotaging statements. There may be real misunderstandings that you now have the opportunity to clear up with facts. For example, actress Jane Fonda started her own blog to address the many rumors that swirl around her.
Try this: To get clarity, take some deep breaths and pull out of a piece of paper. On one side, write down the false statement. On the other side, write down the truth as you see it. Ask to meet in person with those who have the misunderstanding and calmly explain how you feel and what the facts really are. If necessary, also put the correction in writing and send it to those involved. Even if others don’t accept the truth, you have stood up for yourself and can move on.
Tip #6: Problem Solve from the Heart
The world’s sages teach that a quiet heart can lead us to the best solutions to any issue. When you are facing the knotty problem of how to deal with someone’s unkindness or sharp criticism, you’ll handle the situation better by moving into your heart. Don’t impulsively shoot from the hip (or the mouth). Pick your favorite technique for centering before making a decision.
Try this: Get out of your head and relax heated emotions by centering in your heart. Simply close your eyes and breathe deeply, then see and feel a flame burning brightly in your heart. Or take a few moments to recall an experience that makes you feel happy or grateful. Once you feel a real sense of joy or peace, turn back to the issue at hand. Ask yourself: “What is the best way for me to resolve this issue? What is my next step?” Then listen for the answer that arises.
Tip #7: Stay on Target
When an immature insult comes flying at you, rather than playing the role of victim and seeing yourself as the target, stay on target. Don’t let criticism and insults distract you from your goals and life purpose. There’s a saying that “no good deed goes unpunished.” Taking a stand or breaking out of conventional ways to express your authentic voice may well draw fire from the jealous and competitive. Consider it background noise and don’t let it distract you.
Try this: Deal appropriately with damaging criticism, but don’t allow every petty and insignificant critic to pull you off track. Not every snide comment demands a response. Set your intention and keep focused on what’s important in your life so you can go on giving your gifts to others.
Tip #8: Open Your Heart and Reach Out to Others
Sometimes what’s directed at you is not about you at all. The person who is complaining may simply be struggling with an internal battle that is spilling over into your life. When people nag or grumble, they may actually be trying to tell you that they are hurting. Griping about the clothes on the floor, the dishes in the sink, or the project that is five minutes late may be code for “I need your support and attention. I need to feel valued and appreciated.”
Try this: When others criticize and whine, instead of automatically striking back with “How could you say such a thing! What’s wrong with you?” pause and probe deeper. Gently ask: “Why are you hurting, and what can I do to help you?” Then be quiet and listen for the answers. Give the people you care about room to express themselves and allow the real issues to surface.
Tip #9: Be Gracious but Firm in Public
A public embarrassment, whether it’s a put-down from a boss or co-worker at a meeting, a relative at a family function, or a heckler in the audience, may be uncomfortable, but it is an opportunity to walk your talk. Don’t criticize the critics, respond defensively, or pick a fight by hurling an angry or sarcastic comeback. That only makes you look like the offender and fuels the fire. Stay polite, calm, and in control. You’ll inspire others to have confidence in you by acting with self-confidence.
Try this: If someone has legitimate concerns but has voiced them in the wrong way at the wrong time, respond briefly and sincerely, offering to resolve the issue with them later. Smile and say something along the following lines to break the tension and help you meet awkward moments with grace and poise: “I see you have some concerns (or misunderstandings). I’d like to talk with you about that during the break” or “We all have a right to our own opinions—we’ll just have to agree to disagree on this one.”
Tip #10: Don’t Take It Personally
If you have taken to heart the previous suggestions and adjusted your behavior in an attempt to resolve an issue but are still dogged by an unrelenting critic, it’s probably time to move on. Unfortunately, some people criticize as a way of projecting their own issues onto others or taking the focus off their own inadequacies, and there is nothing you can do about it. Continually dwelling on their childish behavior or holding a grudge will only keep you stuck.
Try this: Instead of allowing your precious energy and attention to be sapped by naysayers, free yourself by forgiving, letting go, and moving on. Don’t speak about your critics with bitterness or blame. Treat them with respect, model the appropriate behavior yourself, and you might just spur a change of heart in them too.
At Llancaiach Fawr Manor near Nelson in Caerphilly, South Wales.
A house set in the time period of 1645 during the English Civil War.
There was actors inside the house as servants, who know nothing of what happens after 1645 (was supposed to be before Charles I visited the house - time period wise).
You first enter via a visitor centre. After you pay, they give you a guide book, and a note that you have to get stamped when you enter the manor.
Outside the manor. There is a formal garden at the front, and an orchard at the back.
The manor is Grade I listed.
Location
Close to the W community boundary which follows Nant Caeach, a short distance NE of Nelson and reached by a short track from the main road. Fronts a re-created formal garden, the surrounding walls incorporating stone benches.
History
Built early C16 for the Prichard (ap Richard) family and mentioned in Leyland's Itinerary of 1537. First Lord of Manor and Under Sherriff in 1549 was David ap Richard. Alteration in 1628 by his grandson, David Prichard, provided the rear staircase wing, the panelling of the first floor chambers and alterations to some windows, involving the introduction of the rectangular transom and mullion windows. The family were involved in recurrent feuds between Glamorgan noblemen including the Lewis family with whom they had marriage connections. Colonel Edward Prichard (d 1655) played an important role in the Civil War, originally a Royalist - Charles I is reputed to have lunched at Llancaiach in 1645 - he subsequently became a supporter of the Parliamentarians, becoming Governor of Cardiff Castle and playing a significant role in the Battle of St Fagans. Lack of male descendants led to property passing out of family and functioning as a farmhouse when second floor was used for storage. Purchased by Rhymney Valley District Council in 1979 and restored as a visitor attraction which particularly interprets the Civil War. A resistivity survey established the plan for the formal walled gardens which have been recreated to front; to rear was an orchard shown on the Tithe Map of 1842 and the OS map of 1875. A water colour of the building as a farmhouse shows it rendered.
Interior
Interior is characterised by the multitude of staircases which, apart from the later large timber staircase to rear, are incorporated within the walls, thus providing a network of escape routes to an outwardly undefended building. Traditionally the number of staircases was said to equal the number of rooms - fourteen, of which nine staircases remain after periods of remodelling. Walls are mostly lime plastered and limewashed, mostly white though with some renewed colour and fragmentary traces of former colour. Ceiling beams are large and chamfered, some stopped, some supported by corbels, some heavily keyed, some limewashed. Most doorways have heavy double thickness doors comprised of vertical planks to front and horizontal to rear, some retaining their massive iron bolts; barricade holes in the walls behind show where they could be reinforced by bars; doorways are mainly Tudor-arched and chamfered, of stone or wood. Windows have deep splays and the main windows to each room incorporate stone seats; only one of the quarry glazed window panels opens, in Colonel Prichard's study, the westernmost room on second floor. Spiral metal fire escape installed in rear wing at time of modern restoration.
Ground floor is entered through porch with flag floor, stone benches, ceiling, door with vertical fillets and hinges across the whole width. Entrance hall has flag floor, a four-centred ceiling arch, two cupboard recesses in gable end wall, access to main timber staircase left and rear mural stairs to rear; partition opening and doorway to kitchen right. Kitchen has fireplace with wide wooden lintel and bake ovens; under rear window is a stone waste sluice. Servants' Hall access is through a lobby beside the chimney incorporating front mural stairs, the fireplaces back to back. Servants' Hall fireplace has timber lintel and chamfered jambs; wall recess, flag floor; windows to 2 elevations; steps up to store doorway in the rear wing, further mural steps and blocked steps adjacent. Stairs to vaulted cellar.
From entrance hall quarter-turn stone steps with twisted wooden balusters, moulded rails and newel posts rise to first floor landing which extends across the W end of house; a 4-centred arch, part of the C17 remodelling, frames the staircase to next floor. Great Hall is entered through a wide doorway, with original door, studded, 2 boards wide and with long strap hinges terminating in fleur de lys; mural stairs to front and 2 to rear; dais for high table is lit by large windows to front and rear; it backs onto the central chimney breast but there are now no first floor openings to this and the stone Tudor-arched fireplace, with moulded jambs and shallow bracketed mantelpiece, and painted blue with woad, is against the rear wall. Narrow doorway at front to room over porch, used as Stewards' Room, with windows on 3 sides, garderobe, 2 mural staircases, small fireplace with large Tudor-arched stone lintel. Lobby adjacent to dais corresponding with that on ground floor, doors at each end, leads to parlour. This has small-square panelling with a linenfold-type frieze; depressed-arched chamfered stone fireplace in rear wall is flanked by staircases either side with matching panelled doors, one mural, one leading to rear bed chamber and one to former mural staircase. This is also panelled with fluted frieze and billet-moulded cornice; former access to privy.
Main stairs to second floor retain some original balusters, rail and newel post. Corridor runs along rear elevation with timber-framed lath and plaster partition to the main two interconnecting rooms to front; square headed wooden doorways with moulded surrounds. In rear wing is a further chamber with garderobe off lit by tiny windows. At top of stairs is a later partitioned windowless cheese room fronted by matching balusters with stone chute adjacent; over the porch is the steward's upper apartment, access to roof space which has arch-braced trusses and 2 rows of trenched purlins; end room, described as counting house, has stairs flanked by low walls rising in the centre of floor and fireplace in gable end wall with depressed Tudor arch and moulded jambs; at rear a small opening to roof and pigeon loft over stairs.
Exterior
Semi-fortified gentry house. Main range aligned roughly E/W with front porch wing and two rear wings, at W an added staircase wing, at E a contemporary wing with attached garderobe shaft. Three storeys and attic to main house and wings, with first floor hall; vaulted cellar beneath rear wing. Stone rubble walls mostly in narrow courses with ashlar dressings, quoins, rendered W and SW elevations. Windows are of one-, two-, three- or four-lights, some with 4-centred heads and moulded spandrels, some ornamented, some square headed, most with square low hoodmoulds, with chamfered surrounds and moulded mullions, and under wide relieving arches, no sills; transom and mullion windows represent the C17 remodelling; leaded glazing is a mid C20 replacement. C20 Cotswold tile roof; rectangular stone stacks to main roof with caps at centre right ridge and on either side of ridge of NE rear wing; smaller stack at gable end left. Gables have stone coping, moulded apex stones and kneelers. Main house and wings are battered.
S entrance elevation of five bays. Gabled full-height porch wing in second bay from SW has gable end and lateral stacks, small Tudor-arched apex light; 2-light first floor square-headed mullioned window; ground floor Tudor-arched doorway, chamfered and stopped; small side lights and larger rectangular window to first floor. Bay to left of porch is rendered, with small light to second floor and larger to first floor. To right of porch extends the main 2-window range over 3 floors separated by small lobby lights. At left the windows are square headed: 3-light second floor window close under eaves; large first floor window to hall of 4 transom and mullion lights; ground floor window of 2-lights. To right the lights are narrow with 4-centred heads: small 2-light window close under eaves; large first floor 4-light window to parlour; similar smaller 3-light ground floor window - some replaced masonry. W gable end elevation has small lights to the upper floor and a 2-light window to ground floor.
Rear elevation is asymmetrical. Cross wing to right has roof extending lower to right (W), and incorporates two groups of 3 dove nesting holes and ledges; two 3-light windows under shallow hoods, the higher under a relieving arch. Centre 3-storey bay is recessed though stepped out at each side, the left accommodating a gabled garderobe chute corbelled out at eaves and with small lights, the right the flue to the hall chimney. Centre single window range with 4-light square-headed window with arched lights close under eaves, larger 4-light window with arched heads under a hood and relieving arch to first floor with small light adjacent; ground floor has small rectangular chamfered light. Wide more deeply projecting 4-storey cross wing to left also has an asymmetrical gable, though less pronounced; kneelers and quoins; single window to each upper storey all with 4-centred arched lights: single light with hood to attic, paired lights with hood, flat relieving arch, moulded spandrels to second floor; similar triple light window to first floor; cellar access at ground floor with steps down.
E elevation of 4 storeys has again an asymmetrical gable with single window range to left though flush with single window range to right; ridge stacks. Similar arched lights under hoods: single light to attic left; second floor has paired lights to left and right and small adjacent stair light; first floor has similar 4- and 3-light windows with adjacent stair light, the former matching that on the front S elevation which both light the main parlour; ground floor has similar 3-light window to left, and small rectangular window to right without a relieving arch.
Frontage gives onto a walled garden, parts of the E and S walls and the wall adjacent to the front path dating from before the C20 refurbishment, though with substantial sections rebuilt or raised.
Reason for Listing
Listed grade I as an outstanding manor house, especially interesting for its internal defensive arrangements, well repaired, conserved and presented.
References
Newman J, Glamorgan, Buildings of Wales series, 1995, pp 353-8;
RCAHMW, Glamorgan, The Greater Houses, 1981, pp115-126;
Llancaiach Fawr Manor, guidebook, nd;
Gelligaer Tithe Map 1842;
Ordnance Survey, First edition,scale 1:2500, 1875.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
Close to the W community boundary which follows Nant Caeach, a short distance NE of Nelson and reached by a short track from the main road. Fronts a re-created formal garden, the surrounding walls inc
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
Marpole Oakridge Family Place
photos by RonSombilonGallery.com
The Marpole Oakridge Family Place Society is a support and resource centre for parents and caregivers and their young children, infant to early six.
The Marpole Oakridge Family Place Society assists families and caregivers with young children in their healthy development through a wide range of programs, services, projects and supports.
What we offer
A stimulating environment that promotes parenting coping skills through support and education .
An appreciation and respect for families of all different cultural and socio-economic backgrounds.
A nut-free, scent free environment.
Please note the calendar section of our website is not operable. Please contact us for a copy of our current calendar.
Playa y bordillo de piscina en piedra natural Albamiel al corte.
Albamiel pool coping and terrace by Rosal Stones.
Contácta con nosotros /contact us:
Tel: +34 968725656
info@rosalstones.com
I walked down Shaw Street heading to the River Severn.
Building on the corner of The Butts and Angel Place.
It is (or was) the Angel Centre. Grade II listed.
WORCESTER
SO8455SE ANGEL PLACE
620-1/12/17 (West side)
11/02/87 Angel Centre
(Formerly Listed as:
ANGEL PLACE
(West side)
Angel Place Sunday
School)
GV II
Sunday school, now community centre. 1887-1888 by Aston Webb.
Yellow brick with stone bands, quoins, dressings and copings
with slate and shingle roofs. Rectangular plan with gabled
roof of hall rising higher in centre. Main entrance canted at
corner and set back. 2 storeys with stone sill bands and
cornice-bands, carried through entrance tower. Irregular 5-bay
fenestration to north and 4-bay to east. Deep canted bay with
hipped roof and dentilled cornice to left of east front. All
windows of mullion and transom cross-type with
segmentally-arched heads to upper lights. Gabled hall block
rises behind north front and carries back to south. Gabled
dormer in roof on east side of hall. Entrance in 3-storey
porch set back in north-east corner at 45 degree angle. 3
steps to 6-panel double doors, moulded lintel and acanthus
keystone, double-hollow-chamfered round arch over and figure
of seated child reading in the gable. Octagonal side
buttresses with striped brick and stone quoining at
first-floor levels carry up to crown-like finials flanking
slim window with crest over in tall triangular gable. Tiled
finial with weathervane behind. First floor has single transom
and mullion cross-window over pointed triangular hood with
segmental intrados and panelled tracery to double doors.
INTERIOR: noted as having unusual plan with offices in rows
around central 2-storey hall with gallery on columns in
polygonal plan. Gallery has wooden balustrade.
HISTORICAL NOTE: built as Sunday school for Congregational
Church (now Tramps Nightclub), Angel Place (qv).
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Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1269316
Date first listed: 18-Jan-1949
Location
Statutory Address: Abbey Church of St Mary & St Aldhelm, Malmesbury, Wiltshire SN16 0AA
District: Wiltshire (Unitary Authority)
Parish: Malmesbury
National Grid Reference: ST 93280 87320
Details
Benedictine Abbey church, now parish church. Church founded c637 by Irish hermit Mailduib, monastery founded during abbacy of Aldhelm (c675-705), though no pre-C12 work survives; church probably begun under Bishop Roger (c1118-1139), and mostly dates from c1160-80 with a 9-bay aisled nave, transepts with E chapels, chancel, ambulatory with 3 radiating chapels, and S porch, rebuilt 1350-1450 above gallery level with clerestory, vault, crossing spire and W towers, a lengthened chancel and Lady Chapel; spire fell 1479. After Dissolution nave altered by William Stumpe of Abbey House (qv) and damaged W parts walled for the parish church, W tower fell c1662, W window by Goodridge 1830, restored W end 1903. MATERIALS: limestone ashlar with stone tiles. STYLE: late Romanesque style C12 work, Decorated Gothic style C14 extensions. PLAN: reduced since the Dissolution to 6 E bays of nave, with short lengths of transept walls and S corner of W end. EXTERIOR: the E end has a single N chancel bay and matching chancel arch with paired half shafts set in square piers with quarter round capitals, beneath the 2-centre arched line of the vault, and tas-de-charges with sunken mouchettes; the jambs of next E bay has matching aisle and triforium semi-circular jambs with chevron mouldings. Inner wall of N transept has blocked 2-centred aisle arch containing a C16 doorway and 3-light mullion window, and a blind round-arched doorway to the right; 6-bay N elevation has a blind former cloister wall along the aisle divided by buttresses, with a roll-top coping, and round-arched windows above a cill band containing C14 tracery, with a steep gable in the fourth bay containing a 3-light Decorated tracery window; at the left end is a blocked, round-arched C12 doorway with an archivolt of relief palmettes, and a cusped cinquefoil arch set within. The C14 clerestory has flying buttresses with tall pyramidal pinnacles between 3-light 2-centre arched windows, 2-light at the E end, with paterae to each side of the three E windows. S transept as N, 2 bays after the aisle arch, an incomplete arcade of interlacing round arches with a chevron moulding
beneath 2 storeys of round-arched windows with splayed reveals, the lower windows flanked by narrow round-arched recesses containing inner arches open to a passage through the walls. The arcade continues along the former external side of the S transept and to the 9-bay S elevation, otherwise as the N side with a Decorated cusped openwork parapet to aisle and nave, and with second and third bays from E containing C14 2-centre windows with Decorated tracery. C12 porch rebuilt externally in C14 with angle buttresses, has a very fine splayed round-arched entrance of 3 orders, without capitals, richly carved with iconographic Biblical scenes set in oval panels, and separated by richly carved mouldings, and a hood with dog head stops. Inside is a similarly-moulded doorway and C14 door, beneath a tympanum of Christ in Glory supported by 2 angels, with along both sides the round-arched arcade above a bench, beneath finely-carved lunettes each of 6 Apostles with a horizontal flying angel above. In the E re-entrant is a square stair turret with a pyramidal roof. The incomplete W end has a massive clasping buttress stair turret to the S corner in 4 stages separated by moulded strings, blank from the ground, a pair of blind round-arched panels containing lower arched panels to the second stage, an arcade of narrow interlacing round-arches to the third, and a taller arcade to the fourth stage with square section mouldings; the bay to the left as the S aisle, with a pair of round arches with flanking half arches at the second stage enriched with chevron moulding, containing pairs of round-arches; above is an arcade of 5 round-arches, and a blind wall topped with a C20 parapet. The S side of the central entrance bay has the jamb of a round-arched entrance with 2 orders carved as the S porch and plain capitals, beneath the jamb of a large C14 W window with the springers of 4 cusped transoms. INTERIOR: nave arcade has round shafts with scallop capitals to sharply moulded 2-centre arches, with billet mouldings to the 2 E arches, and billet hoods with dog head stops; the triforium has blind round arches with attached shafts to cushion capitals, a chevron moulding, with an arcade of 4 similar arches within; splayed clerestory windows have rere arches. An attached shaft extends up from the piers to C14 tas-de-charges, and a lierne vault with carved bosses. A 'Watching Loft' is corbelled out above the fourth pier on the S side of the nave, with plain openings and billet moulded cornice. The C12 aisles have pointed quadripartite vaults and benches,
the blind arcade of the outside beneath the windows, on the S side without the middle columns; the E end bays have C15 stone screens with Perpendicular tracery. To the left of the entrance is a winder stair to the C14 parvis over the porch, which has C20 panelling. MEMORIALS: running counter-clockwise from the entrance, a wall monument to Joseph Cullerne, d1764, a marble panel with raised bracketed top section; wall monument to Robert Greenway, d1751, a marble shield; wall monument to Bartholomew Hiren, d1703, a panel with a broken pediment; at the W end, a wall monument to Dame Cyscely Marshal, d 162?, with a slate panel in a carved alabaster frame; to the left a late C17 cartouche with drapes; in the N aisle, a dresser tomb of King Athelston, d939, with narrow buttresses to the sides, with a recumbent figure of the King with his feet on a lion, and a vaulted canopy behind his head; wall monument to Elizabeth Warneford, d1631, a slate plaque set in a moulded alabaster frame with shields along the sides, a cartouche, and a segmental cornice over; wall tablet to Isaac Watts, d 1789, an oval marble panel set in slate; wall tablet to Johannes Willis, mid C18, a marble panel with gadroon beneath and a cornice; wall tablet to GI Saunders, d1806, with a round-arched top and moulded frame; wall tablet to Elizabeth George, d1806, a well-carved cartouche with putti below; wall tablet to Edward Cullerne, d1765, marble with yellow marble inserts and a pediment; wall tablet to Mary Thomson, d1723, a stone panel with draped surround including an hour glass; wall tablet facing the entrance to Willima Robernce (?), d1799, a stone frame including a small inscribed pointing hand in the corner. Set in the chancel floor are a group of 8 brasses from late C17 to mid C18. FITTINGS: include a round C15 font from St Mary Westport (qv), with a turned base and fluted sides; at the W end of the nave, is the font used since the C17; in the S aisle, a glass case containing a verge of 1615, carved with features of the Abbey; at the E end the S aisle is the parish chest dated 1638, panelled with 3 locks; communion rail of c1700 with twisted balusters. In the parvis are kept 4 volumes of an illustrated manuscript Bible of 1407. GLASS: mostly C14 glass in the N aisle; the Luce window in the S aisle designed by Burne Jones and made by William Morris. HISTORICAL NOTE: the use of pointed arches and vaults in the aisles is structurally advanced and transitional with Early Gothic, and links Malmesbury with subsequent West Country churches, but the carving is Anglo Saxon in character, and probably borrowed from manuscript illustrations. The conventual buildings stood on the N side of the church; for the reredorter and sections of the precinct wall, see
Abbey House, Market Cross (qv), and for the guest house, see Old Bell Hotel, Gloucester Street (qv). (Victoria History of the Counties of England: Crowley DA: Wiltshire: 1991-: 157; Archaeologia: Brakspear H: Malmesbury Abbey: 1912-; Smith MQ: The Sculptures of the S Porch of Malmesbury Abbey: Malmesbury: 1973-; The Buildings of England: Pevsner N: Wiltshire: London: 1963-: 321-327; Midmer R: English Medieval Monasteries 1066-1540: London: 1976-: 212).
© Historic England 2021
A gnarly old aspen copes with the sudden thaw and resists the urge to celebrate the arrival of spring just yet. After all, it is still January. Species not so adapted just don't survive winters here due to the sudden and dramatic changes in temperature. One minute it's -20°C, the next it is +15°C like today.
Olympus OM-10
Zuiko 28mm f/2.8 with yellow filter
Kentmere 100
Kodak Xtol, 1+1, 11:00 @ 20°C
The smooth surface of the Marina Bullnose Coping Unit offers many opportunities that are only limited by your imagination. Whether you are looking for something to surround your pool or searching for a unique step application, the Marina coping will complement many of the pavers and walls within the Belgard collection.
As Ireland swelters in a second week of non-stop sun, the natives are reverting to type. Here the two categories (pale and interesting) Vs (pale and burning) can be seen in their summer plumage.
A visit to Powis Castle, another National Trust property. You are not allowed to take photo inside of the castle (items in private ownership), but it's fine around the exteriors and gardens. Anyone caught trying to take a photo inside gets told off by one of the guides inside the castle, so it wasn't worth the bother (bit frustrating when going around the castle). At least the outside areas makes up for what I couldn't take.
Powis Castle (Welsh: Castell Powys) is a medieval castle, fortress and grand country mansion near Welshpool, in Powys, Wales.
It is known for housing the treasures that were brought home by Robert Clive and his son, Edward Clive from India. The Clives obtained them during their service with the British East India Company.
The castle has also been known as Castell Coch, Castell Pool, Castell Pola, Castell Pole, Castell Trallwng, Red Castle, Redde Castle and Castel Cough.
The seat of the Earl of Powis, the castle is known for its extensive, attractive formal gardens, terraces, parkland, deerpark and landscaped estate. The property is under the care of the National Trust.
Princess Victoria (later Queen Victoria) visited the castle as a child when her mother took her to tour England and Wales in 1832.
The Bothy is a Grade II Listed Building.
Exterior
History: The house was built in 1906 (architect not known), adjacent to a site which had at one time been occupied by a dove-house, and other agricultural outbuildings associated with the castle. The wall to the rear of the house, and the outbuildings against its inner face, appear to be C18; the rear wing of the house also appears to represent an earlier survival, while the outbuildings at the back of the small yard to the rear of the house are probably late C19 or early C20.
Exterior: The house is timber framed on a brick plinth with stone copings. It has red tiled roof, and brick and terracotta star-shaped stacks to gable end and rear. Close-studded pegged framing, with decorative quatrefoil panels flanking the windows, and curved tension braces at angles. Entered via a single storeyed porch with steep chamfered archway from Dairy Square, its principle elevations overlook the garden. S elevation is 2 storeyed, a 2-window range, with balustraded and arcaded loggia entrance (now partially filled-in) to the right. Wide gables with pierced trefoils in bargeboards over windows: left hand bay has single lights to ground floor and canted oriel window above; full-height canted bay window beneath right-hand gable with transoms to lower lights. All windows have chamfered mullions and leaded lights. W gable end has jettied upper storey carried on finely moulded brackets: 4-centred archway to recessed porch to left (with similarly arched panelled inner door), and canted bay window with mullioned and transomed lights alongside. 4-light mullioned window with quatrefoil panelled apron to first floor. NE rear wing is partially rubble and is probably of earlier date.
A high brick wall with stone copings forms the W boundary of a yard to the rear of the house. Against it is a range of timber-framed outbuildings, which are probably C18. The cross- range to the rear of this yard is brick with stone dressings: louvred vents in plain tiled roof. Paired doorways towards left and a series of mullioned windows with hood moulds.
The bothy is a very good example of the Neo-Vernacular 'Old English' style of Edwardian building, which makes a strong contribution to the character of the formal garden, laid out in 1912.
Reference: The National Trust, Powis Castle Garden, 1992.
No 1 and No 2 Park Houses.
No 2 Park Houses is a Grade II Listed Building.
History
Little is known about the origins of this building, which was shown as a malt-house on Thomas Farnolls Pritchard's plan of 1771. The brickwork, and the first phase of openings, may indicate a late C17 or early C18 date; the existing openings are probably C18. The building was extended to the E, probably shortly after 1771, and was probably re-roofed at the same time. The original pattern of fenestration, and the later fenestration in the W part of the building seem to indicate a non-domestic use, though not necessarily the malt- house recorded by Pritchard. The presence in part of the interior of fire-proof construction also suggests a non- domestic purpose. More recently, the building has formed estate offices and accommodation - a use which may have been established in alterations and extensions post 1771.
Interior
Towards the centre of the earliest (W) range at first floor level, one room forms 3 bays of conventional early C19 fire-proof construction, with brick-arches between cast- iron beams carried on cast-iron columns.
The largely C17-C18 building forms a handsome element in the gardens at Powis and is of special interest as an early estate building, modified and adapted for particular uses.
No 1 Park Houses is a Grade II listed building.
History
Little is known about the origins of this building, which was shown as a malt-house on Thomas Farnolls Pritchard's plan of 1771. The brickwork, and the first phase of openings, may indicate a late C17 or early C18 date; the existing openings are probably C18. The building was extended to the E, probably shortly after 1771, and was probably re-roofed at the same time. The original pattern of fenestration, and the later fenestration in the W part of the building seem to indicate a non-domestic use, though not necessarily the malt- house recorded by Pritchard. The presence in part of the interior of fire-proof construction also suggests a non- domestic purpose. More recently, the building has formed estate offices and accommodation - a use which may have been established in alterations and extensions post 1771.
Interior
Towards the centre of the earliest (W) range at first floor level, one room forms 3 bays of conventional early C19 fire-proof construction, with brick-arches between cast- iron beams carried on cast-iron columns.
The largely C17-C18 building forms a handsome element in the gardens at Powis and is of special interest as an early estate building, modified and adapted for particular uses.
Seen from the Formal Garden.
The Copernicus Sentinel-3A satellite took the temperature at the top of Hurricane Lane as it headed towards Hawaii’s Big Island on 22 August 2018. Lane weakened to a Category 3 storm on 23 August, just before it hit Hawaii. Still a powerful storm, it has brought torrential rain to the Big Island. The island is still reeling from months of devastating lava flows from the Kilauea volcano and is now coping with heavy rain and flooding. The brightness temperature of the clouds at the top of the storm, some 12–15 km above the ocean, range from about –80°C near the eye of the storm to about 15°C at the edges.
Hurricanes are one of the forces of nature that can be tracked only by satellites, providing up-to-date imagery so that authorities know when to take precautionary measures. Satellites deliver information on a storm’s extent, wind speed and path, and on key features such as cloud thickness, temperature, and water and ice content. Sentinel-3’s Sea and Land Surface Temperature Radiometer measures energy radiating from Earth’s surface in nine spectral bands.
Credits: contains modified Copernicus Sentinel data (2018), processed by ESA,CC BY-SA 3.0 IGO
Kim Stanley Robinson speaking with attendees at an event titled "The Comedy of Coping: Alarm and Resolve in Climate Fiction" hosted by the ASU Center for Science and Imagination, and the Virginia G. Piper Center for Creative Writing at Whiteman Hall at the Phoenix Art Museum in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
Kim Stanley Robinson and Ed Finn speaking with attendees at an event titled "The Comedy of Coping: Alarm and Resolve in Climate Fiction" hosted by the ASU Center for Science and Imagination, and the Virginia G. Piper Center for Creative Writing at Whiteman Hall at the Phoenix Art Museum in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
Gunite swimming pool with green plaster. Arbor with stone columns and cedar top. Limestone Coping and two different bricks for deck area, one to border limestone and another to serve as the "field." Raised sitting area across the pool.
Hope everyones coping with the stresses and strains of the Christmas shopping. What I do'nt have now I will do without!!!!!!! In years gone by I have been to the supermarket the last two days before Christmas and I have to say if it came to a choice of doing it again or beans on toast for Christmas lunch then bring on the beans!!!! ;o))
Image from The Indian Industrial School Carlisle, Pa. 23rd Year, 1902. MC 2008.4 Box 2 Folder 4.
Original held by: Archives and Special Collections
Institution: Dickinson College
Location: Carlisle, PA
Contact us at: archives@dickinson.edu
Playa y bordillo de piscina en piedra natural Albamiel al corte.
Albamiel pool coping and terrace by Rosal Stones.
Contácta con nosotros /contact us:
Tel: +34 968725656
info@rosalstones.com
The refurbishment of the parish hall of St Paul and St Barnabas in York Street, Belfast, means the church’s extensive range of outreach activities can continue to grow, benefiting the entire community.
The Bishop of Connor, the Rt Rev George Davison, rededicated the hall when he preached at the parish Harvest Thanksgiving Service on Sunday October 18. The Bishop also dedicated a number of new windows.
The Rev Dr Isobel (Isy) Hawthorne–Steele, priest–in–charge, said the hall, based in the old St Paul’s Schoolhouse at the back of the church in the Tiger’s Bay area, is extensively used by the community. The building is 186 years old and a famous past pupil is the flautist James Galway.
The hall was in serious need to refurbishment to make it fit for purpose, and shortly before lockdown in March this year, a number of the groups moved their activities into the main church, and work got underway.
Isy said the refurbishment had been a tremendous success. “The facilities we can now offer include a high standard of health and safety provision; a place where all ages can meet in comfort in properly heated and ventilated spaces; an excellent hygienic kitchen facility with comfortable seating areas for small group work; a very large fully functioning sports hall; and a large conference style room that can easily be adapted to suits the needs of breakout groups or café symposiums.”
She added that during the work, nine windows were exposed fully and were found to be arched. The parish decided it wished to keep these, and the windows, all sponsored by parishioners in memory of loved ones, were dedicated by Bishop George when he visited.
OUTREACH
A range of groups have applied to use the hall in future. “This will not only fulfil our priority aim of outreach into the local community, but will provide an income in order to maintain the parish hall to a high standard of upkeep,” said Isy. “It will also help us with future plans such as fundraising towards the installation of a lift, expanding storage space, and a breakthrough to join the church premises with the hall.”
Isy said that according to NISRA statistics, the church is located in an area of high deprivation and is therefore a much–needed facility.
Outreach activities already established at St Paul and St Barnabas include the Blaze Project which works with local schools, sharing the gospel with children through the medium of drama.
The project encourages all primary schools in the area to have a more proactive role in its programme of social cohesion, and plays a lead role in promoting the development of spiritual understanding and supporting curriculum themes, including Learning about Church. It brought primary school children into the church to fulfil their curriculum aims.
“This provided us with an opportunity to show children each aspect of worship in the church building, explaining function and purpose,” said Isy. “This was supported by the Ulster University Widening Access Community Development Programme which provided learning packs. Many members of our congregation are involved in this project, preparing fun and interesting activities, and manning each aspect of the church, ie baptismal font, pulpit, lectern, etc, teaching the children what we do and why we do it.
WELCOMING
“Often this is the only opportunity these children have to come inside church. Our aim is to make it less of an imposing building in their community, and a friendly, welcoming, fun and interesting learning place to be, to encounter Jesus.”
St Paul and St Barnabas has also being running an AQE tuition project which has had an 80 per cent success rate. “This is a service for children that is based upon the ethos of an inclusive educational access for all children, particularly those who are economically disadvantaged,” said Isy. “This is widely recognised throughout the community and schools as being a highly valued educational project, servicing a real need to disadvantaged children.”
Children and families in the area have also enjoyed Messy Church at St Paul and St Barnabas, organised by members of the church. “The response was very encouraging as we had a full capacity turnout of young people each session, and the fun, fellowship and teaching biblical truths proved very worthwhile,” said Isy.
The church and hall is used by the church’s HOPE professional counselling project, which receives referrals from clergy and other professional counselling agencies and organisations.
“This project is in need of expansion and indeed discussions have taken place with local MPs and councillors, and funding applications sought in order to keep this very valuable project afloat,” Isy said. “The current extremely high rates of mental health problems, and specifically, the very high of suicide and suicide attempts in this demographic region, indicate a high level of need.”
The parish has also formed a strong partnership with All Nations Ministry, and this has grown considerably since the church’s first cultural diversity celebration two years ago, and now a recurring event. Activities have taken place both on site and off site, and the project has established a drop–in centre which is open to everyone in the community. It is attended primarily by asylum seekers, refugees and migrants and their families and operates a foodbank and clothes bank for this group.
RELATIONSHIPS
Isy said the parish has cultivated good relationships with the community PSNI, who provide weekly sports activities for young people. “This has been offered to the wider community and initially has been with the All Nations Group,” she said. “This has been very successful with spin–off trips organised. This partnership is the beginning of a relationship that we hope to further promote and extend.”
The parish also has a collaborative relationship with Ulster University’s Widening Access Community Development Programme which aims to raise the self–confidence and self–esteem of participants by exploring barriers to formal learning and looking at various learning styles and techniques.
“The exercises and assignments are aimed at giving students an opportunity to learn academic writing skills and prepare them for advanced learning with an access route to university degree level four,” said Isy.
This programme was offered firstly to migrants, refugees and asylum seekers, and it the subject of an article: ‘Breaking the Cultural Silence Imposed upon Refugees, Asylum Seekers and Migrants: A Snapshot of the Current Faith–Based Project in Tiger’s Bay (North Belfast),’ The authors of this article were students from the BScHons Community Development Programme at Ulster University who worked on the project with Isy, and it was published in Adult Learner: The Irish Journal of Adult and Community Education in 2018.
The parish’s Storyboards and Drama Project was formed specifically to help asylum seekers, refugees and migrants to infuse into local community life. Around 16 participants worked through storyboards, telling their story of leaving their home country, the experience they lived through travelling to this country, and their experience of trying to begin a new life within the local community. The stories were recorded and dramatized.
POWERFUL
Isy said this ‘powerful project’ was therapeutic, and in many cases provided a much–needed ‘sounding board’ for traumatic experiences to be shared and support and help sought.
“The next phase of this project is planned with young people, and the idea is to bring this into youth forums in schools, youth clubs and churches to share,” she said. “Hopefully, those listening will engage with these young people and recognise the added pressure of adolescences coping with their transition into adulthood, with the additional pressures of being in an alien and often hostile environment.”
St Paul and St Barnabas has developed a logo – incorporating the five windows of the church and the cross to illustrate Christ at the centre of worship and activities – and its strapline – TLC (Transforming, Loving, Caring) – was drawn from the parish mission statement.
The parish employed a children and family worker who worked closely with local primary schools and initiated the parent and toddler group ‘Little Lambs.’ A project manager was appointed, whose role included securing further funding to renovate hall to make it fit for purpose. The parish also employed a family visitor who made further intergenerational connections within local area.
FOOTFALL
“The impact of the projects has been realised in the increased footfall and new partnerships forged with schools and local groups such as the migrant, asylum seekers and refugees,” said Isy.
“We are currently seeking other funds to progress to the next stage. The current Covid–19 restrictions have affected our roll–out, however we continue to support our HOPE counselling project which is a vital resource for the local community during this pandemic.”
The re–dedication of the parish hall and dedication of the windows by Bishop George took place just weeks before Isy steps down from her role as curate–in–charge of St Paul and St Barnabas on November 1.
“I feel I have taken this project as far as I can,” said Isy. “As a leader, I think it is really important to listen to the Holy Spirit and to know when it’s time to make way for God’s chosen leader/s to continue to work out his plan.
“There is so much potential here, the members of the church are loving and full of God’s grace. They are a praying people and that is the key to any missional work. I know God has a great plan of revival in this area.”
The projects run by St Paul and St Barnabas Parish Church have received funding from the following:
- Church of Ireland Priorities Fund;
- Church of Ireland Children & Orphans Society;
- St James’ Endownment Fund;
- BIFFA (grant scheme for ‘community hub’ project refurbishment).
Kim Stanley Robinson speaking with attendees at an event titled "The Comedy of Coping: Alarm and Resolve in Climate Fiction" hosted by the ASU Center for Science and Imagination, and the Virginia G. Piper Center for Creative Writing at Whiteman Hall at the Phoenix Art Museum in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
Playa y bordillo de piscina en piedra natural Albamiel al corte.
Albamiel pool coping and terrace by Rosal Stones.
Contácta con nosotros /contact us:
Tel: +34 968725656
info@rosalstones.com
Kim Stanley Robinson speaking with attendees at an event titled "The Comedy of Coping: Alarm and Resolve in Climate Fiction" hosted by the ASU Center for Science and Imagination, and the Virginia G. Piper Center for Creative Writing at Whiteman Hall at the Phoenix Art Museum in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
Pool: Custom Rectangular Gunite with Tanning Ledge
Plaster: Sky Blue Regular Series by Quartzscapes
Coping: Ivory Travertine 12x24
Tile: SANTORINI Argent Blue 1 x 4
Features: Tanning Ledge, 3 Bubblers, 2 Pedestals
Fire Features: 2 Grand Effects Fire Bowls with Lava Rock
Decking: Spray Deck, Artificial Turf
Furniture: 2 Signature Chaise Ledge Loungers, 4 Chaise Chairs
Pools built by Vantage Pools, BC, Canada, using VASTEC's innovative and easy Coping For Vinyl Liner Pools. Contact VASTEC USA at 888-282-7832 or www.vastecusa.com for more info. Our patented notching process makes the coping flexible enough to bend at the jobsite to fit the pool. No need for custom bending or welding at the factory. Available in White, Light Gray, Dark Gray, Single-track, Double-track, and Fiber-optic ready. Photos courtesy of Vantage Pools, www.vantagepools.ca
A rainy day visit to the Holyhead Maritime Museum.
Saw several memorials outside before I went in, so had to get those first!
The Holyhead Maritime Museum is a maritime museum located in Holyhead, North Wales.
Housed in what is claimed to be the oldest Lifeboat station in Wales (built c. 1858), it houses a number of collections.
The lifeboat station opened in 1858 and the first lifeboat was unnamed, launching 18 times, saving 128 persons. Replaced by the Prince of Wales, she launched 38 times and rescued 128 persons. In 1875, Member of Parliament Joshua Fielden and his brothers donated the Thomas Fielden, named after their father, which necessitated extending the house. In 1890, a second large boat was obtained, for which the house was extended to enable beach based landing from a horse-drawn carriage.
After local maritime exhibitions were held in 1982 and 1983 elsewhere, a trustees group was formed on 24 September 1984. The trustees obtained a nine-year lease on the redundant St Elbods church from the Church in Wales, with the museum opened officially by the Duke of Westminster in March 1986.
On expiration of the lease, and after failing to agree a lease within a new development, Stena Line offered the museum a peppercorn rent on the renovated Lifeboat house at Newry Beach. Deciding to improve the building through the construction of new visitor facilities, after a successful bid for funding from the Heritage Lottery Fund and a renegotiation of the lease to 99 years, the museum reopened on its current site in 1998.
The museum today tells the maritime history of Holyhead and Anglesey, from earliest days to the modern ferries to Ireland. It features an interactive combination of historical artifacts, models and sensory exhibitions. All of its part-time volunteers have extensive maritime and local knowledge. Accessible to wheelchairs, the museum has its own cafe, the Harbour Front Bistro.
The Holyhead at War exhibition is located in an air raid shelter located alongside the Maritime Museum.
Grade II Listed Building
History
Former lifeboat house, circa 1850s, now converted to restaurant.
Exterior
Rubble with freestone dressings and copings (but mainly rendered and painted), slate roof. Aligned roughly N-S with gable and facing sea. Shaped gables (similar to Holyhead market hall) with ball finials; former broad doorways covered during conversion to restaurant (added bay window to N). Long shallow extension to W side; attached gabled range to NE. Some remains of slipway mechanism to seaward side.
Reasons for Listing
Believed to be the oldest surviving lifeboat house in Wales.
Listing above from 1994. The museum moved in 1998.
Kim Stanley Robinson speaking with attendees at an event titled "The Comedy of Coping: Alarm and Resolve in Climate Fiction" hosted by the ASU Center for Science and Imagination, and the Virginia G. Piper Center for Creative Writing at Whiteman Hall at the Phoenix Art Museum in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
A visit to Powis Castle, another National Trust property. A look around the gardens at Powis Castle.
Powis Castle (Welsh: Castell Powys) is a medieval castle, fortress and grand country mansion near Welshpool, in Powys, Wales.
It is known for housing the treasures that were brought home by Robert Clive and his son, Edward Clive from India. The Clives obtained them during their service with the British East India Company.
The castle has also been known as Castell Coch, Castell Pool, Castell Pola, Castell Pole, Castell Trallwng, Red Castle, Redde Castle and Castel Cough.
The seat of the Earl of Powis, the castle is known for its extensive, attractive formal gardens, terraces, parkland, deerpark and landscaped estate. The property is under the care of the National Trust.
Princess Victoria (later Queen Victoria) visited the castle as a child when her mother took her to tour England and Wales in 1832.
Aviary Terrace
Grade I listed building
Aviary Terrace in Powis Castle Gardens
Exterior
History: The design of the terrace gardens at Powis is attributed to William Winde, who is known to have been employed to rebuild the Powis London residence between 1684 and 1688, and who is also thought to have been responsible for work on the castle from c1673. There is no firm dating evidence for the gardens but it is unlikely that the gardens predate 1668, and they were probably largely completed by 1705. From 1703, the name of a Frenchman, Adrian Duvall, is also associated with these gardens (to him is attributed the blasting away of rock to create the terraces, and the hydraulics of the lost water-garden). It may be that Winde began work before 1688, and that Duvall was brought in to continue construction, possibly working for Winde.
Description: Stone steps with stone copings to brick parapet lead down in an angled flight from the top terrace at the right of the aviary which forms the centrepiece of the terrace. This is symmetrically arranged as an arcaded structure of 7 bays, the central 3 bays slightly advanced. Brick, with moulded stone imposts. A further wide arched niche to the left has rusticated stone quoins and voussoirs; a similar arch is shown to the right in the Bucks' illustration of 1742. To either side of the aviary, a brick revetment wall with rubble base and stone copings forms the retaining wall of the top terrace. To the left, a further wall descends in a series of curves, retaining the aviary terrace level at its western extremity.
Listed at grade I as part of the outstanding late C17 terraced gardens at Powis, highly important as a very rare British example of an Italianate garden.
References: The National Trust, Powis Castle, 1988, pp.38-42.
Elizabeth Whittle, The Historic Gardens of Wales, 1992, pp.30- 31.
CBS-2016 Session: Coping with new skills requirements in a changing ICT environment.
© ITU/ G.Anderson
“I live 10 kilometers from the nearest water point located in the village of Kori Fenti,” said Fatuma. “For five months now since the end of the rainy season, I leave every morning at dawn with my three donkeys to fetch water. Many women from all over the area come here to get water and from 10 am the heat is very intense, so we must be quick. Once the jerry cans are filled, I immediately take the road again. I spend an average of five to six hours a day on the road.” ©UNICEF Ethiopia/2022/Pouget
Kim Stanley Robinson speaking with attendees at an event titled "The Comedy of Coping: Alarm and Resolve in Climate Fiction" hosted by the ASU Center for Science and Imagination, and the Virginia G. Piper Center for Creative Writing at Whiteman Hall at the Phoenix Art Museum in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
The African mountains stand out as areas with favourable climatic and ecological conditions, in contrast to the surrounding lowlands that are generally much drier. As a consequence of this, the total average population density in all African mountains is more than double the density of the lowlands. The driving economic forces now have better knowledge about and access to the rich natural resources in the mountains, including hydropower, minerals, timber and agricultural soils.
In Uganda, participants have visited Mount Elgon and communities on its slopes to observe emerging micro-climate changes, their causes and effects so to discuss coping mechanisms and suitable adaptation strategies.
Read more on the initiative and the three Regional Meetings
www.mountainpartnership.org/eventspage/MountaiRegions/Mou...
Photo credit: ©FAO/Matthias Mugisha
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