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2016 GMC Sierra with Gatorgear Nerf Boards, and Pillar Post kit, Gatorback Red GMC No-drill flaps, ICI Rocker Panels, Precision Grille Insert, and EGR matte black Hood Shield, and In-channel Window Visors.
En el panel se encuentran:
- Eugenio Rodriguez, Director del Sector Público de Microsoft.
- Daniel Seoane, Gerente Corporativo de la Fundación Acción Emprendedora.
- Sergio Dominguez, Director Ejecutivo de Fundación Integra.
- Susana Tonda, Directora Ejecutiva de la Fundación del Hogar de Cristo.
Para marcar datas especiais da sua vida, possuímos várias opções em lembrancinhas, que podem ser oferecidas em diversas ocasião como: Lembrança de Casamento, Lembrança de Chá de Bebê, Lembrança de Chá de Panela, Lembrança de Nascimento, Lembrança de Batizado, Lembrança para Bodas, Lembrança de 15 anos, convites dentre outras;
Temos várias opções de lembrancinhas: Latinha mint to be, mini mamadeiras, sache de chá personalizado, caixa de trufas personalizadas, Canecas personalizadas, caixinha de vidro, mini terço, tubo pet personalizado, vidrinho geleinha, brigadeiro de colher, trufas decoradas, trufas personalizadas, sache perfumado, etc.
Também são ideais para reuniões, coffee break, brindes, comemorações, recepções, feiras, convenções, divulgação da marca, etc. Para conhecer mais, ascesse: blog.dmarcy.com.
Panel Session "Towards Better Use of Existing Infrastructure" at the 2014 Annual Summit of the International Transport Forum “Transport for a Changing World”, in Leipzig, Germany, on 22 May 2014.
Solar panels are a great way to reduce energy costs. They can be directly hooked up to the utility company, and if the solar panel produces more energy than needed, the extra energy can actually be sold back to the utility company, meaning the utility company will pay the homeowner for the extra energy. Source of information: www.solarpanelsbook.com/solar-panel-benefits.htm
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Mosaic Floor panel
Roman, Imperial, 2nd century AD.
Excavated from a villa at Daphne near Antioch (modern Antakya, Turkey), the metropolis of Roman Syria
The rectangular panel represents the entire decorated area of a floor and was found together with another mosaic (now in the Baltimore Museum of Art) in an olive grove at Daphne-Harbiye in 1937. In roman times, Daphne was a popular holiday resort, used by the wealthy citizens and residents of Antioch as a place of rest and refuse from the heat and noise of the city. American Excavations at Daphne in the late 1930s uncovered the remains of several well-appointed houses and villas, including the one that contained this mosaic. At its center is a panel (emblema) withthe bust of a woman, decked out with awreath of flowers around her head amd a floral garland over her left shoulder. Traditionally identified as Spring, the figure is probably the representation of a more generic personification of abundance and good living, well suited to the luxurious atmosphere created at Daphne by its rich patrons.
The panel included: Sir Menzies Campbell CBE QC MP; Peter Horrocks, Director, BBC World Service; Bridget Kendall, BBC Diplomatic Correspondent; Bernice Lee, Research Director, Energy, Environment and Resource Governance, Chatham House; Bronwen Maddox, Chief Foreign Commentator, The Times
Speakers of Panel discussion: The critical role of biodiversity protection and ecosystem integrity in climate mitigation outcomes for land and forest-based climate actions.
Global Landscapes Forum, Katowice, Poland.
Photo by GLF
More information on the Global Landscapes Forum, please visit globallandscapesforum.org
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org
Panel Discussion at the event (from left) Mohamed Nanbhay, Al Jazeera New Media, Jawad Abassi, Arab Adviosrs Group, Ali Al Shawaf, BBC Arabic Senior Producer and Ahmed Ashour, Al Jazeera Talk founder.
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Gordon Adams
Distinguished Fellow, Stimson Center
Professor, US Foreign Policy, American University
Michael Lind
Policy Director, Economic Growth Program
New America Foundation
Christopher A. Preble
Author, The Power Problem: How American Military Dominance Makes Us Less Safe, Less Prosperous, and Less Free
Director of Foreign Policy Studies, Cato Institute
moderator
Michael A. Cohen
Co-director, Privatization of Foreign Policy Initiative
New America Foundation
Eleven panels for a private theater in a home in Russia. I used Novacolor acrylic paints on a very fuzzy sound deadening cloth that was quite a challenge to paint on. They will be mounted on stretchers with columns separating them. Each panel is 100 inches high, and the widths vary from 28 inches up to 130 inches for panel #4. The series is based on a set of 15th century Flemish hunting tapestries.
Speakers of Panel discussion: Forest Landscape Restoration and Climate Change Ambition.
Global Landscapes Forum, Katowice, Poland.
Photo by GLF
More information on the Global Landscapes Forum, please visit globallandscapesforum.org
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org