Canopy Side Wall

canopy side wall

    side wall
  • A tire with distinctively colored sidewalls

  • The side of a tire, typically marked or colored distinctively

  • The exterior wall on either side of a unit.

  • A wall forming the side of a structure or room

  • (Side-walls) Where a vertical roof plane meets a vertical wall. The sides of dormers, etc.

  • Smooth part of the tire between the bead and the tread. Typically contains the writing.

  • cover with a canopy

  • the umbrellalike part of a parachute that fills with air

  • Cover or provide with a canopy

  • the transparent covering of an aircraft cockpit

canopy side wall - Suncast STA100

Suncast STA100 Side Tracker 100-Foot Wall-Mount Hose Reel

Suncast STA100 Side Tracker 100-Foot Wall-Mount Hose Reel

100 Side Tracker Garden Hose Reel. 100 Side Tracker Garden Hose Reel! Garden Hose Reel features: 100 of 5/8" hose capacity Fully assembled Easylink system ensures watertight connection between hose reel and hose Hose guide for ease in winding Removable reel for winter hose storage Mounts securely to wall Leader hose included 18" W x 11 1/2" D x 19 3/4" H(Width includes extended crank handle)

If you've tripped over your hose one too many times, and you don't have room in your backyard for a freestanding cart, this wall-mount hose reel will get you organized while taking up very little space. It mounts directly to an exterior wall and can be placed at any height. The Easylink system reduces water leakage and holds up to 100 feet of hose easily. You can even remove the reel itself for winter storage. When hand-cranking, you'll have to guide the hose a bit with your free hand, but this reel does a good job of winding it up properly if you take your time. Mounting requires a few wall screws (not included), but the holes are easy to access if you remove the reel first.

80% (7)

Nave Ceiling/Canopy, Coventry Cathedral

Nave Ceiling/Canopy, Coventry Cathedral

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 displayed nearby in the Priory Visitors Centre). 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, afterall 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, when all it's stained glass had 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, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary

974 Fifth Avenue, Ukrainian Institute

974 Fifth Avenue, Ukrainian Institute

Upper East Side, Manhattan, New York City, New York, United States

This grandly imposing block was originally developed in two phases, On the north side of the street, beginning in the early 1880s, row houses were erected by speculative builders. These houses were relatively modest in character, and many have since been replaced by later buildings.

In contrast, the south side of the block retains its early 20th-century character to an exceptional degree, and is lined by one of the most imposing series of town houses preserved in all New York City. Like the north side of 78th Street (within the District), development of this 79th Street blockfront was controlled by Henry Cook who had purchased this entire square block from Fifth to Madison Avenue in 1879). At that time not a single building stood on the "Cook Block" as it was known, and Cook did not begin to sell his property until the late 1890s.

In 1899 the first of these large 79th Street houses was completed, the magnificent Fletcher mansion at the south Fifth Avenue corner, designed by C.P.H, Gilbert, it must have formed a striking companion to the Brokaw residence across the street, The other houses on the south side of the block were built in the following years, and the last of the group, No. 20, was completed in 1912. The architects of this fine series of houses, including such prominent firms as that of Warren & Wetmore, Barney & Chapman, Grosvenor Atterbury and Ogden Codman, designed residences in varying styles, including the Francois I, neo-Federal and neo-Renaissance, Conceived on a grand scale, in keeping with the scale of the broad street, these houses form a monumental and dignified row, enlivened by the'-I nd Vidua I.I t.y of the facades. That few alterations or changes have been made to the exteriors of these buildings further enhances their historic and architectural value. They are especially evocative of the elegant and fashionable life of the Upper East Side in the early 1900s.

No. 2.
Constructed between 1897 and 1899 for Isaac D. Fletcher, this exceptionally fine Francois I mansion was designed by C.P.H, Gilbert (see p.112), an architect responsible for a number of other residences within the District. The builder and mason Harvey Murdock worked with Gilbert on this commission, Murdock, who specialized in the construction of private residences, was active in both Manhattan and Brooklyn. He worked in collaboration with Gilbert on several occasions, and also with the architects R.H. Robertson, and Babb, Cook & Willard. The handsome carved detail of the Fletcher house bears witness not only to the talent of the architect, but also to the ability of the builder Murdock. The house was published in the Architectural Record in 1899.

Isaac D. Fletcher (1844-1917) was a native of Maine who came to New York as a young man. He was president of the New York Coal Tar Company and later president of the Barrett Manufacturing Company. He was an art collector and bequeathed a major portion of his estate to the Metropolitan Museum of Art.

After Fletcher's death, his 79th Street residence was sold to Harry F, Sinclair (1876-1956) who owned it until 1930. Sinclair, who trained for a career as a pharmacist, determined in the early 1900s that prospecting for oil might be a more profitable field of endeavor. In 1905 he purchased his first oil well, and by 1916 he had founded the multimillion dollar Sinclair Oil Corporation. In the 1920s "The Chief" as he was known, was involved in the TeaPot Dome scandals, and although he was not convicted of any criminal charges, he did serve a brief prison sentence for contempt of court. He was in later years the chairman of the board of the Richfield Oil Corporation. Sinclair was a baseball and horse racing enthusiast; he was the owner of the St. Louis Browns, and of Zer, the 1923 winner of the Kentucky Derby.

No. 2 was purchased in 1930 by Augustus van Horn Stuyvesant (1870-1953) and his sister Ann Stuyvesant (d. 1938). The two were direct descendants of Governor Peter Stuyvesant, and when Augustus, a bachelor, died, the New York Times reported that the death of the last direct male descendant of the Governor signaled "the end of an era" in New York history, Stuyvesant was privately educated and did not pursue a career, although he occasionally was involved in real estate matters, since the Stuyvesant family had large property holdings in New York,

He was for many years a recluse, and after the death of his sister, lived alone, with a smalt household staff, seeing only his lawyer, Reportedly he went out very seldom, although he took a dally "constitutional" in his neighborhood, He died at the age of 83 and was buried in St. Mark's in the Bouwerie with his ancestors in the family vault which was then sealed. Stuyvesant had left his entire fortune to St Luke's Hospital for construction of a wing in his father's memory,

In 1955 No. 2 became the headquarters of

canopy side wall

canopy side wall

The Other Side of Wall Street: In Business It Pays to Be an Animal, In Life It Pays to Be Yourself

This is the eBook version of the printed book.
Minyanville Media founder and former hedge fund honcho Todd Harrison shares amazing untold stories from Wall Street’s hidden side. From the adrenaline rush of trading at Morgan Stanley, to trench warfare with Galleon and Jim Cramer to valuable lessons about money and life, Harrison provides unforgettable tales from the most tumultuous era in financial history!

As seen on Bloomberg Television's "Taking Stock."

This is the eBook version of the printed book.
Minyanville Media founder and former hedge fund honcho Todd Harrison shares amazing untold stories from Wall Street’s hidden side. From the adrenaline rush of trading at Morgan Stanley, to trench warfare with Galleon and Jim Cramer to valuable lessons about money and life, Harrison provides unforgettable tales from the most tumultuous era in financial history!

As seen on Bloomberg Television's "Taking Stock."

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