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![]() ENGIE’s online energy platform C3NTINEL was used to collect vital data from the Aquatics Centre such as energy consumption, temperature, pressures and valve positions, which allowed the ENGIE team to analyse and identify a number of energy reduction opportunities and building optimisation measures to implement. In order to improve the energy efficiency and sustainability of the London Aquatics Centre, the project focused on making improvements in key areas, including venue heat and energy usage, reducing and re-using waste heat and building management. The London Aquatics Centre, as the biggest energy consumer in the Queen Elizabeth Olympic Park, was identified as offering the greatest opportunity for energy saving improvements and sustainability initiatives, with reducing utility costs, energy consumption and carbon emissions, identified as the main goals for the project. London Aquatics Centre, Queen Elizabeth Olympic Park, London The project brief:ĮNGIE was already responsible for facilities management at the Queen Elizabeth Olympic Park when it was asked by London Legacy Development Corporation if it could assist with the organisation’s energy and sustainability goals for the Queen Elizabeth Olympic Park. London Legacy Development Corporation Location: By working closely with our partners, we have helped to ensure the savings achieved by these measures are maintained through the life of the facility, ensuring a brighter future for the L ondon A quatics C entre.” – Stuart Denton-Brown, Energy Services Director-Commercial at ENGIE UK The partner: Photos: © Hufton + Crow, Zaha Hadid Architects.“Through analysis of the L ondon A quatics C entre existing energy performance we were able to identify opportunities for improved efficiency which have had a real impact on energy consumption at this iconic building. The two temporary “wings” will be removed post-games reducing the capacity to a regular 2,500, with an additional 1,000 seats available for major events. The three pools are sealed with 180,000 tiles and hold a total of 10 million liters of waterĭuring the games the venue will have a capacity of 17,500. It host an 50m warm-up pool for the competitors, 50m competition pool, 25m diving pool. Located in the south of the Olympic Park, the Olympic Aquatics Center will be used for swimming, diving and synchronized swimming 2012 Summer Olympics events. The center links to the rest of the Olympic park by a single bridge crossing over the train tracks to the Stratford area and the rest water sports facilities in the surrounding areas. ![]() The Aquatic center is sandwiched between a canal and railway construction. The Aquatic Center will be the gateway for most travelers who are fortunate enough to travel to London for the opening ceremonies and festivities of the Olympic Games. ![]() ![]() When choosing your hotel, you should consider staying near the aquatic center. When visiting London, the first thing you will look for is a place to stay. The only elements of support are two concrete pillars 54 meters away on one side, and a wall, all concrete, on the opposite side.ĭuring the Olympics, many people will be traveling to London for the Olympic Games. It measures at 160m long and up to 80 m wide. The curved roof sweeps up from the ground as a wave, being the dominant element of the entire building. It impresses by the exterior inspired by the fluid geometry of water in motion which seems taken from a SF movie, as well as the ultra modern interior. Its imposing appearance with distinctive architecture gives the impression of an organic creation due to its perfect harmony between the whole ensemble and every detail in part. ![]() ![]() The King of Fighters 2002 Unlimited Match.The King of Fighters '98 Ultimate Match.Real Bout Fatal Fury Special: Dominated Mind.Fatal Fury 3: Road to the Final Victory.Sarah Emi Bridcutt - The King of Fighters XIV~present.Harumi Ikoma - Fatal Fury 3~ The King of Fighters XI. ![]()
![]() ![]() ![]() Al Ruddy agreed and the threats ceased - resulting in "a strange camaraderie between the moviemakers and the mob" (Seal). Ultimately, Joe Colombo agreed to stop his campaign against the film as long as the word "mafia" was not used at all. The LAPD warned Al Ruddy that he was being tailed, and his office received threatening notes. In 1970, the league held a rally in Madison Square Garden that raised nearly $600,000 to stop production of The Godfather" (De Stefano 101). "The largest was organized by the Italian American Civil Rights League, headed by Joe Colombo, himself a reputed mobster. Coppola and Puzo started writing the screenplay together.Īs The Godfather started on the road to fruition, the backlash from the Italian-American community that Bart had feared started to become a reality. After doing some initial research, Coppola got excited about making The Godfather as "a family chronicle, a metaphor for capitalism in America" (Seal). His father encouraged him to take the job and make some money so he could finance his own work (Cowie 63). and they want me to direct this hunk of trash. Hesitantly, Coppola met with Bart, and later told his father, Carmine, "I was at Paramount all day yesterday. Coppola and George Lucas's new production company, American Zoetrope, was struggling after a pair of flops and Warner Brothers was requesting that the filmmakers return the studio's substantial financial support. Taking into account the film's limited budget and his feeling that the project needed an Italian director to suppress political backlash and deliver compelling authenticity, Peter Bart suggested offering the job to 31-year old Francis Ford Coppola.Ĭoppola, however, was not initially excited by the project, but he was in dire need of a job. By this time, it had become clear to Paramount that Italian-American lobbying groups were going to protest the project, hoping to end the stereotypical portrayal of Italians that had long since been associated with "mafia" films. Furie, before Peter Bart introduced the idea of Francis Ford Coppola. Ruddy was sold on Canadian helmer Sidney J. Ruddy approached several established directors, like Peter Yates and Costa-Gavras, both of whom turned the opportunity down. Ruddy was a New Yorker who was "known for being able to get a movie made, cheaply and quickly" (Seal). Since their previous mafia film, The Brotherhood, had been a major disappointment, Paramount was nervous about putting too much money into The Godfather, even after Puzo's book achieved bestseller status.Įvans and Bart hired Al Ruddy to produce the film. However, there was still widespread trepidation amongst the studio executives because of the novel's content. Robert Evans, the head of production at Paramount Pictures, had expressed interest in optioning the book before Puzo had even finished writing it (although Peter Bart, then Evans' vice president in charge of creative affairs, claims that Puzo first met with him, and not Evans). Mario Puzo's The Godfather was published in 1969. ![]() |
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