Menangle training centre to expand after reaching capacity

Old foes, new block: Our Dream About Me and Have Faith In Me at Menangle Park Paceway in February. Photo: Christopher PearceHarness Racing NSW will commence construction on another stable block at Menangle next month after the house full went up on the training centre.
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“It has proven very successful and we need to put more stables in there,” HRNSW chief executive John Dumesny said. “We have a number of trainers that are keen to come to Menangle and be based there and ths was always in the plans.

“This block will be 20 but there are plans for a couple of stable blocks as well.”

The training centre is part of a plan to takes harness racing in to the future. Work is continuing on regional centres of excellence with work to start on a new track at Wagga next month, while development application will be lodged for the Tamworth track soon.

“We needed to get the right structure in place to sustained the sport,” Dumesny said. “The sport has changed, so much and these 1000m are important to keep up with the quality of the horse.

“We are making plans for the training centres at Bathurst and Wagga to compliment the tracks. We have a number of trainers based at the showgrounds in Bathurst and we hope to have the stables at the new track built next year.

“It is a case of getting the track up and running and then making sure that we place the stables in the best area, so that there is the ability to expand if necessary.”

Meanwhile, Blake Fitzpatrick chalked 100 winners for the season when he scored on Dieu De Lamour at Menangle on Tuesday. It is the eighth Fitzpatrick has had a ton of winners in a season.

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Divine Prophet and Omei Sword storm into Golden Rose contention

Easing home: Tommy Berry rides Divine Prophet to win the Up And Coming Stakes. Photo: Bradleyphotos南京夜网419论坛 Streets ahead: Brenton Avdulla rides Omei Sword to win the Silver Shadow Stakes at Randwick. Photo: Bradleyphotos南京夜网419论坛
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After producing brilliant finishes at Randwick on Saturday, Divine Prophet and Omei Sword were lifted to the top of Golden Rose betting but neither are assured of starting in next month’s group 1.

Divine Prophet came from last to run down Derryn in the Up And Coming Stakes before Omei Sword made a one-act affair of the Silver Shadow Stakes.

Both appear to be heading towards a mile and beyond, so the Golden Rose makes sense but is not necessarily the preferred option. Divine Prophet was made the $6 Golden Rose favourite after his devastating win, while Omei Sword slipped on the second line of betting at $8 with San Domenico winner Star Turn.

“I don’t want to go to 1200m again, because she needs to step up, so the Golden Rose is an option but the Tea Rose Stakes in four weeks is probably our first choice at the moment,” Waller said of Omei Sword.

“We will see how she comes through it and make a decision because that was impressive.”

Omei Sword won by 3-1/2 lengths from Bacarella with a very confident Brenton Avdulla swinging on her to the line.

“I helped her up the rise and then let her go and she did the rest,” Avdulla said. “She is going to get better over more ground and there is still a bit of improvement there.”

It was dominant win but when matched against the Divine Prophet was probably left in the shadows. For the second time in two weeks, Team Hawkes produced a colt that had taken significant improvement into his three-year-old season.

Star Turn was powerful in the San Domenico, while Divine Prophet was simply sizzling late.

He was still last at the 200m but launched down the centre and it had Tommy Berry comparing him to the TJ Smith from the autumn.

“I know it sounds silly but it kind of reminded me of Chautauqua in the TJ. I was still last at the 200m and as soon as I pulled the stick through the my right hand and gave him a little tickle with that he was right,” Berry said.

“He is a miler as well so he is going to get over further and might even stretch out the 2000m.”

Divine Prophet is a brother to Proisir, which was runner-up to It’s A Dundeel in the Spring Champion Stakes and Randwick Guineas and also ran eighth in the Cox Plate.

Trainer John Hawkes has a couple of bullets to fire in the Golden Rose and knows it is a long spring.  “He showed a little bit of promise as a young horse and he has gone the right way and trained on and it was a good strong win,” Hawkes said.

“I think he will improve a bit, it’s only his first run back and he has a long way to go through the spring but we will just take it one step at a time.”

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Briohny Doyle’s The Island Will Sink is disaster flick made real

Author Briohny Doyle is influenced by ”the guilty pleasure” of disaster films. Photo: Paul JeffersThere are more spectacular scenes of destruction to be found in other epics but Briohny Doyle’s favourite disaster flick is The Towering Inferno.
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The 1974 pioneering film features strong, stoic male leads in Paul Newman and Steve McQueen and was made long before directors “realised you only needed one or two survivors and a crazed mass to hang the scenes of destruction around”.

“Despite the age of the film, many of the action sequences are chilling – characters run out into the fire, and fall down 100-floor elevator shafts,” says Doyle. “The crowd staring up at the burning high rise reminds the viewer of those famous pictures of the audience at Nevada nuclear tests.”Narrative representations of apocalyptic disaster were the subject of Doyle’s PhD at Murdoch University and made their way into her debut novel, The Island Will Sink, set in a future world of environmental catastrophe.

The novel follows Max Galleon, the “godfather of immersive cinema”, who is planning his next epic as fears grow for the stability of a sinking Pitcairn Island and the risk of an end-times tsunami.

The Island Will Sink is a deep and demanding read. Doyle postulates a world in which climate change has hastened social change and political control and exacerbated the gap between the haves and have-nots, but one in which society has ultimately adapted to climatic deprivations.

Environmental behaviour is policed by a corporate motivational mascot and the urban city sits beneath an eco-dome.

Galleon is a wealthy man who doubts his memories and begins to write his own life into his films. “There was a long period of time when I hadn’t read the book between edits and coming back to him I was like, ‘he’s not a nice guy that I’ve invented’. But at other times I felt quite sympathetic. He does come to see the connection between himself and others.”

The current wave of climate-change literature is an attempt by writers to grapple with the speed of change, Doyle says. “We can all see the dystopian scenarios and it’s quite an appealing thing to get into and pull apart, and see how it would work; it’s a fun thing for writers to do – and painful.”

Doyle has learned from reading disaster narratives down the ages that the “end times” always feel imminent to those experiencing dramatic and unknowable change.

“What’s different though about our particular moment is how much we are consuming these images and video clips of crisis,” she says.

“Crisis is being beamed to us in real time on a 24-hour news cycle, and that is a big thread in my book. How much more engaged could you get? So engaged to the point where in my book you can get a haptic, immersive, virtual reality crisis as it is happening?”

Doyle wrote the first draft in 2007 and ’08, pursued university study, and came back to the manuscript at various points, introducing a few plot changes but retaining the essential filmic structure.

“I did get advice from an early potential editor who read an early draft, who said you should rewrite it as a verse novella. “I said, ‘I can’t do that, it’s too big in my mind’.”

The Island Will Sink is the first book to be published by the literary magazine The Lifted Brow, part of a project to unearth exciting provocative and experimental writing which otherwise might not find a trade publisher.

“I envisaged that our first book, and that our list in the short to medium term, would be largely non-fiction,” says publisher Sam Cooney. “As this is where we saw, and still see, a big gap in the Australian market: for works of lyrical and narrative non-fiction that are experimental in approach or form. Think of recent works like Claudia Rankine’s Citizen, Maggie Nelson’s The Argonauts, Chris Kraus’s I Love Dick, Leslie Jamison’s The Empathy Exams, and look at many other works from publishers like Graywolf, Verso, Semiotexte, and even McSweeney’s.

“But the very fact that Briohny’s novel is so exceptional, and that it’s been 10 years in the making and had a couple of large stumbling blocks during which Briohny almost abandoned it, and also that it is by a longtime contributor to our magazine, means that it’s ultimately a perfect fit for us.”

Doyle, 33, teaches literature at Deakin University. Growing up she wanted to be an actress, then a filmmaker, and at age 17, at Newtown Performing Arts High School she discovered the pleasures of writing around big ideas.

“You do it on your own and all you need is a pencil,” says Doyle. “You don’t need any money.”

The aesthetics of the auteur David Lynch and Ridley Scott’s Blade Runner are as influential to the ambitions of The Island Will Sink as the works of Kurt Vonnegut and Michel Houellebecq.

Not to mention the guilty pleasure of all those disaster films with their thin plots and underdeveloped characters. As bad as they are, they make compulsive viewing, says Doyle.

The Island Will Sink, Briohny Doyle, The Lifted Brow, $29.99

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Candice Fox to talk in Canberra at Muse

Candice Fox admits she was reading James Patterson’s books at an inappropriately young age so when she had the chance to meet the bestselling author at a cocktail party she jumped at the chance.
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“I thought what have I got to lose,” says Fox. “He was being introduced to all the important people and I just thought I’m going over there.

“I pushed my way in and went excuse me and started chatting to him.

“I got locked in this celebrity moment, had the perfect three or four minutes with him and then I ran away before I could say anything stupid.”

Far from it; the initial conversation sparked a collaboration, calls were made by publishers, Patterson read Fox’s books on the plane on the way home, and now the pair are about to publish their second book, Never Never.

The author of a handful of award-winning crime novels, both Hades (2014) and Eden (2015) won Ned Kelly Awards, Fox didn’t think she had any chance of being picked up to work with Patterson.

“I knew he was in Australia to promote his crime collaboration with Kathryn Fox and his young adult series with Ed Chatterton but I was a newbie on the scene, I thought it would never happen,” she says.

But once their publishers got talking the whole process fell into place. They swapped emails, developing ideas back and forth, and Never Never was completed in just a few months.

“We started with a very basic premise,” says Fox. “James wanted a strong female protagonist, not necessarily a Sydney or a city setting.”

One of Fox’s best characters is Eden Archer, who appears in Eden and Fall. A policewoman who moonlights as a serial killer, there’s a touch of the Dexter about her. In Black & Blue, her first collaboration with Patterson, as part of the BookShots series, little pocket-size thrillers which were less than 150 pages, they introduced Harriet Blue.

In Never Never Harriet’s on the job in the West Australian outback, tracking down three missing people while working out who she can trust.

“I used to be very intimidated by writing female characters,” says Fox, “In my early books, I had four manuscripts before Hades which were all rejected by everyone, the female characters were either sex kittens or total bimbos or very masculine.”

Candice Fox will be in conversation with local librarian and crime writer L.J.M. Owen at Muse on Sunday, August 21, from 3-4pm. $10 includes a glass of wine/soft drink. musecanberra南京夜网419论坛

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Christophe Lemaitre and Adam Gemili in photo finish for bronze medal in Rio Olympics’ 200m

Three runners were separated by 0.01sec; and the bronze decided by 0.003.Rio de Janeiro: Usain Bolt again stole the show, but there was drama aplenty in the race for third behind the Jamaican and Canada’s Andre De Grasse in the 200m final on Thursday night.
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Both Frenchman Christophe Lemaitre and Briton Adam Gemili clocked a time of 20.12 seconds, but Lemaitre got the nod for bronze in a photo finish. The gap between the runners in the photo was barely perceptible – recorded at just three-thousandths of a second.

Dutchman Churandy Martina was less than a head away with a time of 20.13.   Times to the [email protected] [email protected]_Gemili [email protected] 20.122— IAAF (@iaaforg) August 19, 2016

Lemaitre’s emotions spilled over after he realised he had won bronze. A perennial finalist in the sprints at world championships and Olympic Games, the 26-year-old had never won an individual medal at either event until Thursday, with his lone previous Olympic medal being a relay bronze from London four years ago.

The thrilling finish follows a three-way dead heat for silver in the men’s 100m butterfly last week as legendary American Michael Phelps recorded an identical time to South Africa’s Chad Le Clos and Hungary’s Laszlo Cseh, all of whom played second fiddle to Singapore’s Joseph Schooling.

Rather than split the trio by going to the photo, all three swimmers were presented with silver medals. Spare a thought for Gemili, who missed out on bronze at the track.

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Australia sneak into women’s 4x400m relay final at Rio Olympics

Rio de Janeiro: For Australia’s 4x400m relay team, it was a tale of a squeak, and then shrieks.
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Having finished fourth in their heat, the team of Jess Thornton, Anneliese Rubie, Caitlin Sargent-Jones and Morgan Mitchell missed an automatic qualification berth for the final, and had to wait to see if their time of 3:25.71 would claim one of the last two spots.

Teenager Thornton described the tension as the team watched the conclusion of the second heat.

“[It was a] bit nerve-racking,” Thornton said.

But Germany – who finished fifth in heat two – could only muster 3:26.02, and Australia were through. Cue delirium, with the screams eminating from the tunnel clearly audible in the mixed zone.

“I think we all just saw the last two numbers instead of the middle two which was 26, and were all a little bit worried for that slight second, and then we realised it was 26 and we just screamed as loud as we could because we realised we’d made the final.”

It is the first time Australia has made the final since 2000.

For Mitchell it was some form of consolation after the disappointing of her last placing in her 400m semi-final earlier in the meet.

“I had to redeem myself I guess. I had a few dark days after the semis so I thought let’s just get back into the groove of things and make that final. We did that so I’m really happy.

“Jess Thornton as a roomie’s been amazing. She just said ‘stay positive. The past is in the past and let’s look forward.'”

Mitchell also said she had recieved support from 2000 Olympic gold medallist and mentor Cathy Freeman – who was in the 2000 relay team.

“You’re 21, we’ve all failed, if other people can’t understand it that’s their problem,” was the message from Freeman according to Mitchell.

Australia could consider making a change for the final – with Lauren Wells an option for the race on Saturday night (Rio time).

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Australia finish last in women’s 4x400m final at Rio Olympics

Rio de Janeiro:  They are looking for a team nickname, and considered calling themselves “The Sheilas”.
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And while they may not be “Golden Girls” yet, Australia’s youthful 4x400m team hope their appearance in the Rio Olympics final is the first of many, even if their showing this time was somewhat underwhelming.

Having scraped the final by the skin of their teeth, the combination of Jess Thornton, 18, Anneliese Rubie, 24, Caitlin Sargent-Jones, 24, and Morgan Mitchell, 21, failed to make a dent at the Olympic Stadium on Saturday night. Despite strong legs from Mitchell and Rubie, Australia finished last in the eight-team field.

On a night when they received the medals controversially won a night earlier in the 4x100m relay, the US retained their 4x400m crown for a sixth consecutive Games, holding off Jamaica to claim gold. Great Britain were a distant third. But aside from the US and Jamaica, the final was a relatively sluggish affair. The Americans won in 3:19.06, with Jamaica posting 3:20.34. The Britons could muster just 3:25.88, with Australia getting home in 3:27.45. It was nearly two seconds slower than they had run the previous night to qualify. Had they recorded their heats time of 3:25.71 in the final, Australia’s team of Olympic debutants would have taken an unlikely bronze medal.

As such the ambitious Mitchell was slightly frustrated, if still glad to have been part of the first Australian team to make the final in 16 years.

“[I’m] a bit disappointed on the time but we’ve worked so hard just to get to the Olympic final, and to be able to label ourselves Olympic finalists is pretty cool,” Mitchell said.

“But we know we’ve got a lot to work on in the coming years.

“At the end of the day it is what it is. It’s quite exciting knowing we were that close and that we’re still very young.”

Rubie was more upbeat, looking forward to next year’s world championships and the prospect of a Commonwealth Games gold medal on the Gold Coast in 2018.

“We’re very proud of each other,” Rubie said.

Rubie also joked about the team’s social media-driven search for a moniker. “Our favourite one was the ‘Sugar Gliders’ just because it was so bad,” she said.

“We were thinking ‘The Sheilas’ maybe just to take the piss out of it!”

The US win provided a sixth Olympic gold medal for Allyson Felix, further extending her lead as the most decorated female track and field athlete in Olympic history.

The last time Australia made the final of the event – in 2000 – Nova Peris-Kneebone, Tamsyn Lewis, Melinda Gainsford-Taylor and Cathy Freeman came fifth in an Australian record time.

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Canberra Olympic one point away from Capital Football Premier League championship

Olympic’s Philippe Bernabo-Madrid finds his way around Woden’s Christopher McEwan. Photo: Rohan ThomsonFFA Centre of Excellence coach Tony Vidmar insists his side won’t be motivated by the chance to spoil Canberra Olympic’s Premier League title hopes when they clash on Saturday.
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Olympic can seal the regular season league title if they beat the Centre of Excellence in the final round of the Capital Football Premier League campaign.

Olympic are level with Tigers FC on 42 points, but can leap ahead given they’ve got a game in hand.

The Centre of Excellence are fifth and will miss the play-offs, but can finish their season on a high and shake up the finals campaign for the top four.

Vidmar said the FFA development team was only focused on winning, not crushing Olympic’s championship hopes.

“Our plan is to go out there and play the game as if it’s any other game through the competition,” Vidmar said.

“We’ll go out there to win the game as normal and to play how we should be playing. It’ll be our last game so I think the players owe it to themselves to put in a good performance.

“Even though there’s something riding on the game for Olympic we’re going to go out there and focus on ourselves.”

Tigers FC are ranked higher than Olympic on goal difference, despite winning one less game during the regular season.

Olympic are also finalising their preparations for an FFA Cup clash against Redlands United on Wednesday night.

“We’ll just worry about ourselves. It worked for us previously and we’ll just stick with that,” said Olympic coach Frank Cachia.

Cachia said multiple do-or-die fixtures will benefit his team in the match against the Centre of Excellence.

“This year, with the FFA Cup and the Federation Cup, we’ve had to win every game,” Cachia said..

“It’s definitely one of those things where the pressure’s on and we’ve risen to the occasion a few times now so I think we’re getting acclimatised to it a little bit.

“We’ve brought that [do-or-die] mentality into the club now and the boys are proud of their record so they’ll be looking to maintain it.

“We’re not going to approach [the game against the Centre of Excellence] trying to avoid a loss, we’re going to still go out there and try to play our game and do our best to get a result.

“We’re in a position where we obviously want to get three points and put ourselves on the top of the table when it counts.”

“Whoever misses out – either us or Cooma – will feel a bit stiff to miss out. Whoever wins it will deserve it and whoever doesn’t get it will look back at the season and think ‘how did we not win the premiership’.”

Meanwhile, in other games Belconnen look to solidify third spot on the ladder when they host Woden Weston FC and Canberra FC will do their best to leap frog the Blue Devils by beating Gungahlin United on Sunday afternoon.

The home and away season finishes on Wednesday when Tuggeranong United play Vidmar’s Centre of Excellence.


Saturday: Canberra Olympic v FFA Centre of Excellence at AIS Grass Fields, 3pm; Belconnen United v Woden Weston FC at McKellar Park, 5:30pm

Sunday: Canberra FC v Gungahlin United at Deakin Stadium, Tuggeranong United v Monaro Panthers at Kambah 2-1. Both games at 3pm.

Wednesday: Tuggeranong United v FFA Centre of Excellence at AIS Grass Fields, 7pm.

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Leasing Ladder

Clarke & Humel Property has leased a 225 sqm office at 17 Sydney Road, Manly. BANKSMEADOW $218 sqm gross
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Interfreight International P/L has leased a 285 sqm office at Suite 5.01, 1753 Botany Road from Exell​ Properties P/L. The lease term is five years. Edward Washer and Jessica Male, JLL.

MANLY $800 sqm gross

Clarke & Humel Property has leased a 225 sqm office at 17 Sydney Road. The lease term is three years. Eric Lundberg​, TGC.

MASCOT $230 sqm gross

Brilliant Lifts Australia has leased a 526 sqm warehouse at Unit 25, 10 Ossary Street from a private investor. The lease term is five years plus a five-year option. Tom Barnier​ & Alex Bennett, LJ Hooker Commercial South Sydney.

MOOREBANK $120 sqm gross

Grosvenor Engineering Group has leased a 2700 sqm industrial property at 76 Heathcote Road from a private lessor. The lease term is five years. Ryan Jennings CBRE

WATERLOO $205 sqm gross

Aloutte Child Care P/L has leased a 220 sqm office at 7/198 Young Street from G & A Rando. The lease term is three years plus a three-year option. Marino Rodriguez, Taylor Nicholas South Sydney.

REVESBY $110 sqm net.

Verosol Australia has leased a 4323 sqm site at 40 Marigold Street from a private investor. The lease term is five years. Chris Ryan, Tom Rourke, Ryan Jennings CBRE.

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Contemporary sculpture, office or residence?

Edition Office architect’s fit-out of an office/residence in Cambridge Street, Collingwood. Photo: Ross HoneysettLocated in an early 20th century building in Cambridge Street, Collingwood, this “hybrid” space is a residence and office.
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Designed by Edition Office (formerly Room 11 Melbourne), the unusual fit-out could almost be compared to contemporary sculpture.

“It was an unusual brief, with our clients wanting both a place to live and also operate their business,” says Edition Office’s design director Aaron Roberts, who worked closely with co-director, architect Kim Bridgland and architect Georgia Nowak.

The clients were keen to use architecture to brand their business, Raft Studio, a branding and identity company, which also orchestrates campaign strategies.

Formerly a conventional two-bedroom apartment, Edition Office completely gutted the interior, retaining only a couple of structural columns. With the timber floors painted black and the bagged-brick walls painted white, the designers could then proceed with almost a completely blank canvas.

“Our brief was to maximise the space (approximately 185 square metres) and make the most of the high ceilings (3 metres).

The ground-floor space, leading to a south-facing courtyard, features one simple – yet at the same time complex – black steel form, immediately past the front door. Segmented into two by a brass “skin” of walls, floor and ceiling, the elegant form was partially inspired by the work of American sculptor Donald Judd. This passage conceals a bathroom and separate toilet, all lined in black tiles.

The rectangular form, which includes 21 steel doors, has been cleverly divided into two flexible spaces. These spaces can be used as bedrooms, or alternatively as two enclosed meeting rooms. Given there’s no apertures within either “cone of silence”, doors are generally left ajar.

When the doors are fully closed like a shut suitcase, the form becomes sculpture. But when the doors are left open, the possible functions become more apparent. On one side of the form, for example, there are built-in shelves painted a fleshy-red colour.

This nook also contains the fridge and pantry. On the side of the entrance are built-in cupboards for storage. “We saw this design like an animal, with skin represented as a series of layers,” says Roberts, pointing out the fine brass layer inserted behind each steel door. “You could compare the red walls to flesh if you want to be more literal.”

As with most apartments, there’s a central island bench. However, this bench is significantly longer at 6.2 metres and is a combination of marble (with a faint red vein throughout) and stained black timber.

“We designed this bench so it could be used for meals or, alternatively, for informal meeting,” says Bridgland. Presently, half the open plan space is used as an office, with the other half as a lounge area. “The areas are loosely delineated. The space changes depending on the time of day,” says Roberts.

The devil is in the detail is a catch-cry of many architects. And in the case of the fit-out for Raft Studio this goes well beyond the usual. There are no door handles, for example, on any of the doors. Instead, magnetised handles are picked up from the floor or a benchtop and attached to the steel when doors need to be opened or closed.

The entirely black-lined second meeting room is wrapped by a steel shelf. When doors are left open, in the case of the red room, there’s a wonderful wash of red on people’s faces as they enter or leave.

As people’s workspaces change, designs such as this one may become more commonplace. However, as with changes in office design moving to non-fixed workstations, such paradigm shifts take time to be accepted. “We were fortunate our clients could see our vision, one that’s extremely pared back.

“But paring back and simplifying the essential details allows this large space to be fully appreciated,” adds Roberts.

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