Crystal Blade Floor Lamp

 Driving up to the Port of Southampton's Mayflower Terminal and catching first regard of the white-and-black peeled Queen Mary 2, the largest, longest, altitudinous, heaviest, and most precious boat ever erected, elicited considerable excitement and admiration. Docked to harborage at a 50- degree,54.25'north latitude and 001- degree,25.70'west longitude and facing a116.4- degree compass heading, the 17-decked titan, with a- bottom length and 148- bottom range, featured a gross weight of tons and towered above the structures with its deck-lined façade, surpassing it with its236.2- bottom height. Its draft extended33.10 bases beneath the water line.

The floating megalopolis, complete with its staterooms, caffs, shopping passageways, libraries, theaters, and planetariums, would bridge, in six days, the European and North American mainlands, the original in hours to the duration of the upstanding crossing by 747-400, itself also the world's largest marketable airliner. But the oceanic crossing would yield civility, refinement, revivification, emotional form, and return to the slower, but more elegant period of brume boat trip-a trip, I would soon find out, would lead to a hunt for the maritime history of the history which had created the technology of the present.  Crystal Blade Floor Lamp is adorned with Swarovski® Crystals, accentuated by its diffusers in transparent Murano glass. Available in a metal frame with the following finishes: Chrome, Light gold, and black aubergine.

 Unlike the proliferation of ultramodern voyage vessels with their comparatively lower pets and lesser- volume, square- figure shells, the Queen Mary 2 had been designed as a coming- generation successor to the 35- time-old Queen Elizabeth 2 and, as similar, would have to offer the same time- round, passenger- carrying capabilities, predominately in the rough North Atlantic, with a design which offered profit- producing volume and lower construction costs of the traditional voyage boat for the needed safety, speed, and stability of the ocean liner. 

Resultantly, it featured the same v- shaped housing configuration specific of the long line of its Cunard forerunners, constructed of thicker sword which carried a 40-percent lesser cost than those of conventional voyage vessels. Designed by Stephen Payne, whose alleviations for the arc had come from the Queen Elizabeth 2 and the boscage wall from the Normandie, it was the first quadruple-screw North Atlantic ocean liner since the France of 1962. Payne himself, a nonmilitary mastermind born and raised in London, had been involved with the Carnival Holiday, Carnival Fantasy, and Rotterdam VI systems. The ultimate, incorporating a modified Statendam housing, had featured a less" cubical" housing shape than the traditional voyage boat, but had still been vastly removed a full liner design. 

 Intended for the primary Southampton-New York route, it incorporated dimensional restrictions mandated by the United States harborage, including a channel height which cleared the Verrazano-Narrows Bridge by only ten bases and an overall length which exceeded the- bottom pier of the Port of New York by 34 bases. 

Constructed by Alstom Chantiers del' Atlantique in St. Nazaire, France, which had also erected the Normandie, and designated housing G32 by the dockyard, it had been the first Cunard liner ever constructed outside of the United Kingdom and, like Concorde, the world's fastest and heretofore only supersonic airliner, came the alternate British-French cooperative transportation design intended for trans-Atlantic service, although via extensively different, if not contrary, modes. 

Its interior offered unequaled space and comfort. Of the 17 balconies, the first four were for ministry, storehouse, and the-strong crew; 13 were for the passengers; and eight contained deck staterooms. Notable features included a Grand Lobby, the Royal Court Theatre, the Illuminations Theatre and Planetarium, the Conne Xions Internet Center, the Queen's Chamber, a Winter Garden, nine major caffs, 11 bars and couches, an- volume library and bookstore, an Oxford University lecture program, performances by the Royal Academy of Dramatic Art, five swimming pools, sports venues, a Canyon Ranch Spa, a kiosk of shops, and a discotheque. These movables would constitute my" home"for the coming six days. 

Symbolically reflected by its lower QE2 precursor launched a considerable distance from its arc at the Queen Elizabeth 2 Outstation, the Queen Mary 2 represented a two-fold gross weight increase over its before- generation counterpart and, indeed, traced its lineage back to a long path of Cunard vessels which had gauged a 165- time period. I ever tasted that the imminent crossing would not only be a trip of distance, but a return in time. 

Gently wobbling at its chine, the mammoth indirectly separated itself beneath from its situation below the metallic heavy at 1810, original time. 

 Unlike the conventional machine-propeller shaft technology of aged- generation vessels, the Queen Mary 2 was powered rather by four posterior, housing underpart- mounted Rolls Royce Mermaid electric- motor capsules, each importing 260 tons and containing four fixed- pitch,-pound, pristine sword blades, and inclusively producing power. The forward, outboard brace was fixed and handed forward and abaft propulsion, while the posterior, inboard brace featured 360- degree azimuth capability and handed both propulsion and steering, preventing the need for the rudder. The advanced-technology system reduced both complexity and weight and increased internal housing volume by barring the traditional machine configuration's associated outfit