Brewing giant has received more than $100 billion in orders from investors for its bond offering
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takato tamagami designs customized walls and work stations to retrofit retail space for ippin dental laboratory to accommodate specialized services.
Una casa de un piso.
Die Konzentration auf wenige, kompakte Gebäude erlaubt im Vergleich zu einer Regelbebauung einen schonungsvollen Umgang mit den Landresourcen und lässt...
As far as Small Office Interior Design is concerned, lack of space becomes a major challenge in the design process.
uilt-in REVEAL! It’s the biggest build we’ve tackled to date, and it just became my favorite project in our home. Using Behr paint BEHR DYNASTY® Interior Paint in the color Cracked Pepper PPU18-01, it completely elevated the final look of the built-in. I can’t believe we built this! You can find the entire process saved in my highlights.
Product Information Model No CV4306-010 Release Date 2022-01-26 Series Jacket Style Sports, Youth Season Autumn/Spring Thickness Regular Thickness Version Regular fit Color way Black Size Report: True to Size Run Small Run Large Reviews Size Chart Description Men's Nike SB Skateboard Sports Long Sleeves Woven Logo Jacket Black CV4306-010 Shipping Info Processing time: 79% Every item at KICKS CREW goes through a rigorous authentication process by our expert team. Tracking number are usually provided with 7 business days, varies on arrangement of an order. KICKS CREW employs a strict and elaborate authentication process where each product is unboxed to allow thorough inspection of the packaging, exterior appearance, interior components, and accessories. Obvious de
TO BE DESTROYED - 01/13/15 Manhattan Center My name is DIESEL. My Animal ID # is A1025173. I am a male black and tan manchester terr mix. The shelter...
Peugeot 203 (1948-60) Engine 1290cc S4 OHV Production 685828 Registration Number VFO 600 PEUGEOT SET www.flickr.com/photos/45676495@N05/sets/72157623690496925... Introduced at the 1947 paris Motor Show, as a tough medium sized family saloon with production from 1948. The 203 was the first monocoque bodied Peugeot with a wind cheating profile for the Saloon. The four-door saloon was the major seller, with the extended wheelbase five door Estate version (Commerciale) and a six seat (Familiale), with three rows of seats, added to the range in 1950. The car was modified for the 1953 Paris show with hinged quarter light windows and an enlarged rear window on the saloon/sedan versions and interior modifications. Along with improvements to the existing cars, Peugeot introduced a 2-door 203 coupé at the end of 1952. This Commerciale nicknamed Sacre Blue, began life as backup vehicle for a French undertaker. Naturally it was painted black, when retired it was discarded and rediscovered in 1995 in a shed and brought to the UK, along with a 203 Van and Dropside Pick Up, where it was restored and painted Citreon blue Purchased by the present owner in 1998 specifically to enter the 2000 London-Pekink Millenium Endurance Rally. Rebuilt and prepared by a Peugeot specialist in France. Before completing the 9000 mile event without major problems and finishing 15th of the 30 entrants. It was then taken to Australia for the 2003, 6000 mile 50th Anniversary Redex round Australia run, which was completed after an overnight change of engine in a caravan park on the outskirts of Queensland minning town of Mount Isa Shot at Cars in the Park, Lichfield 01:07:2012 Ref: 86-119
2'x5'10" Yale Blue Armenian Caucasian Design 200 KPSI Runner Oriental Rug R151. The rug is laid flat on the ground, then fresh water is poured over it. The rug washers then use a wood plank, sharpened on one edge, to force the water through the rug pile. This removes impurities picked up during the creation process. THE YARN AND THE DYING PROCESS Unprocessed wool arrives at the hand spinning facility in large bales, the wool is then cleaned by hand, to remove sticks and to break up the clumps. The cleaned wool is spun into the yarns by using a traditional spinning wheel. Whether it's wool, silk or cotton it all starts with the material selection. The big piles of wool are hung onto a large rack and then submerged into the dye. The dye is heated to a near-boiling temperature for a predetermined amount of time. Depending on the weather, the dyed yarn is then set to be dried in the sunlight for one to three days. Pot dyeing and vegetable dyes (natural) are sometimes being used in this process. Before the yarn is dyed, it is first washed. This process happens by submerging the wool into a detergent bath, and then wrung out several times. The yarn is washed again in clean water to remove all remnants of detergent. THE DESIGN AND HOW IT'S MADE A design is rendered and printed out to on an enormous graph paper, or map called The Naksha. This complete map contains all the minor details of the design that will be applied in making the rug, knot by knot. To start weaving, the loom must be prepared with columns of warps and wefts (sometimes called woofs). Warps are the threads that run vertically and are intertwined with the threads called wefts which run horizontally. Once the first row or weft is finished and firmly pushed down a second row intertwines to avoid knots from moving. The intense labor is repeated until a durable and precious rug is completed. An experienced weaver can complete up to nine thousand knots per day. Hand-knotted rugs are one of a kind masterpieces created by skillful artisans who possess in their hands the traditions carried down from generation to generation. WASHING AND FINISHING The entire rug is put throught the process called binding and trimming, then it is washed and dried several times for vibrancy and sheen. The rug is laid flat on the ground, then fresh water is poured over it. The rug washers then use a wood plank, sharpened on one edge, to force the water through the rug pile. This removes impurities picked up during the creation process. No backing is needed for a hand-knotted rug. The final steps include quality inspection of size, pile height and shearing. It is important to notice that each weaver or group of weavers adds personality to the new rug, no two rugs are ever the same and all of our handmade rugs are one-of-a-kind. EXPERIENCE THE MAGIC OF A REAL HAND-KNOTTED RUG BEING THE PIONEER AND FIRST IN OFFERING GENUINE HAND KNOTTED PERSIAN AND ORIENTAL RUGS ON EBAY IN 1998, 1800GETARUG IS VERY PROUD TO OFFER EXCLUSIVE DESIGNS IN TRADITIONAL, MODERN AND TRIBAL HIGH END RUGS. WE HAVE PROVIDED TENS OF THOUSANDS OF HOUSEHOLDS WITH THIS LUXURIOUS WORKS OF ART TO A FULL SATISFACTION AND COUNTLESS OF AVID FOLLOWERS AND INTERIOR DESIGNERS. OUR COLLECTIONS ENCOMPASS FINE NEW AND ANTIQUE PERSIAN RUGS, OVERDYED, FLAT WEAVE KILIMS AND DURIES, OUSHAK AND SILK RUGS AS WELL AS EXCLUSIVE MODERN DESIGNS TO NAME A FEW. WE ARE ONE OF THE LARGEST STOCKING DEALERS IN THE WORLD AND SUPPORT SOME OF THE MAJOR ORIENTAL RUG DEALERS IN THE USA. BUY WITH CONFIDENCE.
This tank, featured in my most recent MOC, is inspired by the tank featuring in Indiana Jones: The Last Crusade. In the movie the tank is owned and operated by the Republic of Hatay in Turkey and is therefore referred to as the “Hatay Heavy Tank”. From what I found the design is based on the real-life British Mark VII and Mark VIII tanks from late WWI, with the main turret mount on top being the major difference. In the movie this platform doesn’t appear to be able rotate, but this is a feature I wanted to add. I have no idea whether this is “historically accurate” or not. I spent hours looking at various reference pictures from the movie, and other non-LEGO models to get a good sense of the scale of the model. I found some very interesting articles detailing the different features and characteristics of the tank. I decided a long time ago that I wanted to build this, and the intention was always to use dark tan. My starting point was the part of the tank called the sponsons, with a gun-mount on each flank. After getting those right, I built the “side-panels” with the tank treads mostly using the SNOT technique. The tank treads sit in perfectly in place but are not mechanized. With the way I built the model, this should be possible to achieve, so I might go back to it someday. The tank treads can actually move though. Both side panels attach to a middle section that is fully detailed on top and underneath, but with no interior. The middle section with where the cloth-piece and dynamite sit isn’t attached to anything. It is held in place by some slopes, and can simply be lifted off. Building an interior is also possible, but I didn’t feel it necessary to do. The gun mount on top of the tank does, however, fit one minifig, as you can see it other pictures. The model isn’t 100% accurate to the Hatay Heavy Tank from Indiana Jones, but this was never my intention either. Building this tank was an extremely fun challenge and process, as it’s completely different to what I usually do. The result is a lot better than how I expected it to be, when I started.
Cycles analyst Edward Dewey (1895-1978) was the chief economics analyst for the US Department of Commerce when he developed the "Skyscraper Indicator" in the 1940s: It correlates human optimism to the number of high-rise buildings under construction. When people are very optimistic, they tend to express their feelings in massive construction projects, especially very tall buildings, because they have a need to build toward the sky! Since this extreme optimism is reached at major market peaks, in the economy, severe economic downturns usually follow; not just declines in real estate prices. The world’s current tallest building, the Burj Khalifa in Dubai (828 m), nicely illustrates this process: It was built as a monument to the Gulf emirate’s boom in the middle years of last decade and opened in late 2009, just as the emirate plunged into financial crisis. These are the highest buildings in 2013: World's Tallest Buildings 2013 And these are the tallest buildings currently under construction and expected to be complete before 2020: Skyscrapers under Construction It doesn't need a prophet to tell where the next bubbles are about to pop: Of all of the world's skyscrapers under construction, China is home to 53% of them and by 2016 China's highest buildings will exceed the 'One World Trade Center' (417 m) in New York by 200 meters. The boom is on though in mid 2013 the construction of the planned 838 meter Sky City in south-central China was halted by the authorities for not having a building permission. A similar craze for high rise has gripped South Korea and India. India just finished building two skyscrapers and has 14 skyscrapers currently under construction. However, having survived the Arab Spring miraculously, it is this decrepit royal kleptocracy in Saudi Arabia that is now giving thanks to each other by decorating Jeddah with a 1,007 meter high 'Kingdom Tower'. Let's have a look at what happened during recent high times in different places: The construction of the Taipei 101 (508 m) began in 1999 and was completed in 2004. The duration coincided without the recession in the early 2000s and the tech bubble while in 2010 the completion of the Burj Khalifa coincided with the current global financial crisis. The Asian economic crisis, currency devaluation and speculation in stock and property coincided in 1997-1998 with the completion of the Petronas Towers (452 m), the tallest buildings in the world at the time. Now the Great 18-Year Real Estate Cycle will again be due to peak and pop around 2016. World's Tallest Buildings 2020 - Excuse me, while I kiss the sky ...
Gentlemen, I recently had the chance to be able to hold an exceptional Richard Mille reference in my ‘delicate’ hands. Indeed, it is not every day that we can admire such a marvelous masterpiece from a brand which models are already quite unique in watchmaking. I thought we could have a closer look at it, as an aside from the rush of the salons. It is the Richard Mille RM056-01 Sapphire Crystal , in “full” sapphire. INTRODUCTION TO EXCELLENCE “Full — well, not completely — as the gear trains, hands and other elements of the caliber are still made of metal. From the 3 (maybe 4 if we count the last anniversary model) all-Sapphire references presented by Richard Mille, the -01 we have a look at in this thread is definitely my favorite one: the addition of a sapphire mainplate together with the removal of the chronograph module leave the tourbillon as the king of the show. This seems the right balance to me. As a reminder, it all started in January 2012 when the first version, the RM056 Sapphire Spilt-Second (with a Titanium mainplate) was presented during the SiHH in a 5-piece limited edition. One year later, the RM056-01 I wish to talk about here was presented in another 5-piece production run. As I said, the main evolutions from the RM056 were the removal of the Split-second feature and the replacement of the Titanium baseplate by the Sapphire one. In 2014, for Watches and Wonders this time (underlining by the way the stronger and stronger importance of this event in the watchmaking s year schedule), the third version, the RM056-02 , was unveiled. This time it was again a “tourbillon-only caliber but designed on the basis of the cable suspended movement used in the ultimate RM027-01 Rafael Nadal. This version was produced in 10 examples. Finally, an additional 10-piece version of the first one (RM056 Sapphire Spilt-Second) was produced this year to celebrate the 10th anniversary of the collaboration between the Formula 1 driver Felipe Massa and Richard Mille (we talked about it here: www.watchprosite.com ). These 4 projects led to a series of watches with a finish that is second to none , and a beautiful and rare (in this industry) visual lightness. When I said this is a major Richard Mille project, it is not only about the caliber s technical nature (other RM references are more complicated, though not that much) but about the perfect symbiosis between the artistic and Sapphire crafting areas . The brand is already a watchmaking specialist in drilling and working on very unusual and of the hardest materials (Alusic, Lital etc...). This most valuable experience and tools are plainly used to create the RM056 line-up cases. When I was given the great opportunity to observe and admire this RM056-01, I was not only looking at the material transparency but at all the details and the way they interact, visually in this watch. This is something I m eager and willing to detail in the next part. THE WATCH Starting with the case s dimensions: all of the generations are 50.5 x 42.7 mm. Nevertheless, the RM056 was 19.25mm thick, whereas this -01 (as well as the -02) drops to 16.75mm with the removal of the Split-Second complication. The bezel and caseback are made of two 2.5mm thick ergonomic sapphire plates. For someone who is used to seeing RM watches, it is unusual to see a one piece glass bezel part as, usually, each are made of two elements of different nature: a sapphire glass inserted in a Titanium or other metallic frame (and a seal of course). As you can imagine, the main difficulty is to master the manufacturing (cutting and milling) of this particularly-hard sapphire material (made of Aluminum oxide crystals with a melting temperature point of 2030°C). Indeed, sapphire can be easily broken during the process and is not repairable. The crafting session of a single case (bezel, caseband and caseback) needs 1,000 hours of work to be performed completely, including 350 hours of polishing! In addition, there are many adjustments and tool changes for each of the 5 pieces produced. To give an idea, the abrasion resistance of synthetic sapphire is 8 times greater than that of steel. In addition to the whole case, the baseplate, the central bridge and the central wheel are also made of sapphire . This gives you an idea of the performance and how this watch is much more than a sapphire block. All the sapphire parts of the RM056-01 are treated with an anti-glare coating. Mechanically, we now come to a secondary element of this exceptional reference. The watch gathers some ingredients we find in many of Richard Mille s watches: the power reserve (around 70 hours) and torque indicators and the function setting selector (Wind, Neutral, Hands) which is activated via the coaxial pusher located in the crown. Finally, the translucent strap is called Aerospace Nano: the main characteristic I could observe is that it is soft and a little elastic. THOUGHTS The least I can say is that it was the kind of experience we may not be able to live often, so I was really willing to share it with you here. The way the Sapphire parts look is far more than just transparency. For instance, all the engraved wordings (laser?) appear in a grey/white color on the sapphire surfaces and look beautiful: they are light looking, and are transparent too. This is very hard to express but it is completely coherent in the way it is decorated. Each of the markings made in the sapphire material are decorations. Then you add the suspended mechanism which is floating like a cloud: indeed it is difficult to see, at first sight, where the movement is linked to the baseplate. Regarding the tourbillon — the gears seem to be connected with each other but they don t seem to be attached to the watch. Finally, the finishing of the steel parts such as the tourbillon or the barrel s bridges is absolutely of the highest standards in traditional high-end watchmaking. I have a good close range sight and I wanted to see if it was like what we are used to seeing: of course it is not worked exactly as traditional bridges are (the tourbillon s bridge is opened in the middle). However, the beveled and polished parts are top-notch and without flaws. CONCLUSION In conclusion, Richard Mille is a young watchmaker (15 years) which has already succeeded in creating a strong brand image and DNA with its modern classic tonneau-shapes cases, which is highly skilled when coming to technical choices and applications but also when it comes to this sector s finishing mastery. I tried to share my experience and hope I could succeed showing what it is like to bring to fruition such a project. If it was a regular model in the collection, I would want to get one for sure. The way it looks, the decoration, the visual lightness and the immersion it provides are second to none. I thought about this watch several days after trying it, as if I could afford it. The experience feels so good when you find something to dream about. Cheers, Mark _____________________________
Chapter 01: Mental Health and Mental Illness HaOWeU: VaUcaUROLV¶ FRXQdaWLRQV Rf PV\cKLaWULc MeQWaO HeaOWK NXUVLQg: A COLQLcaO Approach, 8th Edition MULTIPLE CHOICE 1. A staff nurse completes orientation to a psychiatric unit. This nurse may expect an advanced practice nurse to perform which additional intervention? a. Conduct mental health assessments. b. Prescribe psychotropic medication. c. Establish therapeutic relationships. d. Individualize nursing care plans. ANS: B IQ PRVW VWaWeV, SUeVcUiSWiYe SUiYiOegeV aUe gUaQWed WR PaVWeU¶V-prepared nurse practitioners and clinical nurse specialists who have taken special courses on prescribing medication. The nurse prepared at the basic level is permitted to perform mental health assessments, establish relationships, and provide individualized care planning. PTS: 1 DIF: Cognitive Level: Understand (Comprehension) REF: Page 1-23 TOP: Nursing Process: Implementation MSC: Client Needs: Safe, Effective Care Environment 2. A QXUViQg VWXdeQW e[SUeVVeV cRQceUQV WhaW PeQWaO heaOWh QXUVeV ³ORVe aOO WheiU cOiQicaO QXUViQg VNiOOV.´ Select the best response by the mental health nurse. a. ³PV\chiaWUic QXUVeV SUacWice iQ VafeU eQYiURQPeQWV WhaQ RWheU VSeciaOWieV. Nurse-to-SaWieQW UaWiRV PXVW be beWWeU becaXVe Rf Whe QaWXUe Rf Whe SaWieQWV¶ SURbOePV.´ b. ³PV\chiaWUic QXUVeV XVe cRPSOe[ communication skills as well as critical thinking WR VROYe PXOWidiPeQViRQaO SURbOePV. I aP chaOOeQged b\ WhRVe ViWXaWiRQV.´ c. ³ThaW¶V a PiVcRQceSWiRQ. PV\chiaWUic QXUVeV fUeTXeQWO\ XVe high WechQRORg\ monitoring equipment and manage complex intravenous WheUaSieV.´ d. ³PV\chiaWUic QXUVeV dR QRW haYe WR deaO ZiWh aV PXch SaiQ aQd VXffeUiQg aV medical±VXUgicaO QXUVeV dR. ThaW aSSeaOV WR Pe.´ ANS: B The practice of psychiatric nursing requires a different set of skills than medical±surgical nursing, though there is substantial overlap. Psychiatric nurses must be able to help patients with medical as well as mental health problems, reflecting the holistic perspective these nurses must have. Nurse±patient ratios and workloads in psychiatric settings have increased, just like other specialties. Psychiatric nursing involves clinical practice, not just documentation. Psychosocial pain and suffering are as real as physical pain and suffering. PTS: 1 DIF: Cognitive Level: Apply (Application) REF: Pages 1-2, 21 TOP: Nursing Process: Implementation MSC: Client Needs: Safe, Effective Care Environment 3. When a new bill introduced in Congress reduces funding for care of persons diagnosed with mental illness, a group of nurses write letters to their elected representatives in opposition to the legislation. Which role have the nurses fulfilled? NURSINGTB.COM VARCAROLIS FOUNDATIONS OF PSYCHIATRIC MENTAL HEALTH NURSING 8TH EDITION HALTER TEST BANK NURSINGTB.COM a. Recovery b. Attending c. Advocacy d. Evidence-based practice ANS: C AQ adYRcaWe defeQdV RU aVVeUWV aQRWheU¶V caXVe, SaUWicXOaUO\ ZheQ Whe RWheU SeUVRQ OacNV Whe ability to do that for self. Examples of individual advocacy include helping patients understand their rights or make decisions. On a community scale, advocacy includes political activity, public speaking, and publication in the interest of improving the human condition. Since funding is necessary to deliver quality programming for persons with mental illness, the letter-writing campaign advocates for that cause on behalf of patients who are unable to articulate their own needs. PTS: 1 DIF: Cognitive Level: Understand (Comprehension) REF: Page 1-26 TOP: Nursing Process: Evaluation MSC: Client Needs: Safe, Effective Care Environment 4. A family has a long history of conflicted relationships among the members. Which family PePbeU¶V cRPPeQW beVW UefOecWV a PeQWaOO\ heaOWh\ SeUVSecWiYe? a. ³I¶Ye Pade PiVWaNeV bXW eYeU\RQe eOVe iQ WhiV faPiO\ haV aOVR.´ b. ³I UePePbeU MR\ aQd PXWXaO UeVSecW fURP RXU eaUO\ \eaUV WRgeWheU.´ c. ³I ZiOO PaNe VRPe chaQgeV iQ P\ behaYiRU fRU Whe gRRd Rf Whe faPiO\.´ d. ³IW¶V beVW fRU Pe WR PRYe aZa\ fURP P\ faPiO\. ThiQgV ZiOO QeYeU chaQge.´ ANS: C The correct response demonstrates the best evidence of a healthy recognition of the importance of relationships. Mental health includes rational thinking, communication skills, learning, emotional growth, resilience, and self-esteem. Recalling joy from earlier in life may be healthy, but the correct response shows a higher level of mental health. The other incorrect responses show blaming and avoidance. PTS: 1 DIF: Cognitive Level: Analyze (Analysis) REF: Pages 1-2, 3, 32 (Figure 1-1) TOP: Nursing Process: Assessment MSC: Client Needs: Psychosocial Integrity 5. Which assessment finding most clearly indicates that a patient may be experiencing a mental illness? The patient a. reports occasional sleeplessness and anxiety. b. reports a consistently sad, discouraged, and hopeless mood. c. is able to describe the diffeUeQce beWZeeQ ³aV if´ aQd ³fRU UeaO.´ d. perceives difficulty making a decision about whether to change jobs. ANS: B The correct response describes a mood alteration, which reflects mental illness. The distracters describe behaviors that are mentally healthy or within the usual scope of human experience. PTS: 1 DIF: Cognitive Level: Apply (Application) REF: Pages 1-2 to 4 TOP: Nursing Process: Assessment MSC: Client Needs: Psychosocial Integrity NURSINGTB.COM VARCAROLIS FOUNDATIONS OF PSYCHIATRIC MENTAL HEALTH NURSING 8TH EDITION HALTER TEST BANK NURSINGTB.COM 6. Which finding best indicates that the goal ³DemonVWUaWe menWall\ healWh\ behaYioU´ ZaV achieved for an adult patient? The patient a. sees self as capable of achieving ideals and meeting demands. b. behaves without considering the consequences of personal actions. c. aggressively meets own needs without considering the rights of others. d. seeks help from others when assuming responsibility for major areas of own life. ANS: A The correct response describes an adaptive, healthy behavior. The distracters describe maladaptive behaviors. PTS: 1 DIF: Cognitive Level: Apply (Application) REF: Pages 1-2 to 4 TOP: Nursing Process: Evaluation MSC: Client Needs: Psychosocial Integrity 7. A QXUVe eQcRXQWeUV aQ XQfaPiOiaU SV\chiaWUic diVRUdeU RQ a QeZ SaWieQW¶V adPiVViRQ fRUP. Which resource should the nurse consult to determine criteria used to establish this diagnosis? a. International Statistical Classification of Diseases and Related Health Problems (ICD-10) b. The ANA¶V PV\chiaWUic-Mental Health Nursing Scope and Standards of Practice c. Diagnostic and Statistical Manual of Mental Disorders (DSM-V) d. A behavioral health reference manual ANS: C The DSM-V gives the criteria used to diagnose each mental disorder. It is the official guideline for diagnosing psychiatric disorders. The distracters may not contain diagnostic criteria for a psychiatric illness. PTS: 1 DIF: Cognitive Level: Apply (Application) REF: Pages 1-18, 19 TOP: Nursing Process: Assessment MSC: Client Needs: Safe, Effective Care Environment 8. A nurse wants to find a description of diagnostic criteria for anxiety disorders. Which resource would have the most complete information? a. Nursing Outcomes Classification (
nrhp # 69000233- The Burwell-Morgan Mill, established in 1785, is the oldest operable merchant mill in the Shenandoah Valley. In the mid-nineteenth century the mill operated twenty-four hours a day, seven days a week, processing more than sixty thousand bushels of wheat per year. The community of Millwood grew around this commercial center as related businesses were established, and by way of the seaports at Alexandria and Baltimore, mill products were shipped abroad. Lt. Col. Nathaniel Burwell of Carter’s Grove built the mill to process and export wheat and corn from his own rich farmlands and those of his neighbors. He hired Brig. Gen. Daniel Morgan, the Revolutionary War hero, to oversee the construction and management of the mill. In 1785 the mill became operational, and under Morgan’s direction it flourished. It escaped the destruction that claimed many other mills in the Valley during the Civil War, and remained active through World War II. On the right is a circa 1900 photo of the mill. The Clarke County Historical Association acquired the abandoned and dilapidated remnants of the mill in 1964. For seven years members worked tirelessly to restore the mill to its original condition, drawing solely on private donations and the proceeds from local fund-raising events. The mill is included in the Virginia Landmarks Register and the National Register of Historic Places. In 1972 the renovated facility opened as a mill-museum, and it has since hosted thousands of visitors—among them school children, Smithsonian tours, historians, architects and mill enthusiasts. Visitors marvel as the water rushes through the mill, turning the unusual interior waterwheel, just as it did in the eighteenth century. The wheel generates power to the massive wooden gears that rotate the two-ton French buhr wheels which, controlled by the miller, grind the corn into meal. Volunteers bag the meal as it floats down the wooden chute, and it is sold in the museum shop. In 1994 a major restoration of the aging wooden gears and waterwheel was begun under the direction of renowned restoration millwright Derek Ogden; the project was completed, and the mill will be grinding for the public on Saturdays. An award-winning video that shows the mill in full operation is shown frequently. from clarkehistory.org
BARCELONA PAVILION DESIGN BY LUDWIG MIES VAN DER ROHE 1929 BARCELONA PAVILION DESIGN BY LUDWIG MIES VAN DER ROHE 1929 From the architect: As part of the1929 International Exposition in Barcelona Spain, the Barcelona Pavilion, designed by Mies van der Rohe, was the display of architecture's modern movement to the world. Originally named the German Pavilion, the pavilion was the face of Germany after WWI, emulating the nation’s progressively modern culture that was still rooted in its classical history. Its elegant and sleek design combined with rich natural material presented Mies’ Barcelona Pavilion as a bridge into his future career, as well as architectural modernism. After several architectural triumphs in Germany, Mies was commissioned to design the German Pavilion for the International Exposition in Barcelona, Spain. The pavilion was intended to be the face of the German section that would host King Alphonso XIII of Spain and German officials at the inauguration of the exposition. Unlike other pavilions at the exposition, Mies understood his pavilion simply as a building and nothing more, it would not house art or sculpture rather the pavilion would be a place of tranquility and escape from the exposition, in effect transforming the pavilion into an inhabitable sculpture. Situated at the foot of the National Art Museum of Catalonia and Montjuic, the Barcelona Pavilion resides on a narrow site in a quiet tucked away corner secluded from the bustling city streets of Barcelona. Raised on a plinth of travertine, the Barcelona Pavilion separates itself from it context create atmospheric and experiential effects that seem to occur in a vacuum that dissolves all consciousness of the surrounding city. The pavilion’s design is based on a formulaic grid system developed by Mies that not only serves as the patterning of the travertine pavers, but it also serves as an underlying framework that the wall systems work within. By raising the pavilion on a plinth in conjunction with the narrow profile of the site, the Barcelona Pavilion has a low horizontal orientation that is accentuated by the low flat roof that appears to float over both the interior as well as the exterior. The low stature of the building narrows the visitor’s line of vision forcing one to adjust to the views framed by Mies. When walking up onto the plinth, one is forced under the low roof plane that captures the adjacent outdoor court as well as the interior moments that induce circulation throughout the pavilion. The interior of the pavilion consists of offset wall places that work with the low roof plane to encourage movement, as well as activate Mies’ architectural promenade where framed views would induce movement through the narrow passage that would open into a larger volume. This cyclical process of moving throughout the pavilion sets in motion a process of discovery and rediscovery during ones experience; always offering up new perspectives and details that were previously unseen. Every aspect of the Barcelona Pavilion has architectural significance that can be seen at the advent of modern architecture in the 20th Century; however, one of the most important aspects of the pavilion is the roof. The low profile of the roof appears in elevation as a floating plane above the interior volume. The appearance of floating gives the volume a sense of weightlessness that fluctuates between enclosure and canopy. The roof structure is supported by eight slender cruciform columns that allow the roof to as effortlessly floating above the volume while freeing up the interior to allow for an open plan. With the low roof projecting out over the exterior and the openness of the pavilion, there is a blurred spatial demarcation where the interior becomes and exterior and exterior becomes interior. The pavilion is designed as a proportional composition where the interior of the pavilion is juxtaposed to two reflecting pools. The smaller reflecting pool is located directly behind the interior space which allows for light to filter through the interior volume as well illuminate the marble and travertine pavers. The larger, shallow reflecting pool compliments the volume as it stretches across the rest of the plinth. Its elegance and sleek lines establish a place of solitude and reflection. In addition to the design, the materials are what give the Barcelona Pavilion its true architectural essence as well as the ethereal and experiential qualities that the pavilion embodies. The pavilion meshes the man-made and the natural employing four types of marble, steel, chrome, and glass. The marble originates from the Swiss Alps and the Mediterranean. Mies’ implementation of the marble is created through a process of splitting, called broaching, that creates a symmetrical patternization that’s found in the marble. However, the most used material is the Italian travertine that wraps the plinth and the exterior walls adjacent to the reflecting pool. When exposed to the sun, the travertine becomes illuminated almost as a secondary light source that dissolves the natural stone and washes the light over the space. The travertine’s inherent luminous qualities as well as Mies’ seamless employment of the material over the plinth adds to the dissolution of spatial demarcation transforming the pavilion into one continuous volume rather than two separate entities. In 1930, the original Barcelona Pavilion was dismantled after the International Exposition was over; however; in 1983 a group of Catalan architects began working on rebuilding the pavilion from photographs and what little salvaged drawings that remained. Today it is open daily and can be seen in the same location as in 1929. http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe You may visit Bauhaus Archive permanent exhibition news at Museum Für Gestaltüng to get more information about Mies van der Rohe term to click below link. http://mymagicalattic.blogspot.com.tr/2016/01/bauhaus-archive-permanent-exhibition-at.html THE FONDACIO MIES VAN DER ROHE The Fundació Mies van der Rohe was set up in 1983 by the Barcelona City Hall with the initial purpose of reconstructing the German Pavilion, designed by Ludwig Mies van der Rohe (1886-1969) for the 1929 Barcelona International Exhibition. Besides conserving and disseminating knowledge about the Mies van der Rohe Pavilion, the Fundació today also fosters debate on and awareness of themes related to contemporary architecture and urban planning, as well as encouraging studies on the work of Ludwig Mies van der Rohe and on the Modern Movement. In accordance with these objectives, the Fundació organises awards, congresses, conferences, exhibitions, workshops and installations. Outstanding among these activities is the organisation, jointly with the European Commission, of the European Union Prize for Contemporary Architecture – Mies van der Rohe Award, one of the most prestigious of all European architecture prizes. THE FUNDACIO MIES VAN DER ROHE ACTIVITIES EXHIBITIONS The Fundació Mies van der Rohe regularly organises itinerant exhibitions documenting its own Architecture Awards, and others featuring modern and contemporary architecture in general from either a historical or present-day point of view. To this end, exhibitions devised by the Foundation itself are combined with those organised jointly with entities that pursue similar aims. CYCLES OF LECTURES The format of the “cycle of lectures” is designed to examine a current theme in a number of sessions, the aim of which is to offer as comprehensive an overview as possible of the state of the question. The cycles of lectures are related to other Fundació programmes and are complemented by activities such as installations and exhibitions. It is anticipated that two cycles will take place annually. Depending on their nature, they may be held either at the Pavilion or in other venues with greater capacity. FUNDACIO PUBLICATIONS As part of its dissemination programme, the Fundació Mies van der Rohe publishes a catalogue for each edition of the European Award. Each catalogue features the prize-winning and finalist projects with a view to providing contemporary architectural output with a frame of communicative reference. The Fundació also publishes catalogues and books related to activities that take place at the Pavilion. http://miesbcn.com/the-fundacio/ LUDWIG MIES VAN DER ROHE Ludwig Mies van der Rohe was born on March 27, 1886 in Aachen, the son of Jakob Mies (a dealer in marble) and Amalia Rohe. In 1913, he moved with his wife Ada Bruhn to Werder (on the outskirts of Berlin). There his daughters Marianne and Waltrani were born, followed some time later by Dorotea, who would subsequently change her name to Georgia. Until World War I, Mies’s social and professional relations had been with well-to-do families, but after 1918 everything changed: he separated from his family and, through Hans Richter, came into contact with the contemporary avant-garde, particularly Van Doesburg, Man Ray, Hilberseimer, Walter Benjamin and Raoul Hausmann. During his participation in the Weissenhof housing exhibition at Stuttgart, between 1925 and 1927, Mies established a relationship with interior designer Lilly Reich that was to last until 1939. They worked together on the Glassraum (glass room) for the 1927 Stuttgart exhibition, on the Barcelona Pavilion, on the Tugendhat house in Brno between 1928 and 1930 and on the house they presented at the 1931 Berlin exhibition. In 1930 the mayor of Dessau proposed that Mies direct the Bauhaus, where he would succeed Hannes Mayer, who had been in charge since 1928, when he took over from the founder Walter Gropius. His assistants during this period were Lilly Reich and Hilberseimer. The outcome of the 1931 elections was a Nazi majority at the Dessau Municipal Council, who decided to close the Bauhaus. Given this situation, Mies moved it to Berlin as a private centre under his own name. After having negotiated with the Nazi minister Rosemberg, in 1933 he decided to close the centre rather than cede to ideological pressure. Lack of funds also influenced this decision. In 1938 Mies emigrated to the United States, specifically to Chicago, where he worked at the Armour Institute of Technology architecture school, which he eventually came to direct. He designed and executed the campus for the new Illinois Institute of Technology and its prismatic steel-structured buildings with naked brick and glass walls. In 1940 the architect met Lora Marx, who would be his faithful companion until his death in 1969. In 1944 he was naturalised as citizen of the United States. Between 1945 and 1950 he built the Farnsworth House in Illinois, in a meadow surrounded by trees beside the River Fox. The house consists of a single interior space enclosed behind glass façades. The floor and roof are of flat concrete slabs. Between 1948 and 1951 Mies was able to reify his dream of building a glass skyscraper. This took the form of the twin towers of the Lake Shore Drive Apartments in Chicago and, later, the Commonwealth Promenade Apartments (1953-1956), also in Chicago. Both projects are masterful examples of use of the arcade structure and the steel and glass curtain wall. Jointly with Philip Johnson, between 1954 and 1958 Mies built the legendary Seagram Building office block in New York, a paradigm of this kind of building, in which he continued to perfect the arcade structure and curtain wall. The Bacardí office block in Mexico, in which Mies continued to use glass, steel and travertine as his basic materials, was built between 1957 and 1961. In 1959 he retired from the Illinois Institute of Technology. Between 1962 and 1968 Mies built the National Gallery in Berlin, a building for art exhibitions that comprises a huge main hall made entirely from glass and steel and standing on an extensive granite-slab terrace. On August 17 1969 Mies van der Rohe died in Chicago, leaving as his legacy a set of new canons that, inspired by his world-famous dictum less is more, advocate a sober, universal form of architecture. http://miesbcn.com/the-pavilion/mies-van-der-rohe/
New York, uhurudesign.com They launched their design-build furniture studio in 2004, but Uhuru have made major leaps forward recently, scaling up their studio, opening a Manhattan showroom, starting their own contract workplace line, and launching a collection of steel furniture that’s taking their aesthetic in a very new and exciting direction. What is American design to you, and what excites you about it? New American design started with the maker movement of the late 1990s and early 2000s, which grew in places where there were empty and underutilized manufacturing spaces, as big companies shipped operations elsewhere or disappeared altogether. The void has been filled by individuals, small companies, and communal shops started by young people out just out of school and not wanting to or being able to get a job at a big company. Instead they’ve cultivated their own style to make their mark. What’s been so exciting is there’s no big industry to define what things should look like — we are defining it as we go. What are your plans and highlights for the upcoming year? We have a few new collections we’re really excited about. One is called Fold (sneak preview pictured above top), and it’s made from solid brass sheets that look as if they’ve been twisted and flattened to create the forms in the collection. It also plays with how faces of a material can age differently as they are exposed to the elements. We’re also continuing to develop our workplace collection, especially the desking system we launched this summer along with three collections of ancillary furniture for the office. These are a refined version of the essentials line we launched two years ago, and although the push will be the workplace market, they really can fit into all kinds of commercial and residential environments. We just moved our Pennsylvania workshop into a new 50,000 square-foot manufacturing space, so we’re really excited about what we’ll be able to produce there as well as the manufacturing jobs we’re hoping to create. What inspires/informs your work in general? I would definitely say a constant would be the way nature affects materials over time. I think there’s incredible beauty in capturing that process and bring it into an interior space in a piece of furniture. Right now my kids are also a huge inspiration. To see life through their eyes and to sit and build things with them — whether it’s Legos or a making a crossbow out of … Continue reading Uhuru
Banner image: A Blackhawk modified 300 (source: Blackhawk)Talking with AIN in a recent interview, Blackhawk Aerospace announced they had performed and delivered the 100th pair of XP67A engines to a King Air. Most impressively, it's only be a little over 2 and a half years since Blackhawk received the STC approval to perform the upgrade for King Air 300s and 350s. Speaking of the upgrade, Blackhawk president and CEO Jim Allmon said: "Our engineering team got this STC done in about 12 to 13 months. For most companies that do a major STC of this size, it's a three-year process. Normally we don't hit 100 on a product line for four or five years." The customer was Red Bull Air Force, whose King Air 300LW is receiving the upgrade. The company's website notes they are "a team that specializes in highly coordinated aerial jump demonstrations and continually push the limits of human flight." According to Augsburg Air Service (AAS), the Blackhawk approved dealer/installer who is performing the upgrade, the XP67A engine upgrade will answer Red Bull's desire for speed; a natural fit for an energy drink company.The Red Bull Air Force is known for pushing the limit as this photograph shows. (Source: Red Bull Air Force)“Our goal is to make it the fastest King Air 300LW in the world,” Kohlmann said. “And it’s such an honor to work with this incredible team at Blackhawk Aerospace and Red Bull, who are supporting business aviation, sports, and passion for aviation around the world.”The PT6A-67A engines of the XP upgrade answer that need for speed with an astonishing 60% improved climb rate, a 332+ knot maximum cruise speed and the ability to carry 62% more payload.Graphic demonstrating performance improvements of the XP67A Upgrade for a King Air 300 (Blackhawk)In addition to the XP67A upgrade, the company's King Air 300LW is being modified with Garmin G1000 avionics, winglets, and an updated interior. The cherry on top will be Hartzell's five-blade propellers. According to Allmon, the propellers paired with the PT6A-67A engines "makes that airplane the fastest King Air on the planet. We're 340 knots plus on the 300 because it's a lighter, 14,000-pound airframe."Hartzell five-blade propellers on a King Air 300 - Oshkosh. (Source: Hartzell)We're quite curious what Red Bull plans on using this aircraft specifically for. We'll be following this story and update if we learn more details. For further reading, check out our detailed breakdown of Blackhawk's XR upgrade, an update for military/special-mission King Air 300 turboprops.For those interested in learning more about the XP67A upgrade, Blackhawk produced an excellent video detailing the package:
