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The reconstruction of the Sydney Hilton, brought to completion in July 2005 after an heroic three-year building campaign, demonstrates the power of truly urban architecture to save the city from itself.
The original structure, designed in the 1960s by Kolos & Bryant, was an unfortunate tower-andpodium scheme that filled its mid-city, mid-block location between George and Pitt Streets with a concrete labyrinth of ramps, shops, bars, restaurants and low-ceilinged reception spaces, encased at podium level by windowless precast panels and serviced by elevated concrete driveways. These ramps rose from the narrow confines of Pitt Street in a configuration of breathtaking ugliness that relegated pedestrians to a sunless, cavernous undercroft.
Approved in 1969, during a period when the elected City Council had been removed by the state government and replaced by City Commissioners, this uncertain achievement of late modernism managed to work as the site of a five-star hotel for many years, principally due to its central location; its name and somewhat appealing Americanisms, such as the San Francisco Grill; and its role as the biggest hotel in town at the beginning of the jumbo jet era.
However, as ownership of the property passed from British Crown Agents to Bond Corporation, and then to a succession of offshore investors in the 1980s and 1990s, management of the retail component deteriorated and the hotel was left in the middle of a multi-level warren of down-market shops.
In 2000, Hilton International, which had operated the hotel for 25 years on a long lease, took the decisive step of purchasing the property and initiating its transformation. The combined purchase price and reconstruction cost became the largest single-site investment ever made by Hilton International.
With the support of the City of Sydney, which had long sought to undo this mistake of the 1960s, a design excellence competition was conducted in 2001, aimed at reconstruction of the five-storey podium and refurbishment of the forty-four-storey tower. The competing firms were Rice Daubney, PTW Architects, Tonkin Zulaikha Greer and the Sydney office of Denton Corker Marshall. The winners were the Denton Corker Marshall team, who, at about this time, became the independent practice Johnson Pilton Walker. The JPW response to the brief demonstrated a profound grasp of the potential for this complex and confused work to become a clear, compelling work of urban architecture.
JPW's fundamental strategy was to relocate the hotel foyer and reservation desk from the upper levels of the podium, above the failed shopping arcade, to a street-level location at the base of the tower, serviced by a new "street" driven through the block between Pitt Street and George Street.
In one move, this eliminated the need for the Pitt Street ramps and revealed the tower as a freestanding element within the block, fronting an open-air courtyard and bounded by street-defining segments of the podium on the Pitt and George Street frontages.
With shops re-established on these edges, the tragic failure of the 1960s twin-level, internalized shopping complex was swept away in favour of city streets and active frontages as the fundamental basis of urban life.
The windowless, corrugated concrete panels on the podium facades were similarly swept away, becoming, instead, a civic statement in sandstone and glass, visually cued to the Queen Victoria Building (QVB), the Town Hall and other surviving sandstone buildings on George and Pitt Streets. The lights and sparkle of the brasserie and bar above George Street, and the ballroom and meeting rooms above Pitt Street, further animated these facades.
This division of the grand functions of the grand hotel – organized meetings, large conferences, conventions and receptions on Pitt Street, individual dining and small group conviviality on George Street – turned to advantage a strange legacy of the 1960s Hilton, the basement installation of the Marble Bar.
This High Victorian fragment was once the opulent centrepiece of the Adams Hotel, built by the founder of Tattersalls, and demolished along with the marvellous, twisting glass-topped galleria of the Royal Arcade, designed by Thomas Rowe in 1882, to make way for the awesome reality of Kolos & Bryant's concrete structure. The fact that anything of nineteenth-century Sydney survived this process was something of a miracle, but dismantling the Marble Bar and reconstructing it deep underground turned this once top-lit space into a dislocated travesty of High Victorian life. Early in the Hilton refurbishment programme further relocation of the Marble Bar was found to be impractical. JPW responded by turning this basement location to advantage. The lavish 1893 Varney Parkes design became the bottom level of a stacked sequence of luxury venues – the Marble Bar, the Glass Brasserie, the Zeta Bar – linked by glass elevators and an astonishing sight line from George Street to the threshold of the Marble Bar. This made the George Street entrance the principal entertainment address of the Hilton complex in the manner of a city club, rather than a tired adjunct to an international hotel.
The new address on Pitt Street responds to the commercial imperatives of the refurbishment by creating a lobby for eight levels of commercial space, totalling 15,000 square metres, located above the convention facilities in the T-return of the tower.
This glass curtain-walled extension of the original office wing has turned a dowdy office building into A-grade space, with 2,000-square-metre floor plates, ideally suited for commercial operations that can also benefit from the Hilton's convention and promotion facilities.
Between the two street frontages, the new drive-through space – connected to the underground car park with direct ramps – opens into a "green wall" courtyard and the kerbside arrival point. In this open-air space, arriving guests are protected by a suspended glass canopy, which forms the porte-cochere to the true front door of the hotel.
The main lobby is a dramatic, twenty-metre-high space set within the columns of the tower and flooded on both sides with light from glass skylights and a south-facing all-glass wall. Beyond the reception desk, stairs and escalators rise in a sequence of landings, overlooks and bridges to the upper-level restaurants, bars and 4,000 square metres, of flexible convention facilities.
The tower itself, containing 577 wholly refurbished rooms, has had minor external changes.
Its cellular-box construction system precluded major structural works but the fluted verticality of its thin-profile slab form has been accentuated with new vertical glazing and infill cladding.
The Hilton refurbishment stands in a line of distinguished Sydney CBD buildings designed by DCM/JPW over the past fifteen years – Governor Phillip Tower, Governor Macquarie Tower, 363 George Street. Like these commercial towers, the Hilton demonstrates the dramatic potential of a building raised high above its site in the tightly confined street canyons of Sydney's commercial core. At the same time, the repertoire of design devices which mark the street frontages of these buildings – blades, fins, inset panels – combine an abstract design language with a rich array of contextual references. This double play on the underpinnings of urban architecture – rationalism and contextualism – is grounded in something more than structure and surface. Its wellspring is the urban condition, the intersection of civic culture and everyday life. In the Hilton project, JPW has gone beyond formal gestures to reveal strength, dignity and richness of experience in a "found" work of mid-century modernism that had failed as a civic statement and as anything other than an internalized setting for everyday life.
Thus the strength of the scheme resides in its urbanism – in the driveway/courtyard/foyer sequence, and in the remaking of Pitt and George Streets with new street walls and activities that are robust, elegant, almost seamless extensions of the urban scene.
If there is a criticism to be made of the project's urban presence, it is this "almost" seamless quality, which tends to intrude when JPW precision converges with the brute reality of the original building. Thus, the drive-through street is not quite a street. It collides with the down ramps to the car park in a way that stretches the section beyond the profile of a traditional city lane and precludes a line of shops and cafes along its length, in the manner of those which once faced the Long Bar of the Australia Hotel in Sydney's much-mourned Rowe Street.
On Pitt Street, the Hilton frontage has been miraculously remade from the ramped cavern of the past into an elegant facade, which defies the adjoining monorail to set up a dialogue with the Edwardian Classicism of John Reid's 1912 Bank of New South Wales building across the street and the stone-dressed brickwork of neighbouring Simpson House, a fine work of Federation Free Style designed by Robertson & Marks, also from 1912. However, above this assured street front, the glass curtain wall of the extension to the commercial wing introduces an all-glass base to the sheer concrete walls of the tower in an architectonic inversion that draws attention to the awkwardness and imperfections of the 1960s tower.
On George Street, an inflected array of elliptical columns, clad in sandstone and polished granite, turn along the facade in reference to the multiple rhythm of reeded columns on the sandstone facade of the Queen Victoria Building, and the polished trachyte sentinels at its entryway. For all the cleverness of this composition, its studied framing comes up against the somewhat similar design language of Crone Associates' Galeries Victoria, and the strong-weak symmetry of the Hilton tower, to generate a degree of confusion between urban manners and mannerism.
Within the public spaces of the hotel, there are two great achievements: the spatial drama of the lobby; and the upper-level openings to George Street, which bring framed vistas of the QVB into the Glass Brasserie and the Zeta Bar – in effect, bringing Sydney into the Sydney Hilton.
However, for complex reasons, both moves don't quite succeed. Progression across the lobby involves a remarkable engagement with the physicality of the tower, passing from the glass-walled, glass-roofed loggia under its sheer southern face; through the high columns of its supporting structure; to a glass-roofed "ascensional space" under its northern face. Although filled with natural light and visually interconnected, in dramatic contrast to the artificially lit, low-ceilinged internal spaces of the 1960s Hilton, each of these spatial elements is a discrete volume, and thus curiously static, in the manner of Loos's Raumplan. However, unlike Loos's considered compositional technique, the expression of each part of the programme is not linked to a carefully calibrated volume of space, or to differentiated cladding in luxury materials. The space is just big, and the materials, selected by the lead interior designers Chhada Siembieda, are a bland combination of honeycoloured limestone and translucent glass. The result is a lobby without comfort – a sensational concourse that works as a setting for the biomorphic verticality of Bronwyn Oliver's site-specific sculpture Vine, but not as a memorable meeting place or as a space to linger.
On the next level is the biggest disappointment.
The first-floor restaurant featuring framed vistas of the QVB was one of the competition-winning moves of the original scheme. This brilliant response to the one visual asset in the Hilton's mid-block George Street location involved the complete re-ordering of functions within the podium: the swapping of ballroom and restaurant, and the provision of new kitchen facilities. However, the interior design of the restaurant passed to Tony Chi in New York, whose design for Glass Brasserie features a wine rack of very large proportions, which blocks the QVB vista from the lobby mezzanine and most parts of the room.
Although this responds to the need for differentiated spaces in the hotel's single dining room, which is also animated by a theatrical open kitchen, the brasserie must be considered a missed opportunity.
In this mismatch between architectural idea and final fitout, we can sense the conflict between mainstream hotel refurbishment and the extraordinary urban challenge of the Hilton Sydney project. JPW's achievement has been to meet this challenge through a long and complex process, to create a grand hotel from a very ordinary building and, above all, to remake the city with an inspired work of urban architecture that goes beyond the parameters of the individual project to stand as a great piece of urban design.
- Architecture
- Johnson Pilton Walker
Sydney, NSW, Australia
- Project Team
- Richard Johnson, Paul van Ratingen, Peter Blome, Torsten Fiedler, Simon Lea, Kenny Tan, Joseph Park, Anya Isarotaikal, Nickolai Metherall, Ivan Lee, David Springford, Kim Murray, Alexandra Bond, Dean Earl, Andrew Cheng, Andrew Kim, Lay-Mon Thaung, Alan Miller, Wayne Dickerson, Scott Stewart, Jamie Giffard-Taylor, Jian Li, Yuwan Zhang
- Consultants
Acoustic engineer
Acoustic Logic
Architect Brewster Hjorth Architect
Artist Judith White
Audiovisual Vision Design Studio
BCA consultant Philip Chun & Associates
Certifier Philip Chun & Associates
Construction Leighton Contractors
Electrical, lift & security engineer Norman Disney Young
F & B consultant MTD Group
Facade engineer Hyder Consulting
Fire engineer Arup Sydney
Heritage architect Brian McDonald & Associates, Noel Bell Ridley Smith
Hydraulic and fire services engineer LHO Group Pty Ltd
Interior design Chhada Siembieda & Associates (Australia) Pty Ltd, Tony Chi & Associates
Interiors Johnson Pilton Walker
Mechanical engineer Bassett Consulting Engineers
Project manager Page Kirkland Partnership
Quantity surveyor Page Kirkland Partnership
Sculptor Bronwyn Oliver
Signage consultant EKH Design
Specialist lighting Webb Australia Group
Structural engineer Connell Mott MacDonald
Traffic engineers Colston Budd Hunt & Kafes Pty Ltd
- Site details
488 George Street,
Category Commercial / public buildings
Type Hospitality
- Project Details
- Client
Hilton Hotel
Website hiltonsydney.com.au
Published online: 1 Jan 2006
Words: James Weirick
Architecture Australia, January 2006


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John Hancock TV/Web Campaign Features a 'Choose-Your-Own-Ending' Series
Agency Hill Holliday Presents Some Moving Scenarios
Published on Sep 10, 2014
Editor's Pick
Hill Holliday appeals to viewers' emotions in this latest campaign for Boston-based life insurance and mutual fund company John Hancock.
In each part of a four-part series, a narrative scene is set up and then cuts off just as things to take a turn; whether for the worse or the better is unclear as three different outcomes are possible in each case.
In addition to being beautifully filmed, the installment shown above is particularly compelling; it shows a mother taken off-guard by the person on the other end of the phone line. See the possible outcomes here, here and here. The scene starters, rolling out on national TV, direct viewers to HancockNext.com.
Jim Bacharach, VP-brand, marketing and creative services at John Hancock, told Creativity, "Our legacy over the years has been very honest and very human." The company sought to show ordinary experiences that average Americans have -- whether it's sending the kids off to college or moving forward after losing a loved one -- in order to stress the importance of smart financial planning.
The campaign entailed an educated risk, according to Mr. Bacharach. "We're an insurance company and this isn't really what insurance companies are known for," he said.
Hill Holliday's research pointed directly to second-screen behavior as the way to tap into John Hancock's target demographic of affluent and educated men and women, inspiring a TV campaign that crosses over to the web. "They're watching TV, but we need to be able to tell our stories in more than just 30 seconds," Mr. Bacharach added.
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- Date
- Sep 10, 2014
- Agency:
- Hill Holliday
- Chief Creative Officer:
- Lance Jensen
- Client:
- John Hancock
- Executive Creative Director:
- Joe Fallon
- Senior Vice President, Creative Director/Art Director:
- Bob Gates
- Senior Vice President, Creative Director/Copy:
- Mark Nardi
- Designer:
- Kar-Kate Leung
- Agency Assistant Producer:
- David Shaw
- Agency Producer:
- Scott Hainline
- Account:
- Nancy Lehrer
- Account:
- Michael Burns
- Account:
- Richard Butler
- Account:
- Meghan Cermack
- Project Manager:
- Jillian Malenfant
- Group Planning Director:
- Scott Simpson
- Group Planning Director:
- Baysie Wightman
- Production Company:
- Epoch Films
- Executive Producer:
- Mindy Goldberg
- Director:
- Jeff Preiss
- Cinematographer:
- Chris Blauvelt
- Line Producer:
- Terri Shafirov
- Camera Operator:
- Jeff Preiss
- Camera Operator:
- Chris Blauvelt
- Digital Producer:
- Matt Villone
- Edit House:
- Jump NYC
- Editor:
- Michael Saia
- Sound Engineer:
- Phillip Loeb @ Heard City
- Post Production:
- Jump NYC
- Post Production:
- Poetica
- Executive Post Producer:
- Alexandra Leal @ Jump NYC
- Post Producer:
- Lauren Montuori @ Poetica
- Producer:
- Terri Shafirov
- Executive Producer:
- John Duffin
- Director, Photography:
- Christopher Blauvelt
Need a credit fix? Contact the Creativity Editors

subset: commoncrawl


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For a long time, the cure for diabetes type 1 and type 2 has relied on agonizing insulin shots for patients or insulin infusion via mechanical pumps. Regarding this, experts have been creating artificial pancreatic beta cells with the he…
The Membrane Electrode Assembly (MEA) is the core component of a fuel cell that helps produce the electrochemical reaction needed to separate electrons. On the anode side of the MEA, a fuel (hydrogen, methanol etc.) diffuses through the membrane and is met on the cathode end by an oxidant (oxygen or air) which bonds with the fuel and receives the electrons that were separated from the fuel. Catalysts on each side enable reactions and the membrane allows protons to pass through while keeping the gases separate. In this way cell potential is maintained and
Scope of the Report:
This report focuses on the Membrane Electrode Assemblies in global market, especially in North America, Europe and Asia-Pacific, South America, Middle East and Africa. This report categorizes the market based on manufacturers, regions, type and application.
The global production of Membrane Electrode Assemblies is about 341 MW in 2016, USA is the largest production region in 2016, the second largest production region is Europe, in short, the Membrane Electrode Assemblies is mainly produced in developed countries;
The global consumption of Membrane Electrode Assemblies is about 341 MW in 2016; USA is still the largest consumption region in 2016, the consumption volume is about 140 MW; Europe is also the second largest consumption region in 2016, the consumption volume is about 92.9 MW, the market share is about 27%;
The average price of Membrane Electrode Assemblies is about 618 USD per KW in 2016, the average gross margin is about 27%, the price shows down trend and the gross margin has the similar trend;
In the future, with the development of technology and improvement of economic level, and the stable demand in fuel cell industry, the Membrane Electrode Assemblies will have great increase range; the developing countries will be high growth rate market.
Key manufacturers in these regions are 3M, Dupont (Chemours), Gore, Johnson Matthey, Ballard, Greenerity, etc. 3M is the largest player with market share of 20% followed by Dupont (Chemours) sharing 16% of the market. In the future, more and more companies will enter the market.
The worldwide market for Membrane Electrode Assemblies is expected to grow at a CAGR of roughly xx% over the next five years, will reach xx million US$ in 2023, from xx million US$ in 2017, according to a new GIR (Global Info Research) study.
Market Segment by Manufacturers, this report covers
- Dupont (Chemours)
- Gore
- Johnson Matthey
- Ballard
- Greenerity
- Wuhan WUT
- IRD Fuel Cells
- Giner
- HyPlat
Market Segment by Regions, regional analysis covers
- North America (United States, Canada and Mexico)
- Europe (Germany, France, UK, Russia and Italy)
- Asia-Pacific (China, Japan, Korea, India and Southeast Asia)
- South America (Brazil, Argentina, Colombia etc.)
- Middle East and Africa (Saudi Arabia, UAE, Egypt, Nigeria and South Africa)
Market Segment by Type, covers
- 3-layer MEA
- 5-layer MEA
- Other
Market Segment by Applications, can be divided into
- Hydrogen Fuel Cells
- Methanol Fuel Cells
- Others
There are 15 Chapters to deeply display the global Membrane Electrode Assemblies market.
Chapter 1, to describe Membrane Electrode Assemblies Introduction, product scope, market overview, market opportunities, market risk, market driving force;
Chapter 2, to analyze the top manufacturers of Membrane Electrode Assemblies, with sales, revenue, and price of Membrane Electrode Assemblies, in 2016 and 2017;
Chapter 3, to display the competitive situation among the top manufacturers, with sales, revenue and market share in 2016 and 2017;
Chapter 4, to show the global market by regions, with sales, revenue and market share of Membrane Electrode Assemblies, for each region, from 2013 to 2018;
Chapter 5, 6, 7, 8 and 9, to analyze the market by countries, by type, by application and by manufacturers, with sales, revenue and market share by key countries in these regions;
Chapter 10 and 11, to show the market by type and application, with sales market share and growth rate by type, application, from 2013 to 2018;
Chapter 12, Membrane Electrode Assemblies market forecast, by regions, type and application, with sales and revenue, from 2018 to 2023;
Chapter 13, 14 and 15, to describe Membrane Electrode Assemblies sales channel, distributors, traders, dealers, Research Findings and Conclusion, appendix and data source


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Frankfurt first test of Wolfsburg's title credentials
Wolfsburg - Not content with a runners-up medal in the Bundesliga last season, nor the DFB Cup and Supercup trophies they have since added to their silverware cabinet, VfL Wolfsburg are aiming high in the 2015/16 campaign - and are eager to show what they can do against Eintracht Frankfurt on Sunday (kick-off 15:30 CEST / 13:30 GMT).
The Wolves are favourites for the points, particularly as in pre-season the mercurial Kevin De Bruyne has continued the sparkling form he showed last term. On top of that, the Volkswagen Arena was a fortress for VfL in 2014/15, where they were the only Bundesliga side not to lose on home turf.
That is not to say Frankfurt are without hope, however. For one thing they have Alexander Meier, who finished as the league's top scorer last season. Check out the rest of the essential pre-match information below:
Top Facts
- Frankfurt have only won two of their last 19 against the Wolves, their last victory coming in Wolfsburg on 15 December 2012 (2-0) back when Armin Veh was in charge of the Eagles for the first time.
Eintracht have recorded four wins, drawn ten and lost 12 against Wolfsburg: their worst head-to-head record in the Bundesliga, not including FC Augsburg.
Wolfsburg have, however, only won one of their last four home games against Eintracht (2-1 on 29 March 2014) - drawing the other two and losing one.
In 13 Bundesliga encounters on Wolfsburg soil between the two, there has never been a goalless draw.
Only once have Frankfurt come away from Wolfsburg with a clean sheet (the aforementioned 2-0 win in December 2012).
Frankfurt striker Alexander Meier has scored a goal in six of his last nine games against Wolfsburg.
Wolfsburg's Naldo has scored more Bundesliga goals against Frankfurt than against any other club (five, including his one and only hat-trick back when he played for SV Werder Bremen).
Current Eintracht head coach Armin Veh was in charge of the Wolves for just seven months following Wolfsburg's 2008/09 title win.


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|The Six Most Successful Digital Marketing Service Providers Companies In Region
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Prevent Hepatitis B: Consult your doctor today
|Get vaccinated now (photo grabbed from wikinoticia)
"Have you been vaccinated for Hepatitis B? Have you been infected with Hepatitis B before and now immuned to the disease? If you are not sure with your answer, consult your doctor now and be checked for hepatitis B infection," warns Dr. Jane Campos, Liver and Gastrointestinal Disease Specialist during the general assembly of the Yellow Warriors Society in Quezon City last 18 February 2012.
"Today, there are 16 million Hepatitis B carriers. You may be the next carrier if you will not protect yourself with Hepatitis B vaccination," said Dr. Campos.
The Philippines is one of the highly endemic areas for Hepatitis B wherein 12% to 16% of the population is infected with the disease. The increasing number of infection is worsened by Hepatitis B carriers that are unaware that they may transfer the disease to family members.
"That is why it is important to visit your doctor and be checked for Hepatitis B. If you are not infected, consider yourself lucky and get hepatitis B vaccination now," emphasized Dr. Campos.
"If you are aware that you are a Hepatitis B carrier, this is a significant step – to make necessary actions. These include protecting family members against future Hepatitis B infections by consulting with experts about disease screening and undergoing medications or treatments depending on doctor's assessment to avoid complications such as liver cancer and cirrhosis," explained Dr. Campos.
"Why put yourself at risk if the disease can be prevented? Remember, prevention is far better than treatment." Dr. Campos also stressed that there is no complete cure for the disease. Although there are available medicines for treatment, it has no guarantee to cure the disease. Treatments only reduce the progression of the disease by slowing down the virus to prevent further Hepatitis B complications.
"Treatment for hepatitis B is a life-long and tedious experience. Aside from physiological discomfort in undergoing regular medications, the cost of healthcare is also a burden to patients," added Dr. Campos.
Hepatitis B vaccine, however, will cost only around Php800-1200 pesos per shot. "So get vaccinated now and be protected against the disease."
You may also like:
PCHRD advocates hepatitis B prevention's "Code Yellow" "
Knowledge on hepatitis B: Effective shield against the disease
Liver care: A healthy lifestyle for Hepatitis B patients
- Details
- Created: 28 May 2012


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text:
Plugins are external libraries written in Java. They may be incorporated into the project Dataweb to use third-party functions such as interfaces with IO devices, or other graphical components.
Plugins should be loaded as if they were External resources files. Once uploaded the files to use the classes of the plugin, you must define an installation script.
Plugins, such as Modules, can be used both server side and client side.
Before being used, Dataweb controls whether plugins are already installed or if there is a different version of themselves. In this case, through a script, Dataweb provides for the installation of plugin itself.
When installation of a plugin has started, the install event is launched . Within this event, you can manage with a script the installation of the Plugin. The parameter of this event is the object that allows loading of the library within DataWeb. The methods that can be used are:
- installFile
- installLib
- setJarFiles
installFile method allows you to download the resource files in a defined path.
InstallLib is the method that allows you to download the library files (. dll, .so ) in the java lib.
setJarFile defines what are the jar that can be used within Dataweb.
In order to use the plugin client side it is possible to use the method getPlugin of the Global Object client, while using the plugin server side we use the method getPlugin of the dbSession object . To create a new instance of a class defined within the plugin, you use the newInstance method.
Last updatedTuesday, 30 November 2010 10:43


text:
Price: $12.50
Quantity: 1 available
Tribute to Arthur Fiedler of the Boston Pops Orchestra. 120 candid photos including several from Mr. Fiedler's family album.
Title: Mr. Pops.
Categories: Music,
Publisher: Barre, MA., Barre Publishers.: 1972.
Book Condition: Very good in pictorial wrappers. Light wear to wrapper edges.
Size: 10" x 8" trade paperback. 96 pp.
Item: 1.00 Item
Seller ID: 8418


text:
Beadspoke Designs is a small Swansea based company which comprises of two parts.
The first Beadspoke designs makes a range of wooden, acrylic and slate gifts and craft items including wedding stationary. All of the finished wooden products are hand painted and detailed.
The second part of the business is BSD Hobbies which focuses on products from a range of hobbys including wargames, boardgames and model railways.


text: I'm in love with these birds. They're very beautiful and quite inquisitive. I just happened to luck out in getting them too, because I bought them from the straight run bin at Atwoods. They were much smaller than the regular straight run chicks; I and the lady in Farm and Ranch thought they might have been bantams that were accidentally mixed in. They are approximately 7 months old at this time. My pullets: One is blue and the other is white. My roosters: Black Breasted Reds


text:
On June 22, 2018, 1Worx together with Tshwane University of Technology will be launching the world's first African Industrial Internet of Things laboratory powered by PTC ThingWorx.
Appropriately named the 'Emerging Laboratory', the new Industrial Internet of Things laboratory at TUT in Soshanguve campus is designed to uplift and offer students from previously disadvantaged backgrounds the opportunity to learn and use cutting-edge IIoT solutions, to not only increase their future employability; but to also enable them to systematically utilise a variety of emerging technologies to compete aggressively both locally and globally.
From left: Thulani Mazibuko, Sizwe Mngodi and Duan Gauché
Although the lab will initially be focused on the IIoT, prospects are geared towards housing an array of emerging technologies that will propel African youth talent to greater heights.
"The idea of equipping young minds with the tools needed to create groundbreaking industrial solutions within the confines of Africa is exciting," CEO of 1Worx Duan Gauché explained. "Through PTC's IoT Ambassador Programme for ThingWorx, students will understand key concepts of IoT and how to apply them immediately to specific use cases," he continued.
As a TUT Computer Systems Engineering alumni and 1Worx Device Engineer, Thembisile Sizwe Mngadi – liaising with Thulani Mazibuko, education manager for productONE Solutions – is spearheading the Emerging Laboratory project.
"After entering the corporate world, I realised that there is a knowledge gap between what students learn as part of their curriculum versus the expectations of the workplace," says Mngadi.
"I have found that not having a clear picture of what happens after university, coupled with a lack of practical experience, often prevents computer system engineering students from thinking outside the box. I believe that this initiative will empower students to think big and beyond what they learn in textbooks thereby allowing them to do bigger and greater things", he concludes.
Event details
When: 22 June 2018
Where: CSE Lab, TUT Soshanguve campus
Time: 13h00 - 16h00
Contact: email@example.com