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|Colette Robicheau, President of Organize Anything, is a consultant and Public Speaker in Canada with an extensive background in professional organizing, project management and business development. Formally educated in the field of public relations with talents in creative services and event organization, she now directs her abilities and organizing skills to offer corporate, residential and personal organizing services. She has an attraction to the aesthetics of art and design and her management consulting and entrepreneurial spirit have given her a no-nonsense approach to project completion with the ability to deliver on budget and on schedule.
Colette is a Public Speaker in Canada and a member of the Canadian Association of Professional Speakers (CAPS) and the Professional Organizers in Canada (POC) where she serves on the national committee for National Organizing Week. Through the Canadian Redesign Association (CRDA) she has received the designation of Certified Interior Redesigner. She is also a member of the U.S. professional organizing associations National Association of Professional Organizers (NAPO) and National Study Group on Chronic Disorganization (NSGCD) where she is the first in Canada to receive a Level II CD (Chronic Disorganization) Specialist Certificate. She also has earned Level I certificates of study in Chronic disorganization (CD), Basic Mental Health Conditions, Learning Styles and Modalities, Basic ADD Issues, Physical Conditions, Client Administration and Understanding the Needs of Elderly.
Along with full event planning services, Colette, a Public Speaker in Canada, also promotes offerings in specialized areas such as conference marketing, concept and theming, speaker management and speaker liaison. Prior to opening her consulting companies Colette honed her etiquette and protocol skills in the hospitality industry serving celebrities, politicians and dignitaries and has trained at the Protocol School of Palm Beach. She created a banquet service manual for a newly opened hotel and provided training sessions in service areas such as weddings and theming for coffee services, buffet dinners and receptions. Her work as a sales representative for a local winery taught her the nuances of wine service and the pleasure of wine consumption.
While working in a modeling agency she increased her knowledge in image management and the visual aspects of creating winning first impressions. Colette has a vast array of experience in understanding and targeting for communication purposes. She has 10 years in advertising sales in the radio and television industries.
Colette has studied languages at Dalhousie University, has a Public Relations degree from Mount Saint Vincent University and has a certificate in IT services from Saint Mary's University. She is currently working on a diploma in adult education from St. Francis Xavier University and is working toward the designation of Certified Professional Co-Active Coach (CPCC). Colette is a life-long learner and remains current by attending workshops and conferences, both nationally and internationally to obtain up-to-date trends and information pertinent to her clients' needs.
She is an avid traveler and has completed a 14-week solo around the world trip among others. Her extensive travel has garnered her a broad knowledge of international culture, art and design. She has spoken on issues related to travel such as international protocol and business development, traveling solo as a female and women's issues and development in third world areas.
Colette is currently working on her first book - The Power of Three Organizing.
Organize Anything | Phone: 902.233.1577 | Email: email@example.com | Halifax Web Design by: immediac


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Decanter is one of the world's top wine publications. The Pacific Northwest is one of the world's top emerging wine regions. You would never know either based on a recent article in the magazine.
On December 12th Decanter published a 327-word article on the Pacific Northwest titled "Washington yields down, Oregon up as harvest finishes." Decanter's readers would have been best served if the article stopped there. Unfortunately, it does not.
In terms of Washington, the brief article mentions the cool growing conditions and lower sugar levels of the grapes in 2011. The article quotes a single Washington winemaker, Paul Beveridge of Wilridge Winery, with grim thoughts on the growing season - "nasty" Beveridge calls it, mentioning "pink Nebbiolo" due to what the writer refers to as "severe dilution of the grapes."
First things first. 2011 was no doubt as challenging a year as many Washington growers and winemakers had seen with some of the coolest growing conditions. How tough was it? Let's go to the source for Decanter's article to find out.
"The objective measurements of degree days and frost dates point to 2011 as the toughest year in Washington wine grape history," Paul Beveridge says. "But of course that is not to say that wonderful wines will not be made from some 2011 fruit." He goes on to add, "I noted that 2011 was a great year for warm sites, with lots of hang time and flavor development, but that comment did not make it into the Decanter summary." Indeed, and this would seem to be at odds with the thrust of the article.
Pink Nebbiolo? "My reference to Nebbiolo Rose was due to the historically low heat units on Naches Heights, not to dilution. We got exceptional concentration on Naches Heights in 2011 in the grapes that ripened fully." Given the differences between ripening and dilution, this is a significant error in the article, especially given the implications for the state as a whole.
Let me add that if you're going to quote one single individual to sum up the entire growing season in the state, it may not be the best idea to quote a winemaker with a young vineyard in one of the state's newest, coolest growing regions, not to mention a region that possesses a total of 40 out of Washington's 43,000+ planted acres of grapes! (No offense intended, of course, to Paul Beveridge, who I should note also sources grapes from other areas and has been making wine for more than 20 years.)
The bottom line if you read this Decanter article? Washington had a very bad year in 2011. What is the implication for you overseas and stateside readers? Pass on the wines. This is a disservice to the state, its growers and winemakers, and Decanter's many readers.
Interestingly, the coverage of Oregon is far rosier, with terms like "miracle" and "classic Indian Summer" and "excellent harvest." Two miracles in a row for our neighbors to the south? Miraculous! Meanwhile, Idaho was given largely neutral language.
Wait, Decanter is writing about Idaho wines?
Indeed, while Decanter devoted a scant 327 words to the Pacific Northwest, 97 of them went to Idaho (Oregon, 75; Washington, 107 excluding the two, short lead-in paragraphs). The relatively equal coverage of these areas seems curious given that Washington has more than 740 wineries, Oregon 419 as of 2010, and Idaho currently 46. If you are a Decanter reader who is unfamiliar with these growing regions, would this article make you inclined to think of them all on equal footing? Yup.
Ultimately, this article is a disservice to Decanter's readers, not because of how little it says but because so much of what it says is, at best, cursory, and at worst inaccurate. If Decanter considers itself a top-flight wine magazine that offers serious coverage of the world's wine regions, it's time to either cover the Pacific Northwest seriously or not cover it at all. What it's doing now is considerably worse.
I know. I know. Not quite in the spirit of the holidays. Sorry. For perspective, this post is two times the length of the Decanter article.
Hey Decanter: Cover the Pacific Northwest Seriously or Don't Cover It At All
Decanter is one of the world's top wine publications. The Pacific Northwest is one of the world's top emerging wine regions. You would never know either based on a recent article in the magazine.
14 comments
Duane Pemberton Says:
Good deal - I have additional coverage on the 2011 vintage with quotes from varying winemakers on it:
Here, here! Now if only your editorial could be printed in the next Decanter issue!? It is tiresome how the "wine experts" outside of our region give little time to the fabulous (& diverse) growing regions in the Pacific NW. It may be short-sighted of me, but I am busy enough tasting thru the 1,205+ wineries in this area and really don't give Californian/European wines much time at all. (Unless dragged to the Napa area for solar respite...sunshine break!)
PaulG Says:
You are spot on, Sean. Decanter briefly ran some of my articles a decade ago; then turned over their "coverage" of the Pacific NW to California-based writers with no knowledge of the region. It went downhill from there. If anyone at Decanter is paying attention they'll hire you to provide some accurate coverage. Good luck with that!
Well put Sean, growing up on the east coast (south) I know a lot of people don't fully understand what is going on out here as far as wines are concerned and look at magazines to give them some insight into the region. This article (which I did not read) seems to give the reader the wrong idea of the vintage by not giving a fuller picture of what is going around the state. While the 2011 vintage had its difficulties there were some exceptional grapes to be found and I think we will see great wines from this vintage, and some mediocre ones as well. As journalists I think these publications owe it to their readers to do a better job at researching their topics and presenting more than one angle on a vintage when what they publish has the potential to damage the reputation of many based on the verdict of a few.
Good article.
Justin Michaud
Bob Silver Says:
Sean, thanks for holding these guys accountable. This kind of half-baked reporting not only does a disservice to PNW winemakers, growers and other stakeholders, it also damages the brand reputation of an industry that is of growing importance to the state and national economy. It's easy for a reporter to focus on throw-away comments like "nasty" and "pink Nebbiolo," then cobble together a lazy story that takes those quotes out of context. It's much harder to craft a piece that accurately reflects the facts and what was said in the interview. Let's hope that your editorial helps spur Decanter to do its job in a more professional manner.
Clive Says:
There's been plenty of bad pub for Oregon this vintage as well. Maybe not from these clowns but it's been fairly rampant. This, along with the over priced subscriptions is why the major magazines will probably continue to be irrelevant for NW wine fans.
I am a big fan of Decanter, Sean, but I agree with your criticism. It is ironic that Decanter devoted an entire page in the December 2011 issue to Linda Murphy's report on Oregon wine's various political controversies, not to Oregon (or Washington) wines themselves.
Amen, dude. Noone's paying attention to the PNW over there. Their loss.
Decanter devoted the correct amount of space to a secondary market that very few people outside of the Pacific Northwest care about! Stop whining and start making better wines, and maybe the world will start to care about the area.
ibglowin Says:
Hey maybe this will be my year to get off the wait list for Cayuse and Quilceda! Keep that bad PR freight train rolling! LOL
Sean P. Sullivan Says:
Anon 2:34am, yawn. I'm fine with a short article on the area - even one that is critical of the vintage - if it is well researched, well written, and accurate. This article is none of these things.
Chris Wallace Says:
Great article Sean. You took on one of the big boys and did it as a fair fight. So much of the blogosphere is just downright nasty; it is a pleasure to read your correction of the record, and while critical of Decanter, the criticism comes across as just and even-handed.
ChefPludester Says:
Good post. Keep up the fine work & Happy Holidays.
ibglowin Says:
"start making better wines"
Now that is a hysterical statement to make. 11% of Wine Spectators top 100 wines of 2011 from all over the world were from this "secondary market" .
Washington state wines deliver 4 times the quality at 1/4 the cost of anything coming out of Napa these days.


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1822 … Sarah Bracewell was born in Cowling, West Yorkshire to parents Robert Bracewell and Leah Snowden. She is the wife of my 1st cousin 4x removed.
1848 … Elizabeth Dawson was buried at St. Anfrew's church in Kildwick, West Yorkshire. She is my 1st cousin 4x removed.
1866 … Martha Jane Paley died at Threshfield, Yorkshire. She is my 1st cousin 3x removed.
1876 … George Britcliffe and Ellen Rose married at Glentham in Lincolnshire. George is my wife's great grand uncle.


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Damn them Lions.
This year will likely be a story of we don't lose at home for the most part, and we don't win on the road for the most part.
These next two weeks are extremely vital for not only the hopes of a winning season but to stay entrenched in the playoff race. The defense is flat out embarrassed by their performance last Sunday AND by the spotlight that's been on them all week. Anyone want to bet we see the dominant #1 D from the first month show up against the Vikings?
Aros' Fearless Prediction: Seahawks 27 - Vikings 17
Aros' Fearless Record: 3-5


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2014 Mercedes-Benz S class
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The car has been widened by an inch for more interior room, but the wheelbase remains unchanged. The sedan has a larger and more upright grille, and the tail lights have been redesigned. Mercedes says the S class will be the first car with LED technology throughout -- no light bulbs. Pricing will be announced closer to launch.


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KingAragorn (Talk | contribs)
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:Thrór will be played by [[Jeffrey Thomas]].<ref name="PJCasting">{{webcite|author=[[Peter Jackson]]|articleurl=http://www.facebook.com/note.php?note_id=10150168211921558|articlename=Production begins in New Zealand on The Hobbit|dated=20-March-2011|website=[http://www.facebook.com/ Facebook]|accessed=23-Dec-2011}}</ref>
:Thrór will be played by [[Jeffrey Thomas]].<ref name="PJCasting">{{webcite|author=[[Peter Jackson]]|articleurl=http://www.facebook.com/note.php?note_id=10150168211921558|articlename=Production begins in New Zealand on The Hobbit|dated=20-March-2011|website=[http://www.facebook.com/ Facebook]|accessed=23-Dec-2011}}</ref>
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Revision as of 12:19, 8 July 2012
|Dáin I
|Physical Description
|Images of Thrór
Thrór (T.A. 2542 – 2790, lived 248 years) was King of Durin's folk for 201 years, from 2589 to 2790. He was the eldest son of Dáin I and brother of Grór and Frór.[1]
After a great Cold-drake killed both his father and brother Frór, the remaining brothers Thrór and Grór led their people away from the Grey Mountains. As Dáin's heir Thrór led many Dwarves back to Lonely Mountain in T.A. 2590[2], where he became King under the Mountain, a title held earlier by his ancestor, Thorin I. Grór continued east with a great following of Durin's folk to the Iron Hills, where he founded his own realm.[1]
King under the Mountain
At Erebor, Thrór and his people re-established the Kingdom under the Mountain and became very prosperous. Thrór brought the Arkenstone back to Erebor[1] and the hall of feasting and council, the Great Chamber of Thrór,[3] was named after him.
Thrór and his people gained the friendship of the Northmen who lived along the river Celduin. These people later founded the town of Dale and had much trade of goods, beautiful trinkets, and weapons with the Dwarves. The Dwarves of Erebor also had much traffic of ores with their kinsman in the Iron Hills and the region had peace and prosperity for many years.
In 2770[2] though their prosperity ended. The Dragon Smaug heard of the wealth of Thrór and his people. He flew south from the Ered Mithrin and sacked the Lonely Mountain, killing many Dwarves. From the destruction many escaped, the last of them being Thrór and his son Thráin from the hidden Back Door. With a small company of kin and faithful followers they made a great wandering southward, until they reached the hills of Dunland.[1]
On a Midyear's Day under a broad crescent moon, Thrór created his map of the Lonely Mountain and the Desolation of the Dragon. In addition to the readily visible features on the map, Thrór added the details about the hidden Back Door into the Mountain, written in Moon-letters for secrecy.[4]
Dunland, and the journey to Moria
In Dunland, his people tried to make a living, but twenty years[2] after the Sack of Erebor, despondent and homeless, Thrór left his people and went north with a single companion, Nár. Before leaving, Thrór gave his son Thráin II his Ring of Power, along with the map and key to the Lonely Mountain. Thrór wished to see the fabled city of his ancestors, Khazad-dûm.
Eventually they made it over the Redhorn Pass down into Azanulbizar, the Dimrill Dale. Coming to the East-gate of Moria Thrór found it open. Nár begged him to beware, but ignoring his companion Thrór walked through the gates as the heir who had returned. But he did not come back.[1]
Nár hid nearby for many days until he saw Thrór's body flung down the steps; his severed head lay face downward on the ground. As he knelt there, Nar saw branded across his forehead in Dwarvish runes the name AZOG. This Orc then threw a small purse of coins at him, calling him a beggar. Nár fled weeping down the Silverlode, while Orcs emerged and hacked Thrór's body into pieces and fed them to the crows.[1]
When Nár told Thráin what had happened, he declared war on the Orcs and called all the Seven Houses of the Dwarves together for vengeance. Nine years later in T.A. 2799[2] at the Battle of Azanulbizar, the climax of the War of the Dwarves and Orcs, the death of Thrór was avenged. Thráin took Azog's severed head, shoved the purse of coins into his mouth and then set it on a stake.[1]
|Dáin I
|Thráin II
Jim Allan has suggested that the name Thrór derives from Þrór, a dwarf from the Dvergatal. According to Allan, Þrór means "boar", deriving from a root meaning "to expand" (linking the meaning to Thrór's expanding of the "diggings and wealth of the Lonely Mountain").[5]
Portrayal in Adaptations
2003: The Hobbit (2003 video game):
- A statue of Thrór stands in the great hall of Erebor.
- Thrór will be played by Jeffrey Thomas.[6]
- ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 J.R.R. Tolkien, The Lord of the Rings, Appendix A, "Durin's Folk"
- ↑ 2.0 2.1 2.2 2.3 J.R.R. Tolkien, The Lord of the Rings, Appendix B, "The Third Age"
- ↑ J.R.R. Tolkien, The Hobbit, "Not at Home"
- ↑ J.R.R. Tolkien, The Hobbit, "A Short Rest"
- ↑ Jim Allan, "Giving of Names", in An Introduction to Elvish, p. 223
- ↑ Peter Jackson, "Production begins in New Zealand on The Hobbit" dated 20 March 2011, Facebook (accessed 23 December 2011)
House of Durin
|Preceded by:
Dáin I
|King of Durin's Folk
|Followed by:
Thráin II
Thorin I, 350 years earlier
|3rd King under the Mountain
Thorin Oakenshield,
151 years later


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This piece is from the "New Calligraphic Ornaments and Flourishes" collection by Arthur Baker.
These are the pieces referenced in the profile of Arthur Baker on in my showroom as well as other pieces from the same book. The images were originally created to be used by artists and graphic designers to incorporate in their commercial designs. When Tiffany's purchased the book for their designers to use for inspiration, they were not meant to be taken literally, but that is what happened. Once the matter with Tiffany's was resolved, it became apparent that these designs were exciting and would make beautiful pieces of jewelry – if they are good enough for Tiffany's they are good enough for all women to wear – but not at Tiffany prices!
Creating a designer line of jewelry is easier said than done – in the 25+ years that I have been exploring this project for Arthur, the hub of production of jewelry pieces in costume jewelry, Sterling Silver, and other fine metals went from Rhode Island to offshore in China, the Philippines, etc. To create samples of an entire line of designs was most daunting.
Then I found Ponoko and the creation of this entire line was made possible. We are starting in black acrylic, but we will soon be expanding to wood and hopefully some metals. The black acrylic makes an incredible statement – the pieces are very detailed and true to the images that came direct from the pen of Arthur Baker, the foremost American Calligrapher and Type Designer. Arthur personally oversees all of the pieces in this line.
Measuring approximately 2 1/2" long x 1/2" tall, in the dramatic large size or 2" long x 3/8" tall in the smaller size and 1 1/2" long x 1/4" tall in the earrings. You can choose to have it made as a pin - just remember to let me know all of your preferences when ordering or when I contact you after purchase.
Please note that these are custom created to your specifications and therefore may take about 14 days domestically or 21 days internationally for delivery, if not in stock.
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Fintech • Software
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300Local Employees
Piaggio Fast Forward
Computer Vision • Robotics
Founded in 2015 by the Piaggio Group, Piaggio Fast Forward creates lightweight, intelligent mobility solutions for people and goods. Based in Boston, MA, the company is dedicated to helping people to move better, further, faster, and more enjoyably. PFF builds products that travel with people on the move.
60Local Employees
Kensho Technologies
Big Data • Fintech
Kensho uses machine learning, artificial intelligence, natural language processing, and data visualization techniques to solve some of the hardest analytical problems for top investment organizations.
157Local Employees
Artificial Intelligence • Cloud
Founded in 2013, riskmethods offers a SaaS, cloud-based Supply Chain Risk Management solution. Our innovative data driven service uses machine learning and AI to enable companies to proactively mitigate risks in their supply chains to protect their revenue and reputation.
26Local Employees
Peapod Digital Labs
eCommerce • Food
We started Peapod 28 years ago- from Peapod V.2 on floppy disk to Peapod Digital Labs, the center of all things technology and eCommerce for Ahold Delhaize. We built amazing experiences for customers whether they're ordering online for delivery or picking up in store; our technology powers the groceries of tomorrow.
200Local Employees
Fintech • Payments
Plastiq is bill pay with benefits, enabling business owners and consumers to use a credit card for virtually any expense, even ones that normally require a check. With Plastiq, it's easier to earn credit card rewards, tap early-payment discounts, and use your cash in ways that make the most sense for you.
5Local Employees
Carbon Black
Information Technology • Security
Carbon Black is a leader in cloud endpoint protection that keeps the world safe from cyberattacks. With more than 5,600 customers—including 1/3 of the Fortune 100—the opportunities here are massive and exciting. Headquartered in Waltham, Mass., and with offices in the USA, EMEA, and APJ, our growing team now comprises more than 1,200 people.
500Local Employees
Healthtech • Software
Kyruus is focused on solving the "patient access paradox": patients being told to wait weeks/months for appointments while appointment slots simultaneously go unutilized – even at leading health systems. We are the leader in patient access technology and are helping to alleviate this supply-demand mismatch and solve truly unmet needs in healthcare....
120Local Employees


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3D printers are gaining in popularity, with uses spanning the spectrum from moon bases to firearms, but there's another area where the ability to construct complex shapes is beginning to provide benefits: getting high.
Online magazine Motherboard has published the story about the slow but inevitable rise of 3D-printed bongs. MakerBot's Thingiverse site returns almost two dozen template results when searching for "bong," all of which are downloadable in STL format and printable on tons of different 3D printers.
Common resin-based 3D printers can't create glass, so a water pipe produced from these templates wouldn't be entirely print-n-toke, but most appear to be ready to go as soon as glass pipes are added. The descriptions for many of the pipes indicate that they should be printed with PLA, which the Ice Bong creator notes "is biodegradable and poses no health risk and also has no smell."
Questions of convenience aside, the 3D printing of what could be called "drug paraphernalia" raises an interesting set of issues which parallel those raised by firearms printing. As marijuana legalization gains traction at the state level, what is the responsibility of 3D repositories like Thingiverse to police themselves? Is it "moral" to allow the storing and downloading of 3D bong templates but not firearm templates? Casual marijuana smokers consistently tout the harmlessness of the drug, but those opposed to its legalization point to the dangers of abuse; on the opposite side of that coin, firearm enthusiasts push their own hobby's safety and the dangers of restricting gun ownership. Each group may be seen by the other as somewhat hypocritical: a gun is a tool, but gun control proponents point out that guns are tools designed to kill.
Moral issues aside, 3D printing lowers barriers to construction and actually lowers far more barriers for firearm creation than for bong creation—it's a lot harder and more expensive to buy a gun than to buy a bong, and there are legal issues around gun ownership that 3D printing can circumvent. It's not illegal to purchase an "unlicensed" bong (though you might get tossed out of the head shop if you can't stop asking the clerk how high the bong will get you), but would fast access to a 3D printer and a template really encourage drug use?
From a purely practical perspective, the answer right now is "no," if only because a bong isn't necessary to use marijuana. Though 3D printing might lower the entry barrier to procuring a bong (especially if you're under 18 in the USA and can't purchase one), actually having a 3D printer itself is quite a barrier. This is reflected by the download numbers for the bong templates on Thingiverse: as Motherboard notes, the IceBong's download count of 789 isn't exactly "disruptive." But as 3D printing matures, the technology may become exactly that. Scanners and copiers today include methods to prevent them from counterfeiting currency; it's conceivable that legal mandates might spring up to encourage 3D printer manufacturers to ensure their devices don't print "illegal" or "immoral" patterns.
In other words, now would probably be a good time to get your 3D bong on, before the man steps in and harshes your mellow.


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" Return to me in 2 weeks, and also we will certainly see where this will certainly lead."
When he initially came throughout his Ameliť, she had actually been increasing heck in Chicago as well as their partnership had actually taken on a life of its very own. If just she had actually trusted him sufficient to come to him with them. When the female had actually come to Bateau declaring to be Collette's granddaughter, his Ameliť, he had actually taken her to be a counterfeit.
After placing it off for as lengthy as he might stand, he went to see her. When he neared the door, Ameliť was messing with something in the store home window. Currently that she was back in his life, he had no objective of allowing her go once again.
Armand kept in mind a comparable scenario from lengthy back. He had actually invested his time viewing the goings on at the store, snooping with the crystals. The family members background of Collette De Laurenco had actually interested him from the minute he had actually established foot in the notorious whorehouse, someplace around 1850.
Currently he sorely missed his buddy. That, nonetheless really did not take away from the individuality of his tourist attraction to Ameliť.
The Madame was holding court in the card area, rotating an internet of stories for her gents clients. The shop/brothel had not been just a location to have your carnal requirements satisfied, it was an area to tip far from fact for a minute or 2. Simply remaining in the existence of the charming Madame Collette was home entertainment sufficient for many.
Making her associate as well as functioning his method right into her life confirmed very easy sufficient. He planned no injury, for when, however simply desired to find out even more concerning the only various other cursed individual he had actually run throughout in even more than a life time. He just desired to enjoy her tale play out, yet he discovered himself really coming to like her.
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He would certainly make get in touch with, as well as he would certainly do so in a method that would certainly guarantee his success. One really did not live with numerous life times without having a method or 2 up one's sleeve.


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Alfred Newton Richards Medical Research Laboratories and David Goddard Laboratories Buildings
Commission brief: In the postwar, the desire to expand the University of Pennsylvania's medical facilities and improve the image of the University as an innovative and modern research institution prompted a large-scale building initiative. Major funding for these new projects was undertaken through the leadership of Dr. Norman H. Topping, Vice President for Medical Affairs, and he would continue to play a large role in the development of the new Medical "wing." The commission for a new building to house five different departments including "physiology, microbiology, research surger, public health, and the Johnson Foundation" (Brownlee 324), was officially approved in 1956, and G. Holmes Perkins, then Dean of the School of Fine Arts, and Sydney Martin, a University Trustee proposed two architects to design the new building. One was Louis Kahn, the other Eero Saarinen. Saarinen was ultimately given the commission of a women's dormitory (Hill House) instead, and in February 1957, Kahn was officially presented the commission by the University President Gaylord Harnwell.
Design brief: A planning committee composed of various faculty members whose departments were to share the new space was to give input on the design. The committee's own initial design plans were traditional for laboratory spaces – the standard double loaded corridor with modular bays that allowed for flexible configuration of spaces. Kahn rejected this, believing that researchers needed both physical and "psychological" contact with each other (Museum of Art Bulletin, 1961, v.28, n.1, p. 4) and instead planned for a more open, studio-like layout, and having the spaces stacked in a tower instead of being linear. Another primary concern was having proper exhaust, due to the noxious nature of research being performed. Thus the creation of "servant" and "served" spaces, with three "servant" towers with smaller exhaust stacks clustering around a "service" tower with four large air-intake ventilation stacks.
Construction history: Finished much over budget, and with tension building among faculty members over the configuration of the space which became a major source of tension between client and architect, Kahn was forced to make many compromises in design, especially in the second phase of the project. These concessions would severely affect the performance and comfort of the buildings, including elimination of shading devices and reduction of insulation, and the usage of cheaper building materials in Goddard. By the time of its completion in 1965, not only had the building size been reduced, but the exterior plaza space had been also scaled back in size.
The Richards and Goddard complex is cluster of interconnected towers, divided into "served" (the laboratory areas) and "servant spaces" (the utilities, mechanical areas, etc.). Whereas Richards had more of a "pinwheel" (Cooperman, NHL nominations draft, p. 6) type of formation, the addition of Goddard took on a more linear form. However the structural frame and stacked layout of open spaces remained key elements in the composition for both projects. The structural system which consists of an interlocking assembly of prefabricated reinforced concrete units in the form of large Vierendeel trusses, beams and H-plan columns, allowing the corner of the buildings to be "freely dissolved" (Gast, 2001, p. 60) and for a "rigorous clarity" of functional structure (Museum of Art Bulletin, 1961, v.28, n.1, p.12).
The towers are marked by exposed reinforced concrete and large steel framed windows. The masonry-clad exterior of the buildings also evokes the surrounding landscape of Cope & Stewardson's buildings. In contrast to Richards, the exterior of Goddard also is punctuated by cubic projections which articulate the interior carrel spaces.
The interior of the buildings also retains the raw the materiality of the exterior, with, for example, exposed ductwork and piping, and rough concrete surfaces showing the formwork of the poured-in-place concrete. Exposed brick was also used in Goddard. The interior of these buildings is generally considered secondary in nature to the technical aspects of the building.
Precast concrete assembly
Site occupied by several buildings which were razed for construction, including a greenhouse and the John M. MacFarlane Hall of Botany. Located on the University of Pennsylvania campus, with the southern face of the complex overlooking the BioPond (Kaskey Park). Goddard Laboratories is directly connected to Richards, which also has direct access to the John Morgan Building (1904) from its east side. Other buildings of note in the surrounding area include The Quadrangle (1895) and Leidy Laboratories (1910) built in the Collegiate Gothic style by Cope & Stewardson (which also designed the John Morgan Building).
According to the current Director for Facilities Planning and Space Management for the University, Maureen Ward, future renovations on the site seek to shift the programming of the building into the direction of 'dry' research only, since the current service facilities such as the HVAC are insufficient for modern laboratory demands (personal communication, February 26, 2010). In some cases, the concrete slabs have had to be reinforced, because the live loads of the current programmatic usage are too great on the existing infrastructure.
An important person behind one of the United States' first major precast concrete building was Kahn's structural consultant, Dr. August E. Komendant who specialized in this new type of reinforced construction method.
The result is a structural, machine-like system that is expressive of the function of the space, and allowed for a column-less space of 45' x 45' on a nine-square grid to be used for the primary studio-labs. These labs were supported on a precast concrete assembly. Major components include H-columns on the perimeter of the floor-plates instead of at the corners (which allowed for more natural light to be brought into the spaces through large plate-glass windows) and Vierendeel trusses which provided an articulate, open space for the organization and distribution of the mechanical and plumbing systems. This precast assembly was assembled floor by floor, with pretensioned beams and crossbeams secured to each other by post-tensioned cables. This new system was a step forward not only for architecture, but also for the construction industry, which had to coordinate a new system of highly-precise assembly with complicated equipment, and a new process of "mass-production" on site (Leslie, 2005, p. 115) was created.
The building project became an international symbol for the University of Pennsylvania as a modern research institution. Its solid volumetric form, seamless integration of disparate parts and materials into a monolithic sculpture, towered over its surroundings. Its novel construction methods and design, in contrast to its neighboring predecessors, reinforced the new identity and future direction that Penn and the architectural community on campus wanted to take. It was to be a premier, forward-thinking, institution.
Praised for its "moral honesty," (Architectural Record, April 1963, p. 26), structural clarity and ingenuity, the Richards and Goddard complex was a clear reaction against the International Style, defined by the thin glass membranes of the curtain wall systems exemplified by the PSFS building in Philadelphia. Although Perkins, in nominating Kahn, had desired to move the school away from the traditional Beaux-Arts style, Kahn did not discard his Beaux-arts background completely. Kahn was a long-time admirer of Classical structures like Trajan's Forum and other historical monuments such as San Gimignano , and the primal materialistic quality, geometric simplicity and symmetry reflect his training and personal experience. However, not all critics appreciated the lyrical purity and beauty of the structure, especially to those working inside, many of whom found the building to be "ugly" and unimpressive, especially from the interior. The problems of solar gain and ventilation, lack of adequate laboratory space, contributed to the criticism of the building, both at its time and even today (see article in the Daily Pennsylvanian, January 28, 2009).
Before completion of the Richards/Goddard complex, critics from around the world were already heralding the project as the vanguard of the Modern Movement and a solo exhibit in 1961 by MOMA highlighting Richards seemed to solidify not only the building's place in history, but also Kahn's. Most articles praised the technical rigor, and simultaneously ignored its interior, which could not be completely defended, especially to the scientists who had to work in the building. In spite of its numerous problems, the building was a huge step forward not only technologically and stylistically, but also conceptually in the way that psychological analysis and human connection to the building itself and to each other were explored in the design. Furthermore, the typology of the sterile research laboratory and other programs of its type, were "elevated in status" (Cooperman, NHL nominations draft, p. 35). The legacy of the building project was immediately apparent, especially in Kahn's work, where major themes of "served" and "servant" spaces and the overall tectonics of the building and material expression continued to be explored and played out to a certain degree of finesse, most notably as seen in the contemporaneous project of the Salk institute and Exeter Library. Similarly, the Richards and Goddard buildings would also continue to inspire other architects around the world such as Robert Venturi, Richard Rogers, Renzo Piano and Tadao Ando in their design processes. Also, worthy of note, is the that the Richards and Goddard building is the first of Kahn's buildings to be named a National Historic Landmark, despite not having met the requisite 50 years generally required to be considered.
Anon. "Logic and Art in Precast Concrete: Medical Research Laboratory, University of Pennsylvania, Philadelphia, PA," Architectural Record, v. 126, no. 3, September 1959, pp. 233-238.
Scully, Vincent, "The Precisionist Strain in American Architecture." Art in America, v. 48, no. 8, 1960, pp. 46-53.
Anon. "A Theory for the Future," Architectural Forum 112:1, January 1960, pp. 138-140.
- - - -. "Form Evokes Function," Time 75, no. 23, June 6, 1960, p. 76.
Fitch, James Marston, "A Building of Rugged Fundamentals," Architectural Forum, July 1960, v. 113, n.1, pp. 82-87.
Anon. "Art Serves Science," Architectural Record, v. 128, August 1960, pp. 149-156.
Wilder, Green, "Louis I. Kahn, Architect, Alfred Newton Richards Building, University of Pennsylvania, Philadelphia, 1958-1960," Museum of Modern Art Bulletin, 1961, v. 28, n. 1, pp. 3-23.
Huxtable, Ada Louise, "In Philadelphia, An Architect," New York Times, June 11, 1961.
"Medical Research Buildings," Arts and Architecture, August 1961, v. 78, pp. 14-17, 28.
Banham, Reyner. "On Trial 1: The Situation: What Architecture of Technology?" Architectural Review v. 131, no. 780, February 1962, pp. 97-99.
Dixon, John Morris and James T. Burns, Jr., "Kahn's Second Phase at Pennsylvania; New Biology Building," Progressive Architecture 45, no. 9, September 1964, pp. 208-13.
Cooperman, Emily T. "National Historic Landmark Nominations Form," May 2008.
Scully, Vincent, Louis I. Kahn, New York: George Braziller, 1962.
Giurgola, Romaldo and Jaimini Mehta, Louis I. Kahn, Boulder, CO, Westview Press, 1975.
Latour, Alessandra, ed., Louis I. Kahn: l'uomo, il maestro, Roma: Kappa, 1986.
Ronner, Heinz and Sharad Jhaveri, Louis I. Kahn: Complete Work, 1935-1974, Basel, Birkhauser Verlag, 1987.
Latour, Alessandra, ed, Louis I. Kahn: Writings, Lectures, Interviews, New York, Rizzoli International Publications, 1991.
Brownlee, David and David G. De Long, Louis I. Kahn: In the Realm of Architecture, New York, Rizzoli International Publications, Inc., 1991.
Klaus-Peter Gast, Louis I. Kahn, Boston, Massachusetts, Birkhauser Verlag, 1999.
McCarter, Robert, Louis I. Kahn, New York, Phaidon Press, 2003.
Leslie, Thomas, Louis I. Kahn: Building Art, Building Science, New York, George Braziller, 2005.
Rosa, Joseph, Louis I. Kahn, 1901-1974: Enlightened Space, Koln, Taschen, 2006.
Wiseman, Carter, Louis I. Kahn: Beyond Time and Style, New York, W.W. Norton, 2007.
"My Architect: A Son's Journey" / a film by Nathaniel Kahn. New York Video, 2005.


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Guest Blogger
Mobile marketing tips in a heads-down culture
We use the term "heads-down culture" to describe our society and how our media and data consumption has increased so much that our heads are constantly looking down at our mobile devices. Here are our best tips for marketers and brands to take advantage of the heads-down culture with their mobile marketing: Mobile sites, then apps Don't skip the basics – most brands need to get their own house (site) in order before they start developing mobile apps. Don't let the app craze create a bright, shiny distraction for you. As a company, get your site in mobile shape first. Mobile e-mail testing This is another straightforward one. When's the last time you tested your mass e-mail program with various device screens and e-mail clients? Do this periodically to identify any flaws or oversights that may appear screen-to-screen. Location establishment Claim your location with geo-location tools such as Facebook Places and Foursquare to avoid incorrect information floating around. While you're at it, make sure your Google Places information is up to date (don't worry, this service is free of charge). Mobile-ready promotions If you're publishing electronic coupons, make sure they're sized well for mobile devices so they can be read and/or scanned if you have an attached barcode. QR codes Be familiar with QR (quick response) codes and use them on offline material (packaging, business cards, brochures) and make sure that once scanned on a mobile device, they go to a useful, trackable link that is optimized to be viewed on a mobile device. Mobile-ready short-form video When publishing video to your website, ensure that it can be easily viewed and quickly downloaded on a smartphone. The "always on" effect that mobile enables Due to accessibility, mobile is enabling constant connection to the Internet regardless of the consumer's location. As a result, there are more comments, questions and mentions of your brand 24/7, 365 days of the year, which may warrant a response from you. Your consumers are "always on" and your brand needs to be too. The changing mobile landscape The evolution of mobile is happening at lightning speed. There are new devices, screen sizes, mobile browsers and tools every time you put your head down. Be aware of these and observe how your brand might utilize them for your audience.


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Boston Avenue United Methodist Church
U.S. National Register of Historic Places, August 31, 1978
U.S. National Historic Landmark, 1999
New building commissioned to meet the growing needs of the existing Boston Avenue Methodist-Episcopal Church - South congregation. The congregation had been founded in 1893 in Tulsa. It purchased land at the site of the building in 1906, and constructed a larger church, which the congregation had outgrown by the 1920s, leading to the launch of a new building campaign in 1924.
1926: Building committee consults Adah Robinson, art teacher at a local school and for the church's education programs, who offered to devise a design with the architect of her choosing: Bruce Goff of Rush, Endacott & Rush.
June 26, 1926: Church contracts with Rush, Endacott & Rush.
May 16, 1927: Groundbreaking
June 9, 1929: official opening
Statuary by Robert Garrison, another former student of Robinson's.
1965: Children's Building added
1993: additional land purchased for parking
1993: new mosiacs added to the Great Hall
2000: Columbarium added
2002: Jubilee Center multipurpose facility added
2004: land purchased and landscaped for an adjacent church park
Boston Avenue United Methodist Church is a religious facility whose most prominent feature from afar is its 14-story office and bell tower (258 feet tall), which is adjoined to the circular, 1,800-seat sanctuary. Attached to the rear (east) of the sanctuary is a vaulted-ceiling "Great Hall" or "Social Lobby," used for special religious services and social functions. To the east of the hall is an education wing.
The exterior is characterized by stepped and angled vertical lines, terminating in abstracted Gothic motifs, ribbing and crenellations, reflecting the young Goff's interest in Art Deco and particularly the work of Eliel Saarinen. Scultpures represent religious figures, including figures in Methodist church history, and flowers native to the area. The tower is topped by a sharply angular metal and glass sculptural element that Robinson said represented hands
raised up and outstretched in prayer.
The Boston Avenue Methodist Church was built on a site occupied by the congregation in a predecessor building since 1906 at the southern edge of Tulsa's commercial downtown. Boston Avenue, running from the heart of downtown, changes course at the site, and the location of the tower and the facade makes them an emphatic terminus to the avenue, from far or near. The placement of the round sanctuary exterior takes advantage of the open space surrounding it at the intersection of three streets.
Histories indicate that the height of the tower was a response to the desire of members of the building committee that it be taller than the spires of the nearby Holy Family Cathedral (Roman Catholic).
The steel-framed building is clad in Indiana limestone, with terra cotta spandrels and extensive detailing in metal (copper), terra cotta and glass. It was constructed by W.S. Bellows Corp. of Houston, Texas.
The Boston Avenue church is notable for the significant planning for social and educational facilities in addition to the worship space, indicative of the extensive social functions that the prosperous congregation saw itself as carrying out.
Boston Avenue Methodist Church has been widely noted since its construction as a bold innovation in the use of modern architecture in a church. Writing in Western Architect in 1929, sculptor Alfonso Iannelli hailed it as a "voice of the Twentieth Century," and the following year, critic and advocate of modernism Sheldon Cheney called it "the most provocative American example of different church building." It is not merely the novelty of the use of Art Deco in a church, but, its use to create a remarkable unity of design bearing a spiritual message. Robinson, a Quaker, reportedly undertook an exhaustive study of Methodist history, tenets, and corresponding symbolism, which is embedded in small-scale detail work as well as in the overall massing: atop the soaring thrust of the tower, copper and glass finials represent, according to Robinson, "open" praying hands, "confident of the receptivity of Divine Grace."
Even as the design harnesses modern styles to express traditional religious principles, it also introduces modern ideas of religious life. Goff later recalled that having a circular sanctuaryat the time was considered "irreligious" and "sinful," apparently for making a priority of the comfort and convenience of the congregant, as opposed to sitting in "hard pews" with a poor view. (The circular sanctuary was also an idea he acknowledged deriving from Louis Sullivan's St. Paul's Chapel in Cedar Rapids, Iowa.) Goff said the same applied to having a driveway leading up to the entrance, as the church dies.
Neo-Gothic decor, and a more abstracted echo of Gothic in Art Deco was, through the work of Goff as well as others, already a marked feature of the architecture, particularly downtown, of Tulsa, a young city that grew rapidly as an oil boom town in the 1920s. The design of the church built on and amplified this local architectural identity. Perhaps none of the city's downtown towers is so immediately and distantly recognizable, save the 52-story BOK Tower by Minoru Yamasaki.
In fact, the incorporation of what is essentially a skyscraper itself into the religious program of the church is itself a striking innovation of this church. The commercial skyscraper was by this time emerging as the signature form of modern architecture, and the prime vehicle of architectural prestige. With its use of the tower, the Boston Avenue United Methodist Church claimed these developments for religious architecture.
The building was also a critical achievement in the early career of Bruce Goff. It was his biggest commission to date, and the first to attract major national, and international, comment, including a feature in Architectural Record in 1929. With its undulating vertical lines and intricate angular details, applied at all scales, it was a grand platform for visual themes that Goff would continue to elaborate on and vary for decades to come.
Boston Avenue United Methodist Church is one of two Methodist churches in downtown Tulsa, owing to a mid-19th century split in Methodism in the U.S. into northern and southern churches over the issue of slavery. The Methodist Episcopal Church-South, to which the Boston Avenue congregation belonged, had split off in protest over disciplinary action taken against a bishop for owning slaves. The two conferences were reunited in 1939.
The church was placed on the National Register of Historic Places in 1978.
Boston Avenue United Methodist Church is a major, innovative example of the thoughtful application of modern design to meet the practical needs and spiritual ideals of an American religious congregation. It is one of the most prominent and substantial buildings composing the Art Deco architectural heritage that defined Tulsa's growth into a sizeable city, and an outstanding example among all U.S. Art Deco architecture for its thorough and unified design. It is a seminal work by, and one of the most substantial standing projects of, architect Bruce Goff.
"The Boston Avenue Methodist-Episcopal Church, South, Tulsa, Oklahoma," Architectural Record 66 (December 1929), pp. 519-26.
Cook, Jeffrey. The Architecture of Bruce Goff. St. Albans, Hertfordshire: Crosby Lockwood Staples, 1978.
De Long, David G. Bruce Goff: Toward Absolute Architecture. Cambridge, Mass.: The MIT Press, 1988.
De Long, David Gilson. The Architecture of Bruce Goff: Buildings and Projects 1916-1977. New York & London: Garland Publishing Inc., 1966.
Iannelli, Alphonso, "The Boston Avenue Methodist Church, of Tulsa, Oklahoma," Western Architect 38 (October 1929), pp. 173-74, 190.
Welch, Philip B., ed. Goff on Goff. Norman, Okla.: University of Oklahoma Press, 1996.
Tulsa Art Deco. Tulsa Foundation for Architecture, 2001.
"Boston Avenue Methodist Church," National Register of Historic Places Inventory-Nomination Form, 1978.
"Boston Avenue Church Controversy Lives," Tulsa World, Feb. 29, 1996
"Aspiring Avenue Church Remains Unique," Tulsa World, July 24, 1996
Oklahoma Historical Society, "Robinson, Ada Matilda (1882-1962)," Encyclopedia of Oklahoma History & Culture, 2007 , accessed April 30, 2012.
Boston Avenue United Methodist Church website: http://bostonavenue.org/tour.html


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A Longmont man whose 2009 conviction in the 1987 murder of his ex-wife was overturned in February is scheduled for a retrial in the new year.
The Colorado Supreme Court earlier this month declined to overturn an appeals court decision that overturned Kevin Elmarr's murder conviction and returned the case to Boulder's district courts fore reconsideration. The appeals court ruled that the original trial judge — now-retired Boulder District Judge James C. Klein — erred by ruling that evidence pointing to two alternative suspects was inadmissible at Elmarr's trial.
Boulder District Attorney Stan Garnett said his office reviewed the evidence and determined that Elmarr should be prosecuted in Carol Murphy's murder and set a new trial to begin Feb. 10, 2014.
"We will always re-evaluated the evidence to determine whether it meets the ethical standards to take a case for trial," he said.
Elmarr, who remained in prison while his case was under appeal, will be transferred back to Boulder County for new court proceedings.
Elmarr's case is one of several notable cold cases that were brought to trial as DNA technology advanced and has been increasingly used to prosecute older cases. A Boulder County jury heard the case in 2009 in Murphy's 1987 death. Elmarr was a suspect after her body was found, but he was not arrested until 2007 after a re-examination of case evidence revealed his DNA in samples collected from Murphy's body.
Prosecutors argued in 2009 that a tumultuous divorce and ongoing legal entanglements over the couple's two children motivated him to kill Murphy.
Hikers found her nude body facedown near a trail in Left Hand Canyon on May 23, 1987. Investigators determined she had been strangled and her throat was cut. Witnesses testified at the 2009 trial that Murphy and Elmarr had planned an outing to the mountains on May 22, 1987. Some testified they saw them leave together on his distinctly colored yellow motorcycle, which other witnesses recalled seeing parked near the area where Murphy's body was found.
Defense witnesses, however, told jurors that they either saw or heard from Murphy the evening of May 22, hours after investigators and prosecutors believe she was killed. They also testified about Murphy's sex life with multiple partners, specifically pointing to one of her lovers as a possible suspect.
Elmarr served as a volunteer rescuer for the Longmont Emergency Unit, or LEU, which meant he often worked alongside Boulder County Sheriff's investigators who suspected him in Murphy's murder.
After the appeals court issued its ruling, Garnett said he was disappointed because it takes a lot of work and resources to take a cold case to trial. He said on Friday that he could not comment specifically on the evidence in the Elmarr case, but his staff is preparing to take it to another Boulder County jury.
Pierrette J. Shields can be reached at 303-684-5273 or at firstname.lastname@example.com.


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Item Description
Letter, W. F. M. Arny to Dear Sir [Thaddeus Hyatt]
Author: Arny, W F. M. (William Frederick Milton), 1813-1881
Date: October 23, 1856
W. F. M. Arny, an agent of the National Kansas Committee, wrote this letter to Thaddeus Hyatt while traveling on the Missouri River. The main focus of this letter revolved around committee business and the state of affairs in Kansas. During this visit to Kansas, Arny had reorganized the Kansas Central Committee in order to increase its efficiency, and he included in this letter a revised list of its officers and members. He also wrote about his conversation with Governor Geary concerning the various volunteer companies created by free state men. The letter ends with a brief description of the suffering of the settlers, their meager diet, and their desperate need for more provisions.
Location of Original: KSHS Call Number: Thaddeus Hyatt Collection, #401, Box 1, Folder 4
Item Number: 101451 Number of images: 6
Keywords: Arny, W. F. M. (William Frederick Milton), 1813-1881; Border ruffians; Buchanan, James, 1791-1868; Chicago, Illinois; Clothing and dress; Economic conditions; Eldridge, Shalor Winchell, 1816-1899; Election, Presidential, 1856; Firearms; Food; Free state militia; Free state perspective; Geary, John White, 1819-1873; Guns; Hyatt, Thaddeus; Illness; Kansas Central Committee; Lawrence, Kansas Territory; Money; National Kansas Committee; Relief; Relief funds; Sickness (see Illness); Topeka, Kansas; Violence; Weapons (see also Guns)
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Newport News Events, Coupons, Reviews!
Newport News Events, Coupons, Reviews!
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Encase is an all-in-one computer forensics suite from Guidance Software Inc.
File Format
Perhaps the de facto standard for forensic analyses in law enforcement, Guidance Software's EnCase Forensic encase} uses a proprietary format for images, reportedly based on ASR Data's Expert Witness Compression Format. EnCase's Evidence File .E01) format contains a physical bitstream of an acquired disk, prefixed with a '"Case Info" header, interlaced with CRCs for every block of 64 sectors~(32 KB), and followed by a footer containing an MD5 hash for the entire bitstream. Contained in the header are the date and time of acquisition, an examiner's name, notes on the acquisition, and an optional password; the header concludes with its own CRC.
Encase can store media dat into multiple evidence files, which are called segment files. Each segment file consist of multiple sections. Each section consist of a section start definition. This contains a section type.
At least from Encase 3 the case info header is contained in the "header" section, which is defined twice within the file and contain the same information.
With Encase 4 an additional "header2" section was added. The "header" section now appears only once, but the new "header2" section twice.
Version 3 of The Encase F introduced an "error2" sections that it uses to record the location and number of bad sector chunks. The way it handles the sections it can't read is that those areas are filled with zero. Then Encase displays to the user the areas that could not be read when the image was acquired. The granularity of unreadable chunks appears to be 32K.
Within Encase 5 the amount of sectors per block (chunk) can vary.
Encase from at least in version 3, 4 and 5 can hash the data of the media it acquires. It does this by calculating a MD5 hash of the original media data and adds a hash section to the last of the segment files.
File Systems Understood
File Search Facilities
Historical Reconstruction
Can it build timelines and search by creation date?
Searching Abilities
Can it search? Does it build an index? Can it focus on file types or particular kinds of metadata?
Hash Databases
Encase uses MD5 hashes and uses a proprietary file format to store them. It can also import hashes from the NSRL, Hashkeeper, and plain MD5 files.
Evidence Collection Features
Can it sign files? Does it keep an audit log?
Originally written in (YEAR), it has now developed into a Forensic Edition and an Enterprise Edition.
License Notes
Is it commercial or open source? Are there other licensing options?
External Links
EnCase Homepage - http://www.guidancesoftware.com/lawenforcement/ef_index.asp


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Free Table Topper Patterns
Dress a table or dresser with one of these table toppers--from traditional color palettes that will fit any decor to bright designs that will add a punch of color to a room.
Table Manners
Nine-Patch blocks —made up of Four-Patch units and squares— are set on point across a Cheddar print field to create a geometric treat for the eye.
Batik Triangles Table Topper
Mitered corners in the border and binding echo the miter look of the triangle blocks in this sparkling batik table topper.
Summer Days Table Topper
Bright print squares alternate with Four-Patch blocks in a cheerful tablerunner.
Country Kaleidoscope
Classic florals in blue, yellow, and cream spin across the center of a table topper.
Sunny Side Up
Watch new shapes emerge when you cleverly arrange light and dark fabrics to create an optical illusion.
Subtle Stars
Delicate stars in understated purple and blue prints shine against a scrappy neutral background.
Lively Batik Table Topper
Batiks in both primary and secondary colors combine to create a vibrant table topper.
Star of the Table
Orange stars shine between gray hexagons in an asymmetrical table topper.
Autumn Harvest
Fall-color triangles dart this way and that across the warm, seasonal table topper.
Paisley to Please
A long-time decorating favorite, the paisley pattern is back with updated flair. Show off hand or machine quilting once the simple piecing and appliqué are done.
Patriotic Sparkler
Choose red, white, and blue prints sporting flag, star, and sparkler designs to turn this table topper into a patriotic delight.
Tiny Treasures
An X marks the spot on this table topper, where Four-Patch blocks and X blocks form a large overall X. Sea blues and sandy tans contrast perfectly with pops of red and orange.
Americana Rose
Miter the corners of a scalloped border print, create a handful of Sawtooth Stars, and you'll enjoy a quilted version of a cheerful vintage tablecloth.
Fall Mix
Mix batiks and solids in a simple quilt that makes an eye-catching fall table topper.
Winter Plaids
Keep a little one warm with a flannel quilt that celebrates plaids!
Harvest Table
Using an abundance of prints in fall hues, whip up a Log Cabin table topper that has a Straight Furrows setting.
Peekaboo Patterns
Seemingly mismatched prints come together beautifully in this table topper. In the Pinwheel units, bright fabrics peek through a solid background.
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Capture new spring blooms in this freezer-paper-applique table topper.
Button Blooms
Celebrate the flowers of May with a table topper. Large rickrack is a creative touch, while a sprinkling of pink buttons adds texture.
Floral Delight Table Topper
Showcase four panel print squares amid setting triangles embellished with blanket-stitched curved pieces.
Columns are Color
Columns of bright prints stand out against darker prints for a dramatic quilt. Black squares in the centers of the columns give the columns a braided look.
Wheel of Fortune
A scrappy circle composed of a variety of blues and greens is the standout of this project. A fun border of smaller spheres and arches continues the rounded motif for a table topper with a whimsical look.
Autumn Prairie Points Table Topper
Make an autumn-inspired table topper fit for a nature lover. The prairie points reinforce the fern fronds in the predominant print.
Batik Courthouse Steps
Sew Courthouse Steps blocks using purple batiks. For striking contrast between blocks, use dark strips for all sides of the B blocks.
Squares and Stars Tabletop Quilt
Alternate blocks to create the illusion of squares set on point. If you want the blocks to stand out, choose complementary colors for blocks A and B.
Scrappy Strip-Pieced Squares
If you're hooked on the look of crochet, here's how to get it with fabric rather than yarn. Craft each scrappy block from strip-pieced squares in six 1930s reproduction prints.
Crisscross Table Topper
Electrify your table with a bright table topper. The solid outer border has the illusion of piecing, thanks to a fabric made up of multiple "print" squares.
Harvest Table Topper
The warm colors in this table topper celebrate autumn's bounty. Wild Goose Chase blocks alternate with 10-1/2" squares cut from a cornucopia print. A border print fabric of fall fruits makes an ideal outer border.
Easy Squares Table Topper
Four-Patch blocks, setting squares, and rectangles are all you need to make an easy-to-piece table topper.
Scrappy Nine-Patch Quilt
Nine-patch and triangle-squares are the perfect combination for this tabletop quilt.
Fresh Four-Patch Table Topper
Four-Patch blocks and setting squares team up for a fabulous table topper.
Vive la French Country
A tablecloth lends elegance to any outdoor setting. On this inviting tablecloth, charming yellow and blue prints march around a border that looks like French tiles.
Autumn Appliqué Table Topper
Here, appliqués in rich colors hold their own against a prominent gold-and-red homespun background.
Scrappy Kaleidoscope Table Topper
An unlikely plaid creates an abstract circular illusion around the center Kaleidoscope block. Chose high-contrast prints for the asymmetrical borders to give your quilt a scrappy quality.
Pink Flower Table Topper
Are you new to appliqué and want to start out small before committing to a whole project? Make this one-block table topper.
Autumn Batik Table Topper
If combining colors is a challenge for you, turn to Mother Nature for inspiration. Batik fabrics in a variety of autumn colors, patterns, and textures are assembled into a square table topper.
Four-Pointed Star Chain
Create an Irish Chain effect with careful placement of the squares in the five star and four 25-Patch blocks. A two-color checkerboard border provides a neat frame to the table topper.
Irish Chain Table Topper
Showcase your fussy-cutting skills in a striking table topper. Select high-contrasting, strong colors to create a graphic quilt.
Salute to Stars
It's easy to make this quilt bigger or smaller by adding blocks to or subtracting blocks from each row.
Mini Sawtooth Stars
Make 3"-square Sawtooth Star blocks using a traditional piecing method or the foundation-piecing pattern.
Square-in-a-Square Table Topper
Surround foundation-pieced Square-in-a-Square units with inner and outer borders.