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This CPD covers curtain walling systems, including the types available, their assembly, installation and testing
This CPD is sponsored by Comar Architectural Aluminium Systems. Comar is part of The Parkside Group, comprising four brands - Comar, Alu-Timber, Duco, and Axim - they design, manufacture and deliver
facades. Visit www.comar-alu.co.uk
Part 1: Curtain walling types
There are four main types of curtain walling system: ladder, stick, unitised and structural glazing.
In ladder systems the frames are made up as individual ladders in the factory and fixed together and glazed on site. Height limitations make this system best suited for low rise.
Stick systems are the most popular and cost-effective. Individual mullion and transom pieces are assembled and glazed in situ.
The structural glazing system is similar to the stick system.
Unitised systems are completely assembled in the factory, including glazing or infill panels, before the curtain walling is brought to site. This allows the building to be made weathertight quickly.
Part 2: Assembly
The process of installing stick system curtain walling is begun by constructing the vertical mullions.
The horizontal transoms are then secured to this structure, and these are followed by internal gaskets, which hold the infill panels.
Correct installation of the gaskets is important,because they act as the barrier which keeps out both wind and rain.
Having installed the gaskets, the thermal barrier is added, and following that, the glazing or infill panels, which are secured by pressure plates.
The curtain walling assembly is then finished off with a capping to achieve the desired aesthetic.
Part 3: Design calculations
Calculations in accordance with BS EN 13830 have to be carried out to ensure that the curtain walling will be strong enough to accommodate the wind loadings to which it will be subjected.
The vertical loads imposed by the weight of the system will also have to be calculated. This includes the glass, infill panels, mullions and transoms. It is within this calculation that the dead load for any solar shading should be taken into account.
Deflection in three directions will also need to be considered. It is important to choose mullions and transoms which are able to deflect under the load of forces acting upon the system and are strong enough to sustain this.
Part 4: Drainage
There are a number of ways by which rainwater can penetrate the fabric of a building. Kinetic energy can drive rainwater through the sealed joints of the system and surface tension can cause water to adhere to, and move across surfaces. Water ingress can be prevented through correct drainage and detailing.
Wind pressure can force water into the structure. Pressure equalisation can be used to combat this. The cavity between the outer face of the curtain walling and the inner seals of the glazing is ventilated naturally to prevent a build-up of water. Small amounts of water are allowed to percolate into this area and will run out again in a controlled way through slots designed for this purpose.
Part 5: Movement
The method of controlling structural movement within the curtain walling system needs to be considered. Too great a movement within the structure can result in the breakdown of seals, leading to the curtain walling system failing.
Movement can occur through lateral shifts within the building, through thermal expansion or shrinkage, and through heat build-up within the curtain walling.
This movement is accommodated by the use of slotted holes within the brackets that fix the curtain wall to the structure, and through expansion joints at each mullion. The tolerance for temperature change and all structural movement needs to be allowed for within the construction movement joint.
Part 6: Procurement
The procurement of curtain walling should always involve suppliers from an early stage. They will need to ensure that what has been designed is practical and feasible.
Non-standard components will lead to longer lead-in times.
In order to accommodate heat gain and light control requirements, the glass supplier will also need to be consulted at an early stage.
There is often a discrepancy between the building and the drawings at the construction stage and dimensions should be checked before installation of the curtain walling proceeds. BS5606:1990 accepts that in any production process dimensional deviations are inevitable.
Part 7: Installation and safety
Initially the subcontractors will install the brackets to hold the curtain walling to the structure. Once these brackets are in place, the mullions can be fixed, along with prepositioned brackets to accept the transoms. After the mullions and transoms are in place the glass can be installed.
The contractor is required to comply with the Health and Safety at Work Act 1974. A safe method of erecting the system must be provided.
Glass can be the most vulnerable and dangerous construction material on site, and special provisions for handling it should be made. The glazing should be stored in racks in such a way as to allow water to drain from its surface. Prior to installation, seals should not be subjected to direct sunlight, which can cause degradation and failure.
Part 8: Testing and standards
There are various British and European Standards that curtain walling is tested and constructed to.
The Centre for Window and Cladding Technology's Standard and Guide to Good Practice for Curtain Walling has become the handbook for UK curtain walling practice.
There are major testing sites for curtain walling in the UK, where systems are tested for air permeability, water tightness and penetration, wind resistance and thermal cycling.
Taywood Engineering is one of the approved bodies for full-scale testing of proposed cladding systems.
Each testing rig consists of a 10m-high open-fronted box, with steel beams to represent floorplates.
The curtain wall is fixed to this structure and sealed. Water is then sprayed on to simulate rainfall, and a specially constructed fan directs blasts of air onto the system, simulating wind speeds of up to 370km/hr.
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I'm amazed that I'm still shocked by the disdain that some people display to those sharing the road with them. You would think I'd be used to it by now. A driver doesn't yield to a guy crossing the street by Lincoln Park. The car get stuck behind another one and idles on top of the crosswalk markings. The guy crosses the street behind the car, then flips off the offending driver, casually. The driver returns fire, flipping off the guy crossing the street. Guys, it's like 8 AM on the first day back from work after a long weekend. Such negativity really has a way of polluting my own attitude and that might have been why I said, mostly under my breath, "No turns, you fuck" to a guy who made a left across the bike lane on Pennsylvania and 14th. Or maybe I would've done that anyway. Maybe I shouldn't have been upset and maybe he just missed the sign that told him that it was illegal to turn left. But, here's the thing about my being hard on drivers: I have to assume that they're being willfully negligent because the alternative, that they're just not paying any attention whatsoever, is vastly more unpalatable idea that scares me far, far worse. And on that happy note, I will suddenly segue with a picture of a Canadian toy poodle wearing pearls and a straw hat.
The now famous Pennsylvania Avenue cycle track is back to normal, with the exception of the blue stripe, which remains, and piles of asphalt, hastily removed to reinstall the traffic lights.
|I like the blue stripe
For some of the ride, I rode behind a woman on a beautiful Pashley and for other parts of the ride, I rode behind a man in a cycling jersey that had on it images of sunflowers. There was a lot of bike traffic today and far more than I expected given the temperatures. A cadre of four of us set off from the White House plaza and rode down the western side of Pennsylvania Avenue, where at least two of us turned right at 20th and then I did the jerk thing where I stopped in the middle of the L Street Cycle Track to take a picture of a delivery driver who did the jerk thing of parking in it.
The President and the Vice President were attending something at the National Cathedral this morning and police vehicles were gathering to take their places along Massachusetts Avenue. I was well at work before the motorcade passed. I'm amazed at the unwillingness of some drivers to make way for emergency vehicles, though I am at least a little happy that they don't take immediate evasive action to pull over and crash into me. I think there's a probably happy medium.
I arrived at work very cold, as previously mentioned. I don't think I'm looking forward to revisiting the cold on my ride home, but at least I'll better be able to manage expectations. Long weekends are rough.

subset: commoncrawl


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King describes the work as his "most raw" writing, and having "a surprising power to hurt and horrify". Carrie herself is heavily based on a composite of two girls King knew during his time in school in Maine. Though the novel was thrown into the thrash due to...
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Context John Coffey is a Stephen King character, appearing in The Green Mile. Living in Great Depression America, he is a strange man with supernatural powers – perhaps some sort of angel. Appearing as a hulking Black transient, he is soon condemned for a crime he did not commit. A...
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Background Real Name: Charlene "Charlie" Roberta McGee. Marital Status: Single. Known Relatives: Andrew McGee (father, deceased), Vicky Tomlinson McGee (mother, deceased). Group Affiliation: None. Base Of Operations: New York City. Height: 4' 6" Weight: 76 lbs. Age:...
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Context The Shining was Stephen King's third novel, and a key step in establishing him as the biggest horror writer there is. It was adapted as a very successful, highly regarded movie in 1980 (though King himself was apparently lukewarm about the changes to the story). The Shining is...


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This is a farewell of sorts. In 2010 I don't plan to write much here at www.nezmar.com and have already been slowing my pace. I have some new projects to develop and grow and also I'd like to clean up my online output a bit.
This means that, yes, I will keep on writing new stuff in english but you will find it elsewhere.
Where, you ask? Well, it's at NicolaDAgostino.net (don't you just love tags?), listed together with my other pieces in english that already appear on Stories of Apple and sometimes even on MusicBlob.
See you there.


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Eli Dart was the son of Eugene and Josephine Dart nee Hermans. He was the 11th of 12 known children and was born on September 21, 1894 in Wisconsin. He enlisted in the Army during World War I on March 28, 1918 and was discharged on September 5, 1919. Shortly thereafter he married Edith (last name unknown) on November 11, 1919, and died on February 21, 1982. Edith was born on July 10, 1899 in Wisconsin and died in October 13, 1981. They are buried in the Shrine of the Good Shepherd in Green Bay, Wisconsin.
"Wed 50 Years - Mr. and Mrs. Eli Dart, Rt. 3, Luxemburg, recently observed their 50th wedding anniversary. They were married Nov. 11, 1919 at Tonet and have one daughter, two grandchildren and five great-grandchildren."
The clipping was passed on to me by my mother-in-law and was hand-dated 1969. There is no publication information for the clipping, but it was most likely from the local Green Bay newspaper the Press-Gazette.


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The lack of defined boundaries for spectators and photographers only contributes to the outlaw lore that surrounds the Baja 1000. Although spectator deaths certainly occur on and around the course, they are not usually a result of people lying in the middle of the course. As you can see from this video footage, that is exactly what one amateur photographer decided to do at this year's race.
Not nearly as crazy as the choice to lie on the ground with your point and shoot in the middle of an active race course but still pretty out there is the first driver's decision to jump over the rogue cameraman. From the actions of the second driver this guy comes in contact with, we have to assume he was visible from a distance.
Sure, part of racing at Baja is doing your best to deal with the uncontrolled environment that surrounds the race course, but we can't imagine jumping over some madman in the middle of the race course is the most prudent decision. Of course, neither is positioning yourself on the ground in the middle of an active race course.


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Committee Membership Information
Study Title:
Safety Culture in Academic Laboratories
Primary Board:
Study Director:
Dr. H. Holden Thorp
- (Chair)
Washington University in St. Louis
Holden Thorp obtained his B.S. in chemistry from UNC-Chapel Hill in 1986, his PhD in chemistry from Caltech in 1989, and was a postdoctoral associate at Yale University. He came back to UNC-Chapel Hill as assistant professor in 1993. In July 2008, he became the 10th chancellor of UNC-Chapel Hill. On July 1, 2013, he became the provost, executive vice chancellor for academic affairs, and distinguished professor of chemistry and medicine at Washington University in St. Louis. Dr. Thorp serves on the national Commission on Higher Education Attainment, which was created by the six presidentially based higher education associations to chart a course for improving college retention and attainment and, in turn, restoring the nation's higher education preeminence. He is also on the national Homeland Security Academic Advisory Council. Under Thorp's leadership, UNC launched "Innovate@Carolina: Important Ideas for a Better World," a roadmap for innovation in science, business, medicine, nonprofits and academia. He serves on the president's National Advisory Council on Innovation and Entrepreneurship, which held its first national forum in Chapel Hill, and co-authored "Engines of Innovation -- The Entrepreneurial University in the 21st Century," a UNC Press book that makes the case for the pivotal role of research universities as agents of societal change. He has published 130 scholarly articles on the electronic properties of DNA and RNA, holds 12 issued U.S. patents and co-founded Viamet Pharmaceuticals, which is developing drugs for prostate cancer and fungal infections. In 2012, Thorp was selected a charter fellow of the National Academy of Inventors, a nonprofit organization that recognizes investigators who translate their research findings into inventions to benefit society.
Dr. David M. DeJoy
- (Vice Chair)
University of Georgia
David DeJoy (Ph.D., Pennsylvania State University) is Professor Emeritus of Health Promotion and Behavior and Director Emeritus of the Workplace Health Group in the College of Public Health at the University of Georgia. Dr. DeJoy has over thirty years of experience in workplace safety and health as a researcher, instructor, and consultant. His areas of research include: safety climate/culture, work organization, safe work practices, risk communication, and theory-based intervention design/intervention effectiveness. He has published approximately 120 scientific articles and book chapters and he has presented over 200 papers at scientific and professional meetings. Editorial board service includes Safety Science, the Journal of Safety Research, the Journal of Occupational Health Psychology, and the National Safety Council Press. Honors include the Liberty Mutual Prize for research in occupational safety and ergonomics, the Liberty Mutual Medal for research in occupational safety and ergonomics, and the Williams A Owens Award for research in the social-behavioral sciences. Extramural funding for his research has come from CDC, FEMA, NIH, and NIOSH. Dr. DeJoy has served on numerous expert panels, review committees, and advisory panels at the national and international levels.
Dr. Bradley L. Pentelute
Massachusetts Institute of Technology
Bradley Pentelute joined the MIT Chemistry faculty in July 2011 after a three-year postdoctoral appointment in the group of Prof. R. John Collier. He obtained his Ph.D. degree in Organic Chemistry in 2008 under the guidance of Prof. Stephen Kent at the University of Chicago. Research in the Pentelute lab entails the use of chemical methods to understand the biological properties of virulence factors and mirror image proteins. The use of chemical methods to investigate proteins is advantageous because the molecule can be tailored at will. Each project includes the chemical tailoring of protein molecules and each analogue will be characterized by modern biophysical techniques including single-molecule electrophysiology, EPR, protein X-ray crystallography, protein NMR, and biological mass spectrometry. The synthetic protein molecules are studied in biological contexts that range from in vitro and in vivo environments.
Dr. Robert G. Bergman
University of California, Berkeley
Robert Bergman completed his undergraduate studies in chemistry at Carleton College in 1963 and received his Ph.D. at the University of Wisconsin in 1966 under the direction of Jerome A. Berson. Bergman spent 1966-67 as a North Atlantic Treaty Organization Fellow in Ronald Breslow's laboratories at Columbia, and following that began his independent career at the California Institute of Technology. He accepted an appointment as professor of chemistry at the University of California, Berkeley, in July 1977, and moved his research group to Berkeley about a year later. In 2002 he was appointed Gerald E. K. Branch Distinguished Professor. He has received a number of national awards and has co-authored more than 500 publications in peer-reviewed journals. Bergman was trained as an organic chemist and spent the first part of his independent career studying reaction mechanisms that involve unusually reactive molecules, such as 1,3-diradicals and vinyl cations. In 1972 he discovered a transformation of ene-diynes that was later identified as a crucial DNA-cleaving reaction in several antibiotics that bind to nucleic acids. In the mid-1970s Bergman's research broadened to include organometallic chemistry, which led to contributions to the development and study of the reaction mechanisms of migratory insertion and oxidative addition reactions, the chemistry of new dinuclear complexes, and the investigation of organometallic compounds having metal-oxygen and -nitrogen bonds. He is probably best known for his discovery of the first soluble organometallic complexes that undergo intermolecular insertion of transition metals into the carbon-hydrogen bonds of alkanes. Most recently he has been involved in collaborative studies with colleagues at Berkeley and elsewhere that include applications of catalytic C-H activation reactions in organic synthesis, reactions catalyzed by supramolecular systems, the chemistry of complexes bearing metal-heteroatom single and multiple bonds, and methods for the conversion of polyhydroxy compounds into materials currently derived from petroleum.
Ms. Kimberly B. Jeskie
Oak Ridge National Laboratory
Kimberly Jeskie is the Directorate Operations Manager for Facilities and Operations and the Director of the Integrated Operations Support Division for the Oak Ridge National Laboratory (ORNL). She has 22 years of experience at ORNL, beginning her career as a research technician in Physical Organic Chemistry. Over the years, she has held several roles within the areas of environmental protection, waste management, radiological control, facility management, performance assessment, training and safety all in direct support to the research community. Kim has been trained in the principles of accident investigation and human performance fundamentals and has participated in and led a number of event investigations within ORNL and at other Department of Energy facilities. In her current role, she is responsible for the work planning and hazards analysis systems and tools utilized by both principal investigators and operations personnel across ORNL. The Integrated Operations Support Division, which she directs, also provides the systems, tools and performance analysis for ensuring integrated facilities management at the Laboratory. Kim holds a Bachelor of Science in Chemistry and Mathematics from Cumberland College and a Masters in Public Health with an emphasis in Occupational Safety and Health Management from Tulane University. She is the 2013 Past Chair of the ACS Division of Chemical Health and Safety and an Associate with the ACS Committee on Chemical Safety, heading the task force creating guidance on hazards analysis techniques that can be applied in the research environment.
Dr. Andrew Imada
A.S. Imada & Associates
Andrew Imada specializes in human and organizational change. He works with people and organizations to change their safety cultures, respond to scalability demands, implement enterprise resource planning systems, and survive generational transitions. He teaches them to achieve these successes by balancing productivity, safety, quality, and human needs. Dr. Imada has provided consulting services to a wide range of clients including: AT&T, Aramark, British Columbia Telephone, Chevron Products Company, Chevron Production Company, Hamersley Iron, Iron Mountain, Los Angeles Dodgers, NASA, PG&E, Sheraton Hotels, Pacific Coast Building Products, Sierra Nevada Brewing, Southern Wine and Spirits, U.S. Army, and Lawrence Berkeley National Laboratories. He served as Senior Scientific Advisor for the Steelcase User Center Design Group and worked on projects advising the National Research Council, International Labour Office, and the University of California. He is a Certified Professional Ergonomist. From 2009-2012 he served as the President of the International Ergonomics Association, which represents 49 federated societies and more than 25,000 ergonomists. Dr. Imada won the 1998 Liberty Mutual Prize and the 2000 Liberty Mutual Medal in international competitions for occupational safety and ergonomics research. Dr. Imada was a Professor of Ergonomics and Safety Sciences at the University of Southern California for 19 years. He also served as the Director of the USC Safety Science Center and the International Distance Learning Liaison at the USC Center for Scholarly Technology. He has published extensively and edited a book entitled, "Participatory Ergonomics." He was a visiting scholar at Lulea University in Sweden taught graduate courses on participatory strategies for improving safety, ergonomics and productivity. Dr. Imada serves on the National Research Council's Board on Human Systems Integration (BOHSI). He served on the Board of Consulting Editors for the Journal of Applied Psychology and is a technical reviewer for professional journals. He served as a director on the Board of Certification in Professional Ergonomics. He is a Fellow of the Human Factors and Ergonomics Society and the International Ergonomics Association. Dr. Imada received a Rotary Foundation International Fellowship to conduct research at the University of Sussex in England. He earned his Bachelor of Arts in psychology and minored in business from the University of San Francisco and his masters and doctoral degrees in industrial and organizational psychology from The Ohio State University.
Dr. Theodore G. Goodson, III
University of Michigan
Theodore Goodson III received his B. A. in 1991 from Wabash College and earned his Ph.D. in Chemistry at the University of Nebraska-Lincoln in 1996. After postdoctoral positions at the University of Chicago and at the University of Oxford, he accepted a position as Assistant Professor of Chemistry at Wayne State University in 1998. In 2004 he moved to the University of Michigan as Professor of Chemistry. In 2008 he was appointed as the Richard Barry Bernstein Professor of Chemistry at the University of Michigan. Dr. Goodson's research centers on the investigation of nonlinear optical and energy transfer in organic multi-chromophore systems for particular optical and electronic applications. His research has been translated in to technology in the areas of two-photon organic materials for eye and sensor protection, large dielectric and energy storage effects in organic macromolecular materials, and the detection of energetic (explosive) devices by nonlinear optical methods. He has investigated new quantum optical effects in organic systems which have applications in discrete communication systems and sensing. Goodson's lab was also the first to investigate the fundamental excitations in small metal topologies which are now candidates for tissue and other biological imaging. In 2009 he founded Wolverine Energy Solutions and Technologies Inc. a start-up company with contracts to produce high energy density capacitors for military, automotive, and medical devices. The company also developed a new system for the detection of IEDs remotely with one of the patents award Goodson at the U of Michigan. Dr. Goodson's awards include Distinguished University Faculty Award, the National Science Foundation American Innovation Fellowship, Research Young Investigator Award, National Science Foundation CAREER Award, Alfred P. Sloan Research Fellowship, Camille Dreyfus Teacher-Scholar Award, Lloyd Ferguson Young Scientist Award, Burroughs Welcome Fund Award, American Chemical Society Minority Mentorship Award, University Faculty Recognition Award, College of Science Teaching Award, and a National Academy of Sciences Ford Postdoctoral Fellowship. Dr. Goodson has been a Senior Editor for The Journal of Physical Chemistry since 2007. Professor Goodson has been an active member of both the undergraduate admissions committee and recruiting committees for the University of Michigan and also serves with the college to enhance efforts of mentoring through-out the university in particular for mentoring students of diverse backgrounds. He has served on the Committee of Institutional Cooperation and the Editorial Advisory Board of the Journal of the American Chemical Society and a Fellow of AAAS. Dr. Goodson has published over 110 scientific publications and more than 150 invited talks.
Dr. Karlene H. Roberts
University of California, Berkeley
Karlene Roberts is a Professor at the Walter A. Haas School of Business, at the University of California at Berkeley and Director of the Center for Catastrophic Risk Management at Berkeley. Roberts earned her bachelor's degree in Psychology from Stanford University and her Ph.D. in Industrial Psychology from the University of California at Berkeley. She also received the docteur honoris causa from the Universite Paul Cezanne (Aix Marseilles III). Since 1984 Roberts has investigated the design and management of organizations and systems of organizations in which error can result in catastrophic consequences. She has studied both organizations that failed and those that succeed in this category. Some of the industries Roberts has worked in are the military, commercial marine transportation, healthcare, railroads, petroleum production, commercial aviation, banking, and community emergency services.
Dr. Jennifer M. Schomaker
University of Wisconsin-Madison
Jennifer Schomaker is currently an Assistant Professor at the University of Wisconsin-Madison, where she began her independent career in 2009. She received her bachelor's degree in chemistry from Saginaw Valley State University while she was employed at the Dow Chemical Company in Midland, Michigan. Her early research at Dow in the Organic Chemicals and Polymer Laboratory involved the development of biocatalytic methods for the synthesis of enantiomerically pure monomers. She then moved to the Agricultural Chemicals Process Research group where she participated in the route selection and scale-up campaigns for two new herbicides. After leaving Dow Chemical, Jennifer began her doctoral studies at Michigan State University in the laboratory of Professor Babak Borhan, focusing on new methodologies for the preparation of heterocycles, as well as the total syntheses of the haterumalides. After completing her Ph.D. in 2006, she moved to Berkeley as an NIH postdoctoral fellow in the labs of Professor Robert G. Bergman, collaborating with Professor F. Dean Toste on the development of cobalt dinitrosoalkane complexes to enable the mild functionalization of the C-H bonds of alkenes. Her work at UW-Madison is centered on the development of new methods for the mild functionalization of hydrocarbons using first-row and coinage metal catalysts.
Dr. Joseph M. Deeb
Exxon Mobil Corporation
Joseph Deeb holds a Ph.D. in Industrial Engineering specializing in Human Factors/Ergonomics. Joe is a Certified Professional Ergonomist (CPE) and a Registered Member of the Ergonomics Society of the UK (M.Erg.S.). Joe has Over 27 years of both academic and industry experience. He has been with ExxonMobil for 20 years. Joe's role is the Human Factors Advisor and Lead in the ExxonMobil Human Factors Center of Excellence (HFCOE). The Human Factors Center of Excellence (HFCOE) provides leadership in the effective use of human factors and SSH&E Leadership to achieve outstanding SSH&E and operational performance. The HFCOE proactively identify risks and associated control practices across business functions / operations. Joe will be able to use and share his expertise in both the Human Factors/Ergonomics and Risk Perception/Risk Tolerance areas to apply in the development of systems and guidance to improve safety performance in research laboratories. In addition, the application of Risk Perception/Risk Tolerance techniques will effectively engage individuals to identify, evaluate and execute safe behavior as well as, the ability to approach others (during a safe/unsafe behavior) and reporting.
Dr. Alice M. Young
Texas Tech University
Alice Young is Associate Vice President for Research and Professor of Psychology at Texas Tech University (TTU) and of Pharmacology and Neuroscience at Texas Tech University Health Sciences Center. As Associate Vice President for Research, she works with TTU responsible research committees and the TTU Office of Environmental Health and Safety. Before joining the Texas Tech University System in 2004, Dr. Young was Professor of Psychology and of Psychiatry and Behavioral Neurosciences at Wayne State University, where she served as Associate Dean for Research and Graduate Programs in the College of Science from 1996-2004. Her research and teaching focus on behavioral and brain processes involved in the actions of psychoactive drugs, with over 20 years of NIH support for studies of drug tolerance and dependence. Her professional service has included service as Associate Editor of Behavioural Pharmacology and The Journal of Pharmacology and Experimental Therapeutics, as a member of ADAMHA and NIH review panels, and as a member of Board of Scientific Affairs of the American Psychological Association and the Board of Directors of the College on Problems of Drug Dependence. Dr. Young earned a doctorate in experimental psychology from the University of Minnesota in Minneapolis and received postdoctoral training in pharmacology at the University of Michigan in Ann Arbor.
Dr. John E. Bercaw
California Institute of Technology
John Bercaw received his B. S. degree from North Carolina State University in 1967, his Ph. D. from the University of Michigan in 1971, and undertook postdoctoral research at the University of Chicago. He joined the faculty at the California Institute of Technology as an Arthur Amos Noyes Research Fellow in 1972, and in 1974 he joined the professorial ranks, becoming Professor of Chemistry in 1979. From 1985 to 1990 he was the Shell Distinguished Professor of Chemistry, and in 1993 he was named Centennial Professor of Chemistry. Bercaw has been a Seaborg Scholar at Los Alamos National Laboratory (2004), the Robert Burns Woodward Visiting Professor at Harvard University (1999), The George F. Baker Lecturer at Cornell University (1993), Visiting Miller Professor at the University of California, Berkeley (1990), and a Royal Society of Chemistry Guest Research Fellow at Oxford University (1989-1990). From 2009-2012 he was also KFUPM Visiting Chair Professor at King Fahd University of Petroleum and Minerals. He has served on numerous panels for the Department of Energy and the National Research Council, and beginning in 1999 has been a member of the Science and Technology Committees for national laboratories: Los Alamos National Security and Lawrence Livermore National Security. Bercaw is a Fellow of the American Association for the Advancement of Science (1986, a member of the National Academy of Sciences (1990), a Fellow of the American Academy of Arts and Sciences (1991, and was awarded an Honorary Doctorate of Science from the University of Chicago in 2001. He has received the American Chemical Society awards in Pure Chemistry (1980), for Organometallic Chemistry (1990), for Distinguished Service in the Advancement of Inorganic Chemistry (1997), the George A. Olah Award for Hydrocarbon or Petroleum Chemistry (1999), and an Arthur C. Cope Scholar Award (2000). He held the Sir Edward Frankland Prize Lectureship of the Royal Society of Chemistry in 1992, received the Basolo Medal (Northwestern, 2005), and the Bailar Medal (University of Illinois, 2003). His research interests are in synthetic, structural and mechanistic organotransition metal chemistry. Investigations include catalysts for polymerization of olefins, investigations of hydrocarbon hydroxylation with transition metal complexes, and the development of catalysts for syngas and light alkane conversions to chemicals and fuels. He has published over 285 peer-reviewed scientific articles.


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AMSC claimed the new machine would produce almost 20% more electricity than the 93-metre version.
It is available in 90 and 100-metre hub heights and can use a concrete, steel or hybrid tower. It also uses a doubly-fed-induction generator.
The AMSC 2MW design is licensed out to a number of manufacturers, including Indian company Inox Wind. Last month AMSC signed a $40 million deal with Inox to supply control systems.While Inox is licensed to manufacture the majority of the turbine itself, AMSC reserves the right to provide the control systems to its licensees.
Speaking at the launch, AMSC CEO Daniel McGahn said: "We believe that AMSC's new low wind speed turbine makes it possible to achieve a low cost of energy at the low wind speed sites that were previously inaccessible or not economically compelling.
"The new low-wind speed design is expected to lower cost of energy by as much as 12% compared to previous AMSC designs, increasing its competitiveness with traditional fossil fuels."


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I'm jonesing to get that mountaineering geekery thing going again--Ranger Mickey wrote:There is a great magazine entitled "Accidents in Mountaineering" available at your nearby well-stocked outdoors shop. Every year the editors present self-reported accidents and commentary on what could have been done differently. It's an amazing read, esp. if you want to go up into the mountains yourself.
We could do an BM version of such a thing...
"Accidents in North American Mountaineering". They have a website.
Geek out bloodhounds!
It is an excellent read, but save it for after the big trip, and for god's sake wear a fecking helmet!
BM's version wouldn't be as gory. "After covering the pointy end of his femur with a clean cloth, X spent 18 hours on the ledge before dying of blood loss."
"Sparkly Queen took 3 hits of Mitsubishi and 4 grams of mushrooms. After forgetting to drink for 18 hours, he was treated with Champagne and otter pops and recovered nicely."
I know, I know I'm understating the seriousness of it all!
On to the Rumdoodle!


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Personalised name option is available for this item, select the personalised name option from the dropdown above when ordering then at the final stages of checkout add the personalised name you would like in the optional note section, please note they is a 12 character limit including spaces for personalisation for this item.
Beautiful baby asleep in a hand.
Silver lettering and finished off with a blue ribbon bow and an acrylic blue heart gem.
Handcrafted grave memorial ornament, made from solid stone using the finest Portland cement.
Painted with blue masonry paint.
Glittered and lacquered to a high sparkling glossy finish.
Frost and weatherproof.
Product Dimensions:
Approximately 2 inches (5 cm ) High.
Approximately 5 1/2 inches (14 cm) Long.
Approximately 2 3/4 inches (7 cm) Wide.
Further Information:
Abigail's Beautiful Memorials offers a varied selection of grave memorial ornaments and plaques, unique and beautiful in every way. Each item is lovingly handmade from start to finish offering a truly personal touch. Designed to last year after year, use inside or out, by the graveside, in the garden or on a memory shelf for your loved ones.
1-3 business days
I'll do my best to meet these shipping estimates, but can't guarantee them. Actual delivery time will depend on the shipping method you choose.
Buyers are responsible for any customs and import taxes that may apply. I'm not responsible for delays due to customs.
Just contact me within: 45 days of delivery
Ship items back to me within: 60 days of delivery
But please contact me if you have any problems with your order.
Because of the nature of these items, unless they arrive damaged or defective, I can't accept returns for:
Please select the personalised name option when ordering and add the name you would like in the area provided, any other personalisation please send me a message before ordering.
All item sizes are on the product listing page.
I do not gift wrap however you will receive your items bubble wrapped and boxed for extra protection.
Please send me a message with requirements and timescales.
Item just needs a wipe over now and again with soap and water to keep it glistening in the sun.
Nope its glitter spray sealed in lacquer and is permanent.
Free Uk delivery on all items, international orders delivery charges vary and will be calculated at checkout.


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Item # YAK0135Item # YAK0135
Karma is not enough security to keep your new $2,000 bike strapped to your unlocked hitch rack.
The Yakima Deadlock is a must-have hitch mounting rack accessory. With one key, you can securely lock your bikes to your rack, and your rack to your vehicle. The Deadlock locks the furthest bike on the arms of your rack. With this bike locked, it's impossible to remove the inner bikes or the rack itself. Protect your investments!
California Proposition 65
View more Hitch Mount Accessories
Reviews & Community
Does this come with the cable that secures the bike to the rack as well as the lock that secures the rack to the hitch?
All Locked Up
- Familiarity: I've used it several times
Put on my Doubledown 2. Easy to install. Easy to use. Feel so much more secure locked on hitch and bikes locked on. Bonus is I only have to keep up with one key for both.
Does this work with the BigHorn 4 rack?
Does this work with the BigHorn 4 rack?
Added protection, great warranty
I have been using the Deadlock for 3 years on my Doubledown 4. I keep the hitch lock installed whenever the rack is on my car to prevent someone from taking the whole rack. I typically only use the bike lock if I will be leaving the car unattended for a while but not when I am going straight to a trailhead and back. Many reviewers comment on how limited the protection offered by this lock really is. Well, as my father always told me, locks only keep the honest people out. Therefore, the Deadlock does provide some added protection for your ride(s).
My testimony for the Yakima "Love It Till You Leave It" Limited Lifetime Warranty: After 3 years of mild use, the lock mechanism on my Deadlock failed to actuate. I sent an email to customer support on a Sunday explaining the problem. A reply came on Wednesday asking for proof of purchase, which I sent as an email attachment that same evening. On Saturday, a brand new Deadlock was delivered to my door by FedEx Ground. In my experience, Yakima stands by their product and values their customers!
Easy Lock
Installed on my Yakima Doubledown 4. Keeps everything buttoned up and helps secure the hitch so there's zero movement. Nice stow away feature of the cable into the rack and the locking bolt give me piece of mind . Not many nice looking integrated locking options for the Yakima racks so this one is a great easy reliable lock.
Does this work with the Yakima DoubleDown-...
Does this work with the Yakima DoubleDown- 4?
Yes, fantastically..
Piece of mind
Lock works great. It connects to the Yakima Double Down then wraps around the outside bike and locks. It has a second lock that locks the bike rack to the hitch. Both locks are keyed the same. Definitely worth the money when you consider the amount of money you spent on your bikes
good product
great lock. simple install. all you need is a screwdriver and your hands.
49$ to protect 4900$
Yes, do you think that the investment is worth it? 1% of the bike value you have on your rack in my case justify totally it. Easy to install, not so easy to cut if you're not a pro, pretty well equiped.
Actual inventory
Fresh out the box, here's everything it comes with:
2 Keys
2 locks
1 pin
A red thing.
Yakima Dead Lock
Very simple to install, easy to use. Convenient. Not super substanstial, but the low -cost and convenience make it an excellent buy.
What works for the ROC 4 which is now...
What works for the ROC 4 which is now discontinued?
Yakima ski saddle/bike hitch
I am very please with the rack itself, however, in order to fully secure the yakima hitch and rack mounts, both ski and bike it creates a problem.
First Yakima doesn't supply the hitch with adaquate equipment to lock it to the car/truck etc. Yes, you are provided with enough locks to lock down the skis or bikes, but not the hitch. It will generally cost another $50-$70 for locks alone. Plus the end of the pins must be turned down/ w/lathe to allow a yakima lock to secure the brackets. I had to purchase another 3 locks. @ yakima and 1 for the class 3 bolt onto the car.
The DeadLock is a good security product and very convient. My wife had no problems with it last weekend. It could be a foot or so longer.
Yakima Lock-kit
The lock kit is a generally good piece of gear. I like the fact that both locks are keyed to the same keys, and its compact storage. I dislike the fact that it really only secures the last bike on the rack. If you have only one bike on the rack, it has to go in the farthest position. A bit more length on the lock chain would have been nice.
It works well, but its a bit short.
Yakima Deadlock
GREAT lock BUT you can cut through the cable with ordinary bolt cutters, no problem. But its a perfect fit for the rack. As we all know if a thief really wants the bikes they will get them anyway.
Yakima Backswing 4
GREAT bike rack...very easy to assemble and install. I love the swing away to allow access to the hatch cover on my Jeep ! A+++++++


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Much like The Vampire Diaries, Legacies, will take place in a high school full of supernatural beings, and given that it's on The CW, we can probably expect it to be filled with some seriously sexy hookups. On the other hand, showrunner Julie Plec has promised that this new series plans to avoid the problematic nature of some of the relationships established on The Vampire Diaries and The Originals.
When it comes to the vampire students on Legacies, Plec assured reporters at the Television Critics Association summer press tour that all of them would genuinely be teenagers, rather than centuries-old vampires who just happen to look like teenagers. Part of the reasoning behind that choice had to do with the fact that Plec was originally uncomfortable with The Vampire Diaries' premise that essentially had very old men falling in love and hooking up with teenage girls.
"When I read The Vampire Diaries and I thought, 'Well, God, that's weird. Stefan's technically been on this Earth for, like, 162 years and Elena's 17,' and I said I'm just going to let it go, because Edward was older," Plec said. "And, like, that was literally, like, people seem cool with Edward and Bella, so they're going to be cool with this and that's just the end of it, and I'm going to, like, just put my head down and power through."
Legacies: Everything We Know About The Originals Spin-Off
Times have changed though, and in the last decade (and even the last year alone), public opinion about the way young women are portrayed in media and more importantly the way romantic dynamics are portrayed has come under stricter scrutiny. The radical age difference that was acceptable in 2009 when The Vampire Diaries premiered might not have been looked on so kindly by a 2018 audience, which was also a factor in the decision not to include that trope.
"There is something deeply romantic in that gothic and harlequin romance kind of way, and deeply inappropriate if you look at it through another lens," Plec said of The Vampire Diaries' romances. "And now, in 2018, there just is only one lens in my opinion in this moment, and I'm cool with that... So it's actually we've tried to be a little bit just socially responsible for the moment. It also opened doors for us to tell vampire stories that we haven't actually told yet. So it's fun."
While fans might miss that "harlequin" element of the Delena and Stelena romances, it's at least a little bit reassuring to know that they won't have to rationalize why it's totally not creepy that Hope Mikaelson (Danielle Rose Russell) is falling into bed with a guy who could technically be 40 or 400.
Legacies premieres Thursday, Oct. 25 at 9/8c on The CW.
(Full Disclosure: TV Guide is owned by CBS, a parent company of The CW).Danielle Rose Russell and Matt Davis, Legacies" data-image-credit="Jace Downs, Jace Downs/The CW" data-image-alt-text="Danielle Rose Russell and Matt Davis, Legacies" data-image-credit-url="" data-image-target-url="" data-image-title="Danielle Rose Russell and Matt Davis, Legacies" data-image-filename="180808-danielle-rose-russell-matt-davis-legacies.jpg" data-image-date-created="2018/08/08" data-image-crop="" data-image-crop-gravity="" data-image-aspect-ratio="" data-image-height="1380" data-image-width="2070" data-image-do-not-crop="" data-image-do-not-resize="" data-image-watermark="" data-lightbox="">
Other Links From TVGuide.com Danielle Rose RussellLegaciesJulie PlecMatthew Davis


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Looking for a driving instructor in Everton Park? You have come to the right place!
A defensive driving course is essential to get knowledge and hands-on-skills training to ensure safety on the road. An effective balance of practical and theory sessions, our exercises include live sessions with our instructors, group discussions and presentations through pictures and videos. Our courses are suitable for all drivers and vehicles and are drafted to prepare drivers for emergencies by taking into account factors like road surface, vehicle size, vehicle speed and braking systems.
Rightway Driving School's driving instructors in Everton Park have many years experience and Rightway Driving School is one of the largest driving schools in Queensland. Rightway Driving School is also one of only a few RACQ approved driving schools in Gold Coast.
Our theory content includes learning of defensive driving techniques, understanding human factors, managing and reducing risks associated with driving and understanding vehicle performance and systems. Our skills training will update you on aspects pertaining to vehicle maintenance, seating position, steering technique, simulated emergency braking exercises and low speed maneuvering exercises.
Rightway Driving School has training facilities and centres in Everton Park that will equip you with all the essential skills for safe driving on roads and let you know all about vehicle registrations and licensing procedures.
If you want to give your child every chance to drive safely for life, then book in for a driving lesson with one of our Everton Park driving instructors. We incorporate defensive driving into our normal teaching curriculum so you have the best chance at a lifetime of safe driving.
Receive professional driving instructor training in Everton Park from fully accredited driving instructors. Our team happily provides door to door pick up and return to home, school or work for your driving lesson convenience. We deliver training at Prince of Peace Lutheran College and Everton Park State High School.


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Template DesignAugust 19, 2005
Does design exist in a template-driven world?
Design-in-Flight is back in an all-new weblog format. The most recent feature article asks about the commodity of content, and what this means for design.
This is something I've been thinking about quite a bit lately. In an age of content management systems and blog tools, RSS and MP3, content which was once a complete package with other physical properties has now become a bunch of impersonal 1's and 0's.
Sure, mass aggregating is great if you view content as a consumer, looking to filter the wheat from the chaff. It's progress, baby. But as I'm sure has been waxed nostalgic by others far more eloquent, there's something lost when dissociating content from any context. You just don't get attached to a post sitting in Bloglines the same way you once might have clipped a newspaper article and hung it on your fridge. You don't flip through the liner notes of an album bought on the iTunes music store, the same way you would have if you had bought it on vinyl, cassette, or CD.
Particularly relevant to my own work is the question of content design vs. templating. The article leaves a dangling question: if content is this ethereal and interchangeable, what's the designer's role? An answer was briefly touched on with the mention of Apple's Widgets: styling, but not defining.
How many of us are noticing an increase in requests to design 'templates' for general content, but not custom-design specific content? I sure have. A lot of requested work these days assumes this as a baseline; when dealing with a CMS or a dynamic application, you don't get the content in advance (if it even exists yet), so it's ultimately irrelevant to the design. The goal ends up being the creation of a flexible, one-size-fits-all construction.
Is this design though? In the sense that you're being asked to solve a specific visual problem, yes. In the sense that you have full control over the rendering of the output, anyone designing for the web has been getting used to the idea of giving up control for years now. This is just one more step along that path.
So that reduces the designer to one who can make a bit of code look nice. And to a lot of clients, that's about all there is to it. I'm sure we've all had our share of the "shut up and color" type, who don't hire us beyond making sure their ugly site or application is not quite as ugly.
I'd like to think there's more to what we do than simple aesthetics, though. Lately there has been a lot more focus on Design in business and other realms than traditionally warranted. Design, that is, in the sense of it being strategic planning and problem solving of systems, interfaces, and products, which is a much broader definition than visual design.
And that's how I find my own interests shifting, too. I got into this game with no more than an image editor and the pixels to back it up, but lately my focus has been much wider. I'm reading up on databases and server-side scripting. I'm brushing up on my Unix and tweaking the web server I have running on my local machine. I'm deep in a Lou Rosenfeld book and my copy of OmniGraffle is being opened a lot more these days.
Not that I expect to rush out and start billing as a programmer or database administrator, mind you, but the exposure to these other disciplines is really helping me clarify what it is that I do, and how that fits into the complex ecosystem of talent on the web. My view of design is changing from simply making a user interface look great, to making a great user interface, and all the details that go into it. That demands a heck of a lot more than a few well-placed pixels.
So while templating is here to stay, it doesn't at all mean that demand for design talent is going away. Consider that the type of content that lends itself to a template is generally the type of content that probably shouldn't be custom-designed anyway; just as newspapers and magazines have general layouts and style guides, so too do dynamic web sites. Rapid turnover of content demands as little production as possible. More production is always nice, but it's not a necessity.
And it's highly likely that blogs and other systems that allow the average user to manage content have increased the interest in templates as well; since CSS offers the ability to use a common markup base and radically alter the look, it's easy to implement them. You could potentially make a career out of designing generalized blog templates, whereas five years ago there was no demand. But that's a brand new niche, it doesn't replace traditional design.
That's the point, I think — we're not looking at a commoditization of design talent, we're looking at an expanded market. Given the higher level of interest in design in general, the field is getting wider, and there are now simply more options.
Interesting. This is somethign I've been thinking about recently, albeit in a different light.
I'm one of the designers making a living designing templates. It's not all I do, but it's becoming a larger part of my income stream every day. In most cases, I don't have the content to design from, but I do have the client to design FOR. I see my role as interpreter of the client's online intent, role, and personality. I set the tone for what follows, in other words.
Of course, this only works if I have a sense of who the client is.
I've recently been asked to design a number of templates for a hosted blog service. In this case, I have no idea who the end user will be. My role here is quite different.
I'm not designing in this case. I'm decorating. It's a totally different concept. It's a valid task. But it's not what I would call design.
I don't want to sound disparaging - I appreciate good decor, and appreciate its challenges. But its a different task to decorate than it is to design.
I agree with you that much design work these days is progressing toward template-based designs. Afterall, a site looking to grow from 0 to 10,000 pages in a year likely wouldn't want to design each and every page, but instead use a small handful of templates to style the pages.
In my experience, most clients continue to want their index.* to be as individual as possible so they're willing to invest a fair amount of money just on that single page. After that, they'll ask for a few additional templates designed specifically for the page types they're expecting, one general template, and then call two or three months down the road to request templates for often-used page types they had not expected.
Design is not the business of creative self-expression (i.e. art), it is the business of creatively solving problems (i.e. it's artistic).
Great web design (be it templates or not) is not just about making things look pretty. It is about motivating people to action, enabling them to complete tasks, and meeting the needs and expectations of clients and consumers alike. In order words it is still governed by the truism "form follows function".
Web design is challenging because it has so many variables that are outside the designers control. Templates adds one more of those to the mix: the content.
Naturally this makes some designers nervous, but it shouldn't. It opens up opportunities that require a lot of creativity (preferably grounded in research ;-): How can I meet the potential content needs now?
Dave, you get a lot of interesting points here. These days I'm finding myself creating more templates than anything else, since that is what sells now. Even so, there are a lot of usability and ergonomic variables to consider in template design - which, let's admit it, don't have much to do with the concept of "design as art", which is something many people in the field do, and for me that is missing the forest for the trees.
I come from a graphic design background but since I started on this almost ten years ago, I developed an interest on mastering the nuts and bolts of web design i.e, learning to code HTML, become proficient in Javascript, and know how to solve common server issues (back in '97 you HAD to know your code, or else). That allowed me to take a global approach to web design, and that's something you and I can relate to. Unfortunately, if my experience is any indication, designers who are both comfortable using both right and left sides of their brain are few and far between, which more often than not is the main cause for misunderstandings and frustrations on a given project, IMHO.
Templates aren't certainly the most motivating design work out there, but we can look at the bright side - custom design work will become much more valuable, and clients who want to stand out of the crowd will be willing to pay extra for it (and with lots of reason!)
I think it's downright insulting to the designers who have created brilliant templates for sites to say that they've "been reduced to" anything.
Designing flexible, attractive, elegant templates that can hold any (semantically correct) html and make it look nice is the greatest skill a web designer could possibly have.
Of course, this is really pushing along the ultimate destiny of web designers: you will no longer be creating static, pixel-perfect PSDs and handing them to programmers with the only instructions being "make it look like this", but rather you will actually be drawing up the html and css templates (along with images and such) that will be plugged into the CMS or whatnot that the programmer has crafted.
Yes, this means that designers are going to need different skills from what most of them are focusing on right now. The good ones will excel, the bad ones will choke.
This falls in line with one of my favorite sayings about web design:
Every web site looks perfect in photoshop.
The web is *not* a print media, despite being mostly text based. Users can resize their fonts, disable colors and images, and you can't do anything about it. The goal is no longer to just create sites that look great, but sites that look great and are TRULY designed for the web. The vast majority of web sites out there right now are NOT designed for the web; they're designed for print.
Contrary to popular belief, designing is extremely similiar to programming. Both require technical skill as well as creativity. Neither can be done well by talent-less individuals, and mediocre people produce crappy results with either. Neither is a pure art, nor are they pure sciences.
My suggestion? Start by stopping. Stop designing your sites in photoshop. Stop thinking about pixel-perfect. Draw up the necessary html & css to make a site work. Only use image manipulation software for images.
Oh, and actually sit down and talk to the programmers every now and again. You'll discover that you both have the same goals, you just don't realize it yet.
I generally agree with what you have to say. However, I believe pretty strongly that templating is still design. To me, one of the core differences between design and fine art is the fact that we, as designers, work within restrictions. Whereas artists can littleraly do just about anything they want for the sake of art, our job is to create solutions that work effectively to solve a particular problem. In this case, the problem is that we don't have the content before hand, and yet we need to be able to publish that content as soon as we get it in a simple fashion. Designing a template is an effective solution – although perhaps not the only one.
In closing, I too am concerned about what this all means for aesthetic visual design, and I loved that DiF article. But in the end, our job is to solve problems and communicate with people, not make things pretty.
Jeff - from the article: "Is this design though? In the sense that you're being asked to solve a specific visual problem, yes."
I went on from there, but I'm not trying to claim template design isn't design.
Well dang. I guess that's what I get for skimming the article instead of reading it throughly. :)
Sorry 'bout that.
I have a couple questions: How (much?) are you defining "template" here? Also, would you say this is more the fault of templating as a concept in itself, or of the people making the templates? It's going to be extremely rare that a site will need special tailoring to go into every page, or even that many of them, so I wonder if the issue needs to be a bit more specifically defined as maybe overly reductive templating.
Let's use blogs, for probably the easiest example: There are (many, many) sites which essentially have a single template serving the entire thing. All that ever changes is the bit of content that appears in the main column. Otherwise, the header, sidebar, footer, everything else, is completely static. Yes, this is templated, but more importantly, it's LAZY.
Then let's look at this site. If you start poking around, there's actually a good amount of variation, where needed, to accomodate the goals of that particular class of page. It's still obviously template-based, but there are /more/ templates:
1) The home page has one appearance.
2) If you click through to an individual entry, the red section nav takes on a compacted form, the entry title is larger, the date is in a different format, there is no sidebar, and the entry blurb is also reformatted.
3) If you follow through to the comments, we necessarily have different formatting for the main content, but there's also now a sidebar, different from the homepage one
4) The sidebars for the monthly and category archives, and RSS page are again different, each
None of those variances represents a monumental effort; they're not outside the range of anybody putting a site together, even with a fairly limited CMS. The important factor is that the effort was even taken to consider those page types as needing to be different from any given other one. I think that there's a definite correlation in most people's minds that templating directly leads to limitation. It does in one sense, but really only to the degree that you let it.
Jeff: "Whereas artists can littleraly do just about anything they want for the sake of art, our job is to create solutions that work effectively to solve a particular problem."
I think this distinction is utterly false. GOOD art functions the same as GOOD design in that it conveys fairly specific ideas and effectually communicates with the viewer. It is also the job of the artist to "work effectively and solve a particular problem; 'design' has no monopoly on this.
Art for the sake of art is as bland, uninteresting, and unsuccessful as design for the sake of design.
As for templating, the challenge itself is a wonderful one that can bring out the best in a designer.
Webdesign is a visual artform - deploying a user interface to display bits of contents in an attractive design that support the view and representation of that website.
Template design has increased inmensely its popularity due to the hype around BLOGS (a term, people often use). People are not all well-crafted designers and are in need of templates, which WE can offer. Personally, I dont mind all these ugly sites on the web, if people put their hearts in it, I welcome their efforts and respect their time put in it. Templates can start to lookalike, but copycats are many, where as original 'in the face' design is not easy to find all the time.
"As for templating, the challenge itself is a wonderful one that can bring out the best in a designer."
Don forget projects with a dead-line can put a hold on creativity. Time can be essential to bring out even more out of a designers' talents. But after doing some work, you learn to do better next time.
"Templates aren't certainly the most motivating design work out there, but we can look at the bright side - custom design work will become much more valuable, and clients who want to stand out of the crowd will be willing to pay extra for it (and with lots of reason!)"
Creating templates for a website = still a creative process that involves graphic talent,etc. … The only thing is you are constrained to designing the template which means the templates need to stand out even more so it would stand in the overall look of every section of the website.
Plus every website should stand out even if you are not payed extra for it, a template design is not less worthy than any other design job.
Only backdraw is that clients would pay less for the design work , but the programming work will remain the same because database design, CMS, forms, etc. … are not subject to any template design.
Only one could charge less hours for design working hours (which could be well-compensated if you do the programming as well (eg javascript, cgi, server-side configs, etc. …).
"Plus every website should stand out even if you are not payed extra for it, a template design is not less worthy than any other design job."
from a business perspective, that's wildly optimistic. a templated site takes the same amount of time to design as a non-templated site. sometimes it may longer, since templating needs to be bulletproof against future content.
the problem is that most people who want templates don't want to *pay* for them. $100 is a lot of money to a general consumer-level customer; i've found very few are willing to consider design being worth more than that (and frankly, any job below the $2500 mark is, to most designers, not really worth the trouble). and if that's true, designers would have to work pretty much night and day to make ends meet.
I think it can be said that the more connected the world becomes, the more we lose that which makes us individuals.
@Peter Flaschner
I like the distinction between design and decoration - I had superficially thought of it, but never saw it put so well.
@Dan Dean
I disagree with everything you said.
I come from a fine art background - you know, one of those "art for art's sake" guys, who does bland, uninteresting work that apparently pales in humanity, passion, and intellectual rigor to a nice-looking website or a magazine advertisement.[/sarcasm]
The best distinction I've come up with for our modern situation is that art - "fine art" - is done for its own sake and the rest - design, illustration, etc. - are "commercial arts".
In the past, I've been berated for suggesting that somehow commercial artists might not be creating art in the sense that fine artists do. It's like they're desperate to prove that Milton Glaser is somehow on the same level as Pablo Picasso - or that the two can even be compared.
Personally, I'd never hang a logo on my wall - but Guernica can go up there any day.
All I'm saying, in a long-winded manner is that there was a reason that "History of Design" and "Art History" were two different courses in college.
Again, I'm not insulting commercial art - I'm just saying it's a completely different animal than fine art.
how to create a good photo-gallery?
in css/xhtml
4 x n
3 x n
no tables, with a hover description
with basic short [js] name, a hover more text
sorry for bad chaotical english ;) …
"The best distinction I've come up with for our modern situation is that art - "fine art" - is done for its own sake and the rest - design, illustration, etc. - are "commercial arts"."
I do see where you are coming from - but it all depends on the person and- or the educational background. In Belgium, Europe eg, graphic designers learn some flash and basic webdesign skills but some of them (the best of every year) have illustrative skills beyond any poetic state of the art. To sum it up, illustration art or webdesign art for that matter can stand out.
The only problem is that marketing and publicity standards often dont meet any standards which can be defined as fine art: an extra dimension put in it, a poetic value …
Commercial art is not per definition to sell only that product, eg a webdesigner can make a website for eg a big company (and still be upmost creative and artistic). Just take a look at all the galleries that dont particular always have state of the art expositions there. Lots of skilled artists make works to sell and often are trapped in their own shortcomings and copy the worst examples ever. It is also a matter of taste, of course. There is only good art and bad art.
I'm in two minds here. Although templating for CMS's is certainly restrictive, too restrictive in most cases, it's still design. But to create something that's purely for one item of content, or a classic .html website, it's something else completely. There are a lot less restrictions with the latter art form. Yes, art form. Web design is an art just as an unmade bed is art. It's modern, it's new and it's different.
However, we have the standards we need to work to and for. Maybe I work too much within the realms of a template, but it's harder to become a true designer with a CMS. Design should be uncompromised, but with a CMS it has to be. Whereas it's a lot freer with a simple item of content. Free to a point which feels almost new, as it's rare.
Ah, I'm just ranting now. So sum up before a talk forever. They are both design, but templating is less, as you're working within more restrictions than a standard, non CMSed work space.
"I'm not designing in this case. I'm decorating. It's a totally different concept. It's a valid task. But it's not what I would call design."
I think Peter's post about the difference between decoration and design is very important. It plays out particularly with regard to templating with the work at hand - Design in Flight. Andy created a very unique and beautifully designed PDF every few months that was specifically made to be sold to designers and those interested in the issues of professional design. DiF was not a template, save for the fact that it had a standard letter-size format. To keep the publication alive, DiF is now HTML-formatted (and free), which is not a bad thing at all. But it IS based on a (very nice) template design and that, as a designer, is troubling.
I wonder if speed, efficiency, and costs are now driving more design decisions than we think and if, therefore, templating will be the only way to offset those vectors.
What I've been trying to wrap my head around lately is how to take this to the next level with automating print production.
With InDesign being able to import XML files and assign a print style sheet to the content, PDF servers being able to output forms from dynamitic content, and the innovation of semantic content, I think there are definite possibilities to create a CMS for print production.
As the only in-house designer for college in Nova Scotia, there is are a lot of things I would love to see automated to make my life easier. In the three years that I've been at my jobs, I've done over 1500 ads for the local papers across the province. A good number of these ads are the same ad, but run in different papers with different column sizes. A one click solution would be great.
However, I know there will never be a once click solution. A designer will always have to proof the artwork and make adjustments. There may be one word hanging at the bottom of a paragraph in an ad. With some adjustments to the tracking of the paragraph, the lonely word can join the rest of his cousins in a nicely formed paragraph. That one word could cost as much as five extra dollars. Multiply that by the 500 or so ads done in a year, and you get an extra project out of the yearly budget.
This system would not be for custom one off projects, such as an Annual Report or Student Recruitment materials, but more for the basic business documents. More of an automated Graphic Standards manual for large businesses rather than a tool for a small design shop.
I know in theory, that it technologically possible to build such a system. What I don't know is how this affects the role of the designer, either our internal view of what we do or how our "clients" view what we do. What happens to the designer building this complex tool or the designer who is using the tool to generate production files? And other questions that keep me up at night wondering if I have a good thesis idea for a Masters in Design.
Being a programmer with limited design skills I don't know if you include branding in your design work. It's not enough to just design a generic template for a customer. You must also project a visual feel to the consumer of the site. The site must be instantly recognizable as the company's site.
You are a very important part of the marketing of the company.
"You must also project a visual feel to the consumer of the site. The site must be instantly recognizable as the company's site."
It is merely obvious that (eg the header: top, bottom, where ever) a logo (text-based, image only, text + image) is part of the template or website which reflects what it stands for. But making eg a good logo is brand design, a art of its own. Just like making a descent website. And not all sites are corporate, thank you.
The visual feel of the website depends on what site it is basically. If we have our corporate business site, marketing and publicity techniques will infest the design.
It depends on the job, sometimes a new logo is needed, or an exisiting logo needs to be adapted to a webformat [vector-based (eg flash), jpeg, png, etc. …) and other times an existing logo is given (as is) to use for the website or template (whatever).
This is quite possibly the best thing I have read this year. For so long I have been trying to quantify what I do as a web designer. Where, not so long ago, there was a definitive split between what is design and what is programming - more and more that line is blurring. Web design is far more expansive then traditional design, as I feel that web designers, like you mentioned, are no longer tasked with "…simply making a user interface look great, to making a great user interface…" Much like a print designer should know how ink will print on a page, and how to avoid trapping issues - to be a good web designer, is to know not only how to make an interface look good, but how to make it functional as well.
"You could potentially make a career out of designing generalized blog templates, whereas five years ago there was no demand."
Not entirely true. Right now, there's demand for designers for blog templates, but 5 years ago there was demand for designers for forum software templates. This involved little more than being able to create something that was shiny and pretty and having enough skill to tweak a 5-levels-of-nested-tables mess of HTML templates, but the point remains that there has been demand for "template designers" for years already. It's just a new control system these days, as blogs are completely taking over forums on the web.
Other than that, it was a great article, very thought-provoking and definitely something that's been on my mind quite a lot, the past two years (which were spent writing a standards-based CMS for business level applications, utilizing a CSS Zen Garden-like template for great design convenience).
Design serves the purpose of branding too. If design is under the category of templates, then branding of a website becomes difficult to achieve.
I might be a bit biased though; this is not from a graphic designer's perspective. This is as a software engineer who is extremely proficient in software design, XHTML, CSS, JS, and with reasonable graphics abilities. I hire *web* designers to save me time so that I can focus on the application, not give me more work to do by having to splice up their PSD image and change it into an efficient and well structured XHTML/CSS design. Well, I can't say I never use graphic designers who can only make graphics, because I find designing XHTML/CSS structures to be alot of fun. I think designing a CSS stylesheet could even be considered an art in itself. ;-)
"This involved little more than being able to create something that was shiny and pretty and having enough skill to tweak a 5-levels-of-nested-tables mess of HTML templates, but the point remains that there has been demand for "template designers" for years already."
For instance, online webshops shipped with eg a Javascript template, several frames. The ugliest design ever seen, and then redesign it. (anno 2001)
What's that quote that goes, "Design is principles applied to content," or something like that?
"I've seen some comments I agree with, specifically the difference between design and decoration mentioned by Peter is about as perfect of an explanation as I could imagine."
Instead of decorative, one could also use 'illustrative' or interior 'design', adding textures and feels, plus also the grids and positioning are much lent from print design (magazines, newspapers, etc. …) It is not like decorating a christmass-tree, it goes beyond that.
I agree, that templating seems to be where things are heading, for better or worse I do not know. I recently had a request to do 80 blog designs, and they were to be done fairly quickly. I did my best to explain that this isn't really what I do, ie: quality vs. quantity. I touched on this a bit more in the To-Done article I wrote on avoiding burnout. The basic premise was not to take on clients with no message, or don't do designs for empty sites.
Yet, to revisit your point, is design that is mass-produced still design? I would say no, but I do think it is possible to craft a site template around a concept, even if the content does not yet exist. An example would be a corporate blog, that will have a specific, managed focus, but has no content because the company is waiting on a respectable front-end.
Peter Flaschner is sort of taking this mode of thinking and design in a new direction with his start-up The Blog Studio, and I'm interested to see how that develops.
As website owners increasingly take advantage of content management systems to publish content themselves, the more that websites become like newspapers and magazines.
Of course the web user can click links, so there's navigation to think about, and the font size can be increased by the user, so to that extent a web page is more complex than the page of a newspaper. And the underlying technology is obviously not the same. But the comparison becomes increasingly compelling with each free, one-click install CMS that comes along.
I believe newspaper and magazine designers would argue that they are fully-fledged and creative designers in their medium. I think web publishers are always wise to study the work of for-print designers, and I think there will always be huge scope for the skillful design of web-based content because even though alternative devices to a good computer screen are more widely used, the computer screen remains the primary canvas.
Designing a framework for content seems natural to me, coming from the world of print.
While certainly more complex, a web template seems very much like the 'master page' in a print design program. The larger the print project, the more likely the designer is to use styles and master pages.
That's why css and web templates make sense to me. The focus on them may seem new to you, but it seems more like a maturing of tools to me.
I'm now working on a large (several hundred page) redesign, using web standards in a dynamic site. We've developed a system where, mostly using one template and includes, the correct sectiontitle, banner image, navigation and subnavigation are applied to each page, depending on where the page is, in which directory/subdirectory.
Simplifies the site for the client. Still lots of work for the team. Couldn't have been done without the concept of templating.
@Pat, post #16:
You seem to have completely misunderstood my post. What I'm saying is that Art (with a captial A) is as commercial of a product as design, and is subject to the same intellectual standards as design (I'm NOT saying that they serve the same purpose, but that there has to be intelligent idea behind the decoration, not just a mass of decoration). In order for good art to be successful it must critically engage the viewer.
And btw, I also come from a "fine art" background. You're putting words in my mouth that I didn't suggest, and seem to be ranting about crotchety designer snobbery, not against what I was talking about.
(slightly off topic but related to CSS layout non-the-less)
If anyone is using CSS to layout forms (long forms spanning a couple of pages with floating inputs beside their captions) have you found a way to make these floated divs printable?
True it prints OK in IE.. but not FireFox.. and noone seems to be discussing this too much.
I have tried wrapping the entire form in a table, setting the forms height to 100%, bottom:0px .. seems like the only solution anyone has is 'remove the floats' which then make the form layout look rediculous when printed.
All thoughts, comments, suggestions, links and solutions are greatfully accepted.
(maybe I ask too much?)
Personally I started with art as a passion, CG was for me a way to freely express but then i grew up and needed a job like almost everybody. I started working as a graphic designer and agree with the disticntion between fine Art and decoration. I have always been very convinced about this distinction.
First: I think that what you make for living, what you make because people that pay you for doing this, asked/ordered you to do, cannot be considered art. I think Art is the need to express something, not necessarly to communicate to other people… just fix a particular feeling on a canvas or a bunch of pixels, pen scratches etc.
Commercial art is usually part of the marketing process (eg: "No, we don't like this because space monkeys was last year trend… this year we are going into pixel font and nerd ninjias") and marketing is far from Art and feelings (even if it tries to use them). I'm from italy and in italian the word "markette" is generally used for "pronstitution" and in bad moments when i'm down with my work sometimes i think is what we are… bent to the client sometimes absurd request to have our income.
But after almost eight years in this job I realized this is normal and this is how every work goes… You do what they tell you, and you get payed. Easy.
So I think a work cannot ever be Art. Art is not done for money, art is for spirit.
However of course in this job you need to have some artistic sensitivity, you cannot be a graphic designer without knowing how to place two colours togheter to get different sensations. And so i think template designing or unique designing is about the same thing graphically speaking, but not about business and not about the code. You are a man with "artistic" (maybe "graphic" suites better) sensitivity that does his job. What could make you an artist is the fact that you get pain for this, that you suffer from the lack in expressivity.
On the other side fine artists never need to deal with many things: Restrictions, specific requests, contents (!), accessibility, usability, web optimization.
I think (web)design is a wonderful discipline as you need to know a lot of things to make them work well. In this last years I moved too to coding related stuff, as server side, flash coding and most of all semantic markup, and css, and I've found in this a new way to see things that I do.
In the article you was speaking about Blogs diffusion RSS aggregation and all this technology progress as anonymous and less personal compared to 20 years ago newspapers vynils etc. but you may consider this:
we now have globalization of the informations.
We now have the human knowledge online, yes you can reach everything within 4 or 5 mouse clicks and this couldn't be possible without some standardization and steriliziing process.
I have always been involved in both "left and right brain stuff" as beto stated and so I had, as many of you, embraced this cause. We all are part of the conversion process to make the web a useful, comfortable and accessible place.
I today make my job happy because i think I am a part of this revolution, I'm not speaking about saving the world or big stuff, but letting a single user read a page and get informations that he need in a easy way, without headache and eyes pain is for me enough to be happy with my work.
I remember 10-15 years ago when school homework was to do a research on some topic, and the "analog" way to do it… libraries and dozen of hours spent seraching books indexes to find some paraghraphs or uber-expensive encyclopedias and remember how difficult was to catch some information. Knowledge is power.
Finishing I think web is just a media, how can be the canvas, the cinema or any other stuff. You can use it for business, you can use it for Art expressivity or for divulgating informations. They are different uses for different purposes. All different, all important.
For an interesting academic discussion on the use of "design templates" and other templates, I recommend you check out Anders Fagerjords peace about "Prescripting" (his term for templates):
BTW the text itself is also an interesting example on the use of stretchtext, i.e. text that becomes longer or shorter at your wish.


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The Greatest Car Movies Ever Made
List Rules Films must feature cars; may include auto racing / fast cars
List of the best movies featuring awesome and fast cars, ranked by the fans. This car films list can be sorted by director, actors, or year of release via their column headers. So, what are the best movies about cars? Nothing is more exciting than a movie with a fast auto. In this list of the greatest car movies ever made, including racing films, fast car movies, old films with high speed chases, and action car movies. What are the best car action movies? While this might not feature all car films, it does have the greatest.
Cars in movies have always played an important storytelling role in American and foreign cinema and when talking about the top car movies one has to mention The Fast and the Furious, Gone in 60 Seconds, and all-time greats like Bullitt and Smokey and the Bandit. Featuring good classic movies, car-themed animated films, and cool Hollywood movies about driving similar to Need for Speed, this list has it all.
After watching these, you may make your own top 10 car movies list. For other interesting movie lists check out the horse racing movies, and car racing movies.


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Apparently, you ain't nothing in California budget politics if you ain't on the road talking about California budget politics. At least this week.
After three months of closed-door Sacramento negotiations that didn't produce a budget compromise, the parties are now taking it to the streets.
Gov. Jerry Brown is appearing Friday at an elementary school in Riverside, part of the Democratic governor's efforts to visit Republican areas of California and convince voters there to back his bid for a special election on extending temporary tax increases. Democratic legislators are about to begin budget hearings around the state. And the California Republican Party's leaders are countering with a series of events over the next several weeks.
U.S. & World
News from around the country and around the globe
Of course, these budget road warriors share a problem: they have nothing new or fresh to say. Brown is going to talk about all the terrible cuts he'll be forced to make without tax extensions (Call it the "I've Got This Gun Pointed at the State's Future--Don't Make Me Pull the Trigger" Tour). He'll also blast Republicans for not agreeing to support at least a public vote on the temporary tax extensions. (The governor says this makes him a champion of democracy, even though he didn't permit votes on tax cuts, and he's not proposing to give Californians who know the state is broken a chance to vote on constitutional and other reforms). The legislative Democrats will make many of these same points, though probably not as artfully.
And Republicans, for their part, will continue their dodge: they won't vote for taxes, they won't vote to give people a chance to vote on taxes -- and they won't vote for cuts. They'll talk about the terrible job situation and say that Brown and the Democrats aren't doing anything about it. Of course, neither are they.
My advice: skip these rallies and partcipate instead in any one of a number of productive statewide discussions about how to build a better governing system that won't leave us stuck in perpetual budget crisis. One of these is ongoing--it's the Speak Up California series run by the foundation-backed good government group California Forward. A handy list of these and similar events is here.


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County Buildings
The facilities division of the Mono County Department of Public Works is responsible for the maintenance of public buildings spread over different locations throughout the county. These buildings include several County Administrative Offices, the County Jail, Paramedic Quarters, Community Centers, and Senior Centers. For a complete list of county buildings, and their maintenance status (Needs Assessment), see supporting documents below.
If you have comments, concerns or suggestions about County Buildings, please contact the Department of Public Works.


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Had one today that popped up less than a mile from my house. Took off like a shot to go find it and after a little bit of stumbling I realized that the geocaching find was on private property. Double checked the description and sure enough it stated that it was and also to mind the plants. Well the hairs on the back of my neck stood up and I thought if it was in plain sight and could be done quickly I would give it a whack. Walking on their lawn
That was it for me, I was too close to the house and didn't want to go behind the bushes and the house to look. So with a quick shrug I am calling this one. Shame I would have loved another FTF but not this time.
Once again shows that a good geocaching placement is important and you need to think of the finders when you place it..
Your Thoughts?


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On a foggy night, a train rumbles past a dive bar in a sleepy German town. Inside the crowded bar, it's another world.
A singer named Revelino, from Ivory Coast, belts out a reggae tune to a cheering dance floor.
"I came to Germany in 2010," he said, before the show. "I was looking for a life with a bit more meaning."
He said with the war in his homeland, you never knew if your life was going to continue or not.
"You could get killed in any moment by a stray bullet," he said, "or get caught by rebels. Or soldiers. I came to Germany to save my skin."
Revelino's story is not unique. Every year, tens of thousands of migrants enter Europe, fleeing conflict and persecution. Many make their way to Germany. To deal with them, the German government has set up over a hundred refugee camps. If you apply for asylum, you must live in one.
Another man from Ivory Coast, a djembe drummer named Jacques, came to Germany in 2008. He said he was glad to be far from his home village where he'd been threatened with death for being gay. But he said five years of limbo in the German camp system had taken its toll.
"You can practice your music there, but you're heart isn't in it."
"Without joy in your heart, you can't do anything. The camp system is designed to kill your spirit," he said.
The camps are filthy, he said, and overcrowded. You're only allowed travel within a tiny radius of the center. You get food vouchers redeemable in only a few shops, instead of money. You can't work or go to school.
The German government says it is doing the best it can, and points out that it takes in more refugees than most of its neighbors. It claims many migrants come because of Germany's generous welfare system, not out of fear for their safety at home.
A 19-year-old Afghani rapper named Hosain says he doesn't quite see the generosity in his camp. The worst thing about living there, he said, is the constant fear of being deported. He said that's because you're a virtual captive inside, making it easier for authorities to repatriate you. All they have to do is come to your room in the night. As they did recently, he said, snatching his best friend.
"It is really dangerous," he said. "My best friend called me, in Afghanistan. He said, 'I was in my room. Six am. Then tack-tack-tack at the door. It was the police. Let's go, they said. Where? Why? To the airport.'"
Hosain said he never saw him again.
All these guys were professional or promising musicians back home. No one in Germany would likely ever know their names were it not for Heinz Ratz.
Ratz himself is a well-known German base player. A couple of years back, he biked around Germany, visiting 80 detention centers. He'd play shows nearby to draw attention to conditions. And he said the refugees would come out to listen. One day, he thought, there's got to be good quality musicians among them. At first, he said, he was astonished.
"But then I thought, it's not a wonder because musicians and artists are critical people," he said. "And if they live in countries with dictators, it is very logical they have to flee."
Ratz's recruits have permission for this tour. But when it's over, most must return to their detention centers. Ratz said if he can make the refugee musicians known -even popular - treatment for all refugees might improve. He said it's been a struggle to get anyone to listen. Even getting local newspaper coverage was tough.
"Now there's a lot of discussion in newspapers," he said. "But there's also lots of people against refugees as well – right-wing neo-Nazis. So it's becoming very difficult in Germany. A big fight is starting. But at least it is starting."
He said German politicians have yet to respond. The tour is happening as the European Union wrestles with how to protect its borders and deal with more and more migrants, many of whom lose their lives en route. More than three hundred African asylum seekers drowned just last week off Italy's coast.


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November is when I usually start thinking about pumpkin recipes.
Here are a few of my favorite pumpkin recipes from the years past:
They all look good Steph!ReplyDelete
OMG, I love pumpkin anything (almost)! These all look so yummy... sigh.ReplyDelete
Mmm pumpkin cornbread...never thought of that before!ReplyDelete
I love the simplicity of your blog and all the recipes you come up with! You've inspired me to try some new eats for myself and my family. I've nominated you for The Very Inspiring Blogger on my blog. http://onthevector.com/2012/11/01/whoomp-there-it-is-the-fine-print/
Thank you for your food creativity! I love it!