View allAll Photos Tagged Refinement
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
First steps with clustered shading! Initial clustered light assignment working, but still needs refinement step outlined in Emil Persson/Avalanche paper to tighten the cluster groups around the sphere.
Definitely looking like this is a promising alternative to tiled deferred and forward+ light culling methods. I'm liking that it can be done CPU side (not requiring compute shaders or OpenCL) which both frees up GPU time and maintains compatibility with older APIs.
Other great bonus is that the culling doesn't require any information about your scene (such as a depth buffer), no depth prepass needed, and transparency pass can use the same light indices! Plus, it's fast ;)
Paper this implementation is based on can be found here:
Alex had a unique approach to the production of his design folio work. Alex was constantly drawing. He spent most of his classtime just drawing, even when he was supposed to be doing something else. He needed to draw to think. So what you see here isn't necessarily pretty but this folio is stuffed with ideas. Alex's approach demonstrates precisely and accurately the method of idea generation and refinement promoted by the department. Note the large number of drawings on eachpage. this allows the student to easily cross reference and tag from one idea to the next. Extensive annotation also helps to reveal design thinking and comments should always be relevant and refer back to the specification. It is clear that Alex has a thorough understanding of the more technical aspects of the course and he repeatedly suggests ways in which his concepts might be made.
Alex went on to do very well at Higher Product Design. Some of his work also features on this site. He's now studying maths at Warwick University.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The process continues in this most recent image of the Imperial Navy Slicer, some additional refinements done last night and I'm really liking the results. Although I think it can be even better.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The Lavochkin La-5 (Лавочкин Ла-5) was a Soviet fighter aircraft of World War II. It was a development and refinement of the LaGG-3 and was one of the Soviet Air Force's most capable types of warplane.
In the summer of 1943, a brand-new La-5 made a forced landing on a German airfield providing the Luftwaffe with an opportunity to test-fly the newest Soviet fighter. Test pilot Hans-Werner Lerche wrote a detailed report of his experience.[1] He particularly noted that the La-5FN excelled at altitudes below 3,000 m (9,843 ft) but suffered from short range and flight time of only 40 minutes at cruise engine power. All of the engine controls (throttle, mixture, propeller pitch, radiator and cowl flaps, and supercharger gearbox) had separate levers which served to distract the pilot during combat to make constant adjustments or risk suboptimal performance. For example, rapid acceleration required moving no less than six levers. In contrast, contemporary German aircraft, especially the BMW 801 radial-engined variants of the Focke-Wulf Fw 190 front line fighter, had largely automatic engine controls with the pilot operating a single lever and electromechanical devices, like the Kommandogerät pioneering engine computer on the radial-engined Fw 190s, making the appropriate adjustments. Due to airflow limitations, the engine boost system (Forsazh) could not be used above 2,000 m (6,562 ft). Stability in all axes was generally good. The authority of the ailerons was deemed exceptional but the rudder was insufficiently powerful at lower speeds. At speeds in excess of 600 km/h (370 mph), the forces on control surfaces became excessive. Horizontal turn time at 1,000 m (3,281 ft) and maximum engine power was 25 seconds.
In comparison with Luftwaffe fighters, the La-5FN was found to have a comparable top speed and acceleration at low altitude. It possessed a higher roll rate and a smaller turn radius than the Bf 109 and a better climb rate than the Fw 190A-8. The Bf 109 utilizing MW 50 had superior performance at all altitudes, and the Fw 190A-8 had better dive performance. Lerche's recommendations were to attempt to draw the La-5FN to higher altitudes, to escape attacks in a dive followed by a high-speed shallow climb, and to avoid prolonged turning engagements.
The La-5 had its defects. Perhaps the most serious being the thermal isolation of the engine, lack of ventilation in the cockpit, and a canopy that was impossible to open at speeds over 350 km/h. To make things worse, exhaust gas often entered in the cockpit due to poor insulation of the engine compartment. Consequently, pilots ignored orders and frequently flew with their canopies open.[2]
In general, Soviet pilots appreciated the La-5 as an effective fighter. "That was an excellent fighter with two cannons and a powerful air-cooled engine", recalled pilot Viktor M. Sinaisky. "The first La-5s from the Tbilisi factory were slightly inferior, while the last ones from the Gorki plant, which came to us from Ivanovo, were perfect. At first we received regular La-5s, but then we got new ones containing the ASh-82FN engine with direct injection of fuel into the cylinders. It was perfect. Everyone was in love with the La-5. it was easy to maintain too."[3] Nevertheless La-5 losses were high, the highest of all fighters in service in USSR, not considering those of the Yak-1. In 1941-45, VVS KA lost 2,591 La-5s, 73 in 1942, 1,460 in 1943, 825 the following year and 233 in 1945.[4]
Alex had a unique approach to the production of his design folio work. Alex was constantly drawing. He spent most of his classtime just drawing, even when he was supposed to be doing something else. He needed to draw to think. So what you see here isn't necessarily pretty but this folio is stuffed with ideas. Alex's approach demonstrates precisely and accurately the method of idea generation and refinement promoted by the department. Note the large number of drawings on eachpage. this allows the student to easily cross reference and tag from one idea to the next. Extensive annotation also helps to reveal design thinking and comments should always be relevant and refer back to the specification. It is clear that Alex has a thorough understanding of the more technical aspects of the course and he repeatedly suggests ways in which his concepts might be made.
Alex went on to do very well at Higher Product Design. Some of his work also features on this site. He's now studying maths at Warwick University.
A touch of refinement goes a long way. This Lincoln Navigator is the quintessential gentleman’s truck, rolling on these 22x10 Forgeline one piece forged monoblock VX1-Truck wheels finished in Transparent Smoke with the optional Tall Center Cap! See more at: forgeline.com/customer-gallery/forgeline-customer-113/
#forgeline #forgedwheels #customwheels #forgedmonoblock #VX1Truck #notjustanotherprettywheel #doyourhomework #madeinUSA #lincoln #navigator #6Lug
Supra Boats @SupraBoats unveils 2012 luxury performance wakeboard and water ski boat line with a “beyond better” online presence.
The 2012 Supra Boats web site brings a new level of refinement to the cyber side of water sports boating with clean design, intuitive function and multi-platform operation. Supra drew on the sleek stylish design they build into their boats when creating this site. Also like the boats, high performance is built into the home page with quick 1-click access to all of Supra’s online destinations. Supra versatility shines with this new web presence. Multi-platform programming makes the site usable on everything from an iPhone or iPad to a desktop PC. Visit SupraBoats.com and experience performance wake and ski boating digitally refined. Supra Boats way beyond better, even online.
Additional Links
Supra Boats took a different approach to graphic site design with a new 2012 web presence. The look is clean and simple with an uncluttered elegance. The new design presents visitors with the navigation options they need in a format that is not overwhelming. Even though social media is a cornerstone of Supra’s online public relations, they have tucked the dynamic content below the fold. Also outside the first window of view on the home page is most copy. Supra clearly wants to allow visitors’ to focus on the boating lifestyle first. The large background image updates on reload to offer a slight variance to the refined performance look on each visit.
While the look is important, it is the navigation that can make or break a web site experience. Supra made almost every destination within their site 1-click form the home page. Even their external sites like their blog, Facebook, Twitter and YouTube channels are one click away. The main navigation of the site is repeated along the top and bottom of each page. This includes links to each model page for quick easy access to your favorite Supra boat. Major Supra happenings are highlighted with graphical buttons on the homepage and the highest priority content is featured in a special banner.
Looking for more content? Just scroll. Supra Boats copy as well as an enewsletter sign-up field, dealer locator, Supra news reel and dynamic social media widgets are all just a scroll bar away. You can get a glimpse of the latest photos on the Supra Flickr channel or check out Supra’s Facebook Fan Page. You can even read the latest Supra Blog post. Everything Supra Boats is at SupraBoats.com. Visit early and often!
And whether your accessing from an Apple device, a Droid or a PC this web site will function and look the same. SupraBoats.com has embraced the diverse technologies visitors use to access the Internet and built their new site accordingly. The look, navigation and programming has been refined to offer Supra wakeboard and water ski boat enthusiasts an experience online that is as far beyond better as Supra boats.
The Lavochkin La-5 (Лавочкин Ла-5) was a Soviet fighter aircraft of World War II. It was a development and refinement of the LaGG-3 and was one of the Soviet Air Force's most capable types of warplane.
In the summer of 1943, a brand-new La-5 made a forced landing on a German airfield providing the Luftwaffe with an opportunity to test-fly the newest Soviet fighter. Test pilot Hans-Werner Lerche wrote a detailed report of his experience.[1] He particularly noted that the La-5FN excelled at altitudes below 3,000 m (9,843 ft) but suffered from short range and flight time of only 40 minutes at cruise engine power. All of the engine controls (throttle, mixture, propeller pitch, radiator and cowl flaps, and supercharger gearbox) had separate levers which served to distract the pilot during combat to make constant adjustments or risk suboptimal performance. For example, rapid acceleration required moving no less than six levers. In contrast, contemporary German aircraft, especially the BMW 801 radial-engined variants of the Focke-Wulf Fw 190 front line fighter, had largely automatic engine controls with the pilot operating a single lever and electromechanical devices, like the Kommandogerät pioneering engine computer on the radial-engined Fw 190s, making the appropriate adjustments. Due to airflow limitations, the engine boost system (Forsazh) could not be used above 2,000 m (6,562 ft). Stability in all axes was generally good. The authority of the ailerons was deemed exceptional but the rudder was insufficiently powerful at lower speeds. At speeds in excess of 600 km/h (370 mph), the forces on control surfaces became excessive. Horizontal turn time at 1,000 m (3,281 ft) and maximum engine power was 25 seconds.
In comparison with Luftwaffe fighters, the La-5FN was found to have a comparable top speed and acceleration at low altitude. It possessed a higher roll rate and a smaller turn radius than the Bf 109 and a better climb rate than the Fw 190A-8. The Bf 109 utilizing MW 50 had superior performance at all altitudes, and the Fw 190A-8 had better dive performance. Lerche's recommendations were to attempt to draw the La-5FN to higher altitudes, to escape attacks in a dive followed by a high-speed shallow climb, and to avoid prolonged turning engagements.
The La-5 had its defects. Perhaps the most serious being the thermal isolation of the engine, lack of ventilation in the cockpit, and a canopy that was impossible to open at speeds over 350 km/h. To make things worse, exhaust gas often entered in the cockpit due to poor insulation of the engine compartment. Consequently, pilots ignored orders and frequently flew with their canopies open.[2]
In general, Soviet pilots appreciated the La-5 as an effective fighter. "That was an excellent fighter with two cannons and a powerful air-cooled engine", recalled pilot Viktor M. Sinaisky. "The first La-5s from the Tbilisi factory were slightly inferior, while the last ones from the Gorki plant, which came to us from Ivanovo, were perfect. At first we received regular La-5s, but then we got new ones containing the ASh-82FN engine with direct injection of fuel into the cylinders. It was perfect. Everyone was in love with the La-5. it was easy to maintain too."[3] Nevertheless La-5 losses were high, the highest of all fighters in service in USSR, not considering those of the Yak-1. In 1941-45, VVS KA lost 2,591 La-5s, 73 in 1942, 1,460 in 1943, 825 the following year and 233 in 1945.[4]
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
via WordPress biophytopharm.com/best-carrier-oils-aromatherapy/
Ideal Carrier Oils for Aromatherapy
White porcelain bowls with carrier oils in them
In aromatherapy, we are constantly referring to diluting essential natural oils in a carrier. Nevertheless, what is a carrier, and which should you choose? Here we’re going to cover the organic carrier oils that are most commonly used for topical recipes and massage.
What is a Carrier Oil?
Carrier oils are oils that are commonly pressed from the seed products, nuts, kernels, or fruits of a botanical. That they range in color and scent with regards to the plant and refinement process. Liquidy natural oils (like olive and almond) contain more unsaturated body fat, and oils higher in saturated fats (like coconut oil) will be sound at room temperature.
4 oz. bottle of lovely almond oil with a glass bottle of oil on stray
Know Your Herbal Oils (Carrier Oils)
Before making a purchasing decision, there are certain things that you will want to know about your carrier oils. Here is a quick set of what to look for:
Common name: Is usually it the oil that you want?
Latin name: Is it being pressed from the botanical you are looking for? An oil sold under the same common name can be made from different species and sometimes different plants!
Plant part: What part of the plant is the oil made from?
Removal method: Oils can be made from cold-pressing (no heat), expeller-pressing (minimal heat), or solvent extraction.
Processing techniques: Is the oil raw, physically refined (no solvents used), or chemically refined? Is it winterized to remove waxes that can separate at cold temperatures?
At Mountain Rose Herbs we offer a full brand of carrier oils (organic whenever possible) that are cold-pressed or expeller-pressed. We will never offer anything that uses solvents for extraction or refinement or that are chemically refined.
While many of our oils are unrefined and only go through a filtering process for clarity, we do have some available that are physically refined to remove color, strong aromas or, in some instances, fats, therefore, the oil won’t separate in the cold. All this information can be found in the detailed descriptions for each and every offering in our online store.
Right here are some of our favorite carrier oils:
4 oz. bottles of sweet cashew oil and jojoba essential oil lying on the counter with oils and lotion and handmade detergent
ORGANIC JOJOBA OIL
Latin Name & Plant Part: Simmondsia Chinensis seed
Extraction: Cold-pressed
Refinement: Unrefined
Color: Bright golden-yellow
Aroma: Faint, if any
Suggested use: Cosmetic only
Jojoba oil is actually a liquid wax, giving it a stable shelf life. Conceptually it resembles sebum, the oil that our pores and skin naturally produce. Because of this, we love it for moisturizing massage and body oils. It can be used as just one ingredient base and does not need to be blended with other oils. Jojoba will not affect the fragrance of the finished blend.
ORGANIC AND NATURAL SWEET ALMOND OIL
Asian Name & Plant Part: Prunus dulcis nuts
Removal: Expeller-pressed
Refinement: Unrefined
Color: Light yellow
Aroma: Softly nutty, not too strong
Suggested use: Food and cosmetic
Almond or lovely almond oil is a classic base for body oils, creams, lotions, and soap. We love it for its emollient and moisturizing properties. It can be used as a stand-alone base, and it will not overpower the scent of a finished blend. Nevertheless, you might be able to smell a number of its nutty.
4 oz. bottle of rosehip seed oil on a counter with rosehips and other carrier oils for use
ORGANIC SUNFLOWER OIL
Latin Name & Plant Component: Helianthus annuus seeds
Extraction: Expeller-pressed
Refinement: Refined
Color: Light yellowish
Aroma: Practically odorless
Suggested use: Food and cosmetic
Our Non-GMO Project verified sunflower oil is light in efluvio and absorbs well into the skin. 2 weeks. wonderful single ingredient base for body oils and massage oils. This high-oleic oil will not overpower the scent of a blend.
ORGANIC EXTRA VIRGIN OLIVE OIL
Latin Brand & Plant Part: Olea europaea fruit
Extraction: Cold-pressed
Refinement: Unrefined
Color: Light yellowish-green
Aroma: Fatty and rich with an attribute olive fragrance
Suggested use: Food and cosmetic
This classic oil is most often used in massage oils and as a medium for herbal oil infusions. It can feel slightly junk to the touch, but it provides emollient properties to a blend and long-lasting float to massage oils. Extra virgin olive oil does have a strong aroma and can affect your finished product, but don’t let that stop you from using this wonderful carrier option.
ORGANIC AND NATURAL ROSEHIP SEED OIL
Which include Name & Plant Component: Rosa spp. hips
Extraction: Cold-pressed
Refinement: Winterized
Color: Reddish ruby
Aroma: Weighty and wealthy
Suggested use: Cosmetic only
Rosehip seeds oil is our favorite for mature and dried out skin, and it makes an excellent moisturizing ingredient for facial serums and lotions. This oil needs to be blended with another carrier and really should not be used as a single ingredient base. However, it might make up to 20% of your base blend. We all recommend refrigeration of this delicate oil after beginning to preserve its shelf life.
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The post Ideal Carrier Oils for Aromatherapy appeared first on BIOPHYTOPHARM.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Alrighty, so it doesn't look like too much progress, but I went in and refined the ear shapes and tweaked things here and there. For this sculpt I really wanted to focus on stylizing the nose shape to be sort of like a greek statue.
Also....I gotta think of a name for her sculpt!
Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.
The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.
The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.
The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Alex had a unique approach to the production of his design folio work. Alex was constantly drawing. He spent most of his classtime just drawing, even when he was supposed to be doing something else. He needed to draw to think. So what you see here isn't necessarily pretty but this folio is stuffed with ideas. Alex's approach demonstrates precisely and accurately the method of idea generation and refinement promoted by the department. Note the large number of drawings on eachpage. this allows the student to easily cross reference and tag from one idea to the next. Extensive annotation also helps to reveal design thinking and comments should always be relevant and refer back to the specification. It is clear that Alex has a thorough understanding of the more technical aspects of the course and he repeatedly suggests ways in which his concepts might be made.
Alex went on to do very well at Higher Product Design. Some of his work also features on this site. He's now studying maths at Warwick University.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Paint decals & photo by PB74.
As engine output has exploded, with super-sedans from Europe roaming about with previously unthinkable horsepower numbers, the 2010 Audi S4 makes more out of less. Two less cylinders, seven less horsepower, and 1.2 liters less displacement than its predecessor, to be exact. The magic of the S4 is that Audi’s skilled engineers have not only conjured up a lot more torque and significantly better fuel economy, they’ve made the new S4 quicker than the last one. Combine all this with a quattro all-wheel drive system that borrows refinements like torque-vectoring from the manic RS4, and the S4 proves that it’s not just some dry statistics that have been tweaked; the sedan’s agility is seriously improved. The positives aren’t just limited to the drivetrain, as the S4 wears a spiffy new set of duds, with aggressive split-spoke alloy wheels, a more aggressive front fascia, and trunklid spoiler to distinguish it from lesser Audis~FM4~
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From Edmunds (http://www.edmunds.com/ford/mustang/2010/testdrive.html) -
The Ford Mustang operates on a fairly simple formula — put a big V8 in the front that drives a solid axle in back, put two doors in between and make it fun to drive. Sounds simple, right? You'd think so, but the details have often served to make or break this revered nameplate. It seems that every time the Ford engineers change something, the Mustang faithful hold their collective breath either in anticipation or fear. For every Shelby GT500 memory, there's been a Mustang II waiting around the corner. The unveiling of the 2010 Ford Mustang at the Los Angeles auto show was no different, and like so many times before, reaction to its mild styling redesign was mixed. From the driver seat, though, we're happy to report there's nothing but thumbs-up.
Although the new Mustang shares many exterior traits with its 2009 predecessor, every panel except for the roof is completely new. The styling tweaks are noticeable fore and aft, with a sloping nose that produces a more sinister frown, and more shapely taillights. From any angle, though, the historical styling DNA is readily apparent.
The makeovers are more than skin deep, however, thanks in large part to a raid on the Mustang Bullitt parts bin. The 2010 Ford Mustang GT now makes use of the Bullitt's cold air intake to help boost power output, along with a reworked ECU to raise the redline to 6,500 rpm. The new GT also borrows some suspension components from the Bullitt and further stiffens the springs for more spirited cornering.
Performance improvements are always applauded by ponyphiles, but mention the word "refinement" and they'll begin mobbing Ford headquarters with pitchforks in hand. To them "refinement" equals wimpy, lame and most definitely not Mustang. Yet, noticeably less wind and road noise and a higher-quality cabin don't sully any of the fun — nor the V8's wonderful growl that's actually channeled into the cabin via an induction tube.
After all, it's that visceral, blood-pumping emotion that ensures the Mustang's survival. Turn the key and feel the big V8 rumble as it roars to life. Then stab the throttle, dump the clutch and leave greasy black tire streaks on the pavement in a cloud of white smoke. For more than 45 years, this ritual has been a staple in the life of the Ford Mustang. Hailed as revolutionary when it debuted in 1964, the Mustang takes an evolutionary step forward for 2010, while remaining true to its roots.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Alex had a unique approach to the production of his design folio work. Alex was constantly drawing. He spent most of his classtime just drawing, even when he was supposed to be doing something else. He needed to draw to think. So what you see here isn't necessarily pretty but this folio is stuffed with ideas. Alex's approach demonstrates precisely and accurately the method of idea generation and refinement promoted by the department. Note the large number of drawings on eachpage. this allows the student to easily cross reference and tag from one idea to the next. Extensive annotation also helps to reveal design thinking and comments should always be relevant and refer back to the specification. It is clear that Alex has a thorough understanding of the more technical aspects of the course and he repeatedly suggests ways in which his concepts might be made.
Alex went on to do very well at Higher Product Design. Some of his work also features on this site. He's now studying maths at Warwick University.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The MG VA Tourer was announced at the 1936 Motor Show. It was based on the same chassis and engine as the VA Saloon and Tickford models. It cost around £280 depending upon the exact specification.
Like all of the SVW (Sa, VA and WA) models built between 1936 and 1939, it had four seats to appeal to the family man, yet it also reatined the sports car feel.
A contemporary write-up of the VA Tourer by The Motor 6th July 1937 states: "There is an air of refinement throughout the whole car. It is beautifully finished, very well upholstered with good quality leather, and thoroughly equipped. The hood folds and drops into a recess behind the rear seats, the whole of the rear compartment and recessed hood being covered by a tonneau cover. The dashboard, in which the various dials with brass covered surrounds are let into a walnut panel, assumes a rather nautical aspect but one that is pleasing to the eye. Working in conjunction with the speedometer is a Thirtilite giving warning by means of a green light when travelling at about the legal limit. Jackall permanent hydraulic jacks can be fitted."
www.svwregister.co.uk/car_profiles/va_tourer.htm
The British Motor magazine tested a VA tourer which reached a top speed of just over 76 mph (122 km/h) and a 0-50 mph time of 15.8 seconds. With the windscreen folded down the top speed increased to nearly 82 mph (132 km/h).
The VA was used as a police car in both the tourer and saloon versions. Details of the specification supplied can be seen at www.svwregister.co.uk/car_profiles/va_police.htm.
Photos of the tourer as a police car can be seen at commons.wikimedia.org/wiki/Category:MG_VA
This is a reproduction Bombe situated at Beltchely Park.
The bombe was an electromechanical device used by British cryptologists to help decipher German Enigma-machine-encrypted signals during World War II.
The initial design of the bombe was produced in 1939 at the UK Government Code and Cypher School (GC&CS) at Bletchley Park by Alan Turing, with an important refinement devised in 1940 by Gordon Welchman. The engineering design and construction was the work of Harold Keen of the British Tabulating Machine Company
Still Life by Georg Flegel
Flegel, from Moravia, worked in Vienna and (after 1593) in Frankfurt. His style eschews Netherlandish refinement in favor of naturalistic precision, a tradition extending from the nature studies of Albrecht Dürer and Hans Hoffmann to the miniatures of Joris Hoefnagel and drawings by Jacques de Gheyn.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.