View allAll Photos Tagged designing
Hotel interiors designing involves the planning, composing, designing of hotels. We undertake Mural Projects for decorating walls of hotels, restaurants, and other such places in Bangalore, Karnataka. We offer these services through our skilled professionals, who are trained for such projects.
We designed our site to improve knowledge for electronic engineers by discussing with our experts and encourages engineers in all aspects to learn electronic circuits designing.
“Granite and Green”
We at Olde New England Granite are now designing and supplying materials for outdoor showers with attached water features – constructed entirely from reclaimed, weathered granite from our olde quarry. The greenery between really compliments and softens the aged granite. Everybody loves the practicality of an outdoor shower. The other unique “granite and green” treatments we are suppliers for includes – privacy hedges, patio backdrops, property boundaries, driveway borders and entry groupings. We invite you to come to the granite farm and see the array of our new and extensive inventory. You may even want to give our shower a whirl – BYOS.
Eason Chow, Industrial Designer, Division of Industrial Design, National University of Singapore, Singapore at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China 2015. Copyright by World Economic Forum / Sikarin Fon Thanachaiary
Student, Kenneth, looks at his potential design for the smart phone's user interface that audiences will utilize for the audio walks!
U.S. Army Africa photo by Sgt. 1st Class Kyle Davis
U.S. Africa Command (AFRICOM) hosted its second annual C4ISR Senior Leaders Conference Feb. 2-4 at Caserma Ederle, headquarters of U.S. Army Africa, in Vicenza, Italy.
The communications and intelligence community event, hosted by Brig. Gen. Robert Ferrell, AFRICOM C4 director, drew approximately 80 senior leaders from diverse U.S. military and government branches and agencies, as well as representatives of African nations and the African Union.
“The conference is a combination of our U.S. AFRICOM C4 systems and intel directorate,” said Ferrell. “We come together annually to bring the team together to work on common goals to work on throughout the year. The team consists of our coalition partners as well as our inter-agency partners, as well as our components and U.S. AFRICOM staff.”
The conference focused on updates from participants, and on assessing the present state and goals of coalition partners in Africa, he said.
“The theme for our conference is ‘Delivering Capabilities to a Joint Information Environment,’ and we see it as a joint and combined team ... working together, side by side, to promote peace and stability there on the African continent,” Ferrell said.
Three goals of this year’s conference were to strengthen the team, assess priorities across the board, and get a better fix on the impact that the establishment of the U.S. Cyber Command will have on all members’ efforts in the future, he said.
“With the stand-up of U.S. Cyber Command, it brings a lot of unique challenges that we as a team need to talk through to ensure that our information is protected at all times,” Ferrell said.
African Union (AU) representatives from four broad geographic regions of Africa attended, which generated a holistic perspective on needs and requirements from across the continent, he said.
“We have members from the African Union headquarters that is located in Addis Ababa, Ethiopia; we have members that are from Uganda; from Zambia; from Ghana; and also from the Congo. What are the gaps, what are the things that we kind of need to assist with as we move forward on our engagements on the African continent?” Ferrell said.
U.S. Army Africa Commander, Maj. Gen. David R. Hogg, welcomed participants as the conference got under way.
“We’re absolutely delighted to be the host for this conference, and we hope that this week you get a whole lot out of it,” said Hogg.
He took the opportunity to address the participants not only as their host, but from the perspective of a customer whose missions depend on the results of their efforts to support commanders in the field.
“When we’re talking about this group of folks that are here — from the joint side, from our African partners, from State, all those folks — it’s about partnership and interoperability. And every commander who’s ever had to fight in a combined environment understands that interoperability is the thing that absolutely slaps you upside the head,” Hogg said.
“We’re in the early stages of the process here of working with the African Union and the other partners, and you have an opportunity to design this from the end state, versus just building a bunch of ‘gunkulators.’ And so, the message is: think about what the end state is supposed to look like and construct the strategy to support the end state.
“Look at where we want to be at and design it that way,” Hogg said.
He also admonished participants to consider the second- and third-order effects of their choices in designing networks.
“With that said, over the next four days, I hope this conference works very well for you. If there’s anything we can do to make your stay better, please let us know,” Hogg said.
Over the following three days, participants engaged in a steady stream of briefings and presentations focused on systems, missions and updates from the field.
Col. Joseph W. Angyal, director of U.S. Army Africa G-6, gave an overview of operations and issues that focused on fundamentals, the emergence of regional accords as a way forward, and the evolution of a joint network enterprise that would serve all interested parties.
“What we’re trying to do is to work regionally. That’s frankly a challenge, but as we stand up the capability, really for the U.S. government, and work through that, we hope to become more regionally focused,” he said.
He referred to Africa Endeavor, an annual, multi-nation communications exercise, as a test bed for the current state of affairs on the continent, and an aid in itself to future development.
“In order to conduct those exercises, to conduct those security and cooperation events, and to meet contingency missions, we really, from the C4ISR perspective, have five big challenges,” Angyal said.
“You heard General Hogg this morning talk about ‘think about the customer’ — you’ve got to allow me to be able to get access to our data; I’ve got to be able to get to the data where and when I need it; you’ve got to be able to protect it; I have to be able to share it; and then finally, the systems have to be able to work together in order to build that coalition.
“One of the reasons General Ferrell is setting up this joint information enterprise, this joint network enterprise . . . it’s almost like trying to bring together disparate companies or corporations: everyone has their own system, they’ve paid for their own infrastructure, and they have their own policy, even though they support the same major company.
“Now multiply that when you bring in different services, multiply that when you bring in different U.S. government agencies, and then put a layer on top of that with the international partners, and there are lots of policies that are standing in our way.”
The main issue is not a question of technology, he said.
“The boxes are the same — a Cisco router is a Cisco router; Microsoft Exchange server is the same all over the world — but it’s the way that we employ them, and it’s the policies that we apply to it, that really stops us from interoperating, and that’s the challenge we hope to work through with the joint network enterprise.
“And I think that through things like Africa Endeavor and through the joint enterprise network, we’re looking at knocking down some of those policy walls, but at the end of the day they are ours to knock down. Bill Gates did not design a system to work only for the Army or for the Navy — it works for everyone,” Angyal said.
Brig. Gen. Joseph Searyoh, director general of Defense Information Communication Systems, General Headquarters, Ghana Armed Forces, agreed that coordinating policy is fundamental to improving communications with all its implications for a host of operations and missions.
“One would expect that in these modern times there is some kind of mutual engagement, and to build that engagement to be strong, there must be some kind of element of trust. … We have to build some kind of trust to be able to move forward,” said Searyoh.
“Some people may be living in silos of the past, but in the current engagement we need to tell people that we are there with no hidden agenda, no negative hidden agenda, but for the common good of all of us.
“We say that we are in the information age, and I’ve been saying something: that our response should not be optional, but it must be a must, because if you don’t join now, you are going to be left behind.
“So what do we do? We have to get our house in order.
“Why do I say so? We used to operate like this before the information age; now in the information age, how do we operate?
“So, we have to get our house in order and see whether we are aligning ourselves with way things should work now. So, our challenge is to come up with a strategy, see how best we can reorganize our structures, to be able to deliver communications-information systems support for the Ghana Armed Forces,” he said.
Searyoh related that his organization has already accomplished one part of erecting the necessary foundation by establishing an appropriate policy structure.
“What is required now is the implementing level. Currently we have communications on one side, and computers on one side. The lines are blurred — you cannot operate like that, you’ve got to bring them together,” he said.
Building that merged entity to support deployed forces is what he sees as the primary challenge at present.
“Once you get that done you can talk about equipment, you can talk about resources,” Searyoh said. “I look at the current collaboration between the U.S. and the coalition partners taking a new level.”
“The immediate challenges that we have is the interoperability, which I think is one of the things we are also discussing here, interoperability and integration,” said Lt. Col. Kelvin Silomba, African Union-Zambia, Information Technology expert for the Africa Stand-by Force.
“You know that we’ve got five regions in Africa. All these regions, we need to integrate them and bring them together, so the challenge of interoperability in terms of equipment, you know, different tactical equipment that we use, and also in terms of the language barrier — you know, all these regions in Africa you find that they speak different languages — so to bring them together we need to come up with one standard that will make everybody on board and make everybody able to talk to each other,” he said.
“So we have all these challenges. Other than that also, stemming from the background of these African countries, based on the colonization: some of them were French colonized, some of them were British colonized and so on, so you find that when they come up now we’ve adopted some of the procedures based on our former colonial masters, so that is another challenge that is coming on board.”
The partnership with brother African states, with the U.S. government and its military branches, and with other interested collaborators has had a positive influence, said Silomba.
“Oh, it’s great. From the time that I got engaged with U.S. AFRICOM — I started with Africa Endeavor, before I even came to the AU — it is my experience that it is something very, very good.
“I would encourage — I know that there are some member states — I would encourage that all those member states they come on board, all of these regional organizations, that they come on board and support the AFRICOM lead. It is something that is very, very good.
“As for example, the African Union has a lot of support that’s been coming in, technical as well as in terms of knowledge and equipment. So it’s great; it’s good and it’s great,” said Salimba.
Other participant responses to the conference were positive as well.
“The feedback I’ve gotten from every member is that they now know what the red carpet treatment looks like, because USARAF has gone over and above board to make sure the environment, the atmosphere and the actual engagements … are executed to perfection,” said Ferrell. “It’s been very good from a team-building aspect.
“We’ve had very good discussions from members of the African Union, who gave us a very good understanding of the operations that are taking place in the area of Somalia, the challenges with communications, and laid out the gaps and desires of where they see that the U.S. and other coalition partners can kind of improve the capacity there in that area of responsibility.
“We also talked about the AU, as they are expanding their reach to all of the five regions, of how can they have that interoperability and connectivity to each of the regions,” Ferrell said.
“(It’s been) a wealth of knowledge and experts that are here to share in terms of how we can move forward with building capacities and capabilities. Not only for U.S. interests, but more importantly from my perspective, in building capacities and capabilities for our African partners beginning with the Commission at the African Union itself,” said Kevin Warthon, U.S. State Department, peace and security adviser to the African Union.
“I think that General Ferrell has done an absolutely wonderful thing by inviting key African partners to participate in this event so they can share their personal experience from a national, regional and continental perspective,” he said.
Warthon related from his personal experience a vignette of African trust in Providence that he believed carries a pertinent metaphor and message to everyone attending the conference.
“We are not sure what we are going to do tomorrow, but the one thing that I am sure of is that we are able to do something. Don’t know when, don’t know how, but as long as our focus is on our ability to assist and to help to progress a people, that’s really what counts more than anything else,” he said.
“Don’t worry about the timetable; just focus on your ability to make a difference and that’s what that really is all about.
“I see venues such as this as opportunities to make what seems to be the impossible become possible. … This is what this kind of venue does for our African partners.
“We’re doing a wonderful job at building relationships, because that’s where it begins — we have to build relationships to establish trust. That’s why this is so important: building trust through relationships so that we can move forward in the future,” Warthon said.
Conference members took a cultural tour of Venice and visited a traditional winery in the hills above Vicenza before adjourning.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Designing iPad Apps Monday, 02/14/2011
Jennifer Brook (The New York Times), William Couch (USA TODAY), Craig Mod (PREPOST / Flipboard)
The iPad and its emerging entourage of Android tablets have introduced a new style of computing, confronting designers with new challenges. Explore practical techniques and eye-opening gotchas of tablet interface design, all grounded in the ergonomics, context, psychology, and nascent culture of these new devices.
____________________________________________________________________________________
Jennifer Brook, Information Architect for the New York Times
The challenge of building the NYTimes iPad app: How do we design something new that feels familiar? Designed for the device, but maintained typography and branding.
Remember that apps are distinct from web and print.
Great apps:
Understand the platform
Start small and improve over time
Require collaboration to build
Crafted crafted with the human eye and touch in mind
Killer apps do 1-3 things well. They are specific, useful, and easy to use.
A complex system that works is invariably found to have evolved from a simple system that worked. The inverse proposition also appears to be true: A complex system designed from scratch never works and cannot be made to work. You have to start over, beginning with a working simple system.
—p. 71
The waterfall model of development is like a factory and it ends up being too heavy. You need a lighter-weight process to develop simple apps.
When developing, you should put your work on a device as soon as possible. Wireframes and designs should go on a device and stakeholders should view every stage on the device.
Apps should be useful tools for human beings.
William Couch, USA Today | Designing for Distraction
Device | Interaction | Content
Consider the device
-> Device Environment
indoor/outdoor
stationary/moving
focused/distracted
Consider an object's habit field
Windows Phone "Be Here Now"
Kindle is "comfortable in the world" (Tom Armitage)
-> Device Culture
Platforms as cultures
population | customs | governance | styles | beliefs
Consider physical interactions
Device interaction is touch, there's no intermediary
Consider the content
You should have a content API that feeds where you publish
web | mobile | tablets | TV | print
Content can be long form and text online can be a rich experience
Craig Mod, Flipboard | Content Formats & Tablets
HTML5 is the future of books and content
Screens will be paper density (300/dpi)
Great typography will prevail
Ownership is dissolving
The value of marginalia is increasing
The physical is not going away
Skeuomorphism is manifest in the publishing ethos. We're making apps to look like physical books.
When a magazine is replicated on an iPad:
How do you let the user know what they can and can't touch? (Bullet points, touch targets, something more subtle?)
The iPad interaction model isn't fully fleshed out.
As an app designer, you need to teach the user.
Types of Content
Formless (epub) | Definite/semantic/physical (PDF, epub) | Interactive/non-linear HTML5, epub3
ePub doesn't have to be ugly (Virginia Quarterly Review and A Book Apart are good examples).
ePub3 is basically a wrapper for HTML5/CSS3 (so it's very flexible/capable)
Magazine apps can use PDF, that's better than using images, like was previously done on the web and is being done now on apps. PDF is better because it's real text (machine-readable, resizable, copyable).
iOS/Android Native is good for interactive content, because it gives you extreme control over a non-linear flow.
Publishers should make compelling "steal-worthy" content.
258 Broadway, Civic Center, Downtown Manhattan, New York City, United States of America
The Rogers, Peet & Company building is an eight-story neo-Renaissance style commercial and office building designed by the firm of John B. Snook & Sons. Constructed in 1899-1900 for clergyman Eugene A. Hoffman, the building was occupied by Rogers, Peet & Co., a well-known retailer of men’s and boys’ clothing, for a period of more than 70 years. The Rogers, Peet & Co. building is an early example of a steel skeleton-framed skyscraper influenced by the Chicago school of architects, and stands out among a group of important early skyscrapers located in the vicinity of City Hall, New York’s original skyscraper district, for its clear articulation of the structural grid and restrained use of stylized classical ornament. Constructed using the latest in fireproofing technologies, the building expresses its structural steel framing in the wide window bays on the east and north facades that are divided by strong vertical brick piers and recessed cast-iron or brick spandrels. The building is clad in stone and buff brick and crowned by a deep molded and denticulated copper cornice. In 1909 a three-bay addition to the building was constructed on Warren Street, executed by the firm of Townsend, Steinle & Haskell but continuing the original design. During a long and prolific career, architect John B. Snook (1815-1901) designed numerous buildings in New York City as well as several others in Brooklyn, the Bronx, Westchester County, and New Jersey. In 1887 Snook’s three sons and a son-inlaw joined him in practice, thus establishing the firm of John B. Snook & Sons. It remains unclear what role the elder Snook played in the design of the Rogers, Peet & Company Building, but the building nevertheless represents a culmination of the architect’s 64-year career of designing and building commercial structures.
DESCRIPTION AND ANALYSIS
Development of the Drygoods District in Lower Manhattan
During the 1840s, the commercial development of Broadway and the surrounding streets of Lower Manhattan increasingly displaced residents in this area as the street became the city’s leading commercial artery. Alexander Turney Stewart, an Irish immigrant who became one of New York’s wealthiest merchants, opened his first store at 283 Broadway in 1823, selling Irish lace and notions. As his business expanded, Stewart moved to increasingly larger quarters on Broadway opposite City Hall Park. In 1845 he acquired a site at Broadway and Reade Street, and began construction of a new store building designed by Joseph Trench and John Butler Snook that eventually occupied the entire block front between Chambers and Reade Streets. The new
A.T. Stewart store was the largest retail establishment in the city and employed a novel arrangement in which different categories of merchandise were separated into individual departments, setting a precedent for the development of the American department store. While most early nineteenth-century commercial buildings had brick and stone facades, the Stewart store was faced with marble above a cast-iron store front with huge plate glass windows. Almost immediately, Stewart’s new marble palace became the favored store of New Yorkers and visitors alike. Imitators soon followed and, within a few years, Broadway and its side streets from City Hall Park to Canal Street became lined with marble, brownstone, and cast-iron commercial palaces.
As the new retail district began to develop on Broadway in the late 1840s and 1850s, the wholesale dry goods merchants who had been located on Pearl Street near the South Street Seaport began to move their businesses to Broadway and the blocks to the west between Dey Street and Park Place. To a large extent this move was prompted by the growing popularity of the North (Hudson River) piers which were better able to accommodate the large steam-powered vessels used for coastal and transatlantic shipping. Two major railroads established freight depots in the area during the 1850s and several other railroads built terminals in New Jersey where goods were off-loaded for transshipment across the river to the West Side piers.
This increase in trade and relocation of transportation facilities coincided with a city project in 1851 widening Dey and Cortlandt Streets between Broadway and Greenwich Street that made large tracts of cleared land available for redevelopment. Within the space of two years, Dey and Cortlandt Streets were almost entirely rebuilt with store and loft buildings for wholesale dry goods businesses and similar buildings were going up on Park Place, Vesey Street, and Church Street. According to the Daily Tribune, "forthwith commenced a most astonishing migration. [The] whole mercantile community seemed to have woke from a long sleep." Over the next twenty years the wholesale dry goods trade continued to move northward into the blocks west and north of City Hall Park where merchants could take advantage of the new transportation facilities in the area. In the late 1860s, Trow’s New York City Directory observed that “The drygoods dealers, who constitute the largest business district of New York, appear to have permanently settled down upon that district of the city included between Broadway and West Broadway and extending from Park Place to Canal Street. This is the great center of the wholesale jobbers, auctioneers, and importers.”
The history of the Rogers, Peet & Company building site, located at the southwest corner of Broadway and Warren Street, followed closely the patterns of development that shaped the dry goods district during the 19th century. In 1827 the site was purchased from Trinity Church by Garrit Storm, a wealthy grocer and descendent of an old Dutch family in New York. The property passed in 1852 to Storm’s daughter, Glorvina Russell Hoffman, whose husband Samuel Verplanck Hoffman commissioned architect John B. Snook to design and construct a five-story commercial “palace” to replace the existing three row houses. Snook’s design, featuring a ground-story colonnade, pedimented window lintels, and a bracketed cornice, was directly influenced by the A.T. Stewart store, standing just a block north across Broadway. For many years after the building’s completion in 1854, it was known as the home of Devlin & Co., one of the first clothing houses to locate on Broadway. In 1889 when Devlin & Co. moved to a new store on Union Square, following the northward trend of retail along Broadway, the men’s clothing firm of Rogers, Peet & Company moved into the building at 258-260 Broadway (3-5 Warren Street), occupying the basement, first, and second floors.
Rogers, Peet & Company
During the second half of the 19th century, the American clothing industry underwent a dramatic shift from custom-made clothing to pre-manufactured clothing as a result of industrial expansion and the corresponding growth of urban and national markets. An important element in this change was the emergence of advertising as an industry in its own right. For most of the 19th century, bombastic or outright false ad copy had been the norm in the retail trade, and the expectation among consumers. But as mass-production of standardized goods began to take hold, and as technology improved to facilitate mass communication, companies responded by modernizing their merchandising and advertising practices.
Rogers, Peet & Company was founded in 1874, when Broadway clothing merchants Marvin N. Rogers and Charles B. Peet joined their respective businesses to take advantage of the growing market for ready-made men’s clothing. The other founding members of the firm, which dealt primarily in retail but also ran a wholesale operation, were Frank R. Chambers and William R. H. Martin. Following the pioneering example of John Wanamaker’s retail establishment of the 1860s and 1870s in Philadelphia, Rogers Peet early on adopted a fixed-price, quality-guaranteed policy and began to rely on truthful advertising as a primary marketing tool. An 1876 newspaper article noted the firm’s huge inventory, low prices, and use of price tags, a novelty in retail at that time. The growing emphasis on honesty, respectability, and customer service in retail was reflected in the partners’ decision, in 1886, to introduce an employee profit-sharing system as a means of encouraging professionalism, salesmanship, and productivity. By the 1890s, Rogers, Peet & Co. had gained widespread recognition for these forward-thinking business strategies, and especially for their innovative and popular advertising style.
Partner Frank R. Chambers (1850-1940) oversaw advertising for Rogers Peet from 1880 until 1915, writing much of the ad copy himself, and gave this simple advice on advertising: “Tell the truth. Understate. Never overstate.” The breadth, diversity, and creativity of Rogers Peet advertising demonstrated their commitment to the medium as a key to business success. In addition to publishing numerous richly-illustrated catalogs and booklets replete with detailed descriptions of clothing and accessories and advice on style, the firm advertised daily in newspapers, in theater playbills, on posters, and on street cars. A typical Rogers Peet newspaper ad of the 1890s featured a single column of text—conveying matter-of-fact information about the quality, style, and price of an item, delivered in an informal, upbeat tone using colloquial language and the familiar second-person mode of address—paired with a simple, eye-catching cartoon-style illustration that often played humorously on some aspect of the item being advertised. The Rogers Peet style of advertising stood out in contrast to the conventional clothing ad of the late 19th century, which usually featured a box of declarative text and a stock illustration, if any at all, and thus was quickly established as a standard to be emulated in the nascent advertising industry.
Many Rogers Peet ads were illustrated in-house, which was more expensive than using stock “cuts” (graphics) provided by a manufacturer, but allowed for the development of a consistent and identifiable graphic style.. In what might be considered an early recognition of the 20th-century marketing concept of branding, a trade writer described the Rogers Peet style in 1915, writing:
Everything that goes out of the store, including the boxes, bundles and envelopes, is utilized for attractive, refined, and dignified advertising. By tricks of type and designing a certain definite individuality is given to each piece of advertising, so that, however diversified the use to which it is put, it can be recognized at a glance. This idea is one that is gradually appealing to more advertisers as time goes on.
In 1940 Joseph H. Appel, an early advertising director at Wanamaker’s, wrote a glowing appraisal (in salesman’s lingo) of Rogers Peet’s early achievements in advertising:
An interesting and outstanding example of the application by other advertisers of the Wanamaker-John E.Powers [Wanamaker’s first director of advertising] advertising copy principles has been for many years the Rogers Peet Company, New York clothiers, whose unique single-column ads have been familiar for decades... the Rogers Peet ads have caused comment for many years and have retained unchanged their typographical and advertising individuality and form for a longer period of time than perhaps any other advertising in America (about 60 years).
The original Rogers Peet store was located at 487 Broadway, on the southwest corner of Broome Street. Within five years the firm had expanded to a second location on Broadway, and within ten years had opened a third Broadway location. In 1889, Rogers, Peet & Company opened their fourth store in the Snook-designed building at Broadway and Warren– thereafter known as their Warren Street store. By the 1950s, there were four Rogers Peet stores: the Warren Stree store, the Union Square store, a Fifth Avenue store at 41st Street, and a second Fifth Avenue store, at 48th Street.
The New York Skyscraper of the 1890s
During the 19th century, commercial buildings in New York City evolved from four-story structures modeled on Italian Renaissance palazzi to much taller skyscrapers. Made possible by technological advances, tall buildings challenged designers to fashion an appropriate architectural expression. Between 1870 and 1890, nine- and ten-story buildings transformed the streetscapes of lower Manhattan. During the building boom following the Civil War, building envelopes continued to be articulated largely according to traditional palazzo compositions, with mansarded and towered roof profiles. New York's tallest buildings— including the seven-and-ahalf-story Equitable Life Assurance Co. Building (1868-70, Gilman & Kendall and George B. Post) at Broadway and Cedar Street, the ten-story Western Union Building (1872-75, George B. Post) at Broadway and Liberty Street, and the ten-story Tribune Building (1873-75, Richard M. Hunt), all now demolished — incorporated passenger elevators, iron floor beams, and fireproof building materials. Beginning in the later 1870s, tall buildings were characterized by flat roofs and a variety of exterior arrangements, often in the form of multi-storied arcades. The period through the 1880s was characterized by stylistic experimentation in which office buildings in New York incorporated diverse influences. Fireproofing was of paramount concern as office buildings grew taller, and by 1881-82 systems had been devised to "completely fireproof" them. Ever taller skyscrapers were made possible by the increasing use and refinement of metal framing. In 1888-89, New York architect Bradford Lee Gilbert used iron skeleton framing for the first seven stories of the 11-story Tower Building at 50 Broadway (demolished). Beginning around 1890, architects began producing skyscraper designs that adhered to the tripartite baseshaft-capital arrangement associated with the classical column, a scheme that became commonly employed in New York. As steel skeleton framing was adopted for tall buildings in New York, architects and engineers introduced caisson foundations which carried the weight of the skeleton frame down to bedrock. Architects [Francis H.] Kimball & [G. Kramer] Thompson and engineer Charles Sooysmith were leaders in this effort with the Manhattan Life Insurance Co. Building (1893-94, demolished), 64-66 Broadway, credited with being the first skyscraper with a full iron and steel frame, set on pneumatic concrete caissons. This was followed by the American Surety Co. Building (1894-96, Bruce Price), 100 Broadway, also with Sooysmith, which was the first New York skyscraper with a full steel frame, set on pneumatic concrete caissons, and is today a designated New York City Landmark. An additional consideration in office building design was to provide maximum light and ventilation, for which contemporary architects devised several solutions, including interior and exterior light courts.
John B. Snook & Sons and Townsend, Steinle & Haskell
John Butler Snook, born in England, immigrated to the United States and by 1835 was established in New York City as a carpenter/builder, then as an architect in partnership with William Beer in 1837-40. By 1842, Snook found work with Joseph Trench, and they later formed the firm of Trench & Snook, which helped introduce the Anglo-Italianate style to New York with buildings such as the A.T. Stewart Store (1845-46, a designated New York City Individual Landmark) at 280 Broadway, the country’s first department store and the catalyst and architectural precedent for commercial development of lower Broadway. With Trench’s departure for California in the 1850s, Snook rose to head the firm. He became a prolific architect-builder who designed structures of all types, in virtually every revival style, and expanded his practice into one of the largest in New York. The first Grand Central Terminal (1869-71, demolished) was one of his best-known works. In 1887, Snook took his three sons, James Henry (1847-1917), Samuel Booth (1857-1915), and Thomas Edward (1864?-1953), and a son-in-law, John W. Boyleston (1852-1932), into his office and the firm’s name was changed to John B. Snook & Sons. Examples of Snook’s work—and that of the firm of Snook & Sons—are also located in the Expanded Carnegie Hill, Gansevoort Market, Greenwich Village Extension, Ladies’ Mile, NoHo, SoHo-Cast Iron, Tribeca East, Tribeca West, Upper East Side, and Upper West Side/Central Park West Historic Districts. A handful of buildings designed by Snook still stand in the vicinity of City Hall; prominent among these are the A.T. Stewart store at 280 Broadway (1845-46, Joseph Trench & Co.; additions, Trench & Snook, 1850-51 and 1852-53; Frederick Schmidt, 1872; Edward D. Harris, 1884; 1921,) and the cast-iron commercial building at 287 Broadway (1871-72), both designated New York City Landmarks.
The firm of (Robert Samuel) Townsend, (Charles Albert) Steinle & (William Cook) Haskell formed in 1906, and is known for having designed several large apartment buildings in the Upper West Side-Central Park West Historic District, as well as commercial buildings, stores, lofts and offices in lower Midtown. Notably, the firm designed more than one building for, or on behalf of, the Rogers Peet Company. Apart from their 1909 addition to the Warren Street store, the architects were commissioned to design the Marbridge Building at 1328 Broadway (between 34th and 35th streets), completed in 1906 and housing a Rogers Peet store from its opening until 1922, and the building at 479 Broadway, completed in 1915 and housing a Rogers Peet store from its opening until the clothing firm’s final days in 1978.
Design and Construction of the Rogers, Peet & Company Building
On December 4, 1898, a catastrophic fire destroyed the building at 258 Broadway, and severely damaged its neighbors to the south, the Home Life Insurance Company Building (256257 Broadway,1892-94, Pierre Le Brun of Napoleon LeBrun & Sons, a designated New York City Landmark) and the Postal Telegraph Cable Company Building (253 Broadway, 1892-94, Harding & Gooch, a designated New York City Landmark). The fire began in the basement of 258 Broadway, which was used by the Rogers Peet Company as a store room. In the wake of the fire, critics of skyscrapers cited the extensive damage to the upper floors of the 16-story Home Life building as evidence in the case against creating tall buildings, while supporters of modern fireproofing technology argued that the Home Life building’s structure, as well as that of the Postal Telegraph building, had actually withstood the fire well and indeed prevented further spread of the fire.
It was in this climate of heightened public awareness of safety concerns and general uncertainty about the future of tall buildings in New York City that the owner of the property at the southwest corner of Broadway Warren Street set out to redevelop the site. Eugene A. Hoffman, a prominent and wealthy clergyman associated with the General Theological Society, appropriately chose as architects John B. Snook & Sons, the firm of the man Hoffman’s father had commissioned to design the first major commercial building for the site. The Snook & Sons office was located across Warren Street from the site, at 261 Broadway. The new building at 258 Broadway was to be a retail and office building occupied by commercial and professional tenants. Rogers, Peet & Company would occupy the basement and first two floors, with the store at street-level and show rooms above. Plans submitted to the Buildings Department early in 1899 called for an eight-story, steel-skeleton framed structure with a concrete-and-steel grillage foundation, riveted steel I-beams and girders supporting brick curtain walls, floors constructed of hollow, terra cotta-tile flat arches filled with concrete, and a flat asphalt roof. The building’s interior was designed to be open in plan on the ground floor, with an elevator bank and stairs along the south wall towards the front of the building, as well as an interior light court on the south wall above the fourth story to provide light to the interior offices. The upper stories were partitioned into offices accessed through a double-loaded central corridor running east-west. The main building entrance and a storefront entrance were located on Broadway, and the second-story was devoted to cast-iron show windows.
Constructed in just under a year and completed in April of 1900, the eight-story, steel-framed Rogers, Peet & Co. building embodied the latest technologies in skyscraper construction. Snook & Sons’ completed design for the Rogers, Peet & Co. building was notable principally for a strong expression of the structural steel frame on the building’s exterior, the defining characteristic of the Chicago school and comparatively rare in early New York skyscrapers. The structural grid of the Rogers, Peet & Co. Building is articulated by thin projecting masonry piers rising from the second story to the cornice, and wide window bays framed by spandrels, pilasters and thin mullions; the high ratio of window to wall area was made possible by the non-load bearing walls.
In addition to its spare appearance, the building is visually distinct from its skyscraping neighbors of the 1890s because it does not conform to the established base-shaft-capital composition. The steel columns supporting the building at the ground story were originally recessed behind the storefront (with the exception of a corner pier), giving the upper stories a floating appearance ; moreover, limestone rustication at the second and third stories gave the appearance of a proper base, but the “shaft” of the fourth through eighth stories, clad in buff brick, is bisected by a substantial entablature at the sixth story. Thus, a horizontal division of one-two-three-two stories is created. A similar effect is seen on the facade of 890 Broadway, completed by Snook & Sons a year earlier than 258 Broadway, in 1899. Architecture critic Montgomery Schuyler apparently called this facade treatment “wild work,” because of how it appeared to flout the popular base-shaft-capital scheme. At 258 Broadway, plain brick piers divide the building’s Broadway facade into two wide window bays. On the second and third stories, show windows are framed by cast-iron pilasters and divided by a deep cast-iron spandrel featuring a Greek key; the cast iron shows an unusual level of detail, giving the material a sumptuous quality. Above the third story, brick spandrels are decorated with terra-cotta plaques featuring stylized anthemia, foliate ornament, and escutcheons. The spandrels at each story accentuate the building’s horizontal framing members. Ornament is confined to the classical motifs decorating the spandrels, pilasters, mullions, and sixth-story entablature, but the main building entrance on Broadway is framed by a grand Italian Renaissance-inspired surround. Another prominent feature of the Chicago skyscraper was the flat roof, which is emphasized at 258 Broadway by a boldly projecting molded-copper cornice. A photo from c. 1938 shows a free-standing sign reading “Rogers Peet Company” on the roof of the building.
The Warren Street facade continues the rational scheme of the Broadway facade, with a slight variation in the wider window bays divided by brick piers and cast-iron mullions. The proportions of the original Snook & Sons building were altered when it was extended by three bays in 1909. Architects Townsend, Steinle & Haskell were retained to expand the existing building to occupy the three adjacent lots to the west, nos. 7, 9, and 11 Warren Street, which Rogers, Peet & Co. had leased for this purpose. A secondary entrance in the seventh bay of the Warren Street facade was part of the new design, and the architects gave this entrance a door surround that was almost identical to the Broadway entrance, but a shade less grand.
It remains unclear what role the elder Snook played in the Rogers, Peet & Co. building project, however it is likely that his participation was very minimal given his age at the time. Snook & Sons’ design for the new Rogers Peet building was primarily functional, defined by the parameters of the corner site, the newest construction methods then available (the steel skeleton-frame), and current standards in retail and office facilities. When compared with the original John B. Snook-designed commercial structure that stood on the site, the Rogers, Peet & Company building reflects the evolution of commercial architecture in New York, beginning with the grand “palazzi” of the mid-19th century and culminating in the modern skyscraper.
Later History
The Rogers, Peet & Company Warren Street store stayed in business from its re-opening in 1900 until the late 1970s. Rogers, Peet & Co. remained an independent retail house until 1962, when it was acquired by Cluett, Peabody & Co., Inc., manufacturers of the Arrow label in men’s clothing. The Rogers, Peet & Co. brand remained strong until the 1970s, when the urban retail landscape began to change as a result of widespread retail consolidation, suburban growth and the increasing popularity of malls, and competition from emerging national chains. Other challenges to an old-fashioned retail house such as Rogers Peet were changing tastes in men’s fashion and the increasing acceptability of casual clothing for the workplace. The Rogers, Peet & Co. Warren Street store closed its doors c. 1976, and by 1978 no Rogers Peet stores remained in New York. By 1981 the upper floors of the Rogers, Peet & Company building had been converted into apartments, with six or seven units per floor, and during the 1980s the ground-level storefront was occupied by Strawberry, a New York-based regional chain of popularly priced women’s clothing. A bank currently occupies the ground floor, which has been altered with a contemporary storefront of polished-granite veneer and plate glass.
Description
Broadway (east) Facade: two bays; facade clad in buff brick and stone with cast-iron and terra cotta trim; facade divided vertically by three piers rising from the second story to the cornice; piers are rusticated limestone at second and third stories, brick above; facade divided horizontally by stone entablatures at the first, third and sixth stories; main entrance with stone door surround resting on a granite plinth in first bay of the ground story, and a non-historic storefront in the second and third bays; main entrance door framed by double-surround; inner surround composed of molded returns and rosette-decorated paneling, and an entablature supported on scroll-brackets with volutes and central acroterion; decorative metal grille framed by bead-and-reel molding and eared anthemia above entablature; outer surround composed of paneled pilasters resting on plinths; pilasters have egg-and-dart molding at bases, bead-and-reel molding and stylized anthemia on shafts, and molded capitals decorated with more stylized anthemia, egg-and-dart molding and a water-leaf motif; pilasters support a molded entablature with decorative bands of raised circles with a water-leaf motif, dentils, and egg-and-dart molding; large window opening in each bay of second through eighth stories; window openings contain three windows separated by cast-iron pilasters or mullions (c. 1938 photographs shows double-hung windows); window openings have spandrels of cast-iron (at third story) and brick with terra-cotta plaques decorated with stylized classical motifs (at fifth, sixth, and eighth stories); deeply projecting pressed-metal cornice with egg-and-dart molding and dentils; possibly historic wooden water tank visible on roof from City Hall Park.
Alterations: original decorative bronze gate and grille at Broadway entrance removed; non-historic bronze double-door with five-light operable transom at Broadway entrance; plastic plaque and metal clete affixed to Broadway door surround; contemporary storefront infill, including boxing-out of the ground-story structural piers (1990s); replacement window sash; non-historic metal door and metal paneling at Warren Street entrance; roof-top addition/bulkhead visible on roof from City Hall Park. Warren Street (north) Facade: seven bays; seventh bay, with Warren Street entrance, is slightly narrower; repeats design of Broadway facade, except for wider window bays; window openings contain two paired windows separated by brick pilasters, each pair of windows divided by a cast-iron mullion; metal grille in a scallop pattern in fifth bay of storefront, above transom bar; glass transom above Warren Street door, metal grille in a scallop pattern above entrance. Alterations: contemporary ground-story storefront continues from Broadway facade. West facade (partially visible): red-brick party wall with engaged piers; windows; chimney. Alterations: satellite dish, antenna, and two vent heads visible on roof towards rear of building.
- From the 2010 NYCLPC Landmark Designation Report
Fashion design is the art of the application of design and aesthetics or natural beauty to clothing and accessories. Fashion design is influenced by cultural and social latitudes, and has varied over time and place. Fashion designers work in a number of ways in designing clothing and accessories such as bracelets and necklace, because of the time required to bring a garment onto the market, must at times anticipate changing consumer tastes.
Fashion designers attempt to design clothes which are functional as well as aesthetically pleasing. They must consider who is likely to wear a garment and the situations in which it will be worn. They have a wide range and combinations of materials to work with and a wide range of colors, patterns and styles to choose from. Though most clothing worn for everyday wear falls within a narrow range of conventional styles, unusual garments are usually sought for special occasions such as evening wear or party dresses.
Some clothes are made specifically for an individual, as in the case of haute couture or bespoke tailoring. Today, most clothing is designed for the mass market, especially casual and every-day wear.
Structure[edit]
Fashion designers can work in a number of many ways. Fashion designers may work full-time for one fashion as 'in-house designers' which owns the designs. They may work alone or as part of a team. Freelance designers work for themselves, selling their designs to fashion houses, directly to shops, or to clothing manufacturers. The garments bear the buyer's label. Some fashion designers set up their own labels, under which their designs are marketed. Some fashion designers are self-employed and design for individual clients. Other high-fashion designers cater to specialty stores or high-fashion department stores. These designers create original garments, as well as those that follow established fashion trends. Most fashion designers, however, work for apparel manufacturers, creating designs of men’s, women’s, and children’s fashions for the mass market. Large designer brands which have a 'name' as their brand such as Abercrombie & Fitch, Justice, or Juicy are likely to be designed by a team of individual designers under the direction of a designer director.
Designing a garment[edit]
Fashion designers work in different ways. Some sketch their ideas on paper, while others drape fabric on a dress form. When a designer is completely satisfied with the fit of the toile (or muslin), he or she will consult a professional pattern maker who then makes the finished, working version of the pattern out of card or via a computerized system. The pattern maker's job is very precise and painstaking. The fit of the finished garment depends on their accuracy. Finally, a sample garment is made up and tested on a model to make sure it is an operational outfit.
Fashion design is generally considered to have started in the 19th century with Charles Frederick Worth who was the first designer to have his label sewn into the garments that he created. Before the former draper set up his maison couture (fashion house) in Paris, clothing design and creation was handled by largely anonymous seamstresses, and high fashion descended from that worn at royal courts. Worth's success was such that he was able to dictate to his customers what they should wear, instead of following their lead as earlier dressmakers had done. The term couturier was in fact first created in order to describe him. While all articles of clothing from any time period are studied by academics as costume design, only clothing created after 1858 are considered as fashion design.
It was during this period that many design houses began to hire artists to sketch or paint designs for garments. The images were shown to clients, which was much cheaper than producing an actual sample garment in the workroom. If the client liked their design, they ordered it and the resulting garment made money for the house. Thus, the tradition of designers sketching out garment designs instead of presenting completed garments on models to customers began as an economy.
The garments produced by clothing manufacturers fall into three main categories, although these may be split up into additional, more specific categories
Haute couture[edit]
Main article: Haute couture
Until the 1950s, fashion clothing was predominately designed and manufactured on a made-to-measure or haute couture basis (French for high-sewing), with each garment being created for a specific client. A couture garment is made to order for an individual customer, and is usually made from high-quality, expensive fabric, sewn with extreme attention to detail and finish, often using time-consuming, hand-executed techniques. Look and fit take priority over the cost of materials and the time it takes to make.[1][2] Due to the high cost of each garment, haute couture makes little direct profit for the fashion houses, but is important for prestige and publicity.[3]
Ready-to-wear (pret-a-porter)[edit]
Main article: Ready-to-wear
Ready-to-wear clothes are a cross between haute couture and mass market. They are not made for individual customers, but great care is taken in the choice and cut of the fabric. Clothes are made in small quantities to guarantee exclusivity, so they are rather expensive. Ready-to-wear collections are usually presented by fashion houses each season during a period known as Fashion Week. This takes place on a city-wide basis and occurs twice a year. The main seasons of Fashion Week include, spring/summer, fall/winter, resort, swim, and bridal.
Mass market[edit]
Main article: Mass market
Currently the fashion industry relies more on mass market sales. The mass market caters for a wide range of customers, producing ready-to-wear garments using trends set by the famous names in fashion. They often wait around a season to make sure a style is going to catch on before producing their own versions of the original look. In order to save money and time, they use cheaper fabrics and simpler production techniques which can easily be done by machine. The end product can therefore be sold much more cheaply.[4][5][6]
There is a type of design called "kutch" design originated from the German word "kitschig" meaning "ugly" or "not aesthetically pleasing." Kitsch can also refer to "wearing or displaying something that is therefore no longer in fashion."[7] Often, high-waisted trousers, associated with the 1980s, are considered a "kitsch" fashion statement.[8]
Income[edit]
Globe icon.
The examples and perspective in this section may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (December 2010)
Median annual wages for salaried fashion designers were $61,160 in May 2008. The middle 50 percent earned between $42,150 and $87,120.[9] The lowest 10 percent earned less than $32,150, and the highest 10 percent earned more than $124,780. Median annual earnings were $52,860 (£28,340) in apparel, piece goods, and notions - the industry employing the largest numbers of fashion designers.[10]
Palm Beach is an incorporated town in Palm Beach County, Florida, United States. Located on a barrier island in east-central Palm Beach County, the town is separated from West Palm Beach and Lake Worth Beach by the Intracoastal Waterway to its west and a small section of the Intracoastal Waterway and South Palm Beach to its south. It is part of the South Florida metropolitan area. As of the 2020 census, Palm Beach had a year-round population of 9,245.
The Jaega arrived on the modern-day island of Palm Beach approximately 3,000 years ago. Between 1816 and 1858, the Seminoles were expelled from the area. Americans settlers began to inhabit the area as early as 1872, and opened a post office about five years later. Elisha Newton "Cap" Dimick, later the town's first mayor, established Palm Beach's first hotel, the Cocoanut Grove House, in 1880, but Standard Oil tycoon Henry Flagler became instrumental in transforming the island of jungles and swamps into a winter resort for the wealthy. Flagler and his workers constructed the Royal Poinciana Hotel in 1894, The Breakers in 1896, and Whitehall in 1902; extended the Florida East Coast Railway southward to the area by 1894; and developed a separate city to house the hotel workers and other laborers, which later became West Palm Beach. The town of Palm Beach incorporated on April 17, 1911. Addison Mizner also contributed significantly to the town's history, designing 67 structures between 1919 and 1924, including El Mirasol, the Everglades Club, La Querida, the William Gray Warden House, and Via Mizner, which is a section of Worth Avenue.
Forbes reported in 2017 that Palm Beach had at least 30 billionaires, with the town ranking as the 27th-wealthiest place in the United States in 2016 according to Bloomberg News. Many famous and wealthy individuals have resided in the town, including United States presidents John F. Kennedy and Donald Trump. Palm Beach is known for upscale shopping districts, such as Worth Avenue, Royal Poinciana Plaza, and the Royal Poinciana Way Historic District.
Native Americans previously inhabited the island of Palm Beach, with the Jaegas arriving at least 3,000 years ago. Evidence for their inhabitation of the island are three pre-Columbian archaeological complexes. These complexes include a burial mound, six unmarked Native American cemeteries, and a more recent burial site which suggested interaction between indigenous people and Europeans.
Settlers began arriving in modern-day Palm Beach by 1872. Hiram F. Hammon made the first homestead claim in 1873 along Lake Worth. At the time, the lake area had fewer than 12 people. By 1877, the Tustenegee Post Office was established in modern-day Palm Beach, becoming the lake area's first post office. Along the coast of Palm Beach, the Providencia wrecked in 1878 with a cargo of 20,000 coconuts, which were quickly planted. In 1880, Elisha Newton "Cap" Dimick converted his private residence to a hotel known as the Cocoanut Grove House. At the time of its opening, the Cocoanut Grove House was the only hotel along Florida's east coast between Titusville and Key West. A fire destroyed the hotel in October 1893. The Star Route, also known as the Barefoot Mailman route, began serving the area in 1885. Carriers delivered mail by foot or boat from Palm Beach and other nearby communities to as far south as Miami, a round trip of 136 miles (219 km). The first schoolhouse in southeast Florida (also known as the Little Red Schoolhouse) opened in Palm Beach in 1886.
Henry Flagler, a Standard Oil tycoon, made his first visit to Palm Beach in 1893, and described the area as a "veritable paradise". That same year, Flagler hired George W. Potter to plot 48 blocks for West Palm Beach, a city to house workers at his hotels, and construction began on the Royal Poinciana Hotel. The Royal Poinciana Hotel opened for business on February 11, 1894. Flagler, also the owner of the Florida East Coast Railway, extended the railroad southward to West Palm Beach by the following month. In 1896, Flagler opened a second hotel originally known as Wayside Inn, before being renamed Palm Beach Inn, and later becoming The Breakers. Fires later burned down the hotel in 1903 and 1925, but it was rebuilt twice. The Palm Beach Daily News began publication in 1897 originally under the name Daily Lake Worth News.
The first pedestrian bridge across the Intracoastal Waterway opened near the modern-day Flagler Bridge in 1901, replacing the original railroad spur. Flagler's house lots were bought by the beneficiaries of the Gilded Age, and in 1902, Flagler himself built a Beaux-Arts mansion, Whitehall, designed by the New York-based firm Carrère and Hastings and helped establish the Palm Beach "winter season". Telephone service was established in Palm Beach in 1908, with 18 customers initially. Prior to the 1910s, many African Americans in the area lived in a segregated section of Palm Beach called the "Styx", with an estimated population of 2,000 at its peak. Between 1910 and 1912, though, African Americans were evicted from the Styx. Most of the displaced residents relocated to the northern West Palm Beach neighborhoods of Freshwater, Northwest, and Pleasant City.
In January 1911, it became known West Palm Beach intended to annex the island of Palm Beach in the upcoming Florida legislative session. Residents objected and hired an attorney from Miami to officially become incorporated. Dimick, Louis Semple Clarke, and 31 other male property owners met at Clarke's house and signed a charter to officially incorporate the town of Palm Beach on April 17, 1911. Dimick became the first mayor, John McKenna became town clerk, and Joseph Borman became town marshal, while J. B. Donnelly, William Fremd, John Doe, Enoch Root, and J.J. Ryman served as the first council members. Also in 1911, Dimick built the Royal Park Bridge, with its first incarnation being a wooden structure. Passage from West Palm Beach to Palm Beach on the bridge originally required a toll – 25 cents per vehicle and 5 cents per pedestrian.
Addison Mizner designed 67 structures in Palm Beach. Some of Mizner's clients included Anthony Joseph Drexel Biddle Jr., Paul Moore Sr., Gurnee Munn, John Shaffer Phipps, Edward Shearson, Eva Stotesbury, Rodman Wanamaker, and Barclay Harding Warburton II. His designed works included the Costa Bella, El Mirasol, Everglades Club (in collaboration with Paris Singer), El Solano, La Bellucia, La Querida, Via Mizner, Villa Flora, and William Gray Warden House. Via Mizner was the first shopping complex along Worth Avenue, which was then a mostly residential street.
In February 1924, the town council allotted $100,000 to construct a new municipal building. Harvey and Clarke architectural firm designed the building, while Newlon and Stephens built the structure after bidding $160,200 for the contract. The Palm Beach Town Hall opened on December 18, 1925, and is still used for town council meetings. Before its completion, the council meetings took place in a one-story wooden building on Royal Poinciana Way. Also in 1925, citywide construction revenue reached $14 million, attributed to the Florida land boom.
The 1928 Okeechobee hurricane made landfall in the town of Palm Beach, with sustained winds of 145 mph (235 km/h). High winds and storm surge damaged 610 businesses, 60 homes, and 10 hotels, as well as to the Public Service Corporation and Ocean Boulevard. Damage in 1928 dollars totaled $10 million in Palm Beach.
Palm Beach's population grew from 1,707 in 1930 to 3,747 in 1940, a 119.5% increase. The Royal Poinciana Hotel, damaged heavily in the 1928 hurricane, also suffered greatly during the Great Depression, and was demolished in 1935. Around 4,000 people purchased the salvageable remains of the hotel. The Palm Beach-Post Times estimated some 500 homes could be built from the scraps of the hotel. Residents of Palm Beach established the Society of the Four Arts on January 14, 1936, with Hugh Dillman as the first president. The 1930s decade also saw the construction of the Flagler Memorial Bridge, the northernmost bridge linking Palm Beach and West Palm Beach, completed on July 1, 1938. Palm Beach mayor James M. Owens acted as master of ceremonies for the bridge's opening, while then–U.S. senator Charles O. Andrews and former U.S. senator Scott Loftin gave speeches during the event.
Early in World War II, the United States Army established a Ranger camp at the northern tip of the island, which could accommodate 200 men. The Palm Beach Civilian Defense Council ordered blackouts in Palm Beach beginning on April 11, 1942. Throughout the war, German U-boats sank 24 ships off Florida, with eight capsized off Palm Beach County between February and May 1942. The Army converted The Breakers into the Ream General Army Hospital, while the Navy converted the Palm Beach Biltmore Hotel into a U.S. Naval Special Hospital. The Biltmore Hotel would also become a training school for SPARS, the United States Coast Guard Women's Reserve.
On September 15, 1950, the Southern Boulevard Bridge opened, the third and southernmost bridge linking Palm Beach and West Palm Beach. Palm Beach residents elected Claude Dimick Reese (son of former mayor T.T. Reese and grandson of Dimick) as mayor in 1953. He became the only native-born mayor of Palm Beach in its history. In the 1950s, the town's population grew around 56%, from 3,866 in 1950 to 6,055 in 1960.
John F. Kennedy was elected President of the United States in 1960, and selected as his Winter White House La Querida, which his father bought in 1933. In December 1960, police in Palm Beach averted a retired postal worker's attempt to assassinate then president-elect Kennedy. The president also spent the last weekend of his life in Palm Beach, several days before his assassination in November 1963. Yvelyne "Deedy" Marix became the first woman elected to the town council in February 1970, and later became the first woman elected mayor of Palm Beach in 1983. Between 1971 and 1977, Earl E.T. Smith served as mayor of Palm Beach. He was previously an Ambassador of the United States to Cuba.
Preservationist Barbara Hoffstot published a book titled Landmark Architecture in Palm Beach in 1974. She personally photographed and summarized many older buildings in the town. The book also called for more awareness of and improvements to a system for protecting historic landmarks. The town council responded in 1979 by approving an ordinance establishing the Landmarks Preservation Commission, which identifies and works to protect historic structures.
General Foods and Post Cereals heiress Marjorie Merriweather Post bequeathed Mar-a-Lago to the United States upon her death in 1973, hoping it would be used as a Winter White House. The residence was returned to the Post family in 1981, before being purchased by Donald Trump in 1985 for roughly $10 million. He converted the estate into a club by 1995 and would later use Mar-a-Lago as a Winter White House during his presidency from 2017 to 2021. A nor'easter in November 1984 caused the Mercedes I to crash into the seawall of Mollie Wilmot's estate. Wilmot's staff served the 10 sailors sandwiches and freshly brewed coffee in her gazebo and offered martinis to journalists reporting on the incident.
On October 31, 1991, the Perfect Storm produced waves 20 feet (6.1 m) in height in Palm Beach. About 1,200 feet (370 m) of seawall at Worth Avenue were destroyed, while some parts of the town experienced coastal flooding, especially along Ocean Boulevard. By that afternoon, police allowed only residents to enter the town. The trial of William Kennedy Smith, a member of the Kennedy family, drew international media attention in 1991. Smith had been accused of committing rape at La Querida, but a trial at the Palm Beach County Court resulted in his acquittal on December 11, 1991. Another notable mayor, Paul Ilyinsky, son of Grand Duke Dmitri Pavlovich of Russia and heiress Audrey Emery, was elected to the office in February 1993. The town's population peaked at 10,468 people in the 2000 census. In March 2005, the Palm Beach Police Department – under the guidance of Police Chief Michael Reiter – began the first inquiry into the crimes committed by sex trafficker Jeffrey Epstein, leading to his arrest and indictment in July 2006. Despite an FBI investigation discovering at least 40 victims, the state attorney of Palm Beach County only charged Epstein with soliciting a prostitute and soliciting a minor for prostitution in June 2008. He pleaded guilty on both counts and received a controversial plea deal.
The town had a population of 8,348 people in 2010, a decrease of 20.3% from the previous census. Palm Beach celebrated its centennial on April 17, 2011. About 1,200 people attended a parade that began at the Flagler Museum (Whitehall). Between February and December 2015, the Town Square, which includes the Addison Mizner Memorial Fountain and the town hall, underwent a $5.7 million restoration. The fountain's restoration was named "project of the year" by the American Public Works Association's Florida chapter.
The FBI conducted a search warrant at Mar-a-Lago on August 8, 2022, approved by Magistrate Judge Bruce Reinhart after a criminal referral by the National Archives and Records Administration relating to classified documents. Although former President Trump surrendered 235 classified documents by June 2022, the search at Mar-a-Lago yielded another 102 such documents. This discovery, along with allegations that Trump transported documents to his golf club in New Jersey and showed them to some guests there, led a grand jury at the United States District Court for the Southern District of Florida to indict him on 37 felony counts relating to the mishandling of classified documents on June 8, 2023.
Palm Beach is one of the easternmost towns in Florida, though the state's easternmost point is in Palm Beach Shores, just north of Lake Worth Inlet. The town is on an 18-mile (29 km) long barrier island between the Intracoastal Waterway (locally known as the Lake Worth Lagoon) on the west and the Atlantic Ocean on the east. At no point is the island wider than three-quarters of a mile (1.2 km), and in places it is only 500 feet (150 m) wide. The northern boundary of Palm Beach is the Lake Worth Inlet, though it adjoined with Singer Island until the permanent dredging of the inlet in 1918. To the south, a section of Lake Worth Beach occupies the island in the vicinity of State Road 802, though an exclave of Palm Beach extends farther southward until the northern limits of South Palm Beach. According to the U.S. Census Bureau, the town has an area of 8.12 sq mi (21.0 km2), with land accounting for 4.20 sq mi (10.9 km2) and water covering the remaining 3.92 sq mi (10.2 km2). The average elevation of the town is 7 ft (2.1 m); the highest point is 30 ft (9.1 m) above sea level on the golf course at the Palm Beach Country Club.
Geologically, the island is a sand-covered ridge of coquina rock. Before settlement, the island was a pronounced coastal ridge bordering the Atlantic Ocean. The Intracoastal Waterway coast was primarily low-lying and swampy; marshy sloughs generally lay between the two features, though an oolitic limestone ridge stood along some parts of the island's westward side. Since 1883, the environment has been significantly altered by developing land, the filling of the sloughs, and a receding coastline due to erosion, but the Atlantic ridge is still the dominating topographical feature of the island and acts as a seaward barrier. The former slough areas are flood-prone.
The town and entire barrier island are within Evacuation Zone B, and evacuations are often ordered if a hurricane is forecast to impact the area, most recently in anticipation of Hurricane Dorian in 2019. Palm Beach town officials may deploy law enforcement officers to strategically place roadblocks to limit access to the island during unsafe conditions.
As of 2016, land use of the town is 60% residential, 13% rights-of-way, 10% private group uses, 3% recreational, 3% commercial, 2% public uses, 1% hotels (not including The Breakers), and less than 1% conservation, while The Breakers is a planned unit development accounting for 6% of land use. The remaining 2% of land was vacant. Palm Beach does not have any land dedicated to agricultural or industrial purposes. The town is essentially built out and cannot extend its boundaries.
Conservation is mainly confined to Bingham Island, Fishermen's Island, and Hunter's Island. Functioning as bird sanctuaries and rookeries, the islands are leased by the National Audubon Society, though state trustees of the Internal Improvement Fund and the Blossom Estate hold the titles to the islands. A part of Blossom Estate Subdivision just south of Southern Boulevard is also designated a conservation area.
Whitehall reopened as the Flagler Museum on February 6, 1960, after Henry Flagler's granddaughter, Jean Flagler Matthews, purchased the property in 1959 to prevent its demolition. Listed on the National Register of Historic Places in 1972 and the National Historic Landmark list in 2000, the museum replicates the original appearance of the house and has exhibits about Flagler himself, Flagler's personal railcar (built in 1886), the Florida East Coast Railway, life in the Gilded Age, and the early history of Palm Beach. Almost 100,000 people visit the museum annually. Adjacent to the Flagler Museum and behind the Royal Poinciana Chapel is a giant, almost 200-year old kapok tree, which also attracts visitors.
The Preservation Foundation of Palm Beach established Pan's Garden in 1994 along Hibiscus Avenue between Chilean Avenue and Peruvian Avenue. The garden has a statue of Pan (originally designed in 1890 by Frederick William MacMonnies), the ancient Greek god who protects and guards flocks. Another significant feature is the Casa Apava wall, a 1920s tile wall from the remnants of the Casa Apava estate. Encompassing approximately 0.5 acres (0.20 ha), the garden also features many endangered species of native vegetation.
Bethesda-by-the-Sea, originally a mostly wooden structure built from lumber from the beach in April 1889, is the oldest church in Palm Beach. The church opened at its current location by Christmas 1926. Bethesda-by-the-Sea has hosted the weddings of a few notable individuals, including Donald and Melania Trump in 2005 and Michael Jordan and Yvette Prieto in 2013.
The Palm Beach Chamber of Commerce identifies several other points of interest in the town, including:
Major Alley - Located on Peruvian Avenue just one block north of the western terminus of Worth Avenue, Major Alley (named after architect Howard Major) has six Georgian revival-style cottages built in the 1920s.
Royal Poinciana Chapel - Built in 1897 by Henry Flagler, he intended for the interdenominational chapel to be used by guests at his hotels. The chapel expanded to 400 seats about a year later. It is adjacent to the Whitehall property.
Seagull Cottage - Situated between the Royal Poinciana Chapel and Whitehall, Seagull Cottage is the oldest surviving home in the Palm Beach, constructed in 1886 by R.R. McCormick, a railroad and land developer from Denver. Flagler purchased Seagull Cottage from McCormick in 1893 for $75,000, and it remained his winter residence until 1902, when Whitehall was completed.
Phipps Plaza Historic District - Described by the Palm Beach Daily News as a "picturesque ensemble" of buildings, the Phipps Plaza Historic District is a tight ring of structures built between the 1920s and the 1940s. Located just north of the intersection of Royal Palm Way and South County Road, the buildings at Phipps Plaza were mostly constructed by the Palm Beach Company, with the assistance of Addison Mizner and Marion Sims Wyeth.
The Colony Hotel Palm Beach - A British Colonial-style hotel at South County Road and Hammond Avenue, just one block south of Worth Avenue. Opened in 1947, the six floor hotel has eighty-nine rooms and three penthouses.
Addison Mizner Memorial Fountain - Erected by Mizner himself in 1929, the fountain is in the middle of South County Road directly north of the town hall and to the west of the police department headquarters. The fountain is constructed of double-bowl cast stone. In 2017, the restoration of the fountain was named the project of the year by the American Public Works Association's Florida chapter.
The Recreation Department of Palm Beach oversees several public recreation facilities, including the Morton and Barbara Mandel Recreation Center, Palm Beach Docks, Par 3 Golf Course, and many tennis centers. The only public marina in the town, the Palm Beach Docks opened in the 1940s and is along the Intracoastal Waterway between the Royal Palm Bridge and Worth Avenue. Palm Beach Docks has three main docks and eighty-eight boat slips, along with many accommodations for boaters.
There are three public beaches in the town, the Palm Beach Municipal Beach, Phipps Ocean Park, and R. G. Kreusler Park. The former, also known as Midtown Beach, has metered parking spots along South Ocean Boulevard from Royal Palm Way southward to Hammon Avenue. Phipps Ocean Park includes the Little Red Schoolhouse, the first school building in southeast Florida (built in 1886), restored and moved from its original location near where the Flagler Memorial Bridge stands today. The town also has many private beaches, while R. G. Kreusler Park (owned and operated by Palm Beach County) lies directly north of the Lake Worth Municipal Beach.[144] In addition to Pan's Garden, the Preservation Foundation of Palm Beach also owns the Ambassador Earl T. Smith Memorial Park and Fountain, a small, 0.24 acre (0.097 ha) park near the town hall.
The town has three bicycling and pedestrian paths. The Lake Trail is a 4.7 mile (7.6 km) path along the Intracoastal Waterway from Worth Avenue to near the Lake Worth Inlet. Another trail, the County Road Pedestrian Path/Bicycle Lane is around 1.1 miles (1.8 km) in length from Kawama Lane to Bahama Lane along North County Road. The third path is the Southern Pedestrian/Bicycle Path, running from Sloan's Curve to the town's southern boundaries along State Road A1A, a distance of roughly 3.5 miles (5.6 km).
Palm Beach has several social and golf clubs, most notably the Everglades Club and Mar-a-Lago. The former, built by Addison Mizner and Paris Singer in 1918, had the original purpose of being a hospital for soldiers injured in World War I. However, the war soon ended and the facilities were restructured into a private club which opened in January 1919. Some of the amenities include a golf course, tennis courts, and reception halls. Everglades Club has nearly 1,000 members. The club, which is very exclusive, does not have a website and prohibits cellphones. Mar-a-Lago is 126-room, 62,500-square-foot (5,810 m2) mansion that features many hotel-style amenities. Built between 1924 and 1927, General Foods and Post Cereals heiress Marjorie Merriweather Post originally owned the estate, but willed it to the United States government prior to her death in 1973 in hopes the residence would be used as a Winter White House. Mar-a-Lago was returned to the Post family in 1981, before being sold to future United States president Donald Trump in 1985 for approximately $10 million.
The town of Palm Beach is also known for its many famous part-time and full-time residents. Prior to the arrival of Henry Flagler in the 1890s, a few wealthy or otherwise notable people already resided in Palm Beach, including businessman and Autocar Company founder Louis Semple Clarke and scientist Thomas Adams, a pioneer of the chewing gum industry. Earl E. T. Smith and Paul Ilyinsky, both of whom formerly held the office of Mayor of Palm Beach, were notable for other reasons. Smith previously served as an Ambassador of the United States to Cuba, while Ilyinsky was the son of Grand Duke Dmitri Pavlovich of Russia and heiress Audrey Emery.
Two United States Presidents have been part-time residents, John F. Kennedy and Donald Trump, with both designating their respective Palm Beach properties as a Winter White House. Kennedy's Winter White House, La Querida, was built by Addison Mizner in 1923 and previously owned by department store magnate Rodman Wanamaker of Philadelphia before Joseph P. Kennedy Sr. purchased the property in 1933. Trump has owned Mar-a-Lago since 1985, purchasing the property from the family of the late Marjorie Merriweather Post, heiress of Post cereal. In October 2019, Trump and first lady Melania Trump filed to switch their primary domicile from New York City to Mar-a-Lago, officially establishing residency in Palm Beach. Since the conclusion of his presidency in January 2021, Donald and Melania Trump are residing at Mar-a-Lago amidst a dispute from some neighbors about the legality of them taking up permanent residence at the club. Additionally, former Canadian prime minister Brian Mulroney was a resident of Palm Beach from 2003 until his death in 2024.
Aniruddha Sharma, Co-Founder and Chief Executive Officer, Carbon Clean Solutions (CCS), India, Yang Fuqiang, Senior Adviser, Energy, Environment and Climate Change, Natural Resources Defense Council, People's Republic of China; Global Agenda Council on the Future of Electricity, Gary Wong, Editor, The New England Journal of Medicine, Hong Kong SAR and Linda P. Fried, Dean and DeLamar Professor of Public Health, Mailman School of Public Health, Columbia University, USA; Global Agenda Council on Ageing at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China 2015. Copyright by World Economic Forum / Jakob Polacsek
Pre-Master students at the ESCP Europe Paris campus took part in the Designing Tomorrow seminar, raising awareness of the importance of fighting climate change.
Some background:
The Bentley 4½ Litre was a British car based on a rolling chassis built by Bentley Motors. Walter Owen Bentley replaced the Bentley 3 Litre with a more powerful car by increasing its engine displacement to 4.4 L (270 cu in).
Bentley buyers used their cars for personal transport and arranged for their new chassis to be fitted with various body styles, mostly saloons or tourers. However, the publicity brought by their competition programme was invaluable for marketing Bentley's cars.
At the time, noted car manufacturers such as Bugatti and Lorraine-Dietrich focused on designing cars to compete in the 24 Hours of Le Mans, a popular automotive endurance course established only a few years earlier. A victory in this competition quickly elevated any car maker's reputation.
A total of 720 4½ Litre cars were produced between 1927 and 1931, including 55 cars with a supercharged engine popularly known as the Blower Bentley. A 4½ Litre Bentley won the 24 Hours of Le Mans in 1928. Though the supercharged 4½ Litre Bentley's competitive performance was not outstanding, it set several speed records, most famously the Bentley Blower No.1 Monoposto in 1932 at Brooklands with a recorded speed of 222.03 km/h (138 mph).
Although the Bentley 4½ Litre was heavy, weighing 1,625 kg (3,583 lb), and spacious, with a length of 4,380 mm (172 in) and a wheelbase of 3,302 mm (130.0 in), it remained well-balanced and steered nimbly. The manual transmission, however, required skill, as its four gears were unsynchronised.
The robustness of the 4½ Litre's lattice chassis, made of steel and reinforced with ties, was needed to support the heavy cast iron inline-four engine. The engine was "resolutely modern" for the time. The displacement was 4,398 cc (268.4 cu in): 100 mm (3.9 in) bore and 140 mm (5.5 in) stroke. Two SU carburetters and dual ignition with Bosch magnetos were fitted. The engine produced 110 hp (82 kW) for the touring model and 130 hp (97 kW) for the racing model. The engine speed was limited to 4,000 rpm.
A single overhead camshaft actuated four valves per cylinder, inclined at 30 degrees. This was a technically advanced design at a time where most cars used only two valves per cylinder. The camshaft was driven by bevel gears on a vertical shaft at the front of the engine, as on the 3 Litre engine.
The Bentley's tanks - radiator, oil and petrol - had quick release filler caps that opened with one stroke of a lever. This saved time during pit stops. The 4½ was equipped with a canvas top stretched over a lightweight Weymann body. The hood structure was very light but with high wind resistance (24 Hours Le Mans rules between 1924 and 1928 dictated a certain number of laps for which the hood had to be closed). The steering wheel measured about 45 cm (18 in) in diameter and was wrapped with solid braided rope for improved grip. Brakes were conventional, consisting of 17-inch (430 mm) drum brakes finned for improved cooling and operated by rod. Semi-elliptic leaf springs were used at front and rear.
Building the kit and its display box:
I normally do not build large scale kits, except for some anime character figures, and I especially stay away from car models because I find it very hard to come close to the impression of the real thing. But this one was a personal thing, and I got motivated enough to tackle this challenge that caused some sweat and shivers. Another reason for the tension was the fact that it was intended as a present - and I normally do not build models for others, be it as a gift or on a contract work basis.
The background is that a colleage of mine will retire soon, an illustrator and a big oldtimer enthusiast at the same time. I was not able to hunt down a model of the vintage car he actually owns, but I remembered that he frequently takes part with his club at a local car exhibition, called the "Classic Days" at a location called Schloss Dyck. There he had had the opportunity some time ago to take a ride in a Bentley 4.5 litre "Blower", and I saw the fascinationn in his eyes when he recounted the events. We also talked about car models, and I mentioned the 1:24 Heller kit of the car. So, as a "farewell" gift, I decided to tackle this souvenir project, since the Bentley drive obviously meant a lot to him, and it's a quite personal gift, for a highly respected, artistic person.
Since this was to be a gift for a non-modeler, I also had to make sure that the car model could later be safely stored, transported and displayed, so some kind of base or display bon on top was a must - and I think I found a nice solution, even with integrated lighting!
As already mentioned, the model is the 1:24 Heller kit from 1978, in this case the more recent Revell re-boxing. While the kit remained unchanged (even the Heller brand is still part of the molds!), the benefit of this version is a very nice and thin decal sheet which covers some of the more delicate detail areas like gauges on the dashboard or the protective wire mesh for the headlights.
I had huge respect for the kit - I have actually built less than 10 car models in my 40+ years of kit building. So the work started with detail picture research, esp. of the engine and from the cockpit, and I organized appropriate paints (see below).
Work started slowly with the wheels, then the engine followed, the steerable front suspension, the chassis, the cabin section and finally the engine cowling and the mudguards with the finished wheels. Since I lack experience with cars I stuck close to the instructions and really took my time, because the whole thing went together only step by step, with painting and esp. drying intermissions. Much less quickly than my normal tempo with more familiar topics.
The kit remained basically OOB, and I must say that I am impressed how well it went together. The car kits I remember were less cooperative - but the Heller Bentley was actually a pleasant, yet challenging, build. Some issues I had were the chrome parts, which had to be attached with superglue, and their attachment points to the sprues (the same green plastic is used for the chrome parts, too - a different materiallike silver or light grey would have made life easier!) could only hardly be hidden with paint.
The plastic itself turned out to be relatively soft, too - while it made cleaning easy, this caused in the end some directional issues which had to be "professionally hidden": Once the cabin had been mounted to the frame and work on the cowling started, I recognized that the frame in front of the cabin was not straight anymore - I guess due to the engine block which sits deep between the front beams. While this was not really recognizable, the engine covers would not fit anymore, leaving small but unpleasant gaps.
The engine is OOB not über-detailed, and I actually only wanted to open the left half of the cocling for the diorama. However, with this flaw I eventually decided to open both sides, what resulted in having the cowling covers sawn into two parts each and arranging them in open positions. Quite fiddly, and I also replaced the OOB leather straps that normally hold the cowling covers closed with textured adhesive tape, for a more voluminous look. The engine also received some additional cables and hoses - nothing fancy, though, but better than the quite bleak OOB offering.
Some minor details were added in the cabin: a floor mat (made from paper, it looks like being made from cocos fibre) covers the area in front of the seats and the steering wheel was wrapped with cord - a detail that many Bentleys with race history shared, for a better grip for the driver.
Overall, the car model was painted with pure Humbrol 239 (British Racing Green) enamel paint, except for the passenger section. Here I found Revell's instructions to be a bit contradictive, because I do not believe in a fully painted car, esp. on this specific Le Mans race car. I even found a picture of the real car as an exhibition piece, and it rather shows a faux leather or vinyl cladding of the passenger compartment - in a similar dark green tone, but rather matt, with only a little shine, and with a lighter color due to the rougher surface. So I rather tried to emulate this look, which would also make the model IMHO look more interesting.
As a fopundation I used a mix of Humbrol 239 and 75 (Bronze Green), on top of which I later dry-brushed Revell 363 (Dark Green). The effect and the gloss level looked better than expected - I feared a rather worn/used look - and I eventually did not apply and clear varnish to this area. In fact, no varnish was applied to the whole model because the finish looked quite convincing!
The frame and the engine were slightly weathered with a black ink wash, and once the model was assembled I added some oil stains to the engine and the lower hull, and applied dust and dirt through mineral artist pigments to the wheels with their soft vinyl tires and the whole lower car body. I wanted the car to look basically clean and in good shape, just like a museum piece, but having been driven enthusiastically along some dusty country roads (see below). And this worked out quite well!
Since I wanted a safe store for the model I tried to find a suitable display box and found an almost perfect solution in SYNAS from Ikea. The sturdy SYNAS box (it's actually sold as a toy/Children's lamp!?) had very good dimensions for what I had in mind. Unfortunately it is only available in white, but for its price I would not argue. As a bonus it even comes with integrated LED lighting in the floor, as a rim of lights along the side walls. I tried to exploit this through a display base that would leave a 1cm gap all around, so that light could be reflected upwards and from the clear side walls and the lid onto the model.
The base was created with old school methods: a piece of MDF wood, on top of which I added a piece of cobblestone street and grass embankment, trying to capture the rural atmosphere around Schloss Dyck. Due to the large scale of the model I sculpted a light side slope under the pavement (a Tamiya print with a light 3D effect), created with plaster and fine carpenter putty. The embankment was sculpted with plaster, too.
The cobblestone cardboard was simply glued to the surface, trimmed down, and then a fairing of the base's sides was added, thin balsa wood.
Next came the grass - again classic methods. First, the surface was soaked with a mix of water, white glue and brown dispersion paint, and fine sand rinsed over the surfaces. Once dry, another mix of water, white glue and more paint was applied, into which foamed plastic turf of different colors and sizes was dusted. After anothetr drying period this area was sprayed with contact glue and grass fibres were applied - unfortunately a little more than expected. However, the result still looks good.
At the border to the street, the area was covered with mineral pigments, simulating mud and dust, and on the right side I tried to add a puddle, made from Humbrol Clearfix and glue. For some more ambiance I scratched a typical German "local sight" roadsign from cardboard and wood, and I also added a pair of "Classic Days" posters to the mast. Once in place I finally added some higher grass bushels (brush fibres) and sticks (dried moss), sealing everything in place with acralic varnish from the rattle can.
In order to motivate the Bentley's open cowling, I tried to set an engine failure into scene: with the car abandoned during the Classic Days' demo races along the local country roads, parked at the side of the street, and with a puddle of engine below and a small trail of oil behind the car (created with Tamiya "Smoke", perfect stuff for this task!). A hay bale, actually accessory stuff for toy tractors and in fact a square piece of wood, covered with straw chips, subtly hint at this occasion.
Finally, for safe transport, the model was attached to the base with thin wire, the base glued to the light box' floor with double-sided adhesive tape and finally enclosed.
Quite a lot of work, the car model alone took four patient weeks to fully materialize, and the base in the SYNAS box took another two weeks, even though work proceeded partly in parallel. However, I am positively surprised how well this build turned out - the Heller kit was better/easier to assemble than expected, and many problems along the way could be solved with patience and creative solutions.
Yantram is 3d product designing Company - 3D Product Modeling, 3D Product Design, 3D Product images, 3D Furniture Design, 3D Product Visualization, Outsource 3d product design India.
Quapaw Quarter, Little Rock Arkansas. This was the house used in the television show "Designing Women".
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
The Hawker Typhoon was a British single-seat fighter-bomber, produced by Hawker Aircraft. It was intended to be a medium-high altitude interceptor, as a replacement for the Hawker Hurricane, but several design problems were encountered and it never completely satisfied this requirement.
Even before Hurricane production began in March 1937, Sydney Camm had embarked on designing its successor. Two preliminary designs were similar and were larger than the Hurricane. These later became known as the "N" and "R" (from the initial of the engine manufacturers), because they were designed for the newly developed Napier Sabre and Rolls-Royce Vulture engines respectively. Both engines used 24 cylinders and were designed for over 2,000 hp (1,500 kW); the difference between the two was primarily in the arrangement of the cylinders – an H-block in the Sabre and an X-block in the Vulture. Hawker submitted these preliminary designs in July 1937 but were advised to wait until a formal specification for a new fighter was issued.
In March 1938, Hawker received from the Air Ministry, Specification F.18/37 for a fighter which would be able to achieve at least 400 mph (640 km/h) at 15,000 feet (4,600 m) and specified a British engine with a two-speed supercharger. The armament fitted was to be twelve 0.303” Browning machine guns with 500 rounds per gun, with a provision for alternative combinations of weaponry. The basic design of the Typhoon was a combination of traditional Hawker construction, as used in the earlier Hawker Hurricane, and more modern construction techniques; the front fuselage structure, from the engine mountings to the rear of the cockpit, was made up of bolted and welded duralumin or steel tubes covered with skin panels, while the rear fuselage was a flush-riveted, semi-monocoque structure. The forward fuselage and cockpit skinning was made up of large, removable duralumin panels, allowing easy external access to the engine and engine accessories and most of the important hydraulic and electrical equipment.
The Typhoon’s service introduction in mid-1941 was plagued with problems and for several months the aircraft faced a doubtful future. When the Luftwaffe brought the new Focke-Wulf Fw 190 into service in 1941, the Typhoon was the only RAF fighter capable of catching it at low altitudes; as a result it secured a new role as a low-altitude interceptor.
By 1943, the RAF needed a ground attack fighter more than a "pure" fighter and the Typhoon was suited to the role (and less-suited to the pure fighter role than competing aircraft such as the Spitfire Mk IX). The powerful engine allowed the aircraft to carry a load of up to two 1,000 pounds (450 kg) bombs, equal to the light bombers of only a few years earlier. Furthermore, from early 1943 the wings were plumbed and adapted to carry cylindrical 45 imp gal (200 l; 54 US gal) drop tanks increasing the Typhoon's range from 690 miles (1,110 km) to up to 1,090 miles (1,750 km). This enabled Typhoons to range deep into France, the Netherlands and Belgium.
From September 1943, Typhoons were also armed with four "60 lb" RP-3 rockets under each wing. Although the rocket projectiles were inaccurate and took considerable skill to aim and allow for ballistic drop after firing, "the sheer firepower of just one Typhoon was equivalent to a destroyer's broadside".
By the end of 1943, eighteen rocket-equipped Typhoon squadrons formed the basis of the RAF Second Tactical Air Force (2nd TAF) ground attack arm in Europe. In theory, the rocket rails and bomb-racks were interchangeable; in practice, to simplify supply, some used the rockets only, while other squadrons were armed exclusively with bombs, what also allowed individual units to more finely hone their skills with their assigned weapons.
The Typhoon was initially exclusively operated in the European theatre of operations, but in 1944 it was clear that a dedicated variant might become useful for the RAF’s operations in South-East Asia. In the meantime, Hawker had also developed what was originally an improved Typhoon II, but the differences between it and the Mk I were so great that it was effectively a different aircraft, and it was renamed the Hawker Tempest. However, as a fallback option and as a stopgap filler for the SEAC, Hawker also developed the Typhoon Mk. IV, a tropicalized late Mk. I with a bubble canopy and powered by the new Bristol Centaurus radial engine that could better cope with high ambient temperatures than the original liquid-cooled Sabre engine. The Centaurus IV chosen for the Typhoon Mk. IV also offered slightly more power than the Sabre and the benefit of reduced vulnerability to small arms fire at low altitude, since the large and vulnerable chin cooler could be dispensed with.
3,518 Typhoons of all variants were eventually built, 201 of them late Mk. IVs, almost all by Gloster. Once the war in Europe was over Typhoons were quickly removed from front-line squadrons; by October 1945 the Typhoon was no longer in operational use, with many of the wartime Typhoon units such as 198 Squadron being either disbanded or renumbered.
The SEAC’s few operational Mk IVs soldiered on, however, were partly mothballed after 1945 and eventually in 1947 handed over or donated to regional nascent air forces after their countries’ independence like India, Pakistan or Burma, where they served as fighters and fighter bombers well into the Sixties.
The Burmese Air Force; initially only called “The military”, since there was no differentiation between the army’s nascent servies, was founded on 16 January 1947, while Burma (as Myanmar was known until 1989) was still under British rule. By 1948, the fleet of the new air force included 40 Airspeed Oxfords, 16 de Havilland Tiger Moths, four Austers, and eight Typhoon Mk. IVs as well as three Supermarine Spitfires transferred from the Royal Air Force and had a few hundred personnel.
The Mingaladon Air Base HQ, the main air base in the country, was formed on 16 June 1950. No.1 Squadron, Equipment Holding Unit and Air High Command - Burma Air Force, and the Flying Training School, were placed under the jurisdiction of the base. A few months later, on 18 December 1950, No. 2 Squadron was formed with nine Douglas Dakotas as a transport squadron. In 1953, the Advanced Flying Unit was formed under the Mingaladon Air Base with de Havilland Vampire T55s, and by the end of 1953 the Burmese Air Force had three main airbases, at Mingaladon, Hmawbi, and Meiktila, in central Burma.
In 1953, the Burmese Air Force bought 30 Supermarine Spitfires from Israel and 20 Supermarine Seafires as well as 22 more Typhoon Mk. IVs from the United Kingdom. In 1954 it bought 40 Percival Provost T-53s and 8 de Havilland Vampire Mark T55s from the United Kingdom and two years later, in 1956, the Burmese Air Force bought 10 Cessna 180 aircraft from the United States. The same year, 6 Kawasaki Bell 47Gs formed its first helicopter unit. The following year, the Burmese Air Force procured 21 Hawker Sea Fury aircraft from the United Kingdom and 9 de Havilland Canada DHC-3 Otters from Canada. In 1958, it procured 7 additional Kawasaki Bell 47Gs and 12 Vertol H-21 Shawnees from the United States. Five years later, No. 503 Squadron Group was formed with No. 51 Squadron (de Havilland Canada DHC-3 Otters and Cessna 180s) and No. 53 Squadron (Bell 47Gs, Kaman HH-43 Huskies, and Aérospatiale Alouettes) in Meiktila.
When the non-Burman ethnic groups pushed for autonomy or federalism, alongside having a weak civilian government at the center, the military leadership staged a coup d'état in 1962, and this was the only conflict in which the aging Burmese Typhoons became involved. On 2 March 1962, the military led by General Ne Win took control of Burma through a coup d'état, and the government had been under direct or indirect control by the military since then. Between 1962 and 1974, Myanmar was ruled by a revolutionary council headed by the general. Almost all aspects of society (business, media, production) were nationalized or brought under government control under the Burmese Way to Socialism, which combined Soviet-style nationalization and central planning, and also meant the end of operation of many aircraft of Western origin, including the last surviving Burmese Typhoons, which were probably retired by 1964. The last piston engine fighters in Burmese service, the Hawker Sea Furies, are believed to have been phased out in 1968.
General characteristics:
Crew: One
Length: 32 ft 6 in (9.93 m)
Wingspan: 41 ft 7 in (12.67 m)
Height: 15 ft 4 in (4.67 m)
Wing area: 279 sq ft (25.9 m²)
Airfoil: root: NACA 2219; tip: NACA 2213
Empty weight: 8,840 lb (4,010 kg)
Gross weight: 11,400 lb (5,171 kg)
Max takeoff weight: 13,250 lb (6,010 kg) with two 1,000 lb (450 kg) bombs
Powerplant:
1× Bristol Centaurus IV 18-cylinder air-cooled radial engine with 2,210 hp (1,648 kW) take-off
power, driving a 4-bladed Rotol constant-speed propeller
Performance:
Maximum speed: 412 mph (663 km/h, 358 kn) at 19,000 ft (5,800 m)
Stall speed: 88 mph (142 km/h, 76 kn)
Range: 510 mi (820 km, 440 nmi) with two 500 lb (230 kg) bombs;
690 mi (1,110 km) "clean";
1,090 mi (1,750 km) with two 45 imp gal (200 l; 54 US gal) drop tanks.[65]
Service ceiling: 35,200 ft (10,700 m)
Rate of climb: 2,740 ft/min (13.9 m/s)
Wing loading: 40.9 lb/sq ft (200 kg/m²)
Power/mass: 0.20 hp/lb (0.33 kW/kg)
Armament:
4× 20 mm (0.787 in) Hispano Mk II cannon in the outer wings with 200 rpg
Underwing hardpoints for 8× RP-3 unguided air-to-ground rockets,
or 2× 500 lb (230 kg) or 2× 1,000 lb (450 kg) bombs or a pair of drop tanks
The kit and its assembly:
The Hawker Typhoon is IMHO an overlooked WWII aircraft, and it’s also “underwiffed”. I have actually built no single Typhoon in my 45 years of model kit building - time to change that!
Inspiration was a lot of buzz in the model kit builder community after KP’s launch of several Hawker Tempest kits, with all major variants including the Sabre- and Centaurus-powered types. While the Tempest quickly outpaced the Typhoon in real life and took the glory, I wondered about a Centaurus-powered version for the SEA theatre of operations – similar to the Tempest Mk. II, which just came too late to become involved in the conflict against the Japanese forces. A similar Typhoon variant could have arrived a couple of months earlier, though.
Technically, this conversion is just an Academy Hawker Typhoon Mk Ib (a late variant without the “car door”, a strutless bubble canopy and a four-blade propeller) mated with the optional Centaurus front end from a Matchbox Hawker Tempest. Sounds simple, but there are subtle dimensional differences between the types/kits, and the wing roots of the Matchbox kit differ from the Academy kit, so that the engine/fuselage intersection as well as the wing roots called for some tailoring and PSR. However, the result of this transplantation stunt looked better and more natural than expected! Since I did not want to add extra fairings for air carburetor and oil cooler to the Wings (as on the Tempest), I gave the new creation a generous single fairing for both under the nose – the space between the wide landing gear wells offered a perfect location, and I used a former Spitfire radiator as donor part. The rest, including the unguided missiles under the wings was ordnance, was taken OOB, and the propeller (from the Academy kit) received an adapter consisting of styrene tubes to match it with the Matchbox kit’s engine and its opening for the propeller axis.
Painting and markings:
This was initially a challenge since the early Burmese aircraft were apparently kept in bare metal or painted in silver overall. This would certainly have looked interesting on a Typhoon, too – but then I found a picture of a Spitfire (UB 421) at Myanmar's Air Force Museum at Naypyidaw, which carries camouflage – I doubt that it is authentic, though, at least the colors, which markedly differ from RAF Dark Green/Dark Earth and the bright blue undersides also look rather fishy. But it was this paint scheme that I adapted for my Burmese Typhoon with Modelmaster 2027 (FS 34096, B-52 Dark Green, a rather greyish and light tone) and 2107 (French WWII Chestnut, a reddish, rich chocolate brown tone) from above and Humbrol 145 (FS 35237, USN Gray Blue) below – a less garish tone.
As usual, the model received a black ink washing and post-panel-shading for dramatic effect; the cockpit interior became very dark grey (Revell 06 Anthracite) while the landing gear became Medium Sea Grey (Humbrol 165), as a reminder of the former operator of the aircraft and its painting standards. The red spinner as well as the red-and-white-checkered rudder were inspired by Burmese Hawker Sea Furies, a nice contrast to the camouflage. It's also a decal, from a tabletop miniatures accessory sheet. This contrast was furthermore underlined through the bright and colorful national markings, which come from a Carpena decal sheet for exotic Spitfires, just the tactical code was changed.
After some signs of wear with dry-brushed silver and some graphite soot stains around the exhausts and the guns the model was sealed with matt acrylic varnish.
Voilà, a whiffy Hawker Typhoon – and it looks better than expected. Not only does the brawny Centaurus look good on the rather burly Typhoon, the transplantation worked out better than expected, too. However, with the radial engine the Typhoon looks even more like an Fw 190 on steroids?
The 11th International FDSS Cup Floral Designing Competition at the Meadow, Gardens by the Bay during Singapore Garden Festival 2018.
I've been trying out different needle sizes and stitch patterns in preparation for knitting my youngest granddaughter a cardigan type sweater. I'll knit it big so that it will fit for back-to-school in September. I have to start early since the older granddaughter will want one too.
Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing Web Designing...
Caroline Baumann, Director, Cooper Hewitt, Smithsonian Design Museum, USA; Cultural Leader,.speaking during the Session "Designing for Everyone" at the Annual Meeting 2019 of the World Economic Forum in Davos, January 22, 2019. Congress Centre - Betazone
Copyright by World Economic Forum / Mattias Nutt
Some secrets of the Nikon D300.
The shutter lag on the D300 depends on the mode, 12 or 14 bits resolution. You should take this into account when designing with external shutters. The drawings show the results of the LA.
In 12 bit mode the shutterlag is about 53 msec. The external shutter can not open faster or you miss the shot. In 14 bit mode this time extended to 98 msec.
The speed of multiple shots depends ofcourse again from the 12 or 14 bit mode. practical the most usefull speeds are 6 pictures/sec for 12 bit mode and 2.7 for 14 bit mode. I like to set this speed at 2.5 picture/sec if I use multiple shots. This will work for both ADC settings.
But this timing are all for actieve display of the camera, If the camera is into standby, display off, you have to add 200 msec extra to the shutterlag. The worsecase timing for the shutterlag in 12 bit mode from sleep is about 253 msec, for the 14 bit mode this is near 300 msec.
Using an external shutter can not go open before this minimum shutterlag. Ofcourse this delays are only to charge for the minimum startup value. If you are waiting for a trigger once this minimum time expires, you only have to deal with the external shutter-lag. For one of the fastest shutter, the Uniblitz VS14, this time is near 3.5 msec. Once the startuptime is passed the flash can be driven near 4 msec after activation of the external shutter.
Now how fast the shutter release after the shutter command? Well not fast at all! If you are in manual mode, minimum startup time passed, and you release the shuttercommand then only after 77 msec the camera close the shutter. I had hoped this time would be very short but that is not true. You can not shorten the opening time between external and internal shutter through this methode.
Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing Graphic Designing...
Web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing web designing...
Graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing graphic designing...
Web Designing & Development Hyderabad, Website Design Company, Website Designing Company, Web Site Design Company, Web Designing Company, Web Development Company, Web Design and Development Company, Web Design Development Company, Web Design & Development Company
To steer the website from its designing towards the outcome needs lot of work capacity APDATEZ a pioneer in website designing in Chandigarh will give you the same we even keep you website maintained for SEO evaluation for happy ending of your business.