How To Take The Most Clear, Breathtaking, Majestic and Powerful Landscape Photos
Without Spending Hundreds Of Dollars On Expensive Camera Equipment, Using Any Good, Basic Digital Camera.
How To Take The Most Clear, Breathtaking, Majestic and Powerful Landscape Photos

Monday, July 17, 2006

Outdoor Fireplace Photo Gallery Brings Outdoor Living Design Ideas to Life

Homeowners, designers and builders across the United States are beginning to incorporate outdoor fireplaces into their landscape designs. The Concrete Network's online outdoor fireplace photo gallery offers an extensive collection of photos exhibiting various concrete outdoor fireplace design options.
Yucaipa, CA (PRWEB) June 23, 2006 'C As temperatures begin the upward climb across the country, the appeal of outdoor entertaining has also begun to rise. Outdoor fireplaces have become a staple of outdoor living spaces. Homeowners, designers and builders are turning to The Concrete Network, the largest and most comprehensive source for concrete information, online outdoor fireplace photo gallery for a collection of photos offering different design ideas and options for incorporating outdoor fireplaces for everyday entertaining.
The appeal of outdoor fireplaces comes from the fact that back yard entertaining does not have to stop once the sun sets. These outdoor fixtures are great for providing light and warmth for friends and family as the evening air begins to cool, and are great as outdoor barbeques and pizza ovens.
They can be easily incorporated into landscape design plans around pools and patios. From rustic, natural pieces incorporating faux rocks to sleek, sophisticated fixtures, these outdoor fireplaces can transform any landscape into an entertainer's paradise. With concrete, their color options and design possibilities become limitless.
Building with concrete offers long lasting durability, versatility and requires minimal maintenance. It is the perfect option for withstanding outdoor weather. Outdoor fireplaces can be wood or gas burning. Many of the works in these photos can be replicated and/or tailored to meet the needs of the individual, the home, and space restrictions.
The concrete photo gallery is updated every Friday offering new photos of custom and unique designs and applications. Photos for the photo gallery have been collected from contractors around the country and are for design idea purposes only.
Established in 1999, The Concrete Network's purpose is to educate consumers, builders, and contractors on popular decorative techniques and applications including stamped concrete, stained concrete floors, concrete countertops, polished concrete, and much more. Over 750,000 visitors research The Concrete Network Web site each month.
The site excels at connecting buyers with local contractors in their area through its Find-A-Contractor service. The service provides visitors with a list of decorative concrete contractors throughout the U.S. and Canada, and is fully searchable by 22 types of decorative concrete work and 198 metropolitan areas throughout North America.
News image photo courtesy of Bomanite Corporation. Attached photos courtesy of Advanced Concrete Enhancement and Tom Ralston Concrete.
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Once Again Gamma Imaging Is Chosen to Create Grand Format Vinyl Banners For Chicago's Millennium Park

Chicago-based Gamma Imaging has produced high-resolution vinyl banners for a photographic exhibition at Chicago's internationally celebrated Millennium Park. This is the second time in two years that Gamma Imaging, a specialist in custom banners, has been selected to produce large format graphics for the Park.
(PRWEB) June 28, 2006 -- For the second time in two years, an exhibition at Chicago's award-winning Millennium Park is displaying brilliant banner-sized images created by Chicago-based Gamma Imaging.
The latest exhibition, 'In Search of Paradise: Great Gardens of the World', features 106 4 ft. by 4 ft. large format vinyl banners printed by Gamma Imaging from a photographic collection owned by the Chicago Botanic Garden. The collection includes photo murals by some of the world's best garden photographers, such as Jerry Harpur, Mick Hales, Andrew Lawson and Charles Jencks.
The exhibition runs through September, 2006 at the Park's Boeing Galleries, where it will be viewed by millions of visitors. Since its opening in 2004, Millennium Park has become one the most popular destinations in Chicago, and is recognized around the world as a center for art, music, architecture and landscape design.
The 'Great Gardens of the World' exhibition was staged by the City of Chicago Department of Cultural Affairs. Sponsors include the Boeing Corporation, the LaSalle Bank, and the Richard H. Driehaus Foundation.
Gamma Imaging is also a co-sponsor of the exhibition. After being selected through an open bidding process to produce the banners, Doug Goddard, President of Gamma Imaging, decided to support the exhibition by donating a significant portion of Gamma Imaging's work.
Doug Goddard, President of Gamma Imaging, explains, 'Since we're Chicago-based, we wanted to do our part for the Park, too. It's such an asset for the city, we felt it was the least we could do.'
Goddard continues, 'We're very proud of our work for this exhibition. The technical challenge was to create large format banners as stunning as the original photographs, and we're confident we've succeeded. All the feedback has been great.'
Gamma Imaging, a specialist in custom banners, printed the exhibition's vinyl banners, which also incorporate explanatory text, on its Vutek printer using durable 13 oz. white vinyl material. Vutek technology enables Gamma to produce vinyl banners, mesh banners, and cloth banners up to 16 ft. wide in one piece using high-resolution fade- and weather-resistant solvent based UV inks.
When Millennium Park first opened in the summer of 2004, the Chicago Department of Cultural Affairs also called upon Gamma Imaging to create 167 enlarged images for an exhibition entitled 'Families Around The World', using film shot by French photographer Uwe Ommer. Ommer traveled to over 100 nations on all five continents, taking photos of families and describing their unique customs and lifestyles.
Gamma Imaging utilized a Durst 130 Lambda system to print Ommer's photos on Fuji photo mural paper. The photo murals were then adhered to quarter-inch PVC boards, with an outdoor laminate for permanent weather protection. Gamma's Lambda System uses digital source files to produce unprecedented digital prints directly onto photographic paper or display material. It achieves true continuous-tone photographic quality, razor sharp from corner to corner, without the visual dot patterns seen in non-photographic printing technology.
Vinyl banners and photo murals are only two of Gamma Imaging's many offerings. A world-class provider of graphic services to photographers, graphic artists and agencies since 1962, the company's full range of products and services includes:
* Digital prints of all sizes and formats
* Vinyl banners, fabric banners and mesh banners for outdoor promotions, special events, construction site signage and retail advertising
* Trade show displays, portable display stands and pop-up displays
For more information about Gamma Imaging, visit gammaimaging.com. For more about Millennium Park and 'In Search of Paradise: Great Gardens of the World,' visit millenniumpark.org.
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Sunday, July 16, 2006

Industrial evolution

The Industrial Revolution of the 21st century is all about machinery, too, but this time tools are coming out, not going in. Valued as archaeological artifacts of another age, the gritty workings from defunct factories are imaginatively repurposed as furniture in warehouse lofts, downtown apartments, contemporary houses and any other dwelling whose owner seeks the next new trend.
The art lies not merely in rehabbing greasy old things into distinctive sideboards, coffee tables, shelving units, light fixtures and kitchen islands, although a dealer's or decorator's ability to envision a domestic use is key. Homeowners must appreciate the aesthetic of something that never was meant to be artful and also must be willing to violate traditional decorating ideas.Curiously, a semiannual Central Texas antiques fair, acclaimed for its high-quality American furniture and decorative arts, is turning into one of the country's best venues for scoring these more obscure prizes that are already an outright trend on the East and West coasts. Collectively known as Round Top, a fortnight of antiquing centered on the village of the same name, several dealers are building reputations as sources for a style that is more contemporary 'C that is, visionary 'C than what's labeled contemporary in design magazines.
The Round Top Antiques Show (the venerated grande dame) and Marburger Farm (the upstart, but no less admired) include dealers from across the country who see contemporary applications for outmoded industrial machinery and discarded factory fixtures. And a scan of the fair's supporting cast, the hundreds of dealers set up in church halls, tents, pavilions and fields, shows that the trend has not gone unnoticed.
During the past two years, a small group of like-minded dealers has gravitated to Tent E at Marburger Farm. The young (or young-at-heart) sellers come from urban locales like Santa Monica, Calif., Houston and Chicago. They mine not only the Rust Belt, urban areas in the nation's midsection where manufacturing once dominated, but also agrarian regions where outdated machinery can be dissected for its abstract parts.
At last spring's Marburger, for instance, a massive work bench, with a deeply scarred wooden top, industrial casters and multiple drawers, had been scoured and waxed to highlight its imperfections. It was a candidate for a kitchen island, a dining room sideboard or a cocktail bar. A young couple from L.A. considered a wooden dolly with steel tongue and wheels as a cocktail table. Aluminum chicken feeder covers were turned upside down, looking like the underpinnings of a Georgia crinoline, and electrified, with bulbs exposed. The effect was elegantly minimalist, installed singly or in a row.
"I think certain objects have an inherent soulful quality," says Scott Filar of Chicago, whose business is named Mad Parade. "A lot of industrial design was never meant to be seen outside a factory setting. But presented in a modern house or apartment, they exist as sculpture, no matter what their original function was."
Mr. Filar, a dealer and collector, lives his life on the road. He must travel to replenish his merchandise and to reach his customer. "All of this stuff is so off the beaten path. It's lonely when you're out at the end of that creative pier."
That's one reason Marburger's Tent E has grown into a clique of these specialty dealers. They see the world through the same lens. They feed off one another's frenzy for funk, and enthusiastically talk shop between customers.
"We all are drawn to the same things," says Karen Sobotka, a Houston dealer who's a native of New York, "but we have our own way of interpreting them." She likes to have glass cut for factory fittings for use as cocktail, sofa, television and side tables. Pieces that can be converted to chandeliers, with the wiring exposed, are another specialty.
When purchased at established antiques venues like Round Top and Marburger, industrial elements usually have been restored with the same attention as the more typical inventory and already have been converted for domestic use. Time, labor and trendiness dictate the asking price.
Dallas interior designer, landscape architect and antiques dealer Gary Owens has installed such pieces in clients' homes and at his stalls at The Mews, Antique Row and Found. At the Mews, for example, he has combined industrial chic with smart, crisp furnishings to illustrate how even a single element can shake things up.
"Most of my jobs are in Preston Hollow and the Park Cities," he says. "I've combined industrial pieces with midcentury modern and antiques, mixing it up to avoid that stuffy Dallas look."
He puts three-quarter-inch glass tabletops on hospital carts and railyard wagons, strips and polishes steel storage with drawers for dressers and has plexiglass or metal mounts fabricated to showcase objects as objets.
"Repurposing is the purest form of recycling," says D'Ette Cole, an Austin dealer who has set up at a Warrenton site called Clutter for 12 years. A former co-owner of Uncommon Objects, a multi-dealer shop on South Congress famous for its quirkiness, Ms. Cole now operates as Etta Industry. At present, she sells only at the spring and fall shows; an online shopping address is in production.
"Times have gotten so fast-paced, people want to be closer to what is real," and to a culture "that is not such a disposable time," she says. She has scoured defunct farm implement suppliers and salvage yards in West Texas for anything with industrial origins, including farming and ranching. With her experience as a photo stylist and studio artist, she values mundane, utilitarian objects for their weathered colors and intrinsic design.
For instance, sagging bedsprings mounted on the wall reveal an artistic pattern of circles and spirals. Drum-shaped iron machinery parts have been converted to chandeliers; ditto a series of cylindrical steel cages with their original red-orange paint.
Clutter's name notwithstanding, Ms. Cole says her own new personal style is not unlike that of the shoppers drawn to her inventory. "It's sparer, more sophisticated. I want to be a little bit pared down, kind of more purposeful. I'm trying to get closer to the core of what I want my life to be."
At the October show will be her just-purchased trove of French and English finds, including industrial and commercial elements. She plans to construct vignettes combining 18th-century toile and a 10-foot-long table from a San Saba general store with English factory lights, 19th-century advertising signs and enameled Swiss army canteens.
"I think oddly enough it will visually make sense, if only to me," says Ms. Cole. "I'm still doing the industrial salvage thing, just with a multicultural twist."
De-grunged machinery bases combined with table tops of marble, butcher block or weathered, waxed zinc or tin
Light fixtures fashioned from industrial glass shades (like the toffee-brown examples, below, at Mark Dooley's Excess site) or any machinery part that can be suspended
Architectural components of natural stone, cast stone, terra cotta, concrete, tin or wood used as table bases and other furnishings and/or elevated to the status of sculpture
Hand-lettered or figural commercial signs rendered by a schooled artist or unskilled hand as art for big walls
Quilts and other textiles repurposed as graphic art for big walls. The African-American quilt from Missouri (right) hung in David and Kim Leggett's stall at Marburger Farm.
Perplexity value: Most of us are too urban, too young or both to identify industrial artifacts. One-of-a-kind furnishings get extra points for the Whazzat? factor.
For details about the October antiques week in Round Top and related venues, go to www.roundtop.org (Click on "antique show venues" in the drop-down menu) and www.antiqueweekend.com.
Repurposed factory fixtures can pop up anywhere at the Central Texas antiques fair. But specific destinations include the Big Red Barn at Round Top Antiques Fair, Tent E at Marburger Farm, Harmonie Hall in Shelby and Clutter (ettaindustry.com) and Excess (northstarantiques.com) in Warrenton.

From the Stacks: June 30, 2006

Utne receives some 1,200 magazines, newsletters, journals, weeklies, and zines. Add in hundreds of books, CDs, and DVDs, and it's a flood of media that lines the walls of our library and piles high on our desks. All the ideas, people, and stories inspire lively daily chatter, but they can't all fit into our bimonthly magazine. So we share the gems here in our weekly editions of "From the Stacks." Check in every Friday for the freshest highlights of the independent and alternative media.
The new issue of Topic (#9) focuses interestingly on music and its attractive design compelled me to read it word for word. In its pages I learned about a deaf person's music listening experiences, a "model anthem" combining the world's national anthems into one song, and the troubled life and career of Jimi Hendrix's younger brother Leon. I attempted to match eight pictured teenagers with their favorite song, commiserated with a woman pianist who quit classical music at 18 (after 14 years of playing), and got inside the minds of Wrigley Field organist Gary Pressy, horror film music composer Joseph Loduca, and pop musician Sufjan Stevens. Now in its fifth year of publication, Topic has previously investigated such concepts as prison, food, fads, family, and sin. -- Chris Dodge
A hulking man with a cape and striped knickers graces the cover of the latest issue of the Saskatchewan-based BlackFlash. He's Sweet Daddy Siki, a flamboyant Stampede Wrestler from the 1960s, and he and the likes of the Cuban Assassin and the Dynamite Kid are part of a photographic feature on the world of wrestling. Through the magazine's dedication to presenting "photo-based, electronic, and digital art production with an edge," the issue (#23.3) wanders into other sporting nooks, including an artistic project that sponsored an Irish football team and scrawled ART on players' jerseys, as well as a Winnipeg art film on the demise of the town's heroes: Death by Popcorn: The Tragedy of the Winnipeg Jets. -- Rachel Anderson
Lois Gibbs helped make the Love Canal, and consequently toxic waste, a household name. Today she sits as executive director of the Center for Health, Environment, and Justice, an organization dedicated to creating safe and healthy communities. The group's quarterly newsletter, Everyone's Backyard people know that the fight for health is still on. The Summer issue celebrates the Environmental Protection Agency notching up its standards for cleaning up dioxin contamination in "Raising the Bar," and Mike Schade explores biobased plastics in "Back to the Future." Perhaps most inspiring is the "Action Line" section, highlighting activist efforts in 20 states and two continents. -- Rachel Anderson
Slither's fearless honesty makes the reader feel as if its creator, Kelly Froh, is an old friend recounting, comic-strip style, her everyday adventures. In the zine's sixth issue we see her through an awkward first date, the discovery made in a deep Wisconsin Hobby Lobby that she does in fact look like her father, and an unfortunate moment when she overhears her parents doing the deed. Another highlight: Froh's depiction of specialty pizzas and the types who order each variety at the joint where she finds her summer job. -- Suzanne Lindgre
Hailing from the University of Oregon School of Journalism and Communication, Flux features a quirky and eclectic array of pieces in its Spring issue. The cover story follows one man's efforts to reconnect his Grand Ronde tribe with tradition through the creation of a longhouse. The traditional structures, Sena Christian explains, are "spiritually blessed places where members privately gather to participate in sacred ceremonies, dances, and rites of passage." Not quite a centerfold, but close, is Adrienne van der Valk's feature "Back in Black," which explores the resurfacing of burlesque as a pastime and profession residing in the gray area between art and porn. Also within Flux's pages: students investigate topics from environmentally correct clothing to prison work programs, pit bull disposition makeovers, and the endangered state of honey bees. -- Suzanne Lindgren
If large photos of lush wilderness in nature magazines tend to inspire wanderlust, then the latest issue of Audubon, the magazine of the National Audubon Society, might just put you over the edge. The July/August issue focuses on "Green Travel," chronicling Alex Shoumatoff's ecotour through the Peruvian Amazon. The area's lack of environmental protections threaten the wealth of howler monkeys, macaws, and rare therapeutic flora found in the forest. Unless greater protections are imposed, Shoumatoff says, "[I]f you want to experience the Amazon, you'd better get there fast." -- Bennett Gordon
"Read carefully," was the advice given to me by Utne librarian Chris Dodge when I asked about Chronicles, a magazine published by the Rockford Institute. The latest issue's cover depicts a haloed white knight on a white horse exchanging steely glances with a shadowy dragon. The headline: "30 Years Fighting the Culture War." The "Culture War" topic elicits a fair share of generalizations, among them: Joseph Sobran's "Religion is at the heart of every culture," and Thomas Fleming's "Liberal to the core, we [Americans] lack the most basic survival instincts." But there are a few moments of relative clarity in the July issue, such as James O. Tate's essay lamenting the effect of technology on communication. "Television seems to be an instrument of political obfuscation," Tate writes, "a babysitting pacifier of stay-at-homes." -- Bennett Gordon
The Summer issue of the Center for a New American Dream's quarterly publication, In Balance, boils down the citizen group's principles of social and environmental responsibility into a 15-page newsletter. Although school's out for summer, the issue's cover story, "Helping Kids Breathe Easier," is a call to action for implementing "green cleaners" in buildings where children spend their days. New York already has answered the plea. Beginning in September, a "first-of-its-kind state mandate" will require every public school to use "Green Seal" certified cleaning supplies. And New Jersey isn't far behind. Around 35 Garden State schools have made the shift to toxin-free products in the past two years, and in January, writer Andrew Korfhage reports, it became mandatory to use alternative cleaners in all state offices. --Kristen Mueller
Lilith is "independent, Jewish, and frankly feminist." No, she's not the latest pop culture it-girl. Lilith is a 30-year-old nonprofit magazine. Inside the Summer issue, contemplative essays explore controversial topics (a lesbian couple's modern Orthodox Jewish wedding) alongside the tale of a New Yorker's Lower East Side-search for a new zipper. Lilith isn't without a male voice. Clancy Sigal rounds out the issue with an article titled "A Woman of Uncertain Character, The Amorous and Radical Adventures of My Mother Jennie (Who Always Wanted to Be a Respectable Jewish Mom) By Her Bastard Son." -- Kristen Mueller
The title of Poetry's Humor Issue, Peotry, sets the silly tone for the pages inside. Lewd rhymes, from the romantic to the near pornographic, dominate the July/August issue. Insulting diatribes (like Dean Young's "Sean Penn Anti-Ode") and parodies of classics (like "We Old Dudes" by Joan Murray, patterned on Gwendolyn Brooks' "We Real Cool") only dot the landscape. Poetry has published the best poets for nearly a century and received a bequest of more than $100 million in 2002. Its temporary alter ego Peotry lives up to the legacy; quality and integrity persist throughout, and few magazines have so earned the right to play. -- Rachel Jenkins

Prepare for Takeoff: Canada Post Launches New Stamps Honouring the Snowbirds

Canadian military formation aerobatic teams have played a part in Canada's distinguished military aviation history. Since the inception of the "Siskins" in the 1930's there have been many teams, all of whom have exemplified the skill and proficiency common to Canadian Air Force pilots and ground crew. The Golden Hawks and Golden Centennaires are still remembered by many people who enjoyed their exciting aerobatic displays. These teams received worldwide recognition, and their members were proud ambassadors of the men and women of the Canadian military. The Snowbirds, while performing before millions of spectators across North America, carry on the fine traditions established by their forerunners.
When the Saskatchewan government was planning Homecoming 71 - a call for all former Saskatchewaners to visit the province - Premier Ross Thatcher asked the commander of the Golden Centennaires what he might be able to contribute. The colonel suggested an air show... and a Canadian icon was born. A name-the-team competition was held among the base's elementary school children and the winner suggested "Snowbirds" - owing both to the white-painted Tutors and the popularity of Anne Murray's chart-topping song.
During the 1974 season, the colour scheme of the team's planes was changed to red, white and blue. For the first time, team tryouts were open to pilots across Canada and the Snowbirds were cleared to perform a fully aerobatic formation display. In 1977, the Snowbirds became a permanent unit of the Canadian Forces and in 1978, they became the 431 Air Demonstration Squadron.
Designed by Wade Stewart and Tiit Telmet of Telmet Design Associates, Toronto, the first stamp of the pair provides a first-hand view of the Snowbirds in flight from a pilot's perspective. At first glance, the second stamp appears to show only three planes; however, a closer look reveals a number of ghosted planes representing the Snowbirds' nine-plane formation, a hallmark pattern of this world-famous flying team. Multiple layering and other special techniques transform simple photographs into translucent painterly images to create an almost ethereal view of the Snowbirds in flight.
In recognition of this special issue, Canada Post has worked together with the Royal Canadian Mint and the Snowbirds to create a limited edition Canadian Forces Snowbirds Stamp and Coin Set. This distinctive collectible set, which comes in a metallic box in the shape of, and embossed with, the Snowbird's logo, includes a 99.99% pure silver $5.00 double hologram coin, a pair of mint-condition 51 cents stamps, a Souvenir Sheet of the stamps, an information booklet containing stunning photographs and many historical facts about the Snowbirds, and a numbered plaque. Only 25,555 numbered sets have been produced.

Water Features Photo Gallery Offers Great Design Ideas for Landscaping Projects

Faux rocks and artificial boulders made of concrete can transform virtually any landscape into an island paradise. Homeowners, designers and builders can browse through The Concrete Network's online water features photo gallery and find the perfect feature for their landscaping project.
Yucaipa, CA (PRWEB) June 16, 2006 'C- The Concrete Network, the largest and most comprehensive source for concrete information, offers an online concrete water features photo gallery featuring design ideas for creating artificial rocks and boulders from concrete for waterfalls, swimming pools, and other outdoor environments.
Homeowners, landscape and swimming pool designers, and contractors are turning to faux rocks for water feature construction because of their aesthetic appeal and convenient installation process. While landscapes are often easy to alter by adding flowers and trees, today's innovative water features offer homeowners a resort-like setting right at home.
Artificial rocks made of concrete offer a multitude of design possibilities without the hassle of having to transport heavy materials, and can often be created on-site. It is clear to see that virtually any landscape can be created through decorative water features. From waterslides in the forms of rocks to fountains decorating a garden, these features can be designed to enhance any existing landscape.
These features offer long lasting durability, are versatile and require low maintenance, and are the perfect option for withstanding outdoor weather. Many of the works in these photos can be replicated and/or tailored to meet the needs of the individual, the home, and space restrictions.
The concrete photo gallery is updated every Friday offering new photos of custom and unique designs and applications. Photos for the photo gallery have been collected from contractors around the country and are for design idea purposes only.
Established in 1999, The Concrete Network's purpose is to educate consumers, builders, and contractors on popular decorative techniques and applications including stamped concrete, stained concrete floors, concrete countertops, polished concrete, and much more. Over 750,000 visitors research The Concrete Network Web site each month.
The site excels at connecting buyers with local contractors in their area through its Find-A-Contractor service. The service provides visitors with a list of decorative concrete contractors throughout the U.S. and Canada, and is fully searchable by 22 types of decorative concrete work and 198 metropolitan areas throughout North America.
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Monday, July 10, 2006

Seaward project well under way

While much of the focus is on the $4.9 billion Ginn investment on the tip of West End, another multi-million dollar project is well under way just next door.
Seaward Developer Phillip Ward revealed yesterday the 35-acre private upscale residential community is a $50 million investment.
Seaward is located on the south side of the island along the Deadman's Reef community.
Work on the project began in 2003. Not long afterwards, expert engineers and landscape architects were brought in to help with the design.
The Florida investor noted that getting the approval was a timely process but the project has been under development for almost a year.
The private home community includes 21 lots and, according to Ward, there are only about 14 left ' five on the beach and three on the back are already sold.
The beachfront properties are going at $1.5 million with the back properties at $795,000 and the two yacht properties on the channel are priced at $950,000.
The lot owners will be responsible for the construction of their homes.
"I'll probably manage the construction," Ward revealed. "We've talked with some of the local builders and we're certainly going to steer people towards the builders we want to use and, in addition to that, we want to probably oversee the construction so that it's done in a fashion that meets our requirements."
Ward says the lots are about an acre and he expects the owners are going to design a home that fits the lot.
The developer pointed out that Seaward offers the best of all worlds.
"My view would be that you have the opportunity to live a dream. You can live in an island home on Grand Bahama on an acre of land and build what you want," he stated.
His only requirement, however, would be that the home owners do not impact their neighbours by building some big imposing house that looks down on someone else's house.
"As long as they build within the perimeters of their acre lot, which they should be able to do without too much of a problem, then I'm fine with that," he said. "They'll design it and we'll help them get it built."
Ward anticipates the project will draw largely international clients, but he says he is not putting any limitations on who the buyers are.
While he expects Americans wishing to have a second home in Grand Bahama, leave their boat here and fly back and forth will be attracted, he adds there is certainly the possibility that some Europeans as well as the types of buyers already coming in at Old Bahama Bay and the Ginn project would have an interest in the project.
A marketing strategy for the mega investment is set to get underway soon.
The Florida investor explained that the primary aim was to get a lot of the prepwork done first so that prospective buyers would feel comfortable that the project was off the ground and going forward.
"I've contacted some of the local realtors and we'll probably begin doing more of that," Ward said. "Some people locally have talked to their large realty companies up in New York, getting the word out at this point."
The first house to be constructed on the property will be the caretaker's, within the next three to six months.
"Once the caretaker house is in, then we can finish up a lot of the other things and start building some of the other homes," Ward said.
The beachfront property gives homeowners of Seaward everything that they want.
"The best of all worlds is to have your home with your boat either in front or behind you and this beautiful ocean view and this beautiful Bahamas. You know, as they say, it's always better in The Bahamas and I'm a firm believer in that," Ward said.
Initially, Ward bought the land some time ago from the estate of Leslie Laing as a getaway for his wife and children and fixed up the house on the site.
After the children grew older and the family trips grew fewer, he said it took some time to decide what to do with the property.
He was discouraged by his daughter from selling the property and she convinced him to look at an alternative.
That alternative, he said, was to cater to people's love of a boating lifestyle.
In that vein, he says there are several little features that make the project unique ' the minimum width of the marina is 120 feet allowing for just about any size boat to come through and the lots were built up to 11 feet to avoid storm surges
Another attribute is the fact that the marina is excavated to over eight feet at low tide and a boat ramp to allow for the easy maneuvering of small boats and jet skis in and out of the water.
Also a flow channel, a requirement by the BEST Commission, that turns over 90 per cent of the water every 24 hours which mangroves will be planted to accommodate fish.
"A lot of little features that differ from anything else. I think it's a nice lifestyle for people," he said.
The care taker living on site will be watching over the houses and boats.
He pointed out that the Ginn development also compliments the project and will afford the owners a variety of dinning and golfing experiences.
"The whole island has so much more to do than many of the Family. It think it should really compliment Ginn. We're considerably smaller, obviously, but in that sense its a very quiet little community and a short distance away it's a touristy development," said Ward.
SURVEYING THE AREA ' Florida investor Phillip Ward, left, and his associate George Gentile surveyed the work being done on the multi-million dollar project along Deadman's Reef, West End yesterday.(Photo by BRADLEY RUTHERFORD)
AERIAL VIEW ' This aerial shot shows a view of the 35-acre private residential community development under way along Deadman's Reef, West Grand Bahama.

So long, and thanks for all the wood; Talking pine beetles plot our demise

Banff Crag & Canyon ' The mountain pine beetles are talking to us.
That's how former Banff Centre instructor Ernie Kroeger sees the markings left by the notorious tree-eating critters.
'I'm fascinated by the design and the calligraphy of the markings,' he said. 'I see them as letters.'
His artwork, inspired by the squiggles he calls 'beetle letters,' involves making pencil rubbings, or frottages, of the 'ancient language' and printing it onto colour photo paper. He has humorously dubbed the process 'frottography.'
He then distributes the photos to a team of translators who attempt to assign meaning to the markings and records their findings for future publication. The project, which started as 'a little playing around,' has turned into a full-time endeavour and Kroeger is working at The Banff Centre's Bebel Babble Rabble Residency with a creative think tank of artists inspired by text in visual art.
So far his conclusions are being kept top secret.
'It's too early to tell,' he said. 'I intend to distribute (my artwork) to poets and creative writers' and to scientists,' he said. 'Of course, it's a poetic kind of thing where you are interpreting the message. I expect people will try and get inside the head of the beetle.'
There is no 'big overt message' or statement made by his artwork but he was inspired by his love of the wilderness and photography.
'This is very beautiful to me,' he said, grasping a piece of beetle-marked wood. 'But at the same time it is very destructive.'
The process of global warming is helping the mountain pine beetle survive, he added.
Kroeger, who has a keen interest in landscape photography, lived in Banff and worked at The Banff Centre from 1988 to 2005. He now resides in Kamloops but plans to launch his upcoming book in Kamloops and Banff early next year. The abstract images of his exhibit, entitled Beetle Letters and the findings of his translators will be included in the book.
Of course, if he discovers that the beetles are plotting our immediate destruction or warning us of our pending doom, Kroeger promised to inform SummitUp staff before his research is complete.

Flight Simulator X Q&A With Hal Bryan

We get an opportunity to chat with the Flight Simulator Community Evangelist at ACES Studio about the next installment of the Flight Simulator franchise.
June 27, 2006 - We recently had an opportunity to chat with Hal Bryan, Flight Simulator Community Evangelist at ACES Studio, developer of the Flight Simulator franchise. He touched on what it's like to work at ACES, the research and development required to master a flight simulation engine, and what's new in Flight Simulator X.
Shawn Snider (GamingExcellence): Thanks for taking the time to answer a few of our questions. To get started, could you tell us a little bit about yourself, and your role in the development of Flight Simulator X?
Hal Bryan (ACES Studio): I'm glad to do it, and appreciate your taking the time to ask them. A little bit about me would involve explaining that I've been involved with flying essentially all of my life, I grew up on a private airport, I've been a licensed pilot for about 20 years, and a Flight Simulator geek for more than 25 years. I followed the typical path for someone my age into the software industry 'C working my through college as a day care worker and postal employee, then spending seven years as a police officer, communications specialist, and emergency medical technician, before stumbling into a two-year stint doing phone-based product support for Windows 95. From tech support, I moved into software testing, and spent a year working on some part of Windows 98 that I still don't understand, then it was on to the Flight Simulator team where I've been for 8 years as of this month.
So, very quickly, I worked on Flight Simulator 2000, 2002, 2004 and FSX, as well as Combat Flight Simulator 1 and 2 as a test engineer and/or test lead, which was a great fit for someone with a strong attention to detail and a tendency to complain. Over the years, I took on additional roles, including Beta Coordinator, Museum/Education Liaison, and one of the team's de facto Ambassadors. These last bits, combined with my penchant for working trade shows and air shows and consistently failing to turn down opportunities to talk about Flight Sim have recently allowed me to make the transition from Test Engineering to my current position as the 'Flight Simulator Community Evangelist'.
Shawn: Can you briefly describe the highlights of Flight Simulator X? What makes this edition better then previous outings?
Hal: FSX features a number of new aircraft, including the de Havilland Canada Beaver, the Air Creations trike ultralight, and the Grumman Goose among others, a new view system, and dramatically improved worldwide scenery including a new emphasis on 'living' elements 'C moving traffic on the roadways, ships in shipping lanes, support vehicles moving around airports, even birds and animals. The online experience has been completely redone, with the addition of new roles including air traffic controller and co-pilot. In addition, we've introduced a series of missions, ranging from basic entry-level tutorials for new users who just want to get in the air quickly, up through racing challenges, emergency scenarios, and advanced 'full procedure' airline flights with a virtual copilot.
Shawn: What is the most challenging part of working on Flight Simulator X? What is the most rewarding experience you've had thus far in its development?
Hal: The most challenging part of any software project I've ever worked on is unquestionably the constant need to balance what is sometimes called the 'quality triangle', with resources, schedule, and feature set (or scope) at the three points. Even though we're Microsoft, our resources are finite, and, while we have a great deal of say over our schedule, eventually, we have to stop what we're doing and put something in a box and sell it, or else we don't have jobs. This leaves scope as the point with some slight flexibility 'C we have to set reasonable goals for ourselves, because the only way we could do everything we wanted to do is if we had an infinite number of people (or at least monkeys, well-fed every step of the way) and a schedule with no end date. Not even our friends down the road working on Halo get that.
It sounds trite, but the most rewarding experiences I've had working on FSX (and prior versions) are about people 'C getting to work with some of the most creative, talented, passionate, and intelligent people I've ever known, in development, testing, writing, art, marketing, PR, even management. Perhaps even more rewarding than my colleagues are our customers 'C I've had the chance to get to know people from all over the world who use, and in many cases, build and expand on Flight Simulator in ways we've never imagined.
Shawn: Developing a true simulation like the Flight Simulator series involves a lot of painstaking detail, notably in the physics engine. How do you go about gathering the data to produce such a realistic flight engine?
Hal: Thank you for noticing! We're certainly are lucky to have dedicated engineers/pilots on our team that bring considerable expertise and real-world experience to the development process. As for how we gather the data, we work closely with a number of aircraft manufacturers and work from engineering data, anecdotal pilot reports, etc. Wherever possible, we fly the aircraft involved ourselves and run a series of performance tests in various flight regimes, and measure both objective data 'C roll rates, stall speeds, engine-out characteristics, etc 'C and subjective handling qualities using what's called the 'Cooper-Harper' ratings system. For a pilot, the chance to fly many different aircraft types is nearly as rewarding as all of the stuff I said about 'people' in the previous question. Almost.
Shawn: Similarly, many of the larger cities and landmarks have typically been modeled in previous releases. What data is used to model the cities and how accurate would you consider these models?
Hal: For cities, in particular those with custom objects (San Francisco's Golden Gate Bridge, the Arc de Triomphe in Paris, the CN tower in Toronto, my house), we rely on satellite and aerial imagery from sources like Windows Live Local, personal knowledge, off-the-shelf photo books, and, in unfortunate cases, customer complaints from the last version.
Shawn: One complaint I've often heard in previous releases is the lack of landscape detail outside of the major cities - how will this be improved in Flight Simulator X? In addition, which cities have the development team most focused on enhancing for this release?
Hal: Speaking of customer complaints . . . ! To build the planet, we use data from NASA, the US Geological Survey, Jeppesen, and a variety of other sources from around the world. In this version, we've dramatically increased the density and the variety of the AutoGen objects we use to fill in the gaps around the world. In addition, our vector data (roads, rivers, coastlines) is of much greater detail in FSX 'C I think our customers will be pleasantly surprised at the richness and variety of the scenery worldwide. As for the cities that we've focused on, we haven't released the list specifically, but we think that we've done a good job of distributing our attention around the globe.
Shawn: Can you describe the new mission-based element? What types of missions can players expect to find in the game?
Hal: The Missions in FSX provide structured game play across a range of difficulty levels, giving users the opportunity to fly a variety of aircraft in differing scenarios, from extremely basic novice tutorials to expert challenges at the higher levels. There are Missions involving flour bombing, racing, taking scenic tours, dealing with emergencies, startling sheep, flying airline schedules, etc. We used to joke that the inclusion of Missions would allow us to change our tagline to something like 'Flight Simulator 'C Now With Something to Do', but we realize that there is a segment of our audience that can be overwhelmed by the depth and complexity of FS, and the Missions provide a fun and accessible way to lead those users into the product. A happy side effect that we discovered in our early testing has been that, by flying the Missions, even experienced users are enjoying aircraft and scenery that they might not otherwise check out for themselves. We'll be shipping with around 50 of them, and releasing the Mission creation tool, and personally, I can't wait to see what our third-party community starts building.
Shawn: As Flight Simulator X won't require Windows Vista, what enhancements will be present on Windows Vista that won't be available for current Windows releases?
Hal: We haven't announced much in the way of specifics as of yet, but the core of our Vista update, naturally, will be to take advantage of some of the new features of DirectX 10. The prototypes I've seen show new water, scenery, and weather effects that I'd be tempted to describe as jaw-dropping, except that FSX is already jaw-dropping on XP (in my biased opinion) 'C on Vista, it will be as if your jaw dropped to the floor and then ran down the street hopping around yelling incomprehensibly. But in a good way.
Shawn:The Flight Simulator series has always had a fairly steep learning curve. How will Flight Simulator X make stepping into the cockpit for the first time easier?
Hal: Thanks to our Design team, our Missions include a strong series of tutorials that do a great job of taking new users and getting them flying and seeing the sights 'C even landing as opposed to crashing 'C in just a matter of minutes. While all of the Missions are non-linear, the Tutorials use a logical progression, and even include some instruction on flying more advanced aircraft, such as the R22 helicopter and our jet airliners.
Shawn: The community for the Flight Simulator series is massive 'C evident by the larger number of mods available. What tools will Flight Simulator X offer to further support this community?
Hal: Flight Sim has been a platform for modding for years, as long as any title I can think of, certainly far longer than most. (Long enough, in fact, that I think it predates the term 'modding'.)
With each version of Flight Simulator, we release a Software Development Kit that includes tools for building aircraft, scenery, etc. The problem we've run into in the past is that, no matter how hard we've tried to get them out on time, our SDKs have always gone out much later than we'd like, and are sometimes even obsolete, thanks to some of the tools that the add-on community has already built. This time, we will be shipping the SDK 'in the box', and have been working with key add-on developers for months to outline their needs so that we can ensure high levels of backwards compatibility and the availability of new add-ons as close to our launch as possible.
As I said, we've been a platform for years. The biggest change with FSX is that we're finally starting to act like it.
Shawn: How big is the team working on Flight Simulator X? How long has the game been in development?
Hal: I'd say the average height is around 1.72 metres . . . and, the team ranges in number from about 40 at its core to upwards of 60 for the last several months to year of development, not to mention our thousands of extraordinarily dedicated external Beta testers.

You are art

Want to decorate your wall with unique works of art that record your life? Australia's acclaimed photographer Geoff Letchford can emblazon your face onto any surface you wish. KEE HUA CHEE comes away suitably impressed.
Why settle for paintings, sculptures and works of art showing other people when your face is already a unique piece of design?
Brisbane-born Geoff Letchford, 45, can snap your picture and then transform it into a dazzling giant montage for the wall. As a Mak Datin puts it succinctly: 'Why hang paintings of strangers when you can display personal photos of yourself and family taken in rare moments? These images capture special memories.'
She cites a case: 'I was in Paris looking for collectibles and was offered a pastoral painting of farmers stacking hay.
'I am from Perak and have never seen a haystack in my life, neither am I besotted with a winter landscape or 18th century Flemish portrait of an alderman. They are great for Europeans but I think they will look irrelevant in a tropical home.'
Her wall is stunningly decorated with eight large photos of her family, all of different sizes and seemingly arranged haphazardly until you realise the photos blend dramatically well with the 60-inch plasma TV!
'There is method in Letchford's madness!' she laughs. 'He arranges our photos so they look like a traditional family album mounted on a wall and then merges them with a high technology plasma TV which looks like a framed picture, anyway!'
Says a devotee: 'Geoff prefers a completely natural approach with no props or elaborate staging. He wants to capture special moments which have nothing to do with staged effects or designer labels.'
'I am interested in photographing people enjoying life to the fullest,' Letchford explains.
'I want to be the best photographer in the world at seeing the subtleties of personalities and the individual beauty of everyone. I see things that few pixmen see and then portray them in my images.'
Each session lasts about two hours. He has an ability to put everyone at ease so they enjoy the entire process 'C the fun and camaraderie certainly show in the end.
Letchford's personalised artwork has you in the starring role.
Fancy your guests lifting the teacup to see your face on the coasters?
Curtains will never be closed again if they contain your larger-than-life smirking face.
Hang your personalised curtains in your office or living room in lieu of the run-of-the-mill photo frames cluttering your desk.
Why buy a lacquered room screen featuring the usual four seasons when each panel can be embellished with a photo of you or the kids?
Instead of Christmas, Hari Raya or Chinese New Year cards, send a calendar with your picture on it.
Or how about a shopping bag with your visage on both sides?
For high drama, how about a large carpet featuring you and your entire family? Who says portraits must always be on canvas?
Finally, the photo session can also be recorded for posterity as a staff member videos Letchford photographing you! All exquisitely presented in a DVD with your own exclusive cover W
He's comingGeoff Letchford's works are on display till July 9 at 39, Jalan Rumpai, Bangsar, Kuala Lumpur from 10am to 6pm. He will be in Kuala Lumpur from Aug 11 to Aug 21.
Portraits on canvas start from RM1,238 for an eight-inch piece to RM10,725 for a 60-inch piece.
Twenty-page albums of 5in x 5in photographic paper start at RM5,500 and go up to RM24,750 for a 16in x 20in album.
The price for your own hardcover book (60 A-4 sized pages) starts at RM19,250.
Take note that you will have to pay a 'booking fee' of RM1,650, regardless of what you order.

Friday, July 07, 2006

Aldinga - new settlement in an old landscape

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Stephen Poole is realising his dream. It's been a long-time dream, over a decade to date, but it has survived the disappointment of a false start. Now it has gone from promise to reality. In doing so, Stephen's dream might just show us a better way to live.
Stephen is not a stereotypical business director. He isn't tall, doesn't wear a suit and wears his hair long to his shoulders. Nor does he drive a prestige car: for Stephen, his 4WD ute is more appropriate. He could easily be mistaken for one of the surfers who patrol the Gulf of St Vincent shoreline in search of the perfect swell. Catching waves is something Stephen does on occasion, but his prime motivation these past few years has been getting his pet project off the ground.
Originally, the dream was a shared one. It began well over a decade ago when a group of like-minded individuals, wanting somewhere to settle, got together and talked about the possibility of developing an urban-like settlement in a rural area. Practical people rather than dreamers, they wanted the advantages of urban living with space for a little primary production.
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A town called Burra, long since past its heyday as a mining centre, looked promising. Burra offered the advantages of cheap land reasonably close to Adelaide.
Plans were drawn up and the project was publicised - attracting interstate interest. This new village was to be an example of how people could live on the land while improving it and, for some, deriving at least part of their livelihood from it. The idea was to create a new type of settlement that brought together the advantages of a village with the best in modern environmental design.
But Burra was not to be. A new government introduced policies which ended plans for the village.
Learning from experience
Swiss-born Max Lindegger used to talk about combining rural living and village life back in the 1980s. He espoused much the same ideas as Stephen and like him went on to create it. By late in the decade, residents were starting to move into Crystal Waters Village, near Canondale, in the hills of the Sunshine Coast hinterland.
Environmental design was an important criteria for the planners and architects behind Crystal Waters and other similar developments, hence they soon became known as 'eco-villages'.
The next development of its type was Kookaburra Park, near Bundaberg. Jalanbah followed, a smaller development near the northern NSW town of Nimbin. The eco-village was at last an Australian reality: a new way to enjoy rural life that was substantially different to life in a country town.
By the time the Burra project began there was already a number of ecovillages planned or in existence around the country, and there was much to learn from their experiences. This Stephen Poole did.
Finding Aldinga
Although Burra failed at the hands of political policy, and although they were disappointed, they weren't completely discouraged. Stephen and his team decided to persist with their dream and search for an alternative site.
Eventually, they discovered Aldinga. They approached council with their idea for a village only to learn a group of artists in the area already had a similar idea. Council thought it might be worthwhile talking to the artists. This they did. The outcome was the Aldinga Arts Eco-village - the 'Arts' in the name recognising the presence of the artists.
The place
The highway from Adelaide passes through countryside the colour of dried grass. Most people describe this as flat country: others, noting the land's rise and fall, might call it undulating. Whatever description, a low range parallels the highway through this part of the Fleurieu Peninsula. It forms a natural boundary separating the coastal plain from the lands beyond. Here and there the range is topped with open forest but the coastal plain along which the road takes the visitor has a paucity of trees and gives the impression of land cleared long ago to make way for grazing animals and walnut orchards.
The Fleurieu Peninsula is a long finger of land that projects southwards, and it is here where the turnoff to Aldinga Beach is, about 45 minutes from Adelaide. Aldinga is one of a series of coastal towns stretching back towards Adelaide to form a ribbon of development along the foreshore of St Vincents Gulf.
The road to Aldinga Arts Eco-village passes through the undistinguished looking town and leaves it via a long, straight road that passes a new subdivision. Here, Stephen slows the ute and explains how the streets have been constructed with no regard to the free solar energy readily available in this mediterranean climate. It will mean years of high energy bills for residents.
It's a different story when we reach Aldinga Arts. Here on 34 hectares of north-sloping land the streets follow the contours of the terrain, allowing houses on the 152 lots to be aligned towards the sun. A total of 16ha is devoted to residential development and about 44 per cent of the site is set aside as community land and common facilities, including the small pocket-parks with young fruiting fig, quince and persimmon trees.
All the houses have solar water-heating - reducing the cost of most energy consumption. They must, according to village by-laws, store a minimum 10,000 litres of water to cope with hot, dry summers and with drought. Sensibly, most houses store about twice that volume.
There is a diversity of housing options to suit Australia's changing demographic. Lots of 650 square metres for larger families, and 450 and 200 square metre lots for smaller households, will soon be complemented by the construction of the village's first townhouses.
The village is financed through the sale of lots - Stephen says about 30 per cent of total sales were made before work started on the village. Infrastructure development has been made in advance of housing construction and in the three years since building began, many of the lots in stages one and two have been sold and built on. Stage three was recently released and already two houses have been built and occupied. There is a market area and according to Stephen, markets will eventually be held more frequently than every quarter.
Conserving water in the landscape is a priority and a drive through the village discloses wide drains lined with rock known as rip-rap. These take winter's rainwater to storage in the small dams seen throughout the village. As the weather warms through the summer, the dams become muddy wetlands, the water being held in the soil.
Aldinga Arts is two kilometres from Aldinga Beach - the sea can be glimpsed between low headlands from the higher parts of the village.
At present, a 12 hectare area accommodates the village's sewage treatment system, the treated wastes to be used to irrigate a wood lot. Eventually, the farm area will house an education centre and livelihood opportunities, such as the planned community kitchen. Already, one family is planning to make use of the kitchen as part of their livelihood mix. They hope to purchase organically certified produce from local farmers and process and bottle it in the community kitchen. Their market will be specialty retailers in Adelaide.
Another resident is planning to take advantage of passing traffic by developing a site at the entrance to the village as a cafe and bar. Stephen explains that the village will also feature artists' studios and performance space.
Demonstrating renewable energy - the Heij hut
Elizabeth Heij, with her husband, bought a lot at Aldinga Arts and built a state of the art, modern house of modest size. Upstairs is Elizabeth's office - she teleworks for the CSIRO. In her front yard is a vegetable garden that yields fresh, organically grown herbs and vegetables for the household. The side yard conceals two buried 10,000 litre water tanks. Water is also harvested from the garage and greenhouse roofs and stored in above-ground tanks.
Not only is the home's roof insulated against the hot South Australian summers, so too are the walls which consist of what Elizabeth calls a 'reverse brick veneer'. On the outside is rendered blueboard; inside which has air-cell insulation - it's like bubble wrap mounted on rigid panels. The hollow-core concrete bricks, rendered in a pale yellow reminiscent of the dessicated-looking countryside seen through the window, are on the inside. With the exception of those carrying conduit, the hollow cores have been infilled with concrete to increase their thermal mass and hence their ability to insulate the interior of the house from the heat of the summer or cold of winter.
Utility rooms, such as laundry and bathroom, have been placed on the western side of the house, further insulating the main living areas from late afternoon sun in summer. On the sunward side, the eaves are of just the right width to admit warming sunlight into the interior as the season moves into winter. There, the heat of sunlight is stored in solid, thermal mass floors which release the heat energy as the evening cools, reducing the need for supplementary heating.
Elizabeth's house is no McMansion - it is of modest-size and is a high-performance dwelling suitable for two. Whether in the heat of summer or the cool of winter her house is comfortable, and unlike those unfortunate homes in that subdivision closer to Aldinga, Elizabeth's attracts much lower energy bills. In fact, the energy authority pays her for power derived from the array of photo-electric panels on her roof. Elizabeth is data-logging the thermal performance of her building to assess its year-round performance.
A compact melange of homes
Aldinga Arts Eco-village is a compact melange of architectural styles but common to all is energy and water efficient design. As well as reverse brick veneer, houses are made of building materials such as timber plank, galvanised iron, timbercrete - a sawdust and concrete brick - and the economical, but durable, rendered straw-bale. Architecturally, they are of modern design, reflecting the type of people who live in the village - middle-class professionals and service workers, artists and tradespeople.
The eco-village is close to job markets, specialist services and the big-city amenities of metropolitan Adelaide including the suburban train network which terminates only ten or so kilometres away at Noralunga Centre. Aldinga Arts is also close to Aldinga township and the beach. It demonstrates in a most practical way that affordable, energy and water efficient housing of differing size, suited to the full range of modern Australian families, does not need to result in urban sprawl but can offer the benefits of private home ownership in a village-like atmosphere.
For Stephen Poole it has been a long journey from Burra to Aldinga, a move away from the drylands to the sea. But Stephen is not yet ready to move onto his lot in the village - he still lives in town.
Every now and then, though, when driving through the village, he stops his ute at his vacant lot, gets out and, fittingly for someone who likes to catch the occasional wave, looks towards the blue waters of St Vincents Gulf, just over a kilometre away.
Russ Grayson has a background in journalism and in aid work in the South Pacific. He has been editor of an environmental industry journal, a freelance writer and photographer for magazines and a writer and editor of training manuals for field staff involved in aid and development work with villagers in the Solomon Islands.

Concrete Patio Photo Gallery Offers Great Ideas for Planning the Perfect Project

Patios are great areas for entertaining friends and family, and with the decorative concrete applications available today, they can now enhance the surrounding landscape of your home. Browse through The Concrete Network's online patio photo gallery and find the perfect fit for your home.
Yucaipa, CA (PRWEB) June 2, 2006 'C- The Concrete Network, the largest and most comprehensive source for concrete information, offers an online decorative concrete patio photo gallery filled with a collection of photos offering a multitude of design ideas on enhancing your patio from ordinary to extraordinary using decorative concrete techniques.
The process of choosing the perfect concrete patio to accent your home and landscape is often time consuming and tedious. Several factors come into play including choosing a style, size, building material, and much more. For these reasons it is important to explore all of the choices available when it comes time to build. Today, the concrete choice has expanded to include a wide variety of decorative concrete options, some of which are sure to fit your needs.
The decorative options for concrete patios are no doubt endless, and can be designed to be great entertaining areas. With the simple addition of a stamp pattern, resembling expensive stone, brick, tile, flagstone or slate patterns, the patio is transformed into a beautiful work of art. Custom colors and stains can also be applied to add character and complement the exterior stucco and other elements of the home.
Concrete patios offer long lasting durability, are versatile and require low maintenance and are the perfect option for withstanding outdoor weather. Many of the works in these photos can be replicated and/or tailored to meet the needs of the individual, the home, and space restrictions.
The concrete photo gallery is updated every Friday offering new photos of custom and unique designs and applications. Photos for the photo gallery have been collected from contractors around the country and are for design idea purposes only.
Established in 1999, The Concrete Network's purpose is to educate consumers, builders, and contractors on popular decorative techniques and applications including stamped concrete, stained concrete floors, concrete countertops, polished concrete, and much more. Over 750,000 visitors research The Concrete Network Web site each month.
The site excels at connecting buyers with local contractors in their area through its Find-A-Contractor service. The service provides visitors with a list of decorative concrete contractors throughout the U.S. and Canada, and is fully searchable by 22 types of decorative concrete work and 198 metropolitan areas throughout North America.
News release image courtesy of Stecker Construction LLC. Photos courtesy of Brickform Rafco Products and L.L. Geans Construction Co.
Trackback URL : http://www.prweb.com/chachingpr.php/RW1wdC1TaW5nLVByb2YtUHJvZi1IYWxmLVplcm8=

You are art

Want to decorate your wall with unique works of art that record your life? Australia's acclaimed photographer Geoff Letchford can emblazon your face onto any surface you wish. KEE HUA CHEE comes away suitably impressed.
Why settle for paintings, sculptures and works of art showing other people when your face is already a unique piece of design?
Brisbane-born Geoff Letchford, 45, can snap your picture and then transform it into a dazzling giant montage for the wall. As a Mak Datin puts it succinctly: 'Why hang paintings of strangers when you can display personal photos of yourself and family taken in rare moments? These images capture special memories.'
She cites a case: 'I was in Paris looking for collectibles and was offered a pastoral painting of farmers stacking hay.
'I am from Perak and have never seen a haystack in my life, neither am I besotted with a winter landscape or 18th century Flemish portrait of an alderman. They are great for Europeans but I think they will look irrelevant in a tropical home.'
Her wall is stunningly decorated with eight large photos of her family, all of different sizes and seemingly arranged haphazardly until you realise the photos blend dramatically well with the 60-inch plasma TV!
'There is method in Letchford's madness!' she laughs. 'He arranges our photos so they look like a traditional family album mounted on a wall and then merges them with a high technology plasma TV which looks like a framed picture, anyway!'
Says a devotee: 'Geoff prefers a completely natural approach with no props or elaborate staging. He wants to capture special moments which have nothing to do with staged effects or designer labels.'
'I am interested in photographing people enjoying life to the fullest,' Letchford explains.
'I want to be the best photographer in the world at seeing the subtleties of personalities and the individual beauty of everyone. I see things that few pixmen see and then portray them in my images.'
Each session lasts about two hours. He has an ability to put everyone at ease so they enjoy the entire process 'C the fun and camaraderie certainly show in the end.
Letchford's personalised artwork has you in the starring role.
Fancy your guests lifting the teacup to see your face on the coasters?
Curtains will never be closed again if they contain your larger-than-life smirking face.
Hang your personalised curtains in your office or living room in lieu of the run-of-the-mill photo frames cluttering your desk.
Why buy a lacquered room screen featuring the usual four seasons when each panel can be embellished with a photo of you or the kids?
Instead of Christmas, Hari Raya or Chinese New Year cards, send a calendar with your picture on it.
Or how about a shopping bag with your visage on both sides?
For high drama, how about a large carpet featuring you and your entire family? Who says portraits must always be on canvas?
Finally, the photo session can also be recorded for posterity as a staff member videos Letchford photographing you! All exquisitely presented in a DVD with your own exclusive cover W
He's comingGeoff Letchford's works are on display till July 9 at 39, Jalan Rumpai, Bangsar, Kuala Lumpur from 10am to 6pm. He will be in Kuala Lumpur from Aug 11 to Aug 21.
Portraits on canvas start from RM1,238 for an eight-inch piece to RM10,725 for a 60-inch piece.
Twenty-page albums of 5in x 5in photographic paper start at RM5,500 and go up to RM24,750 for a 16in x 20in album.
The price for your own hardcover book (60 A-4 sized pages) starts at RM19,250.
Take note that you will have to pay a 'booking fee' of RM1,650, regardless of what you order.

Toll Brothers Web Site Wins Prestigious Webby Award

Visit TollBrothers.com and discover why this popular home builder's web site recently won the "People's Voice" award in this year's prestigious Webby Awards competition. TollBrothers.com was chosen as one of only five finalists in the real estate category from over 5,000 entries from 40 countries. Toll Brothers is the nation's leading builder of luxury homes. TollBrothers.com has won many awards for excellence in design, ease of use, and interactive features that make the new home shopping experience easy for home buyers.
Horsham, PA (PRWEB) June 23, 2006 -- Visit www.TollBrothers.com today and discover why this enormously popular web site recently won the prestigious 'People's Voice' award in this year's Webby Awards competition! The Webby's, proclaimed 'The Oscars of the Internet' by the New York Times, recognizes the best web sites in the world. This year, The International Academy of Digital Arts and Sciences, the global organization that administers the Webbys, received over 5,000 entries from 40 countries and TollBrothers.com was chosen as one of only five finalists in the Real Estate category. By popular vote, TollBrothers.com earned the 'People's Voice' distinction, honoring the site and its creators for excellence in web design.
Over the past 8 years, Toll Brothers, the nation's leading builder of luxury homes, has won 32 awards for 12 of its web sites, including www.TollBrothers.com.
'I'm thrilled to add this prestigious Webby Award to our list of honors.' said Michael Klouda, Toll Brothers Internet Manager. 'This prestigious award is the result of a lot of hard work by my entire team. Their creative vision, innovative thinking and commitment to excellence have made TollBrothers.com a very useful tool for our customers.'
On TollBrothers.com, home buyers can search for a new home and save their search results on over 265 communities in 21 states. In addition, home buyers can customize their home with 'Design Your Own Home' 'C an interactive web feature, which has also won several awards.
TollBrothers.com contains information on buying luxurious single-family homes, spacious condominiums and townhomes, and retirement and vacation homes. Home buyers can view video and virtual tours and panoramic photo tours of hundreds of luxury homes and floorplans and obtain community and mortgage information. The only way to appreciate it -- is to visit TollBrothers.com to experience it yourself.
Toll Brothers, Inc. is the nation's leading builder of luxury homes. The Company began business in 1967 and became a public company in 1986. Its common stock is listed on the New York Stock Exchange and the Pacific Exchange under the symbol "TOL". The Company serves move-up, empty-nester, active-adult and second-home home buyers and operates in 21 states: Arizona, California, Colorado, Connecticut, Delaware, Florida, Illinois, Massachusetts, Maryland, Michigan, Minnesota, Nevada, New Jersey, New York, North Carolina, Pennsylvania, Rhode Island, South Carolina, Texas, Virginia and West Virginia.
Toll Brothers builds luxury single-family detached and attached home communities, master planned luxury residential resort-style golf communities and urban low-, mid- and high-rise communities, principally on land it develops and improves. The Company operates its own architectural, engineering, mortgage, title, land development and land sale, golf course development and management, home security, landscape, cable T.V. and broadband Internet delivery subsidiaries. The Company also operates its own lumber distribution, and house component assembly and manufacturing operations.
Toll Brothers, a FORTUNE 500 Company, is the only publicly traded national home building company to have won all three of the industry's highest honors: America's Best Builder from the National Association of Home Builders, the National Housing Quality Award and Builder of the Year. Toll Brothers proudly supports the communities in which it builds; among other philanthropic pursuits, the Company now sponsors the Toll Brothers - Metropolitan Opera International Radio Network, bringing opera to neighborhoods throughout the world. For more information, visit TollBrothers.com.
CONTACT:
Kira McCarron, Chief Marketing Officer 'C Toll Brothers, Inc.

Tuesday, July 04, 2006

From the classroom to reality

There is a new habitat in Amesbury, a Schoolyard Habitat at Cashman Elementary School. Students, parents, teachers and staff began building the habitat last week, but the seeds for it actually were planted last year in the after school Schoolyard Ecology program created by CES parent Nanette Masi.
"Both my kids have gone through Cashman and it's been a wonderful experience for them," said Masi, a resident of Pleasant Valley Road. "I feel such a connection with the teachers and the classes there. Because my background is in landscape design and botany, I did a program after school called Schoolyard Ecology. We did all sorts of outdoor activities and made birdhouses and talked about creating a garden."
The students wanted a garden that would attract birds and butterflies. Their dream garden would have paths, a bubbling fountain because moving water attracts birds, a bird bath, and lots of bird feeders, she said.
Masi wrote a grant to the National Garden Association and hoped to get several thousand dollars to get the Schoolyard Habitat off the ground, but unfortunately the request was turned down. Instead the National Garden Association sent CES 500 bulbs, which she helped the students plant last fall in the site of the present habitat.
"I'm a dreamer and I'm good at visions, but I'm not necessarily good at figuring out the details," Masi said. "The teachers at Cashman were awesome. (CES teachers) Beth Cavalier and Karen Iworsky wrote a grant for the PTA to do the Schoolyard Habitat. It was something all the kids would enjoy, that would last for years, that would use all different types of learning styles, and, what's more, would fit in with the curriculum frameworks. The PTA gave us $2,200, which was incredible."
Masi set to work creating a master plan that would include all the little plans from last year's after school project. The $2,200 from the PTA covered the cost of the plants, but many other items still were needed including arbors, the fountain, mulch, stone dust, and compost. Cavalier sent out a wish list to parents for the items and for volunteers to form a steering committee to help guide the Schoolyard Habitat through the years.
"I found a parent named Colleen Magowan," Masi said. "Colleen called me up and said she loves to fund-raise. In one weekend, she got us stone dust, the bubbling fountain, tons of kids' tools, and wheelbarrows. Oh my gosh, it was like Christmas in June. Because of her efforts, other people starting stepping up. It's the whole community. Businesses have been more than generous."
PTA President Tara Nelson has volunteered to organizer a brick fund-raiser allowing people to purchase a brick for the habitat and have it inscribed with someone's name.
"Isn't that neat?" Masi said. "As more people get involved, more ideas happen, and it's so much fun.

Governor General to open new art exhibition at Rideau Hall

In partnership with the Canada Council Art Bank, Rideau Hall will showcase an exhibition of recent works acquired by the Art Bank, which provide a glimpse of the changing face of contemporary Canadian art.
The exhibition is comprised of 18 works of art by Canadian artists. The exhibition is intended to enhance the dialogue of inclusivity. Victoria Henry, Director of the Canada Council Art Bank, selected works that explore the themes of home, environment and identity.
Visitors to Rideau Hall will have the chance to view this temporary exhibition as part of the regular residence tours and art tours. A complete list of the summer visitor program is listed in Annex 1.
The exhibition is on loan from the Canada Council Art Bank until October 9, 2006. The Art Bank was created in 1972 to support the efforts of Canadian visual artists and to lease artwork to government and corporate offices. It now has the largest collection of contemporary Canadian art in the world.
Media are invited to view the art works and tour the exhibit with the curator, Ms. Victoria Henry, Director of the Canada Council Art Bank. The following artists will be available to speak about their work.
Members of the media are asked to arrive at Rideau Hall through the Princess Avenue gate.
Rideau Hall has a long tradition of showcasing Canadian art, both historic and contemporary 'C portraiture, landscape and sculpture, as well as antique furniture. Hundreds of Canadian works are on view in the historic State rooms of the residence.
Residence Tours:
May 6 to June 30: Saturdays and Sundays from 10 a.m. to 4 p.m. July 4 to September 4: Daily, from 10 a.m. to 5 p.m. (guided tours). September 9 to October 29: Saturdays and Sundays from 12 noon to 4 p.m.
Tours are offered on statutory holidays from May to October. Art Tours: From July 1 to September 4: Fridays, Saturdays and Sundays, at 3:30 p.m. (English) and 1:30 p.m. (French)
Kristin Bjornerud lives and works in Saskatoon. She holds a Bachelor of Fine Arts degree from the University of Lethbridge and a Master of Fine Arts from the University of Saskatchewan. "Encounter with the Bear" is part of a larger series of paintings based on dreams that I have had involving animals. These paintings frolic through the whimsical and often illogical world of superstitions, auguries, myths and fables. Working with the unconscious symbolism and imagery enables me to challenge and expand upon my research into autobiography and portraiture.
Shary Boyle is a Toronto-based artist whose practice includes drawing, painting, sculpture, and live "projected light" performance. Her work often evokes fantasy and the surreal, with drawings and paintings suggestive of fairy-tale realms and narratives.
Keesic Douglas is an Ojibwa (Loon clan) from the Mnjikaning First Nation. He recently won an Equity Through Education scholarship to continue his studies in photography at the Ontario College of Art and Design in Toronto. As an Aboriginal person living in contemporary Canadian society, I am always aware of the representation of First Nations People. I am always amazed at the continual romanticizing of the mythical "Indian".
Marcel Dzama is best known for his pen and ink drawings, which use large amounts of white space, a reduced colour palette and bizarre, ambiguous, and frequently unconnected subject matter. Dzama won the "viewer's choice" 2004 Sobey Art Award and was recently the subject of a feature article in the Sunday New York Times Magazine. He holds a Bachelor of Fine Arts degree from the University of Manitoba and lives in his home town, Winnipeg.
Neil Farber received his Bachelor of Fine Arts degree from the University of Manitoba and has had many solo and group exhibitions throughout Canada, the United States and Europe. Using a simple but expressive line drawing style that is reminiscent of children's book illustrations, Farber's work blurs the boundary between childhood fear and grown-up fantasy. He lives in Winnipeg.
Montreal artist J'r?me Fortin is best known for his sculpture-installations using such everyday objects as matches, bottle lids, hair pins and tin cans, often exhibited in showcases as if they were precious archeological finds. He won the Prix Pierre-Ayot in 2004 and received an Honourable Mention at the Ernst and Young 10th Great Canadian Printmaking Competition. His work has been selected for such prestigious exhibitions as the Biennale de Montr'al (1998), Growth and Risk Qu'bec in New York (2001) and Officina America in Bologna, Italy (2002).
Born in Vancouver and based in Shanghai, photographer Greg Girard has recorded the changes taking place in China and across Asia for such major publications as Time and Newsweek. He published the book City of Darkness, a document of the final years of the Kowloon Walled City in Hong Kong and launched the photo agency documentCHINA, an online archive specializing in contemporary photography from China. "Huashan Lu House # 1" captures the transition that Shanghai is undergoing with the demolition in the foreground, a house on its last legs in the middle ground and the new angular cityscape in the background.
Sky Glabush is a contemporary painter who is fascinated with modernist history. He holds a Bachelor of Fine Arts and English from the University of Saskatchewan. Born in Alert Bay, BC, he now lives in Edmonton. Consultation is an eccentric and contemporary combination of his wide?ranging interests. Anthony Caro's sculpture shows up as a lawn ornament amid an assortment of 1950s characters.
Pedro Isztin's photography is a testament to the limitless enrichment of the human spirit that is gained when borders are crossed and experiences shared. Born to a Colombian mother and Hungarian father, he travels regularly between Latin America, the United States and Canada, where he was born and raised. In the words of one Italian critic: "If analysis with a camera lens is also an analysis of the human spirit, Pedro Isztin has succeeded in drawing, with technique and originality, the profile of his subjects' souls". When he's not travelling, he lives in Ottawa.
Richard Hines holds a Master of Fine Arts from the Nova Scotia College of Art and Design (now NSCAD University) in Halifax where he works as an instructor. He has been critically acclaimed as a "rising star", "a star of tomorrow" and "one of Canada's top new photo-based artists". His work has been exhibited at the Chicago International Art Fair and was featured in the exhibition Supernovas at the Winnipeg Art Gallery. "Sliced apple" is concerned with the in-between moments in family life. Its reality is not based solely on the truths or fictions it tells about us but a reality that falls somewhere outside the photograph.
Born in Peru, Manuel Lau studied printmaking at the Escuela Nacional de Bellas Artes in Lima and was Artist in Residence at Capilano College's Art Institute in 1997-98. Now living and working in Montreal, he is a member of Atelier Circulaire, an artist-run centre specializing in printmaking. He has exhibited across Canada and has participated in numerous printmaking biennials in Peru, Poland, South Korea, Japan, and the United States. His work can be found in a variety of public and private collections, including the Hyundai Arts Centre Gallery in South Korea, the Kanagawa Prefectural Gallery in Yokohama, Japan, and the Department of Foreign Affairs and International Trade.
Born in Winnipeg, Shawna McLeod received her Bachelor of Fine Art from the University of Manitoba and is working on her Master of Fine Arts from Concordia University in Montreal, where she now lives. Her work has been exhibited in the Supernovas exhibition at the Winnipeg Art Gallery and can be seen on the Murals of Winnipeg web site. [This work] is part of a series based on the concept of the adolescent doodle: incorporating cryptic text, "low act" tattoo parlour imagery and decorative elements with self-portraiture.
Mick Morrison is a Haida artist who has been practicing many different forms of traditional Haida art, including carvings, blanket designs, drums and painting, for 25 years. He is a member of the Stastas eagle clan, and a descendent of the late Haida chiefs Harry Edenshaw, Alberta Edward Edenshaw and Simon Gunanoot. His sculpture in argillite, inlaid with abalone shell, continues a century-old tradition of carving in this material, found only on Slate mountain in Haida Gwaii, the Queen Charlotte Islands of British Columbia. In Haida tradition, woman originated from the mussel shell, and Morrison's work, Raven Enticing Woman from the Mussel Shell is inspired by this story. He lives and works in Masset, B.C.
Annie Pootoogook comes from an artistic family in Cape Dorset, Nunavut. Pootoogook's drawings reflect her experience as a contemporary woman artist living and working in the changing milieu of Canada's far north. Although rooted to the specifics of time and place, her work transcends cultural boundaries and present the details of her everyday life in an engaging way. I'm trying to portray how Inuit live today and ' showcase that to the audience.
Born in the Philippines, Joseph Reyes now lives in Winnipeg. This work is part of a series I did for Supernovas at the Winnipeg Art Gallery. It is my attempt to move away from works that resemble illustrations of internal organs to ones that are more open to interpretation. It's also a move from the internal to the external; the series is inspired by sphincters and folds in the human body.
Sculptor Amanda Schoppel received her Bachelor of Fine Arts from the Nova Scotia College of Art and Design (now NSCAD University) and is currently finishing her Master in Fine Arts in California. My work is constructed using everyday materials. These materials often lack an archival quality, meaning that most of the work will degrade with the passing of time. By creating sculpture, drawing or installation art, I hope to offer the viewer a new, if not quirky way of looking at materials or subjects.
Paul Robles' work includes photography, sculptures, installations and origami-paper cuts. Robles was born in the Philippines and now lives in Winnipeg. He received a Bachelor of Arts in Sociology from the University of Winnipeg and a Bachelor of Fine Arts from the School of Art at the University of Manitoba. His large-scale paper-cut works were recently featured in The World is My Oyster at Winnipeg's Plug In ICA (Institute of Contemporary Art). My work conveys an uneasy mixture of cultural tradition and stereotypical fictions that engage the viewer in an unsettling dialogue about the nature of racism and sexism in our culture. Possibly an anachronism, it plays a double game: it might be frail and delicate, materially lightweight, yet it is full of powerful images of oppression and delinquency.

Atlantic Yards can't 'work'

One of the city's most-respected urban planning organizations weighed in on Bruce Ratner's Atlantic Yards last week, saying it simply 'does not work' for Brooklyn.
Municipal Art Society President Kent Barwick offered that assessment before a packed house of 500 people at the Hanson Place Central United Methodist Church on June 15 ' a mildly stinging rejection of Ratner's 17-skyscraper, 8.7-million-square-foot arena and commercial development in low-rise Prospect Heights.
'I know the headline writers want something stronger, but we've reached the conclusion that [Atlantic Yards] does not work,' Barwick said. 'That doesn't mean that it could not work, but as currently designed, it does not.'
Barwick said the Society assessed Atlantic Yards using five 'design criteria': does it 'respect the existing neighborhoods'; does it 'eliminate streets'; does it 'create a real public park'; does it 'promote lively streets'; and does it 'choke' traffic.
By those criteria, Atlantic Yards earned a score of 1 out of 5, according to architect and planner John West, who gave the Society's PowerPoint presentation.
Some community members complained that by evaluating Atlantic Yards at all, the Society was hoping to tailor it rather than kill it outright.
But West's presentation began ominously ' showing that Atlantic Yards' 8.7 million square feet is the equivalent of 'three Empire State Buildings, 23 Williamsburgh Savings Bank buildings, or 2,200 brownstones ' which is roughly the entire population of Prospect Heights.'
West said the first step towards 'respecting the neighborhoods' would be for Ratner to redesign Atlantic Yards so its skyscrapers do not 'block the clock' ' the celebrated four-sided timepiece atop the landmark Williamsburgh Savings Bank building near the intersection of Flatbush and Fourth avenues.
Currently, Ratner's plan calls for a 62-story building ' nicknamed 'Miss Brooklyn' by its architect Frank Gehry ' one block south.
West said Ratner's building could exist there ' and not 'block the clock' ' if the Gehry-designed basketball arena was shifted to the east and Miss Brooklyn set back further from Flatbush Avenue.
Secondly, West called for Ratner to not close off some streets, such as Fifth Avenue between Flatbush and Atlantic avenues (which would be near center court) and Pacific Street between Carlton and Vanderbilt Avenues ' a demapping that Ratner says is essential for the creation of his project's seven acres of green space.
Perhaps, but West also assailed that 'public' park as not public at all.
'Parks need to be bordered by streets, not surrounded by buildings,' he said, likening the Ratner design to the central green space of Stuyvesant Town, a Manhattan development where large residential buildings inhibit, rather than encourage, public use of the 'park.'
West did say that Ratner was making positive strides towards creating a lively streetscape. Near the arena, for example, Gehry has drawn in cafes, stores and other businesses that encourage pedestrian traffic.
But West cautioned that designs don't always equal reality, showing a photo of Ratner's Atlantic Center Mall, which has neither doors nor windows on the Fort Greene side.
On his last point ' traffic ' West just sighed and said that the car-clogged intersection may simply not be able to handle any new development.
Forest City Ratner Vice President James Stuckey ' who attended West's press preview, but did not stick around for the community forum ' said he appreciated the Municipal Art Society presentation.
'We are in full agreement with three of their five design principles right off the bat,' Stuckey said. 'Our open space will be public and the streets will be lively. This is not a project for big box retail.'
Stuckey added, 'We agree [with the Municipal Art Society] on the need for a transportation plan that works,' Stuckey said.
But he insisted that demapping Pacific Street between Carlton and Vanderbilt avenues was essential for landscape architect Laurie Olin's greenspace design.
'If we take out that one street, we can design a park that will save 1.8 million gallons of water a year,' Stuckey said, referring to Olin's retaining ponds.
'If Pacific Street remains open, that's 1.8 million gallons a year going into the Gowanus Canal.'
Overall, Stuckey disagreed that the project 'does not work.'
'The Society said there were five design principles and that they can't simply be reduced to a magic number of density,' he said. 'But the Society also has the advantage of not having to look at the economics of the project. We have $1 billion in site costs. And it will take $50 million for environmental remediation of the [open space] site.'
Opponents of the project cheered the society's overall conclusion, but were not ready to concede the main point: that Atlantic Yards is 'the' plan.
'My problem is with the Society's world view,' said Daniel Goldstein, a spokesman for Develop Don't Destroy Brooklyn. 'We don't think that because Forest City Ratner has proposed something, it should be the framework for starting a conversation about what's best for the area. This plan can still be rejected and a better one created.'

Golf items often score hole in one

Golf has been a popular sport since the 15 th century.
In 1457, it was banned by the king of Scotland because he thought it was keeping his soldiers from practicing archery. By the 1700s, social golf clubs for men had been established. Women were not allowed on most golf courses until the 1900s.
Clubs were first made of wood, then had iron shafts, then steel. Balls were made of wood, then feathers. In 1848, guttapercha balls were developed; in 1908, they were replaced by balls with liquid-rubber cores. Today's golf balls have cores made of balata or surlyn, the sap of tropical trees.
Through the past 300 years, artists have depicted golfers. Golfing porcelain figures, metal whiskey flasks, bronze ashtrays and enameled match holders can be found. So can advertisements, books, jewelry and many other decorative golf items.
In the 1920s, some French porcelain factories started making pieces with the new art deco look. Comical figures, including golfers, appealed to buyers and were made at several plants, including some in Limoges, France. Figurines, boxes and bottles made of porcelain were designed to make fun of golfers and their clothes.
Any decorative item that pictures golf sells well today.
Q: A pressed-wood door in my 1902 house is exactly like one on display in the Smith Museum at the Navy Pier in Chicago. Both doors have the same frostedglass window, too. The window is 29 inches high by 19 inches wide and is decorated with an image of a woman feeding a horse. An ornate oval border surrounds the image. The museum says the door and designer are unidentified. Can you tell me anything else?
A: Pressed-wood doors with oval door lights (windows) were mass-produced around the turn of the 20 th century.
The design was applied to the glass by a process called acid etching. A special wax coating was applied to the glass using a stencil. Then hydrofluoric acid was applied to the surface of the glass to create the stenciled image. Doors such as yours sell for $100 to $200.
Q: How can I tell whether an old black-and-white autographed photo is an original or a copy? My photo pictures Babe Ruth and Lou Gehrig standing and leaning on their bats. Ruth is wearing a black uniform that reads "Bustin' Babe's," and Gehrig is wearing a white one that reads "Larrupin Lou's." Each player has signed "Yours Truly" and his name twice.
A: Your photo is a famous one copied (with the signatures) and handed out nationwide during a 1927 off-season cross-country baseball tour that featured the two biggest stars of the day.
The photo has been copied countless times through the years, and it comes in two versions ' one with one signature for each player and one with two. Your photo is not an original print (a photo developed, often by the photographer, from the original film used to shoot the picture). And it's likely that the signatures are facsimiles.
If you think any of the autographs might be real, take the photo to a sports-collectibles expert who can examine it.
Current prices
Prices are recorded from antiques shows, flea markets, sales and auctions throughout the United States.
? Dr Pepper commemorative bottle, Texas vs. Oklahoma football game, 1973, 16 ounces, $25.
? Batman bath towel/poncho, cape graphic on back, chest on front, 1976, 55 inches by 34 inches, $110.
? Donald Duck and his nephews pull toy, Donald followed by Huey and Louie balancing plates, Fisher-Price, 1941, 13 inches, $135.
? Carnival-glass cake plate, question-marks pattern, peach opalescent, ruffled edge, footed, $225.
? Melmac dinner set, Brookpark pattern, pink, rose transfer, 56 pieces, $240.
? Mary Hartline doll by Ideal, plastic, blue sleep eyes, blond mohair wig, five-piece body, 1959, 8 inches, $300.
? Royal Doulton table lamp, double socket, landscape, tall blue trees, blue-green background, yellow fruit, circa 1935, 30 inches, $1,115.
? Salesman sample of a Challenge-brand windmill, brass, wood base, red and black, red turbine blades, company founded in 1872 in Batavia, Ill., 39 inches, $6,785.
? California Powder Works 1896 calendar, enameled paper, blond woman with fan, red rose in hair and on dress, 15 inches by 19 inches, $7,200.
Ralph and Terry Kovel, authorities on collectibles, write for King Features Syndicate. Write to them in care of The Dispatch, King Features Syndicate, 888 7 th Ave., New York, N.Y. 10019.
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Build Your Own 4x5 Point-and-Shoot

When New York photographer Kipp Wettstein couldn't find a camera suited to his needs 'C one that would provide large format resolution with the mobility of a 35mm 'C he decide to take matters into his own hands, literally.
Starting with solid blocks of aerospace-grade aluminum and a Schneider 72mm XL lens, Wettstein hand-machined a lightweight 4x5 view camera that allowed him to ditch the tripod and go mobile with fantastic detail and color fidelity.
Wettstein, 26, admits he started with no training in building his own cameras, but he's become so successful in the machine shop that his photographer friends Robert Polidori and Martin Schoeller commissioned him to make large-format versions for them.
Wettstein says the idea to build his own cameras first arose while he was working in the photo department of the New Yorker magazine and yearning to shoot more of his own photography. "I felt anchored by my Linhof on a tripod, so it was more just kind of a pursuit of mobility and size than anything," he says. "I knew I wanted to shoot big film and so I started thinking about how to shave down my kit and become more mobile. I butchered an old Toyo 4x5 [view camera] and did some test shoots, then decided to do something more serious."
On his website, www.kippwettstein.com, Wettstein describes the process and shows a series of photos documenting the making of his first three models from start to finish, including a time when he cut his finger on the sharp metal shavings.
"The beauty of the design is that it is built around the elegant form of the image cone produced by the lens," Wettstein explains on his site. "Not only does this design yield an attractive camera but it is extremely accurate. The lens and film planes have a parallel accuracy within the fractions of a millimeter. The designs have no perspective-controlling movements. They are small, lightweight and extremely accurate."
Wettstein says the cameras cost between $5,000 and $9,000 to build, although Polidori, who outfitted his with a gyroscope to take aerial photographs, spent about $12,000. Wettstein says he's open to orders, but he views his role in the process as more of a consultant than a manufacturer. "It's more like having your kitchen remodeled than buying a dishwasher," he says.
Having since given up his job at the New Yorker , Wettstein is now working as a full-time freelancer. When not in the machine shop, Wettstein puts his camera to good use photographing landscapes and man's impact on the environment.
"My motivations are studying our imprint on the landscape ' what cultural values come through as we stake our claim," Wettstein says when asked to explain his photography.
Wettstein plans to spend the summer in Colorado manufacturing a few more cameras.
"The one I did for Martin [Schoeller] we jokingly call a 4x5 point-and-shoot, but it quickly became the most complicated camera I've built because he wanted to focus down to portraits. That presented a lot of technical challenges," Wettstein says, before admitting that his skills are improving with each new model he makes.
His first camera weighed six pounds. Schoeller's weighed just three pounds. An 8x10 point-and-shoot may not be far behind.

Five Takes on 800 Pounds

HARD AS ONE MAY TRY, it's impossible to ignore the 800-pound gorilla, or in this case, the 450,000-server computing network, as The New York Times estimated last week.
The latest announcements from Google have been released at such a frenetic pace and cover such wide territory that it helps to review all the pieces in one place, deconstruct what the real meaning is for marketers, and understand how they affect the competitive landscape. To make this easier for marketers and their agencies, we'll use a four-tiered scale to measure the impact:
Act: this could affect you immediately Prepare: you're safe for today, but do your homework Play: it's fun, it's cool, it's great for the blog, but it won't matter for your day job Consider: it's great fodder for the media, but there's no pressing impact for you
Now, on to the latest additions to the Google line-up:
GBuy: Prepare, especially if you're processing transactions online (this shifts to Act on June 28).
Google is said to be releasing GBuy, its answer to PayPal's merchant tools, on June 28. Merchants will be able to process payments through GBuy, and the payments are processed off of the merchant's site, giving Google access to conversion data. Couple that with information from AdWords and Google Analytics, and it has an open window into the complete sales funnel. Some fear Google could use this information to raise prices for some of its services, such as the minimum bid price in AdWords for certain verticals.
RBC analyst Jordan Rohan, widely quoted in the press for his GBuy coverage, said Google could offer a "trusted GBuy merchant" logo on sponsored links from retailers using AdWords and GBuy. Such a seal could increase click-through rates from consumers. GBuy-Adwords advertisers would have a competitive advantage, and they could lower their bids to maintain the same AdWords ranking. Competitors would then have to either bid more (beat 'em) or join GBuy (join 'em) so as not to be at a disadvantage.
Those factors -- consumer demand, peer pressure, and the carrot of more favorable advertising costs -- could create a surge in GBuy merchants. Still, the fear of giving too much information could lead to some marketers holding out. If you're an AdWords advertiser processing transactions online, keep some time free on June 28 to sort through the facts once the service debuts.
Google now allows advertisers to schedule ads by time of day or day of the week. This won't impact every marketer. Advertisers already can use paid search management technology interfacing with Google that has dayparting built in. Additionally, advertisers with an ample budget might not need the feature at all. I generally feel the same way about dayparting search ads as I do about using demographic targeting with search. If a consumer's typing in a relevant query, then any other targeting such as time of day or the searcher's age takes a back seat. Such targeting may be useful, but it's more of a way to nudge the needle on conversion rates for a well-oiled campaign.
That being said, there are situations where ad scheduling can have a significant impact. For instance, consider an advertiser whose budget tends to run out earlier in the day or the month. This advertiser might run TV campaigns from 8pm to midnight, but if it blows its ad budget by 5pm, the campaign won't benefit from the large volume of searches triggered by the offline campaign. Similarly, a marketer budgeting for search monthly could, for example, be at a disadvantage if the budget runs dry on June 23, but the advertiser's running a major multi-channel campaign for the week leading up to July 4. Turning the campaign off certain days and times can serve to better manage the campaign holistically.
Google has taken new steps to open up Google Earth to developers. Anyone can add their own notations to the 3D maps and build 3D models of 2D landscapes using SketchUp, the design software Google acquired in March. It's also integrated into the new Picasa update, where users can tag photos with geographic information. Google is working on integrating Earth more with Google Maps, so you can expect a whole new generation of mash-ups to emerge.
Of all the Google announcements that came out, this one's my favorite to toy around with. Google is testing web-based photo sharing integrated with Picasa, turning its photo editing and organizing software into a Flickr competitor. For Picasa users, it's a stupid-simple way to share pictures, and it's good enough to provide a viable alternative to other options.
My brother, author of the book Shakespeare on the American Yiddish Stage, might find a reason to act on this, but for marketers, Google Shakespeare should be little more than a curiosity. There's some buzz behind it since Google's publicizing its commitment to its book search program, which book publishers love to bristle at, but Google can borrow a line from Othello: "Thou know'st we work by wit, and not by witchcraft."
The challenge that remains is for marketers to keep their wits about them.
David Berkowitz is director of strategic planning at 360i. You can reach him at dberkowitz@360i.com.

Harvard takes first Allston steps, refines master plans

The University's plans for a 21st century extension of its campus in Allston took more definite shape this year with the selection of a site and architect for a half-million-square-foot science complex, as well as the announcement of plans for new arts and culture facilities.
These first steps, taken after three years of extensive planning and consultation within the University, with the city of Boston, and with the surrounding communities, are the beginning of a multi-decade process to imagine and build in Allston the educational, research, and residential facilities necessary for Harvard to advance knowledge and maintain academic leadership into the next century.
"It's very encouraging to see that plans for Harvard's properties in Allston, while still in the early stages, have become much more tangible in recent months. Sites have been identified for a new science complex as well as interim arts and culture spaces, and we anticipate additional forward movement in the months ahead," said Jamie Houghton, senior fellow of the Harvard Corporation. "Our ultimate goal in Allston is to strengthen Harvard's long-term capacity to generate exciting new knowledge and ideas and to educate the very best students of each generation. The progress we have made this year brings us appreciably closer to that goal, and I'm grateful to all those who have played a part."
In addition to announcing its first projects this year, Harvard established a public display to share preliminary ideas for Harvard's future in Allston; held forums to solicit feedback and discuss concerns of faculty, students, staff, alumni, and Allston residents; and created the Allston Development Group to oversee planning for, and ultimately the building of this new dimension of Harvard's campus.
Christopher M. Gordon, chief operating officer of the Allston Development Group and former director of the $4.4 billion Logan Modernization Project for the Massachusetts Port Authority, describes the accomplishments of 2005-06 as having established a foundation for Harvard's future in Allston.
"When I arrived at Harvard, I discovered a solid foundation of planning for the Allston Initiative," said Gordon. "President Summers' vision and leadership and the thoughtful input we've received from the Harvard and Allston communities have made it possible for the University to begin to realize ideas that have evolved over nearly a decade."
Over the coming year, the University will refine its thinking about the programmatic elements of the extended campus with a goal of developing a comprehensive, yet flexible, 50-year master plan for Allston. According to Gordon, Harvard's planning team expects to complete the plan - a framework with future building locations, street and block patterns, new open spaces, better riverfront access, and transportation improvements - in the next year with additional input from all corners of the University community and beyond.
Said incoming interim President Derek Bok, "The year ahead promises to be one of progress as the University's planners, in consultation with the Harvard community and our neighbors, continue their efforts to help shape and strengthen Harvard for decades to come."
A year of planning publicly
Recognizing the importance of broad consultation, leaders of the Allston planning process have made a point of soliciting input from a wide range of groups. To that end, the University opened the "Harvard in Allston" exhibit room in the Holyoke Center arcade in October 2005. The Allston Room, as the exhibit has become known, displays preliminary ideas and possibilities for Harvard in Allston identified by Harvard's planning consultants, the Cooper, Roberston, Gehry, Olin collaboration - ideas being considered as part of Harvard's 50-year Allston master plan. The exhibit has drawn more than 2,000 visitors, including members of the Harvard community and residents of the city of Boston and surrounding neighborhoods.
Harvard's planning team also solicited the ideas and opinions of Allston residents and Harvard faculty, staff, students, and alumni through a variety of other forums.
The President's Advisory Committee on the Allston Initiative, a group of Harvard alumni and friends led by Robert M. Bass and Penny S. Pritzker (A.B. '81) - many of whom are experts in urban planning, design, and development - met regularly this year to advise the president and the Allston Development Group on planning.
At a workshop run by Project for Public Spaces, a nonprofit organization dedicated to creating and sustaining public places, 50 Allston residents discussed ways the surrounding community could benefit from a future campus and proposed ideas like outdoor meeting places, parks, play areas, fountains, cafes, restaurants, and possibly a farmers' market. Harvard and the Allston community task force appointed by the mayor in December 2005 are also meeting regularly to discuss these and other ideas.
"The feedback we have received and will continue to solicit is a critical part of the iterative process of planning," said Kathy Spiegelman, chief planner for the Allston Initiative. "These comments are helping us sharpen ideas, identify key issues, and, ultimately, will help us realize a successful long-term vision for Harvard in Allston that will serve generations."
Science, culture emerge as first projects
As thinking about Harvard's future in Allston progressed, science and the need for facilities to accommodate new ways of approaching scientific research and exploration emerged as a University priority.
"When considering the history of our scientific enterprise - of any scientific enterprise - what quickly becomes clear is the difficulty of predicting, and preparing for, future needs," said Harvard Provost Steven E. Hyman. "There is simply no more room left in Cambridge for the long-term growth of interdisciplinary science," he said, "so if we are to grow, and we must, and remain nimble, it will have to be in Allston."
Hyman pointed out that fields of science change over time, and noted that facilities have to be flexible. "We need to design facilities that can accommodate changing needs, that can be used for one form of investigation for a period of years, and then can be adapted for another use," he said.
Last winter, at the request of Harvard's science deans, Harvard President Lawrence H. Summers appointed a broadly based Science Planning Committee, including representatives of science departments and Schools across the University, to build on the long-range Allston science planning done by Harvard faculty to date.
"The important thing is that this is an effort to ensure that Harvard will be the best place in the world to do science," said Andrew Murray, Herchel Smith Professor of Molecular Genetics, director of the Bauer Center for Genomics Research, and one of the co-chairs of the committee. "And it's an effort to do that by broadly representing the faculty in eliciting good ideas about areas to grow science and engineering over the next 10 to 20 to 30 years. Larry Summers said he wanted us to have an impact so that his successor's successor would be grateful to us."
"Science is going to be distributed across the North Yard in Cambridge, Allston, and Longwood; the idea is to get as much input from people and weld it into a coherent plan," Murray continued.
Douglas Melton, co-director of the Harvard Stem Cell Institute, the Thomas Dudley Cabot Professor of the Natural Sciences, and Science Planning Committee member, said, "When changes occur in science, they do so more rapidly than in other disciplines. The University needs to plan for the scientific future in a way that allows it to be as nimble as possible. Any plan for the future of Allston science must be integrated with planning for science on what will be the University's three centers of science."
The need to foster that integration - and the pressing need for a home for the Harvard Stem Cell Institute, where scientists can work side by side sharing findings and approaches that may apply to different organ systems - led to the University's first Allston projects, announced in February. At that time, Harvard selected the architectural firm Behnisch Architekten of Stuttgart, Germany, to design a state-of-the-art science complex in Allston, south of Western Avenue near the Harvard Business School.
The announcement was embraced by the mayor of Boston. "The construction of this 21st century campus in Boston will have a positive transforming effect upon the Allston neighborhood and the city, strengthening the position of Boston as the life sciences capital of the world and increasing the capacity of our economic engine," said Mayor Thomas M. Menino.
Arts and culture to enliven Harvard in Allston
At the time of the science announcement, Harvard also unveiled plans for interim arts and cultural spaces to be created in Allston, including a new visual arts center on Soldiers Field Road. Menino noted that the coming arts and culture facilities would "not only enrich and inspire students and faculty, but also neighborhood residents as well."
In May 2006, the Harvard University Art Museums announced the selection of Daly Genik Architects of Los Angeles to design the visual arts center. The center, which would enable the renovation of the Art Museums' facilities in Cambridge and serve Harvard students and the public, marked just the beginning of the University's arts and culture presence in Allston.
Charting the course for arts and culture in Allston was the mission of a committee of arts and culture faculty, museum directors, and arts leaders convened in the fall. The committee met throughout the year to consider Harvard's needs as well as what would be required to make Allston a culturally vital campus for students, faculty, and neighbors. In the coming year, the group will engage additional faculty members and other constituencies in discussions to further refine Allston arts and culture plans.
"The Arts and Culture Steering Committee has been a marvelous forum for imagining communities, both for Harvard and for Allston and the greater Boston area. While most of us have thought of our respective pursuits in terms of the academic and extracurricular needs of our own students and faculty, it is inspiring to think of ways in which Harvard can share what it knows and does about culture and the arts of the world with the larger community," said William Fash, Bowditch Professor of Central American and Mexican Archaeology and Ethnology, Howells Director of the Peabody Museum, and a member of the arts and culture task force.
"We have had fun and quite a few challenges envisioning the ways in which culture and the arts at Harvard can 'act locally' while thinking and working globally," Fash added.
While science and arts and culture planning advanced this year, Harvard's School of Public Health and the Harvard Graduate School of Education continued their own academic planning and assessment of the opportunities and challenges offered by a prospective relocation to Allston.
One school already in Allston welcomes the presence of new academic neighbors. "Harvard's expanded presence in Allston is an extraordinary opportunity for the University in general and for the Business School in particular," said Jay O. Light, dean of Harvard Business School (HBS). "One of my goals as the new dean of HBS, after more than 30 years on its faculty, is to increase the amount of collaboration between the Business School and the other professional schools. Thanks to the leadership of President Summers, Allston will become a center for world-class research and development in biotechnology, as well as the home of various Harvard professional schools. These are exciting developments in the history of the University, and I am eager to do all I can to make them a great success."
A successful crossroads for campus and community in Allston
Gordon said the issue that came to the surface most clearly during the year's consultation was the look and feel of a future campus. "Harvard faces the challenge of respecting and building on its traditions, while remaining open to design innovation in the new century," said Gordon. "We know Allston is not going to be a replica of Harvard Yard in Cambridge, however, it has to be equally iconic - a successful common ground for Harvard in the 21st century - and we are working to understand what that means."
In selecting Behnisch Architekten, a design firm known for its leadership in environmentally sustainable design, for Harvard's science complex in Allston, the University made a conscious decision to emphasize principles of sustainability at the outset of planning for the new campus, beginning with its first project. Stefan Behnisch, as the project's lead, signals increased expertise in the area of sustainable development and green building design.
Ultimately, what happens in Allston will be exceptional and open to all, says Laurie Olin, principal of Olin Partnership and professor of landscape architecture and regional planning at the University of Pennsylvania. "One thing about great universities is they have a tradition of providing high-quality public space that is desirable to the university community, the neighborhood, and society at large," said Olin. "Harvard understands the importance of creating a campus with a generous public realm that is handsome, well built, environmentally sustainable, and attractive and will give the community an identity."
"We can create a place that is open, free, and usable by all people - families and children, and faculty, staff, and students - and contributes to the quality of life of the Allston community and Boston region," Olin added.
Progress to come
In the coming year, The Allston Development Group will assist Harvard's project planning committees to complete designs for the science complex and the visual arts center, and will begin building both projects. Meanwhile the consultation process will continue through the use of the Allston Room and other forums. Harvard's planning team expects the preliminary vision for the first full phase of development for Harvard in Allston to become more refined within the next year.
That vision includes the further enhancement of Harvard science and research; the strengthening of the University's professional schools through the increased collaboration and intellectual integration resulting from the relocation of the School of Public Health and Harvard Graduate School of Education; the identification of arts and cultural activities that would enliven a campus; housing for undergraduates along the Charles River; housing for graduate students and community residents; and ways to seamlessly integrate Harvard in Allston, Harvard in Cambridge, the Longwood Medical area, and beyond.
"The next steps of the master planning process have to be carefully considered," said Gordon. "The University has done a lot of thinking about what makes sense, what might fit. We need to refine these ideas and think about how to make the master plan really come alive - what will the new Harvard look like? How can we make it a wonderful, livable place? Where will things be? When will they be built? - these are all key questions to explore further in conversations with people in the coming year."

Toshiba to Showcase Advanced Displays at SID 2006 Including 3-D

* A wide range of QVGA (240x320) displays for cell phone applications, utilizing ultra-thin 0.2mm glass, as well as landscape mode solutions for portable media players and other diverse portable monitoring applications * A selection of wide-screen, ultra-thin and lightweight notebook displays featuring LTPS modules using 0.3mm and even 0.2mm glass, while adopting low-power light-emitting-diode (LED) backlight systems * A new line of high-brightness displays for industrial applications intended to meet the requirements of the European Union's Reduction of Hazardous Substances (RoHS) Directive(1). (See accompanying press release.) * A series of wide-format displays for navigation and rear-seat entertainment automotive applications in sizes ranging from 7.0 to 9.0 inches, including an 8.0-inch automotive wide-VGA (800 x 480 pixels) display with LED backlighting system
"These diverse and innovative products showcase the advantages of low temperature poly-silicon which is TMD's core technology and the basis of our latest mobile and notebook computer display modules, as well as our OCB, OLED and System-on-Glass prototypes," said Steve Vrablik, director of business development for LCDs at Toshiba America Electronic Components, Inc. "Inherent characteristics of LTPS technology include advanced substrate structure and high electron mobility, resulting in displays with ultra-high resolution, thin, lightweight design; low power consumption; reliability and a simple structure. As a result, LTPS is enabling the evolving digital world today with high pixel-density displays used in notebook PCs and mobile phones, and is providing the foundation for innovative, system-on-glass, next-generation display applications of tomorrow." TMD is currently a leading supplier of LTPS LCDs, producing the largest sizes available commercially, as well as the largest variety.
3-D Technology
This breakthrough display technology from Toshiba achieves remarkable, natural-looking 3-D images that can be viewed with the naked eye, without the need for special glasses usually required for other 3-D technologies. This approach allows 3-D images to be viewed on a flatbed display yet enables a realistic perception of depth. To create the flatbed 3-D display, Toshiba designed both hardware and software to project multiple images of an object that can be seen from different angles depending on the observer's position relative to the display. This technology allows viewers to move their heads and/or eyes horizontally to see the object from other angles. The prototype display at SID highlights how Toshiba is striving to bring 3-D capabilities to mobile-sized applications. Larger prototype modules have also been developed. New application areas that could utilize this 3-D technology include arcade games, e-learning, simulations of architectural buildings and landscapes -- even 3-D menus in restaurants. Toshiba estimates that commercialization of this technology could occur in approximately two years for selected applications.
OCB Technology
TMD's third-generation OCB technology for LCD displays will be featured in a 32-inch wide-format LTPS LCD display for HDTV TV applications. Building on the "buzz" generated by this technology at SID 2005, this new, third- generation OCB technology provides near-CRT image quality, with ultra-fast response time of less than 5ms (T(on) + T(off) < 5ms) even during gray-to-gray transitions with high contrast ( > 500:1) and exceptionally wide viewing angles (to 170 degrees) in all directions, without color shifts or inversions. To further demonstrate the fast response time and wide viewing angle of OCB technology, two 9.0-inch WVGA (800x480) AV-type LCD displays, one with OCB mode and the other using conventional twisted-nematic (TN) mode, will be shown for comparison. OCB's fast response time is also of great benefit in cold temperature conditions, such as those encountered and specified in automotive video and navigation applications. By optimizing the liquid crystal cell structure, improving the bend alignment of the liquid crystal molecules, and use of special optical compensation films, OCB greatly improves response time, and achieves a much wider viewing angle. TMD has optimized the manufacturing techniques for OCB, and is evaluating OCB technology for a multitude of display sizes and applications that may benefit from its performance capabilities.
Field Sequential Technology combined with OCB Technology
Also exhibited will be a 9.0-inch TFT LCD combining field sequential backlighting technology with OCB technology to demonstrate a remarkable display that achieves high transmittance with low power consumption, ultra- wide viewing angles and ultra-fast response time. The resulting display is ideal for mobile AV applications. Unlike conventional LCDs, field sequential LCD technology does not require color filters, and thus enables high transmittance without any absorption loss, whereas using today's conventional color filter method results in more than 70 percent of the backlight's brightness being absorbed by the color filters. Inherently, field sequential technology would enable a tripling of resolution density since each pixel does not need to be subdivided into RGBx3 (red/green/blue) subpixels used in the conventional color filter approach. Field sequential backlighting technology, which changes the backlight color from red to green to blue, and back to red again in succession at high frequency, requires a minimum three times higher driving speed to display color filter-less RGB color, and so a high speed response LCD is indispensable to achieve the full front-of-screen performance. Accordingly, TMD focused on the ultra-fast response time of OCB technology and combined it with field sequential technology to achieve an LCD with high transmittance (2.6 times higher than our former OCB panels), low power consumption, wide viewing angle (170 degrees up, down, left, and right), high-speed response (3.3ms), high brightness and ultra-high resolution. The resulting display is ideal for the converging demands of mobile computing and AV applications.
OLED Technology
TMD's advanced OLED display technology is represented at SID 2006 for mobile applications by a high-luminescence, extremely thin and lightweight 3.46-inch QVGA LTPS active matrix OLED (AM-OLED), which has the vivid image quality desired for ultra-portable media players and other AV applications. A 2.2-inch QVGA LTPS display from the same family demonstrates the excellent image quality possible using an AM-OLED as the main display in cell phone applications. A third 2.5-inch display (not exhibited) for digital still camera applications rounds out the current family of LTPS AM-OLEDs that TMD is starting to develop. LTPS AM-OLEDs offer multiple advantages over today's conventional TFT LCD technologies, including self-emitting light (eliminating the CCFL inverter or LED driver circuitry); thinner, lighter weight displays (because no backlight is required); ultra-fast response time; ultra-wide viewing angles; and rich color chromaticity.
System-on-Glass Technology
To demonstrate the potential that LTPS System-on-Glass technology offers for integration of additional functions and circuitry, a prototype of a LTPS TFT LCD display with finger shadow sensing input capability will be shown. This approach enables users to use their finger to directly touch the display surface to select icons or buttons and navigate through pages in the same manner as a conventional touch-screen approach. The touch panel function is integrated into the substrate glass using TMD's SOG technology. This enables a thinner, lighter weight design, by eliminating an external touch panel. The device supports simultaneous input and display functions, and is suitable for swivel type designs that might be found in tablet PCs or other mobile products. Similar to TMD's previously announced input displays, this new finger shadow sensing input display incorporates advanced SOG technology to integrate photo sensors and signal processing LSI functions directly onto the glass. This new LTPS TFT LCD technology, with the ability to sense a user's finger shadow directly at the surface of the display, is expected to eventually achieve commercial-level performance for display screen sizes commonly used in mobile phone applications. By improving and incorporating higher resolution LTPS technology, TMD has achieved faster switching speeds, greater photo-sensor sensitivity, and more precise control of the input signal.
In addition to special functions such as input control, TMD's latest- generation LTPS TFT LCD-based SOG technology enables the complete driving circuit required to operate the LCD to be fully integrated directly onto the glass. SOG technology has progressed significantly since 2001, when TMD started mass production of the world's first LTPS TFT LCD with the digital-to- analog converter (DAC) and amplifier circuit integrated directly onto the glass. By October 2005, TMD achieved higher performance LTPS technology to enable a new-generation of SOG technology that supports integration of 1) the analog circuit for 260K color production with 6 bit per color gray scale (including DAC and amplifier circuitry); 2) the driving circuit required for addressing the rows and columns of the display; 3) the power circuit for the driving circuit; and 4) the controlling circuit regulating the analog, driving, and power circuits as well as all the other circuit functions required to operate the LCD. By eliminating the external LSI circuits, a smaller, more compact, and lighter LTPS TFT LCD can be achieved that minimizes the outer printed circuit board (PCB) size and provides for quick and simple assembly. Separate driver ICs become unnecessary, which helps to reduce the development leadtime.
These new LTPS TFT LCD prototypes, with fully-integrated circuitry through SOG technology, are expected to be valuable in mobile phone and various other applications.
Mobile Phone and Portable Media Player Displays
Leading-edge color thin film transistor (TFT) active matrix cell phone displays for mobile applications include a high resolution 2.4-inch VGA (480x640) dual-input display which will be shown compared to a 2.4-inch QVGA display to showcase how much more content can be viewed on a small screen, with better text legibility and image quality. The QVGA (240x320) format, which has become a global de facto standard for today's high-end cell phone models, will be shown in representative 2.0-, 2.2-, 2.4-, and 2.6-inch models. This format provides a high pixel density ranging from 154 pixels per inch (ppi) for the 2.6-inch size up to 200 ppi for the 2.0-inch size. These same items will demonstrate the lightness and thinness that can be achieved by using 0.2mm thin glass substrates, thus enabling ultra-thin, lightweight, high-resolution, content- and feature-rich mobile phone designs.
Two additional modules with larger viewing areas for small mobile displays will also be exhibited. The first, a 2.8-inch wide-QVGA (240x400) format in portrait orientation, provides a 15:9 aspect ratio that, when turned on its side, enables wide-screen movies and/or photos to be displayed. Secondly, TMD has developed 2.2- (on display at SID) and 2.5-inch displays with QVGA resolution in landscape mode, providing small, high resolution, landscape- oriented displays to enable a diversity of set designs such as portable media players and other portable display terminals.
Mobile Computing Displays
Innovative new display solutions showcased for the mobile computing market include an 11-inch WXGA+ (1366x768), a 12.1-inch WXGA (1280x800), and a 13.3-inch WXGA (1280x800) display for wide-format mobile PCs. These displays combine the inherent benefits of using 0.3mm thin glass to reduce module weight and thickness, with new LED-based backlighting systems, which in themselves are thinner, lighter, and less power hungry than conventional cold cathode fluorescent lamp (CCFL) backlighting systems. Combining 0.3mm glass and LED backlighting in an LTPS-based TFT LCD module enables and enhances even higher portability in the mobile PC segment of the marketplace. Corresponding notebooks from leading manufacturers using these displays will also be shown. These new wide-format displays are ideal for watching video applications on PCs, for viewing wider spreadsheets, for viewing multiple pages side-by-side, or for viewing more windows and more screen content.
In addition, a 12.1-inch WXGA (1280x800) module with even thinner 0.2mm glass and an LED backlight will be exhibited, and will be featured in a commercially available notebook computer. TMD has recently started mass production of this display, which is the thinnest, lightest-weight 12.1-inch LTPS LCD module currently available for notebook PCs. Use of 0.2mm glass, combined with the LED backlight system, results in a module with thickness of 2.9mm (at the thinnest part) and weight of 183g, which is nearly half the thickness and a 32 percent weight savings compared with current products, and yet this panel achieves a remarkable 300cd/m2 (typical) luminance. Its wide- format 16:10 aspect ratio is suitable for the converging computing and AV market applications.
Each of these notebook LCDs shown, as well as all other TMD's notebook LCDs, utilize TMD's industry-leading LTPS technology, providing simpler design, fewer inter-connections with resultant higher reliability, and better power consumption and luminance performance than conventional amorphous silicon displays.
Automotive Displays
The automotive corner in TAEC's booth at SID will feature an innovative 14.9-inch concept demo for an LCD instrument panel that displays electronic gauges, alarm indicator, satellite navigation, vehicle/engine indicator and other information as needed. In this concept demo, the driver would be able to use the display to switch among normal indicator view, navigation view, or to a rear-view/blind spot camera view as driving situations would dictate. The concept highlights the potential benefits that could be realized in the driver's compartment of tomorrow by adopting such multi-function displays, versus today's conventional approach utilizing single-function mechanical gauges, indicators, and/or displays.
In addition, representative products from TMD's extensive line-up of 5.8- to 9.0-inch modules for both rear seat entertainment and navigation applications will be showcased. One noteworthy prototype is an 8.0-inch wide, WVGA (800x480) color active-matrix automotive display for navigation application that uses a light-emitting diode (LED) backlight instead of the conventional cold cathode fluorescent lamp (CCFL) backlight system. The high-resolution WVGA format provides excellent image quality for video and/or mapping applications, while the LED backlight enables quick start-up at the low temperatures typically required in automotive applications. In addition to the 8.0-inch WVGA display, 7.0-inch and 9.0-inch automotive LCD displays will also be shown.
Industrial Market Displays
TMD has a long history of commitment to the industrial market, providing displays that feature high brightness, wide viewing angles, wide operating temperature ranges, and replaceable backlighting structures, combined with a long-term product life cycle philosophy for the benefit of industrial system designers. With such in mind, TAEC will showcase its diverse line-up of high brightness displays for industrial applications, including a new super high brightness 12.1-inch SVGA (800x600) module that is visible even under sunlight applications, new 6.5-inch VGA (640x480) models, and a new 8.5-inch WVGA (800x480) module. (See separate product announcement.) Additional modules from TAEC's industrial line-up, ranging from 6.5-inch to 15.0-inch with a selection of resolutions including VGA (640x480), SVGA (800x600), WSVGA (1024x600), and XGA (1024x768), will be represented. TMD's commitment to provide RoHS-Compatible(2) products is further exemplified throughout the industrial line-up, which is well suited for a myriad of industrial environments and applications including factory automation, test and measurement, diagnostic equipment, kiosks, medical equipment and point-of-sale (POS) displays.
LTPS: Basic Technology and an Enabler of the Future
The advanced display technology shown by TMD at this year's SID exhibition further reinforces the company's continued leadership in the development of high information content displays through advances in LTPS TFT LCD technology for all sizes of displays and for a diverse range of applications. The technology enables higher electron mobility than amorphous-silicon technology, thus allowing for the patterning of the driver IC circuits directly onto the glass substrate. Poly-silicon technology can enable an overall reduction in component count by as much as 40 percent, signifying up to a 95 percent reduction in the number of connection locations required in the LCD module system as well as allowing a smaller circuit pitch. All combined, poly- silicon technology provides for thinner, brighter, lower-power, higher- resolution, less complicated TFT LCD modules, and it is the forerunner in achieving a true system-on-glass design in the future. Poly-silicon display technology is also used as the basis for TMD's OLED displays. TMD recently completed a $500 million LTPS fabrication facility in Ishikawa Prefecture in Japan. The new fab began production in April 2006, with a capacity of 5.5 million 2.2-inch equivalent pieces per month, using fourth-generation 730mm x 920mm x 0.5mm thick glass, with input capacity of 20,000 substrates per month. The new fab will produce small- and medium-sized cell phone and automotive displays, incorporating SOG and/or OCB technologies. Combined with TMD's other LTPS fabs in Japan and Singapore, it further establishes TMD as a worldwide leader in the production of LTPS displays, in small-, medium- and large-sizes.
*About TAEC
Combining quality and flexibility with design engineering expertise, TAEC brings a breadth of advanced, next-generation technologies to its customers. This broad offering includes semiconductors, flash memory-based storage solutions, and displays for the computing, wireless, networking, automotive and digital consumer markets.
TAEC is an independent operating company owned by Toshiba America, Inc., a subsidiary of Toshiba Corp. (Toshiba), Japan's second largest semiconductor manufacturer and the world's ninth largest integrated manufacturer of electric and electronic equipment. In more than 130 years of operation, Toshiba has recorded numerous firsts and made many valuable contributions to technology and society. For additional company and product information, please visit TAEC's website at chips.toshiba.com. For technical inquiries, please e-mail Tech.Questions@taec.toshiba.com.
**About Toshiba Matsushita Display Technology Co., Ltd
In April 2002, Toshiba Corporation and Matsushita Electric Industrial Co., Ltd. merged their LCD businesses into a new joint venture company, Toshiba Matsushita Display Technology Co., Ltd, now known as TMDisplay. The new company brings together each company's strengths and capabilities in LCD technology to satisfy a broad range of customer requirements and market segments. Today, Toshiba Matsushita Display Technology Co., Ltd. is the worldwide leader in the field of TFT LCD modules for mobile use. For further information, please visit the TMD home page at http://www.tmdisplay.com/tm_dsp/index.htm.
Information in this press release, including product pricing and specifications, content of services and contact information, is current on the date of the announcement, but is subject to change without prior notice. Technical and application information contained here is subject to the most recent applicable TMD LCD product specifications. In developing designs, please ensure that TMD LCD products are used within specified operating ranges as set forth in the most recent TMD product specifications. This information is available from TAEC or from your TAEC representative.
All trademarks and tradenames held within are the properties of their respective holders.

Sunday, July 02, 2006

Rolleiflex and Horseman Announce the SW-D Pro Ultra Wide Angle Camera

Some of the possibilities not generally accessible for medium format digital photography in the past include super wide angle lenses and bellows-like movements.
Super Wide Angle Lens
Super wide angle lenses were not commonly usable with digital camera backs in the past, because of physical limitations of the camera body. But now, with the Horseman's new design, you can use a 24mm lens unit with any digital back equipped with a Hasselblad V? mount.
The 24mm lens unit in combination with a 38 x 48mm image sensor provides the same angle of view as a 17mm lens with the 35mm format. This super wide angle is especially useful in interior architecture and landscape photography, but there are many other applications.
The Horseman SW-D Pro lens units come quipped with German Schneider and Rodenstock digital lenses. The shortest focal length, the Schneider Apo-Digitar XL24, is one of four available lens units that include Rodenstock Apo-Sironar digital lenses of 35, 45 and 55mm focal lengths. Horseman SW series (originally for film cameras) lenses can also be used.
All of the available lenses are optimized for digital demands, which mean a smaller image circle with high optical resolution and contrast. This is important because for digital photography, lenses are designed to provide optimum MTF at relatively wide apertures since resolution of the digital image drops visibly at stopped-down apertures (f-stops).
Control of Movement
The Horseman SW-D Pro gives you the freedom of bellows-like movements and adjustments for work that benefits from rise, fall or image plane shift... Maximum rise and fall are 17mm in either direction or (with a 24mm lens unit), 10mm. Sideward shift of the image plane is possible by 15mm in either left or right direction. By combining shift with several exposures, images can be "stitched", resulting in maximum image sizes of up to 48 x 66mm or 36 x 78mm (depending on image sensor orientation). For professionals, being able to manipulate camera movement can make all the difference in sharpness and photo quality.
Franke & Heidecke, manufacturer of the Rollei medium format camera in Germany, and Komamura (Horseman), a leading manufacturer of medium and large format cameras in Japan, announced in February their joint venture to distribute their medium and large format professional cameras in the U.S. through Komamura and doing business as Direct Source Marketing. DSM was created as a result of the joint venture between Komamura Corporation, a long time distributor of Rollei and Horseman products in Japan, and Franke & Heidecke, the Germany-based manufacturer of Rollei products.
The Horseman SW-D Pro is currently available from leading high-end retailers.
Prices
Suggested retail for the camera is $2,799. Lens pricing is $3,899 for the 24mm lens with APO-DIGITAR 24/5.6; $2,499 for the 35mm lens with the APO-SIRONAR-DIGITAL 35/4.5; $2,599.for the 45mm lens with the APO-SIRONAR-DIGITAL 45/4.5; and $2,599 for the 55MM lens with the APO-SIRONAR-DIGITAL 55/4.5.

PERFORMANCE ORIENTED: And Baby Makes a Mess

In the past few years, though, I've seen two incredibly moving pieces with young Asian-American women at their center: Julia Cho's BFE, about a young Korean girl living in a town terrorized by a sadistic blonde fetishist, and Rolin Jones's The Intelligent Design of Jenny Chow, the story of a fast-talking agoraphobic genius who builds a robot and sends it to China in search of her birth mother. No kitchen sinks in either, but both hit on something so emotionally true ' not to mention culturally specific ' that each felt like a little gift meant just for me.
Because you know, I'm as narcissistic as the next person. I want to see myself up there, on the screen, on the stage, in the papers. Or if not me, then at least someone who looks like me. It's a weird atavistic thing that probably has something to do with Lacan, but I'm not smart enough to unpack that for you.
Suffice it to say that when I heard about Diana Son's new play Satellites (which opened at the Public Theater on June 15) I had the eerie feeling that someone had been listening to me all these years. Satellites is the story of a young, career-focused Asian-American woman (like me) who lives in Brooklyn (like me) where she and her non-Asian husband are raising their new baby (not like me at the moment, but more on that later). Oh, and the woman's name is Nina.
In Satellites, Korean-American Nina (Grey's Anatomy's Sandra Oh), an architect, and her African-American husband Miles (Kevin Carroll), a recently laid-off web producer, abandon their cramped Manhattan apartment for a fixer-upper brownstone in a quickly gentrifying Brooklyn neighborhood. With their new baby, Hannah, Nina and Miles ' attractive, racially diverse, with a pair of Ivy League degrees between them ' seem like the poster family for the new wave of young New Yorkers who are increasingly attempting to redefine domesticity on their own terms.
Of course, if it were that easy there wouldn't be much of a play. Nina, physically exhausted and torn between the demands of her work and her new daughter, is frustrated by Miles's inability to support her during her period of crisis. Miles, on the other hand, feels subtly undermined by the fact that his wife has become the big breadwinner and ' though he wouldn't admit it ' resentful of the way his new daughter has upended his life.
The race factor (maybe that should be capitalized: the Race Factor) only makes matters more complicated. Nina, long removed from her own ethnic heritage, decides to hire an older Korean nanny (Satya Lee) for Hannah, though it's Nina herself who may be getting the most out of the bargain, the way Mrs. Chae dotes on her family and stuffs her full of kimchee and japchae. Meanwhile the well-educated and relatively wealthy Miles deals with the awkwardness of being what Reggie (Ron Cephas Jones), a lifelong resident of the neighborhood, sensitively calls "the new nigger" on the block. Oh and by the way, did I mention that Miles was adopted by a white family and raised in an all-white suburb?
Rounding out the play is Eric (Clarke Thorell), Miles's adoptive brother, a charming ne'er-do-well struggling with the fact that his brother has grown up to become, well, a grown-up, and Kit (Johanna Day), Nina's frustrated business partner. The play's central action is set into motion when a rock comes flying through Nina and Miles's expensive new window, but the crashing projectile is just an aftershock of the more traumatic event: the arrival of Hannah, the little sun around whom the six adults orbit helplessly. It sounds complicated but then, have you been to Brooklyn lately?
I have. I live in Brooklyn, not too far from Clinton Hill, the neighborhood where Nina and Miles live. Every weekend, when I sit in Prospect Park (think Central Park, but less complicated) with my Sunday edition of the New York Times and my big hangover-concealing sunglasses, I look at all the beautiful, hip, multicultural parents with their handcrafted baby slings walking about and I think, How do they do it? Four years out of college and I'm only now starting to realize the sacrifices and compromises that lie in store for me.
I want to have a family someday, but how am I supposed to do that? I work in publishing, a decidedly non-lucrative field. How am I supposed to ever afford cribs, diapers, warm coats and shoes ' not to mention a kindergarten-to-college education someday? Forget money. How am I supposed to find the time for a family? I'm like a lot of girls I know, raised to pursue careers as hotly as any boyfriend. I work fulltime and I freelance on the side, neither of which I'm about to give up. Between my job, my friends, and my faraway family I fall into bed exhausted at the end of every day. I can barely find time for a boyfriend, but I'm supposed to have time for a kid in five or six years? I love my life and I've worked hard to get here. Sometimes I feel myself resenting the baby I don't even have yet.
Watching my namesake struggle with these same questions onstage, I was filled with a gnawing anxiety. Fuck, I thought. If Dr. Cristina Yang can't hack it, what the hell am I supposed to do?
"Sandra says this play is like birth control," Diana Son tells me one morning in the caf?at the Public. Son is currently pregnant with her second child, and as we talk she is carefully picking all the vegetables out of a takeout chicken soup the Public's press rep has thoughtfully brought her. She's telling me how nauseous she feels; she says it's a little like constantly being on a turbulent flight. "Last night I'm lying down on the couch in the dressing room and the girls, Sandra and Johanna, are like, 'Oh, how are you?' And I'm like, 'I'm fucking miserable.' And you can just see that they went like, 'I don't think I could do it.' And I thought, That's right! That's why I'm supposed to be stoic and silent. Because you scare women. Like, if women knew what it was like they wouldn't have children."
Son manages to remind me of all the Asian-American women I've ever loved or looked up to, all at once. She looks a bit like a softer, downtown version of Vera Wang, and she's smart and kind of frosty, just like Maya Lin. Her speech has the lilting cadence of likes and you knows that I recognize from the Korean girls I grew up with in California (despite the fact that Son grew up in Delaware and has lived most of her adult life in New York). I find myself desperately wanting her to like me. I suddenly want Diana Son to tell me how I'm supposed to make it all work.
Satellites is, in part, Son's response to that very question. The play came about three years ago when Son was having lunch with Sandra Oh, who had appeared in her 1998 play Stop Kiss, a big hit for the Public. Oh had since become a star (and a huge girl crush object for Asian women nationwide) with her feisty turns in Sideways and Grey's Anatomy. Son had been working as a scriptwriter for Law and Order: Criminal Intent, but Oh wanted to know when she was going to get back to the theater. Oh pointed out that Son hadn't written a play since her son was born a few years earlier. "She was surprised," Son tells me, "at how easy it was for me to put my creative work on the back burner." Oh thought that the devotion required from the theater ' as opposed to the punch-in, punch-out mentality of Son's television work ' might feel like a threat to her now that she had become so focused on being a mother. "And I thought, oh my God, that sounds so right, and I hadn't thought of it myself," Son says. "And I felt kind of liberated by that, and I thought, well, the solution is to write a play about that."
This is heartening, I think to myself. Isn't this how women will change the American cultural landscape? By incorporating our family lives into our work lives, reconciling them with one another rather than forcing ourselves to compartmentalize them?
But then I ask her how her adult friendships have changed since she's had her son. "I don't have any," she answers flatly. Uh-oh, I think.
Son brings up a crucial moment in the play, when Nina accuses her family of blaming her for the way Hannah has changed their lives. "Of course she's changed our lives," Nina sputters. "What was so fucking great about them anyway?"
"Like, what do I miss?" Son asks rhetorically about her pre-baby life. "Sleeping in?" she sneers faintly. "Taking the Sunday Times to Central Park and reading it with a glass of wine? I would so much rather be digging for worms with my son. Like, no question."
"What else am I going to be doing?" she continues. "Walking down the street, talking real estate with my adult friends? All adults do is complain. All my satisfying adult conversations are those in which we complain. About people, about society, politics, you know what I mean. And with a kid it's just all about discovery, and revelation, and delight."
I'm beginning to see it coming down the tunnel: the moment when I look back on my single New Yorker years, so precious to me now, and laugh them off like a seventh-grade haircut. But maybe someday I too will experience the "instant conversion" Son tells me about, when everything about my previous life falls away and I'm too preoccupied to miss it.
"It's so fucking otherworldly," Son says about pregnancy, in a tone most New Yorkers I know reserve for discussing braised scallops. "It's so profound. Four months of nausea is worth it for five months of just feeling the baby inside you, and knowing that you're doing this extraordinary, inexplicably miraculous thing." And then, just like that, our interview is over and Son is dialing up her doctor on her cell phone. I imagine that her thoughts are already back home, with her son, her husband, and her otherworldly life.
This is what I get for going to the theater and expecting to find an answer, I think. I walk out of the lobby and slowly make my way back to my office, one more baby-less morning behind me.

Chicago To LA on Route 66

Editor's Note: This is the second in a two-part series chronicling Loren Kent's drive down the old Route 66.
Oklahoma is the place where the Mother Road becomes a westward trail meeting great expanses of western deserts before climbing rugged mountains and reaching the Pacific Ocean. Seemingly a southern road from Chicago to Kansas ' It becomes a western road in Oklahoma.
Eastern Oklahoma is tornado country and home to people with a decidedly pointed sense of humor. It is the birthplace of Will Rogers and home to the Will Rogers Museum. It's also home to Route 66's famous Blue Whale Amusement Park.
Stopping for a moment in Catoosa, Okla. we were stunned by the sighting of a large blue whale beached in a pond near the side of the roadway. This was where generations of Americans were treated to a cool dip on hot summer afternoons ' in the days when your car windows provided the air conditioning. Today the park is a relic, but the Blue Whale is still fun to climb on and offers a great photo opportunity.
Further down the road in Arcadia, near Oklahoma City, Route 66 travelers will find the Old Round Barn. First built in 1898 by William Harrison Odor and his neighbors, the barn has been carefully restored by Luther Robinson and a group of volunteers known collectively as the over-the-hill gang.
Today, Wilbur Holbrook (an admitted member of the notorious gang) is sometimes available for tours. Holbrook explains that the barn is available for parties, weddings, meetings and reunions. He also explains that the original builders believed a round barn design would better withstand tornados. It seems to have worked for the first 108 years.
Oklahoma may be the driest, dustiest stretch of the Mother Road, but it's also the most colorful. My favorite story encountered on the trip occurred in Oklahoma: the great Indian uprising of 1959.
According to Tom Snyder, founder of the U.S. Route 66 Association, it was at the old Route 66 Bridge in Sayre that the great Indian uprising of 1959 is said to have occurred.
'The bridge itself had burned and was barricaded,' Snyder recalls in his book The Route 66 Traveler's Guide. 'But, as each out-of-state car slowed for the detour, Sayre high school students excitedly told the tourists to roll up their windows and head west as fast as possible because Indians had burned the bridge and were on the warpath.'
Snyder recounts that for the better part of a day, the Oklahoma Highway Patrol had its hands full stopping all the speeding cars headed for Texas.
In Texas, Route 66 runs closely with Interstate 40 through ghostly, wind-swept towns.
We reached Amarillo, Texas, just as the sun was setting beyond Cadillac Ranch. The ranch is famous for its long row of vintage Cadillacs that are buried fins-up in the Texas landscape.
Tumbleweeds and desert vistas flashed by the open window as we made tracks for Tucumcari, N.M. and found a hotel room under a flashy neon sign. The following morning we made the decision to follow the old, old road through the mountains to Santa Fe.
The old 'Santa Fe Loop' of Route 66 was bypassed in 1935, but we didn't have the heart to forgo the experience. It was a beautiful drive and it took all day.
The El Rancho Hotel in Gallup, N.M. proved to be an interesting distraction. Portraits of movie stars and politicians who slumbered there graced the walls. Humphrey Bogart, Jackie Cooper, Ronald Reagan, Allan Ladd and Jane Wyman were just a few of the faces at El Rancho.
Off the beaten path, a half-hour south of Route 66, we found New Mexico's Perpetual Ice Cave near the town of Grants. The ice wall inside the cave was first measured at more than 12 feet in 1929; today the wall has decreased to less than six feet and will someday disappear.
West of Navajo, Ariz., Route 66 travelers will encounter the entrance to Petrified Forest National Park and the great Painted Desert. Curious adventurers can take a 27-mile drive through the National Park entering an awesome primeval landscape. Trees here have been transformer over millions of years to crystallized quartz creating a fallen forest of stone.
The Painted Desert is another impressive miracle of nature and man. The colors provided by Mother Nature are unbelievable reds, yellows, greens, browns and blues; ruins from earlier cultures also blanket the park. At a site known as Newspaper Rock, you will find the artistry of humans dating back thousands of years.
We planned to reach Holbrook, Ariz., at nightfall, in time to procure a room at the world famous Wigwam Motel. 'Sleep In A Wigwam,' the sign reads. It's an experience many have enjoyed since 1950 when the Lewis family first opened the teepee village motel.
Current motel owners, John Lewis and his sister, Eleanor, maintain a clean, friendly and safe establishment. John took the time to explain, probably for the millionth time, the history of the motel and the sacred experiences shared by many travelers who have spent the night in a wigwam.
The design for the Wigwam Motel was first patented in 1936 when units were built in Kentucky and the Southeast. It was a tremendously fun experience, sleeping in a cement teepee.
John also recommended Joe and Aggie's Cafe and the Pow Wow Trading Post as sights to see and experience in Holbrook ' we were glad we took his advice.
If you ever plan to motor west, don't miss Holbrook. Sleep in a wigwam, eat tacos with green chilis at Joe and Aggie's Cafe and visit the Pow Wow Trading Post at night with its great neon sign blazing away. Holbrook is Americana along Route 66!
Further west, the Delgadillo brothers ran a barbershop and a hamburger stand in Seligman, Ariz. The brothers were responsible, more than anyone else, for the resurgence of Route 66 in Arizona that began in 1987.
Today, Angel Delgadillo still maintains his barbershop and Route 66 Visitor Center. Brother Juan passed away a few years ago, leaving the management of the Snow Cap Hamburger Stand to his family.
One last fandango in Arizona took us through a rough stretch of mountain landscape, along a very narrow, winding road to Oatman, Ariz., and its famous burros. The friendly burros roam the streets of Oatman (or I should say street) lovingly pestering tourists for carrots.
Be warned, Oatman is a tourist trap and it closes promptly at 4:30 in the afternoon. Go to Oatman for the adventure alone and enjoy the warm mountain landscape.
Three quarters of California's portion of Route 66 runs through the desert before reaching the Santa Monica Pier. The Bagdad Cafe is the perfect first stop in California ' and our final stop before reaching the Pacific Ocean.
The cafe is actually a post-Route 66-era establishment, opened in November 1995 by Andrea Pruett. Formerly the Sidewinder Cafe, Andrea renamed it after the motion picture Bagdad Cafe. Today, it's a little international cafe in the middle of the desert.
From shores of Lake Michigan to the great Pacific coast, America's Main Street served generation after generation. It remains a national treasure and living history lesson today, full of adventure and culture.
The future of Route 66 depends upon those Americans who travel and keep it alive.
Loren Kent is a member of the U.S. National Parks Foundation, Upstate New York Democratic Rural Conference and the International Association of Air Travel Couriers. An avid adventure traveler, he is a lifelong resident of Ellington.

A novel display

Counting the ways that he can display his baby's pictures, ZAM KARIM tries out a digital photo frame from Philips.
DON'T you wish your photo frame would allow you to swap photos easily 'C say, with just a touch of a button?
Well, here's one that can do just that plus store and rotate many pictures automatically to boot.
With the Philips Digital Photo Display (DPD), users can store up to eighty 3R size high quality VGA (640 x 480pixels) pictures in its 12MB of built-in memory.
Additionally, the device comes with two memory card slots that support the most popular formats in the market.
Pictures are immediately displayed once a memory card is slotted in. Fans of instant gratification can take joy in the frame's ability to view thumbnail images (up to eight pictures), fullscreen and slideshow photos they've just taken in either portrait or landscape mode.
To jazz things up, the DPD offers a few transition effects including fade, slide, scroll and 'snake.'
The device is powered by a rechargeable lithium-ion battery, which takes up to five hours to fully charge, after which you will get up to 50 minutes of viewing pleasure.
We wish the device would operate longer on battery because 50 minutes is hardly enough. In any case, you can leave it plugged in at the expense of it looking rather unsightly.
Mac-inspired
At first glance, the DPD looks like it came fresh out of Apple's R&D lab, what with its glass frame and polished white bezel.
In fact, the DPD resembles an iMac display if you remove the glass frame.
The frame has an adjustable (and removable) polished metal stand that lets you place the frame vertically or horizontally on a table. Unfortunately, you can't mount the DPD on a wall as it does not come with any hanging options.
There is no software to install as everything you need to do (language selection, deleting, copying, brightness adjustment, photo transition effects and frequency etc), can be done using the six buttons located at the back of the device.
It took me a bit of time to get used to the controls but at least I did not have to look back and forth (to the back where the buttons are and to the front to view the picture) when adjusting the settings, as each of the button's function will be mirrored on the exact reverse spot on the front screen. A brief description of the selected function will also appear at the bottom of the screen.
Annoyingly though, there is a slight delay when you press the buttons.
The DPD only recognises pictures in JPEG format. Once you hook it up to a PC, the DPD will be recognised as a USB drive, which means you can simply drag and drop images to and from the device.
Also, there is no need to worry about resizing the photos as the DPD is smart enough to automatically resize images to its native 720 x 480-pixel resolution.
If one or two memory cards are inserted, the device will immediately display the stored pictures. You can also upload any of the pictures to the built-in memory via the device navigation menu.
However, note that the photo rotation and slideshow orientation features are not supported for photos stored on memory cards or cameras because the device can only read images from such sources.
The DPD is really pricey for such a frivolous device, but let's be honest here 'C we may take a lot of photos with our digital cameras but how many of them are actually printed out and displayed?
Due to time and money constraints many of these photos will eventually get stuck in the PC prison, never to see the light of day.
With this in mind, a device such as the DPD comes in handy when you want to display your proud moments, which until now, were confined to limited viewing on a notebook, desktop PC or TV.
If you have the money to splurge, the DPD is a noteworthy addition to your mantelpiece or display table. Plus it's a great conversation piece too.
Pros: Sleek design; memory card slots; rechargeable battery; high quality 133dpi image display; PC-less operation.
Cons: Pricey; no wall mount; only displays images in 3R size; short battery life.

Fred Meyer files for CUP

As Homer Planning Commission packets circulated through town this week, Homer got its most detailed look yet at the plans and potential impacts of the proposed 66,000-square-foot Fred Meyer store.
Fred Meyer officially filed its application with the city several months ago, but the application, along with its required economic and traffic studies, was not released until this week. The planning commission takes up the application Wednesday starting at 6 p.m. at the Homer City Hall Cowles Council Chambers.
To the likely disappointment of many who have commented at past public meetings, the look of the store has not changed much since last winter's versions. While the majority of those present at the community meetings asked for more attention to the building's aesthetics, and possibly the return of the northeast-style design proposed in the first round of Fred Meyer store plans, the plans remain relatively boxy.
Too boxy, in fact, for the new city codes, which are getting their first effectiveness test with the Fred Meyer store. The city of Homer's planning department recommended the Planning Commission require the company to redesign the northern side of the building "to incorporate wall jogs or architectural elements creating a human-scale and roofline variation."
Fred Meyer's application defends its current design, which it says uses shifts in the vertical and horizontal planes to make up for not providing "drastic shifts every 60 feet."
The application points to the use of various textures and colors of concrete blocks to provide reliefs, shadow lines and architectural features.
"The textural and color variations of these materials provide the desired 'handicraft' quality appropriate for the Homer area," the application states. "The design incorporates niches to provide an artistic quality that animates the building. These niches are intended to be constructed with integral colored block in a pattern that is sensitive to the surrounding Homer community."
The building, as currently designed, will feature a primary entrance with a pitched roof facing west toward Main Street. The entryway will be sided with a composite siding intended to have the same visual qualities of wood, the store said. A secondary gabled roof area breaks up the building on the southern side, and provides an overhang for the drive-up pharmacy window planned on that side of the building. Roofing material on the gabled areas will be forest green, the permit said, with the main building being built in concrete blocks colored "natural, sandstone and charcoal."
City staff noted, however, that the plans do not take into account the eventual visibility of the unadorned northern side of the building from the proposed Town Center development, which has long been planned for Homer's large, undeveloped rectangle of land west of Main Street between Pioneer Avenue and the Sterling Highway. The city owns land in the area, and has talked about building a new city hall there. Other plans incorporate some park and trails areas in the land.
The latest plans do not include either a gas station or a liquor store, both of which have been proposed in earlier renditions.
Economic impacts varied
Among the requirements of the city's new codes pertaining to large-store development is an economic impact study of the proposed development. Conducted by Civic Economics of Illinois, the study had good news and bad news. The good news was that supply falls more than $9 million short of demand in Homer in the general merchandise sector. The bad news is that the market for groceries is pretty much all tapped out, and with the proposed Fred Meyer store planning to devote 44,000 square feet of its store to groceries and 13,000 to general merchandise, something is likely to give.
"In essence, this analysis reveals that there is substantial room in the Homer marketplace for new general merchandise offerings, while local grocery and drug store needs are largely met locally," wrote Matt Cunningham, partner for Civic Economics, who authored the report.
According to the report, most of the general merchandise sales of the proposed stores will have little impact on existing retailers. Fred Meyer, which is owned by Kroger and headquartered in Cincinatti, Ohio, reported it would devote 8,000 square feet to clothing, 2,000 to electronics and photo processing, 500 square feet to house wares and 500 square feet to books and magazines. Additionally, the store plans to carry a limited selection of furniture, toys and hardware.
"Officials from Kroger have indicated that they intend to offer general merchandise that currently has a limited selection in Homer to avoid competition with local merchants," Cunningham noted.
While general-merchandise stores would be less impacted by the introduction of the store, according to the report, grocery stores already serving the Homer population would feel the crunch right away, Cunningham surmised.
"This new Fred Meyer in Homer would immediately become the dominant retail destination in the Homer regional trade area," the report states. "The Homer Safeway will be severely challenged by the nearby competition."
Safeway, which is in the final stages of a complete-store remodel, did not fare well in the study's comparison of store prices, either.
Civic Economics went shopping at four of Homer's stores: Safeway, Kachemak Wholesale, Save-U-More and Ulmer's. The study also visited the Fred Meyer stores in Palmer, Soldotna and Anchorage, as well as the Seward Safeway, for a little price comparison.
The study found that Homer and Seward's baskets of "essential goods" cost 1.6 times the amount of the national average, while the Soldotna Fred Meyer was .94 percent below that average, beating out even the Anchorage store's prices.
The study noted, however, that if one comparison-shopped at all the local stores, grocery prices come closer to the norm in Homer.
"For savvy local shoppers, Homer offers good value close to home," Cunningham wrote, noting that Safeway had several of the best prices in the community during the comparison shop.
Still, the bottom line is that since the Homer grocery market is saturated already, Fred Meyer won't, for the most part, be creating new economic opportunities, but borrowing them from other grocery stores.
While the company predicts a Homer store will "cannibalize" 5 percent ($1.75 million) of the Soldotna Fred Meyer's sales, and the general merchandise sales will generate new income for the area, the remaining sales will not be new ones for the Homer area.
That means less jobs and less sales tax for the community, the study noted. Cunningham estimated that of the 120 workers Fred Meyer expects to employ (half of those full-time), only 17 to 33 would be added to the economy by the new store. The study also estimated the store would bring in between $189,000 to $303,000 in additional sales tax, as well as $74,600 in property tax on its estimated $5.8 million development.
Traffic and trees
The proposed Fred Meyer would have two entrances, as it is currently designed. One way to the store would be off Main Street, while the other would come from a new road running parallel to Main Street starting from the Sterling Highway in the vicinity of the Alaska Islands and Ocean Visitor Center staff parking lot.
The traffic study, conducted by Northland Systems Engineering, found that the site plan meets the objectives of the Homer Community Design Manual from a pedestrian walkway and roads-perspective.
The study authors recommended an all-way stop be installed at the intersection of Main Street and the new Fred Meyer access road, called Fred Meyer Drive.
The study also suggested Hazel Avenue, which runs east to west above the store, be extended as soon as possible to allow another access point to the area. City staff also suggested this be promoted, though the city noted Fred Meyer had no responsibility to create the roadway.
As for the much-loved area's trees, the end is in sight if the Fred Meyer plan is approved. Several years ago when Cook Inlet Regional Inc. fired up the chain saws, people flocked to the area to protest the demise of the former site of KBBI's Concert on the Lawn. But Fred Meyer planners said the 30-foot decline from one end of the property to the other must be flattened out, resulting in the complete clearing of the land. In all, more than 200 trees will be removed, with 285 new trees going up in buffers along the roads.
The new city codes require the store to incorporate some type of common area into the design plans, ranging from a pocket park to a balcony. Fred Meyer chose a plaza-type design, creating two outdoor sitting areas at the entrance of the store. The areas will include tables and some landscape plantings on scored concrete. The designers also noted the pedestrian walkways that border the store would be used as pocket parks. To the north of the store, a grassy area labeled "future development" was also delineated in the plans.
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RISD grads reign

Alumna Kara Walker urges graduates to embrace struggle and discomfort as artists
PROVIDENCE -- Carolina T. Diaz strutted across the graduation stage in a multicolored striped bikini, holding a white poster-board arrow over her head like a ring girl at a boxing match announcing the next round of fighting.
All smiles, the interior-architecture major waved to the cheering crowd before accepting her degree.
A constant drizzle punctuated by strong rain did not cancel the Rhode Island School of Design's 123rd commencement exercises, held in a parking lot on South Water Street yesterday.
But the weather slightly dampened the Mardi Gras-like atmosphere that has defined past RISD graduations. Yesterday, a majority of the 133 master's degree graduates and 482 bachelor's degree recipients opted for the traditional cap and gown.
A contingent of female apparel-design majors in dresses covered themselves in ponchos before casting them aside for a final sashay across the graduation stage.
They walked like models on a hazardous runway, savoring their final curtain call while watching each step of their high heels as they landed on the rain-slicked stage.
Graduate students in landscape architecture spruced up their caps with a square of Astro-turf.
One student affixed a tall white spire with blue trim on her cap, while another wore a bird's nest on hers.
"My parents are thrilled," said Aimee R. Butterfield, an illustration major, of her graduation attire. "They know we're all kind of wacky. It's part of the tradition."
Butterfield was one of three students dressed from head to toe as mariachis.
"We're the Three Amigos," she said, referring to the 1986 film featuring Steve Martin, Chevy Chase and Martin Short. "We spent the last two days making them. I haven't slept at all."
Internationally acclaimed artist and RISD alumna Kara Walker told graduates to embrace struggle and discomfort as a "rite of passage" in an artist's life.
Walker, who graduated from RISD with a master's degree in painting and printmaking, currently has a Hurricane Katrina-inspired exhibition at the Metropolitan Museum of Art in New York called "After the Deluge."
She was one of five honorary degree recipients at yesterday's ceremony.
The phrase "starving artists," Walker said, meant more than being broke and hungry.
It was the ability of the artists "to feel, to reprocess and regurgitate what we know," she said.
"It is our need to devour," Walker said. "It is the sound of our own stomachs growling."
Lillian F. Kingery, a printmaking major, said that four years at RISD gave her technical skills that she could not have learned on her own.
"Being here broke down everything I thought I knew about drawing," she said. "It also gave me a strong work ethic."
Kingery planned to return to her home state of Oregon after graduation.
"I met a lot of people and formed a lot of professional contacts. My drawing skill improved. It is the best decision I ever made," said Stephen Weed, an illustration major who hopes to land a job in Providence.
Parents sat in the rain for more than two hours, trying to keep dry in university-issued white ponchos.
Standing behind the stage and observing as graduates ascended the stage, David Leeco commented that this year's graduates were not as "expressive" as past classes.
Lecco and his wife, Peg, were waiting to snap a photo of Shauna M. Kirkland, a jewelry major and the girlfriend of their son, Andrew.
When his younger brother graduated from the school in 1984, Leeco remembered, his brother walked onstage with a tie-dyed cap and gown.
Some parents grumbled that crowd control by RISD public safety officers was, at times, heavy handed.
All along the fringes of the parking lot, families blocking exit routes were asked to step aside, preventing them from seeing much of the ceremonies.
"They're not too happy about it, and they let us know it. But there are fire-safety concerns," Capt. Ken Bilodeau, of the RISD public safety department, said.
Other parents, such as Colorado resident Ken Martin, stood on nearby rooftops to get the perfect shot of their child accepting a degree.
From his vantage point over a Thai restaurant, Martin had a clear line of sight to film his daughter, Lindsay, a film and video major, cross the stage.
Rita Lussier: Graduates, welcome to the wide world of learning

Review: Fujifilm FinePix A600 6.3 MP Digital Camera

The digital camera market is becoming flooded with so many models and features that consumers face a dizzying array of choices. If you're looking for some clarity, you might want to wait until June 20. That's the day Fujifilm releases the FinePix A600, a 6.3-megapixel entry-level model that stands out from the crowded field.
Look and Feel
The two-tone metallic finish on the A600 has an unusually attractive look. The camera is light and compact at 5.1 ounces, measuring 3.7 x 1.2 x 2.4 inches. Don't let the small shape give you the wrong impression, though. The A600 takes awesome pictures.
Convenience counts, especially with small cameras. The A600 has two design factors that make it an ideal choice for novices. One is the 2.4-inch, high-resolution (112,000 pixels) LCD with antiglare coating. The treatment makes it much easier to view pictures outdoors without having to shield the LCD from direct sunlight.
The other deal-maker is the power supply. The A600 runs on two standard AA batteries, which means you don't have to bring a special charger along when you take your camera somewhere. When the charge runs down, just swap out the batteries.
Features
Fujifilm's engineers redesigned the controls for this latest arrival to its "A" series of entry-level models. The result is a balanced camera that you can hold and adjust with only one hand.
The A600 has 12 MB of built-in storage, enough for about seven pictures, which could come in handy if you find yourself without a memory card. In addition to taking photos, the A600 captures motion at 10 frames per second with monaural, or single-channel, sound.
Other noteworthy features include the ability to connect the A600 to a TV monitor through the included video cable.
Fujifilm's Image Sensor Technology plays a big part in how the A600 produces high-quality digital pictures. The sensor enhances vertical and horizontal resolution, improves color reproduction, widens dynamic range, and increases signal-to-noise ratios and light sensitivities.
Performance
While the A600 is inexpensive, it produces sophisticated images and demonstrates unusual sensitivity -- up to ISO 400 at full resolution. At 6.3 megapixels, there is little to go wrong in rendering a photographic subject.
Nonetheless, Fujifilm has designed enough reliability and lens savvy into the A600 to make it very difficult to get anything but pleasing pictures.
The motorized 3x optical zoom performs well. Combined with a 6.3x digital zoom, the A600 covers an 18.9x total zoom range.
The flip of a dial allows selection of portrait, landscape, sport, and night settings. Additional settings include an enhanced macro mode and slow synchro flash mode. (continued...)

Artful Shopper: This not-so-old house

Our house turned 50 years old in 2004. My husband and I celebrated quietly; the same way we celebrated our own 50th birthdays.
We'd be the first to say that 50 is not all that old. But it's a significant architectural milestone. Especially these days when, overnight, whole cornfields are transformed into housing developments.
Once upon a time, our house was part of a new subdivision, too. The original flier says to call Realtor Charles H. Gill to see "Orchard Ridge: where the woodlands meet the city." It goes on to note that "the rolling countryside of Orchard Ridge provides vistas of valleys and hills and you drive to the office without fighting traffic congestion."
The map on the reverse side shows the proposed "traffic-free Beltline Boulevard Route" that would get you downtown in 12 minutes. In truth, a number years went by before the Beltline became a reality for west siders, or anyone else. And those vistas are now of a woodsy neighborhood.
Reading this flier is as informative and exciting as looking at any historic document. Yes, historic document.
Americans are so drawn to the newest and the latest, in housing or anything else, that we tend to think historic homes must have an ancient pedigree and belong to other people in other places, whether England or New England.
But if your house passes the simple test of time, it's mere longevity becomes noteworthy. Our house is adjacent to neighborhoods of a similar age, including Hill Farms, which will celebrate its 50th birthday with a tour of houses and gardens tomorrow.
So, even if your house was built yesterday, start compiling its documentary history today.
? What to save: We were extremely fortunate that the couple who built our house had all the manuals and maintenance bills saved and filed.
Those were helpful but what we've treasured, and will pass on when it's time to sell the house, are the documents that fix the house in its time and place. Those include the Orchard Ridge development flier as well as a clipping from Good Housekeeping magazine that shows the floor plan of the house. Blueprints or any kind of original house plans are precious and can even be framed as art.
? The great outdoors: We also have landscape architect Arthur Kreft's bill and list of plants as well as a plan that helped us identify all the trees and shrubs on the property (50 trees and shrubs cost $149.85). We could also clearly see what a 50-year-old apple tree or honey locust or arborvitae looks like, which has influenced our landscaping plans.
Keep any bills, landscape drawings, nursery tags from major trees or shrubs you plant and all the info from the landscape architect or firm that aids you in the design, planting or maintenance of your property. We're keeping records (including photos) of all of our landscaping changes to pass on.
? Photo documentation: Take photos of the interior, exterior and landscaping when you move in, regardless of the age of your house. You'll be surprised at how quickly things can change -- you add a deck, a major tree comes down in a storm -- so don't wait.
If you have a landscaping feature that is a major selling point, snap a picture, in case you are selling your house in the winter.
Consider taking a picture of your street to document the way it changes as well. When our neighbors moved in, Hammersley Road was a gravel road, not the speedway it is today.
Since technology will change, consider making archival quality prints to save as a historical record. That way you won't have everything stored in a system that is no longer functional.
? House portrait: Your house doesn't have to be fancy and you don't have to be rich to consider having its "portrait" done. There are folks who specialize in such things but you can also trying doing it yourself.
Think about a tiny patchwork portrait like the work of British artist Janet Boulton, or an embroidered image like you see on historic samplers. It can be a colorful abstract collage a la David Hockney or a restrained black and white drawing.
We had a colored pencil portrait of our house done by Carter Todd, the Madison "outsider artist" who died at age 57 in 2004. Carter came to see the house and stroll through the garden and then went home to create his artwork. It's a wonderful picture because Carter put in everything that was noteworthy about the property. He clearly saw what we see: big windows to view the garden, a bubbling stream and pond, stepping stones, a bridge and a stone lantern from Japan.
Carter put everything on the same "picture plane," which means that the circular garden in the front yard looks as though it's floating in the sky above the house. That charming image led to the front garden being known as "the moon garden."
So celebrate the age of your house, whatever it may be, and help the next owner appreciate all that's come before by keeping a record of your tenure. Those records have given us more of a sense of Madison's past than living in our 1899 Queen Anne on the isthmus ever did. That was a lovely old house, but this is the one with the history.