Share with the world. Windows startup programs - Database search. My Screen Recording with ScreenRecorder Record your phone screen game plays create tutorials. Share IM conversations favorite Facebook moments, recipes, pics, maps, Tweets what you' re.
★ Now with BBM™! Adam sallıyor ya tutarsa diye.
In the game Mario is constantly moving to the right the player can make him jump by tapping the screen. The days when you had to buy a dedicated gaming rig and spend a load of cash for a quality gaming experience are long gone. About Boost Mobile. 5 - - Dec 12 Sharing Emergency Access.
Lesson Plans - All Lessons ¿ Que' Ttiempo Hace Allí? The game features four modes: World Tour Kingdom Builder, the main game mode where players go through 6 different worlds to rescue Princess Peach where players can customize their own kingdom with.
A página Softwares foi especialmente desenvolvida pelo TechTudo para agrupar as principais categorias de download do mercado, como Áudio e. Released on September 11 it is credited with popularizing the use of microprocessor- based hardware , games contained on ROM cartridges, 1977 a format first used with the Fairchild Channel F in 1976. Ad Muncher makes browsing faster After blocking ads on the 50 most popular web sites the 28 that previously had advertising loaded 48% faster with 39% less content downloaded. The Atari 2600 Atari VCS until November 1982, is a home video game console from Atari, originally sold as the Atari Video Computer System Inc.
13 megapixel still images for sharp, colorful pictures. Download screen muncher with no app world. ★ The world- famous Screen Muncher™ app lets you " Munch" your BlackBerry® screen save it for FREE here: Munch your BlackBerry screen , capture it as an image to share , share through BBM, capture it as an image to post directly to Twitter, email keep fo. Bir spiker eşliğinde izlenen maç.
CNET Download - Find the latest free software Mac, downloads, iOS, apps, reviews for Windows Android. * Miscellaneous fixes in RoboForm Installer.
RoboForm Version 8. Boost Mobile redefines value for wireless consumers with its Monthly Unlimited with Shrinkage no- contract service where the longer you stay the less you pay with on- time payments for unlimited voice web, text messaging, e- mail, IM calls to 411. Enjoy millions of the latest Android apps movies, music, games, TV, books magazines & more. This contrasts with the older model of having. Screen Muncher now lets you share memorable in- app moments with all your Facebook friends! © - Download ANDROID APK GAMES & APPS for Windows phone windows phone 7, windows phone 8 htc windows phone. In this course participants learn all about what makes a hologram a hologram even make their own!
Beyazlar selçuk Coats of arms : sells heraldry of surnames , Heraldry , zenciler ealogy names, coats of arms with family names genealogy historials. Full 1080p HD video at 30fps or 720p at 60fps. USB Cable connection allows for downloading direct to your computer. ) Subject( s) : Foreign Language ( Grade 3 - Grade 5) Description: Students complete a chart by using Spanish to obtain weather information on cities around the world and report their findings to.
The Wayback Machine - Archived Websites If a favorite website disappears you can search for it here for free! World Screen is the leading source of information for the international media business.
After you download this is a free tool for creating a embed photo slideshow from your Picasa Web album, if you need one online photo slideshow, use PC Screen Capture, we recommend the picasa slideshow it is easy to use very much. Anytime anywhere across your devices. DC Digital Camera pdf manual download.
If you' re frustrated with the time it takes your Windows 10/ 8/ 7/ Vista/ XP PC to boot then it seems to be running slowly you may have too many programs running at start- up - you have come to the right place to identify them. Super Mario Run is an automatic runner platformer game for mobile devices. Download screen muncher with no app world.
Hands on Holography is a course offered during MIT' s Independent Activities Period ( IAP). All contents belong to owners, distributed by Download Android APK GAMES & APPS for Windows phone. Download screen muncher with no app world.
Download recording app from - http: /. Chedjou çalıma girdi topu kaybetti ama arkadan geldi chedjou topu kapmayı başardı ve chedjou' nun hatasını telafi etti. ( Authored by Rosalind Mathews. 2 chedjou ile oynuyor gs defansta edit: selçuk korneri kullanıyor diyor bir bakıyorsunuz korneği kullanan josue.
View and Download Sealife DC instruction manual online. Spokeo searches thousands of sources across 12 billion public records to look up the most recent owner of that number whether it' s a landline , the location, cell phone number even the carrier if available.
Some aspects of parenting toddlers but others, feeding, pre- school education, are new , potty training , such as behaviour, development , you' ve been through with your baby, such as sleep can pose a bit of a challenge. Thanks to the iPhone ( iPod touch) , the App Store you can get an. Wirelessly download share pictures/ videos to your smart phone , playback , tablet with SeaLife Micro Cam app for preview camera settings.
Harry Putter is an exciting crazy golf game, utilizing our custom Ray Casting engine to bring you a convincing and fun 3D playing environment. How to Save a Screenshot.
Screenshots have lots of uses, and most devices allow you to take them with quick shortcuts.
Screenshots can be used for troubleshooting, instruction, reference, or for showing off. The process for taking.
Hammer Brothers return in Super Mario Bros. : The Lost Levels, known in Japan as Super Mario Bros. Here, they are more common than they are in Super Mario Bros.
While they remained unchanged for the first six worlds of the game, starting at World 7, the Hammer Brothers will always pursue Mario and Luigi, instead of staying at one location. A few even appear in certain underwater levels.
Permanently sealed – No waterproof doors or O- rings to maintain.


text:
Wednesday TV: Franklin & Bash S.3 Premiere, Royal Pains, Necessary Roughness & More
by Jason the TVaholic on June 19, 2013
On cable tonight, Comedy Central has the seventh summer season premiere of Futurama, E! has the series premiere of The Soup Investigates, Lifetime has a John Walsh Investigates: Abduction in the Heartland special, Spike TV has the series premiere of Fight Master, TNT has the third season premiere of Franklin & Bash, truTV has the 11th season finale of Operation Repo, and TV Land has the fourth summer season premiere of Hot in Cleveland and the third season premiere of The Exes.
In late night, TV Land has the second season premiere of The Soul Man.
Still a few days left to enter our Wedding Band Season 1 DVD giveaway.
Melissa & Joey (ABC Family): New. Mel starts dating a friend from her childhood and Joe begins to think that they may be related. A previous episode plays later. The previous two episodes replay right before.
Baby Daddy (ABC Family): New. Danny starts seeing a psychologist to find out why his hockey game is waning. Riley hopes that Danny will make a move. A previous episode plays right after. The previous two episodes replay earlier this evening.
Royal Pains (USA Network): New. Hank tries to help a cop with a teenage daughter that is a handful. HankMed gets a big offer. Hank finds out some information about Dmitri. Runs 61 minutes. Plays again later. Last week's episode, "Hankwatch," replays earlier this morning. Fun episode tonight with some interesting developments.
Necessary Roughness (USA Network): New. Dani is tasked with helping a former child star that is trying to transition into an adult acting career. TK tries to continue revamping his image. Starts a minute after the hour and runs 61 minutes. Plays again later. Last week's episode, "Ch-Ch-Changes," replays earlier this morning. An interesting bigger storyline is revealed tonight.
Franklin & Bash (TNT): Season Premiere. Two episodes play. Stanton brings one someone new to help run the firm. Peter and Jared take the case of a famous magician. Pindar causes some problems at the house. Both Play again later. I like the addition of Heather Locklear and how she doesn't seem to like Peter and Jared, but there is an aspect of that doesn't make sense given how last season ended. But, I may be just expecting too much from a fun and enjoyable lawyer show.
Twisted (ABC Family): Repeat. Last night's episode, "Grief Is a Five-Letter Word," replays.
ESPN has an MLB game tonight with the Los Angeles Dodgers at the New York Yankees.
MLB Network has a game today.
Mad Men (AMC): Repeat. This past Sunday's episode, "The Quality of Mercy," replays.
Wednesday TV Marathons
Castle (TNT): Five episodes.
Flashpoint (ION): Six episodes tonight.
NCIS (USA Network): Has 13 episodes.
Sanford and Son (TV One): Has 12 episodes early.
Tagged as: franklin & bash, necessary roughness, royal pains
Previous post: Tuesday TV: Pretty Little Liars, Twisted, Awkward. Special & More
Next post: Thursday TV: Burn Notice, Graceland, Hannibal S.1 Finale & More
My Take on TV

redpajama_set_name: RedPajamaCommonCrawl


text:
Home >> the names and formulae of iron ore
the names and formulae of iron ore
Industrial Minerals, Ores, and Gems - Science Olympiad
an ore of tin (Mineral). Part A: The table lists several ores of metals and their chemical formulas. Identify the metal that each mineral ore is a source of by looking at the formula. You can use your ESRT to find the symbol for each element. Write the name of the metal in the appropriate column.
what is the chemical name of the main compound found in ...
· iron and steel – chemguide: helping you to understand Chemistry …. The two equations for the reduction of the ore on this page are for haematite. … hence its name.However, … To the Inorganic Chemistry menu . . . To Main Menu … »More detailed
Chemical Name Of Iron Ore Rock
chemical name iron ore Quarry Equipment. what is the chemical name for iron ore ask . the chemical names of iron ores are hematite which is the main ore and …
Hematite | Fe2O3 - PubChem
Iron ore is a mineral substance which, when heated in the presence of a reductant, will yield metallic iron (Fe). It almost always consists of iron oxides, the primary forms of which are magnetite (Fe 3 O 4 ) and hematite (Fe 2 O 3 ). Iron ore is the source of primary iron for the world's iron and steel industries. It is therefore essential for ...
Types of Iron Ore: Hematite vs. Magnetite | Investing News ...
Types of iron ore: Hematite ore. Hematite ore is a direct-shipping ore with naturally high iron content. Because of its high iron content, hematite ore must undergo only a simple crushing ...
Different Types of Iron Ore - Mineral Processing & Metallurgy
Hematite is the most important iron ore. The iron content of the pure minerals is as follows: Ankerite is a carbonate of lime, magnesia, manganese, and iron. It is of valuable composition, carries only 14 or 15% of iron, and is used more for its lime and magnesia as a flux than for its iron-content.
name and formula of iron ore - bella-italia-camping.nl
the names and formulae of iron ore - crushergoogle. name and formula of iron ore - Crusher South Africa chemical equations related to mining iron what is the chemical formula for the iron process in minning . More; Different Types Of Iron Ore And Its Chemical Formula.
chemical formula for one ore of iron ngbmw.com
the chemical formula for one ore of iron - MINING …. Dictionary of chemical formulas – Wikipedia, the free encyclopedia. This is a list of common chemical compounds with chemical formulas and CAS numbers, indexed by ...
What is Iron Ore? (with pictures)
· Iron ore is any rock or mineral from which iron can economically be extracted. It comes in a variety of colors, including dark gray, bright yellow, deep purple, and rusty red. The iron comes in the form of iron oxides such as magnetite, hematite, limonite, goethite, or siderite.Economically viable forms of ore contain between 25% and 60% iron.
chemical name formula of iron ore
Popular Searches . different types of iron ore and its chemical formula- chemical name formula of iron ore,Iron ore is a compound made of iron and oxygen Fe2O3 is the chemical formula for itits melting point is also very high,it is reduced with the use of carbon to form pig iron which gets converted to steel/castironiron ore with chemical formula - crusherasia1 name: Extraction of iron ...
Iron Production - Chemistry LibreTexts
Iron ore is usually a mixture of iron and vast quantities of impurities such as sand and clay referred to as gangue. The iron found in iron ores are found in the form of iron oxides. As a result of these impurities, iron must be first separated from the gangue and then converted to pure iron.
What Is the Chemical Formula for Iron? | Reference.com
Iron has the chemical formula Fe from its Latin name, ferrum. Its atomic number is 26, and its molar mass is 55.845 grams per mole. It has a metallic gray color and is attracted to magnets. ... What Is the Chemical Formula for Iron? What Is the Chemical Formula for Iron? Iron has the chemical formula Fe from its Latin name…
Chemical Formula For Iron Ore Ghana Chemical Formula For Iron Ore Ghana Iron ore, the names and formulae of iron ore chemical name of iron ore rock . Live Chat; Iron Ore - Mining Artifacts. Hematite is also known as "natural ore" The name refers to the, Iron ore is the raw, the grade of the iron within the banded iron formation host rock ...
chemical name iron ore
chemical formula for one ore of iron -, What Is the Chemical Name for Iron Ore - Ask Iron ore is any rock or mineral from which iron can be extracted [More] Pyrite - Wikipedia The mineral pyrite, or iron pyrite, also known as fool''s gold, is an iron sulfide with the chemical formula Fe S 2 …
What Is the Chemical Formula for Iron (III) Oxide ...
The chemical formula for iron (III) oxide is Fe2O3. This compound is also called hematite, iron ore and specularite. Hematite is a mineral naturally found on earth and appears as a gray or reddish compound. Iron (III) oxide results naturally when iron and oxygen come into contact at high …
Common Compounds of Iron Fe -- EndMemo
Common Compounds of Iron Fe [Fe +2, Fe +3]. Compound Name. Formula
Chemical Formula For Iron Ore Ghana Chemical Formula For Iron Ore Ghana Iron ore, the names and formulae of iron ore chemical name of iron ore rock . Live Chat; Iron Ore - Mining Artifacts. Hematite is also known as "natural ore" The name refers to the, Iron ore is the raw, the grade of the iron within the banded iron …
iron | Element, Occurrence, & Compounds | Britannica.com
Iron is also found combined with other elements in hundreds of minerals; of greatest importance as iron ore are hematite (ferric oxide, Fe 2 O 3), magnetite (triiron tetroxide, Fe 3 O 4), limonite (hydrated ferric oxide hydroxide, FeO(OH)∙nH 2 O), and siderite (ferrous carbonate, FeCO 3). Igneous rocks average about 5 percent iron content.
What is the chemical equation for making iron from its ore ...
· For the best answers, search on this site https://shorturl.im/ax7yy Most of this is not chemical reactions as much as physical processes. The preparation of Coke uses heat to drive off all of the volatile compounds in the coal, leaving just elemental Carbon.
What is the formula of iron? - Quora
Iron is a chemical element with symbol Fe (from Latin: ferrum) and atomic number 26. It is a metal in the first transition series. It is by mass the most common element on …
(a) Name the chief ore of iron. Write its formula. (b) How ...
Answer: The chief ore of iron is hematite, and it is an oxide. The oxide of iron is also a mineral and has the formula Fe2O3. The extraction process of iron (Fe) is done in part by part, and they are more concentration, roasting or calculations, or reduction through the process and finally ore concentration.
What is the chemical formula for iron ore? | Study.com
There are many different minerals that can be considered to be Iron ore, and they have different chemical formulas. Magnetite has the chemical formula Fe3O4. Hematite has the formula Fe2O3.
list of mineral processing formulas for iron ore process
chemical beneficiation of iron ore crusher- list of mineral processing formulas for iron ore process,chemical beneficiation of iron ore crusher Shanghai Shibang Machine Co, Ltd is a high technology, engineering group We are specializing in the researchcommon name for iron oreCommon Minerals and Name The name iron is from an Old English word isaern which itself can be list of mineral ...
names and formula of iron ores
Chemical Engineering Journal On Equipment Cost Index With the chemical formula Fe 3 O 4 it is one of the oxides of iron. . The chemical IUPAC name is iron . iron ore chemical formula sand washing machine. iron ore chemical formula Iron WikipediaIron is a chemical element with symbol Fe from Latin ferrum and atomic number 26 It is a .
names and formula of iron ore
names and formula of iron ore Direct-shipping iron-ore (DSO) deposits (typically composed of hematite) are currently exploited on all continents except Antarctica, with the largest intensity in South America, Australia and Asia. Most large hematite iron-ore deposits are sourced from altered banded iron .
Chemistry Unit Review Review 11.1 Flashcards | Quizlet
Chemistry Unit Review Review 11.1. STUDY. ... What is an ore? An ore is a naturally occurring material containing a metal in sufficient concentration to make extraction profitable. ... Give names and formulas for each of the following: Caustic soda Soda ash. Caustic soda is also called sodium hydroxide …
What is the ore name of Aluminium and its ore formula ...
· Aluminium ore is called Bauxite. Bauxite is a rock which may consist of the minerals gibbsite (Al2O3), boehmite (γ-AlO(OH)) or diaspore (α-AlO(OH)) in varying proportions plus some iron minerals. It is formed by deep lateritic weathering of aluminous rocks.
Iron ore - Wikipedia
chemical formula for iron ore
Metallic iron is most commonly produced from the smelting of iron ore to produce pig iron. . Name. Formula % Fe. . Iron carbonyl as a catalyser of many chemical . common chemical formula for iron ore - Dictionary of chemical formulas - Wikipedia, the free encyclopedia . This is a list of common chemical compounds with chemical formulas and CAS ...
Iron and aluminium - Revision 4 - GCSE Chemistry (Single ...
Iron is extracted from iron ore. in a huge container called a blast furnace. Iron ores such as haematite contain iron(III) oxide, Fe 2 O 3 . The oxygen must be removed from the iron(III) oxide in ...
Characterization of Chemical Composition and ...
The study aimed at investigating the chemical composition and microstructure of raw iron ore from the deposits in Muko area (south-western Uganda). The quality of this iron ore was evaluated to establish its suitability to serve as a raw material for iron production. Samples were taken from the six hills of Muko ore …
Iron ore is a mineral substance which, when heated in the presence of a reductant, will yield metallic iron (Fe). It almost always consists of iron oxides, the primary forms of which are magnetite (Fe 3 O 4 ) and hematite (Fe 2 O 3 ). Iron ore is the source of primary iron for the world's iron and steel industries. It …


Digital India is the buzz word everywhere since Prime Minister Modi's visit to the United States; not everyone understands what it meant but everyone was talking about it. The added impetus to this buzz word came from the CEO of Facebook, Mark Zuckerberg who in support of Digital India, changed his display picture with the Indian tricolor and also invited everyone to join in.
The excitement and the knee jerk reaction of changing DP was soon a part of controversies surrounding the internet.org now known as Free Basics by Facebook. An initiative that aims at bringing together leaders, non-profits not for profit and local communities to connect the two-thirds of the world that doesn't have internet access.
However, internet.org provides access to a select number of free websites. Basically, people across the world will be able to access only those websites that Facebook wants them to see. Owing to this issue several internet companies withdrew their support from the initiative.
The primary reason behind this step was that internet.org is not compatible with the principle of Net Neutrality, that is – easy and equal access to all websites.
Taking from the innovation and connectivity lab that internet.org has to offer, here's another product Ediffy, which in an innovative way acts as an interface between rural students and teachers. Ediffy is a digital communication tool which is capable of serving the rural and urban population and is much in-line with Modi's vision of infusing digitization in the domain of education.
"With Ediffy we are touching a subset of the audience with digital communication. Additionally, the larger goal of Ediffy is that of building a huge ecosystem of teachers and students in India. This would be a platform for sharing knowledge and information," added Gandhi.
Internet.org provides free access to websites including travel, maternal health, jobs, news sports and local government information. Facebook has partnered with Indian telecom giant Reliance Communications and plans to provide free access to 50 websites. This will aid Reliance in acquiring a large number of subscribers who will in the long run start paying for gaining access to the rest of the world wide web once they get hooked to the free service.
Considering the opposition which Facebook's Internet.org is facing in India the townhall at Facebook would have been an apt platform to put the ambiguity and uncertainty looming around it to rest.
According to a research report by the Internet and Mobile Association of India (IAMAI) and consultancy firm KPMG, with more than 300 million Internet users, India has the second-largest Internet user base in the world. But the Internet penetration at about 19% is low.
Statistics also show that Facebook already has about 135 million Internet users in India (1.44 billion global users as on 31 March), most accessing Facebook on their mobiles.
Being on Facebook can be overwhelming for many considering its power to connect you with everyone. It has pushed many users to jump on the bandwagon of sharing, liking and commenting on Facebook posts. While some agree that internet.org will give #DigitalIndia the added impetus there are others who are skeptical and cynical about it.
Nonetheless for tech startups like us this is an exciting time to be in. Given Facebook's clout we are all in the wait and watch mode to know if we need to get back to basics or no.
First Economy Pvt. Ltd. is right up with prominent IT solution providers, on a mission to make it easy for enterprises to embrace the digital landscapes.We hold an upper hand in media buying in the industry. First Economy aims at revolutionizing the way digital buying activities are carried out in India.


text:
You are currently browsing the tag archive for the 'UK' tag.
October 28, 2018 in Activist Art, Fine Art, Words | Tags: British Transport Police, Brixton HMP, D.C. Saysell, Graffiti, Graffiti Squad, OPERATION JURASSIC, Pablo Allison, Pavement Studios, Prison Me No Way!, Roxana Allison, UK, Wormwood Scrubs | by petebrook | Leave a comment
'OPERATION JURASSIC' BY PABLO AND ROXANA ALLISON
Brother and sister Pablo and Roxana Allison were separated for five-and-a-half months from late 2012 through spring of 2013. Pablo was locked up in London for criminal damage after being prosecuted for graffiti writing on trains. Pablo was one of several defendants sentenced as a result of Operation Jurassic, one the UK's largest cases brought against artists using train carriages as their canvas. Since, the siblings have worked on putting together a visual record of the time and their emotions. The resulting book Operation Jurassic, published by Pavement Studios, just hit the stands. I wrote an introductory essay which I am pleased to republish here.
Scroll on!
A WARM THREAD
This book is a thread. A warm thread spun by two siblings during one's incarceration. These images, conceived during months of separation and crafted during more months of house arrest, emerge from the worry and dislocation imprisonment brings. Born of necessity, these images are what Pablo and Roxana Allison did, dreamt up and fabricated; emotional twine that kept them sane and connected both.
As one in a cohort of graf-writers targeted by Operation Jurassic and done on charges of conspiracy and criminal damage, Pablo saw his conviction coming. It was likely he'd get a custodial sentence. Prior to the trial, he and Roxana decided that images could graft the space between them. He'd draw and describe scenes inside prison while she'd document her isolation at home. They'd plan photo-shoots for when he got out to capture what he couldn't while inside. For painting trains, Pablo was locked up in November 2012. Roxana, while not entirely sympathetic toward his graffiti at that time, was horrified that he'd get sent down for his art. Together they resolved to come through it with a visual record. He served 5-and-a-half months in Wormwood Scrubs and HMP Brixton followed by one year, at home, under curfew with an electronic monitor strapped to his ankle.
This book is woven through with detachment. Doleful figures cut lonesome shapes—veiled, obscured, there but barely there. Sometimes only a shadow. Interior details and still-lives serve as descriptors of halted lives. Scratched through with twilight, bisected by lines and tree limbs, these photographs edge toward a shared emotional territory, but they're only placeholders of time lost. In that way, they double as evidence of Pablo and Roxana's defiance. From a position of near zero control, they intended to shape an outcome. These images establish their testimony in spite of, and in challenge to, the court proceedings, prosecution arguments and criminal narratives of British Transport Police (BTP) and the presiding judge. A warm, human thread of struggle spun from the dehumanising reaches of prison and house arrest.
Initiated in 2003, Operation Jurassic was one the largest prosecution cases ever brought against graffiti artists in the United Kingdom. Pablo and nine others were arrested in 2010. Pablo was one of five who consequently, in November 2012, faced trial for criminal acts perpetrated between 2005 and 2009. At the outset, the prosecution detailed upward of $10 million in damaged infrastructure but at trial only made a case for $1 million worth.
Potential punishments for graffiti-related crime in the UK is high. The BTP "Graffiti Squad" went after eight members of the DPM crew with Operation Shuttle, and in 2008 secured jail sentences of 12 to 24 months for all. In terms of the cost of the operation (£1 million to the taxpayer) and convictions (imprisonment), Shuttle set precedents of which Pablo and his cohorts later bore the brunt. All for putting some paint on some surfaces.
Led by Detective Constable Colin Saysell, the BTP Graffiti Squad went to war on graf-writers. During his 30-years as a copper, Saysell has helped convict 300 artists. Including Pablo. But his exacting approach is out of step with the British public who laud mainstreamed graffiti artists such as Banksy and Ben Eine. (Famously, in 2010, David Cameron gave Barack Obama a Ben Eine piece as a diplomatic gift.) Compared with law enforcement agencies abroad that don't imprison graffiti artists, Saysell is an extremist.
Furthermore, compared to public education and youth outreach, Saysell's hardline stance is bizarrely contradictory; murals and tags are used as an art-medium with which to engage city-kids' creativity. A charity once took a double-decker bus into Wormwood Scrubs where members of the DPM crew painted it! Roxana wasn't the only one staggered by Pablo's imprisonment. Guards and prisoners alike couldn't believe that, for making art, he was banged up alongside men who had murdered and maimed.
"Have you met any killers yet?" asks Antonio Olmos, photographer and mentor, in a letter to Pablo. "Anyone interesting like a member of Al Qaida or a dress designer? I imagine a lot of creative people are in prison…" On the inside, Pablo's monochromatic, A4-sized sketches and notes are a far cry from his hulking, clacking train-car surfaces on the outside, where he would stalk yards for days in preparation for a night of painting.
Once inside, Pablo experienced a shift in his creativity. He felt his mind slow and the down-tempo pace worked because apart from writing and drawing he had little else to do. Time was spent on mailed offerings to friends and family. It's almost too obvious to state that letters are lifelines for prisoners, but this book is built on the insistence of connections maintained, feelings felt and testimony spoken.
In this book, time and space are deliberately confused. Pablo is behind bars and then half-submerged in the Pacific Ocean. A prison sits in mid-winter and then, pages later, peeks from behind the full foliage of mid-summer. Some images reconstruct the confines of cell. Another the view from the back of a "sweat-box" custody van—a photograph that could never be made. Pictures of held hands and tired glances might be from before sentencing, or from the visiting room, or made during post-release house arrest. We have entered a chronological fog that mirrors the emotional fog endured by Pablo, Roxana and their family.
Photos of actual prison cells exist too, but how can that be? Pablo did have a camera in Wormwood Scrubs but not during his time as prisoner. In 2005, at the request of a local council member, a teacher from Hackney Community College asked Pablo and fellow students to visit the famous prison and make images for Prison Me, No Way!, a deterrent program designed to show young people crime's causes and penalties. (Ironically, the British Transport Police is a partner of Prison Me, No Way!) Pablo kept those images, but never imagined he'd revisit the canteen, cells and tiers as an inmate. In these pages, site and sights (spaces and time) loop back on one another; exile has its own haunting feedback.
The pages of Operation Jurassic seem drained of blood. Understandably so. Roxana and Pablo's lives were gutted to a great degree. Photographs flatten the world. Two dimensions tend to fail the fullness of life. Frustrated acceptance and silent screams run through these images. In some ways it is remarkable that Pablo and Roxana even wanted to return to their anemic limbo, let alone depict it.
These photos, legal documents, letters, emails, drawings and diary extracts bottle the soup of inconvenient memories that Pablo and Roxana cannot leave behind, nor that they want extinguished. From raw emotion and these memories, they grew. Despite the grey spectre of institutional control and despite the slowed pulse of the carceral clock, this book is Pablo and Roxana back in control. It is a warm thread. It is a gift too. Imagination and pictures, letters and sketches were what they had. Now, it is what we have.
Operation Jurassic
100 page A5 Hardcover Book
36 page Staple-bound Zine
A3 Double-sided folded Poster
1st Edition of 100 copies. All books hand finished.
Buy here.
Follow Pablo on Instagram and Roxana on Instagram. Take a peek at Pavement Studios' website and peep them on Tumblr and Instah too.
An English Bloke's Anonymous Self-Portraits Made For the Online Burqa Fetish Community
December 3, 2014 in Amateur, Fine Art, Photography: Non-Prison, Visual Feeds | Tags: 14-19, 2041, Ben Weaver, burqa, England, fetish, Harry Hardie, HERE Press, Lewis Chaplin, London, niqab, online communities, total cover, UK | by petebrook | 2 comments
HERE PRESS has done it again; it has produced a book that allows us an irresistible glimpse into foreign space and psychology. 2041 is a collection of self-portraits, made by a man, donning makeshift burqas and niqabs, in his home in England.
The title 2041 refers to the name by which the man is known. "2041" made thousands of images with the express intent to share them online with fellow full-coverage enthusiasts.
"Using the camera to articulate a passion he has secretly indulged for decades, the artist appears dozens of times without ever disclosing his image or identity," says the HERE press release. "Long before 2041 bought his first real burqa online, he began crafting his own versions from draped and folded fabrics in a rich array of textures and colours … ranging from the traditional to the theatrical."
2041 is part of a connected online community of men and women from across Western Europe and the Gulf States. They are Christians, Muslims and without religion.
This is a gripping book and look into a world that cannot be fully known, nor can be fully verified. What is interesting, therefore, is that without identifiable subjects, the veracity of photography collapses. Or, at the least, we have to completely shift our expectations about what photography provides. The book 2041 is working on, and with, many levels. There's a motivation by HERE to celebrate photography by revealing its limits and capacity. Despite a reliance on images to connect themselves, 2041 and his cohorts are inhabiting the unphotographable.
As such, 2041 is a playful but earnest exposé of the photographic medium as much as it is this small web of like-minded folks.
A similar type of mood persists in previous titles by HERE. Harry Hardie and Ben Weaver skirt the outer territories of our photo-landscape and delineate the edges. Edmund Clark's Control Order House took us inside the ordinary domestic spaces of a terror suspect under house arrest. Power was described precisely by what was not photographed. Jason Lazarus' Nirvana took us into grunge-infused personal histories; the photographs were just a foil to get subjects feting up about beautiful and traumatic pasts.
I, for one, am getting quite excited by HERE's growing catalogue of ever-so-slightly-disconcerting photobooks.
Between the internet and the veil 2041's anonymity folds and billows. He remembers the enveloping cassocks and cottas he wore as a choirboy. As an adult, he moved toward total covering. In the early millennium, 2041 his bought his first computer and plugged into an online community that shared his passion.
"What almost all [of the people covering themselves] seem to crave is transcendence of the physical self – or at least being judged on the physical – coupled with the excitement of observing the world unseen, safely cocooned in luxuriant fabrics," says HERE. "This is the burqa seen in a celebratory light."
Naturally, I have lots of questions so I dropped Harry at HERE PRESS a line. He put me in touch with Lewis Chaplin who is co-founder of Fourteen Nineteen, but more importantly co-editor of 2041.
Scroll down for our Q&A
Prison Photography (PP): Where did you first see and hear about 2041's photographs?
Lewis Chaplin (LC): I first found these images almost four years ago, while researching emergent subcultures of fetishists/obsessives who were finding community and likemindedness through the internet. Many of these people use Flickr in particular to indulge in their private desires, and it was here that I found 2041's images. I was struck by the rigidity, flatness and compositional skills that his images had. Compared to most who used the image more as a byproduct or vehicle to access their fetishes, 2041's images seemed more like the images were performed for the camera and the camera only, for the sake of documentation, rather than for anything else.
PP: Is the book 2041 made in collaboration with the subject? If so, how did you make contact, build trust, ensure discretion?
LC: Yes, it is fully collaborative. Contact was made initially by Harry Hardie , who introduced himself as a publisher, and then I was bought into the conversation. I began a regular correspondence with him, which culminated in a face-to-face meeting and then visits to his house, where we collaborated and photographed each other, and I went through his image archives.
PP: Have all the pictures been verified? Can we know it is the same person under the burqas and niqabs in all the pictures? Does verification matter? Is not knowing something in absolute certainty one of the facets of the images and their use?
LC: I can verify 90% of them through their EXIF data, as we have had access to raw camera files. However, it is not necessarily the same person concealed. I think it is this lack of verification that is the titilating point of these images. Beneath the veil, your physical identity shrinks into a few gestures and outlines, and you can take on the form and countenance of another.
Even now there are images which Ben Weaver (HERE PRESS) and I cannot decide whether they depict our protagonist or others. To be certain though – this form of image-making is a firmly social practice, one based around solid online and offline networks. A few images in the book give this away, and were you to find 2041 online you would find images of me concealed, for example.
PP: Why did you want to make this book?
LC: Because I think that unlike many of the images made by people with strange interests on the internet, these images say something very complex about photography. What I like about these images is that there is that they are purely performative gestures – but yet they give nothing away. They reveal the presence of an individual, but not their likeness, or an accurate representation. Something about the concealment of desire, or the hiding of the true likeness of an object in these images actually feels like a very nuanced statement on photography, that at no stage in the process ever actually tries to use the camera to bear any details, or describe anything accurately.
PP: How many potential subjects and/or images did you have to choose from in making the book? What makes 2041's images special — some aspects of aesthetics, or merely their availability?
LC: It wasn't so much a matter of choice, more that these images asked for some kind of sequencing and exploring. There is definitely an aesthetic dimension of these images that is appealing – the composition and contrast between flatness and texture, the shapes are unlike others I have seen – and there is also a lot of time and effort that has gone into these. 2041 is also an actor, and a painter. You can see the influence of classical painting on some of his poses and crops. He is also akin to humour and self-deprecation, you can see it sometimes.
PP: 2041 wishes to remain anonymous. Obviously, as the editor, you're a legitimate proxy to whom I can talk. I want to ask what 2041 thinks of the book?
LC: Let's ask him once he has seen it!
PP: What do members of the online burqa fetish community think? What do you think they might think?
LC: I don't think it has made its way through to these channels, but I would hope that what they see here is that we are not trying to ridicule or pass judgement through our scrutiny. This book I hope comes off as a sincere tribute to photography being used in a genuinely interesting way that talks about self-perception, the way images are used on the internet and so many other things, through the prism of a very personal, domestic and specific application of the camera.
PP: Do we understand what the burqa is and what it does?
LC: In these images the burqa, niqab or any other Muslim garment is a means to an end in some way. You can see in some of 2041's experimentations that it is just about complete coverage through any means. He is not wearing a burqa in most images, in fact. The removal of physical presence is the goal here – it is never about using the burqa in a subversive or political way.
PP: Thanks, Lewis.
LC: Thank you, Pete.
2041, the book
170 x 240mm, 120pp + 6pp insert
72 photographs + 1 illustration
Offset lithoprint on coated & uncoated paper Sewn in sections with loose dust jacket
Foil title
Choice of 3 cover 'photo insert' cards
Text, illustration & photographs by 2041
Edited & designed by Lewis Chaplin & Ben Weaver Edition of 500.
The England Prison Service Football Association, Photographed by Riccardo Raspa
December 1, 2014 in Commercial, Documentary | Tags: England Prison Service Football Association, EPSFA, footie, Megan Slade, Michael Hayde, Positive Magazine, Riccardo Raspa, soccer, UK | by petebrook | 2 comments
When I was growing up, the dad of some kids at my school worked at the local prison. I had no idea what his day-to-day responsibilities were. Still don't. This despite the fact I've since worked with, been on holiday with, and spent many weekends with the brothers and sisters in the family.
I have no idea, if the dad was involved in some extra curricula or fraternal pursuits; I don't know if he wanted to even hang out with his co-workers outside of the prison. His job was a fact, but an unexplored and little discussed fact in the parish.
I also had no idea that the England Prison Service Football Association (EPSFA) existed. Not until Positive Magazine featured Riccardo Raspa's photographs did I learn of this 40-year-old organisation.
These are the best footballers in the country who happen to work as full-time prison guards.
The EPSFA arranges games between it and RAF, Army, and university football teams and other. It is fed by four regional teams made of the prison guards with the silkiest skills. Raspa photographed a single game and also followed one prison officer inside to photograph him at work. As such the information sways between the recreational tone of sport and the more serious business of control and power behind the bars.
Positive Magazine quotes, Michael Hayde, the England Prison Service coach as saying, "If a prisoner finds out what you are involved in and to what level it does make a difference to how they react and treat you." And I can believe it. Football, particularly in Britain, is the great equaliser. It's as accessible as chat about the weather or what you had for your dinner last night.
I'm almost inexplicably drawn to this project. The pictures are quite ordinary but they're shot with care and some respect.
My care is probably due to nostalgia for the smells and sounds of an evening football match in Blighty and the unexpectedness of this project. (This story would never emerge in America).
But also, the prison staff are humanised here. I've said many times before that prisons, especially in America, are toxic places and everyone suffers to some degree. Prison staff are derided as second rate cops or, worse still, glorified babysitters. It's a tough job and the disproportionately high levels of relationship/marriage failure and drug & alcohol abuse among prison employees testifies to that. Yes, there are corrupt officials and yes, abusive state employees are less seen — and possibly even ignored — because of the feared population they work with. That said, we cannot decarcerate and we cannot radically scale back on prisons if we are not focused on alternatives to incarceration. Bile and hatred for a profession will get us nowhere; it will only distract our energies from finding solutions. And that's coming from someone who is well aware of the messed-up-shit prison guards have done when no-one is watching.
It is precisely because Raspa's photographs ask us to view prison officers as individuals that I wanted to include it on the blog. It's a tough proposition in many ways.
Megan Slade, author of the Positive Magazine, article thinks the EPSFA has got short shrift in the media.
"Despite being a national football team," writes Slade, "little or rather hardly any press has been covered of the EPSFA, whether due to the nature of the profession this team is part of, or perhaps mainstream football leagues overshadow lesser known associations, they seem to go unnoticed."
This is not surprising. I guess the quality of football is only just a small step above sunday league stuff. The operations of an amateur football team rarely warrant media spotlight — it has to be an exceptional case.
The lack of coverage here is nothing to be surprised or appalled by. In fact, it is wholly consistent with the distribution of everyday prison stories — you know the ones not about escape, riots, celebrity inmates, serial killers or dog-training programs.
All images: Riccardo Raspa.
You can follow Riccardo Raspa through his website, on his Tumblr, and Twitter.
"All the women have wanted to be identified by their own names."
December 13, 2012 in Documentary, Rehabilitative | Tags: Adrian Clarke, Low Newton, The Paris Review, UK, Women in Prison | by petebrook | 2 comments
Adrian Clarke's portraits of female former prisoners in the UK are up front and honest. The ladies insisted they go on the record and speak openly about their experiences in HMP Low Newton, an unremarkable small prison for women and young offenders in the north of England. Each woman reported only good treatment during their incarceration.
Clarke's work is not sugar-coated. He doesn't have the answers and his subjects, some of whom have ongoing drug addiction struggles, are searching for them.
The women – although aware of their tough lives – do not paint themselves as victims. They want to step up and take responsibility but when you're that far down it takes a Herculean effort to wright the ship.
Low Newton, like all good portrait series, offers insight. But it does not tie the loose ends. I am left to wonder about the different definitions of normalcy we carry in our day today lives and if these women will find their own versions of normalcy and stability.
Mostly, Low Newton deserves attention because it appears to reflect a complete respect between photographer and subject.
Adrian Clarke's portraits of female former prisoners are in the latest issue of The Paris Review.
Of The Wall: Hugh Elphick Photographs The Brick Exteriors Of Victorian UK Prisons
August 20, 2012 in Fine Art | Tags: Hugh Elphick, London, Pentonville, Prison, UK, Wandsworth, Wormwood Scrubs | by petebrook | Leave a comment
UPDATED: SEPT 4TH 2012. 9AM BST
A week after this blog post went to press, the Prison Reform Trust reported that 77 of the 131 prisons in England and Wales held more inmates than stated capacity.
London's HMP Wandsworth, which is one of the the three prisons in Elphick's photographs, is the seventh most overcrowded prison in the UK with 1,191 men being held in a facility only designed for 730 men. Wandsworth operates at 163% capacity.
In total, UK prisons hold 7,300 persons more than they were designed for.
Hugh Elphick is a young British photographer who, in early 2011, took a cool and curious look at London prisons for his undergraduate photography BFA. The series is Inside.
"I wanted to produce images which intrigued more than shocked," says Elphick. "I discovered how much prisons actually blend into their surroundings and used this blurring the boundaries, with some of the angles I shot."
In the series of six photos, Elphick shows us the red-brick exteriors of three prisons – Pentonville, Wandsworth and Wormwood Scrubs. Elphick was working close to Wormwood Scrubs and began to wonder about human rights, the acceptability of the prison system, and if prisons work.
"In England, it is not a commonly known fact [that the UK has the second highest rate of incarceration after the U.S. among industrialised nations] and that it is not something that most people worry about," says Elphick. "It could be argued that there is more concern that prison sentences are not long enough or that there are moral disparities in sentencing. However, this is not to say that there are not a large proportion of people who see the wider picture."
Elphick's focus specifically is about the age of these *famous* Victorian prisons. The Victorian era is steeped in imagery of inequality, squalor and hardship for the working classes. For Elphick, there are points of comparison between the class-stratified 19th century and the inequalities of the modern era and especially today in a time of austerity and cuts in services.
"Victorian architecture offers an allegoric association with harsh systems and possibly with periods such as the late 70 early 80's economic downturn. Such institutional auras, I believe, explore some of the dilemmas and imbalances of our society," says Elphick. "These prisons show how little progression there has been in the prison system due to confused government policies."
Much like the approach of German photographer Christiane Feser, Elphick's interest is in how these large, alien institutions interact visually with nearby residential communities. Unlike in the U.S., the economic fortunes of the nearby communities in the UK are not tied directly to or dependent upon the operation of a prison. These UK prisons are part of the urban puzzle but quite opposite to the prison-towns of central Wyoming or eastern Washington, which come to rely on jobs as traditional agriculture and industry wane. There is not the same attrition and competition in the job market in central London. Prisons in the UK are not perceived of as big business, partly because by comparison to the bloated U.S. prison system, it isn't.
In fact, Elphick argues that prisons have almost become mundane in UK cities. He writes in his artist statement:
"The fragmentary nature of London's development, and its destruction in WW2, have meant a breadth of architectural forms have spread into areas surrounding the prisons. The prisons no longer stand as the monolithic symbols of suffering they once did, and have melted into the architecture of our city. They are taken for granted, dismissed"
This is a peculiar paradox to deal with in images; subjects hidden in plain sight.
"I set out to make a graphic and symmetrical set of images and fortunately there were features which allowed me to do this and at the same time inject some curiosity such as the splash of paint, bench or repaired hole," says Elphick. "The walls are rigid and literal boundaries which can be translated metaphorically and ironically in many ways to question the justice system and inequalities in society."
Inside was exhibited in the three-person show Behind Bars at One & A Half Gallery, London in September, 2011.
Homeless People Construct Pinhole Cameras From Beer Cans, Exhibit Photographs
June 6, 2011 in Activist Art, Amateur, Fine Art, Non-Prison, Rehabilitative | Tags: Beer Cans, Cambridge, FLACK, Homeless, Mark Woods-Nunn, Pinhole Cameras, UK | by petebrook | Leave a comment
Photographer Mark Woods-Nunn and FLACK, a charitable social enterprise which works with homeless people in Cambridge, UK have put together an intriguing project.
Varsity Mag says, "the attachment of beer-cans to assorted lamp-posts is not another example of misguided modern art. A thin sheet of photographic paper was placed in each can, exposed to the world by only a tiny pin-hole, silently and vulnerably capturing an image."
Found via British Photographic History Blog.
Former Governor of Strangeways: "Give UK Prisoners the Vote." And in the US?
March 31, 2011 in Press | Tags: Brendan O'Friel, Manchester, Prisoners, Riot, Strangeways, UK, Vote | by petebrook | 2 comments
Strangeways, Manchester, UK. April 1990. Credit: Manchester Evening News
UK PRISONER VOTING RIGHTS
Brendan O'Friel, the governor in charge of Strangeways during 25 days of famous unrest beginning April 1st, 1990 has backed moves to give UK prisoners the vote.
O'Friel says the controversy is being deliberately stirred up for political reasons. He told the Manchester Evening News:
"I think it is a totally sensible thing to give prisoners the right to vote and then encourage them to vote. Whatever those people have done it is a question of trying to make sure that they are going to make a contribution to the community rather than being a drain on it. Anything we can do to encourage them to take responsibility and think positively is a very good thing."
O'Friel's view is not the concensus in the UK. In November 2010, The European Court of Human Rights ruled that denying the vote to prisoners was a violation of their human rights.
However, in early February the House of Commons voted overwhelmingly to reject any lifting of the ban, opposing the move by 234 to 22. By doing so they face a class-action lawsuit which could cost the British taxpayer millions in damages for as long as the government denies prisoners their vote.
The ridiculous thing about this is that the figures (approximately 90,000) would barely effect election results. This is expensive folly by Britain's politicians.
The UK prisoner voting ban has been in place since 1870.
For comparison, The Telegraph reports:
"Many developed countries have some form of prisoner voting including 28 other European nations such as France, Germany and Italy. Russia and Japan exclude all convicted prisoners. Just two states in America allow it while others do not even give the vote back when inmates leave prison. Prisoners can vote in two of seven states in Australia."
PRISONER VOTING IN AMERICA
In 2010, judges in Washington State found that felon disenfranchisement laws unfairly impacted minorities as they were more likely to be subject to racial inequalities in the application of policing procedure.
From the ever-excellent Prison Law Blog:
"On Sept. 21, the Ninth Circuit heard oral argument in Farrakhan v. Gregoire, an important case that could affect the voting rights of prisoners in Alaska, Oregon, Washington, Idaho, Montana, Nevada, California, Hawaii, and Arizona. Back in January, a split Ninth Circuit panel ruled that, in Washington State, "minorities are more likely than whites to be searched, arrested, detained, and ultimately prosecuted," and that, because "some people becom[e] felons not just because they have committed a crime, but because of their race, then that felon status cannot, under section 2 of the [Voting Rights Act], disqualify felons from voting."
Washington State appealed and the discussion is likely to go all the way to the U.S. Supreme Court.
It's about time both Britain and the U.S. move into the 21st Century. From the Sentencing Law and Policy blog:
"According to a report co-published by Human Rights Watch and The Sentencing Project, a national organization working for a fair and effective criminal justice system, disenfranchisement laws are "a vestige of medieval times when offenders were banished from the community and suffered 'civil death.' Brought from Europe to the colonies, these laws gained new political salience at the end the nineteenth century when disgruntled whites in a number of Southern states adopted them and other ostensibly race-neutral voting restrictions in an effort to exclude blacks from the vote."
For more on prisoner and ex-prisoner disenfranchisement, read Michelle Alexander. She condenses the arguments of her very successful book, The New Jim Crow, here.
STRANGEWAYS ON PRISON PHOTOGRAPHY
Strangeways, 20th Anniversary
Ged Murray at Strangeways
Strangeways Riot and Don McPhee
(M.E.N. story found via Jailhouse Lawyer)
April 29, 2010 in Documentary, Prison Non-Photography | Tags: Prisons, Recidivism, The Fear Factory, UK, Young offenders | by petebrook | Leave a comment
The Fear Factory is an overdue and well-reasoned look at how society views transgressions of UK youth. The trailer features a host of informed people making salient points. Why are prisons still a low priority debate?
Visit The Fear Factory website and blog.


Companies in the same industry as Bulk Transport Corp., ranked by salary.
How much does Bulk Transport Corp. pay?
Bulk Transport Corp. pays its employees an average of $57,306 a year. Salaries at Bulk Transport Corp. range from an average of $50,723 to $64,743 a year. Bulk Transport Corp. employees with the job title Fleet Manager, Trucking & Transportation make the most with an average annual salary of $71,030, while employees with the title Fleet Dispatcher (Trucking & Transportation) make the least with an average annual salary of $41,229.


Fruit distilling pot stills for home-made brandy making. Distilling pot stills made from pure copper.
Fruit distilling pot stills for home-made brandy making. Distilling pot stills made from pure copper. Destilling pots from hobby to proffesional class.
In this category is equipment for brandy boilers.


Geographical Information Systems giving you a headache? Our guides will help you become a GIS wiz!
Geographical Information Systems (GIS) send shivers down the spine of many geography teachers. However, there's no need to worry. There are apps out there that make GIS a breeze. We've developed a set of guides to help you become a GIS wiz.


As a nursing home of superior quality, our mission is to promote the dignity, individuality and independence of all those in our care. Our dedicated and committed care team provide the highest quality of professional care in a safe and friendly environment. Our elderly care area is a bright, welcoming space featuring an large open area known as 'the dome' where activities take place.
Each room is en-suite with a nurse call bell, electronically-adjusted orthopaedic bed and flatscreen TV. Elderly care residents have access to a landscaped enclosed garden where they can sit out and enjoy a breath of fresh air, or the occasional sunshine!
This newly opened secure facility caters for residents with Alzheimer's/Dementia and associated illnesses. Our dedicated multi-disciplinary team ensure that our residents dignity and right to choose is exercised daily, no matter what their diagnosis. The spacious 15-bed unit includes a nurses' station, a dining room, physiotherapy & gym department, large activities area, music room, coffee dock, an enclosed garden and internet cafe.
There is a dedicated activities programme for residents of the unit, designed by our SONAS-trained activities co-ordinator to stimulate and entertain our residents. Residents of the unit have access to an enclosed garden, where they can partake in organised outdoor activities such as gardening, or simply to sit out and enjoy the fresh air!
Our luxury bungalows are available to rent at competitive prices. The one and two-bed houses are ideal for individuals who wish to remain independent, with the security of having healthcare professionals at the touch of a button 24/7.
The houses are newly-built and well insulated. They are available furnished or unfurnished.


text:
Waterford Crystal - the most popular premium crystal brand in the world, incorporating classic and contemporary stemware, giftware, lighting and seasonal products. Designer collaborations include Jasper Conran and John Rocha.
Ardan Tonn
Lismore Diamond
Lismore Essence
Mixology Rum
Crystal production in Waterford began in 1783 when two brothers, George and William Penrose, founded their crystal factory employing 70 people. In a short time they became the city's principle exporters and succeeded in producing crystal with a purity of colour unmatched in Ireland or England. Merchant ships sailed regularly from the port of Waterford with cargoes of crystal bound for Spain, France, the West Indies, New York, New England and Newfoundland.
But less than 100 years later the initial company failed due to lack of capital and excessive taxation. But in what seems a remarkably short time, Waterford Crystal acquired an unequalled reputation that has transcended the intervening centuries.
Another century passed before the enterprise was revived. In 1947, while Europe was still in ruins after the second World War, a small glass factory was set up in Waterford just a few miles from the site of the original glass factory. The Waterford Crystal factory followed the same design inspiration and to the same pursuit of highest quality levels possible. The traditional cutting patterns made famous by the artisans of Waterford became the design basis for the growing product range of the new company.
The brilliance and sparkle of today's Waterford Crystal is emphasised by these designs and further enhanced by the light refracting properties made possible by the unique formula used in blending Waterford's raw materials.
Waterford Crystal chandeliers add unequalled sparkle and light to a myriad of prestigious homes and buildings around the world such as Westminster Abbey, the State Apartments at Dublin Castle, the John F. Kennedy Center for the Performing Arts in Washington, DC, Dublin's National Concert Hall, the Governor's Mansion in Maryland and the Houses of Parliament, Melbourne, Australia.
In recent years Waterford, has successfully combined its wonderful craft heritage with the dynamism and creativity of external talent with collaborations with renowned fashion designers John Rocha, Jasper Conran and more recently Marc Jacobs. In addition, Waterford has worked with world famous Wine Maker Robert Mondavi, to create a range of varietal specific glassware for the wine lover to bring out the flavour of different grapes.
Although manufacture in Ireland has now been almost completely outsourced to factories in mainland Europe the brand is safe and secure in the new company Waterford Wedgwood Royal Doulton Group PLC (WWRD). There have been some discontinuations in the product range but the majority of items are still available and made to the same original specifications.


text:
Tutors and App-Based Remote Learning: Siena Literacy Center's Success with Learning Upgrade
by Guest | Nov 18, 2020 | Announcements
By Jamie Kreil and Jen Vanek
With the launch of the Adult Literacy XPRIZE Communities Competition in 2018, adult literacy programs across the US had unprecedented access to relevant and free mobile apps for learning. Among the apps used was Learning Upgrade, which offers over 1,000 lessons covering multiple levels and content in English, math, GED preparation, digital literacy, and reading delivered through rich graphics, videos, and music.
Learning Upgrade built on their success as grand prize winners in the Adult Literacy XPRIZE by incentivizing use of the app through a gamified approach to engagement at the student, classroom, and program levels. In the subsequent Learning Upgrade Challenge, students have gained prizes for use of the tool, and teachers and programs who have had the most use of the app won extended licenses. Many programs continue to rely on Learning Upgrade through the pandemic, using free and discounted licenses to support learners at a distance. The EdTech Center@World Education reached out to these power-users, the learners, teachers, and programs, to better understand how and with whom it has the most potential impact before and now during the pandemic.
Siena Literacy Center
Siena Literacy Center is a non-profit organization located in northwest Metropolitan Detroit. The organization matches volunteer tutors to adult students to teach reading, math, English as a Second Language (ESL), and computer skills. What is notable about their program is that they rely on volunteers working closely with learners, serving over 2,000 students with 600 tutors since 1995. They have been able to leverage Learning Upgrade to sustain this model during the COVID-19 pandemic, using it as an alternative that supports lowering the number of learners they serve on site.
Siena's Use of Learning Upgrade
The program chose Learning Upgrade early last winter because of its alignment with Michigan state standards. In months prior to the pandemic, Siena worked out implementation strategies that helped them make use of built-in student tracking affordances to monitor their tutor-supported program participants. The standards alignment gave administrators confidence that tutor-supported learners were set up to make progress in their learning. When the program was forced closed during the pandemic, this base of knowledge supported the expansion of their tutor-supported remote instruction. They continue to expand the number of students who have access; over the summer approximately 60 students used it to learn from home.
Learning Upgrade's administrative dashboard has made it possible for administrators to see learners' progress remotely. There are several options for viewing individual student and cohort work. This example, provided on the Learning Upgrade dashboard, shows how individual learner progress in a particular course is monitored.
This example, provided on the Learning Upgrade dashboard, shows how individual learner progress in a particular course is monitored.
Example 1 from Learning Upgrade administrative dashboard
This example shows other alternatives for monitoring student work, showing data on progress, pace, and time.
Tutors make use of the dashboard options and well-organized content to support instruction. Because of the relatively linear path of the lessons, tutors can easily follow the scope and sequence of the content, freeing them to provide effective support to students and answer questions students have about the lessons. Learners can achieve their learning goals by receiving this just-in-time support from the tutors.
Supported Tutors
The use of Learning Upgrade with tutors during the pandemic has worked at Siena in part because the tutors have training and ongoing support. Cheralyn Suggs, the Placement Coordinator at one of Siena's sites, matches tutors to students. Since closing for the pandemic, Suggs noticed an uptick to "over a dozen great volunteer tutors" using Learning Upgrade with students learning remotely. Suggs said this works because of the training that Siena proactively provides tutors, sharing strategies and resources to help them address issues students may have. For example, Siena created template text messages that tutors can use to help learners sign-in and navigate the app. The text messages show app screenshots with arrows showing where to click. Additionally, tutors and staff use online platforms for live contact (e.g. Facetime, WhatsApp, Zoom, etc.) with students when longer explanations and instructional support are needed.
The learners we interviewed reflected the range of diverse learning needs typical of the students Siena serves. The learners discussed the importance of their work with tutors, which contributed to their success learning through the app. Students also noted that they were able to meet their goals, earning certificates and improving in various skill areas.
Amare, a beginning level English language learner worked with both staff and his tutor. He also got help from his daughter when he used Learning Upgrade at home. He said logging in the first time was confusing; because of his literacy challenges, he thought the letter 'b' was the number '6' in his password. Staff at Siena helped him work through issues to keep him engaged. Amare also said that the log-in challenge was a signal to his tutor to review the alphabet and basic decoding skills.
Martha, a student in the early stages of her GED math study, relied on her tutor to progress. She told us that she relied on her tutor to help her understand what math questions were asking for, and "how to pick the right answer to problems [in] the right format." Since there were many different types of questions, this ongoing tutor support kept her engaged. Her tutor also provided assistance navigating the lesson, by identifying where to start and how to replay each lesson. For Martha, the ability to replay or redo lessons helps to increase her understanding of math concepts.
Through this research we've seen one model for use of an app like Learning Upgrade. The big takeaway here is that a highly structured curriculum with a well-organized administrative dashboard makes it possible for community-based organizations that rely on volunteers to offer consistent, standards-aligned instruction. For Siena, both the volunteer tutors and Learning Upgrade have made it possible to continue to serve learners during the COVID-19 pandemic. Siena knows exactly what tutors are covering with learners, the tutors have ample support and training, and the learners feel connected to the program through the volunteers. It's a winning combination for Siena and other tutor-supported adult literacy programs.
Visit the Learning Upgrade website for more information about the app. Check out the Learning Upgrade Action Plan to see how you might use the resources available during the pandemic.


John Monash's engineering to 1914. Buildings, Page 14.
This project is mentioned for its curiosity value. In February 1910, Thomas Hill, the local Works Director of the federal Department of Home Affairs wrote to Monash: "It is desired to obtain a quotation for Fire Proofing the Ceiling of a Basement at Government House, Melbourne. Kindly let one of your Officers call and see me re same. Wednesday afternoon if possible." The basement concerned was under the Ball Room of the Governor's residence. The task must have been allocated to P T Fairway who prepared calculations and a drawing. The City Surveyor, A C Mountain, proposed the use of clinker from the City's refuse destructor as aggregate for the reinforced concrete and Monash promised to buy a sample and test it for "both cost and efficiency" in cases where working stresses were not expected to be high.
Monash quoted a high price for the job: nearly £600. Perhaps he did not want it. The quotation was accompanied by a long letter to Hill explaining that it would be a difficult task to insert a reinforced concrete floor into the existing stone and brick masonry structure. He proposed to duplicate the existing brick columns with thin r.c. columns adjacent to them and to the perimeter walls of the cellar. A reinforced concrete floor would then be formed from precast plates situated below the existing ball room floor [timber?] so as to insulate it from fire. This would have the advantage of retaining the elasticity of the existing floor. The high cost was due to these difficulties and the fact that the specification required the concrete cover to the reinforcement to be 2 inches. (JM would have considered this excessive.) RCMPC would minimise disruption to the work of officials; but the wine stored in the cellar would have to be shifted around as required by the work.
There is no project file for Ackman's Warehouse in UMA. The few facts assembled below come from four letters in "Letter Book J" and a single drawing in the J Thomas Collection.
In February 1910, P T Fairway contacted the builder J J Oliver to ask whether he would be interesting in joining with RCMPC to add an extra storey to Ackman's Warehouse. The two firms were already working together on Stuart's Warehouse. On 15th he told Oliver that a Mr S Smith was willing for RCMPC and Oliver to do the work. "If you are prepared to go into the matter on the lines and at the figures suggested by me on Saturday last, I would be glad to meet you."
Our research notes give no hint of Smith's affiliations.
That we be allowed, while keeping to the same thicknesses, areas &c, shown on the Architect's drawings, to compute and design the reinforcements of the work on our own lines, we giving full guarantee for the work in every way.
Work to be left as stripped.
The drawing in JTC was initialled by Laing on 18 July and signed by Fairway. (Monash was overseas.) The plan shows a basically rectangular building. The frontage is not dimensioned, but scales at about 58 feet. The width steps in to "about" 49 feet part way along its length which is "about" 70 feet. Only three reinforced concrete walls were required, the straight side being against an adjacent building. A 4.5 inch chase was to be cut into the masonry along this side to support one edge of the reinforced concrete roof plate. Internally, the roof plate was supported by steel beams carried on steel columns. The reinforced concrete walls incorporated engaged columns to provide a bearing for the ends of the roof beams. A parapet extended 4 feet above the roof at the back and along the free side. At the front it was 7'-6" high and bore the proprietor's name.
In August, Fairway mentioned to Alex Lynch that the job was going smoothly. RCMPC's foreman was Frederick Bloom.
This was a small job, probably for a slab-on-ground. Correspondence with the owners, Holdenson & Nielsen Fresh Food Prop. Ltd. starts in March 1910. Fairway informed them that he had checked on the local sand and found it no good for reinforced concrete work. "The metal from Pyramid Hill is generally rotten granite, and also quite unsuitable, and I am very doubtful if the metal, which you mention as being obtainable at Bendigo for 2/6 per load, would be suitable, in view of the fact that we pay 6/- per c.y. for our bluestone screenings in Melbourne." However, suitable sand could be obtained from Bendigo.
Construction occurred in mid April, under the supervision of A E Lynch, Alex Lynch's son, who was to become Managing Director of RCMPC from 1950 to 1957. A letter from Fairway to AEL, informing him that "Plasterer Coghlan" would soon leave Melbourne for the site, is addressed to AEL at the Commercial Dining Rooms, Lake Boga. The account was rendered on 13 May.
This job included a staircase consisting of three flights from Ground to First Floor level and a portion of first floor slab, all supported on masonry walls. RCMPC quoted architects Godfrey & Spowers £83 on 11 March 1910. All concreting was finished by 28 April, then there was a delay of some six weeks while the balustrades were fitted. After the granolithic finish had been applied the final account was submitted on 30 June.
This building is described as a fish restaurant for Messrs J Jackman & Sons in King William Street, Adelaide. However, constant references in the newspapers to annual meetings and reunions held there suggest it was a centre for Adelaide society. A drawing in JTC prepared by the architectural firm Garlick & Jackman is dated April 1910. It shows a narrow building with a frontage of about 38 feet and a depth of 90 feet. There was a basement, ground and first floor, and a roof garden above, requiring reinforced concrete slabs at three levels. The two-storey shop fronts were obscured by a typical Australian-style verandah covering the wide footpath and providing a balcony area above, so the image of the facade (right) is a composite created from two of the architect's sketches.
Although carried out by SARC, the job was controlled from Melbourne. Fairway completed the engineering computations, cost estimates and specification in May. The design provided for three more floors to be added, planned after an interval of two years.
For engineers: Permissible stresses were: steel 7.5 tsi; concrete in compression 650 psi; concrete in "compression cross breaking" 500 psi; concrete in shear 100 psi; concrete in tension nil; shear in steel 5 tsi. Live load on the roof (originally to be a garden) 112 psf. First and Ground floors 85 psf. Columns were designed to carry, after the extra floors had been added, the full load on three floors simultaneously, plus 50% on the other floors.
The job was secured on 2 June at a contract price of £3942. Requisitions for materials were issued on 24th. Late in July, SARC reported that heavy rains were holding up work on all their contracts. In September, they reported a dearth of carpenters in Adelaide, the newspapers being full of advertisements for them. Construction reports on the reinforced concrete work were sent to Melbourne from 5 October to 6 November.
Late in October H G Jenkinson prepared estimates for provision of two more floors (3rd and 4th) and sent them to Fairway for approval. (Monash was overseas.) Fairway agreed, noting that the slight increase in unit prices was "fully justified by very probable labour troubles, and the height above ground". In January 1911 Jenkinson told Monash (back home) that it was now planned simply to roof over the area previously intended as the roof garden. Then Bakewell, the Managing Director of SARC, told Gibson and Monash that Jackson & Sons wanted 12 months' credit at 6 per cent the cover the extra cost. He explained the Jackmans' financial position and business prospects and recommended acceptance. Eventually, Gibson and Monash agreed to give credit on the necessary £663.
He continued: "The realized clear margin will certainly not be below this, but most probably about £1100 as the deductions are all on the full side and no account is taken of extras which already amount to over £100." Also there was much partition work still to be done at 11/- per square yard, not included. "The estimated margin on the amount of £4505 was £750, the original contract being taken at a cut price to obtain the work."
On 10 April SARC reported all concreting complete, and on 3 June 1911 all work done.
The building survived fires which started on the upper floors in 1913 and 1916, and was thus seen as an indication of the fire-resisting properties of reinforced concrete. It is believed to have become Balfour's Grand Cafe in 1917-18, as shown in SLSA image B 53560. Relevant newspaper articles available on NLA Trove include: Register 2 Jun 1910, Mail 7 Jun 1913, and Advertiser 6 Mar 1916.
The Public Works Department was represented by Acting District Architect H J Kerr and a Mr Morell. P T Fairway completed computations for the wall in May 1910. The RCMPC project file contains a tracing showing a very heavy design in reinforced concrete done by the PWD. Fairway wrote to Kerr: "We have estimated on a somewhat modified design from that shown on your drawings, but have maintained the same depth, height, and outside dimensions and details, and we will guarantee the stability of such modified design in every way". RCMPC's quote for the wall and "extraneous works" was £219. They agreed to adopt the PWD Specification except for amendments required by the change in design. The proposal was accepted by the PWD on 8 June.
In a letter dated 17th, Fairway informed Alex Lynch, RCMPC's Works Manager, that the contract was now signed, but he was trying to delay the start, presumably because of pressure of work on other contracts. However, Colonel Watson, Chief Government Architect, was pushing for an immediate start. PTF had given "Tony" [unidentified] similar instructions. He had arranged that on neither of the jobs would there be a Clerk of Works. The first requisition for materials was issued on 21 June and the final account (£209 for the wall and £15 for carting soil) was issued on 19 September.
See also a parallel treatment under retaining wall heading.
Mentioned as an addition to the "no job too small" category, this involved the provision of heavy tops for work benches, supported by steel angle iron. They were to be made in haste, apparently as a favour to builder F Atherton who was running late with his contract for the Laboratory. The total area was about 132 square feet. Initial correspondence is around May 1910, but the first requisition for materials was not issued until February 1911, if our research notes are correct.
Seymour Post Office Balcony Floor.
RCMPC first contacted builder J A Hunter in May 1910. In July they quoted £86 for a balcony floor, probably over a porch, and 38 lintels. RCMPC's foreman on the job was James Devitt. His reports to the Melbourne office run from 6 to 27 August. There was a glitch early in August when work was stopped for some reason and RCMPC's men returned briefly to Melbourne.
Richard Smith's Worando Building, Adelaide.
This was a SARC job, but the RCMPC files contain many reports on progress, and provide some interesting insights. The building was described as a warehouse, but it also incorporated shops and apartments. It had entrances on Grenfell and Chesser Streets and windows "overlooking" French Street. The project was originally filed under "Harris Scarfe" but from about September 1910 it was known to RCMPC as the "Richard Smith" project. Smith was a partner and Managing Director of Harris Scarfe, but he seems to have been sole proprietor of this building.
In May 1910, H G Jenkinson sent Fairway hurried tracings and a cost estimate for his consideration. The first requisitions for materials were issued in July. By 24 September, HGJ reported that 49 footings and 32 columns had been completed. The warehouse was built at a time of serious shortages of skilled workers. In March 1911 HGJ wrote: "It is likely that we will have to shorten hands on this job owing to the slowness of the brickwork. It is very difficult I understand to obtain bricks, which have to be procured from Melbourne." Reports show that reinforcing bars and rolled steel joists were also supplied from Melbourne, requisitioned through RCMPC's office. In May 1911, SARC was trialling a Smith Concrete Mixer. HGJ reported that labour costs had been lowered and the concrete was of first class quality. On 4 September 1911 he reported that all [reinforced concrete] construction work had been completed.
State Library of South Australia Image No. B 32643 includes the Worando Building (the taller dark-coloured structure).
Relevant newpaper reports (available through NLA Trove) are: Advertiser 14 Feb 1910, Register 23 July 1910, 27 May 1911, 3 Jun 1911, Mail 4 May 1912, and Register 28 Mar 1919.
Our research notes for mid-1910 indicate a high number of refusals of work on the grounds that reinforced concrete was not suitable for the job proposed. This may be an accident of our note-taking, or of RCMPC's record-keeping, but it could have had something to do with Monash's absence overseas. Fairway, trying to perform JM's duties as well as his own, may have been unable to maintain the normal level of output. Serious work on the Collins House project was about to get under way and J A Laing, a lynchpin of the organisation, had accepted a position in Queensland. (At the end of July he was persuaded to stay with an increased salary.) In any case, the enquiries indicate a growing interest and confidence in reinforced concrete on the part of the general public.
About June 1910 M C Forbes wrote asking what it would cost to build a dining room in r.c. for the homestead of "Burrumbeep" near Ararat, Victoria. Fairway replied: "Reinforced Concrete only becomes economical where some engineering or constructional difficulties have to be overcome, such as in Bridge work, or in the erection of Factories whose floors have to carry considerable weights." Hence in this case it could not compete with "brickwork, wooden framing, or even concrete block construction".
Also in June a Mr G H Lynch enquired about the use of r.c. for a two-storey factory in Collingwood (Melbourne). It is more surprising that in this case he was told the building was "too simple" for reinforced concrete to be of advantage.
In July an architect named Dossetor asked RCMPC to give a price to builders Lidston & Falkingham for r.c. work at "Balaclava Villa". This included walls extending 11 feet above floor level, the outer walls being 9 inches thick and the partitions 4.5 inches. A sketch plan shows a house about 30 × 30 feet. In this case Fairway went so far as to prepare an estimate, but added: "As pointed out to you verbally, the construction of small buildings is not a legitimate use of Reinforced Concrete, which is mostly used in buildings where engineering difficulties have to be overcome. For this reason you will probably find our quotation in excess of your estimate for the construction of the building in brickwork."
Also in July, Fairway quoted Carlo Catani, Chief of the Public Works Department of Victoria £815 for a Pavilion in Albert Park, Melbourne. He expressed regret that the price was so high.
In August, architect C A Walton approached RCMPC about a two-storey warehouse in Carlton for a Mr Friedman. Fairway replied it would be best to build the walls in brick, rather than reinforced concrete, so he was quoting only for the slabs for the first and second floors (each 24 squares) and the roof (14 squares) at £1008.
In September, T Kelly, the engineer at Tungamah enquired about two buildings for which he "had orders": a church and a 6-8 roomed house. It is surprising that he approached RCMPC, because in 1909 they had built service reservoirs for Tungamah Shire under his direction and relations had not always been smooth [link]. Fairway sent the now standard reply explaining the inability of reinforced concrete to compete with brick when the applied loading was low.
Reporting a visit of architecture students to Collins House, the RVIA Journal [9, 180-1] described the building as "divided into three portions, of which the front block is of stone and brick construction, the middle block entirely of reinforced concrete, and rear entirely of brick. All brickwork is in cement [mortar], and all floors are of ferro-concrete."
Front facade (extreme left): load-bearing stone (coloured black).
Other perimeter walls of Front Block; all perimeter walls of Rear Block: load-bearing brick (coloured brown).
Internal columns and beams of Front and Rear Blocks: steel I-sections encased in concrete (coloured blue).
The architecture was quite grand. "The base of the structure is of trachyte, a very hard stone from Bowral, NSW, the rest of the front being in Wangaratta stone, sometimes called granite, but possessing very little mica in its composition. The corridor is paved with white Sicilian marble, and the portico has a lining of the same stone, while the red marble is from Orange, NSW." The fittings of the Queensland National Bank were of Victorian and Tasmanian blackwood "and very fine".
The project first appears in our research notes in May 1910 as the "Baillieu Patterson Building". The first architects appointed were Butler & Bradshaw. Monash was overseas and Fairway was Acting Superintendent of RCMPC. Although Arthur Baillieu was pressing the architects for action, Fairway stalled for time in order to discuss matters with Gibson. Early in June, Gibson wrote to Monash that "Baillieu Patterson and Co.'s job is going past us. Butler the architect is dead against us, although strangely enough Baillieu Patterson & Co. are favourable. We have fought to the last ditch." With little hope of success, he suggested a policy of refusing to perform reinforced concrete work under Butler's direction. On 30 June Fairway reported that Baillieu Patterson had dispensed with Butler and appointed Klingender and Alsop. Three weeks later came news that Butler & Bradshaw were to remain nominally in charge of the project, but Butler was to have nothing to do with it.
On the day that decision was made, Fairway met Bradshaw to discuss design loads for the floors. Within a week he sent quotes to both Butler & Bradshaw and Baillieu Patterson & Sons. He wrote to Monash that architect John Grainger was now involved in the project and was insisting that he would have reinforced concrete in the building only if it were done by a "reputable" firm - and that he wanted RCMPC.
(f) central block, r.c. construction instead of steel: 7 floors and roof, external walls, stairs.
This was accepted the following day and it was arranged for Fairway and Gibson to sign the contract with Bradshaw on 8th. The RVIA's Conditions of Contract were to be applied and PTF said he would study them thoroughly before the day. Bradshaw had set the penalty for late completion at £20 per day, "so we must go prepared to contest that point".
Four drawings in JTC show Butler & Bradshaw's initial scheme, with steelwork in all three blocks. One drawing carries a note: "Recd from Mr Bradshaw after signing contract 8.8.10". They show the column and girder layouts from the Ground to the Sixth floor, and for the Roof "or 7th Floor".
The first requisition for materials was issued on 10 August. Fairway set to work on detailed computations for the reinforced concrete and the first drawing for the central block was issued on 18th. The external walls of the central block were defined by a series of rectangular columns, infilled by vertical concrete plates 6 inches thick (see diagram above). The drawings preserved in JTC do not show the openings for windows. They provide little information on the passages connecting the three blocks, but they had reinforced concrete floors, and windows over their full length.
A drawing dated 20 August shows that four reinforced concrete joists were added to the floors of the rear block to reduce the spans of three large slabs defined by the steel system. (These can be seen in the plan above.) The detail immediately below shows the normal scheme for the floors of the front and rear blocks, with a rolled steel joist encased in concrete integral with the floor plate.
The details below show (left) how the additional concrete joists were fitted into the steel system. At right can be seen a cross-section of the concrete joist, showing the type of stirrup used by RCMPC.
By 28th drawings were ready up to the Roof. On 31st Bradshaw announced that he wanted to cut out every second column in the central block. PTF informed him of the "position of things" and asked if he should halt work on the project. Confusion reigned until the end of work on 2nd September when Mr W L Baillieu decided there would be no alteration.
RCMPC gained possession of the site on 1 September. Fairway continued with his calculations, and the design was approved by City Surveyor Morton on 6th.
Fairway's calculations show that there was still no consideration of bending moments in columns. Girders and ribs were designed for WL/9 at centre of span and plates for WL/8.
Early in September, RCMPC complained to Butler & Bradshaw that they were being delayed by slow steelwork erection. On 30th RCMPC submitted a quote for (1) "extensions to Rear Block", being a 2-storey reinforced concrete building and a shaft for a goods lift 8 storeys high for £652. (2) escape stairs in reinforced concrete for £416. At the end of October, Fairway told Works Manager Lynch that there was a "hollow" in the ground floor due to "want of precaution in fixing struts" supporting the formwork. He continued: "it looks very bad indeed, and I understand Mr. Scott has been making considerable capital out of it". [It proved that the "hollow" was only ¼ inch deep, but it probably caused unsightly ponding of water. PTF promised B&B that it would be fixed.] In mid-October the design of the central block floors was boosted by adding extra girders and increasing the thickness of others. Throughout this period all correspondence was with Butler & Bradshaw.
Late in November alterations were made to the design of the Sixth Floor and Roof. Computations were prepared for the goods lift and escape stair. RCMPC's construction work on the central block reached the top storey after 6 December 1910 and was declared complete on 26 January 1911.
Work on smaller items continued for much of 1911, correspondence now being directed to architects Grainger & Little. These included partitions, strong rooms, a caretaker's room, handrailing for the escape stairs, stairs in the basement, and a machine room for the lift. The Victorian Architectural Students Society visited Collins House on 11 November 1911.
RCMPC's "final" statement was delivered on 20 November, but a revised final statement was delivered on 24 February 1912 for £11,239.
Unfortunately, there are no photographs of the original Collins House in the RCMPC Collection at University of Melbourne Archives, but glimpses of one side may be seen in photographs of the later extensions. The Australian War Memorial AWM possesses a view of the completed facade with ID Number HO2368. The Grainger Museum at the University of Melbourne posseses a painting by Ambrose Patterson showing the street facade during construction.
This was a simple addition to the Hanging Room and Slaughterhouse in Kensington (Melbourne) built by RCMPC in 1907 [link]. The extension was about 120 feet in length, comprising three bays. The cross-section of the extension is identical to that of the 1907 building. The City's drawings are dated 6 July 1910 and signed by E H Morton as City Architect. RCMPC had estimates ready by the end of the month. Fairway sent a quote for £3066 to builder J J Oliver on 1 August. On 6th he asked Lynch to give thought to the appointment of a foreman for the job. On 9th he issued the first requisition for materials and on 10th Lynch and the new foreman visited the site to arrange for the start of work. But also on 10th Fairway issued a quote for the same amount to builders Peters & Hetherington and subquent dealings seem to have been with them, not Oliver.
RCMPC seem to have had good relations with a number of builders, but Peters & Hetherington were not amongst them and the correspondence includes claims of delays caused to each other's work. RCMPC were obliged at one stage to explain that they were unable to pull men off their Maribyrnong Bridge project in order to speed up work at the Abattoirs. Requisitions for materials were still being issued in November 1910, and the final account was posted on 28 March 1911.
RCMPC tendered to build several retaining walls at the home of Arthur S Baillieu in Struan St, Toorak, but only one along the northern boundary was built. It seems most of the activity took place in August 1910.
This was an SARC job comprising two floors and a roof for Simpson & Sons' premises in Gawler Place. The architect was Alfred Wells. In correspondence with Fairway in September 1910, Jenkinson agreed that the price was a little low. At the end of November he explained to Monash: "It is a small job taken cheaply to get in with the new Architect, and we have had to carry it out under a young and comparatively inexperienced foreman, with the added disadvantage of a body of carpenters, scraped together with difficulty, consisting for the most part of very poor tradesmen". He reported on 3 December that all concrete work was complete except for some minor items.
This was a small job for Messrs Newman & Sons. Their premises were at 84 and 86 Elizabeth St, Melbourne, described as "next door to Alston's Tobacco Shop". The building was three storeys high, but only 18'-6" wide. Only the first floor was of reinforced concrete, supported on masonry perimeter walls. The architects were Bates, Peebles & Smart, and the builders, Geo Farnsworth & Son. Calculations and drawings were produced in November and December 1910 and the first requisition for materials was issued on 9 December. The price was £87.
Our notes do not contain the date of completion.
An antiquarian curiosity is a wash house floor installed for Mr R Gibson of "Roseberry", Toorak: presumably John Gibson's brother, later Sir Robert Gibson, Chairman of the Commonwealth [of Australia] Bank. Lynch reported work complete on 23 November 1910. Gibson was charged cost price of £14.


text:
Mr. Haynie, SR.
Michael Haynie, SR.
President, Parkway Hospitality Management
Michael Haynie has devoted his entire professional career to the lodging and hospitality industry. After attending Northeastern University in Boston, MA, he took on various entry level positions before rising through the ranks to the executive level positions he has held for many years. Mr. Haynie has experience in every facet of hotel operations and has served in leadership capacities in hotels ranging from economy to luxury. Prior to launching his own hotel management enterprise, Mr. Haynie served as the Vice-President and Managing Director of Baltimore's Tremonts Hotels which encompassed the upscale Tremont Plaza Hotel and the economy Tremont Park Hotel. He also spearheaded the debut of the award-winning Tremont Grand events venue. Under his leadership, Baltimore's Tremonts ascended to new levels of profitability due to the strategic initiatives Mr. Haynie implemented. Mr. Haynie has also served as a General Manager with Hilton and InterContinental Hotels in Baltimore, Boston, and Hartford; as well as a General Manager with independent and branded hotels in Charlotte, Hartford, Boston and Washington, DC. While developing his extensive professional port folio, Mr. Haynie has also held numerous community service leadership roles in the Baltimore area. He currently serves as the Co-Chairman of Baltimore's National Academy Foundation High School (NAF), a flagship public high school, which pairs a college preparatory curriculum with five career disciplines: hospitality and tourism, finance, information technology, law and engineering. In addition to being a dedicated and effective youth mentor and advocate, Mr. Haynie was instrumental in helping NAF move and expand to its own middle/high school campus. NAF will now provide career enrichment opportunities to twice as many students. Mr. Haynie recently concluded a term as Chairman of the Board for the Historic Charles Street Association and he currently serves on the board of directors for each of the following professional organizations: The Maryland Tourism Development Board; Visit Baltimore Board of Directors; Charles Street Development Corporation; the Downtown Management Authority, The Downtown Partnership Board of Directors; the Hospitality Advisory Board for the Morgan State University School of Hospitality and The Maryland Hotel and Lodging Association; President of the Waverly Main Street Organization. Mr. Haynie was honored by the Maryland Hotel & Lodging Industry in 2007 as the state's "Hotelier of the Year" and in 2009 as the "Office of Tourism Development as the " Mentor of the Year".
Mr. Haynie, SR. can be contacted at 443-604-3835 or mhaynie@parkwaymgt.com
Hotel Food and Beverage: A Profitable Venture?
By Michael Haynie, SR., President, Parkway Hospitality Management
Hotel Spas: The Potential Challenge in Profitability
Steps in Measuring Hospitality and Guest Services Efficiency
Room Inspections: What is the Role of the General Manager?
Who Is On Your Property Management Team
Analyzing the Cost Benefits of Green Hotels
Tapping Into Your Team's Talent and Keeping Them Motivated


SHEPWAY District Council has admitted to polluting a canal with hydraulic oil, endangering wildlife.
It was the oil from its own workboat that polluted the 28 miles long Hythe Canal a week ago and is spreading, yet work has only just started in its clean-up, Alan tilbury reports.
"The birds are in a pretty bad state, they were not going into the water because the oil makes them sink and become cold. As they're not using the water they become susceptible to other predators. The long and short of it is they are at risk of death without intervention.
It was on the 5th March when the canal was polluted, with many complaints of inaction by the council, with a councillor for Hythe Town Council calling for a prosecution.
The cause of the pollution was a hose that spit on the workboat allowing hydraulic oil to be pumped into the waterway, with the council stating that it will now renew the hose every three years to prevent further pollution.


Tie cardamom, cloves, cinnamon, bay leaf in muslin cloth and drop in rice bowl. Boil rice in salted water (excess) until almost cooked. Drain the excess water and remove the muslin cloth.
Cover lentils with water and cook for 20 minutes until soft. Lastly add little salt.
Chop dates, apricots and almonds.
Dissolve half the butter in warm water over heat.
Saute onion in remaining butter until soft, add dates,apricots, almonds and raisins.
Pour 1/2 butter water in thick bottom vessel then add , in layers, 1/3 of the rice, 1/2 of fruit mixture, 1/2 of the lentils, repeat the same layers then top up with remaining rice and pour over the remaining butter water.
Close the lid and cook in low flame for 30-40 minutes.