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text:
Dead Pool 19th February 2017
It's been a funny old week; although we've had no klaxons, quite a few interesting deaths have come to pass, along with half a dozen racehorses that wont be mentioned. No points to awards this week, but plenty to be getting on with.
Sara Coward, 69, British actress (The Archers), breast cancer.
Damian, 52, British pop singer, cancer.
Al Jarreau, 76, American jazz and R&B singer ("Moonlighting", "Since I Fell for You", "We Are the World"), seven-time Grammy winner, respiratory failure.
Kim Jong-nam, 45, North Korean political figure, member of Kim dynasty, poisoned.
Bruce Lansbury, 87, British-American television producer (Murder, She Wrote, The Wild Wild West, Knight Rider) and screenwriter, complications from Alzheimer's disease.
Dick Bruna, 89, Dutch author and illustrator (Miffy).
George Steele, 79, American professional wrestler (WWF) and actor (Ed Wood), renal failure.
Warren Frost, 91, American actor (Twin Peaks, Matlock, Seinfeld).
Daniel Vickerman, 37, South African-born Australian rugby union footballer (Brumbies, Waratahs, national team).
Former boxer Michael Watson, the man who first started off The Dead Pool, was hurt in a suspected carjacking attempt last week in London, his friend has said. The 51-year-old, who suffered a near-fatal brain injury in a 1991 fight with Chris Eubank, was in a car with his carer when it was hit from behind. The carer tried to speak to the driver but was sprayed in the face with "some sort of ammonia", former boxer Spencer Oliver told BBC Radio 5 live. Mr Watson was dragged along the road as a man drove off in his car, he said. Police said both men required hospital treatment, but their injuries were not life-threatening. Mr Oliver, who spoke to both Mr Watson and his carer, Lennard Ballack, after the incident, said the pair were at traffic lights in Chingford, east London, last Thursday when they got into difficulties. After a white Mercedes bumped into them, Mr Ballack got out, intending to tell the driver that no damage had been done, Mr Oliver said. But when he tapped on the car window, the driver leapt out and sprayed him with "some sort of ammonia", he said. Mr Ballack fell to the ground and tussled with his attacker, while the passenger tried to hijack Mr Watson's car, he added. Mr Watson got caught up in the seatbelt as he tried to get out. As the car was driven off, he was "hanging out of the door", said Mr Oliver. The former boxer is now recovering at home from injuries to the skin caused by being dragged along the road. Mr Oliver said the incident had been traumatic and both men were still shaken up. Mr Watson's 1991 WBO super-middleweight title fight with Mr Eubank left him partially disabled and ended his boxing career. He spent 40 days in a coma and had six brain operations and also made The Dead Pool Master a lot of dirty money!
The actor Harrison Ford has emerged unscathed following another mid-air mishap. Ford, 74, was told to land his single-engine plane on a runway at John Wayne Airport in Orange County, California, on Monday, but he mistakenly landed it on a parallel taxiway, passing over an American Airlines jet holding nearby, NBC reported. "Was that airliner meant to be underneath me?" Ford is heard asking air traffic controllers in a recording. American Airlines Flight 1456, with 110 passengers and six crew, departed safely for Dallas a few minutes later. Ford's publicist, Ina Treciokas, declined to comment. Federal Aviation Administration spokesman Ian Gregor couldn't confirm that Ford was piloting the Aviat Husky that overflew the Boeing 737, but he said the pilot received and had read back the proper landing instructions. The FAA is investigating. In March 2015, Ford was seriously injured when his second world war-era trainer crashed on a Los Angeles golf course when it lost power shortly after takeoff. The actor was praised for his ingenuity in avoiding more populated areas. In 1999, Ford crash-landed his helicopter during a training flight in which he and an instructor were practising auto rotations in Ventura County, northwest of Los Angeles; neither of them was hurt. An in another incident, Ford was flying a Beechcraft Bonanza in 2000 when wind shear forced him to make an emergency landing at Lincoln Municipal Airport in Nebraska. Ford and his passenger were uninjured when the plane clipped the runway.
The Jump has claimed its latest victim. Five-time Olympic champion Sir Bradley Wiggins has quit TV winter sports show The Jump after breaking his leg. The former Tour de France winner said he was "gutted" after sustaining a "small leg fracture" while taking part in snowcross training. Channel 4 said Sir Bradley had been keen to continue but would not appear after the fourth show in the series. Last year, injuries to a number of celebrities prompted a review of safety procedures on the reality show. Sir Bradley, who announced his retirement from cycling in December, tweeted: "Gutted to be leaving The Jump. I wanted to give you an injury update. "Seen a specialist, I have a small leg fracture and need to rest for 3-6 weeks. Good news no surgery or cast required. "Huge thanks to the crew and good luck to all of the cast. Due to the way the show is filmed, I'll still be on until show four, so tune in. Before his departure, model Vogue Williams left this season of the show after suffering a knee injury in training. Last year's series of The Jump was dogged by injuries, which resulted in seven celebrities quitting the programme.
1674 – England and the Netherlands sign the Treaty of Westminster, ending the Third Anglo-Dutch War. A provision of the agreement transfers the Dutch colony of New Amsterdam to England, and it is renamed New York.
1847 – The first group of rescuers reaches the Donner Party.
1878 – Thomas Edison patents the phonograph.
1985 – William J. Schroeder becomes the first recipient of an artificial heart to leave hospital.
1985 – EastEnders, BBC's flagship soap opera, broadcasts for the first time.
1994 – Derek Jarman, English director and set designer (b. 1942)
2001 – Stanley Kramer, American director and producer (b. 1913)
2016 – Umberto Eco, Italian novelist, literary critic, and philosopher (b. 1932)
2016 – Harper Lee, American author (b. 1926)
Ashton Kutcher (39), Jennifer Aniston (48), Burt Reynolds (81), Jennifer Jason Leigh (55), Cristiano Ronaldo (32), Elizabeth Banks (43), Damien Lewis (46), Chloe Grace Moretz (20), Laura Dern (50), Chris Rock (52), Garth Brooks (55), Sheryl Crow (55), James Spader (57), Mia Farrow (72), Charlotte Rampling (71), Joe Pesci (74), Greg Norman (62), Sarah Palin (53), Christopher Guest (69), Michael Sheen (48), Nick Nolte (76), Seth Green (43), Axel Rose (55), John Grisham (62), Rick Astley (51) and Glenn Beck (53).
This entry was posted on 19th February 2017 by kingofankh. It was filed under 2017 .

redpajama_set_name: RedPajamaCommonCrawl


text:
ICYMI: Drive-In Cinema at the Sands Venue Stadium this July
by Media Staff
@SUFCOfficial
Powered by Adventure Cinema, Scunthorpe United's Sands Venue Stadium will feature as part of the UK's biggest drive-in cinema tour this summer.
This summer, friends and family are invited to enjoy outdoor screenings of their favourite films, new and old, from the safety and comfort of their cars. With 80s classics including Dirty Dancing, Back to the Future and The Blues Brothers, to family favourites such as The Lion King, and some of last year's best releases (Joker and Knives Out) there's something for everyone at Adventure Drive-In.
Tickets are now on sale and available by clicking here.
Knives Out (12A)
The Sands Venue Stadium | 2pm
Back to the Future (PG)
Dirty Dancing (12A)
SUNDAY, JULY 19TH
The Lion King - 1994 version (U)
The Blues Brothers (15)
The Sands Venue Stadium | 9.30pm
Adventure Drive-In is a new series powered by Adventure Cinema, an events company that has specialised in bringing outdoor cinema experiences to unique venues across the UK for the last three years. One of the biggest companies of its kind in the UK, Adventure Cinema hosted over 120 large scale events in 2019.
To ensure the safety of its events, a number of measures will be put in place so that all Adventure Drive-In events are social distance friendly, including having plenty of space between parked cars and entry scanned via registration plates on vehicles to avoid contact with staff. Guests can bring their own food, snacks and drinks to enjoy from the comfort of their seats, with full view of the huge LED screens.
Ben Lovell, Co-Director, Adventure Drive-In, commented: "We are extremely excited to launch our Adventure Drive-In tour and feel that 'Drive-In' offers the perfect solution for events when social distancing is required. We'll be using our breadth of experience from the last three years within outdoor cinema creating a memorable experience for all those who attend."
Tickets for Adventure Drive-In are priced at £27.50 + Booking fee and are available now by clicking here.
Adventure Cinema say ticket holders will be given a 100 per cent money-back guarantee should anything mean that the events cannot go ahead.


Quite a contrast for our first day.
Breakfast in the Ace Cafe, an iconic biker caff from the '50s, was all bacon, beans and a slice. It set us up for the ride out of London. The Met's finest escorted us to the M25 and then we were off to Folkestone and the train.
A cancelation put us behind plan so the group stuck to the Autoroute to Reims (That's pronounced Rhems not Reems according to Patrick).
A few of us didn't know about the change of plan and had a wonderful, if longer, ride through NE France. Open roads, good Tarmac and sweeping bends. What's not to like?
Late arrival meant the pre-prandial beer was rushed but we made it to Brasserie Flo for a lovely dinner and a glass of the local fizz.


text:
Upstart Devils Can't Handle Capitals, Fall From Unbeaten Ranks
Filed Under:New Jersey Devils, Washington Capitals
NEWARK, N.J. (AP) — The Washington Capitals have been the best regular-season team in the Eastern Conference the past two years, and they showed the surprising New Jersey Devils why.
Nicklas Backstrom had a goal and three assists and the Capitals knocked the upstart Devils from the unbeaten ranks with a 5-2 victory Friday night.
"Everybody pitched in," coach Barry Trotz said after the Capitals ended a 0-1-1 slide. "There were some great things that happened. We did a great job of managing their speed and limited them to not a lot of great chances. We had some good responses."
The Capitals got big games from all their stars.
T.J. Oshie had two goals and an assist, and Alex Ovechkin scored his ninth of the season and set up Backstrom's power-play tally to help Washington hand New Jersey its first loss in four games.
Jacub Vrana also scored for the Capitals, and Braden Holtby had 21 saves. Washington is 8-0-1 in its last nine games against New Jersey.
"The whole team played good tonight," said Backstrom, who has eight assists in his last four games. "We had better structure and we kept it together and played better defensively. When we play quick, it's hard for other teams to create chances."
Backstrom had a big game despite being hit in the head by a puck in the pregame game.
"Maybe someone should hit me with a puck before every game, Backstrom quipped.
Taylor Hall and Kyle Palmieri scored for the Devils, who had surprised many with their quick 3-0 start after finishing in the basement in the Eastern Conference last season. Cory Schneider made 23 saves, getting beat three times on the power play.
"It was our first time with adversity and we didn't do well," Hall said after scoring his first goal of the season.
The Capitals clearly were the better team in this one. They forechecked well and bottled up the Devils in the neutral zone, limiting an offense that had 16 goals in its first three games.
"I thought we got stubborn with the puck at times," Devils coach John Hynes said. "When you play against Washington, you see how teams like Pittsburgh have beaten them, going through them. They are able to push them back and put pucks behind them with speed. We didn't do that enough."
Backstrom set the game's first goal, intercepting a puck in the New Jersey zone after it came off defenseman John Moore's stick. He found Oshie coming down the middle for his fourth goal of the season with 5:11 left in the first period.
Ovechkin, who had seven goals in his first two games, scored from his office in the left circle on a power play after being set up by Backstrom 8:01 into the second period.
Hall scored his first of the season on a power play with 3:32 left in the second, but Vrana pushed the lead back to two goals, tipping a shot by former Devil Devante Smith-Pelly past Schneider with a minute left in the period.
Palmieri cut it to 3-2 with a backhander in close 53 seconds into the final period.
However, Pavel Zacha took a four-minute high-sticking penalty for cutting Lars Eller at 4:10. Oshie and Backstrom scored with the extra man to put the game out of reach.
Schneider said the Caps were patient on the power play.
"It's wait, wait, wait and they are hard to get the puck away from because they are so good," he said. "It's starts with Backstrom and all those guys possess it well. They just needed one shot on a couple of them. That's how dangerous they are."
Capitals: At Philadelphia on Saturday night.
Devils: At New York Rangers on Saturday night.


text:
smitty's Restaurant
smitty's Lounge
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The Site may use cookie and tracking technology depending on the features offered. Cookie and tracking technology are useful for gathering information such as browser type and operating system, tracking the number of visitors to the Site, and understanding how visitors use the Site. Cookies can also help customize the Site for visitors. Personal information cannot be collected via cookies and other tracking technology, however, if you previously provided personally identifiable information, cookies may be tied to such information. Aggregate cookie and tracking information will not be shared with third parties.
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© Westwood Village Inn. All rights reserved


Seventeen disclosures over the last two weeks, with six issues unfixed.
Sorry I wasn't able to get last week's list out on time. As I mentioned previously, I was at HighEdWeb all last week and have spent most of the last week trying to catch up from being out so long. Luckily, there weren't any critical vulnerabilities disclosed last week. I've compiled all of last week's disclosures into the list for this week's.
The big news, in my opinion, late last week was the announcement of the second release candidate for the OWASP Top Ten 2017. As with the first release candidate, A4-2013 Insecure Direct Object References and A7-2013 Missing Function Level Access Controls were merged into the new A6-2017 Access Control. Removed from the 2013 list are A8-2013 Cross-Site Request Forgery (CSRF) and A10-2013 Unvalidated Redirects and Forwards. When I asked about A8's removal, the current project lead replied that it was number thirteen in their data set, and exploitable in 4% of pen test results. In our internal audits of systems on campus, CSRF is a consistent, exploitable issue. But then, higher education almost always lags behind the rest of the industry. A3-2013 Cross-Site Scripting has been moved to position seven (A7-2017), and two new entries have been added: A4-2017 XML External Entity (XXE) and A10-2017 Insufficient Logging and Monitoring. I won't try to explain XXE as this sensepost blog post does a much better job than I could, but I am surprised this issue rose to the level of making it into the top 10. I haven't seen any XXE issues in our internal scans for some time. A10-2017 Insufficient Logging and Monitoring was named A7-2017 Insufficient Attack Protection in the first Release Candidate and caused quite a bit of drama in the security community, despite Dave Wichers' excellent job of explaining the intent behind its entry. I'm glad they've renamed it to describe the issue more accurately, but it will be interesting to see if it is accepted by the security community.


text:
Q: Ionic OneSignal Push Notification set the root instead of pushing it from Home to Another Page I'm having an issue with my OneSignal push notification page redirection. When I tap on my push notification when the App is running, it pushes the page (news-detail) to stack from the current page (home) that I'm viewing. (This is what I want when the app is closed)
When the app is killed, and I receive the push notification, tapping on the push notification will directly bring me to the news-detail page without stacking the home page. (I want the app to open from home page, and then push the page to news-detail page.)
Here's my current code to route the push notification to another page.
OneSignal.setNotificationOpenedHandler((data: any) => {
      // console.log('notificationOpenedCallback: ' + JSON.stringify(data));
      console.log(data);

      let postid = data.notification.additionalData.id;

      console.log(postid);

      this.api.routePath("news-detail", postid);

      // this.showAlert("Notification opened", "You already read this before", additionalData);

  });

Under ApiService - api I have this code
routePath(path, data) {
    this.router.navigateByUrl(`/` + path + `/${data}`);
}

A: You can set replaceUrl to true to overwrite the current history entry.(see https://angular.io/api/router/NavigationBehaviorOptions#replaceUrl).
routePath(path, data) {
    this.router.navigateByUrl(`/` + path + `/${data}`, { replaceUrl: true });
}

redpajama_set_name: RedPajamaStackExchange


text:
<?php

class ReviewController{

function ReviewController(){
	//blank for now
}

function createReview($form_values){
	//creates a review

$review_model = new ReviewModel();
$review_model->set_bid($form_values['bid']);
$review_model->set_userid(trim($form_values['uid']));
$review_model->set_bname(trim($form_values['businessname']));
$review_model->set_summary(trim($form_values['summary']));
$review_model->set_content(trim($form_values['content']));
$review_model->set_rating(trim($form_values['rating-radios']));
$review_model->set_date($form_values['date_posted']);

file_put_contents('DATEHERE!!!!!!!!!!.txt', $review_model->get_date());

$revObj = $review_model->insert();

if($revObj!=false){
	//header("Location:main.php");
	file_put_contents('reviewinserthere.txt', $revObj);

	file_put_contents('THEREVIEWBNAME.txt', $review_model->get_bname());

}
else{
	file_put_contents('reviewinserthere.txt', 'review insert failed');
}

}

}
?>

redpajama_set_name: RedPajamaGithub


text:
Q: Use database for Android App by downloading with php-script I'm going nuts! Maybe someone can help me?!
I have an sqlite-database on a running server, which I receive due to an php-script. (To make it clear: I'm calling an php-script which gives me the the database as a response). With the response I'm now trying to "parse" it to an regular *.db file which I later on use for my app.
the app works fine, while placing the *.db into the assets folder. But I need to get the updated database everytime when calling the app. Therefore I need to receive it somehow from the server.
Just for notice: I don't know why they use a php-script for that, but it works perfectly with the iOS-Version of the app. So I am 100% sure that the script does work.
Got any hints or a solution to that?
Thanks!
EDIT: here is what I'm trying to do.
    private void copyDatabase() {
        InputStream myInputDB = null;
        OutputStream myOutputDB = null;
        HttpResponse response = null;
        // Path to the just created empty db
        String dbFilePath = DB_PATH + KeyConstants.DB_NAME;
     // Creating HTTP client
    HttpClient httpClient = new DefaultHttpClient();
    // Creating HTTP Post
    HttpPost httpPost = new HttpPost(
            "http://USERNAME:PASSWORD@ADRESS/u/db.php");

    try {
        response = httpClient.execute(httpPost);

        //Open your local db as the input stream
        myInputDB = response.getEntity().getContent();

        //Open the empty db as the output stream
        myOutputDB = new FileOutputStream(dbFilePath);

        //transfer bytes from the inputfile to the outputfile
        byte[] buffer = new byte[1024];
        int length;
        while ((length = myInputDB.read(buffer)) > 0){
            myOutputDB.write(buffer, 0, length);
        }

        //Close the streams
        myOutputDB.flush();
        myOutputDB.close();
        myInputDB.close();

    } catch (IOException ioEXC) {
        throw new Error("Problem copying database from resource file.");
    }

A: What do You have the problem with? With the Android app or with the PHP script?
I don't understand why there is a whole DB file request-response and not just the data (and better in some lazy reading), but that's not matter of Your case.
If You need to "download" all the DB at every run You should call and implement some method to do so - in the very first Activity call this method within onCreate() method. You can create a simple method within this Activity or in better approach create a simple class for this that will be instanciated and its method called within the first activity's onCreate().
But maybe I just don't understand You question...
EDIT: try reading through this problem: Can I download an SQLite db on /sdcard and access it from my Android app?


text:
AirBolt launches world's most advanced GPS tracker at CES 2023 Press Conference
Press Release January 17, 2023 Business, Featured
AirBolt unleashes its innovative solution and Brings Advanced GPS Asset Tracking to Enterprise Level
(Minneapolis, MN) — January 9, 2023 — AirBolt, a leading player in the smart access and assets tracking market, launched its newest innovation during the 2023 Consumer Electronics Show (CES), one of world's largest technology trade shows that took place last week (January 5-8, 2023), in Las Vegas (US).
The company officially showcased its cutting edge live tracking technology with the aim to deliver more peace of mind to its growing community of users, across consumer and enterprise segments. AirBolt GPS tracker offers advanced capabilities at a competitive price to the rapidly growing markets for IoT, travel or vehicle technology.
The Company's new product release coincides with a time when about $47 billion worth of items are lost each year, and most people spend nearly a year of their lifetime looking for misplaced or lost items.
"We design our products with our customers in mind and have created an ecosystem where our products interact with each other to enhance their capabilities. Our next-generation GPS is an example of such an innovation. It is not only packed with first-class features but also can talk to our Smart Travel Lock and report updates live." said CEO, Kabir Sidhu.
AirBolt has been consistently growing in several consumer segments, including pets, bikes and travel. Recently it has also expanded its focus to enterprise partnerships due to high demand for better tracking solutions in various industries. "AirBolt pioneered the smart access and live asset tracking category. With a global asset tracking market estimated at $55.1B by 2026, AirBolt is at the forefront of a rapidly expanding consumer and enterprise tracking market" said Jeff Pouliot, AirBolt Head of Partnerships and US Market.
About AirBolt
AirBolt is one of the fastest growing brands in the smart access and assets tracking market. Its product suite includes the award-winning smart travel lock, and next-generation GPS, LTE-M, and NB-IoT tracker. The company's mission is to create a world free of keys, swipe cards, cumbersome combinations & lost valuables. AirBolt works with both Retail and Enterprise markets and have solutions for both segments. With trademarks, design and utility patents registered globally it strives to push the boundaries daily. For more please visit: https://theairbolt.com/
Posted in Business, Featured
Tagged AirBolt, CES 2023, GPS tracker
Fourteenth Annual Minneapolis Tattoo Arts Festival Held
"Single Story" by Ingrid Restemayer Art Exhibition opening at Susan Hensel Gallery


text:
Q: Java public enum method purpose So I have my enum
public enum Sample {
   ValueA{
      @Override
   public String getValue(){ return "A"; }
 },
 ValueB{
    @Override
   public String getValue(){ return "B"; }

   public void doSomething(){ }
 };
abstract public String getValue();
};

and I have some other code trying to use the enum.
Sample.ValueB.doSomething();

Which seems like it should be valid, but produces the error "The method doSomething() is undefined for the type Sample". As opposed to
Sample value = Sample.ValueB;
value.doSomething();

which produces the same error and seems reasonable.
I assume there is a reasonable answer as to why the first one doesn't work and it relates to the two examples being equivalent under the hood. I was hoping someone could point me towards the documentation on why it is that way.

A: When you write
enum Sample
{
     Value{
        public void doSomething()
        {
              //do something
        }
    };
}

you are not creating an instance of the Sample enum, rather an instance of an anonymous sub-class of the enum Sample. Thet's why the method doSomething() is undefined.
Update: this can be proved as follows:
Try this
System.out.println(Sample.ValueB.getClass().getName());

prints Sample$2
Which means that even though you have the method doSomething() in the instance of Sample$2 which you have named ValueB, you are referring it through the super-class reference of type Sample and hence only those methods defined in the class Sample will be visible at compile time.
You can call that doSomething() at runtime via reflection though.

A: public void doSomething(){ } will have same effect as private void doSomething(){ }.
doSomething() is not visible outside ValueB unless you add doSomething() to the Sample.
Each Sample value has type Sample, so it cannot have different set of methods for different values (from outside perspective).

A: The type of the "field" ValueA is Sample. That means that you can only invoke methods on ValueA that Sample provides. From JLS §8.9.1. Enum Constants:

Instance methods declared in these class bodies may be invoked outside the enclosing enum type only if they override accessible methods in the enclosing enum type.

More importantly: From a design perspective enum values should be uniform: if some operation is possible with one specific value, then it should be possible with all values (although it might result in different code being executed).

A: Basically the compile-time type of Sample.ValueB is still Sample, even though the execution-time type of the value will be ValueB. So your two snippets of code are equivalent - clients don't get to see the "extra" methods which are only present in some of your enum values.
You can effectively think of the enum as declaring a field like this:
public static final Sample ValueB = new Sample() {
    @Override
    public String getValue(){ return "B"; }

    public void doSomething(){ }
};


There is something magnetic and captivating about the perfectly crafted eclectic bedroom. It just amazes us at times with the sheer blend of styles, colors and patterns as we marvel at the skills of homeowners who pull off this unenviable task. An eclectic bedrooms needs balance that can create a splendid fusion of contrasting elements. It is not a task for everyone and the best eclectic bedrooms are the ones that leave you a touch overwhelmed even while looking curated at the end of it all. Imagine if you could elevate this vivacious charm of the eclectic bedroom with sizzling string light!
Yes, strings lights spend most of their time in the attic as they await the arrival of festive season each year. But there are times when they can add dazzle to the bedroom and do so without seeming out of place. Increasingly, homeowners are willing to go down the bolder route and embrace the sparkle of these festive lights all year long and that too indoors! With Halloween behind us and the festive season ready to sweep us off our feet, this is indeed the right time to bring out string lights.
Use the string lights this fall to accentuate the focal point in the bedroom and to create new focal points that will end up stealing the spotlight. Wrapping string lights around the bohemian style mirror next to the bed is a great way to add brightness and beauty to the eclectic bedroom. The headboard or even wall art behind the headboard wall can be wrapped in string lights to make a bigger visual impact. Be careful though when it comes to the size and hue of the string lights as too much can take away from the style of the bedroom itself.
String lights can add beauty to pretty much any bedroom without ever trying too hard. In the eclectic bedroom where diverse decorative elements make their presence felt, the array of string lights can illuminate each and every feature ever so beautifully. Be it brick wall sections, concrete accent walls or majestic purple walls for the Mediterranean themed space, string lights find place everywhere. A four-poster bed also offers great opportunity to wrap those string lights all around the room while creating a romantic backdrop.
String lights need not always take center-stage in the eclectic bedroom and they can add another layer of whimsical lighting to the room. Whether you want to supplement the illumination provided by skylight and pendant lighting or just want them as a decorative feature, dreamy string lights undoubtedly bring Holiday cheer to the bedroom. How you wish to use them is left to your creativity!
Next post 2019 Best Black Chandeliers Trends Ideas – 25 Best Ideas and More!


Choosing the right holster for Sig Sauer C3 is not a simple task, so you should better bet on craftsmanship and quality that is proven by years. With quality holster, you can rely on your self-defense setup in every situation and your gun will have a safe shelter for a lifetime. Our offer includes 141 Sig Sauer C3 concealed carry and duty holsters from traditional European holster producers, known for their quality materials and hand crafted manufacture. Sig Sauer C3 holsters are custom made for this gun model for perfect fit and smooth draw and allows you to wear your gun in comfortable and safety way. We offer Leather and Nylon Sig Sauer C3 holsters. You can choose between IWB, OWB, Ankle, Cross Draw, Drop Leg, Duty, Light & Laser, Magazine & Ammo, Molle, Paddle, Shoulder and Small of Back holster designs for Sig Sauer C3. See also holsters for Sig Sauer P226, P238, P320, P938 and SP2022 and holsters for other Sig Sauer models.
The Sig Sauer C3 is a 1911 style pistol chambered in .45 auto that can hold 6 rounds. It's a recoil operated semi-automatic SA pistol that entered the market in 2011. It has a barrel length of 4.25" and is well suited for self defense and everyday carry. The frame is made of stainless steel and the grips are made of redwood.


text:
SEC. 12D.8. POWERS AND DUTIES OF THE MAYOR, DEPARTMENTS OR CONTRACT AWARDING AUTHORITIES.
(A) In addition to the duties given to the Mayor elsewhere, the Mayor shall:
1. By July 1st of each fiscal year subject to this ordinance, issue notices to all City departments informing them of their duties under this ordinance. The notice shall contain the following information: (1) the City-wide MBE/WBE participation goals that departments are expected to use good-faith efforts to attain during the fiscal year and that a department's failure to use good-faith efforts to attain the MBE/WBE participation goals shall be reported to the Board of Supervisors in the Commission's annual report; and (2) the data each department is required to provide the Controller on each contract award;
2. Coordinate and enforce cooperation and compliance by all departments with this ordinance;
3. Establish a three-member Contract Review Committee who shall have the authority to review contracts proposed by the Director or a department to be set aside, where competition for these contracts is limited to MBEs, WBEs and/or joint ventures with MBE/WBEs. The three-member Contract Review Committee shall be composed of the HRC Director, an individual appointed by the Board of Supervisors and an individual appointed by the Mayor. The Board and the Mayor shall appoint individuals who are knowledgeable about contracting practices of the City and of the industry or profession affected by the set-aside of the contract;
4. Establish a three-member Subcontracting Goals Committee which shall have the authority to review decisions by the Director denying a contractor's request, pursuant to Section 12D.9(D)-(4) or 12D.11(A)-(6), to waive or reduce subcontractor participation goals. The three-member Subcontracting Goals Committee shall be composed of an individual appointed by the Commission, an individual appointed by the Board of Supervisors and an individual appointed by the Mayor. The Commission, the Board of Supervisors and the Mayor shall appoint individuals who are knowledgeable about the City's contracting and subcontracting practices and the relevant construction or professional service industry. The Commission, the Board of Supervisors, or the Mayor may not appoint to the Subcontracting Goals Committee the Director or any employee of the Human Rights Commission.
(B) Contract awarding authorities or in the case of a professional services contract, the department making the contract award recommendation, shall:
1. Use good-faith efforts to solicit and obtain quotes, bids or proposals from MBEs and WBEs on all solicitations, or document their unavailability;
2. Unless otherwise indicated in this ordinance and except where prohibited by State or Federal law or regulation, extend a preference in all bids and contracts and in the composition of rating scales as follows: (1) a five-percent preference to (i) a local business or (ii) a joint venture with local MBE or local WBE participation which equals or exceeds 35 percent but is under 40 percent; or (iii) where a joint venture is composed of only local businesses with no local MBE or WBE participation or where the local MBE or local WBE participation is less than 35 percent; (2) a seven and one-half percent (7.5%) preference to (i) a joint venture with local MBE or WBE participation which equals or exceeds 40 percent but is less than 51 percent; (3) a 10-percent preference to (i) a local MBE or local WBE or (ii) a joint venture with local MBE or local WBE participation which equals or exceeds 51 percent.
A joint venture shall receive the aforementioned appropriate bid preference when the MBE or WBE is an active partner in the joint venture and performs work, manages the job and takes financial risks in proportion to the required level of participation stated in the bid documents and is responsible for a clearly defined portion of the work to be performed, and shares in the ownership, control, management responsibilities, risks, and profits of the joint venture. The portion of the MBE or WBE joint venturer's work shall be set forth in detail separately from the work to be performed by the nonMBE or nonWBE joint venture partner. The MBE or WBE joint venturer's portion of the contract must be assigned a commercially reasonable dollar value;
3. Arrange contracting by size and type of work to be performed so as most effectively to enhance the opportunity for participation by MBEs and WBEs to the maximum extent feasible. As soon as practical before soliciting quotes, bids or proposals, all contract awarding authorities or in the case of a professional services contract, the department making the contract award recommendation, shall submit all large proposals to the Director for review. The purpose of the Director's review is to determine whether the proposed project can be divided into smaller projects so as to enhance the opportunity for participation by MBEs and WBEs in the project. For purposes of this subsection, the term "large project" shall mean the following: (1) any public works/construction project estimated to cost more than $5,000,000; (2) any professional services contract estimated to cost more than $50,000. If the Director determines, after consulting with the contract awarding authority or department responsible for the project, that the project can be divided into smaller projects, the contract awarding authority or department shall comply with the Director's determination and issue the solicitation for quotes, bids or proposals in accordance with the Director's determination;
4. Adjust bid bonding and insurance requirements as recommended by the City Risk Manager in his May 2, 1989 "Contract Insurance Manual";
5. Utilize a revolving fund as may be established by the City to assist MBEs and WBEs to meet bonding, insurance and other fee-related requirements;
6. Submit to a central office all current bids, requests for proposals, and solicitations with sufficient lead time to provide adequate notice and opportunity to MBEs and WBEs to participate;
7. Impose such sanctions or take such other actions as are designed to ensure compliance with the provisions of this ordinance, which shall include, but are not limited to:
(a) Refusal to grant the award of a contract;
(b) Order the suspension of a contract;
(c) Order the withholding of funds;
(d) Order the revision of a contract based upon a material breach of contract provisions pertaining to MBE or WBE participation;
(e) Disqualification of a bidder, contractor, subcontractor, or other business from eligibility for providing goods or services to the City for a period not to exceed five years, with a right to review and reconsideration by the Commission after two years upon a showing of corrective action indicating violations are not likely to recur;
8. Not award any contract to a person or business which is disqualified from doing business with the City under the provisions of this ordinance, nor shall any contract be awarded to any person or business which is disqualified from doing business with any governmental agency based on failure to comply with Minority or Women Business Enterprise or contract compliance requirements which are substantially the same as those of this ordinance;
9. Designate a staff person to be responsible for responding to the Director and Commission and to the requirements of this ordinance;
10. Maintain accurate records for each contract awarded, its dollar value, the nature of the goods or services to be provided, the name of the contractor awarded the contract, the efforts made by a construction, architect/engineer contractor to solicit bids from and award subcontracts to MBEs and WBEs;
11. Where feasible, provide technical assistance to MBEs and WBEs to increase their ability to compete effectively for the award of City contracts;
12. Work with the Director and the Controller to implement a City-wide prompt-payment policy requiring that MBEs, WBEs and LBEs be paid by the City within 30 days of the date on which the City receives an invoice from an MBE, WBE or LBE for work performed for the City;
13. Provide the Director with written notice of all contract modifications which result in an increase or decrease of the contract's dollar amount of more than 10 percent. Such notice shall be provided within 30 days of each such contract modification.
(C) Subject to the prior approval of the Director, contract awarding authorities or departments may invite, encourage or request businesses to joint venture on any contract to promote MBE or WBE participation.
(D) For the purpose of determining Minority and Women Business Enterprise participation:
Contracts awarded to joint ventures in which one or more MBEs or WBEs are combined with one or more businesses which are not Minority or Women Business Enterprises shall be deemed to be awarded to Minority or Women Business Enterprises only to the extent of the Minority or Women Business Enterprises' participation in the joint venture.
(E) All contracts subject to this ordinance shall include the following requirements, in addition to such other requirements as may be set forth elsewhere:
1. Bidders and contractors on all contracts shall be required to sign before a notary an affidavit prepared by the City Attorney, declaring under penalty of perjury their intention fully to comply with the provisions of the ordinance;
2. Contracts shall incorporate this ordinance by reference and shall provide that the wilful failure of any bidder or contractor to comply with any of its requirements shall be deemed a material breach of contract;
3. Contracts shall provide that in the event that the Director finds that any bidder, subcontractor or contractor wilfully fails to comply with any of the provisions of this ordinance, rules and regulations implementing the ordinance or contract provisions pertaining to MBE or WBE participation the bidder, subcontractor or contractor shall be liable for liquidated damages for each contract in an amount equal to the bidder's or contractor's net profit on the contract, or 10 percent of the total amount of the contract or $1,000, whichever is greatest, said amount to be determined by the Director pursuant to Section 12D.14(C). All contracts shall also contain a provision in which the bidder, subcontractor or contractor acknowledges and agrees that the liquidated damages assessed shall be payable to the City upon demand and may be set off against any monies due to the bidder, subcontractor or contractor from any contract with the City;
4. Contracts shall require bidders, contractors and subcontractors to maintain records necessary for monitoring their compliance with this ordinance;
5. Contracts shall require that during the term of the contract, the prime contractor shall fulfill the MBE and WBE participation commitments submitted with their bid;
6. Contracts shall require prime contractors to include a contract provision in any subcontract with an MBE or WBE which provides MBE and WBE subcontractors with a remedy for a prime contractor's noncompliance with his or her commitment to utilize MBE and WBE subcontractors. This contractual provision shall include an agreement by the prime contractor to compensate any MBE or WBE subcontractor if the prime contractor does not fulfill its commitment to utilize the MBE or WBE subcontractor. This contractual provision shall also state that it is enforceable in a court of competent jurisdiction;
7. Whenever contract supplements, amendments or change orders are made which cumulatively increase the total dollar value of a construction contract by more than 10 percent, the contractor shall comply with those MBE and WBE provisions of this ordinance which applied to the original contract with respect to the supplement, amendment, or change order;
8. Contracts in which subcontracting is utilized shall prohibit back contracting to the prime contractor or lower-tier subcontracting for any purpose inconsistent with the provisions of this ordinance, rules and regulations adopted pursuant to this ordinance, or contract provisions pertaining to MBE and WBE utilization.
9. Contracts in which subcontracting is utilized shall require the prime contractor/consultant to pay its MBE or WBE subcontractor/subconsultants within three working days after receiving payment from the City unless the prime contractor/consultant notifies the Director in writing within 10 working days prior to payment that there is a bona fide dispute between the prime contractor/consultant and the MBE or WBE subcontractor/subconsultant. The Director may, upon making a determination that a bona fide dispute exists between the prime contractor/consultant and subcontractor, waive this contract requirement. In making the determination as to whether or not a bona fide dispute exists, the Director will not consider the merits of the dispute.
(F) All contracts or other agreements between the City and County of San Francisco and persons or entities, public or private, where such persons or entities receive money from or through the City for the purpose of contracting with businesses to perform public improvements, shall require such persons or entities to comply with the provisions of this ordinance in awarding and administering such contracts, except where prohibited by State or Federal law or regulation.
(G) Where a department can demonstrate, despite its good-faith efforts and application of the bid preference(s), that it has failed substantially to eliminate the exclusion of MBEs or WBEs from City contracting, the department, after consulting with the Director, may request the Contract Review Committee established in Section 12D.8(A)(3) to review and approve the proposed project(s) selected by the department for a set-aside.
(H) City department heads and commissioners shall attend a one-hour mandatory training session on an annual basis. The training session shall be organized and conducted by the Director and shall inform City department heads and commissioners of the requirements of this ordinance.
(Added by Ord. 175-89, App. 5/30/89; amended by Ord. 190-91, App. 5/31/91; Ord. 76-92, App. 3/13/92; Ord. 155-92, App. 5/29/92; Ord. 284-92, App. 9/16/92; Ord. 399-95, App. 12/22/95; Ord. 278-96, App. 7/3/96)


The world is getting smaller and more interconnected every day. That's just modern reality. We are mobile and we are on the move. Most of the times we are no longer "confined" to living in the same area, city, or even country as our ancestors. If I look at my classmates from school, for example, almost none of them stayed in my home-country. My ex-classmates are now everywhere from Europe to Canada and from Brazil to New Zealand. But what about their families? Well, as we are now in our 30s, most of my ex-classmates have families of their own. Yet, this is not what I mean… Their parents, their, so-to-say initial families, families they were born into – they in a lot of occasions are still in Latvia. And that raises quite some questions. The first and probably most obvious one is: how do you truly stay in touch?
Luckily, our mobility goes hand in hand with the development of technology. Thus, as for myself I am an active user of all various communication platforms, mainly Skype and Whatsapp. It is thanks to Skype that my mother back in Latvia saw the moment my daughter started crawling, as well as her very first steps! That was, of course, a coincidence that we were "skyping" exactly at those moments. But then again, we "skype" almost daily. I truly believe that even though there might be hundreds or even thousands of kilometres in between you, it is still possible to keep in touch. Moreover, sometimes I think that I talk with my mom more often than some other people who live next door from their parents.
If I would need to come up with some advice on long-distance communication with parents, I would say: keep it regular and don't bother about the seriousness of the conversation. The thing I noticed on multiple occasions is that if people haven't spoken in a while, it might seem difficult to find a subject to talk about. Partially this might be due to the fact that if you speak only once a month, you want to talk about truly important things. It seems to be irrelevant to mention that you tore your favorite stockings or that your son told your daughter: "you are a princess!". Maybe those are silly things, but guess what? Life is made up of small silly things amongst big significant ones. Of course, you will talk about a new job for instance or a major purchase, but those are not the only things that make up your life. It is also about the drawing your kid made which resembles a dragon, but is called "my dear mommy"; it is about the butterfly that was sitting on your window the whole morning and inspired you to write a small poem; it is about you opening the door to the mailman wearing your facial mask (actually did that… and it was hilarious!).
If you have kids of your own, think about something for a moment: toddlers come home from kindergarten and tell you the story of how they were jumping at the playground and then there was this boy / girl / cat and then an apple fell, and then they were playing hide-and-seek,… And you hear those stories over and over again, but those are your precious little kids, you will listen to them and through those stories and emotions you will connect. Why would it be different with parents of your own? You are still their little kid, despite your wrinkles and assumed wisdom.
Connection happens through small things, silly things; emotions; little pleasures and worries. In my view, the true keeping in touch is exactly about all those things, not only major and global changes in your life. I have to say once again, that luckily modern technologies allow that communication to be there, but that works only if you really want it to be there.
To note that we also go to Latvia at least twice a year to actually physically see each other, to spend some time together, to give each other a hug. However, because our communication, our staying in touch never ceases, there is no need for adjustment. We can just continue from there straight away. Also our kids, who regularly see their grannies on the screen, don't need any time to "get used to them". Our connection is just constantly kept alive.
P.S. Mom, I'll call you in a moment! Imagine, I managed to get that latte-heart almost perfect!
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i lived one year abroad and all i did was skype, some calls sometimes, facebook, emails… and of course surprise visits to my family&friends back home!


Precise furnace temperature profiles are a prerequisite for high-quality products and their reproducible manufacture. With the "TS04" series, PhoenixTM will be presenting a measuring system at AEE 2019 that can be used to easily monitor temperature data in coating processes. The system consists of a data logger, a heat protection container and the "ThermalView-Finishing" software.
Industrial furnaces are equipped with sensors. Often several of these sensors are present. But how can you determine what is really happening on and inside the product? The "Finishing System TS04" is a complete solution for monitoring temperature data, especially in coating processes. The flexible system records the temperature data of the product during the oven run and is located directly on the product. During preparation, the body is fitted with thermocouples at relevant points and the data is stored in the data logger. This is protected by a heat protection container. At the end of the process, the data logger is read out. With the help of the "ThermalView-Finishing" software, the raw data can be converted into meaningful process data with which fast and well-founded decisions can be made to solve burn-in problems. The measurement results can be used, for example, for process or product optimization, customer audits, reducing operating costs, saving resources and much more. With the optional radio telemetry upgrade, it is possible to receive the determined data in real time. This eliminates the waiting time, and the furnace control system can intervene directly in the running process and the effects can be analyzed immediately.


The Quality Inn hotel in Jacksonville, FL is within five miles of several major business parks and three regional shopping malls. Orange Park Mall is within walking distance and several restaurants are nearby. Naval Air Station Jacksonville and Orange Park Medical Center are also in the area. Hotel amenities and features include free continental breakfast, free coffee, free wireless high-speed Internet access, seasonal outdoor pool and fitness center. All rooms include microwaves, refrigerators, coffee makers and hair dryers. This is a pet-friendly hotel. Pet accommodation: 20.00 USD per night. Pet limit: 2 pets per room.


How can cruise industry leverage Software defined WAN to accelerate digitalization and improve passenger QoE, without increasing cost?
The next three years will be a period of economic and technological disruption in maritime connectivity.Not only are incumbent operators launching advanced HTS-class satellites on both Ku and Ka bands, but well-funded new satellite companies are also preparing NGSO constellations. Multi-orbit, multi-band satellite along with alternate access technologies like 5G will be able to drive a step change in power, efficiency, coverage and cost. In coming years, new satellites, constellations and access technologies will create new opportunitiesa and use cases. Bandwidth cost will continue to decline, while lower latency will improve end-user experience. For customers, two fundamental questions remain: how to deliver gigabits capacity as data demand skyrockets, and how to unlock the value created by multi-access, multi-orbit hybrid connectivity solutions?
What defines a Hybrid environment?
There are three essential qualities. First, Hybrid networks utilize multiple modes for data transport e.g terrestrial (cellular, WiFi) and/or satellite connectivity (C, Ku, Ka), Second, they use multiple frequencies with simultaneous operations across bands and orbits. Third, they feature network pipes with different latencies and bandwidth. In hybrid multi-access, multi-band connectivity solutions, vessels have access to multiple WANs. In a singleantenna installation, the remote switches beams when necessary for geographical or traffic management reasons. A single pipe carries upstream and downstream traffic.
In multi-orbit, multi-access hybrid solution such as a vessel with Ku, C, WiFi and 4G/5G the on-board system should route and prioritize data flow among the pipes using intelligent business logic, segregating upstream and downstream traffic and optimizing routing for performance and/or economic goals.
Challenges in managing Hybrid connectivity?
Hybrid connectivity solutions also bring in new management and configuration challenges. Traffic management and Wide-Area Network (WAN) complexity will increase as traditional QoS and routing architectures should be changed fundamentally. On-board systems should be application aware to route traffic based on application and WAN performance. On-board IT team should be able to manage disparate connectivity options through a single pane of glass and application performance across all connectivity services should be reported in a single dashboard for ease of management.
What do you need to know to pick the right solution?
The system should be able to route traffic seamlessly through available WAN options based on application, geo-location of the vessel, available link bandwidth, network performance or economic goals. E.g. when operating MODCOD drops on one link, the system should dynamically reallocate appropriate amount of traffic to other available WAN options.
Since VSAT connectivity offerings have a committed CIR and burstable MIR, the system should have the intelligence to estimate bandwidth availability on TDMA and dynamic SCPC links. This will increase bandwidth reliability in dynamic environments. Also, accurate estimation of VSAT bandwidth will enable intelligent traffic management across multiple WAN connections thereby reducing total bandwidth cost.
Since user traffic might be routed over 3rd party network, the system should support end to end encryption ensuring data integrity.
Customer should manage disparate connectivity options through a single pane of glass. Granular, application level visibility should provide insight on application performance as its routed over disparate connectivity options.
Hybrid connectivity leveraging multi-band, multi-orbit and multi-access technologies is the future of maritime connectivity. While the potential is huge, customers should pick the right solution that can manage applications and bandwidth across multiple disparate connections. It should be software driven, fully automated to drive lower economics and increase data efficiency. The right solution is software defined, intelligent, secure and should seamlessly integrate new access technologies as they become available.


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This Weekend at LACMA: De Maria and French Ceramics Exhibitions Close, Latin American Galleries Open, Sci-Fi Films, Easter Brunch, and More
Two terrific exhibitions are coming to a close this weekend. In the Resnick Pavilion, it's your last chance to see Walter De Maria's The 2000 Sculpture—one artwork that fills the entire center space of the building. The piece is made of precisely ordered geometric shapes that, together, measure roughly 33 x 164 feet.
Walter De Maria, The 2000 Sculpture, 1992, Collection of Walter A. Bechtler-Siftung, Switzerland, Photo © 2012 Museum Associates/LACMA
Also closing this weekend is Daily Pleasures: French Ceramics from the MaryLou Boone Collection, on view in the European galleries in the Ahmanson Building. The exhibition gathers 130 examples of French faience and soft-paste porcelain from the 17th and 18th centuries. You can read more about the exhibition from its curator, Elizabeth Williams, or learn about the influence of Chinese porcelain from curator Christina Yu.
Mustard Pot (Moutardier), Olerys-Laugier Manufactory, Moustiers, France, 1745-1749, Decoration painted by Jean-François Pelloquin, The MaryLou Boone Collection
Opening Saturday is a new reinstallation of our Latin American art galleries on the fourth floor of the Art of the Americas building. Read more about the changes to the gallery and look at some of the new highlights in curator Ilona Katzew's post from earlier this week.
Other exhibitions on view right now include Compass for Surveyors: 19th-Century Landscapes, in the Art of the Americas Building, which garnered a great review from the Los Angeles Times today; Ming Masterpieces from the Shanghai Museum; Ends and Exits: Contemporary Art from the Collections of LACMA and the Broad Art Foundation; and Stanley Kubrick. Kubrick fans—and especially 2001 fans—will want to check out the four films we're screening tonight and tomorrow as part of our series Beyond the Infinite: Science Fiction after Kubrick. Tonight kicks off with George Lucas' debut, THX 1138 followed by Mike Hodges' 1974 adaptation of Michael Chrichton's The Terminal Man. Saturday sees John Carpenter's sci-fi comedy Dark Star—which pointedly parodies Kubrick's slow-moving 2001. followed by Andrei Tarkovsky's epic masterpiece Solaris (trailer below).
This and every Saturday, we offer free family tours of the collection. Tours meet in the BP Grand Entrance near Urban Light and last approximately 45 minutes.
Families are also welcome to join us for Easter Brunch at Ray's. Menu highlights include artichoke soup, blue crab deviled eggs, house made black pudding, onion and gruyere quiche, pork belly with eggs, and the famous Benedict Burger with a sunny egg on top. Make a reservation for Easter brunch.
Finally, our free classical music concert series Sundays Live continues Sunday at 6 pm with LA Opera's Domingo-Thornton Young Artist Program performing works to celebrate the centennial of legendary composer Benjamin Britten.
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LACMA's Newly Reinstalled Latin American Galleries
In the last few years, LACMA has focused much attention on building a stellar collection of Latin American art, ranging from ancient to contemporary. The breadth of our collection—with much growth still under way—is what makes it truly exceptional. Since 2006 I have devoted a great deal of time to developing our Spanish colonial, modern, and contemporary holdings. New works have slowly trickled up to the galleries, but many others were waiting to be displayed.
Opening this Saturday, a new reinstallation of the permanent collection gave us the opportunity to streamline the layout of the galleries and make space for new acquisitions, reflecting the collection's ongoing transformation. Now viewers will enter through the ancient galleries (just as before), and move across time to view new works from the colonial, modern, and postwar periods.
Spanish Colonial Art Highlights
Few people know that as recent as 2006, there was only one significant work from Spanish America in the collection—a striking chalice gifted by William Randolph Hearst. Since then, we have acquired more than 50 important works in this area, converting the museum into one of the principal repositories of Spanish colonial art in the United States.
Attributed to Luis Berrueco, "Saint Francis Before the Pope," c. 1710, oil on canvas, purchased with funds provided by the Bernard and Edith Lewin Collection of Mexican Art Deaccession Fund
Among the highlights are paintings by renowned masters from Mexico and elsewhere in the viceroyalties, including Juan Rodríguez Juárez (1675–1728), Luis Berrueco (active in the 18th century), Miguel Cabrera (c. 1715–1768), Juan Patricio Morlete Ruiz (1713–1772), and José de Páez (1720–c. 1801). These works brilliantly attest to the formation of local schools of painting and the invention of new iconographies.
Juan Patricio Morlete Ruiz, "X. From Spaniard and Return Backwards, Hold Yourself Suspended in Mid Air," c. 1760, oil on canvas, gift of the 2011 Collectors Committee
Some key acquisitions include examples of casta paintings, the fashionable 18th-century works that portray the process of racial mixing among Amerindians, Spaniards, and Africans.
"The Education of the Virgin," Mexican School, late 17th century, oil and encrusted mother-of-pearl on panel (enconchado), purchased with funds provided by the Bernard and Edith Lewin Collection of Mexican Art Deaccession Fund
Other works reveal the interest in Asian materials, formats, and techniques, including a stunning folding screen depicting a large flying pole (an ancient game that continued in colonial times), lacquerwork, and objects made with shimmering fragments of inlaid shell known as enconchados.
Modern Mexican Silver Highlights
Complementing LACMA's collection of Latin American modernism is a recent donation of approximately eighty examples of modernist Mexican silver.
William Spratling, "Double Jaguar Necklace," c. 1940, silver and amethyst, Gift of Ronald A. Belkin, Long Beach, California
In the twentieth century, the Mexican silver industry experienced an unprecedented resurgence. Two North Americans catalyzed this renaissance: Frederick Walter Davis (1877–1961) and William Spratling (1900–1967). From the 1920s to the 1950s, Taxco became the epicenter for innovative silver designs, attracting artists, writers, and politicians from all over the world, including Hollywood celebrities such as John Huston, Mae West, Bette Davis, and Marilyn Monroe among many others.
Left: Frederick Walter Davis, "Tree Brooch," 1945, silver and Mexican opal, gft of Penny Morrill, McLean, Virginia; Right: Miguel Covarrubias, "The Tree of Modern Art—Planted 60 Years Ago," Vanity Fair, May 1933, © Miguel Covarrubias Estate, photo © 2013 Museum Associates/LACMA
In 1945 Frederick Walter Davis invited five extraordinary women for a luncheon at his home: the choreographer Rosa Covarrubias and her close friend Carmen López Figueroa, actress Sally Foster, art patron María Asúnsolo, and screenwriter Mary Anita Loos. At each plate was a wrapped box containing a tree brooch, the design for which was based on Miguel Covarrubias's clever genealogical "Tree of Modern Art," which had been published in Vanity Fair in 1933. This is one of the five brooches Davis created for this special occasion.
Donated by a group of distinguished collectors from across the United States, this inaugural gift of Mexican silver signals LACMA's commitment to collecting and displaying modern Latin American design.
Postwar Geometric Abstraction
Another area of expansion is Latin American postwar geometric art. Buffered from World War II, many South American countries entered an optimistic period of economic growth in the 1940s and 1950s. Abstract art, with its emphasis on clear and distilled forms, became the dominant visual language that reflected a move toward modernization and industrialization. Artists from Argentina, Brazil, Uruguay, and Venezuela who worked in this mode are internationally recognized. Among the new highlights are works by Julio Le Parc (b. 1928), Gego (1912–1994), Alejandro Otero (1921–1994), Raúl Lozza (1911–2008), and Sérgio de Camargo (1930–1991).
Raúl Lozza, "Untitled," 1953, relief and paint on wood, purchased with funds provided by the Contemporary Art Acquisitions Fund and the Bernard and Edith Lewin Collection of Mexican Art Deaccession Fund
We hope you will have a moment to visit the newly reinstalled galleries and share with us the excitement of witnessing the collection transform.
Ilona Katzew, Curator and Department Head, Latin American Art
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Between Art and Politics: Hans Richter's Germany
What would it have been like to grow up as an artist in pre- and post-World War I Germany? To discover the new German and international avant-garde in exhibitions and galleries, to frequent the intellectual and artistic circles in the cafés and cabarets in Germany's capital? The young artist Hans Richter experienced the frenetic cultural life of Berlin before World War I put an end to it. He survived the war, deeply marked by its horrors which he expressed in his works of the time, then became involved with the Dadaists in Zurich, and later worked with Constructivist artists in Berlin. The exhibition Between Art and Politics: Hans Richter's Germany presents the artistic milieus and movements Richter was involved in before, during, and after World War I. It accompanies the major retrospective Hans Richter: Encounters (opening May 5), which LACMA is dedicating to this fascinating artist—a true pioneer of modern art who was involved in virtually all the major avant-garde movements of the twentieth century: Expressionism, Dadaism, Constructivism, Surrealism, and more.
Hans Richter, Arbeiter (Workers), 1913, oil on canvas, private collection, © 2013 Hans Richter Estate
Between the –Isms: Artistic Life in Germany before World War I
The life of Richter before the war must have been exalting: Berlin, Dresden, and Munich were centers of the avant-garde, including the Expressionists of Die Brücke (The Bridge) and Der Blaue Reiter (The Blue Rider). These artists broke with academic modes dominant among established artists including German Impressionist Max Liebermann, and they saw themselves as rebellious visionaries. Wassily Kandinsky and Franz Marc, cofounders of Der Blaue Reiter, tended in their works toward abstraction, exploring the inherently spiritual aspects of color. Ernst Ludwig Kirchner and Erich Heckel of Die Brücke found inspiration in the German woodcut and non-Western cultures. Besides Expressionism, French art was dominating the German art scene. Paul Cézanne, regarded as a precursor to Cubism, became a major source of inspiration for young artists, including Richter. He and his contemporaries were struck by a sort of "musical rhythm" they saw emerging from Cézanne's works, and they started to experiment with the decomposition of form itself.
Paul Cézanne, The Bathers, c. 1898, color lithograph, Dr. Dorothea Moore Bequest
Hans Richter, Music, c. 1916, linoleum cut on wove paper, published in Die Aktion, The Robert Gore Rifkind Center for German Expressionist Studies, purchased with funds provided by Anna Bing Arnold, Museum Associates Acquisition Fund, and deaccession funds, © 2013 Hans Richter Estate
While exhibitions presented the works of major artists, galleries and periodicals became a platform for the new generation; the journal Der Sturm (The Storm), published by Herwarth Walden, gave voice to a varied range of young painters, writers, and poets. Walden's Galerie Sturm in Berlin similarly showcased young German and foreign artists, such as Georg Muche, the Austrian Expressionist Oskar Kokoschka, and the American Albert Bloch, and also introduced Futurism to the German art world. Die Aktion (The Action), a left-wing literary magazine published by Franz Pfemfert, featured the artworks of many Expressionists and politically involved artists, among them Hans Richter.
Georg Muche, Self-Portrait, c. 1920, gelatin-silver print, The Audrey and Sydney Irmas Collection, © Georg Muche Estate
In Times of War and Revolution
But then the war came. When World War I (1914–18) broke out, numerous artists embraced the patriotic idea of fighting for their homeland. Many of them quickly became disillusioned with the war and ideological militarism.
Conrad Felixmüller, Soldier in a Madhouse (Soldat im Irrenhaus), 1918, lithograph printed in red and blue-violet on laid paper, The Robert Gore Rifkind Center for German Expressionist Studies, © Conrad Felixmüller Estate/Artists Rights Society (ARS), New York/VG BILD-KUNST, Bonn
Richter was enlisted but was wounded a few months later and was discharged from service. He lost his younger brother on the front and many of his fellow artists were killed, among them Franz Marc and August Macke. Those who survived were hoping for a better and more equal society and many became actively involved in politics; some associated with Marxist leaders Karl Liebknecht and Rosa Luxemburg, founders of the Spartacus League. Richter, along with other artists, associated with the communist government in Munich, which had succeeded the Bavarian Council Republic.
Julius Ussy Engelhard, Bolschewismus bringt Krieg, Arbeitslosigkeit und Hungersnot (Bolshevism Brings War, Unemployment, and Famine), 1918, lithograph printed in red, yellow, brown, and black on wove paper, Gift of the Robert Gore Rifkind Collection, Beverly Hills, CA, © Julius Ussy Engelhard Estate
But the revolutionary spirit was soon brought down: Liebknecht and Luxemburg were murdered in January 1919 by the Freikorps, a German paramilitary organization. And in May the revolution in Munich was crushed. The murders and the extreme violence which reigned in Germany were echoed in works of artists, such as Käthe Kollwitz, who was not a communist but expressed sorrow in the face of death and a longing for a better world in her prints.
Käthe Kollwitz, Gedenkblatt für Karl Liebknecht (Commemorative Print for Karl Liebknecht), 1919, lithograph on heavy Papier Lipsia, The Robert Gore Rifkind Center for German Expressionist Studies, © Käthe Kollwitz Estate/Artists Rights Society (ARS), New York/VG BILD-KUNST, Bonn
The Faith in a New Society
The desire for social reform was expressed in an almost religious way by some of Richter's contemporaries, who saw the revolution as the dawn of a new age of freedom.
Constantin von Mitschke-Collande, Freiheit (Freedom), 1919, woodcut on laid paper, The Robert Gore Rifkind Center for German Expressionist Studies, © Constantin von Mitschke-Collande Estate
Breaking with the past, many artists rejected Expressionism as part of the old social order, and sought a new expressive potential in abstract forms, leading toward Constructivism. Others turned to a sober and direct realism that found its most notable expression in Neue Sachlichkeit (New Objectivity), a movement that championed a departure from subjective interpretations and a devotion to the object. In photography, artists such as Hans Finsler, August Sander, and Else Thalemann focused on industrial buildings and workers, abandoning old aesthetic criteria to concentrate on structure and form.
Else Thalemann, Untitled (From the series Industrie Ruhrgebiet), c. 1925, gelatin silver print, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Else Thalemann Estate
Although this exhibition is only meant to give an overview, the works on view illustrate the exceptional richness of artistic life in Germany in the first decades of the twentieth century, diminished by the war but rebuilt from ashes, and contribute to a better understanding of today's society and art.
Frauke Josenhans, Curatorial Assistant, Robert Gore Rifkind Center for German Expressionist Studies
This Weekend at LACMA: Mapplethorpe Closes, Queer Cinema, Ed Ruscha Book Signing, Family Events, and More
Robert Mapplethorpe: XYZ was the first exhibition LACMA presented since its joint acquisition of the photographer's art and archives in 2011, and it features some of the controversial artist's most provocative material. If you haven't seen the exhibition already, this weekend is your last chance—it closes on Sunday. (A concurrent exhibition at the Getty, In Focus: Robert Mapplethorpe, also closes this weekend.)
Robert Mapplethorpe, Jim, Sausalito (X Portfolio), 1977, the J. Paul Getty Museum, Los Angeles, jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, partial gift of the Robert Mapplethorpe Foundation; partial purchase with funds provided by the David Geffen Foundation and the J. Paul Getty Trust, 2011, © Robert Mapplethorpe Foundation
As detailed on Unframed earlier this week, in conjunction with the closing of Mapplethorpe we will be re-staging a landmark pro-Mapplethorpe, anti-censorship demonstration that took place at the Corcoran Gallery of Art in 1989, in which Mapplethorpe's photographs were projected onto the exterior walls of the museum. The re-staged demonstration will happen outside of the Ahmanson Building on Saturday at 6:30 pm. Bookending the demonstration are screenings that are part of an evening of films, Outlawed! Queer Cinema Before the Culture Wars. The first program begins at 5 pm, with a series of short films by Jean Genet, Jack Smith, and Kenneth Anger (the latter, Scorpio Rising, stars Marlon Brandon); the second segment is comprised of Andy Warhol's My Hustler and Gus Van Sant's feature debut, Mala Noche.
Opening this weekend just across the way from the Mapplethorpe exhibition is Between Art and Politics: Hans Richter's Germany, a show that sets the stage for our large-scale survey of Richter's work, Hans Richter: Encounters, which opens May 5 (or become a member and see it even sooner). This smaller show includes works by Cézanne, Kandinsky, and others—stay tuned to Unframed next week for more on this show.
Conrad Felixmüller,Soldier in a Madhouse (Soldat im Irrenhaus), 1918, the Robert Gore Rifkind Center for German Expressionist Studies
Other exhibitions are coming to an end soon, if you haven't had a chance to see them—Daily Pleasures: French Ceramics from the MaryLou Boone Collection and Walter De Maria: The 2000 Sculpture both close next week. Check out all of the exhibitions on view now for a full list of things to choose from.
Ed Ruscha fans—you have a chance to meet the man himself at a book signing and reception in Art Catalogues on Sunday afternoon. Ruscha's son, Eddie Ruscha, will DJ the event with selections from the elder Ed's personal record collection.
Ed Ruscha, Actual Size, 1962, anonymous gift through the Contemporary Art Council, © 2012 Edward J. Ruscha IV. All rights reserved. Photo © 2012 Museum Associates/LACMA
For those of you looking to bring the little ones to the museum this weekend, there are a few great opportunities to keep in mind. On Saturday you can take part in free family tours of the collection, where gallery educators will provide some kid-friendly insight into Metropolis II, the Egyptian collection, and other highlights. Sunday, as always, is the day for Andell Family Sundays—free art-making activities and tours of the collection. (Tours on both days are offered in English and Spanish.) This Sunday we also have a special activity in the form of Act!vated Story Theatre, who will be telling Tales of Ambition and Dreaming Big.
Finally, the weekend concludes with our weekly free chamber music series, Sundays Live. This weekend pianist Abbey Simon will perform Beethoven's Sonata in G major, Opus 14, No. 2, plus other works by Schumann, Ravel, and Prokofiev.
Scott Tennent
The Perfect Moment Protest: Q&A with Bill Wooby
On June 30, 1989, a group of Washington, D.C.-based curators, artists and activists gathered at the Corcoran Gallery of Art to protest the shuttering of the Mapplethorpe retrospective The Perfect Moment. The centerpiece of the demonstration was a projection onto the museum's exterior wall, consisting of ten works included in the censored exhibition. Beginning and ending with a self-portrait of Mapplethorpe, the projection was a spectral reminder of the influence and significance of the artist, who had died only a few months earlier from complications of AIDS. One of the most potent responses to the censorship of Mapplethorpe's art, the demonstration marked a high moment in the so-called "Culture Wars" of the late 1980s and early 1990s that emerged in response to attempts to limit government sponsorship of the arts. This Saturday, to mark the final days of the exhibition Robert Mapplethorpe: XYZ, LACMA will recreate this landmark projection on the wall of the Ahmanson Building. Ryan Linkof, a Ralph M. Parsons Curatorial Fellow in LACMA's Wallis Annenberg Photography Department, spoke with Bill Wooby, one of the original organizers of the demonstration, about the cultural impact and legacy of that event.
Frank Herrera, photograph of The Perfect Moment protest, June 30, 1989, Corcoran Gallery of Art, Washington, D.C. © Frank Herrera
How did the Corcoran protest come about? Whose idea was it and how did you get involved?
A number of artists and curators got together at the Washington Project for the Arts to discuss the canceling of The Perfect Moment exhibition by the board of the Corcoran Gallery of Art, and to come up with ideas about how we might respond. My friend Andrea Pollan (at the time the Director of the Wentworth Gallery in Washington, DC) said we should project the pictures onto the wall of the Corcoran. Of course everyone was very excited and supported the idea. My primary responsibilities were PR and fundraising. Before the event, the Washington Post and the New York Times published articles explaining the demonstration and how the images would be shown. Shortly after the cancellation, a gay organization had a demonstration in front of the Corcoran, focusing on Mapplethorpe as a gay artist. Our arts organization focused more on Mapplethorpe as an artist with creative freedom.
Fundraiser event at the Collector Art Gallery and Restaurant, June 30, 1989. © Bill Wooby
Explain a bit about the process of putting the projection (and accompanying event) together. What needed to be done to pull this off?
First, we had Mapplethorpe catalogues from the exhibit at the Whitney Museum and from the Institute of Contemporary Art Philadelphia, and we chose photographs from those catalogues. Each image cost us $75 dollars to turn into a slide. We had to rent a projector from New York City, which was picked up by light and projection artist Rockne Krebs. In 1989 there were no digital projectors. If we had one, we could have shown the whole collection on the Corcoran by scanning each page. We created committees for different tasks such as postcard mailings, and contacting newspapers, TV and radio stations. We had just two weeks to organize our event!
Pat Buchanan, the radio talk show host, invited someone from our group to be on his show to talk about censorship and Robert Mapplethorpe. I asked if he had seen any Mapplethorpe exhibits, and, if not, I didn't want to talk with him. We never heard back from him.
I received a number of obscene phone calls before the demonstration, saying things like I should be sent to hell for showing pornography. I also received a bomb threat one morning while I was at my restaurant, the Collector Art Gallery and Restaurant—the person warned that the bomb would go off in fifteen minutes. I went outside and waited fifteen minutes… when nothing happened I went back inside.
The evening of the demonstration, we had a fundraiser at the restaurant from 5 to 8pm. The date of the event was June 30, 1989, the same day that was scheduled for the original opening. We charged $25 per person for the event. We served hors d'oeuvres and drinks, and provided materials for participants to make their own protest signs. My personal favorite sign was one made by artist Kathleen Bober, "Free the Penis!" Around 8pm, we all got on buses that we rented and went to the Corcoran for the event. After the demonstration, participants went to galleries on DuPont Circle and R Street, NW, or back to the Collector to party until the wee hours.
Why this particular format—a projection? I've read some interpretations that the projected image of Mapplethorpe served as a kind of ghostly evocation—which is quite poignant given that he died only months before. Was the projection meant to carry this kind of symbolic weight? Who selected the images that appeared, and what were the criteria for selection? Did you purposefully avoid including the more sexually explicit images?
Rockne was the leader in choosing images with a group of artists. We only had so much money and we spent around $7,000 on this event including the buses, projector, and other things. I donated food and beverages from my restaurant. The first people who became upset about the Mapplethorpe exhibit cancellation were people from outside of Washington, DC. The first money donated to our cause came in from a man in Albany, who read about it in the New York Times and called me to find out more about it. The Robert Miller Gallery in New York (Robert Mapplethorpe's dealer) donated $1,000, and others donated money as well. There was no support from the Mapplethorpe foundation. They thought it would take away from Robert's image—they didn't want to focus on the negatives. We were told not to use any images of individuals. We received no criticism of the images we selected from the people who attended the protest. Our selections were based on our desire to showcase the wide scope of Mapplethorpe's work. We didn't make a point to avoid including the more sexually explicit images; it just worked out that way. Jesse Helms was upset before even seeing the images to be displayed. I think the only image he saw was the invitation which had biracial men showing affection.
Melody with Edward Mapplethorpe, the Collector Art Gallery and Restaurant, June 30, 1989. © Bill Wooby
Who turned out for the event? Who was notably absent?
Andrea and I tried to contact different celebrities that Mapplethorpe photographed. Sigourney Weaver and Patti Smith and other celebrities did not want to get involved for personal reasons. Andres Serrano did not want to be involved because of what he went through with the National Endowment of the Arts and Jesse Helms. The people who did show up were Edward Mapplethorpe (Robert's brother), Melody, and Harry Lunn (Mapplethorpe dealer in DC). Early on we did not expect many people to show up based on the verbal response I received from artists and dealers. One dealer said to me, "Why should I worry, my artists aren't gay," and another artist said, "Why should I care? I don't get any money from the National Endowment of the Arts." There were other dealers at the time who were not supportive because they were worried about offending their Republican customers. I received a phone call from a gay organization called Act Up who wanted to know if they could come down and be part of the demonstration. I said yes. I received a phone call from another gay organization and I told them that Act Up was coming from NYC. When I told the woman about this, she became very worried and told me I should have insurance on my equipment. She told me that Act Up might destroy the equipment, destroy the Corcoran, or block traffic. I was very worried. This information came to me two days prior to the demonstration. I was very relieved that Act Up did not attend. We had gay and artist organizations that gave speeches at the demonstration and we had the projections. Cheers started when the photograph of Mapplethorpe was shown on the wall of the Corcoran. Reporters at the event said that they had not seen so much press in Washington for anything that was non-government related.
Christina Orr-Cahall received considerable negative attention for her decision to close the Perfect Moment exhibition. How did Orr-Cahall and the Corcoran respond to or get involved in this event?
Christina Orr-Cahall and the Corcoran board could have stopped us from creating the projection, but she let us use the property, close off the street, and project images on the building. I spoke to her ahead of time and she gave us permission. I give her a lot of credit because I feel that her story about the events leading up to the cancellation and events after has not yet been told. The NEA told me they could not support us but they were there for the event.
This event garnered a huge amount of attention at the time, including on the cover of the September 1989 issue of Artforum . What kind of response did you get, and how has it endured?
Out of all the photographs taken of the demonstration, we chose to use Frank Herrera's photos because he used a large-format camera. His photo of Robert Mapplethorpe's portrait projected on the Corcoran Gallery building was on Artforum magazine and other publications around the world. The publisher of Artforum said that they sold more copies of that magazine than any other issue they had published.
The response to the demonstration was in general very positive. I received phone calls and letters from publications, radio and television stations from all over the world. They requested copies of Frank Herrera's photos. The event was well remembered—years later I still received letters and phone calls.
We did receive some negative response about the demonstration. I was asked to leave two galleries in Washington, DC because of my involvement in the demonstration. A couple weeks after the event, talk show host Phil Donahue showed Mapplethorpe photographs to the audience on his television show and asked them if they wanted their tax dollars to support the arts. The audience responded "no." So I suppose we didn't change everyone's mind, although I think we made a lasting point.
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Columbia Elevator - Elevator Cabs, Entrances and Door Systems
Louis "LJ" Blaiotta, Jr.
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Safety First When Columbia Creates Captivating Cabs
Louis "LJ" Blaiotta, Jr. on Monday, August 5, 2019 at 12:00:00 am
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Elevator cab design, a compendium of design, aesthetics, and safety concerns, affects more people in more ways than is commonly considered. While we have been exploring today's adventurous and varied aesthetic applications and use of materials, all continue to strictly require at least one thing: fire safety and compliance with the code designed to assure it.
Since its earliest days, Columbia Elevator has been undertaking active steps to provide its customers with this fire safety assurance. Columbia was the first and remains the only company with Underwriters Laboratories (UL®) certification adherent to the requirements of Section 2 of the code (including the flame-spread and smoke-development ratings) in every cab we build.
The definitive way to accomplish this certification is to set up an end-use configuration and submit it to a Steiner Tunnel test.
This Steiner Tunnel test, developed in 1944 by Al Steiner of Underwriters Laboratories, defines widely-accepted standards in North America for evaluating various finishes for their ability to support and propagate fire, and the degree to which they emit smoke.
These UL® standards are used in the regulation and selection of materials for interior construction in the building trades.
The Steiner Tunnel test measures how fast a flame will move on a particular material by comparing it to the flame spread rate of a 1-inch thick by one-foot wide piece of oak, a slow-burning hardwood.
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We use a lot of decorative laminate in Columbia cabs, but we can't individually test just the laminate or any other component of the job. Instead, we must test the final product by the Steiner Tunnel test in its end-use configuration. Just because we use flame-retardant plastic laminate, fire-retardant particle board and fire-retardant adhesives, we cannot assume that combining the three together will result in a fire-retardant final product.
Over the years Columbia has tested many configurations, including the use of traditional solvent-based contact cement, which was revealed to perform very well in such tests.
This is because the solvent emulsifies the solids of the adhesive, to render it fluid in the drum while it is being sprayed, but, once the solvent flashes off and evaporates, what remains is just the neoprene, which is self-extinguishing and does not support combustion.
If one were to hold a blow torch to a piece of fire-retardant particle board, a hole would burn right through it, but as soon as the source of the flame is removed, it self-extinguishes and will not burn beyond that spot and spread the flame.
This is similarly true of flame-retardant plastic laminate.
Installers can make the serious mistake of applying flame-retardant plastic laminate onto flame-retardant particle board, using water-based adhesive or hot-melt glue, which contains no solvent, and incorrectly assume that this combination will be fire-retardant. In such a case, under the flame-spread test, one end of the board is heated with a blow torch to start a fire, causing the flame-retardant laminate to peel up. The laminate does not support combustion and neither does the particle board. But what does happen is that the adhesive itself begins to burn, and, as it does, the laminate continues to peel up further, and so on. Such a scenario presents a flame-spreading situation that fails the requirement of Section 2 of the code.
I think most people would be quite surprised to know the depth of strategy and complexity that goes into making their daily elevator trips as aesthetically pleasing-while-safe as they are. Going forward – as architectural boundaries continue to be pushed ever further – we will endeavor to keep it so that the passengers of the future will continue to be delighted by their elevator rides without ever having to give a thought to safety matters!
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Columbia Creates Captivating Cabs with Lighting
Louis "LJ" Blaiotta, Jr. on Monday, July 8, 2019 at 12:00:00 am
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High on the list of dramatic advancements in creating captivating cab designs is the treatment of lighting. While ceiling-mounted "downlighting" remains in play, largely gone are the once-standard incandescent and fluorescent bulbs. They have been replaced by LED (Light Emitting Diode) fixtures. Consuming significantly less energy than standard bulbs, LED is far more eco-friendy and cost-efficient. They also support building owners' applications to obtain LEED® (Leadership in Energy and Environmental Design) certification.
Among this technology's most profound impacts on the cab experience is its ability to produce stunning color ambience in varied and unusual positions within the cab via use of different lighting frequencies on the Kelvin scale. Instead of placing lighting in the ceiling in a downward facing arrangement, it can now be installed above a drop ceiling to make the canopy glow. And, instead of perimeter lighting, wall panels can be made to illuminate and glow by installing LED lighting behind them. Different effects can be achieved depending on the material used for the wall, for example, by combining yellow/orange lighting with stainless steel panels to approximate a bronze look.
Lighting today is a major component of the market's demand for advanced elevator design, allowing for astonishing wall and ceiling treatments. Another current trend is to place lighting in the throat of the jamb surrounding the elevator entrance, indicating the cab's arrival and departure as it enters and leaves the floor.
Lighting designers today are no longer restricted to only round or tubular bulbs. LED fixtures can be virtually any other shape: square, rectangular, triangular, even in linear format to create glow behind handrails, and their small size makes them adaptable to an infinite number of lighting applications.
LED's do not require the traditional glass bulb surrounding the light, making them less susceptible to damage from breakage or vibration.
LED's are directional light sources, able to aim light in a specific direction, unlike conventional bulbs, which emit light in all directions.
LED's are mounted on a flat surface, allowing them to emit light hemi-spherically rather than spherically, which reduces wasted light and energy.
LED's are capable of turning on and off instantaneously and continuously without delay or shortening their life.
LED's can significantly reduce the labor costs of replacing bulbs with their longer operational life.
LED fixtures don't release heat, which would shorten their life. By contrast, incandescent bulbs, which produce light using electricity to heat a metal filament until it becomes "white" hot, release 90% of their energy as heat.
Columbia Creates Captivating Cabs with Marble, Tile, and Stone
Louis "LJ" Blaiotta, Jr. on Monday, June 3, 2019 at 12:00:00 am
Receiving Ellie Awards Elevator World, the elevator industry's leading global trade publication, presented Columbia Elevator Products co-founder Marie Blaiotta and CEO LJ Blaiotta the prestigious Ellies Award in two key categories: Best Cab Supplier - Cabs and Best Supplier - Doors.
At Columbia Elevator, we are getting more and more requests to create captivating elevator cabs with finishes that include marble, tile, and stone. This is especially in high-end hotels and commercial buildings. To accommodate the increased use of stone materials in an elevator's design, there is a growing trend toward synthetic quartz, a material that is virtually indistinguishable from natural material.
Using natural stone would present deflection and load-level issues in the smooth vertical operation of the elevator. In response to today's trends, stone suppliers have found ways to produce and supply the industry with thin slices of material to help lighten the load and stress on the lifting equipment. To keep incredibly thin panels strong, stable, flat, and safe, they are supported by honeycomb backing that does not support combustion.
Cutting-edge technology allows for stone elevator panels that are light in weight, while maintaining the beauty of the natural look. In these types of cabs, Columbia Elevator installs lightweight panels that
are made using natural stone or man-made materials.
are 80% lighter than conventional 3/4" slabs.
are supported with a honeycomb backing, made of either aluminum or fiberglass.
In order to produce these light weight panels comprised of only 3/8" thick stone, an interesting fabrication technique is used. Honeycomb reinforcement backing sheets are glued to both sides of a 3/4"-thick slab of stone. Using diamond wire, the slab is then split into two identical 3/8"-thick pieces and separated to reveal two identical mirrored (or book matched) stone panes. The surfaces are then polished or finished to the customer's preferences.
Using these techniques will allow you to ride in 'stone elevators cab' interiors that safely address the weight issue and allow for beautifully finished interiors.
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It is said that you can always make more money but never more time. But, Columbia Elevator Products Co. Inc., headquartered in Bridgeport, Connecticut, is announcing the next-closest thing. Time is money, particularly in the building trades. This can be especially true in the elevator industry, where the cadence of modern building construction techniques (especially for high-rise buildings) demands the increasingly greater compression of delivery times to effectively service an active jobsite.
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