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The Landscape and Architecture of Post-War British Infrastructure
Why the landscapes of post-war infrastructure matter
This post is part of an article first published by the Landscape Journal, Spring 2020: Building infrastructure in the age of climate crisis
Manchester School of Architecture has been researching, analysing and teaching about the landscapes and architecture of post-war infrastructure
Scammonden, the world's first dam-motorway hybrid. Landscape design by J. B Blainey (Photo: Richard Brook, 2018)
Infrastructure is popularly conceived as a form of material production assigned to technological advancement. However, it is not exclusively a technocentric endeavour, it is constituted by built artefacts designed through collaboration by those with more than simply an interest in its engineering. Infrastructure has the capacity to reveal much about the society in which it was produced – the political economy of infrastructure; the sociocultural effects of infrastructure; the formal and visual impact of infrastructure and attitudes to its celebration or containment. Rebuilding after 1945 was characterised by numerous large-scale infrastructural schemes, including electrical power generation, water infrastructure and the improved transportation delivered by new motorways. The scale of this development that transformed the perceptibly rural landscapes of Britain, was comparable to the changes caused by the Industrial Revolution. As Sylvia Crowe phrased it the landscape of Britain faced the "greatest crisis of its history", and this necessitated a novel approach to design and implementation and a new collaborative practice between architecture, landscape architecture, engineering and planning professionals.[1]
Eggborough power station. Landscape architects: Brenda Colvin & Hal Moggridge (photo: Luca Csepely-Knorr, 2018)
The profession of landscape architecture experienced a major shift in the UK after the WW2, in both the complexity and scale of projects. As Crowe claimed, "Before the war landscape design was confined almost entirely to the creation of gardens and parks; even if some industry called in a landscape architect it was with the idea of creating a garden round their buildings. […] Gradually this is changing: the pressure of population, transport and economics is upsetting the balance of great areas of landscape, and it is evident that positive design is needed to restore them to a state of balance."[2] This shift from garden design to landscape planning and from the idea of creating a 'garden round the buildings' to designing large scale landscapes that accommodated complex new structures, typologies and activities created new challenges and placed the profession of landscape architecture at the forefront of the evolving field of infrastructural design.
The Industry & Landscape Exhibition organised by the Institute of Landscape Architects. Journal of the Institute of Landscape Architects, no 68, November 1964. p.15.
The creation of landscapes around post-war power stations was informed by Section 37 of the Electricity Act (1957), later dubbed the 'Amenity Clause'. It required the minimisation of the impact of generating and transmission sites on scenery, flora and fauna, by creating aesthetic value as well ecologically important assets, and resulted in the appointment of landscape architects on new power station projects. In the same period the 'public relation value' of the landscapes of power stations became a crucial part of government policy that safeguarded the needs of communities and added another layer of cultural value to these landscapes.[3] In 1961, Michael Porter was appointed as the first Landscape Advisor to the Ministry of Transport. The 1973 Water Act also created a duty to promote 'amenity' by the Regional Water Authorities.[4]
Exhibitions and publications of the period, such as a series of articles in the Journal of the Institute of Landscape Architects and, most notably, Sylvia Crowe's books 'The Landscape of Power' (1958) and 'The Landscape of Roads' (1960) and the 'Industry and Landscape' Exhibition in 1964 showed the eminence of the question to the professional discourses in the field of landscape architecture. In addition, they highlighted the prominent role that landscape architecture played in helping to ameliorate the public's perception of infrastructural developments.[4] This new aspect of the profession was clearly recognised by Brenda Colvin, when she wrote that "..our power stations, oil refineries, factories and water-works must take their place, in time, with the pyramids, castles and temples of the past".[5] The idea of the infrastructural and industrial landscapes as iconic undertakings of the period was reinforced by distinguished planner and founding member of the Institute of Landscape Architects, Lord Holford, when he positioned the work of the Central Electricity Generating Board as "the modern patron of landscaping art" and explained that "..the great landowners of the eighteenth century employed the founders of the profession, William Kent, Capability Brown, Humphrey Repton and their followers. Today the Generating Board engage practising landscape architects of the first rank and a new philosophy of landscape design is emerging, often experimental, sometimes inspired but always seeking a solution to complex problems".[6]
The Landscape and Architecture of Post-War Infrastructure Research Group
The exemplary approach toward the landscapes of infrastructure left us with a rich and particularly valuable designed landscape heritage that is, however, often undervalued and overlooked. Today, when the decommissioning of coal-fired and nuclear power stations is underway, and peri-urban sites which are hosts to multiple forms of infrastructure are under development pressure, the urgency of understanding, mapping and protecting such land assets needs new frameworks and clear methodologies for decisionmakers.[7]
In February 2019, the Manchester School of Architecture hosted a two-day international workshop and conference funded by the Paul Mellon Centre on the 'Landscape and Architecture of Post-War British Infrastructure'. These events brought together academics from a broad range of academic disciplines and, through its two keynote lectures by Elaine Harwood (Historic England) and Hal Moggridge (PPLI), aimed to compare the views of the historian with the direct experience of the designer.[8] The conclusion of the conference and the workshop highlighted the necessity of investigating the landscapes of infrastructure for several reasons. The apparent invisibility of landscape design in mature settings means that sites are being redeveloped, or lost, before their values are assessed and understood.
Conference poster. 2019.
The next steps of the research will be delivered during the next two years, in two major research projects funded by the Arts and Humanities Research Council as part of their special call for 'Landscape Decisions: Towards a new framework for using land assets' programme.[9] The project is particularly concerned with the temporal aspects of landscape and the relationships between designed space and its assimilation with perceptibly natural and traditionally agricultural landscapes. It aims to understand how time and use can interact with landscape to create cultural and amenity value as well as valuable ecologies; the way in which policy helped to foster such conditions, and how the influence of current policy on the management and development of these landscapes. It will investigate how artistic and creative responses to the landscapes of infrastructure can help to narrate their cultural worth; and, will develop means of understanding of their seemingly intangible values by comparing and combining research methods in the arts and humanities. Project Partners include Historic England, The Gardens Trust, the Landscape Institute, Highways England, Natural England, International Council on Monuments and Sites (ICOMOS), Friends of the Landscape Library and Archives at Reading (FOLAR) and the Museum of English Rural Life (MERL).
Research-led teaching at the Manchester School of Architecture
As part of the larger research project, Dr Laura Coucill and Dr Luca Csepely-Knorr coordinate the Arch.Land.Infra Research Methods unit for postgraduate students of the Manchester School of Architecture. The overarching aim of the Research Methods unit is to introduce a range of approaches for understanding, interrogating and researching the built environment. Within this framework, Arch.Land.Infra focuses on the post-war (1945-1980) histories of the various intersections between architecture and landscape architecture and capitalises on the opportunities research-based and research-tutored pedagogy offers. Through archival research, combined with design analysis techniques, the output of Arch.Land.Infra included a series of four, detailed, case studies of UK Power Stations designed in between 1950 – 1970 by key architects and landscape architects. Case studies and accompanying models were exhibited during the workshop and conference on the 'Landscape and Architecture of Post-War British Infrastructure'.
Case study locations. Drawing by Arch.Land.Infra Research Methods students at the Manchester School of Architecture.
The case studies were: Didcot A (1965-1968, architect and landscape architect Sir Frederick Gibberd), Rugeley B (1964-1972, architects L K Watson and H J Coates, landscape architect Brenda Colvin), West Burton (1961-1967, architect Architects' Design Group – John Gelsthorpe, landscape architect Derek Lovejoy) and Trawsfynydd (1959-1965, architect Sir Basil Spence, landscape architect Sylvia Crowe). Students benefited from archival and exhibition workshops and talks, in addition to an in-depth interview with Hal Moggridge about his experience in designing and delivering plans for large-scale infrastructural landscapes; offering first-hand experience of core research methods and the opportunity to engage with external partners in a professional working context. Students worked directly with the Gibberd Archives and the Landscape Institute Archives at MERL, documenting and analysing archival resources. Analysis took creative forms and built on representational and design skills to articulate research findings through diagrams, maps, drawings and models.
[1] Crowe, S. (1958) Landscape of Power, London: Architectural Press. p.10.
[2] Crowe, S Buckingham Talk, unpublished. MERL AR CRO SP4/2.
[3] Goulty, G. (1986) Landscape Electric, Landscape Design, August 1986, pp.34-37.
[4] Aldous, T. & Clouston, B. (1979) Landscape by Design London: William Heinemann Ltd. p.79.
[5] Colvin, B. (1970) Land and Landscape. London: John Murray, 344.
[6] CEGB: Power and the Countryside. CEGB London: 1965.
[7] This urgency is underlined campaign by Historic England and The Gardens Trust. https://historicengland.org.uk/listing/apply-for-listing/listing-priorities/modern-gardens-landscapes/
[8] For conference abstracts see: http://www.postwarinfrastructure.org
[9] https://nerc.ukri.org/research/funded/programmes/landscape/#xcollapse4
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Justia Patents Cord GuidesUS Patent for Method of forming eye splice in double braided line Patent (Patent # 4,099,750)
Method of forming eye splice in double braided line
A double braided line comprises a core covered by a sheath and a fid comprises an elongated flexible handle having a pointed end and a hooked end. After the size of the eye is established, a predetermined length of the core is pulled out of the sheath through an opening formed in the sheath and a knot is tied in the free end of the core. The hook of the fid is hooked around the knot and the end of the core is whipped to the fid. The fid and attached end of the core are snaked through the empty portion of the sheath back out the opening. The fid is removed from the end of the core and the hook attached to the end of the sheath with whipping, as before. The fid and attached end of the sheath are then pulled through the exposed portion of the core for a certain distance and the fid is removed from the end of the sheath. The core and sheath are thereafter alternately pulled to tighten the crossover of the core and sheath and bury the same in the sheath to complete the splice.
Owing to their numerous well-known advantages of lightness, strength and free running abrasion resistance qualities, double braided lines are widely used by many people such as yacht or boat owners, riggers, mountaineers and ranchers. Particularly in the nautical and marine arts, it often becomes necessary or desirable to splice an eye in the line.
The conventional method of forming an eye splice in a double braided line involves pulling the core of the line out of the sheath and feeding the end of the core back into the sheath in the opposite direction using a fid and a pusher. The end of the sheath is buried in the exposed portion of the core using the fid and pusher a second time and the exposed portion of the core and crossover are buried in the sheath by alternately pulling the various line components.
The fid which has been known heretofore is a rigid stick having one hollow end and one pointed end. The pointed end of the fid is tunneled through the center of the core or sheath and the end of the sheath or core, respectively, is pushed into the hollow end of the fid. The pusher is a rod which holds the end of the sheath or core in the hollow end of the fid and is used to push the fid and end of the sheath or core through the core or sheath, respectively.
This arrangement suffers from numerous disadvantages, one being that a different diameter fid must be provided for the different line diameters. It is necessary to provide a separate fid for each line carried on the vessel, and loss of one size fid can create a significant and annoying problem. Naturally, a set of fids is more expensive than one fid which would suffice for all line sizes. Another problem is that the end of the core or sheath in the hollow end of the fid tends to detach during passage through the sheath or core, respectively. Further, a fid of this design must be of the same diameter as the line since the end of the sheath must fit in the hollow end of the fid, and the fid is hard to push through the core. In summary, the conventional fid and pusher make eye splicing of doubled braided lines a difficult and often frustrating experience.
The present invention relates to an improved method of forming an eye splice in double braided line and a fid for practicing the method.
The conventional fid and pusher are replaced with a fid consisting of a flexible, elongated, small diameter handle having one pointed end. A hook extends from the other end of the handle. A knot is formed in the end of the core or sheath of the line and the hook is hooked therearound. The end is then whipped to the fid. The pointed end of the fid may then be readily inserted into the sheath or into the core, as required, and the fid and attached end of the core or sheath, respectively, worked therethrough with facility.
It is an object of the present invention to provide an improved method of forming an eye splice in double braided line.
It is another object of the present invention to provide a novel and unique fid for practicing the method.
It is another object of the present invention to provide a method of forming an eye splice which may be practiced using fewer and less expensive tools.
It is another object of the present invention to provide a method of forming an eye splice by which a single fid may be used for all sizes of line.
It is another object of the present invention to provide a method of forming an eye splice which makes it easier to push the fid through the line core or sheath, thus minimizing strain and abrasion of the core or sheath.
It is another object of the present invention to provide a generally improved method and apparatus for forming an eye splice in double braided line.
Other objects, together with the foregoing, are attained in the embodiment described in the following description and illustrated in the accompanying drawing.
FIGS. 1 and 2 are diagrams illustrating the state of art; and,
FIGS. 3 to 19 are diagrams illustrating the steps of the present method in generally sequential order.
While the splicing apparatus of the invention is susceptible of numerous physical embodiments, and the method is capable of being practiced in a variety of ways, depending upon the environment and requirements of use, substantial numbers of the herein shown and described embodiment have been made, tested and used, in practicing the method disclosed, and have provided eminently satisfactory results.
FIG. 1 illustrates one step of a current widely used method of making an eye splice in the line being generally designated by the reference numeral 21 and comprising a braided core 22 and a braided sheath 23 with the core 22 shown as pulled out of an opening 24 in the sheath 23.
A prior art fid 26 is shown as buried in the core 22, the fid 26 having a pointed forward end 26a and a hollow after end 26b. The fid 26 is in the form of a rigid stick and has been pushed through the core 22 in the direction of the arrow 27, with the pointed end 26a leading. The end of the sheath 23 is taped as shown at 23a and inserted into the hollow end 26b of the fid 26. The pusher 28, or push rod, is then inserted into the taped end 23a of the sheath 23 and used to push the fid 26 and sheath end 23a through the core 22 so the fid 26 and the end 23a emerge from the core 22 at the position occupied by the end 26a of the fid 26 as illustrated in FIG. 1.
Since the end 23a of the sheath 23 must be inserted into the hollow end 26b of the fid 26, the diameter of the fid 26 must be equal to that of the line 21, and a separate fid 26 must be provided for each diameter of line. Furthermore, it is difficult to push the large diameter fid 26 through the core 22. As yet another drawback, an examination of FIG. 1 reveals how the taped end 23a of the sheath 23 can easily become dislodged from the hollow end 26b of the fid 26 during passage through the core 22.
FIG. 2 shows a subsequent step in the prior art method and illustrates still other rather difficult manipulations. Here, the fid 26 is pushed through the empty sheath 23 in the direction of the arrow 29. The end of the core 22 is taped, as indicated at 22a, and inserted into the hollow end 26b of the fid 26. The pusher 28 is then used as in FIG. 1 to push the fid 26 and the taped end 22a of the core 22 through the sheath 23 to emerge at the opening 24. However, the fid 26 is rigid and is not long enough to reach completely through the length of the empty sheath 23 and must be removed and reinserted at an opening 31 formed in the sheath 23. This makes the process generally difficult and makes it especially hard effectively to reunite the end 22a of the core 22 with the end 26b of the fid 26 after the fid 26 is reinserted.
The drawbacks of the prior art process are eliminated by the present method, illustrated in FIGS. 3 to 19. The present method utilizes a fid 32 which comprises an elongated flexible handle 32a formed with a leading pointed end 32b. A hook 32c extends aft from the other end of the handle 32a. Preferably, the handle 32a is hollow with the leading pointed end 32b closed.
The double braided line is here designated as 33 and as best illustrated in FIG. 8 comprises a core 34 and sheath 36. As a preliminary step in practicing the present process, a mark is made (see FIG. 3) with a ball point pen 37 or the like at a point B on the sheath 36 at a distance from the end 36a of the sheath 36 which depends on the diameter of the line 33. More specifically, the distance from the end 36a of the sheath 36 to the point B is determined as follows:
______________________________________ Line Size Distance to B ______________________________________ 1/4" 6" 5/16" 7" 3/8" 8" 7/16" 9 1/2" 1/2" 11" 5/8" 13" ______________________________________
The handle 32a of the fid 32 is then placed alongside the line 33, as shown in FIG. 3, so that the base of the hook 32c (i.e. where the hook joins the handle) indexes with the point B. A mark is then made on the sheath 36 at a point E which is spaced from the point B by the length of the hook 32c. The line 33 is then looped so that when a point A indexes with the point E the loop or eye thus formed has the desired size. A mark is then made at the point A. To control slack and allow the use of both hands while milking the sheath 36 over the core 34 in subsequent steps, an overhand knot 38 is tied in the line 33 about 3 feet from the point A (see FIG. 3).
The first step of the actual process is shown in FIG. 4 in which an opening 39 is formed through the sheath 36 at the point A and the core 34 is pried up pulled out of the sheath 26 using the pen 37 or other suitable tool. As the core 34 is just being pulled out, a mark is made on the core at a point F, as shown. The core 44 is then completely pulled out of the sheath 36 as shown in FIG. 8.
As the next step, the end 34a of the core 34 is unbraided as shown in FIG. 5 and a knot 34b is tied using two strands from opposite sides of the core 34. The hook 32c of the fid 32 is then hooked around the knot 34b.
Next, as illustrated in FIG. 6, the unbraided portion of the end 34a of the core 34 is whipped to the fid 32, using dental floss or thread as indicated at 41. The loose ends of the strands are then cut close using a knife 42. The whipping 41 is made as tight as possible to facilitate the subsequent steps.
As shown in FIG. 7, a tight wrap 43 of cellophane tape is then made around the ends of the whipping 41 so as to form a smooth, thin, tapered transitional ferrule between the handle 32a of the fid 32 and the whipped end of the core 34.
Next, the pointed end 32b of the fid 32 is inserted through the sheath wall into the tunnel defined by the empty sheath 36 at the point B and the fid 32 and end 34a of the core 34 are snaked or worked through the sheath 36 and brought out through the opening 39 at the point A. This is best seen in FIGS. 8 and 9. At this juncture, a significant length of the core 34 protrudes through the opening 39 and a significant length of empty sheath 36 is left between the point B and the end 36a of the sheath 36. The fid 32 is thereupon removed from the end 34a of the core 34 and attached to the end 36a of the sheath 36 in the manner illustrated in FIGS. 5 to 7.
The next step (see FIG. 10) involves pulling the core 34 farther out of the sheath 36 through the opening 39 so that a considerable amount of the core 34 is exposed between point F on the core and point A on the sheath.
The pointed end 32b of the fid 32 is then inserted into the exposed portion of the core 34 at a point C which is about 3 inches from the point F. The fid 32 is pushed through the core 34 until the whipped end 36a of the sheath 36 is buried in the center of the core 34, as appears in FIG. 11. The end 32b of the fid 32 is then caused to protrude at point D. Thereafter the fid 32 and end 36a of the sheath 36 are brought out of the core 34 at point D. The distance between the points C and D is substantially equal to the length of the handle 32a of the fid 32 and constitutes the length of the sheath 36 buried in the core 34. At this juncture, the end 36a of the sheath 36 protrudes through the outer side of the core 34.
As shown in FIGS. 12 and 13, the loose ends 34a and 36a of the core 34 and sheath 36, respectively, are alternately pulled to bring the points B and C together. The end result of this step is shown in FIG. 13. The union of the points B and C is referred to as the "crossover" point of the core 34 and sheath 36. The loose end 36a of the core 36 is then cut off at a long angle as indicated in FIG. 13 at 36b adjacent to the point D. The fid 32 is removed from the cut off portion (not shown) of the sheath 36 for reuse. Pulling on the exposed portion of the core 34 will cause the cut off end 36b to disappear in the core.
Next, the knot 38 is looped around a post 44, or the like, as shown in FIG. 14, and the portion of the sheath 36 below the point A is milked over the exposed portion of the core 34, using both hands. This process is continued until the crossover point B, C enters the sheath 36 of the main portion of the line 33 through the opening 39 and is buried therein. FIG. 15 shows the end result of this step by which the crossover point B, C is buried in the sheath 36 and the point E aligns with the point A. Thus, the crossover point B, C is buried in the sheath 36 by the distance between the points B and E which is equal to the length of the hook 32c of the fid 32.
FIG. 16 shows how the core 34 may be pulled out of the sheath 36 to facilitate milking the sheath 36 over the core 34 to align the points A and E. More specifically, an opening 46 is formed in the sheath 36 between the knot 38 and the opening 39 and the core 34 is partially pulled out of the sheath 36. A riding turn 47 is temporarily taken around a cleat 48 to secure the core 34. After the points A and E are aligned, the core 34 is allowed to return inside the sheath 36 and the line 33 is smoothed out. This procedure is helpful where it is necessary to overcome friction on an old or tight line.
FIGS. 17 to 19 show how the eye splice produced by the above described method is finished by whipping. Although a simple whipping can be made around the throat of the splice (just below the point A) using a small cord, in which case the protruding end portion of the core 34 would be cut off and allowed to disappear into the splice, the following method produces a whipping of superior strength and appearance.
As illustrated in FIG. 17 the eye is smoothed out as much as possible so that it feels equally hard to the touch at all points. Then, all but a few, preferably six strands of the end 34a of the core 34 are cut off to a length of about 3/8 inch. These cut strands will disappear into the splice when tension is applied to the line 33. The remaining strands are designated as 34c in FIG. 18 and are tied around the throat of the splice just below the point A in a clove hitch designated as 34d in FIG. 19. The end of the clove hitch 34d is cut off to a length of about 3/8 inch and heated with a match or butane lighter. This causes the strands of the clove hitch 34d to melt. Pressing down smoothly on the clove hitch 34d with a moistened finger causes the clove hitch 34d to fuse and be positively prevented from unraveling.
In summary, the present invention provides a substantially improved method and fid for making eye splices in double braided line. The small dameter, flexible fid is easy to snake through the line core or sheath and does not need to be detached and reinserted to make a long run. Furthermore, only one size of fid will serve for lines of all sizes.
It is to be noted, furthermore, that while the hook 32c of the fid 32 is disclosed herein as being in the form of a recurved or open loop, it can also be of a closed loop configuration, depending upon the personal preference of the user. One form is considered to be the equivalent of the other.
1. A method of forming an eye splice in a double braided line having a core and a sheath using a fid having a flexible handle with a pointed end and a hook extending from the other end of the handle, comprising the steps of:
a. forming an opening in the sheath at a first point thereon;
b. pulling the core out of the sheath through the opening;
c. forming a knot in the end of the core;
d. hooking the hook of the fid around the knot in the end of the core;
e. whipping the end of the core to the fid;
f. inserting the pointed end of the fid into the sheath at a second point on the sheath between the first point and the end of the sheath, working the fid and core through the sheath to the opening and pulling the fid and the end of the core of the sheath through the opening;
g. removing the fid from the end of the core;
h. forming a knot in the end of the sheath;
i. hooking the hook of the fid around the knot in the end of the sheath;
j. whipping the end of the sheath to the fid;
k. pulling the core farther out of the sheath through the opening;
l. inserting the pointed end of the fid into the core at a third point on the core between the first and second points, working the fid and sheath through the core to a fourth point on the core between the third and first points and pulling the fid and the end of the core out of the sheath at the fourth point;
m. removing the fid from the end of the sheath;
n. pulling the ends of the sheath and core to bring the second point on the sheath and the third point on the core together; and,
o. milking the sheath over the core so that the second point on the sheath and the third point on the core enter the sheath through the opening.
2. A method as in claim 1 further comprising the step of:
p. applying a whipping to the sheath just below the opening.
3. A method as in claim 1 in which step (p) comprises cutting off all but a predetermined number of strands from the end of the core, tying remaining strands around the sheath just below the opening and applying heat to the remaining strands to fuse the same.
4. A method as in claim 1 in which step (p) comprises tying the remaining strands around the sheath in a clove hitch.
296377 April 1884 Atwood
330087 November 1885 Binns
338216 March 1886 Atwood
782120 February 1905 Floyd
2549382 April 1951 Mitterway
2600395 June 1952 Domon et al.
2698986 January 1955 Brown
2740185 April 1956 Silver
3385619 May 1968 Thomas et al.
1,480,826 July 1977 GBX
Filed: Sep 2, 1977
Date of Patent: Jul 11, 1978
Inventor: James D. McGrew (Elverta, CA)
Primary Examiner: Louis K. Rimrodt
Law Firm: Lothrop & West
Current U.S. Class: Cord Guides (289/15); Implements (114/221R)
International Classification: B65H 6904;

redpajama_set_name: RedPajamaCommonCrawl


text:
Los Gatos-Saratoga Union candidate address…
Los Gatos-Saratoga Union candidate address district issues
By For Saratoga News and Emilie Doolittle |
The three candidates vying for two seats on the Los Gatos-Saratoga Union High School District faced challenging questions at an Oct. 9 forum hosted by the League of Women Voters of Southwest Santa Clara Valley.
The candidates include incumbents Laurie Wernick and Rosemary Rossi and newcomer Robert Zager.
Wernick is the principal of Regnart Elementary School and is running for her fourth consecutive term on the school board. Rossi, who is running for her second term, was a teacher and co-president of the Saratoga High School PTSA. Zager is a businessman and has served on the Saratoga High School Site Council, the District Technology Committee, the superintendent's Telephone System Task Force and the Saratoga High Accreditation Committee.
When the candidates were asked about the most serious issues facing the school district in the next few years, Wernick said it will be preparing students for a 21st century world. Rossi agreed and added that the district needs to continue to update facilities, which will be a challenge during difficult financial times. Zager mentioned that the economy is not doing well, and if properties are reassessed, the district would face serious funding issues.
The candidates were asked what effect No Child Left Behind has had on the district.
"One of the things it has done is made it so all teachers have to be qualified with credentials," Wernick said, adding that it makes it difficult for teachers who are very strong in their specific field but can't pass the state test. She gave the example of a teacher who is very qualified to teach Spanish but can no longer teach without passing the state academic subject test for other subject areas.
Rossi chose not to respond to the question but instead give her time slot to Wernick. Wernick added that Los Gatos High School is in program improvement status, since the school did not make adequate yearly progress according to No Child Left Behind. However, Wernick said that this measurement does not reflect the school's educational environment. "The No Child Left Behind federal law leaves us very behind."
Zager saw the federal law as a way to identify areas where school districts need improvement. "I think the concept of setting goals and meeting them and evaluating is exactly what we need," he said.
The candidates were asked what ideas they have to improve Los Gatos High School's academic performance. "I have ideas, but I feel as a board member our responsibility is to hire the best administration," Rossi said. "They give us feedback and we give them feedback.
"One of my ideas is to review our curriculum and make sure we're promoting the most rigorous curriculum," she added.
Zager said he would look at data for improving the high school's performance. "I'd recommend a change in assessment mechanism at our school," Zager said. He added that the district should look at remedial programs and improve the math department at the school.
Wernick said that the high schools should collaborate to work toward improvement. "The best way to get schools working together is to get teachers to meet together," she said. She mentioned how the schools are already working together and gave the example of how Saratoga High School has a block schedule program that Los Gatos High School is now trying to implement.
On the issue of whether it is important to compare the differences and similarities between the high schools, Zager said, "The schools are different, and I think it's important that we recognize those differences."
"I agree with Bob," Rossi said. "I think academically, both schools should have the same skills and technology."
Wernick compared the district's relationship with the two schools to her relationship with her children. She said her three children are different. "Yet I love all of my children, and that's kind of the way that I look at both high schools in the district."
School board members are responsible for structuring the school district, hiring and evaluating a superintendent and letting administrators manage the schools. They also decide important financial matters and policies that affect all schools in the district. Lastly, they are responsible for creating a positive educational environment.
For more information about the candidates running for the board of the Los Gatos-Saratoga Union School District, visit www.smart voter.org.
For Saratoga News
Emilie Doolittle


The Ephesus and Pamukkale tour is 2 day tour with 1 overnight stay. The first day takes you to the 3000 years old town of Ephesus, one of the "Seven Churches of Revelation". Visit St. John Basilica and the Temple of Diana, one of the "Seven Wonders of the Ancient World". Visit the Museum, old Greco-Roman City of Ephesus, Marble Street, Odeon, Bouleterinon, Temple of Hadrian and Serapis, Agora, Library of Celcius, Great Theatre, Double Church, Arcadian Way and Gate of Magnesia. After a day full of history we travel on to Pamukkale where dinner and an overnight stay in a luxury hotel awaits us.
Day 2 of our tour takes us to Pamukkale (Cotton Castle) near Denizli. A beautiful and spectacular natural site, unique in the world. Thermal spring waters have carved this fantastic formation of stalactites. The thermal waters have been used since Roman times for their therapeutic powers. Situated on the plateau are both the thermal centre with its motels, thermal pools and ruins of the ancient city of Hierapolis. Here you will find the ancient thermal baths, which have been restored and converted into an archaeological museum. After a full day of exploring you will be returned to your destination.
Excludes : The lunch in Ephesus and Pamukkale, The Virgin Mary House, Ancient pool entry fee in Pamukkale, Drinks.


The biggest city within New Zealand's South Island is Christchurch and there are only 2 others with a larger population in the whole nation.
Your conditions related to taking on a classic payday loan are actually a good deal more relaxed as compared to the prerequisites to request a loan from any financial institution, thus qualifying is far less challenging. Any short term personal loan may be a good choice for the people with no credit history. Individuals often seek cash advances for just two basic purposes.
Credit union or bank loans might take time to process. A short term advance is without a doubt the smartest choice for all those looking for easy cash. It generally requires mere minutes to obtain the short term loan.
Little income and also poor credit scores might make finding a bank loan very difficult. With a lot of these instances, online payday loans are generally feasible solutions. You get the chance to collect an advance amounting to anywhere from 300-1000 pounds when the easy verification process has actually given approval to the request.
If you reside in Christchurch and are also in search of taking out fast cash loans, think of My New Zealand Payday. You must have work data along with individual info on hand. You will be told to furnish particular private and finance-related facts on your advance application form. It will only take around five mins for one to carry out your own form. Handling your application will merely need several minutes following that.
You must confirm that you possess secure employment and also wages. This is due to the fact that an advance payday loan won't be given out except in cases where we are sure you will ultimately be in the position of settling the debt. A standard payroll advance loan is normally supposed to be on a short-term basis, a supply of funds to provide sustenance for individuals during the time it takes for them to get their next scheduled paychecque.


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Home > Initiatives > Media Practices > The Immigration Journalism Awards
Please note that the Immigration Journalism Awards program is not accepting submissions for the 2019-2020 cycle.
Each year since 2011, the French-American Foundation has recognized the work of journalists published in English or French on the topic of immigration across the world during a ceremony held in New York.
The Immigration Journalism Awards promotes, supports, and rewards responsible and comprehensive media coverage on immigration issues by recognizing the work of two journalists: One award is given for reporting in English (The Immigration Journalism Prize of the French-American Foundation), and one is given for reporting in French (Prix Cercle des Médias). Both winners receive each $3,500.
Previous winners include: José Antonio Vargas, the Pulitzer prize laureate who revealed his status as an undocumented immigrant in 2011; Damien Cave, Deputy Editor Deputy Editor for Digital at The New York Times; Maria Sacchetti, Reporter at The Washington Post; Seth Freed Wessler, Reporter at The Nation Institute; Doan Bui, journalist at L'Obs; and Elise Vincent, journalist at Le Monde.
The Immigration Journalism Prize (English): Jonathan Blitzer "The Teens Trapped Between A Gang and The Law", The New Yorker
Prix Cercle des médias (French): Sébastien Jédor "Grand Reportage: Artistes réfugiés, paroles d'exil", Radio France Internationale (RFI)
Video / 2018 Awards Ceremony
The Awards Ceremony took place on October 2nd at The Cultural Services of the French Embassy in New York (Address: 972 5th Ave, NY). It convened an audience composed of international media and immigration experts, members of New York City's philanthropic community, and members of our Board of Directors and featured Louise Arbour, UN Special Representative for International Migration, and keynote speaker.
More information about the 2018 Awards Ceremony
Our Past Winners
Journalism Fellowship


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Alekséi Balabánov (Ekaterimburgo, 25 de febrero de 1959-San Petersburgo, 18 de mayo de 2013) fue un director de cine ruso, conocido por el filme de delincuencia de 1997 Brat («Hermano») y su secuela más orientada a la acción, Brat-2 (Brother 2), ambos protagonizados por Serguéi Bodrov, Jr. como un exmilitar convertido en asesino a sueldo. Brat fue un éxito tanto en taquilla como en copias de vídeo, logrando una gran popularidad en Rusia. Sin embargo más tarde, Balabánov fue más conocido por sus impactantes y controvertidas películas Cargo 200 (2007) y Morphine (2008).

Balabánov falleció el 18 de mayo de 2013 por un ataque al corazón. Estaba casado con Nadezhda Vasílieva, diseñadora de moda, y tenía dos hijos." En el momento de su muerte, el director tenía planeado hacer una película sobre la figura de Stalin, caracterizado como un jefe de la mafia.

Filmografía
 Yo también quiero (Я тоже хочу) (2012) – Alekséi Balabánov fue galardonado con el premio al "Mejor Director" por esta película en el Festival Internacional de Cine de San Petersburgo
 El carbonero (Кочегар) (2010)
 Morfina (Морфий) (2008)
 Cargo 200 (Груз 200) (2007)
 No me hace daño (Мне не больно) (2006)
 Zhmurki (Жмурки) (2005)
 Guerra (Война) (2002)
 El río (Река) (2002)
 Hermano 2 (Брат 2) (2000)
 De monstruos y hombres (Про уродов и людей) (1998)
 Hermano (Брат) (1997)
 La llegada de un tren (1995) (segment "Trofim")
 El castillo (Замок) (1994)
 Los días felices (Счастливые дни) (1991)
 Sobre los vuelos en Rusia (О воздушном летании в России) (1990)
 Yegor y Nastia (Настя и Егор) (1989)

Referencias

Lecturas recomendadas

Enlaces externos

 Biography of Aleksei Balabanov (en inglés)

Nacidos en Ekaterimburgo
Fallecidos en San Petersburgo
Directores de cine de Rusia
Guionistas de cine de Rusia

redpajama_set_name: RedPajamaWikipedia


Naan Wraps is a green Indian food truck parked near the corner of Burrard and West Pender during lunchtime on Mondays and Tuesdays. It's really close to my workplace, so it's quite convenient when I have a craving for Indian food.
I always order the butter chicken bowl ($6.99) which is just butter chicken on a bed of basmati rice. The portion is a bit small, but it's good enough for me. It usually doesn't come with naan, but they gave me some because I had to wait really long for my food today.
The bowl looked even smaller after mixing it up. It's not the best Indian food I've had, but it does satisfy the occasional craving.
The naan was free so I really shouldn't complain, but it was like eating a cold and rubbery pancake that had been left overnight. It was a bit damp and tasted slightly sour. I congratulated myself for not ordering the wrap, and proceeded to finish my rice.
Like I mentioned earlier, it's not the best Indian food around but it's good enough for a quick lunch.
yea.... that naan looks pretty pathetic.


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Grammy Museum® Presents New Dave Matthews Band Exhibit: Inside and Out
Grammy Museum® Presents Dave Matthews Band: Inside And Out
New Exhibit Highlights The Band's Accomplished Career And Commitment To Positive Social Change
May 4, 2021 — GRAMMY®-winning Dave Matthews Band is one of the most influential bands in rock history. Their infectious, distinctive sound garnered early attention and a die-hard loyal fan base, catapulting the band into one of the most successful touring acts of the past three decades. Dave Matthews Band has sold more than 25 million tickets since its inception and a collective 38 million CDs and DVDs combined. To showcase the band's undeniable impact, the GRAMMY Museum® proudly presents Dave Matthews Band: Inside and Out, launching upon its reopening on Friday, May 21. The exhibit will run through fall 2021.
Dave Matthews Band: Inside and Out explores the nearly 30-year history of the renowned band. From their beginnings in Charlottesville, Virginia, in the early 1990s, to their sold-out world tours and impactful benefit concerts, Dave Matthews Band has provided fans with a singular live experience, while also using their success and reach to give back to those in need.
This exhibit captures the band's commitment to causes that promote positive social change. In 1999, Dave Matthews Band established the Bama Works Fund, which supports a wide range of efforts to build a more equitable, resilient, and environmentally sound world. Bama Works has operated under the philosophy that meaningful and long-lasting change begins in the community. Over the decades, Bama Works has granted financial support to major humanitarian and environmental initiatives, raising more than $65 million dollars. In a landmark undertaking, Bama Works is currently working to combat Charlottesville's affordable-housing crisis by funding a resident-led effort to replace all of Charlottesville's public-housing units and construct new affordable housing.
"Dave Matthews Band has broadened the boundaries of live music performance and built a following that rivals the fan base of the biggest names in pop music," said Bob Santelli, the exhibition's curator and Founding Executive Director of the GRAMMY Museum. "It's an honor for the GRAMMY Museum to host this exhibit and celebrate their incredible achievements and legacy." As one of the biggest touring acts in the world, Dave Matthews Band has offset all touring-related carbon emissions since the earliest days of the band. Over the course of 20 tours, the Bama Green Project has integrated sustainability into every aspect of Dave Matthews Band's operations, including fueling tour buses with biodiesel, eliminating single-use plastic bottles at shows, prioritizing locally grown food through its farm-to-stage catering program, and directly engaging fans in environmental actions. In one of their latest endeavors, Dave Matthews Band joined in The Nature Conservancy's Plant a Billion Trees program, raising $2 million to plant a million trees worldwide. "We are happy to see the GRAMMY Museum reopen their doors to the music community and honored that there will be an exhibit that will showcase our history," said Dave Matthews Band. The exhibit also celebrates the creative process behind some of Dave Matthews Band's most successful, beloved albums. The band is the first group in Billboard chart history to have seven consecutive studio albums debut at No.1. Visitors will have the opportunity to view handwritten lyrics and studio production notes that the band used during their recording sessions.
Exhibit highlights include:
Dave Matthews' Chet Atkins guitar
LeRoi Moore's tenor saxophone and penny whistles
Carter Beauford's 1990s-played drum kit
Stefan Lessard's Modulus bass guitar
Handwritten set lists, lyrics, recording studio notes, and drawings
Various ephemera from the band's history – flyers, posters, tickets, tour credentials, and more
For more information regarding advanced ticket reservations and the Museum's new safety protocols, please visit www.grammymuseum.org.
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