We do retail construction & renovations in the Collingwood area.
If you own or operate a retail location, you recognize that the overall layout, style, and feel of your store plays a large role in whether you're able to turn shoppers into customers. When the space feels inviting and welcoming, more people are likely to visit and spend time in the shop. On the flip side, a poorly designed store that isn't well-lit makes it harder to shop. If you're ready to revitalise the layout and style of your current retail location or start fresh by constructing a new location for your business, turn to us at Redwood Homes Inc.
We do retail construction & renovations in the Collingwood, Ontario area and are known for our ability to construct and renovate impressive retail properties on time and on budget. Whether you run a clothing store and are looking for a better way to display your products or own a sporting goods store that has grown tremendously over the past few years and you need more space, we are able to help retail businesses of all sizes with their construction and renovation needs. Our team members are experts when it comes to renovations and construction work that meet the unique needs of retail clients. Redesigning a retail store is very different from renovating a home or office, since the flow and overall layout play such a key role.
The way your store is designed could impact whether customers want to shop there, so it's not something you can ignore. Our team members will talk to you about options and come up with a plan that works for your business needs. We can design a new shop so you can start from scratch, or we can renovate the existing brick and mortar location to take it to the next level for your customers.
Our process for retail construction & renovations is extremely detailed, customer-oriented, and designed to make your life easier. When you turn to us, we'll take the time to get to know your business' specific requirements and handle every aspect of the project for you while keeping you updated along the way. If you have any questions throughout the process, don't hesitate to ask. Our goal is complete satisfaction on every job we tackle, and staying connected throughout the building or renovation project is vital for reaching that goal.
We look forward to giving your retail business' location an entirely new look with our services for retail construction & renovations. When we work with retail clients, we take the time to understand their unique needs and provide a solution that works for everyone, from the CEO of the business to the customer who visits the store. Our team members have worked on a variety of retail locations throughout the Collingwood area, so you're in good hands when you entrust your renovation or construction project to our team. To get your retail or construction project started or to find out more about why you should choose our team to handle the project, give us a call today.
Check out our gallery for photos of our past retail construction and renovation projects.
At Redwood Homes Inc., we offer retail construction & renovations in Collingwood, Wasaga Beach, Blue Mountain, Orangeville, Creemore, Mulmer, Mansfield, Newmarket, Stayner, Thornbury, Shelburne, Barrie, Owen Sound, Meaford, Elmvale and the surrounding areas of Ontario.


Value Added Tax is charged on almost all products and services provided in the UK. The current standard rate is 20%. If your business becomes VAT-registered, you will charge VAT on all invoices you submit to your clients.
Each quarter, you work out how much VAT you have collected on behalf of HMRC, subtract any VAT owed to your business (if relevant), and then pay the difference back to HMRC.
If you are running a business, and expect to turnover £85,000 or more over the next 12 months, then you must register for VAT (for the 2018/19 tax year).
For professional reasons, or in order to claim back the VAT you have to pay out from your business, you may decide to register for VAT even if your turnover has yet to reach the current mandatory threshold.
Which VAT scheme is right for you?
1. The 'standard' scheme which applies to most business, where you calculate for input and output VAT at the current 20% 'standard' rate.
2. The 'cash accounting' scheme allows you to only account for VAT once you have received payment for invoices, otherwise VAT becomes payable the moment an invoice is raised. This is very similar to the standard way of accounting for VAT, but can provide extra cash flow benefits to small businesses.
3. The 'Flat Rate' scheme, which provides a simpler way to account for VAT and may be beneficial depending on your personal circumstances.
The Flat Rate scheme was created to cut down the time small companies spend on accounting. Rather than accounting for every transaction you make, you simply apply a flat rate VAT percentage to your turnover.
Although you cannot claim back the VAT on purchases via this scheme, you are allowed to account for one single large purchases (over £2,000), or a number of items totalling over £2,000, if they are bought in the same transaction.
In addition, you receive a 1% discount on the flat rate in your first year of trading.
Find out more in our guide to the flat rate VAT scheme.
Your accountant will typically set up your VAT registration for you.
Otherwise, you can complete Form VAT 1 and return in to HMRC, or register online (which is the most efficient route to take).
After a few weeks, you will receive a unique VAT number which you will use on all your invoices and company paperwork. Be aware that delays to VAT registration are not uncommon.
For more information, read our article on how to register for VAT.
How to you pay VAT?
For both the standard, and Flat Rate schemes, you must complete a quarterly VAT return. You complete the return and submit your payment online. If you set up a direct debit, not only is this a time saver for you, but you also get an extra week before the money comes out of your account.
Depending on your accountant's service, you may or may not be required to submit your quarterly returns yourself. Always consult your accountant if you have any questions about registering for, or accounting for VAT.


The SAT or ACT – Which to Choose?
I'm often asked with this question, "Which should they take… the SAT or the ACT" and the answer couldn't be more simple. Check with the university or college they're applying to. It may not be written in stone, but most colleges have a preference for one exam over the other. If you're that determined to find out, then a simple phone call can't hurt. It may even open the door to great conversations and the answering of more questions you may not have even thought of. And if you're reading this, then your moment has arrived. Begin actively choosing which schools you (ahem, I mean your children) will be applying too and begin the groundwork for your biggest project ever, the College Admissions Campaign!
Now that you're in the process of narrowing down which schools your son/daughter will apply to, it's time to begin registering them to take either (or both) of the exams. There is a nominal fee to taking the exams. Both offer fee waivers should there be any financial limitations. This requires time to process so be sure to begin prepping early with plenty of time to spare. If planning to take the SAT, then go to www.collegeboard.org. Here you can create both a parent and student account, complete registration and begin exploring some of the free online test prep content that is provided. If planning to take the ACT, then go to www.act.org to do the same.
We at Benedictine Tutors provide extensive test prep for both the SAT and ACT exams. The SAT has traditionally been more widely accepted. It is a marathon of an exam taking, on average, 4 hours to complete. The SAT is a series of mini-tests that challenge a student's math and reading skills. The emphasis of the math test is on Algebra 1, Geometry, and Algebra 2. The emphasis of the reading test is on comprehension, grammar, critical reasoning and analysis. Additionally, there is the option to take the additional "Essay".
Although not required, we highly recommended for a student to make every effort in taking the essay portion of the exam. By doing so, one exhibits the (1) desire to go above and beyond what is required, (2) takes advantage of the opportunity to demonstrate their writing prowess and (3) assure themselves that they have made every effort—all 110% of it—to do their best. Of course, there is an additional fee for taking the essay.
In addition to the SAT prep, we at Benedictine Tutors also provide test prep for our students with the ACT. Another question that arises is "How are the two different"? The answer is two-fold. For one, and aside from testing on math and verbal reasoning skills, the ACT will test a student's knowledge of scientific thinking and analysis. The science section bears more merit for students to demonstrate their mastery. This is especially true if they are pursuing degrees that are more mechanical in nature. Secondly, most state funded colleges and universities will make taking the ACT a requirement in the application process.
Our advice, go ahead and make plans to take both to ensure all your bases are covered. Regarding test prep, we make this option both affordable and doable. When Benedictine Tutors students sign up for the SAT 6-week test prep session, they may take the ACT 6-week test prep session for HALF-OFF!
Now let's say you've done your homework. You have researched your options, have studied and prepped for both exams, and are currently waiting for test scores. Benedictine Tutors offers all students the opportunity to make a great score even better. With ongoing Test Prep Club hours, exclusive to our Katy, TX location, we extend our services for ongoing test prep support even after the exam has been taken. Although most of our students typically see between a 250 – 300 point increase in their scores, the extended hours we provide for additional practice provides the additional peace of mind in knowing our students are more than prepared for these high stakes testing.
For more information on how the SAT and ACT is structured, click here.


Return to Stylus Studio EDIFACT D98B Messages page.
This specification provides the definition of the Work grant decision message (WKGRDC) to be used in Electronic Data Interchange (EDI) between trading partners involved in administration, commerce and transport.
A message specifying details of decisions of the governmental agency to an employer relating to a work grant request or permit for one or more workers.
The Work grant decision message may be used for both national and international applications. It is based on universal practice related to administration, commerce and transport, and is not dependent on the type of business or industry.
The intention of the message is to provide detailed information and decisions of the governmental agency relating to a previous single work grant request message.
A Work Grant Decision Message is transmitted from the governmental agency to an employer.
A Work Grant Decision Message contains detailed information about the worker, the detail of the decision, the acceptance or the rejection and the reasons for the decision in case of a rejection. A Work Grant Decision Message may contain the full textual information of the decision.
A Work Grant Decision Message also contains information of the profession and the place of work.
A Work Grant Decision Message may also contain information and decisions relating to work grant requests for one or more workers.
A service segment starting and uniquely identifying a message. The message type code for the Work grant decision message is WKGRDC.
A segment by which the sender must uniquely identify the work grant decision by means of its type and number and, when necessary, its function.
A segment specifying general dates and, when relevant, times related to the whole message. The segment must be specified at least once to identify the document date. The Date/time/period segment within other Segment groups should be used whenever the date or time or period requires to be logically related to another specified data item.
A segment identifying names of the parties, in coded or clear form, and their functions relevant to the Work Grant Decision Message. Identification of the enterprise and the job administration parties is mandatory for the Work Grant Decision Message. It is recommended that, where possible, only the coded form of the party identification should be specified, e.g. where the enterprise and the job administration are known to each other, thus only the coded identification is required.
A segment indicating the address of the party identified in the previous PNA segment.
A segment giving more specific location information of the party specified in the ADR segment, e.g. internal site or building number.
A segment specifying the relevant date or time.
A group of segments giving contact details of the specific person or department within the party identified in the PNA segment.
A segment to identify a communications type and number for the contact specified in the CTA segment, e.g. telephone-number, fax- number, telex-number.
A group of segments for giving references and, where necessary, their dates, relating to the whole message.
A segment identifying the reference by its number related to the whole message.
A segment specifying the date or time related to the reference.
A group of segments specifying general processing indicators and, when necessary, additional textual information, relevant for the whole message.
A segment specifying general indicators for the whole message.
A mandatory service segment placed before the first user segment in the detail section to avoid segment collision.
A group of segments providing details of the decision of the work grant request of a foreigner. There must be at least one occurrence of Segment group 5 within a Work Grant Decision Message. This Segment group may be repeated to give information about the decision of other work grant requests. The Segment group 5 gives information about the name and the address of the foreigner, the decision itself and the text of the decision. The Segment group may also contain the reasons, in case of the rejection of the work grant request. In case of the positive grant, information is given for the validity dates of the work grant and the locations, where the job could be performed.
A segment identifying the administrative operation of the work grant request by a number given by the governmental agency, e.g. work grant number.
A segment specifying date and, when relevant, time relating to the work grant decision. Examples of the use of this DTM segment are: validity dates of the work grant, when the decision is positive.
A group of segments specifying identity and related information regarding the person expected to be employed.
A segment giving the identity, in coded or clear form, of the person expected to be employed.
A segment identifying the address of a person and its function relevant to the Work Grant Request Message.
A segment indicating the date of birth of the person requested for an job.
A segment giving more specific location information of the party specified in the ADR segment.
A segment indicating authorized nationality for a person expected to be employed.
A segment providing information gender or marital status of the requested person.
A segment indicating list of documents the person must have in his possession.
A segment with free text information for the work grant decision, in coded or clear form. In computer to computer exchanges such text will normally require the receiver to process this segment manually.
A group of segments specifying general processing indicators and, when necessary, additional textual information, relevant for the decision.
A segment specifying general indicators related to the decision, e.g. positive decision of the work grant request or rejection of the work grant request.
A group of segments for giving references of the request and, other references where and when necessary, their dates, relevant to the work grant.
A segment for specifying references relevant to the work grant, e.g. social insurance number of the foreigner.
A group of segments identifying requirements or conditions of the rejection of a work grant request.
A segment to give, in coded form, conditions and reasons for the rejection of a work grant request.
A segment identifying the referenced document by its number and, where appropriate, a line number.
A segment indicating the date or time details relating to the references.
A segment with free text information for the reasons of the rejection of a work grant request, in coded or clear form, used when additional information is needed but cannot be accommodated within other segments, e.g. advertisement of the job. In computer to computer exchanges such text will normally require the receiver to process this segment manually.
A group of segments identifying the qualification of a person and attributes, such as education and experience.
A segment to identify the related area or sector of a qualification and the qualification, in coded or clear form related to the work grant request.
A segment indicating the location, where the person is allowed to perform the job (limitation of the work locations).
A group of segments giving coded information about attributes of a job regarding educational qualifications and experience and, when necessary, additional textual information.
A segment identifying attributes of a job. The codes are related to education, job experience, special knowledge and required qualifications.
A segment with free text information for special knowledge, in coded or clear form, used when additional information is needed but cannot be accommodated within other segments. In computer to computer exchanges such text will normally require the receiver to process this segment manually.
A group of segments identifying the parties involved with the work grant request with associated information.
A segment identifying names of the parties, in coded or clear form, and their functions relevant to the work grant request, e.g. related job center. It is recommended that, where possible, only the coded form of the party identification should be specified.
A segment indicating the address of the relevant party.
A segment specifying the date or time related to the address given in the ADR segment.
A group of segments giving contact details of the specific person or department within the party identified in the PNA segment, e.g. person in a department in a the job center office.
A segment to identify a communications type and number for the contact specified in the CTA segment, e.g. telephone-number, fax-number, telex-number.


text:
with Antony Funnell
A very pointy future
By Colin Bisset on Future Tense
Download A very pointy future (13.43 MB)
City living is increasingly a vertical experience. The more our major urban centres expand, the more they also seem to stretch into the sky.
Skyscrapers have been around since the late 1800s but it's perhaps only in this century that they've truly become a global phenomenon. They're everywhere, from Brisbane to Beijing, from Rio to Riyadh – and they're only going to get taller.
In this edition of Future Tense, architectural commentator and Blueprint for Living regular Colin Bisset looks at the future of skyscrapers. How high can they go? How to actually make them functional. And what are the implications for those who choose to live in them?
Duration: 29min 20sec
Broadcast: Sun 14 Feb 2016, 10:30am
The sky's the limit: Trends and challenges for the skyscrapers of the future
Read a feature article by Colin Bisset.
Susan M Thompson
Professor of Planning and Director of the City Wellbeing Program in UNSW City Futures Research Centre
Dr Craig Gibbons
Principal, Australasia Buildings, ARUP
Architect and writer, design partner, Johnson Fain
Judy Casey
Sydney apartment dweller
Antony Funnell: Hello, Antony Funnell here and welcome to Future Tense.
Over Christmas I found myself in Hong Kong, for the first time in two decades.
It actually hasn't changed all that much, but what I did notice was that the dense forest of very tall buildings that once constituted that iconic city has, in the past two decades, morphed into an even denser forest of very, very, very tall buildings.
Living and working in the clouds has long been the Hong Kong way, but its extreme pointiness is no longer unique. Increasingly the urban centres of the world from Brisbane to Beijing, from Rio to Riyhad, are growing vertically as well as horizontally.
In this edition of Future Tense, architectural commentator and Blueprint for Living regular Colin Bisset looks at the future of skyscrapers. How high they can reach, how to actually make them functional, and what are the implications for those who choose to live in them?
Colin Bisset: Tall structures have inspired us for centuries, from the pagodas of China and the towers of medieval Tuscany, to the Eiffel Tower and the telecom towers that followed. But the skyscraper itself is a fairly recent invention. The first was built in Chicago in 1885 and had a rather-less-than-sky-scraping 10 storeys. But they quickly became shorthand for a city that was rich and sophisticated.
In 1948, architect Frank Lloyd Wright proposed a skyscraper that reached a mile (or 1,600 metres) into the sky. And yet by the turn of the 21st century, there was only one building that topped 400 metres. But that's changing. Today there are at least a hundred in countries like China and Dubai, some reaching to more than 800 metres. And within the next ten years we'll see the number of them double. It seems the skyscraper is back not just in fashion but in force. In China, for example, it's estimated that by the year 2030, 70% of its population—that's a billion people—will live in its skyscrapers.
So what's the future of the skyscraper and what will they look like? Well, to start, let's be clear about what the term 'skyscraper' actually means today.
We need an architect:
Scott Johnson: My name is Scott Johnson, and I'm design partner at Johnson Fain, an architectural practice in Los Angeles. We do work in the US and abroad. And for maybe 20 or 30 years one of the kinds of buildings we design are tall buildings. I also specialise and write and teach on the topic and have written a couple of books on the tall building, and I'm currently involved in a third book on a series of tall buildings.
Colin Bisset: 100 years ago a skyscraper was a building of, say, 10 storeys. Today they are 10 times that and we've got super-tall buildings, mega-tall buildings, ultra-tall buildings. So cutting through the jargon, what exactly is a skyscraper?
Scott Johnson: Well, the name 'skyscraper', which really derives from an Italian word, is whatever seemed tall at the time. So a building that might have been 10 storeys 100 years ago was tall and there were a few people who referred to them as skyscrapers, and today I think commonly people refer to skyscrapers as buildings that might be 50 storeys and higher. Knowing of course there are theoretical projects way higher than that, there are projects over 100 storeys, and if we go to Dubai there is a particular project we all know which is 160-some storeys. So it's a variable term, but it's essentially a vertical building and a building that we see in silhouette, a building for which the shaft and the shape and silhouette of that building is an important part of how we think about it.
Colin Bisset: I'm sure everyone asks you this; how tall can they go?
Scott Johnson: Well, I don't think anyone knows, Colin, exactly how tall we can go. It reminds me of a kind of…I think it was an algebra class I had made maybe in the seventh or eighth grade, and as it approaches a limit we don't know how far that limit can go. Theoretically there is something out there, but as you get taller I always think it's very interesting, the science of being tall is interesting. If you're doing a building that's up to 30 to 40 storeys, everything that seems to matter structurally is how much gravity weight, how heavy the building is vertically.
When you get up into 60 and 70 and 80 storeys, it's really actually what the lateral stresses on the building are, which is to say if there's wind which would be lateral or if there is an earthquake which would be lateral, the gravity loads aren't really the important things anymore. And when you get to a building that's over 100 storeys, what really matters is neither of those things, what matters is at what point are you going to get seasick because there's so much vibration at the top of the tower. So as you get taller and taller you are essentially absorbing certain lessons and trying to solve new kinds of problems, but I don't think anyone knows how tall is the tallest building that will ever be built. And there seems to be no question that human nature will continue to pursue, if the next tallest building is only the tallest for five minutes, we will be in search of it.
Colin Bisset: Well, your latest book is called Performative Skyscrapers, so what does that mean? What does 'performative' mean in relation to skyscrapers?
Scott Johnson: Well, 'performative' in my book really refers to the fact that buildings now have to perform and we have a way to think about that and to measure that. In the studios, as we are designing buildings, everything is digital now. We have parametric software and scripting, we have a whole assortment of engineers who are sharing our software platform, so they are in real time tracking everything we are doing. So now the process is completely iterative. If we make the building turn left then the mechanical engineer says, well, the implications of that are X, and if we make the building turn right then the structural engineers are saying, well, that means the sizes all change. So there's this ongoing conversation, and the digital platform we are operating in now is something that everybody involved in the process has access to, has input to, and we can now measure and record everything we're doing in the design as well as when the building is built. But now the focus on so much of design isn't a formalistic, altogether aesthetic idea about what would be nice of a tall building, how it should look, it's really the forms deriving out of the ability to perform at higher and higher levels, and that's made possible by the centrality of the computer in the design process.
Colin Bisset: The vision of the architect is matched by the skills of the engineer.
Meet the engineer:
Craig Gibbons: My name is Craig Gibbons, I am an ARUP fellow as well as a principal of ARUP. I've been involved for many, many years in the design of high rise buildings around the world. I have for the past three or four years been a trustee of the Council of Tall Buildings, and I actively engage in presentations, talks about the joys of being involved in skyscrapers.
I think in a nutshell as an engineer we work very closely with architects, and engineering covers a whole range of different disciplines. For example, it could be the structure of the building, in other words how it stands up, or it could be the building services within the building, how it performs environmentally, the air-conditioning et cetera. Or how you move people around, vertical transportation and the like. So engineering covers a wide range of things that are actually part and parcel of the skyscraper.
But the key thing is we work very closely with architects to help them design, plan a tall building, to make sure it is as efficient as possible. Because one thing about a skyscraper is that the floor plates have to be very, very efficient because there are many of them. The wind is a key consideration, but as buildings get taller, and they are getting taller, quite a bit taller over the past 20 years, the wind and the influence of the wind on how you design these buildings are becoming more and more dominant.
The secret is to actually confuse the wind. The ideal shape of a skyscraper is quite challenging in that a good shape is one that is non-symmetrical. The Burj Khalifa in Dubai is a very, very good example of a very tall skyscraper that is designed specifically to confuse the wind. If you look at it, it's non-symmetrical, and that has great benefits in terms of its performance under wind. So yes, we are constantly working with architects to help inform of the planning and the elevation, the shape of these buildings such that they perform better under wind. The key is to make sure that the building is comfortable, that the people at the top of the building don't feel lateral sway or movement or accelerations.
Colin Bisset: I want to talk about elevators because that's really one of the big issues of a very tall building, is how to get people up to those very high levels. And there's a limit, isn't there, to how fast an elevator can go and how long an elevator can be.
Craig Gibbons: There is…
Colin Bisset: There isn't? Tell me otherwise! Is that going to change?
Craig Gibbons: It is. I'm not a lift expert as such, but what I can tell you is that there has been some great advances in lift technology. Lifts typically have steel cables in them, and consequently there is a limit on the overall height you can have a lift going to in one single run because the weight of the cable is a significant proportion of the overall weight. And there are new cables being developed which are effectively carbon fibre ribbons, much lighter, much more compact, much stronger, which means that the traditional limits of how far you can go in an elevator have been increased quite dramatically. So it might be now about 700 or 800 metres, whereas it was probably about 400 or 500 metres in the past.
Colin Bisset: I want to talk also about green buildings. We've got in Sydney One Central Park which was Tall Building of the Year a couple of years ago, and this year we've got the Bosco Verticale in Milan, which has lovely cantilevered sides with trees growing up it. So this is an obvious trend. These are buildings that are really capturing people's imaginations. That must be quite an engineering challenge. Do you think this is something that people are going to demand, literally green buildings?
Craig Gibbons: I think it is something that people will want. There's a lot of data around that suggests that people can actually see green, i.e. vegetation, plants, from where they sit and where they relax, from where they spend a lot of their time, actually are healthier in mind and probably in body as well. So there's a lot of data that suggests it is a good, positive thing.
I think also that it's the sort of thing that needs a little bit of a push from governments. In Singapore, for example, there is the legislation that requires vertical green walls on your buildings, dictated by the size of site that they are being built on. And I think that's the sort of thing that is really going to get the appetite going as far as potential tenants are concerned. A number of buildings are being built now, WOHA architects are doing some amazing stuff there which really, really emphasises the vegetation on the sides of buildings, really reduces the heat island effect that you would otherwise get in cities, and really, really elevates the homeliness of the apartments that they have there. I think it's fantastic stuff.
Colin Bisset: I've got to ask this question; is there a limit to how high we can build?
Craig Gibbons: I get asked this question quite a lot. The Kingdom Tower in Jeddah is under construction at one kilometre high. I would have thought that from an engineering perspective, 1,500 metres, two kilometres, very feasible. I can't believe though there would ever be, shall we say, a business case or a demand to go to anything much above a kilometre. The taller you go, the longer it is for these things to be completed. Yes, you can have phased occupation, but I do think it's an extraordinary commitment and there's probably very few countries around the world, Saudi being one of them, that would actually take on such a bold tower.
In terms of the things we're going to see in the near future, one of them is greater use of timber in high rises, and there are a number of reasons for that, one being that it's a very good environmental story. Carbon sequestration in timber means effectively you're saving CO2. I think the Forte Hotel in Melbourne, even though it's eight or nine storeys, saved about 4,000 tonnes of CO2 as a result of being built in timber. And the sort of resurgence of timber has come about because of these new types of engineered timber that are available. Cross laminated timber, CLT, LVL, they lend themselves to being fabricated off-site, which is very much the way forward these days, links very nicely with 3-D design and documentation, it's very light, and yes, is being used in various parts of the world to build residential towers. We in ARUP are working with the Council of Tall Buildings on an initiative to build up to 40 storeys in timber.
Colin Bisset: What are residential skyscrapers going to look like do you think?
Craig Gibbons: They are going to be skinnier, so more slender.
Colin Bisset: Why is that?
Craig Gibbons: Just because…I was in New York recently and there's a whole mass of what they call skinny towers being developed there. They are very tall, 400 metres plus, and they have a width or a height to width which is greater than…well, some of them greater than 15, so very, very slender. And what's driving that is the premiums that people are prepared to pay for apartments in the upper floors of apartments that get a view of Central Park, i.e. there's no point building a short, stocky tower, you build it tall, very thin, so basically you use the same amount of floor area. And the premium that you get for those floors at the top that can see the park pay for the whole development. So that's very much a driver.
I was looking at some data on this, and what was quite interesting is that prior to the year 2000, of the top 100 buildings in terms of height, only 1% or one of them was actually a full residential. In 2010, that had increased to 15% of the top 100 buildings by height. And probably these days it's 20%, 25%. All this is saying is that in terms of the tall buildings around the world, yes buildings are getting taller, but the residential, pure residential, is taking up a bigger proportion of the whole over a reasonably short period of time.
Colin Bisset: Dr Craig Gibbons.
Skyscrapers have always been beacons for the cities they belong to, and their shapes are becoming more and more interesting. I asked Scott Johnson about that:
We're getting buildings that are twisting around, the Shanghai Tower is a great example. But we are also getting just wonderful shapes, and people seem to really love them. I mean, in London alone you've got the Gherkin, and there's the Walkie-Talkie building, the Razor, and in Barcelona I think there's the Jean Nouvel Agbar tower, which is called…the Suppository they're calling it. So how important do you think it is that a tall building is beautiful or inspiring?
Scott Johnson: Well, I think it's terribly important, but I think everything you just said wasn't necessarily about it being important or inspiring, everything you said was that it's memorable. As you described those buildings you didn't give me the name of the building, nor did you give me the address of the building, or the primary occupant of the building, you gave me the narrative name, how the building has come to be seen, how it's called in the public mind. And I think the fact you used those terms—the Gherkin and the Walkie-Talkie et cetera—suggests that these are huge players in the public realm.
You can go into your cave and design your apartment and no one sees it and no one cares except who you invite in, but if you build a 60 or an 80 or a 100 storey building on the skyline and it's everybody's best idea or everybody's problem, but in any event it's everybody's event. And so I think that anyone designing these buildings, yes beautiful for sure and important, these things need to be addressed and better architects to do better work, but I think it's very important that they appeal to the public because in fact I've always called architecture at a large scale, tall buildings, is the largest pieces of public art potentially that we ever make, and it's public because everyone shares it. It's not a private act. Even if it is designed for and built by and financed by a private entity, a tall building in the public realm is a public event, and therefore is a public work of art, in the best sense of its possibility.
Colin Bisset: So what shapes is technology going to allow us to build as we move into the future? Are we going to be getting wilder shapes?
Scott Johnson: Well, unless there is some technology that you and I are not thinking about which reverses the laws of gravity, and I say that with a smirk, but it is maybe possible, in other words if buildings were to float or buildings were to be hung, then everything could change, but as long as we are working within Newtonian physics and buildings ultimately have to be rooted to the ground, then they are probably going to be wider and more widespread and stable at the bottom and they are properly going to get smaller at the top. If you think about a vertical cantilever or you have a tall stick in your hand or a piece of dried spaghetti, you know you can swing it back and forth, it's stable in your hand, and it's ductal and it weighs at the top, which means it's the most volatile at the top. So it will be bigger at the bottom and smaller at the top.
And like the Burj Khalifa which you mentioned, in that case it has three…I would call it claws that come down into foundations, much like a bird's or a duck's or a chicken's foot. And because a triangulated shape is a very stable shape, it resists overturning in all directions. So I think things will be triangulated, they will go from a big to small, they will be needle-like. But there are all kinds of problems of efficiency in that. The taller they go, the more area they enclose, and the more area they enclose, the more people, assuming people are in the tall buildings, the more people have to get up into them, so the more vertical delivery systems, that is to say elevators, stairs, whatever, have to go in them. And so the taller we go, the more people we need in them, but the more that space is taken for all the vertical circulation and the less is available for the people, which is the reason we built the building in the first place. So there's some strange ironies that occur. But as I say, if we could figure out how to hang buildings from clouds or from helium balloons and stabilise them, then gravity changes and maybe a building would be the biggest at the top and the smallest at the bottom. But not knowing about that yet, I think we will see more missile-shaped buildings.
Colin Bisset: Can I ask you, just finishing, if you were looking into your crystal ball, what do you think is ultimately possible for the skyscraper? Are we just going ever tall, or are we just building smarter?
Scott Johnson: Well, I think there's a number of things to think about when you look in your crystal and say what are the trends, what will happen in five, 10, 20, 50 years. For me, the chess game of how tall you can get and can you get a little bit taller than the last guy, that will continue, and if you are interested in that you should play that chess game. I don't think that's as profound and as interesting as the couple of other aspects of the growth of tall buildings, and that is how we urbanise cities, how we support at a high level and at a broad and fair equitable level the densification of cities.
I mean, everyone knows by now that in 2007 it was largely understood that 50% of the entire world's population is now in urbanised areas, and by 2050 75% will be. That's pretty clear, everyone understands that. So if that's the case then there is need to look at our cities as the vehicle for the majority of our habitat, and how do we make them better, how do we increase the density, how do we accept that flow in a way that is better for everyone.
If you took up ground space, so now open space wasn't so available at the ground level because you are densifying, but you had a whole bunch of roof levels, then the roof levels could become the new open space. And maybe those roof levels could connect with other roof levels through bridges and causeways and other things, and then you'd have whole multiple levels of circulation at upper levels in addition to what happens on the ground plane.
So I think the most interesting thing to me as a designer of tall buildings isn't the ultra-super-tall and how tall can it be, that's amusing and interesting, but more interesting I think is how the city can support it. What does a tall building mean for the city, since we are all going to be living in it?
Colin Bisset: That was Architect Scott Johnson.
On RN, you're listening to Future Tense. I'm Colin Bisset and we are looking at the future of skyscrapers.
Well, looking at a skyscraper is one thing, but living in one? High-rise living isn't all Manhattan cocktails and jazz. While we may be excited by the possibilities shown in luxury projects such as the Burj Khalifa in Dubai and the forthcoming Kingdom Tower in Jeddah that will top 1,000 metres, the reality may be more mundane. Living in tall buildings is becoming more common in Australia, as elsewhere across the world.
I asked Professor Susan Thompson, director of City Wellbeing at the City Futures Research Centre of the University of New South Wales if she had concerns with the trend towards living in the sky.
Susan Thompson: So I'm interested in skyscrapers in the way that they might indeed support us being healthy but they might on the other hand hinder our abilities to be healthy as part of everyday living.
Colin Bisset: What does your ideal residential skyscraper look like? You know, we can have anything it seems now, we've got gorgeous curvy shapes now. But essentially they are still stacks of floors, stacks of apartments. Should we be doing them differently?
Susan Thompson: That's a great question, and I think from my perspective as an urban planner, I'm very much focused on the context of the skyscraper, where it's situated. Is it close to public transport so that people living in a skyscraper actually don't need to have a car anymore? Is it close to a multiple diversity of uses so it's easy to get to all those things that you need to do every day, including schools, services, retail areas, cafes, entertainment precincts and so on?
I'd also be very, very concerned if that skyscraper wasn't close to really good quality open space. And I'm not just talking about a tiled plaza area at the bottom of the building, I'm talking about grass and trees and a garden area, possibly a community garden that's part of that building's community space. And it might well be that the building would have those sorts of green spaces on different floors as well as having greenery attached to the building. It doesn't replace the need to have actual spaces, green spaces that people can get to, readily accessible.
I think we have to think about how to design those buildings for a very diverse community. Not everyone is going to be able to access all of the great things that are necessarily around the skyscraper, so how do we then create a community within that skyscraper for those people who perhaps are dependent on others to take them down the 100 floors and out into the city.
Colin Bisset: So what about those who actually choose to live up high? Judy Casey is a high-rise resident. She lives in a 40-floor skyscraper overlooking Sydney's city centre:
So I'm here in Judy's flat on the 15th floor, with a fantastic view of Sydney. It's in a building that is actually on a crest, very high up, with a very, very open view in front. So Judy, tell me why you chose to live on the 15th floor?
Judy Casey: I would have lived on any floor above 10, I just like being high up and I love the view, and I love the action in the Cross, I love the Cross, I love it. I mean, you've seen out there, the traffic…we overlook William Street, the traffic goes up and down, we look on a park, the art gallery park, so you look on greenery. At night it's very New York, looking out there.
Colin Bisset: I can't help being excited by what the future holds. Architectural design competitions regularly showcase concepts such as skyscrapers that house secret gardens 600 metres tall or condense the sprawling shantytowns of India into single, huge towers. That kind of vision echoes the schemes of the 1960s when architect Peter Cook and the Archigram group in Britain proposed high-rise cities that would actually walk the land. As we've heard, the sky's the limit, so keep looking up.
But perhaps a final word from Professor Susan Thompson, just to keep things in perspective:
Susan Thompson: I think no matter where we live, be it in a skyscraper or a small suburban house or a flat, apartment, we've got to have a place to call home, and if we can't go into that place and feel that it's our home, it's a refuge from the busyness of the rest of the world, it's a place where we can have a sense of control that we mightn't have elsewhere, then that's going to be a problem, and that can happen in a skyscraper presumably as much as it could happen in a 10 or a four or five storey building.
Antony Funnell: Susan Thompson from the City Futures Research Centre at the University of New South Wales, ending that report from Colin Bisset.
Colin's other guests today were Sydney high-rise dweller Judy Casey, Craig Gibbons from ARUP, and architect Scott Johnson from Johnson Fein.
The producer was Mark Wakely, sound engineer Judy Rapley.
This is Future Tense, I'm Antony Funnell, until next week, cheers!
Presenter Colin Bisset
Producer Mark Wakely
Sound Engineer Judy Rapley
Tall Building: Imagining The Skyscraper
by Scott Johnson, Princeton Architectural Press, 2008
Evolo Skyscrapers 2 : 150 New Projects Redefine Building High
Evolo 2015
Performative Skyscraper: Tall Building Design Now
The Future of the Skyscraper' SOM Thinkers series
Distributed Art Publishers 2015
Skyscrapers dominate the skyline of more and more cities around the world.
external link Johnson Fain
external link ARUP
external link UNSW City Futures Research Centre
external link WOHA Architects
external link Colin Bisset's blog
Full episode 29min 20sec
29mins 20secs A very pointy future

redpajama_set_name: RedPajamaCommonCrawl


text:
require 'spec_helper'

describe IRCParser, "parsing oper" do

  it_parses "OPER foo bar" do |msg|
    msg.user.should == "foo"
    msg.password.should == "bar"
  end

  #------------------------------------------------------------------------------

  it_generates IRCParser::Messages::Oper, "OPER foo bar" do |msg|
    msg.user= "foo"
    msg.password= "bar"
  end

end

redpajama_set_name: RedPajamaGithub


text:
Q: How to use custom operations with tensorflow server What is the ideal way to have tensorflow model server recognize my custom operation?
I have a custom operation written following this guide:
https://www.tensorflow.org/guide/extend/op
I'm able to use the opp by calling tf.load_op_library, but when I try and and run tensorflow_model_server
tensorflow_model_server --port=9000 \
                        --model_name=mymodel \
                        --model_base_path=/serving/mymodel

I get the following error about being unable to find my opp.

tensorflow_serving/util/retrier.cc:37] Loading servable: {name:
  mymodel version: 1} failed: Not found: Op type not registered 'MyOpp'
  in binary running on c37a4ef2d4b4.

A: Here are the things that I wanted to do with my op:
    - generate python wrappers
    - add op too the pip package
    - have my operation linked to tensorflow so tensorflow-serving could execute the operation
I placed my op in tensorflow/contrib/foo. Here is what the source tree looked like
.
├── BUILD
├── LICENSE
├── __init__.py
├── foo_op.cc
├── foo_op_gpu.cu.cc
└── foo_op.h

My __init__.py file had the import for the generated wrappers
from tensorflow.contrib.sampling.ops.gen_foo import *

I added an import in the tensorflow/contrib/__init__.py
from tensorflow.contrib import foo

Here is my tensorflow/contrib/foo/BUILD file:
licenses(["notice"])  # Apache 2.0
exports_files(["LICENSE"])

package(default_visibility = ["//visibility:public"])

load("//tensorflow:tensorflow.bzl", "tf_custom_op_py_library")
load("//tensorflow:tensorflow.bzl", "tf_gen_op_libs")
load("//tensorflow:tensorflow.bzl", "tf_gen_op_wrapper_py")
load("//tensorflow:tensorflow.bzl", "tf_kernel_library")

tf_kernel_library(
    name = "foo_op_kernels",
    prefix = "foo",
    alwayslink = 1,
)
tf_gen_op_libs(
    op_lib_names = ["foo"],
)
tf_gen_op_wrapper_py(
    name = "foo",
    visibility = ["//visibility:public"],
    deps = [
        ":foo_op_kernels",
    ],
)
tf_custom_op_py_library(
    name = "foo_py",
    srcs = [
        "__init__.py",
    ],
    kernels = [
        ":foo_op_kernels",
    ],
    srcs_version = "PY2AND3",
    deps = [
        ":foo",
        "//tensorflow/contrib/util:util_py",
        "//tensorflow/python:common_shapes",
        "//tensorflow/python:framework_for_generated_wrappers",
        "//tensorflow/python:platform",
        "//tensorflow/python:util",
    ],
)

Here are the tensorflow bazel files I had to touch to get it working.

*

*tensorflow/contrib/BUILD

*

*Add foo_op_kernels to contrib_kernels deps

*Add foo_op_lib to contrib_ops_op_lib deps

*Add foo to contrib_py deps

*tensorflow/tools/pip_package/BUILD

*

*Added my python target to COMMON_PIP_DEPS

*tensorflow/core/BUILD

*

*Added my kernels to all_kernels_statically_linked. I might have gone overboard with this one, but It worked.

Here are the tensorflow serving bazel files:

*

*WORKSPACE

*

*Change org_tensorflow to be a local_repository pointing to my tensorflow rather than a google's tensorflow_http_archive
Then I modified: tensorflow_serving/tools/docker/Dockerfile.devel-gpu to clone my versions of tensorflow and tensorflow-serving.

A: Here is a doc describing how to do that: https://www.tensorflow.org/tfx/serving/custom_op
The bottom line is that you need to rebuild tensorflow_model_server with your op linked in.
tensorflow_serving/model_servers/BUILD:
SUPPORTED_TENSORFLOW_OPS = [
    ...
    "//tensorflow_serving/.../...your_op"
]

A: Did you add your op lib in BUILD file where you want to call it?

A: You can also use tensorflow as a submodule or local_repository to use the custom macros in the repo for your ops.

redpajama_set_name: RedPajamaStackExchange


text:
Apply Today Course Guide
Online unit
Leadership in Context
Overview of the unit
About this unit
This unit introduces key theories and debates relating to leadership traits, behaviours and approaches to influencing organisational culture and outcomes. Different models of leadership are explored using a case based comparative perspective. The unit will draw from challenges dealt with in the private sector, public sector, not for profit and non-government organisations. It will provide students with theoretical frameworks to critique the parameters of leadership with respect to building robust organisational culture. This includes responsiveness to issues of risk mitigation, decision making, sound governance and stewardship of resources both physical, and human, in increasingly complex organisational environments.
Leadership as a social influence process
A range of approaches to leadership, including trait approaches, behavioural theories, contingency theory and alternative perspectives.
Complexity and leadership.
Leading in a changing environment and planning for the future
Trust-sensitive leadership
Virtual leadership
Sustainable leadership
Application of different leadership theories and frameworks to identify/compare leadership challenges and responses.
A comparative study of organisational environments and their implications for effective leadership across public sector, private sector, not-for-profit and non-government organisations.
This unit is found in Bachelor of Business With a Major in Management.
View further information on this unit.


Expect more HashId next Tuesday with the patch.
Do the HashIDs change each week with the patch?
No no they don't change (afaik), but we're getting new Helix Store armors/weapons/ship stuffs... And also getting the transmutation system (which will allow us to apply the look of our choice on any armors). This should help getting more HashId... or screw up the cheat table lol.
The item table has a line called 'override gear name' maybe it will use that?
Если есть те, кто по-русски говорит. Подскажите какое значение стоит у вас в основной таблице, в поле "exp multiplier"?
Нужно именно регулярное значение, без XP бустеров и прочего.
Не понял, что и зачем тебе это надо? Там 1,5 в скрипте по умолчанию прописано define(expmultiplierdefault,(float)1.5).
Haven't played Assassins Creed for a while i am facing some trouble in terms of cheat engine and odyssey. My last (successful) match was using CheatEngine with AC:Unity. The cheat table was working fine for me - thanks for the great work!
But now for AC:Odyssey I had to upgrade cheat engine from 6.4 to 6.8.1. Whenever I start the game, load a level and attach my cheat table the game crashes. Why? Can't see any reason for this. In terms of config I am using VEH debugger and "override existing breakpoints" is unchecked.
hmm might need to see a video of the inventory editor in detail.
I followed Barnabus' guide, succesfully got the correct hashid to appear in the appropriate section of the table, and edited perk 1,3,4, but the item in the inventory wouldn't change when I alt tabbed back to the game and instead disappeared from the inventory.
Do you need to set the game to windowed mode or somesuch? The addresses are fine, I change them in the order of item, level rarity 1 3 4 etc, it just seems to not change my equipped weapon.
After you edit, you need to save/load. But the item shouldn't disappear at all.
I read about this Orichalcum Ore Issue, it is server based and the value can not be modified. However, since you can just loot it from some positions, I wonder if it is possible to fake the loot mechanics, so that the game "thinks" you are just looting it. So I'm thinking of a script which inserts code that fakes what ever happens when you loot the ore. Actually I have no idea how to do it, but maybe this could be an inspiration for one of you guys.
Loot is also server sided. Try play offline and all Orichalcum in game (ore, quests, shop) disappear. All legendary items you buy for Orichalcum adds to you account owned items, not inventory.
Latest table (Update14.2 by Cielos) works fine with CPY release. Didnt test entire table, but everything should work the same as with original version, because exe file was not changed in whatsoever way.
Should be perks 1,3,and 4. 2 is the blacksmith if I recall correctly.
If there a way to increase the limit value of 350 of the Inv and/or the ship chest or ignore this value? I always like to keep all ingame available items and this cap is very annoying.
Sorry if this was asked before, I didn't find it.
Is orichalcum shop works in cpy release?


text:
Q: How to set marging to long text in Label which is divided into two lines I have a Label in my AbsoluteLayout and when that Label's text is long in puts text into two lines which is okay but is it possible to get a Margin to the second left wrapped line too? I attached image to show better what I mean and in that Image there is Red arrow showing the place what I'm asking.
Thanks for All!

<Grid HorizontalOptions="Center"
      VerticalOptions="Center">
    <Grid.RowDefinitions>
        <RowDefinition Height="*"/>
    </Grid.RowDefinitions>
    <Grid.ColumnDefinitions>
        <ColumnDefinition Width="*"/>
    </Grid.ColumnDefinitions>
    <AbsoluteLayout HorizontalOptions="Start">
        <Image HeightRequest="160"
               HorizontalOptions="Start"
               WidthRequest="360"
               Aspect="AspectFill"
               Grid.Row="0"
               Source="{Binding EnclosureUrl}"
               Margin="0,0,0,15">
            <Image.GestureRecognizers>
                <TapGestureRecognizer Tapped="TappedItemCommand"
                                      CommandParameter="{Binding Link}"
                                      NumberOfTapsRequired="1" />
            </Image.GestureRecognizers>
        </Image>
        <Label Grid.Row="0" Grid.Column="0"
               HorizontalOptions="Start"
               Margin="0,0,0,40"
               WidthRequest="250"
               Style="{StaticResource BoldBasicText}"
               Font="Bold,20"
               AbsoluteLayout.LayoutFlags="PositionProportional"
               AbsoluteLayout.LayoutBounds="0,1,-1,-1"
               BackgroundColor="{x:Static ownStyles:StyleSettings.colCaptionColorFade}"
               TextColor="{x:Static StyleSettings:Settings.colRed}"
               Text="{Binding Header}">
            <Label.GestureRecognizers>
                <TapGestureRecognizer Tapped="TappedItemCommand"
                                      CommandParameter="{Binding Link}"
                                      NumberOfTapsRequired="1" />
            </Label.GestureRecognizers>
        </Label>
    </AbsoluteLayout>
</Grid>

A: You can use Line Break Mode available in Xamarin.Forms:-
LineBreakMode="WordWrap"
<Label Text="{Binding Certification, StringFormat='Board Certification:{0:F0}'}" LineBreakMode="WordWrap"/>

Refer Link Below:-
Xamarin Text Line Break Mode
Label wrapping with StackLayout


text:
Home » SUBSCRIBERS WANT INSTAGRAM TO RESTORE ITS INTERFACE
SUBSCRIBERS WANT INSTAGRAM TO RESTORE ITS INTERFACE
SUBSCRIBERS WANT INSTAGRAM TO RESTORE ITS INTERFACE.
Instagram, a popular social media network with over one billion monthly subscribers has recently made changes to their interface.
According to users, they have seen changes that is similar to another social media app (tiktok)
A post by user that gained over 1.8 million likes, urged management to bring back Instagram. The aim is to bring management's attention to what users say. He said "make Instagram Instagram. (stop trying to be tiktok I just want to see cute photos of my friends)."
A response from the head of Instagram poppedup of the complaints. According to him, they are working on few things to make Instagram a better experience.
"I believe that more and more of Instagram is going to become video over time" He said.
He added that the world is changing they are going to change along with it. He ended that despite the changes, Instagram aims to keep some features of the old interface.
Expert has also said the new interface may look similar to that of tiktok, yet they are different system all together.
Tiktok a is not a social network, He said.
"If Meta, which runs most social networks, says, 'We can't keep up, we can't monetize this successfully anymore, we're going to change to a discovery engine' — I think the implications of this are going to be huge over the next two or three years," he said.
5 Kinds of CYBER SECURITY For structure Safety


text:
Raffles Boston Back Bay Hotel & Residences
Brands, Design, Development, New-Builds, Openings / Pipeline, Ownership
by Hotel Business March 7, 2022
Raffles Boston Back Bay tops off; more in the works
New hotels are on the rise including the new North American flagship hotel for Raffles in Boston.
Raffles Boston Back Bay Hotel & Residences tops off
Raffles Boston Back Bay Hotel & Residences (pictured above) has topped off, reaching 35 floors and raising a final beam decorated with a Raffles flag and a Travelers' Palm Tree, which signifies a welcoming oasis and inspired the Raffles brand logo long ago.
To commemorate the milestone, construction workers joined local developers Jordan Warshaw, The Noannet Group and Gary Saunders, Saunders Hotel Group; their partners at Cain International, the privately held investment firm led by Jonathan Goldstein; Suffolk, the construction management firm; The Architectural Team Inc. (TAT); and Madison Realty Capital.
By securing the air rights over the adjoining University Club, Raffles Boston was able to build a 35-story building employing a cantilever structure designed by Boston-based structural engineers McNamara Salvia. TAT and McNamara Salvia created a structural system utilizing a combination of concrete superstructure and massive steel trusses, all supported by a series of 130-ft.-long concrete caissons anchored in bedrock. With the completion of the building's structure, the project team will now finalize the installation of its dynamic glass curtainwall facade, marking another important step towards opening.
"An incredibly talented team of 700 construction workers and tradesmen are working tirelessly on this project, and they deserve a badge of honor for getting us to this point—and doing so not only through three winter seasons in Boston, but also a two-year pandemic," said Warshaw. "Raffles Boston has already changed the Back Bay skyline and we are extremely proud of what the addition of this locally focused, internationally inspired brand will bring to our city. Just like the Travelers Palm that we ceremoniously raised to the 35th floor, Raffles Boston will be an oasis, not just for travelers, but for Bostonians. We look forward to opening in the year to come, and we extend our deepest thanks to Mayor Wu, the City of Boston, and all of our partners who have helped us reach this exciting milestone."
Heather McCrory, CEO, Accor North & Central America, added, "Raffles is one of the most prestigious and beloved brands in our Accor portfolio, and to see this exceptional project—the first mixed-use Raffles property in North America—brought to life with such incredible precision and care is certainly remarkable. We are proud to be celebrating such a notable achievement with our esteemed partners that have shown unwavering dedication to this project since its inception and have shared in our vision of creating an extraordinary hotel and residences unlike any other in the historic, cosmopolitan city of Boston."
Raffles Boston will provide more than $22 million in public benefits in total, including street and public realm improvements, seven on-site affordable housing units and a contribution of more than $13 million that will support additional affordable housing in Boston.
Targeting completion by early 2023, the 147 guestrooms and 146 residences of the project are joined by 16 distinct gathering spaces, including a variety of special venues dedicated solely to building residents. Highlights within the gathering spaces include six food and beverage venues, a three-story Sky Lobby perched high above Copley Square, a Raffles Spa, a 65-ft. indoor pool and fitness center, a rooftop garden terrace lounge, a variety of residents-only gathering places and a ballroom with views over the Charles River.
U.S. Air Force Academy Hotel planned
Matthews Southwest Hospitality (MSWH), a privately held full-service real estate development company, has unveiled plans for a U.S. Air Force Academy Hotel set on the U.S. Air Force Academy (USAFA) campus just beneath Pikes Peak and the Rocky Mountains.
The 317,000-sq.-ft. resort-style hotel will emerge as one of the few state-of-the-art, full-service hotels in Colorado Springs, CO, and will bring a new level of service to the market, according to the developers.
Designed as a destination in service of nationally known landmarks, the 375-room, four-star lifestyle hotel will feature 19 suites, 26,000 sq. ft. of meeting and flexible banquet space with exterior terraces, a 12,000-sq.-ft. grand ballroom and 6,000-sq.-ft. junior ballroom, a signature rooftop bar and restaurant, six food and beverage outlets, fitness and spa facilities, an elevated pool, an event lawn steps from the Santa Fe Trail and numerous outdoor spaces throughout the property. As a nod to its landmark location, the hotel will offer two flight simulators, the only in-hotel flight simulators in the country.
The hotel will be part of TrueNorth Commons, a mixed-use development at the North Entrance of the U.S. Air Force Academy, which will also include a new USAFA Visitor Center and commercial retail and office space. MSWH is developing the property with owner Provident Group—Falcon Properties LLC, Atlanta-based architecture and interior design firm BLUR Workshop and local contractor GE Johnson. CoralTree Hospitality will manage the hotel. Construction is scheduled to begin this spring and the hotel is expected to open in 2024.
"This hotel will be a significant addition and amenity to the USAFA campus and will offer business accommodations, as well as high-quality lodging for leisure travelers and guests visiting USAFA and the Pikes Peak region," said Mike Garcia, president, Matthews Southwest Hospitality.
Scott Morris, principal, BLUR Workshop said this property is, "inspired by the surrounding historic Air Force Academy buildings and the original architecture of the campus. The hotel's minimal, clean design will contrast with the rugged beauty of the surrounding landscape, and it incorporates common aspects of the existing facilities but re-interprets these using more contemporary systems and materials. Most importantly, guests will be able to appreciate the gorgeous views this property offers and take full advantage of its exceptional location."
Dual-branded Canopy by Hilton and Homewood Suites by Hilton breaks ground
Hilton has signed—and has broken ground on—the dual-branded Canopy by Hilton and Homewood Suites by Hilton Nashville Downtown The Gulch, in partnership with Tara Investments.
The 11-story property, which will mark Hilton's first lifestyle hotel in Nashville, is slated for completion in 2024.
"We are thrilled to introduce the Canopy brand to Nashville as part of this fantastic dual-branded concept with Homewood Suites," said Phil Cordell, global brand head, Canopy by Hilton and category head, Hilton Lifestyle Brands. "It's the perfect location for guests to enjoy our sophisticated, comfortable spaces while exploring the surrounding local neighborhood, which includes everything from energetic, live music venues to trendy shopping outlets. The hotel's post-industrial design will serve as a natural extension of the community, connecting guests to The Gulch while enabling them to easily experience the sights and sounds of Music City."
The property will be shared by the 181-room Canopy hotel and the 152-suite Homewood Suites by Hilton hotel, and both properties will be pet-friendly. It will feature a 1,785-sq.-ft. shared fitness center accessible by both hotels' guests with key access. Each hotel will have its own flexible meeting and event space, with 1,607 sq. ft. at Canopy, and 795 sq. ft. at Homewood Suites. The property was designed by architectural firm ODA with interior design by Campbell House. Development is led by Tara Investments with financing partner Goldman Sachs. Construction is led by Yates Construction.
"We look forward to guests experiencing this upcoming addition to the Canopy by Hilton and Homewood Suites by Hilton portfolio, providing travelers with a wonderful lifestyle and all suites option right in the heart of the vibrant Gulch area," said Rick Colling, global brand head, Homewood Suites by Hilton. "This upscale extended-stay product will have a little something for everyone—including spacious accommodations, inviting home-like amenities and elevated food and beverage options."
"We are very proud to strengthen our long-time partnership with Hilton and welcome this new concept to the Nashville market with the opening of the Homewood Suites by Hilton and Canopy by Hilton Nashville Downtown The Gulch," said Matt Lew, VP, operations, Tara Investments. "Our mission of delivering uncompromised hospitality will make guests and the community feel at home the moment they walk through the door."
Posted in Brands, Design, Development, New-Builds, Openings / Pipeline, Ownership | Tagged Blur Workshop, Cain International, Campbell House, Canopy by Hilton, Canopy by Hilton and Homewood Suites by Hilton Nashville Downtown The Gulch, CoralTree Hospitality, Gary Saunders, GE Johnson, Goldman Sachs, Homewood Suites by Hilton, Jonathan Goldstein, Jordan Warshaw, Madison Realty Capital, Matt Lew, Matthews Southwest Hospitality, McNamara Salvia, Mike Garcia, ODA, Phil Cordell, Provident Group – Falcon Properties LLC, Raffles Boston Back Bay Hotel & Residences, Rick Colling, Saunders Hotel Group, Scott Morris, Suffolk, Tara Investments, The Architectural Team Inc. (TAT), The Noannet Group, U.S. Air Force Academy Hotel, Yates Construction
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Welcome to the new USCIS Genealogy online request system. Please take a moment to read these important information before submitting your Record Request Online.
Need help submitting your online order? Follow the step-by-step Instructions for Making a Genealogy Request Online.
If you prefer, you may also Make a Request by Mail.
How does the Genealogy Request System work?
When you are ready to place your Order Online, you will enter your request information in a series of screen "forms" to upload your data into our Genealogy Online Request System. Once you have completed all the screens and verified the information is correct, you will choose the method of payment.
If paying online with a credit card, you will be redirected to the Pay.Gov website to enter your credit card payment information. Once the transaction is complete, you will then receive return to a printable receipt on the Genealogy System showing your new USCIS Genealogy Case number.
If paying by mail (money order or cashier's check), a printable receipt showing your new USCIS Genealogy Case number will be displayed.
DO NOT close your internet browser after receiving your case number.
Instead, select the "Next" button at the bottom of the page to submit your order. The request is not submitted until the "Next" button (Outlined in Red in the picture below) at the bottom of the form is selected.
If you do not submit the security question information, you will not be able to use your Case ID to make a Records Request.
If you know about the immigrant, but do not know the immigrant's file number(s), choose to make an Index Search Request. You may also want to consider a preliminary Index Search since one person may have multiple records and/or file numbers.
Be sure to include all possible names. If you have more than one name or name spelling for the immigrant, first enter the name you think is correct when filling out the Index Search Request. Later add alternate spellings in the "Optional Information" section.
If you have only an approximate birthdate (or multiple birthdates) for the immigrant, provide an estimated date of birth. The online form asks for an exact date of birth and then asks you if the date given is an estimate. If you can only provide an approximate year, enter January 1 as the birthdate (e.g., 01/01/XXXX) and check the "estimated" box. Later, in the "Other Biographical Information" section, you can provide alternate birth dates.
If you enter an estimated date of birth, the system will alert you that proof of the immigrant's death may be necessary. If you know the date of birth is more than 100 years ago (for example, an estimated birth year of 1878), you will not have to provide any proof of death. If you estimate 1912 the system may accept your request without proof. However, if we determine the immigrant was born less than 100 years ago you will be contacted and asked for proof of death before records or information can be released. For more information about acceptable proofs of death, see Genealogy FAQs.
A separate Index Search request is required for each individual immigrant. Requests for related immigrants cannot be combined and you will only receive index search results for the subject of your request.
If you know about the immigrant and have the correct file number(s), choose to make a Record Request. You may have learned the file number from a previous Index Search Request, or from other research.
* If you have any doubt that the file number is correct, request an Index Search before submitting your Record Request.


text:
Originally a construction worker, Welling was discovered in 1998 at a party in Nantucket by a catalog camera scout who suggested he try modeling. Welling modeled for Louisa Modeling Agency until 2000, when he relocated to Los Angeles. There he modeled for Tommy Hilfiger, Abercrombie & Fitch, and Calvin Klein while pursuing an acting career. In 2000, Welling appeared in Angela Via's music video "Picture Perfect" where he played Vía's love interest. Welling has said that he did not like modeling and that he was not good at it because it was all on the outside or from an external point of view. He pursued acting because he wanted to express a range of emotions, but Welling still models occasionally and appeared in the May 2008 issue of Vogue, the so-called Superhero Issue. In his first major acting role, Welling played karate teacher Rob "Karate Rob" Meltzer, a younger love interest of Amy Gray (Amy Brenneman) in the second season of the CBS legal drama Judging Amy, which aired in 2001. Welling was originally signed for three episodes; after receiving enthusiastic fan reviews, the producers kept him for three more. Welling also had a small role in the UPN science fiction sitcom Special Unit 2, and he appeared in the pilot episode of the FOX sitcom Undeclared.
Tom Welling Superman
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Endoplasmic Reticulum Model
Anime Coloring Pages Deviantart
Magical Flowers
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Pencil Drawings Of Couples In Love
Tom Welling Shirtless,
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Tom Welling Lucifer,
Tom Welling And Jamie White,


The thinnest and easiest Himber to handle on the magic market today.
About 1956 to 1957, Richard Himber used a leather wallet to do an effect, which he called, Bill-Fooled using a play on the American word Billfold.
The basic construction of this type of wallet has not changed over the years and has become known as a "Himber".


text:
<?php

class Ddownload_php extends Ddownload_Driver {

	// Original source: http://www.phpfreaks.com/forums/index.php?topic=198274.msg895468#msg895468
	public function serveFile($file, $filename, $type)
	{
		$fp = fopen($file, 'r');

		$size	= filesize($file); // File size
		$length = $size;	   // Content length
		$start	= 0;		   // Start byte
		$end	= $size - 1;	   // End byte
		// Now that we've gotten so far without errors we send the accept range header
		/* At the moment we only support single ranges.
		* Multiple ranges requires some more work to ensure it works correctly
		* and comply with the spesifications: http://www.w3.org/Protocols/rfc2616/rfc2616-sec19.html#sec19.2
		*
		* Multirange support annouces itself with:
		* header('Accept-Ranges: bytes');
		*
		* Multirange content must be sent with multipart/byteranges mediatype,
		* (mediatype = mimetype)
		* as well as a boundry header to indicate the various chunks of data.
		*/
		header("Accept-Ranges: 0-$length");
		// header('Accept-Ranges: bytes');
		// multipart/byteranges
		// http://www.w3.org/Protocols/rfc2616/rfc2616-sec19.html#sec19.2
		if (isset($_SERVER['HTTP_RANGE']))
		{
			$c_start = $start;
			$c_end	 = $end;
			// Extract the range string
			list(, $range) = explode('=', $_SERVER['HTTP_RANGE'], 2);
			// Make sure the client hasn't sent us a multibyte range
			if (strpos($range, ',') !== false)
			{
				// (?) Shoud this be issued here, or should the first
				// range be used? Or should the header be ignored and
				// we output the whole content?
				header('HTTP/1.1 416 Requested Range Not Satisfiable');
				header("Content-Range: bytes $start-$end/$size");
				// (?) Echo some info to the client?
				exit;
			}
			// If the range starts with an '-' we start from the beginning
			// If not, we forward the file pointer
			// And make sure to get the end byte if spesified
			if ($range[0] == '-')
			{
				// The n-number of the last bytes is requested
				$c_start = $size - substr($range, 1);
			}
			else
			{
				$range	= explode('-', $range);
				$c_start = $range[0];
				$c_end	 = (isset($range[1]) && is_numeric($range[1])) ? $range[1] : $size;
			}
			/* Check the range and make sure it's treated according to the specs.
			* http://www.w3.org/Protocols/rfc2616/rfc2616-sec14.html
			*/
			// End bytes can not be larger than $end.
			$c_end = ($c_end > $end) ? $end : $c_end;
			// Validate the requested range and return an error if it's not correct.
			if ($c_start > $c_end || $c_start > $size - 1 || $c_end >= $size)
			{
				header('HTTP/1.1 416 Requested Range Not Satisfiable');
				header("Content-Range: bytes $start-$end/$size");
				// (?) Echo some info to the client?
				exit;
			}
			$start	= $c_start;
			$end	= $c_end;
			$length = $end - $start + 1; // Calculate new content length
			fseek($fp, $start);
			header('HTTP/1.1 206 Partial Content');
			// Notify the client the byte range we'll be outputting
			header("Content-Range: bytes $start-$end/$size");
		}
		header("Content-Length: $length");
		header("Content-disposition: inline; filename=\"".$filename."\"\n");
		header("Content-Type: ".$type."\n");

		// Start buffered download
		$buffer = 1024 * 8;
		while(!feof($fp) && ($p = ftell($fp)) <= $end)
		{
			if ($p + $buffer > $end)
			{
				// In case we're only outputtin a chunk, make sure we don't
				// read past the length
				$buffer = $end - $p + 1;
			}
			set_time_limit(0); // Reset time limit for big files
			echo fread($fp, $buffer);
			flush(); // Free up memory. Otherwise large files will trigger PHP's memory limit.
		}

		fclose($fp);
	}

}


Can I Just Buy Wood Cut to Size from My Cut List?
Why Don't You Sell Dimensional Lumber ( 1x6, 2x8, 1x12, etc.)?
Do You Have "insert name of unusual wood" , Or Can You Special Order It?
My Wood Got Damaged In Shipping, What Do I Do?
Why Did You Send Me The Wrong Size?
What Should I Do If I am Dissatisfied With My Order?


For their five-volume Orcas Remixed Project (released in partnership with Black Swan Sounds) Lulacruza asked some of their favorite artist/producers (incl. Chancha Via Circuito, David Last and Black Swan's Desert Dwellers, Srikalogy and Duke Mushroom) to remix tracks from the 2015 release, Orcas, named for the Pacific Northwest island where it was recorded.
This version of "Uno Resuena" is remixed by Ecuador's Nicola Cruz, an emerging artist receiving a lot of buzz for his own 2015 solo debut. His skillful touch captures and enhances the inherent warmth of Lulacruza's electro-acoustic sound.
NOTE: All of Lulacruza's music is set to "name your price." You're very welcome to grab this track for free, but we ask you to consider supporting the art you want to see in the world.
From the Lulacruza release Orcas Remixed Vol. 1. Released in partnership between Lulacruza and Black Swan Sounds.


Creekside Trail: From the main bridge before the campground and where Waterfall Loop's fireroad begins, you can head down the stairs to the creek, to follow a narrow path towards Sveadal. The path follows the creek where creek access is limited by large rocks and vegetation that includes poison oak, so stay on the trail. As the trail nears the border of the Uvas Canyon Property, the narrow trail climbs up and around a rock outcropping that is precarious for very young children – be careful! Climbing down the other side, you emerge in a lush, green area with beautiful views of another waterfall below, which is accessible with a small beach. Return back the way you came.


text:
Increasing the dose of hormones in suboptimal patients can help improve their response to IVF
The success of assisted reproduction treatments depends on multiple factors such as patient age, ovarian reserve, levels of anti-Müllerian hormone, antral follicle count, body mass index and response to previous cycles. All of these factors can help guide the choice of protocol in each case, and to predict the chances of success of a given treatment.
For this reason the Reproductive Medicine Unit of Dexeus Mujer, headed by Dr. Beatriz Alvaro Mercadal, conducted a retrospective study among 735 IVF patients at Dexeus Mujer to determine the clinical characteristics of women who are theoretically more or less likely to achieve pregnancy, and to observe the results after one or two IVF cycles, in order to establish whether predictions were confirmed and which circumstances may cause patients initially classified as suboptimal to respond as optimal patients, and vice versa. This information could be useful with a view to modifying certain guidelines in the treatment protocol to be followed in these cases.
To this end, a study sample of 735 women was selected who were classified into the following categories based on the number of oocytes harvested after IVF treatment: low responders (less than 4 oocytes per ovary), normal responders (between 4 and 15 oocytes) and hyper-responders (more than 15). Normal responders were subdivided into two further categories: optimal (between 10 and 15) and suboptimal (between 5 and 9). Patients who did not achieve pregnancy after the first cycle and underwent a second were checked for whether or not their treatment response was consistent with the initial classification, and what parameters had changed.
The results, which were recently published in Gynecological Endocrinology, showed that only 48% of patients showed a suboptimal response to the first cycle after egg retrieval. For fresh transfers, pregnancy rates were similar between the optimal and suboptimal categories (35.3% and 34.2%, respectively). However, the cumulative pregnancy rate was higher in women classified as "optimal" (51.5% vs. 37.4%). A higher number of oocytes probably increases the likelihood of having more high-quality embryos to choose from.
Analysis of the outcomes of the second cycle in patients who did not become pregnant after the first and repeated treatment found significant differences between the two groups, and that some of the patients who had been initially classified as optimal showed a suboptimal response, and vice versa: 18.9% of patients in the suboptimal category showed optimal response, and 36.9% of those in the optimal category showed a suboptimal response. The authors observed that in patients who received a higher dose of gonadotropins during their second cycle, response improved, showing that a slight increase in the dosage of hormones in the second ovarian stimulation treatment could help improve the outcome.
The likelihood of optimal response was calculated using a statistical model. In patients with a good prognosis, but in whom the number of harvested oocytes was lower than expected, the response to treatment may have been influenced by genetic polymorphisms involved in ovarian response. Nevertheless, the authors concluded that broadening the study by increasing the sample size could help individualise treatment protocols and optimise hormone dosing.
Characterization of a suboptimal IVF population and clinical outcome after two IVF cycles
Alvaro Mercadal B, Rodríguez I, Arroyo G, Martínez F, Barri PN, Coroleu B.
Gynecol Endocrinol.2017 Sep 3:1-4. doi: 10.1080/09513590.2017.1369515