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Christchurch Cycle Design Guidelines
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1 Christchurch Cycle Design Guidelines 2013
2 Acknowledgements We would like to thank the contributions from ViaStrada and other contributors including Glen Koorey, Spokes, NZTA, Canterbury Public Health, Bike NZ and Ministry of Awesome. Photographs have been supplied by Glen Koorey, ViaStrada David Falconer, Gemma Dioni, Jamie Reader and Neil Macbeth.
3 Christchurch Cycle Design Guidelines 2013 Christchurch City Council PO Box 73012, Christchurch, New Zealand. Tel: Fax: Web: ISBN
5 Foreword Foreword Kia ora koutou The council has a unique opportunity following the Canterbury earthquakes to make Christchurch a cycle city by developing a safe and connected cycle network. Mayor Bob Parker and Mayoress Jo Nicholls- Parker in a bike race along Madras Street Christchurch. The Christchurch Transport Strategic Plan (2012) recognises that investment in safe cycling is a priority for the city. It proposes the development of an extensive network of cycleways, along with supporting programmes to encourage Cantabrians to cycle as part of their every day travel and activities. The guiding principle of these guidelines is that we need to consider catering for cycling in every street. Having said that, these guidelines focus on streets that are part of the future cycle network (in the Christchurch Transport Strategic Plan), which will provide the best opportunity to encourage more people to cycle more often. These guidelines illustrate how new cycleways should look and feel. They include recommended design principles and design concepts of how cycleways can fit into different types of street environments in Christchurch. I am pleased to be able to take this first step in seeing our ideas come to fruition and working towards placing Christchurch as a premiere cycling city. Kind regards Mayor Bob Parker 5
6 Contents p 5 p 7 p 8 p 9 p 9 p 10 p 10 p 12 p 12 p 12 Foreword Introduction Purpose and use of the guidelines How to use this document Design context Design objectives Spatial environment Wayfinding, signs and markings Transport context Relevant standards, documents and good practice review p 15 Major cycleways p 16 p 16 p 18 p 18 p 20 p 22 p 24 p 26 p 28 p 28 p 30 p 30 p 32 p 32 Major cycleways through parks, reserves and waterways Major cycleways/parks, reserves and waterways/shared paths: Design principles Major cycleways through urban commercial centres Major cycleways/urban commercial centres/separated cycle paths: Design principles Major cycleways/urban commercial centres/copenhagen separated cycle paths: Design principles Major cycleways/urban commercial centres/kerb separated cycle paths: Design principles Major cycleways/urban commercial centres/painted separated cycleways: Design principles Major cycleways/urban commercial centres/slow streets: Design principles Major cycleways through residential streets Major cycleways/residential streets/neighbourhood greenways: Design principles Major cycleways through arterial roads and distributor streets Major cycleways/arterial roads/ Separated cycle path: Design principles Major cycleways through intersections Major cycleways/intersections/ Dutch intersection: Design principles p 34 p 36 p 38 p 40 p 40 p 42 p 44 p 44 p 46 p 48 p 48 p 48 p 49 Major cycleways/intersections/ Cycle Barnes Dance: Design principles Major cycleways/intersections/ Intersections with protected cycleways: Design principles Major cycleways/intersections/tintersections: Design Principles Major cycleways through bus stops Major cycleways/bus stops/island concept: Design principles Major cycleways/bus stops/inline concept: Design principles Major cycleways crossing busy roads Major cycleways/state highways and motorways: Design principles Major cycleways/arterial, distributor and local streets: Design principles Major cycleways/railway crossings: Design principles Major cycleways and transitional treatments Major cycleways/transitional treatments/temporary separation: Design principles Major cycleways and a themed identity p 51 Local cycleways p 52 p 52 p 54 p 54 p 54 p 54 p 56 p 56 p 56 Local cycleways through parks, reserves and waterways Local cycleways/parks, reserves and waterways/shared paths: Design principles Local cycleways through urban commercial centres Local cycleways/urban commercial centres/separated cycle paths: Design principles Local cycleways/urban commercial centres/slow streets: Design principles Local cycleways/urban commercial centres/cycle lanes: Design principles Local cycleways and residential streets Local cycleways/residential streets/ Neighbourhood greenways: Design principles Local cycleways/residential streets/ Cycle lanes p 56 p 57 p 57 p 58 p 59 p 59 p 60 p 62 p 64 p 64 p 66 Local cycleways/residential streets/ Shared paths: Design principles Local cycleways on arterial roads and distributor streets Local cycleways/arterial roads and distributor streets/separated cycle path: Design principles Local cycleways/arterial roads and distributor streets/cycle lanes: Design principles Local cycleways at intersections Local cycleways/signalised intersections/advanced stop boxes and hook turn boxes: Design principles Local cycleways/signalised intersections/cycle lanes: Design principles Local cycleways/intersections/bypasses: Design principles Local cycleways/intersections/ Roundabouts: Design principles Local cycleways/intersections/tintersections: Design principles Local cycleways and bus routes p 67 Recreational cycleways p 68 p 68 Recreational cycleways and cycling for leisure Recreational cycleways and cycling for sport and road trips p 69 Parking and cycle facilities p 69 p 69 p 70 Cycle parking Cycle parking/short term: Design principles Cycle parking/long term: Design principles p 71 Glossary 6
7 1. Introduction 1. Introduction How do we encourage more people to cycle more often? Research shows that 15 per cent of people regularly cycle, and a further 32 per cent seriously think about cycling1. In a nationwide study, potential cyclists strongly stated that they wanted to travel separately from motor vehicles and to be able to cross safely at intersections2. Improving the visibility of cycling and providing good cycling facilities is needed to achieve high levels of cycling. The vision of the Christchurch Transport Strategic Plan is to keep Christchurch moving forward by providing transport choices to connect people and places. To achieve the vision, the Christchurch Transport Strategic Plan makes a strong statement about the importance of cycling in the city as it is rebuilt by creating a connected cycle network to make it easier for residents to cycle. The Accessible City chapter of the Central Christchurch Recovery Plan also promotes enhancements to the quality and connectedness of cycling opportunities in the Central City as one of the key measures crucial to recovery. The guiding principle of these guidelines is that all streets need to cater for cycling, however the focus is on the routes that are part of the Christchurch Transport Strategic Plan s future cycle network in Figure 1.1. Figure 1.1. Future cycle network: major, local and recreational cycleways (Christchurch Transport Strategic Plan). 1 Land Transport New Zealand (2006) Research Report 294: Increasing cycling and walking: an analysis of readiness to change. 2 New Zealand Transport Agency (2011) Research Report 449: Assessment of the type of cycling infrastructure required to attract new cyclists. 7
8 1. Introduction 1.1. Purpose and use of the guidelines The purpose of these guidelines is to influence both the design of new cycle facilities in Christchurch and future reviews of the detailed engineering standards in the Infrastructure Design Standards, the SCIRT 3 Infrastructure Recovery Technical Standards and the City Plan. The guidelines outline the design principles and design concepts that will guide the implementation of the future cycle network outlined in the Christchurch Transport Strategic Plan. The principles represent best practice in cycle design and provide a starting point for all designs. The actual design (detailed design) of each cycleway may change based on the local environment and context. The guidelines are not technical engineering standards, nor do they provide details on where cycleways will be located. However, the guidelines will be used to inform an addendum to technical engineering standards in the City Council s Infrastructure Design Standards (June 2010). The guidelines will also be used to inform the future review of the transport provisions in the City Plan. These guidelines include recommended widths for some cycleways, although it is acknowledged that it may not always be possible to achieve these. Ultimately a good design takes into account contributing factors, such as who uses the cycleway, safety and the local context of the street. Further details are outlined in section 2 (page 14) of this document. The guidelines have been developed to follow six main criteria to: Deliver the cycling actions within the Christchurch Transport Strategic Plan Encourage more residents to cycle Be specific for the needs of Christchurch Be safe, realistic and achievable for Christchurch Be based on best practice examples (national and international) Adhere to the New Zealand road user rules. Encouraging more people to cycle. Research into cycling policy, cycle guidelines and infrastructure from both New Zealand and overseas was carried out in developing these guidelines. This was done to ensure that Christchurch s cycling network will take advantage of international best practice. While some of the proposals in this document are aspirational and may be new to New Zealand, these guidelines are realistic and achievable. Experts in urban design, transport planning and engineering, safety and signal engineering all contributed to the development of the guidelines, as have key stakeholders including the New Zealand Transport Agency, Sports Canterbury, Spokes and the Ministry of Awesome. Because some of the proposals contained within the guidelines are new to New Zealand they will be trialled in the Christchurch context in close cooperation with New Zealand Transport Agency, before any permanent decisions are made on their wider application. 3 Stronger Christchurch Infrastructure Rebuild Team 8
9 1. Introduction How to use this document In order to ensure that the guidelines are as user friendly and as easy to navigate as possible each of the four main sections (major, local and recreational cycleways and parking facilities) have been designed to be independent of one another. This approach will make it easier for users to use the document, with all the relevant information for a particular cycleway type or facility being found within a single section Design context The context for each proposed cycleway is integral to developing an appropriate cycleway design. These guidelines establish a set of principles to ensure a consistent design approach for each type of cycleway. Major cycleways should aim to cater for both adults and children (10 years and over). They should provide safe links to popular destinations and key activity centres and offer the highest level of service to cyclists. Some major cycleways will seek to include flagship elements that will make a strong statement about the city s cycle status and will encourage people to take up cycling. Local cycleways will improve cycle connectivity across the city, especially to schools and within residential neighbourhoods. Initiatives may include: improving the standard of local cycle lanes and carriageway surfaces, speed and traffic management, introducing shared paths, slow streets and neighbourhood greenways, to improve safety and amenity for cyclists on local streets. Recreational cycleways will provide safer leisure routes for recreational, family cycling and sport. They also recognise that flexibility is important in allowing each cycleway design to reflect the environment through which it passes. For the purpose of this document a cycleway is defined as a route which is prioritised for cycling. One of the first steps in the design of cycle facilities is to understand the design context. This should take into account four key factors: cycleway design objectives; the type of cycleway (major, local and recreational) and corresponding primary cycle users; the spatial environment around the cycleway; and how the cycleway fits within the wider transport system and road user hierarchy (the transport context). In addition, the design should also consider other relevant standards. These are illustrated in Figure 1.2. Top: Example of a flagship element in New Plymouth. Bottom: Safe cyclists are happy cyclists. 9
10 1. Introduction Transport context Road classification (function and place), road user hierarchy, volumes, speed, road width and parking requirements. Spatial environment Adjacent land uses and activities, built and natural character and quality, urban design and CPTED principles, universal design principles. Cycleway Design Context Cycleway type and user Major cycleway Local cycleway Recreational cycleway. Design objectives Safe, direct, cohesive, attractive, connected and comfortable. Figure 1.2. Cycleway design context Design objectives4 4 Land Transport NZ (2005) Cycle Network and Route Planning Guide All cycleway designs should provide: Safety: cycle routes should be safe and be perceived as safe, provide personal security and limit conflict between cyclists and other users. Directness: cycle routes should reasonably be direct, based on desire lines and result in few delays door to door. Cycle parking facilities should be in convenient locations. Connected: cycle routes should be continuous and recognisable, link all potential origins and destinations and offer a consistent standard of protection throughout. Attractiveness: cycle routes should integrate with and complement their surroundings, enhance public security, look attractive and contribute positively to a pleasant cycling experience. Comfort: cycle routes should be smooth, non-slip, well maintained and free of debris, have gentle slopes and be designed to avoid complicated manoeuvres Spatial environment Designs need to consider the streetscape and street character. This is made up of the legal road and the land use next to the road including buildings, local activities (eg: schools, parks, houses and shops), property access and landscaping. To achieve high quality cycleway designs a number of additional principles need to be considered: the New Zealand Urban Design Protocol design qualities (the 7 C s) Crime Prevention through Environmental Design (CPTED) and mobility access. The principles are wide ranging but include achieving high levels of cycleway safety by making them direct and with good sightlines, consideration of vulnerable users (including those people with mobility impairments), using materials that reflect the character of the local environment and ensuring that the cycleway has a high level of accessibility to both cyclists and those encountering or crossing the cycleway. Consideration should be given to low impact urban design, incorporating swales, rain gardens and permeable surfacing where possible. 10
11 1. Introduction The width of cycleways will depend on the expected number of users, the environment and other streetscape elements. Another factor to be considered in any width investigation is the growing numbers of cargo and electric bicycles. These guidelines give example design concepts using the typical 20 metre road widths in Christchurch, while also recognising that designs need to be flexible enough to accommodate the space constraints imposed by narrower local streets or wider arterial roads. A balance is required to accommodate the desirable area for all streetscape elements within the road corridor width. The following elements are important to all designs: Cycle, pedestrian, traffic and public transport movement (including the needs of mobility impaired) Property access Parking Street trees and garden planting Places to stop and interact with the environment. Other spatial elements which also need to be considered are: Cycle and pedestrian crossings Intersections Driveways or entry and exit points to properties Bus stops Street lighting Paving and surface materials Wayfinding (signs and markings) Landscaping, street furniture or artwork Fencing Storm water drainage Maintenance and refurbishment. Generally wider cycleways are needed for safety reasons in areas with: Major cycleways and/or High cycle volumes and speeds and/or High pedestrian volumes or areas where pedestrians stop on the path and/or High vehicle volumes and speeds and/or High recreational cycling use. All new streets, or any street undergoing improvement, need to try and achieve the recommended cycleway widths. The calculation of cycleway widths excludes the additional space needed for drainage (guttering or kerb and channel). On existing streets there is often limited width available for cycleways. Therefore a reallocation of road space may be required. Space can be allocated to a cycleway by reallocating existing space such as moving on-street car parking to an alternative location, using berm widths for cycleways, and/or reducing the width of traffic lanes or footpaths. It is not ideal to have each element of the streetscape at minimum width for significant distances. If this is likely in an emerging design then another route for the cycleway needs to be investigated. Top: Example of street trees and plantings. Bottom: Example of a shared cycle and pedestrian path. 11
12 1. Introduction Wayfinding, signs and markings Good cycle signs and markings (independent to road signs) need to identify cycle lanes for both visiting and local cyclists. Signs and markings need to be an integral part of all cycleway designs. Signs inform road and pathway users about destinations, routes, street and suburb names, distances and other useful information. Signs or markings should help direct cyclists to key destinations around the city with short, clear messages or maps. It is intended that a separate wayfinding plan will be developed to support this document. Example signage Transport context On major cycleways, the priority needs to be providing space for cycling and as a result alternative routes may need to be provided for other road users. This principle is supported by the Christchurch Transport Strategic Plan which promotes the use of a road user hierarchy (prioritising different road users on different routes). On some routes cycling has priority and on others motor vehicles or public transport might have priority. This approach acknowledges that it is not always possible to achieve desirable widths for all road users on one road. When preparing a cycleway design, consideration of the transport context is important. This includes the classification of the street, how it functions, which user has priority, and the places the street passes through. Figure 1.3 identifies which cycleway designs are likely to be suitable for different street environments and provides a reference to the relevant section in these guidelines. This links with the new road classification outlined in the Christchurch Transport Strategic Plan. The new road classification follows the link and place philosophy. Link and place acknowledges that streets have combined uses of both being transport corridors as well as places for people to shop, live and work. The development of the new road classification will also be promulgated into the review of the Infrastructure Design Standards. In addition the Accessible City chapter of the Christchurch Central Recovery Plan includes more information about providing for cyclists in the Central City Relevant standards, documents and good practice review There are a range of strategic plans, local standards and national standards which have influenced these guidelines. These include: Cycle Planning Christchurch Transport Strategic Plan (2012) Christchurch City Council Christchurch Central Recovery Plan An Accessible City (2013) CERA Design Standards Christchurch City Council Infrastructure Design Standards (2010) Construction Standard Specifications (2002 and amendments 2012) Lane Design Guide (2007) New Zealand Standards Traffic Control Devices Manual NZTA New Zealand Road user rules Land development and subdivision engineering (2010) NZS 4404 New Zealand supplement to the Austroads guide to traffic engineering practice part 14: Bicycle: NZTA 12
13 1. Introduction Link and place type new road classification5 Cycleway type Cycle design concept Routes Routes Street Streets Streets Streets Ways All place types Rural Urban commercial centres/cbd Urban residential Urban business / Industrial Rural / Semi-rural All place types Shared paths Section Section Neighbourhood greenway Section Slow streets Section Section Separated cycle path Section Section Section Section Intersections Section 2.5 Section 2.5 Section 2.5 Section 2.5 Major cycleways Crossing treatments Section Section Section Section 2.7 Bus stops Section 2.6 Section 2.6 Section 2.6 Section 2.6 Transitional Section 2.8 Section 2.8 Section 2.8 Off-road shared paths Section Section Section Shared paths Section Neighbourhood greenway Section Section Section Section Slow streets Section Section Section Section Local cycleways Cycle lanes Section 3.4 Section Section Section Section Intersections Section 3.5 Section 3.5 Section 3.5 Section 3.5 Section 3.5 Section 3.5 Bus lanes Section 3.6 Section 3.6 Section 3.6 Recreation cycleways Off-road leisure route On-road sport route Section 4.1 Section 4.1 Section 4.1 Section 4.1 Section 4.2 Section 4.2 Section 4.2 Section 4.2 Section 4.2 Figure 1.3. Cycleway design by street environment 5 New road classification in Christchurch Transport Strategic Plan 13
14 2. Major cycleways 14
15 2. Major cycleways 2. Major cycleways Major cycleways need to be designed to encourage all cycle users (aged ten years and over) offering a safe, enjoyable experience that will encourage more people to cycle more often. The proposed routes for the major cycleways are illustrated in Figure 2.1. The exact alignment (which roads they take) of these will be investigated further at the detailed design stage. Figure 2.1. Future major cycleways (Christchurch Transport Strategic Plan) The treatment of major cycleways (such as shared paths, separated cycle paths, neighbourhood greenways or slow streets) will change along the route as the cycleways pass through different environments. Electronic cycle counters should be incorporated on all major cycleways to monitor bicycle volumes and improve data. This section outlines the major cycleway design concepts and principles for each environment it encounters: 1. Parks, reserves and waterways 2. Urban commercial centres 3. Residential streets 4. Arterial roads and distributor streets (routes) 5. Intersections 6. Bus stops 7. Crossings busy roads. 15
16 2. Major cycleways 2.1. Major cycleways through parks, reserves and waterways Major cycleways in parks, coastal edge, greenspace, rail and river corridors are ideally wide, sealed, shared paths with some separation from pedestrians when located on high volume pedestrian or cycle routes. This design offers direct and highly visible connections, while providing a safe, high amenity environment Major cycleways/parks, reserves and waterways/ Shared paths: Design principles Be sensitive to the park setting and character of the path. Wider shared paths are safer and therefore major cycleways need to be as wide as possible. Additionally they need to cater for current and future cycle and pedestrian peak-time volumes. Where shared paths have higher volumes ideally there needs to be separation of pedestrians and cyclists. Separation can be achieved by a landscaped area or contrasting surface texture separating the cycle and pedestrian paths. When considering the appropriate treatment relating to volumes, path widths and separation then Vic Roads (2012) Cycle Note 21 should be referred. This provides further guidance on undertaking a path capacity and safety width assessment. The shared path should be wide and strong (construction depth) enough to allow service vehicles access for maintenance. Either side of the shared path should be clear of obstacles to allow for overtaking and to minimise the impact of any cycling errors especially at times of high use (approximately one meter either side of the path). This extra space can be provided by using more permeable surfaces at the edges such as turf cells. The design of the shared path should be appropriate to the expected speed of cyclists using the path (approximately 15 km/hr for expected users). Consideration to sight lines, signs, markings, path alignment and gradients is important. Surface types need to be smooth while retaining traction. Smooth sealed paths (using universal building materials such as asphalt or aggregate concrete) are preferred. The design should create awareness of other path users by providing good on-path markings (such as aluminium role markings) with messages to indicate the presence of both pedestrians and cyclists. Surface texture treatments can also be used to raise awareness of other users and encourage more considerate use of shared paths. For further guidance on conflict minimisation then Austroads (2006) Research Report: Pedestrian and cyclist conflict minimisation on shared paths should be referred to. Consideration of Crime Prevention Through Environmental Design (CPTED) principles and ensure accessibility for all users (including suitability for young cyclists, visibility for hand cycles and older people) is important. A non-motorised user audit should be undertaken. The needs of mobility and visually impaired users needs to be considered in all designs. Where paths are located close to water, over water or along banks extra safety considerations need to be taken into account. For appropriate treatments designers should refer to the Austroads Guide to Road Design Part 6A Pedestrian and Cyclist Paths, Sections and From top to bottom: Example of a texture separated pathway, landscape separation and on-path markings. 16
17 2. Major cycleways Design concept (Major cycleways Parks, reserves and waterways) 17
18 2. Major cycleways 2.2. Major cycleways through urban commercial centres In commercial centres major cycleways are ideally separated cycle paths which offer an attractive and more comfortable environment for cycling. The design should allow for both free-flowing pedestrian movement and easy access for cycling to and through the centre. In areas with stripshopping, parking should remain easy and accessible and where possible parking should be incorporated into the design. As commercial centres present many hazards and distractions for users, separated cycle paths help reduce the hazard. Separated cycle paths can take a variety of forms depending on the individual centre s context. The preferred form of separation is the style of facility found in Copenhagen, which is discussed in more detail in section Where this is not appropriate other options are kerbed, planter or painted separation (discussed in sections and 2.2.4). In some commercial centres creating a slow speed (shared) environment can reduce the need for separation (discussed in section 2.2.5) Major cycleways/urban commercial centres/ Separated cycle paths: Design principles These design principles apply to all forms of separated cycle paths: Copenhagen, kerbed, planter and painted separation. In commercial centres pedestrians need to have the highest priority. Designs may be combined with other streetscape elements to create a slow speed environment which improves both pedestrian and cycle connectivity and safety. Separated cycle paths ideally need to be located between the footpath and traffic lane providing separation between the two different road users. Where the cycle path is located next to on-street car parking, a separation strip can be included to protect the cyclists from car doors opening. Two-way separated cycle paths, on one side of the street, may be considered on busier urban streets (distributors) which have infrequent crossing points or where urban development is on one side of the street. A wider path should be provided to make it more comfortable and easier for cyclists to pass each other. The design should consider where the contra-flow lane is placed, taking into account the location of on-street parking, intersection connectivity and consistency of infrastructure design along the cycle route. The design should be obvious to all road users that it is two-way. The position of the cyclists should be clearly marked. Contra-flow separated cycle paths may be considered on slow (30km/hr), oneway streets, with low levels of parking, to make the cycle route more direct. The contra-flow should be well marked and signed so that it is obvious to all road users. The design of the separated cycle path needs to be integrated as much as possible into the commercial centre so that the cycle infrastructure becomes part of the character of the centre rather than a through route. In commercial centres with distinctive character, the separated cycle path should reflect the unique character of the environment. An example of this may be to use alternative textures to improve visibility other than green surfacing. At T-intersections the separated cycle path needs to cross the side road on the carriageway to give through cyclists right of way over the intersection. Signs may be needed to emphasise who has priority. At main pedestrian crossings, platforms raised to footpath level indicate that pedestrians have priority at the crossing. The cycle path needs to cross over the platform using shallow gradient ramps. Coloured surface treatments increase the visibility of the separated cycle path at conflict points. In Christchurch the preferred colour is green. Mobility parking spaces could be incorporated into the design by introducing in-kerb ramp access from the parking space to the footpath. Designs could consider including cycle friendly features, such as hand and/or foot rails at stopping locations along the route. Separated cycle paths on either side of driveways or intersections need to be kept clear of obstructions (including parked cars) and provide a good visibility splay to improve inter-visibility. Separated cycle paths ideally need to be kept away from solid boundary fences to improve inter-visibility between path users and exiting vehicles. This is very important for vehicles reversing out of a driveway as the driver cannot see the path users. Permeable or open fences can improve visibility further. Designs should consider the network, safety and landscape implications where kerbs are moved to create separated cycle paths. 18
19 2. Major cycleways 19
20 2. Major cycleways Major cycleways/urban commercial centres/ Copenhagen separated cycle paths: Design principles In addition to the design principles for separated cycle paths, Copenhagen designs also need to consider the following principles. Copenhagen style cycle paths have kerbs that separate the cycle path from both the traffic lane and the footpath. The footpath kerb height is smaller (approximately 20mm) than the traffic kerb. Copenhagen cycle paths ideally need to be wide enough for cyclists to pass one another (a desirable width of 2.4m on both sides of the road). A Copenhagen cycle path should have a limited number of vehicle crossing points along the street frontage. The number of driveways or entrances needs to be assessed and where there are multiple crossings which cannot be removed or adapted then another separation type (kerbed or painted) is recommended. Copenhagen cycle paths often need more space than other forms of separation. Therefore they are most successful where there is no on-street car parking or where car parking is only on one side of the street. The re-allocation of car parking and detailed design of any scheme design should seek community engagement and consultation. Where there is on-street car parking there should also be a separation strip (0.6 1m) between the parking and the cycle path. This offers the cyclist protection from car doors being opened. This separation may be textured (materials such as cobbles) to encourage cyclists to keep in the cycle path and not ride in the door zone on the separation strip. Parking meters may also be accommodated in the separation strip if there is sufficient room. Design concept major cycleways - urban commercial copenhagen cycle path cross section. The cycle path has a continuous grade over entrances and driveways to increase the inter-visibility of approaching cyclists. At T-intersections the cycle path crosses the side road on the carriageway to give cyclists right of way over the intersection. Signs may be needed to emphasise who has priority. In the lead up to and where the cycle path crosses an intersection a change in texture or green surfacing is desirable to increases the visibility of a potential conflict point. A mountable kerb or ramp provides easy access to cycle parking or information points where these are located on the footpath. Cycle path construction is strong enough to accommodate service vehicles or rubbish trucks on the cycle path. 20
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text:
"Depths of Darkness", known as "Shark Torpedoed! Nightmarish Fanservice" in the Japanese version, is the fifty-seventh episode of the Yu-Gi-Oh! ZEXAL anime. It first aired in Japan on May 28, 2012, and in the United States on April 13, 2013.
The awaited match between Shark and Quattro finally begins. They Summon their respective "Number" cards, intensifying the Duel. However, after a revelation from Vetrix, Quattro brings out "Gimmick Puppet of Strings" and unleashes an onslaught, inflicting massive damage to Shark.
Mr. Heartland urges the crowd to congratulate Kite on his victory. He says that along with Vetrix, Kite has reached the semifinals. Their names are shown on the Duel Coaster Stadium screen and Heartland continues that there are only two slots left, while the other finalists are shown - Quattro, Yuma, Shark and Nistro. He wonders who will survive and says that he's sure Duel fans around the world are excited for the conclusion and tells them all to yell "Heart Burning!". Yuma is back on his Duel Coaster and yells that he'll go all the way to defeat Vetrix and Dr. Faker. He says he won't forgive them for using their children as tools of revenge. Astral says he feels a strong pulse coming from the left side - the same one given off by the crests of Trey and Quinton. Yuma asks if that means Vetrix is there and Astral says that could be it and Yuma speeds off in that direction.
Heartland displays the Duel Field, "Magma Field", on the monitor and wonders who will arrive at that battlefield. Shark steps onto the field. Summer is excited, saying Shark is so cool. Cathy pops up in front of her and says she doesn't care if it's not Yuma Dueling. Shark faces Quattro, saying he finally caught him and he won't let him escape this time. Quattro says that's bothersome and insists he didn't run away - he lured him here. He says that in this world of fire and heat, Shark will be at a disadvantage. Since Shark's Deck is full of WATER-Attribute monsters, he won't be able to survive here. Now Jen is excited, urging Quattro to give them his fanservice today. Bronk realizes they don't know of Quattro's true persona and Caswell says his true identity is that of a devil.
The Duel begins, with Shark taking the first turn. Shark tells Quattro not to underestimate him and activates "Plate Salvage", which will negate the effects of face-up Field Spell Cards until the end of Quattro's next turn. Ice covers the volcanoes and lava pools, with Shark smirking. Yuma, Tori and Astral arrive at the field; Shark seems surprised to see Yuma, but Quattro does not. Tori asks if this is really the Magma Field and Yuma says its not hot at all. Yuma sneezes and Astral says that's expected of Shark - he must have negated the effects with a Spell Card. Vetrix appears in the form of what seems to be a hologram, saying its finally begun. He declares that its an important fight for both of them and urges them to fight their hardest as he watches. His crest's power radiates outward.
Shark Normal Summons "Tripod Fish" and announces that since he controls a face-up Fish-Type monster, he can Special Summon "Shark Stickers" from his hand via its own effect. Yuma says there are two Level 3 monsters and Astral says "Xyz Summon". Shark overlays his monsters to Xyz Summon "Submersible Carrier Aero Shark" in Attack Position. He activates its effect, detaching an Overlay Unit to inflict damage to Quattro equal to the number of cards in his hand times 400. "Aero Shark" fires three missiles, which hit Quattro, knocking him onto his back and dropping his Life Points to 2800. Yuma says Shark is so cool, inflicting effect damage on his first turn. Bronk and Caswell cheer and Shark Sets two cards, ending his turn.
Quattro chuckles, saying they've only just started and he's already Xyz Summoned. He compliments Shark, but says it gives him the urge to break him. As Shark controls an Xyz Monster and Quattro controls no monsters, he is able to Special Summon "Gimmick Puppet Magnet Doll" from his hand via its own effect. He Normal Summons "Gimmick Puppet Gear Changer", explaining he can make it have the same Level as another "Gimmick Puppet" he controls. He says its time for a gear change and "Gear Changer" becomes Level 8. Tori says that now Quattro has two monsters of the same Level as well. Yuma says he's coming and Quattro overlays his two monsters to Xyz Summon "Number 15: Gimmick Puppet Giant Grinder" in Attack Position. Yuma says its appeared - the "Number" that devastated Bronk and Caswell. Quattro announces that if Shark is coming at him all the way, he must do the same. He says he'll give Shark the ultimate fanservice.
Summer wonders what that monster is and Jen doesn't appear to know either. Suddenly, the feed is cut and Heartland wonders what happened. He says its unfortunate that complications occurred again in such an important Duel. However, this time he is being sincere and he wonders if it was "their" work. Vetrix appears at the field again, giggling and saying he felt that the rest of the Duel shouldn't be shown, so he broke the cameras. He tells Quattro to send Shark all the way into the darkness. Quattro activates the effect of "Giant Grinder", destroying "Aero Shark" since it is an Xyz Monster. Its devoured by the hole in the chest of "Giant Grinder". A cannon then emerges from the hole, firing, knocking Shark off his feet and dropping his Life Points to 2100. (cut from the dub is "Aero Shark" being absorbed and grinded by "Giant Grinder". The cannon-like object of "Giant Grinder" is also made less realistic).
Yuma yells Shark's name and Quattro declares a direct attack. "Giant Grinder" attacks with its whip, but Shark activates his face-down "Bubble Bringer", negating the attack. Yuma says Shark is safe, but Quattro says it doesn't matter - the effects of "Magma Field" will return now, adding that it will be a scorching hell. He ends his turn and the volcanoes erupt, melting the ice. Yuma says its really hot and Tori says it really is a scorching hell. Shark tells Quattro to save the bravado for the when the Duel is over. He Normal Summons "Hammer Shark" and activates another effect of "Bubble Bringer", sending it to the Graveyard to Special Summon "Tripod Fish" from the Graveyard. The effect of "Tripod Fish" activates as it was Special Summoned, so its Level increases by 1, to 4.
Quattro calls Shark an idiot, explaining that "Magma Field" will destroy all WATER-Attribute monsters when they are Summoned. He says Shark's monsters cannot live in this environment. Two "Solar Flare Dragons" spring from the lava and jump at Shark's monsters, but an energy shield is suddenly erected in front of Shark. Quattro and Yuma are confused and Astral says its a Trap Card. Shark has activated a Continuous Trap, "Adapt to Adversity". He explains that it prevents monsters from being destroyed by effects that activate upon their Summoning. He says that now his monsters can survive the scorching hell. Yuma cheers and Astral again says that's to be expected of Shark - you cannot underestimate him.
Shark remembers falling into Quattro's trap at the National Duel Circuit and knows that Quattro hurt his sister, who had nothing to do with that match. He says he won't forgive him and no matter what, he will defeat him. Shark reveals that the monster Summoned with "Bubble Bringer" can be treated as two Overlay Units for an Xyz Summon. Shark overlays his now-three Level 4 monsters to Xyz Summon "Number 32: Shark Drake" in Attack Position. Yuma remembers that card and Vetrix says that's right - its the card Trey gave to Shark, by Vetrix's command, that is. Vetrix says he was waiting for this moment, which would increase the darkness in Shark's heart. Quattro is shocked, saying that card was Trey's.
Quattro says he knew Quinton and Vetrix were planning something, but he never imagined they'd use Trey to give Shark a "Number". Vetrix appears behind him and says there's a reason he didn't tell him. Quattro asks what that is and Vetrix responds that Quattro would have ruined the plan with his loose tongue. Vetrix's hologram begins to randomly teleport around and he says that everyone has their own role. Quinton had his and Trey had his. Quattro asks what his role is and Vetrix responds that it is to send Shark's heart into darkness. He adds that its gone according to plan so far and that Quattro has done well. Quattro didn't know all of it was part of Vetrix's plan and Vetrix says it should have been obvious. He adds that Quattro won't get away safely if he underestimates Shark but says he should know the powers of both Shark and "Shark Drake" well.
Shark orders "Shark Drake" to attack "Giant Grinder", who explodes as Quattro's Life Points drop to 1500. Shark declares the effect of "Shark Drake", detaching an Overlay Unit to Special Summon the destroyed "Giant Grinder" with 1000 less ATK. Tori asks why's he reviving his opponent's monster and Astral says that "Shark Drake" can now attack it again. Yuma realizes Quattro has only 1500 Life Points left, so Shark has won. "Giant Grinder" rises from the lava with 500 ATK, but Quattro says he won't let Shark do that. He activates the effect of the "Gimmick Puppet Twilight Joker" in his hand, banishing "Giant Grinder" from his Graveyard to Special Summon itself. "Twilight Joker" appears and cuts the strings of "Giant Grinder", who falls back into the lava. Vetrix says Shark made a strong move, but Quattro did counter it - with that Quattro can continue fighting and push Shark even more. Shark says he narrowly escaped and ends his turn. Vetrix says Quattro must fight harder - Shark is still alive and kicking. Quattro turns and yells that he knows that. No one but Quattro can see Vetrix, so they wonder what's going on. Quattro says he understands - his role is to push Shark into the darkness. In order to fulfill that, he had hurt his younger sister and set a trap at the Duel Circuit.
He yells he did it all for Vetrix, by Vetrix's command. Tori asks what that means and Shark tells Vetrix to come out if he's here. He appears before Shark, who rushes at him, but the hologram just flickers and reappears elsewhere. Yuma asks if Vetrix is here and Astral says they must be able to see him through some strange power. Vetrix says that's correct and he expected that of Astral. Astral asks what Vetrix's end goal is - what is the point of all this? Vetrix says there's no use in hiding it from anyone here. Three holograms of Vetrix appear, one each in front of Yuma, Tori and Astral. They say the reason that Shark must be pushed into darkness is for Vetrix to control him - as an assassin to defeat Dr. Faker. Shark says he has no reason to do anything like that, while Vetrix insists he'll have no choice - he will become his puppet. Quattro says he and his brothers fought hard for Vetrix - why were they not chosen? He says he won't accept it and Vetrix again responds that everyone has their own role - and Shark fits the role of assassin better than Quattro. Enraged, Quattro says he will be the one to take down Faker. First, he will prove he's stronger than Shark.
Quattro begins his turn, playing "Gimmick Puppet Ritual". He explains it will Special Summon a "Gimmick Puppet" from his Graveyard, put it may not attack this turn. He tells "Magnet Doll" to return and overlays it with "Twilight Joker" to Xyz Summon "Number 40: Gimmick Puppet of Strings" in Attack Position. He equips it with "String of Destiny", which augments its sword. He explains that it sends the top card of his Deck to the Graveyard and if its a monster, "Gimmick Puppet of Strings" will be able to attack a number of times equal to that monster's Level, but the attacked monster will not be destroyed by battle. The card is "Gimmick Puppet Dreary Doll, so Quattro may now attack "Shark Drake" eight times. He orders his first attack with "Heaven's Blade", dropping Shark to 1900 Life Points. Astral says that with "String of Destiny", the damage will pile up quickly. Quattro tells "Gimmick Puppet of Strings" to make Shark suffer more and it attacks again. It attacks a third time, with Tori looking away in horror and Yuma telling Quattro to stop, insisting that this isn't Dueling. He says Dueling isn't for anger and revenge.
Vetrix reappears in front of him, saying he won't allow him to interfere. His crest activates and Yuma is tied in chains, now unable to move. Vetrix says this is the climax and tells Yuma to watch quietly. Shark's Life Points are now 1300. Tori yells for Quattro to stop and Yuma says that Dueling is to make people happy, not make them suffer. Quattro tells Shark to suffer more and then land in hell, ordering his sixth attack. Yuma continues to rant, saying that those who Duel become friends - it shouldn't be used to hurt people. Vetrix appears to Yuma again, saying he really is just like Kazuma. Vetrix says Kazuma always talked of Yuma, of bonds and of making people happy. He says it was Vetrix that involved Kazuma and Vetrix responds that the one who took Yuma's father from him is Dr. Faker. If Yuma must hate someone, it should be Faker.
Vetrix continues that if that happens, darkness will be born from Yuma's heart and then spread. Vetrix says he did promise Yuma he would eat his heart next time. Yuma tells to shut up and says he won't forgive him for hurting Dextra like that and used his own sons for revenge. Vetrix says that's very good - darkness is being born in his heart from his anger. Vetrix urges Yuma to hate both him and Faker. He yells for Vetrix to shut up and Quattro declares his last attack, dropping Shark to 500 Life Points. Quattro continues that its not the end and activates the effect of "Gimmick Puppet of Strings", detaching an Overlay Unit to place a String Counter on "Shark Drake". It is ensnared in crimson strings, and Quattro says that at Shark's End Phase, "Shark Drake" will be destroyed and Shark will take damage equal to its ATK. Quattro ends his turn and Yuma yells to Shark, telling him to speak. Shark does not respond.
Featured Duel: Shark vs. Quattro
This Duel takes place at a Duel Field, "Magma Field". It is treated as a face-up Field Spell Card. Its effect will destroy any WATER-Attribute monster that is Summoned. The Duelists begin with the amount of Life Points they had at the end of the Duel Coaster. In this case, both players have 4000.
Turn 1: Shark
Shark activates "Plate Salvage", negating the effects of all face-up Field Spell Cards for two turns. He Normal Summons "Tripod Fish" (300/1300). As he Summoned a Fish-Type monster, he Special Summons "Shark Stickers" (200/1000) from his hand in Attack Position via its own effect. Shark overlays his two Level 3 monsters to Xyz Summon "Submersible Carrier Aero Shark" (1900/1000) in Attack Position. He activates the effect of "Aero Shark", detaching an Overlay Unit ("Aero Shark" ORU 2 → 1) to inflict damage to Quattro equal to the amount of cards in his hand times 400. He has three cards (Quattro 4000 → 2800). Shark Sets two cards.
Turn 2: Quattro
As Shark controls an Xyz Monster and Quattro controls no monsters, Quattro Special Summons "Gimmick Puppet Magnet Doll" (1000/1000) from his hand in Attack Position via its own effect. He Normal Summons "Gimmick Puppet Gear Changer" (100/100). He activates the effect of "Gear Changer", targeting "Magnet Doll" and changing the Level of "Gear Changer" to that of "Magnet Doll" - 8. Quattro overlays his two Level 8 monsters to Xyz Summon "Number 15: Gimmick Puppet Giant Grinder" (1500/2500) in Attack Position. Quattro activates the effect of "Giant Grinder", detaching an Overlay Unit ("Giant Grinder" ORU 2 → 1) to destroy all other face-up Xyz Monsters on the field and inflict damage to their controllers equal to their ATK. "Aero Shark" is destroyed (Shark 4000 → 2100). "Giant Grinder" attacks directly, but Shark activates his face-down "Bubble Bringer", flipping it face-up to negate the attack. As two turns have passed, the effects of "Magma Field" are restored during the End Phase.
Turn 3: Shark
Shark Normal Summons "Hammer Shark" (1700/1500). He sends "Bubble Bringer" to the Graveyard via its own effect to Special Summon a Level 3 or lower WATER monster from his Graveyard. The Summoned monster can be treated as two Overlay Units for an Xyz Summon. He Special Summons "Tripod Fish" (300/1300) from his Graveyard in Attack Position. As "Tripod Fish" was Special Summoned, its Level increases by 1, to 4. The effect of "Magma Field" activates, which would destroy both monsters, but Shark activates his face-down "Adapt to Adversity", preventing his WATER monsters from being destroyed by the effects of Spell/Trap Cards when they are Summoned. He overlays his two Level 4 treated as three to Xyz Summon "Number 32: Shark Drake" (2800/2100) in Attack Position. "Shark Drake" attacks and destroys "Giant Grinder" (Quattro 2800 → 1500). Shark activates the effect of "Shark Drake", detaching an Overlay Unit ("Shark Drake" ORU 2 → 1) to Special Summon the destroyed monster in Attack Position with its ATK reduced by 1000 and allow "Shark Drake" to attack it again. Quattro activates the effect of the "Gimmick Puppet Twilight Joker" in his hand, Special Summoning it (800/1600) by banishing "Giant Grinder" from his Graveyard as a "Gimmick Puppet" monster was destroyed by battle.
Turn 4: Quattro
As he has less than 2000 Life Points, Quattro activates "Gimmick Puppet Ritual", letting him Special Summon a "Gimmick Puppet" monster from his Graveyard, though it may not attack this turn. He Special Summons "Magnet Doll" (1000/1000). Quattro overlays his two Level 8 DARK monsters to Xyz Summon "Number 40: Gimmick Puppet of Strings" (3000/2000) in Attack Position. Quattro equips "Gimmick Puppet of Strings" with "String of Destiny". "Gimmick Puppet of Strings" attacks "Shark Drake", with Quattro activating the effect of "String of Destiny". He sends the top card of this Deck to the Graveyard. If it is a monster, then "Shark Drake" will not be destroyed by battle this turn and "Gimmick Puppet of Strings" will be able to attack a number of times equal to the sent monster's Level. If it is not a monster, the attack will be negated and the Battle Phase will end. The sent card is "Gimmick Puppet Dreary Doll", which is Level 8. "Gimmick Puppet of Strings" attacks "Shark Drake" eight times (Shark 2100 → 1900 → 1700 → 1500 → 1300 → 1100 → 900 → 700 → 500). Quattro activates the effect of "Gimmick Puppet of Strings", detaching an Overlay Unit ("Gimmick Puppet of Strings" ORU 2 → 1) to place a String Counter on all other monsters. During Shark's next End Phase all monsters with String Counters will be destroyed and their controllers will take damage equal to their original ATK.
Duel continues in the next episode.
Featured cards
The following cards appeared in this episode. Cards in italics debuted here.
- In the dub, when Quattro uses the effect of "Gimmick Puppet Gear Changer" to copy the Level of "Gimmick Puppet Magnet Doll", the Levels of the two monsters are swapped.

subset: commoncrawl


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Welcome to Congregation Magen David of Manhattan
Or CMDM, as our friends call us.
CMDM is a Sephardic synagogue which serves Jews of diverse origins and age groups living in downtown Manhattan by offering daily minyanim in the Sephardic liturgical and ritual custom; daily classes in Torah, Jewish law, history, and philosophy; and regular opportunities for intellectual nourishment, social gathering, and acts of hesed.
CMDM emphasizes unity (ahdut), and welcomes Jews of all backgrounds to join our services and become an active part of our growing community. The centrality of our location, nestled on a quiet block between the historic Greenwich Village and world-famous Soho, attracts thousands of diverse Jews from around the world seeking a warm and inviting religious environment.
We offer a place of sanctuary and gathering where prayer and friendship are cherished. Our proximity to many of the nation's leading universities allows us unprecedented access to a young and enlightened student and faculty population that is increasingly seeking a vibrant Jewish communal life, coupled with Torah observance in the classical Sephardic tradition.
The scholarship that we offer at CMDM encourages broad thinking, and addresses the lasting contributions of Rabbis and scholars. At CMDM we are dedicated to the promotion of positive Jewish values which define our mission of inclusion, kindness, integrity, and scholarship.
Membership Rates:
Tier 1 - $120 recommended for students or individual seniors on a fixed income.
Tier 2 - $360 recommended for an individual.
Tier 3 - $720 recommended for a family of two or more people.
Tier 4 - $1200 a special "Angel Membership" which includes membership for a full family and helps the synagogue even more.
*If you have a financial concern or would like to arrange a monthly payment plan, please email email@example.com.
You can register for membership by clicking here or by sending a check to 177 Sullivan Street New York, NY 10012 made payable to Cong. Magen David of Manhattan.
Our Location:


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Today's Devotional
No FloatingIn what ways have you been "floating" spiritually?
Top Music Videos
BASIC Prayer - Behind the Scenes - Francis Chan
Is it possible that our prayers go unanswered because we are praying out of a sense of obligation or maybe for the wrong things? Are our prayers supposed to be a list of things we want, or are they really intended to be an ongoing dialogue with God about the things He wants? Maybe if we align our prayers with God's mission, we would see God answer our prayers in supernatural ways that we could never imagine.


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Best-Ever Enveloped Tea Range Launch
Today, the nation's most well-known tea brand, Tetley , announces the launch of its best-ever enveloped tea range, exclusive to foodservice operators and available from November 2015.
In response to these findings, Tetley has developed a collection of ten enveloped teas to help operators maximise their tea menus, by offering consumers a wider selection of blends to suit a variety of taste preferences and complement each day part. Comprising a assortment of new and improved flavour combinations, the range includes top-selling, natural and new fruit & herbal and green blends. The new introductions feature Raspberry and Pomegranate, Lemon and Ginger, Mint Fusion and tropical Green Tea with Mango, supported by existing favourites Camomile and Green Tea with Lemon, Rainforest Alliance accredited black tea formats, English Breakfast and Earl Grey, and completed with the brand's Great Taste Award winning Decaffeinated and Pure Green Tea blends.


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Jerry Eats Cheese 2
Jerry Eats Cheese 2 is a free Tom and Jerry Games. Help Jerry to be late for the cheese.
We hope you had fun with this great Movie Games. Find the best Tom and Jerry Games among our games below.
Published: 7-08-2016
289 Users Played
How to play Jerry Eats Cheese 2 game?Use the mouse to play this game.
Why Can't We Play This Game?
Jerry Eats Cheese 2 is an online Tom and Jerry Games which you can play for free here at ChipGames.net - It has tag(s) Tom and Jerry Games, Animal Games, Shooting Games, Kids Games, Girls Games. It has been played 289 times. Jerry Eats Cheese 2 is one of the many Movie Games that we feature. If you want to play more games, check out Tom and Jerry Cheese War game or Tom and Jerry Cheese Hunt game or Tom and Jerry Steel Cheese game or Jerry Steal Cheese game or Jerry Run N Eat Cheese game or Tom And Jerry Cheese War 2 game or Cheese Enchiladas game or Tom And Jerry: Rig A Bridge game or Tom and Jerry Meet Sherlock Holmes game or Tom and Jerry Tractor game or Tom and Jerry Bowling game or Tom and Jerry Tractor 2 game. To play even more games, head over to the Tom and Jerry Games page, the Animal Games page, the Shooting Games page, the Kids Games page, the Girls Games page or just check out the all time best games page.


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Homestead Rescue
Trust or Die
Season 1 Episode 3
The Deeters are dog-mushers with a homestead on the edge of disaster. Bears dine on the dog food and the forest around them is a deadly tinder box. The Raneys must push them to make drastic changes, but discover the Deeters don't trust outsiders.
- 43 min
- Premiered 07/08/2016


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- Home >
- Benches, Vices & Storage >
- Tool Rolls, Toolboxes & Bags >
- Tool Bags >
- Plano Hardbottom Toolbag 11 Pockets
Tough padded mulit-pocketed toolbags complete with a welded P.V.C waterproof base. A wired mouth keeps the bag open in use. It also has heavy-duty shoulder straps, handles and zips. 17" Hard Bottom Bag. 11, Storage Pockets. 8 inside - 3 outside. Zipper Pocket for plans and personal items. Tools not included.
Own it? Review it! Be the first to tell everyone what you think about this product...


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May 1, 2017 – In a first-in-the-nation victory for Barnegat Bay and water bodies throughout New Jersey, a bill requiring three major statewide transportation agencies to use only native plants when they do landscaping and other plantings was signed into law today by Governor Christie. … Read more »
Who is Save Barnegat Bay?
Save Barnegat Bay's mission is to restore and protect Barnegat Bay and its ecosystem. We advance our mission by being a strong and independent voice for the Bay throughout the watershed, including all of Ocean and part of Monmouth Counties.
Updates Around the Barnegat Bay
Our Student Grant Program offers paid research opportunities to students pursuing a degree in marine science, natural resource management, environmental science, or related field. In celebrating its decade year, we have launched a brand new website dedicated to the science and research our students have … Read more »
Here is a copy of the Lease Agreement and Proposal between Brick Township and Chefs International, Inc. for the proposed plan to further develop Traders Cove Park and Marina. Ask yourself, where is the "park" that we worked tirelessly to preserve? How is this new … Read more »
Our Education Programs have been in full swing this year! Here's a closer look at our programs, by the numbers: This Way to Barnegat Bay! – One Year Review Number of students educated: 2,660 Number of school districts: 11 Number of teachers at workshops: 46 … Read more »


text: Casa Wasbi set to open at the end of this week is owned by Mexican born Bosco Sobi. The complex consists of an 8,000 square foot art gallery, two studios and botanical gardens. It is a creative sanitary for artists as well as an educational fort for the local community. Designed by the very talented Japanese architect Tadao Ando, we love his minimalist style and his use of contemporary as well as traditional materials and techniques. If you ever in the area you must make take a look at the foundation.


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There is a certain kind of gamer who has taken over this place. I don't know if this gamer is creating recruits or if there are just more people around here like him in general. I'm talking about the Gaming Hipster. You know who I'm talking about. The guy who basically hates any game that is popular.
Whether it's Skyward Sword, Final Fantasy VII, Super Mario 3D Land etc., if it's popular they have to hate it because they want to think it gives MyIGNers the perception that they are better than everyone else. They generally act as if the public's opinion is shit, the public is shit and should be more like them. .
Now, I'm not saying it's wrong to dislike something that is popular. That would be stupid. What I'm saying is, when you see someone who consistently hates on any game that is popular, and they do it in an overly proud way, then you've got a gaming hipster douche. This isn't just a trend here on MyIGN, it's a trend all over the globe right now. Hipsters are everywhere.
When it comes to music, well you know who they are. They hate any band that gets signed and only like unknown bands so they can flaunt their "cutting edge" originality. They tend to wear stupid hats and grow dumb mustaches. Fedoras, beanies, hoodies, curly mustaches, expensive clothes made to look inexpensive.. you know what I'm saying.
Hipsters are really just bad critics. They act like they are the final word on what is good, but really they can't critique something logically. I mean really their minds work like this: If it's popular is sucks, if it's unknown it's great! That's really all there is to it. With all the complexities they try to portray in their critique of something, in reality that's all there is to it. It's stupid it's boring and it's why we have crappy indie bands being put on a pedestal by fedora-wearing douches.
I've grown accustomed to seeing hipsters in the music world. But, now here on MyIGN they are popping up. Especially in the gaming tournament going on right now. There are certain people who have to vote for the game that isn't as popular as its competitor.. every single time.. whether they actually enjoy playing the game or not. It's really annoying. Guys, if you like something vote for it. Don't be persuading by the hipsters voting for the other just to appear to have originality.


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French Renaissance writer Michel de Montaigne is credited with reminding humanity of its limitations. In one instance he writes, "No man is exempt from saying silly things; the mischief is to say them deliberately," and in another, "Even on the most exalted throne in the world we are only sitting on our own bottom." Missoula artist Dane Hansen embraces those sentiments in his photography, collage work and performance art. (He is a big fan of Montaigne.) As his alter-ego, Bad Naked, Hansen is deliberately silly and also literally aware of himself as a mere animal.
"We're all these stupid primates with these sloppy, dumb bodies that we have for 70-some years and then we keel over and die," he says. "There's not much to it. You're not going to become something better. At your base you're just that."
Bad Naked strums his hollowed-out bass guitar, "Big Betsy," wearing nothing but a mask over his eyes and a pair of tight black underwear. He sings songs like "I Know What Dogs Like/Hot Dogs (For Everybody)" and "Spokane Arena/Dog Breeds" (he loves dogs), and even does a cover of "Come on-a My House," which he renders in a much more belligerent fashion than Rosemary Clooney ever did.
Many of the Bad Naked shows are guerrilla-style, springing up seemingly impromptu for 10 minutes in a parking lot or at the backdoor of a venue in between sets by other bands. His fans and friends gather around him and yell out the songs with him, clap along and heckle. Bad Naked encourages onlookers to throw padded "failure" balls and sometimes there are food fights featuring hot dogs or, classically, tomatoes.
"Every Bad Naked song is a hook and a riff," Hansen says. "It's got to be so simple that I can find my way back to it if a tomato goes in my face."
Bad Naked is arguably the most controversial act in the Missoula music scene. His detractors see a guy who hardly knows how to play an instrument and who breaks convention, but in a lazy way that doesn't offer something valuable in its place. His supporters see him as an embodiment of true punk rockness, an artist who delivers a vibrant performance for pure fun. If you ask Hansen, he kind of admits both sides are right. "With Bad Naked it's like if you went out for a hamburger and instead somebody gave you a pile of dirt on a bun," he says. "But people eat dirt. It's nutritious."
He also admits that the origin of Bad Naked came when he got sick of being just a music promoter and wanted to get the spotlight for himself.
"I wanted some of that attention," he says. "I didn't want to be the guy on the sidelines. For me, [performing] is like being kissed by the gods for a second. It's like someone opened up my brain and is rubbing sand or glass in there. It just makes me feel good."
Suffice it to say he's a strange cat. Hansen says he has tested positive for Asperger's, and if you talk with him long enough you can see that the way he experiences the world is genuinely unusual. His live Bad Naked album, Shaq Show, for instance, was recorded at the now-defunct Lab, a house that hosted some of Missoula's more memorable performances. You can hear the audience participation in the recording, but when Hansen talks about it he doesn't differentiate between the things you can and can't hear. "The audience pretty much just takes over the whole recording banging on things and shouting," he says. "There's a chiweenie that shows up. There are naked people. Penises show up in that recording. There's somebody who sleeps through the entire recording in the corner. It's a historical recording. They'll dig it up someday and say, 'Ah, this is how people used to be!'"
Initially, long before Bad Naked existed, Hansen focused on photography. He would set up his large-format camera to face some beautiful outdoor scene and he'd attempt to capture it just right. But as he started going to more rock shows, he began to experiment with point-and-shoots and late-night flash photos. Instead of landscape or cool band photos, he started looking for the less romanticized aspects of a rock show or a party.
Hansen's upcoming First Friday show at Butterfly Herbs is called Bad Bad Super Saver Show No. 2 (the first Super Saver show was last August) and includes photographs and collage.
Hansen describes the photographs as things you might see out of the corner of your eye but would probably disregard. Some might say for good reason. "Things like dog butts," he says, "or cats doing weird things around your house at night. Pieces of people's bodies, things happening at parties, fragmentary pictures of human desire, strange rituals and games."
Games are important to Hansen. He likes watching sports and he likes incorporating sports objects into his performances and art. (For instance, his collage at Butterfly will include some balls.) But he doesn't care for rules.
"Games are all about deception and mischief," he says. "Sports are a lot of fun to go watch if you don't focus on the rules or specific [details of the game] but just watch the athleticism of people being dumb and throwing their bodies at each other and throwing things at each other. I like that part."
Hansen isn't just dawdling in chaos, he kind of has a yin and yang approach to life. He takes an orderly approach to curating his photographs and collage. As the director of music at KBGA college radio, he loves putting the music collection in order. He was recently accepted for a full-ride scholarship to the University of New Orleans to get his master's in art and will leave Missoula in late June for that adventure. Bad Naked will go with him, of course, to provide his ordered world with just the right amount of off-kilter messiness. Sometime soon, a house party in the Big Easy will be in for a big surprise.
"People come to a party pretending that they wanted to see music but they are actually after pot, cute girls or boys, for the loose hookups and alcohol and sex—not the music," he says. "Bad Naked is here to remind you of what you really came for."
Dane Hansen's Bad Bad Super Saver Show No. 2 opens Fri., May 2, with a reception at Butterfly Herbs from 4 to 8 PM.


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It's pro vs. amateur in selfieland. The muscularly buxom Darius Ferdynand faces (and dicks) off with some amateur show-offs. Everyone wins.
He's the fella at top left. Why does he even need to take selfies since he's nude everywhere? Though I suppose he doesn't have a film crew in his bathroom. Though he could if he wanted. A volunteer one made of guys with fake cameras (like the fake TVs at IKEA) but real boners (like the real boners at IKEA). They have awesome restroom action!
Well maybe they don't, but if I start the rumor, maybe they will eventually have glory holes. Though they'd be named something umlaut-y like GLÖRI HÜLLS. This from a company that sold a computer desk named JERKR.
The amateurs here hold up quite nicely though. Porn stars don't have the corner on the big dick, tight body market. And there's something down home wonderful about a guy who doesn't charge. Which reminds me, can I retroactively charge my exes for having seen me naked? I figure that was worth at least a quarter at the time. Which, thanks to inflation, would now be worth a hundred grand. Which is about what Darius Ferdynand's body should be insured for. Don't believe me?
See much more of Darius Ferdynand now! and decide for yourself. Plus consider that subscribing to a site he's on will help pay for his gym membership. He goes to separate gyms for each body part. One just for his ass had to add another floor due to his extreme bubble butt situation. Accommodating members is very important. I quite enjoy accommodating members, don't you?