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A WARNING has gone out about a £2 million lottery scam which amazingly claims to be based at the offices of Coventry trading standards.
The brazen organisers claim they are based at Broadgate House in the city centre which has been the home of the city council's trading standards department for 18 years.
Officers say they don't know whether it is a joke on the part of the organisers or a complete coincidence.
But they are warning householders not to be taken in by the scam which they believe is an attempt at identity theft.
The scam - entitled the UK Web Lottery Promotion - has been reported to officers by one householder who received a "winning certificate" through the post.
It gives details on how to claim the prize although "winners" are asked to send by e-mail a number of personal details including bank details and a copy of a driving licence or identity card.
Andrew Tandy, principal trading standards officer, said: "It is strange they are using this address.
"It may be a joke or just a case of bad luck on their part. They just use random addresses because they operate by obtaining people's details on e-mail, rather than through the post."
He urged anyone who receives a similar communication through the post or via e-mail to ignore it.
He added: "Information stolen can range from a copy of a birth certificate to copies of discarded bank or credit card statements and utility bills.
"Once the criminals have copies of someone's identity they can embark on criminal activity using this name with the knowledge that any follow-up investigations will not lead automatically to them."


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full disclosure: amanda fuller, one of the co-founders of rootedny, which coordinates special, behind-the-scenes tours of local farms and food makers in the new york area, and I have been friends for a very long time. we grew up together in connecticut and found ourselves both leaving our "real" jobs in new york around the same time to start our respective businesses. we always enjoy talking with each other about all the ups and downs of being a new and small business owner, and so I thought amanda - a foodie extraordinaire - would be the perfect interviewee for this month's entrepreneur q&a (you know, with thanksgiving feasting coming up and all...). hope you all enjoy the q&a, and for anyone in the nyc area - be sure to check out rootedny and be sure to sign up for one of their upcoming tours!
tell us a bit about yourself and about rooted ny. when / how did your interest in the food industry begin? what does your company do? how did you develop the concept?
I started cooking with my mom at a young age, and she used to take me out to nice restaurants in the city. I bonded with her over those experiences, and I've always felt food has an immense power to bring people together. although I started my career in real estate finance, I hoped to work in the food space one day.
I started the food studies master's program at NYU and left my "real" job at the end of 2013. RootedNY started with entering a business plan competition for fun with a couple friends. in the middle of the competition, Clarissa Delap and I decided we needed to start the business for real!
the basic idea of bringing people from the city out to visit local farms hasn't changed, but we've gotten the opportunity to experiment with different types of tours 9from oysters to bourbon to foraging) and combining options to create a really unique foodie adventure for people.
what have been the greatest challenges you've had to face so far? the most exciting successes?
the constant big challenge for us is timing events to maximize the number of people who can go. it's really disheartening to have an event not sell well, and we've had to cancel a couple due to low sales. however, every time we run an event, it's such an incredible feeling to see people connect with the food and the place. we always have such a good time, and it makes all the rest of the world and the challenges worth it.
what advice can you share with other young or would-be entrepreneurs? is there anything specific you wish you had known before starting your business?
it takes a tremendous amount of endurance to build a business. of course, everyone knows it takes time and doesn't happen over night, but it can be hard to remember that when you're living it every day. there will be more ups and downs in a week than you used to experience in a year.
with thanksgiving right around the corner, do you have any tips or suggestions about ways to incorporate locally produced foods into holiday meals?
if you do one thing differently for the holiday to support local food, buy a local, sustainably raised piece of meat for your table. it takes some research to find a good source locally, but it's worth it. I use Dickson's or Fleisher's in New York for every holiday meat - from turkey for thanksgiving to ham for Christmas to lamb for Easter. once you find a reliable source, you'll go back every holiday.
1. favorite thanksgiving dish: candied sweet potatoes
2. favorite non-holiday (year-round) food: cheese, every single kind!
3. in 10 years, rooted ny will...: have expanded to other cities with new partners or franchisers.
4. city (or town) you've visited with the best local food scene: in the US, I have to hand it to lexington!
5. life motto: when doesn't kill me makes me stronger. although my favorite food-related quote would have to be Julia Child, "people who love to eat are always the best people."
all photos courtesy rootedny.

subset: commoncrawl


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Graeme Miller and Steve Shill – The Moomins
- Fiona Shepherd
- 27 January 2017
DIY score is endearing and eerie
Some might say that The Clangers had all the best tunes. Graeme Miller and Steve Shill would beg to differ. In 1982, those two post-punk performers, from the same Leeds scene which spawned Gang of Four, home-recorded a lo-fi synth soundtrack for the televisual incarnation of The Moomins, Tove Janssen's adorable creature creations who starred in a series of beloved children's books.
The stop-motion animated series – adapted and produced by the woman who would later bring us the brazenly lysergic Teletubbies – was broadcast in the UK in the 1980s (not to be confused with the later Japanese amine series and its jaunty easy-listening country theme tune), but its soundtrack has never been commercially available until now. Good news for fans of the gentle Nordic creatures and of whimsical vintage synthesizer music alike.
Necessity was the mother of invention and, surely inspired by the plaintive simplicity of Vernon Elliott's soundtracks to various Oliver Postgate shows, Miller and Shill created their DIY score using a Wasp (an early, rudimentary digital synthesizer with all the finesse of a Stylophone) and an ocarina (or wind flute) to create that Clangers-like suggestion of naïve inquiry.
In keeping with the darker atmosphere of its European production, their soundtrack has its eerie moments but is every bit as endearing as the lovably rotund Moomins. The engaging theme tune ambles along with a drunken hurdy-gurdy backdrop, and folk whistling of the kind you would normally only hear during the more rustic entries to the Eurovision Song Contest. Like all good themes, it ultimately gets under the skin. The rest of the score contains some ambient oddities, quirky vignettes and what sounds like a didgeridoo on the otherwise Middle Eastern-inspired 'Hobgoblin's Hat' but its charm prevails.
Released 3 Feb.


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A Little of This and That
The crab apple tree outside our apartment window is in bloom and I think it's just looking spectacular this year. Sure all those blossoms mean those pesky little apples will be everywhere in the fall, but that's ok, because today they're just pretty!
This morning I did a few hours worth of work on my blog. Oh how I'm growing to love her. It has been so satisfying and exciting to learn new things and to watch her grow. Today we reached a milestone. That's right, we had our first comment! And I would like to give a heartfelt thank you to Ronnie (who I'm sure I don't know!) for coming to visit and for sharing kind words. How wonderfully thrilling!
I updated the books on the sidebar and although I knew it before, now I really know that I read a lot. I mean a lot lot! I'm not sure how I do it what with all the other things that get done in a day, but I sure am glad that it works out that way! Last night I told John I wish I didn't have to sleep. That way I'd have more time for crochet, books and the blog! Plus the fam of course!
A few book reviews were added today. I know that I need to work on my technique. I want to be able to share what I think without disclosing the details of the story (spoilers) and by saying more than, "it was good" or "I didn't really like it". I know I have the words inside me, I just need to figure out a formula for getting them out. I don't seem to have any trouble talking to patrons at work about books. I just haven't found the right voice for writing about them. But I'm working on it and I'm sure it'll come.
For something new, I'm thinking of selecting a cookbook and then making a recipe from it once a week (maybe Sunday?) and sharing pictures and comments about the meal. There are so many things that I'd like to do. We'll see. One post at a time and I'm sure everything will all come together as it's meant to be.
Enough rambling for now! There are granny squares to be made, lunch to be eaten, books to be read and work to be done! Ain't it grand!?
Until next time,
Be Blessed and Always Stitch & Read with Love!
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I'm Robin and this is
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Thank you for visiting!
My name is Robin. I am a wife, mother and strong believer in the power of faith. I'm a maker, a crafter and an artist. I love exploring new mediums and sharing my adventures with you.
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Be Blessed and
Stitch & Read with Love!


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Grieving Widow Says Insurance|Agent Stunned Her & Her Family
LOS ANGELES (CN) – A grieving widow claims an insensitive insurance agent stood up before 250 mourners at her husband's funeral and said, "Who would have ever thought 10 years ago, when David and Irene signed up, that Irene would be set for life at such a young age?" Irene Cervantes says the mourners were "uniformly horrified." She sued the agent, Primerica Life Insurance and Citigroup for intentional infliction of emotional distress and other charges.
Cervantes claims that after her husband died of cancer, Anna Maria Lonigro stood up at his service at St. Cecilia's Catholic Church and said, "Hello, my name is Anna Lonigro, and I'm with Primerica Life Insurance. I am so happy to pay out this policy to Irene. It's the first one I've ever paid out. Who would have ever thought 10 years ago, when David and Irene signed up, that Irene would be set for life at such a young age?"
Cervantes adds, "The audience was uniformly horrified at Ms. Lonigro's statements," which she calls "offensive, false and misleading."
She also claims that the statement violated the insurer's confidentiality policy.
And in a final twist of the knife, the widow claims, her family believes she is "set for life," and several of them have asked for money, which she gave them, because she feared losing the relationships if she didn't pay.
Cervantes claims she received $140,000 from her husband's life insurance policy. She says that amount is not only not enough to make her "'set for life,' this meager amount was not enough to even pay off her mortgage."
She says that since the funeral she has not had a moment's peace, and was deprived the chance to mourn her husband properly. She suffers from insomnia and has needed medical help to deal with the stress.
Primerica is "now Citibank," according to the complaint.
Cervantes seeks punitive damages for emotional distress, negligence, false light, public disclosure or private facts and intrusion into personal affairs.
She is represented by Tina Locklear of Irvine.


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The active form of vitamin D (calcitrol) has been found to induce a tumor suppressing protein that can inhibit the growth of breast cancer cells, according to a study by researcher Sylvia Chistakos, Ph.D., of the UMDNJ-New Jersey Medical School.
This professor of biochemistry is a worldwide expert on Vitamin D, and she has in the past published extensively on the multiple roles of vitamin D. Her past work has shown how Vitamin D inhibits the growth of malignant cells found in breast cancer. In the case of her latest work, these findings elaborate on how vitamin D induces a particular protein that inhibits breast cancer growth. This work is published in a recent issue of The Journal of Biological Chemistry.
It has been shown that increased serum levels of vitamin D are associated with an improved diagnosis for those patients with breast cancer. Prior to the current study, little was known about why this was occurring.
During the study, Christakos (along with co-author Dr. Puneet Dhawan) examined the protein involved in this scenario. "These results provide an important process in which the active form of vitamin D may work to reduce growth of breast cancer cells," said Christakos. "These studies provide a basis for the design of new anticancer agents that can target the protein as a candidate for breast cancer treatment."
It seems that every day we are learning something new about the importance of Vitamin D for our health.
Friday, February 6, 2009
Vitamin D's Role in Improved Diagnosis for Breast Cancer Patients
Posted by Dave Jensen at 6:15 AM
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Reel Reads: Hugo & the Invention of Hugo Cabret
Western Springs | Website
This event occurred in the past.
Map | Find Parking
This is for all ages, and attendees may bring a pillow and blanket and get cozy. After reading a chapter of the book, the group has popcorn and watches the movie together. RSVP to the website or by calling.


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United by the frill of business
The Two of Us: Clare Thommen and Fiona McLean
Fiona: My first impression of Clare was that she seemed serious and businesslike. I met her in 2004 when she interviewed me for a job at Scottish Life. I was a chartered accountant, she was finance manager. She kept the interview very straight and professional all the way through. I'd just come back from a year's travelling, so I probably came over as very laid-back. I got the job and reported directly to Clare on a daily basis.
It became obvious we had the same attitude to work, and ended up doing similar early starts and late finishes. It was pretty intense, but we always got on well. One night we went for a drink after work and started talking about resigning our jobs and…


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It"™s an Air Max! No, it"™s a Hyperfuse! Well, we may have an argument with that since what you are looking at right now is a hybrid model called the Nike Air Max Plus Fuse. Yes, as a new silhouette, it is Nike"™s responsibility to introduce it, so here it is and its details.
The new Nike Air Max Plus Fuse is a retro version of the Air Max Plus that was launched in 1998, and with the power of Hyperfuse it turns into a very interesting pack. Now we have the mesh-coated upper with Flywire technology that reinforces the entire shoe and it comes in a striking colorway. The base which is done up in mesh appears in black with solar red synthetic overlays forming wavy stripes along the side running through the toe and heel areas. It owns a solar red padded mesh tongue with Hyperfuse label, while the Swoosh flaunts on the side in black.
Certainly, the sole unit is made of full length Max Air unit with clear windows and a grey midsole. This Nike Air Max Plus Fuse looks like a monster but in deed it is lightweight and is very conducive for any outdoor activities you opt to perform during the dry season.


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Real Estate News: 9/3/09 September 3, 2009Posted by John Watch in News Feed.
Tags: foreclosure, home sales activity, housing market, housing recovery, property data, public records, real estate news
Prime Jumbo Trouble: The Foreclosures Keep Coming
Real Estate Mania: Bulls vs. Bears
Price Rise 7% Nationwide Says Clear Capitol
How to Read Bewteen the Lines of Real Estate News
In Climate of Good News, Some Argue Housing Crisis Will Continue
Square Footage and Median Price Differentials
Who Will (And Should) Get Credit for a Recovery
Pending Sales of Existing Homes in U.S. Increases 3.2% in July
Real Estate is Cyclical, Seasonal and Emotional
Mortgage Brokers Association Propose Dismantling of Freddie, Fannie
- 1. Karen Suarez - September 4, 2009
I agree when you said in your article that we have to be somehow "detached" when we read real estate news. We have to be diligent enough to read the entire news article and if possibe, do our owmn research as well. News si still business and more often than not, they use catchy albeit false phrases just tp draw attention.


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Contact: Heath Fisackerly
STARKVILLE, Miss.—Mississippi State celebrates learning experiences around the world with a range of free activities taking place next Monday-Friday [Nov. 13-17].
The university's International Institute, Richard E. Holmes Cultural Diversity Center, Office of Study Abroad and Center for Student Activities are co-sponsors of International Education Week 2017.
Among others, the scheduled events include:
—Monday [the 13th], 6 p.m., Colvard Student Union Art Gallery. An hour-long reception for "Pieces of the World," an exhibit of photographs from throughout the globe taken by MSU student travelers who will be on hand to share their experiences.
—Tuesday [the 14th], 11 a.m.-1 p.m., Colvard's Bill Foster Ballroom. A come-and-go "Study Abroad Expo" providing extensive information on available options and including a sharing of recent travel experiences by student participants. Pizza slices and prizes will be available.
Also Tuesday, 3-4 p.m., Colvard Room 330. "Conversation Connections," an ongoing gathering organized by the English Language Institute and MSU Globetrotters, at which U.S. and international students, faculty and local community representatives discuss cultural topics and current events.
—Thursday [the 16th], noon-2 p.m., Memorial Hall's Coskrey Auditorium. A group of international students will compare and contrast routine daily life in their home countries and the U.S. Lunch will be provided.
Two special daily offerings during the week include:
—11 a.m.-1 p.m., Marketplace at Perry Cafeteria. "Delicious DestiNATIONS," the Holmes Center/MSU Dining Services-sponsored introductory of a favorite food item from different countries. Depending on the day, the menu selection will represent Greece, Japan, Italy or Morocco.
—8 a.m.-5 p.m., 116 Allen Hall. An International Institute-sponsored "selfie photo booth" with global-themed backdrops and other fun props for social media images to be posted via hashtags #MSUGlobal and #IEW2018.
For the complete list of International Education Week activities, visit www.union.msstate.edu/hcdc or contact Kei Mamiya at 662-325-2033 or firstname.lastname@example.com.
MSU is Mississippi's leading university, available online at www.msstate.edu.


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I've been looking forward to writing this post for a little while now, as Ron Collins is one of my absolute favourite sewing personalities. As a young teenager some 10 or 15 years ago, I remember meeting the designer, speaker and teacher, and being quite impressed that he was so cool and also made really great garments. My opinion or Ron hasn't much changed, except that I'm even more impressed now than I was at 13. Since our first meeting, Ron has gone on to appear on HGTV, Sew Perfect, Life Network, CTV, Sew Much Fun, and Eyes On Toronto. He has also produced several Power Sewing DVD's with author Sandra Betzina.
Ron has two upcoming classes at A Great Notion that each have just a couple of spots left. Here are the details:
The Ultimate Sewing Retreat
- Have a blast while working on whatever project you'd like with Ron's guidance!
- 3 full days – Nov. 16-18; 10am – 4:30pm each day
- Surrey/Langley Location
- $300 + supplies
Copying Your Favourite Ready-to-Wear Garment
- Create a pattern for your favourite item of clothing without taking it apart! Ron is a master at designing patterns, so here is your opportunity to learn from the best!
- 1 full day – Nov. 19; 10am – 4:30pm
- Surrey/Langley Location
- $100 + supplies
To register for either class, call us at 604-575-9028 or visit: http://agreatnotion.com/online_shop.php?cName=Special_Events&categoryId=2000244


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Heart Rhythm Society Educates San Diego Residents on the Common Heart Arrhythmia and Its Connection to Stroke
March 10, 2015
SAN DIEGO — Misconceptions about atrial fibrillation (AF) are common among people nationwide, according to a recent survey by the Heart Rhythm Society (HRS). More than half (56 percent) of Americans do not know that AF puts someone at a high risk of having a stroke. People are more likely to assume high risk related to other common factors like smoking, eating fried or fatty foods or drinking a lot of alcohol. HRS calls on San Diego residents to learn the truth about AF and encourages those who suffer from the disorder to talk to their doctors about their increased risk for stroke.
AF is characterized by a rapid and irregular heartbeat caused when the top chambers of the heart (the atria) quiver (fibrillate) erratically, at rates faster than 300 times per minute. It affects more than 2.7 million American adults and accounts for approximately one-third of hospitalizations for cardiac rhythm disturbances.
"The survey results show that there is a great need for education about the connection between stroke and atrial fibrillation. I find it alarming that so many people are in the dark about very important information pertaining to this common, yet dangerous heart arrhythmia," said Charles Athill, MD, FHRS, Cardiologist and Cardiac Electrophysiologist, San Diego Cardiac Center. "As a practicing electrophysiologist in San Diego, I want all residents to know the facts about AF including ways to manage the disorder and live healthy, active lives."
Common Misconceptions about AF…Very Few Know the Truth
Truth: AF is associated with a four-to-five fold increase in stroke risk compared to patients who do not have AF and 15 people every hour suffer a stroke caused by AF[1] .
- Misconception: A startling 59 percent of people did not know AF increases someone's risk of having a stroke fivefold, furthermore, 79 percent of people did not know that 15 people every hour suffer a stroke caused by AF.
Truth: Strokes associated with AF are twice as likely to be fatal or severely disabling1.
- Misconception: 67 percent of people did not realize that strokes associated with AF are twice as likely to be fatal or severely disabling.
Truth: Certain over-the-counter and prescription medications, dietary supplements, and herbal remedies can increase the chance of developing arrhythmias and trigger an episode of AF[2] .
- Misconception: Fewer than one in five (18 percent) know that over the counter medicine could bring on an AF episode.
HRS encourages San Diego residents to take the following steps to help prevent AF:
5 Tips for Lowering the Risk of Developing a Heart Arrhythmia:
- Eat your way to a healthy heart.Maintaining a healthy weight, and eating a healthy diet with plenty of vegetables, fruits and other vitamin-rich foods is important to reducing heart disease and lowering the risk of arrhythmias.
- Control your cholesterol levels.High cholesterol levels can clog arteries and increase your chance of developing arrhythmias. Consult your doctor if your total cholesterol exceeds 200.
- Learn about side effects of medications.Whether over-the-counter or prescription, side effects vary and interactions can occur.Alwaystalk to a healthcare provider before taking any medication or supplement.
- Keep your blood pressure low.Hypertension is one of the major risk factors for stroke and atrial fibrillation. Ask your doctor what your target blood pressure should be and about using a home blood pressure monitor if needed.
- Tell your doctor right away about any unusual symptoms you have.Racing, pounding or fluttering of the heart are all signs of AF. If you experience any of these, consult your physician who may refer you to a heart specialist called an electrophysiologist.
HRS and American College of Cardiology are hosting a "Living with Atrial Fibrillation" educational event for patients and caregivers at Hilton Bayfront, San Diego on March 13, 2015 from 11:30 a.m. – 1:00 p.m. If interested in attending the event, please contact firstname.lastname@example.com .


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Category: None
Zeikos camera bag : 12 exposure disposable camera : Pen camera toronto.
Zeikos Camera Bag
- an adaptation of bags used to carry photographic equipment. Todays camera bags are rectangular with many additional zippered outside compartments.
Zeikos Deluxe Digital SLR Camera Sling Backpack
Kit includes:
¦ 1) Zeikos Deluxe Digital SLR Camera Sling Backpack (Black/Silver)
¦ 2) Precision Design Deluxe Camera Tripod with Carrying Case
¦ 3) Precision Design Deluxe 6-Piece Cleaning Kit
If you require serious protection for your equipment, convenient access to your gear, and exceptional comfort all in a compact package, then the Zeikos Deluxe Backpack is the perfect case for you! Made from high-quality, water-resistant materials, this case is designed to provide the wearer with a truly versatile storage solution when taking photography gear on the road.
Key Features:
• Tough, water-resistant construction
• Fully-padded camera compartment
• Adjustable velcro dividers for lens storage
• Sling design for quick access to equipment
• Several pockets for storing a variety of accessories
• Comfortable, soft mesh back and padded shoulder strap
• Quick release buckles for easy removal
• Built-in microfiber cloth
• Accommodates one digital SLR camera with zoom lens attached, plus 2-4 lenses and accessories
• Dimensions (WxHxD): 10 x 16 x 5.5 inches (25.4 x 40.6 x 14 cm)
• Lifetime Warranty
Avoid camera shake and achieve maximum image quality by setting your camera on this sturdy, lightweight 57-inch tripod.
This 6-piece cleaning kit contains everything you'll ever need to properly clean your lenses, including a Hurricane Air Blower, Lens Cleaning Tissues, Lens Cloth, Lens Cleaning Liquid, Brush and Cotton Swabs.
What used to be in my bag
I think I'm going to start posting normal everyday pictures in my photo stream again and not just pictures of Asa. The baby pictures will still get posted, it just might be with something else completely random. As for this picture, I know some of the Nikon or Canon gear heads might call it blasphemy to put a Nikon camera in a Canon 200eg bag, but I call it economically sound. The bag was only $36 shipped when I bought it 3yrs ago and has held up like a champ even with a solid 17lbs of stuff in it all the time.
167/365 New Tripod 4 my camera!
Jun 16-167/365
Came with bag, batteries, Q-Tips, a teflon cloth,and lens cleaner!
To the observers, bear with me, I've been working OT all week and my wind has pretty much run out for me to stay on top of this project.
More than likely I won't do another one after this. I already got a full plate, and it's gettin' kinda heavy!
© 2010 JVLIVS Photography. All rights reserved.
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tag:blogger.com,1999:blog-12612070977671792722018-12-03T22:36:12.235-08:00Engineering and ConstructionEdin email@example.com:blogger.com,1999:blog-1261207097767179272.post-24036910924625088922016-04-11T08:35:00.001-07:002016-04-11T08:35:15.926-07:00Building's - Distinct Design ApproachesThe more important difference between wind and earthquake resistance lies in their basic design approaches. For wind load resistance, the structure is designed so that under the action of maximum wind loads, it remains elastic—that is, the structure is designed to suffer no permanent deformation under the worst expected storm.

The design approach is different for earthquake load resistance. The loads on a building produced by the worst expected earthquake for the location are so large that if the building were designed to remain elastic after the earthquake, it would be prohibitive in cost. Therefore, the earth-quake loads for which a building is designed may be smaller than the maximum earthquake loads expected on it.

The underlying design philosophy is that the building should remain elastic when resisting minor earthquakes. In the event of an intense earth-quake, part of the earthquake's energy may be dissipated in permanently deforming the building, but the building must otherwise remain intact to provide complete safety to its occupants.

Permanent deformations in a structure are possible only if the structure has the ability to sustain such deformations. Materials that can sustain permanent deformation prior to failure are called ductile materials. Ductility is an essential property for buildings located in seismic zones but is not a requirement for resisting wind loads.

A building must not deform permanently even in the most severe windstorm. Additionally, it must be rigid enough to reduce the deflections caused by strong winds. The swaying of the upper floor of tall buildings under wind loads must be controlled to remain within acceptable limits of human tolerance.

The reverse is true for earthquake loads. Buildings must be able to deform, even permanently, to absorb the energy delivered to them by the earthquake. If brittle materials are used, they will fail under earthquake forces. Several reinforced concrete frame buildings with (brittle) unreinforced masonry infill walls between frames have collapsed or suffered serious damage under earthquake forces, Figure 3.26 . Such buildings would generally be unharmed by violent storms.

FIGURE 3.26 A typical pattern of damage to unreinforced masonry infill walls in buildings with a reinforced concrete frame structure. If the infill walls shown in this illustration had been reinforced horizontally and vertically, they would have suffered minor (or no) damage depending on the earthquake's intensity.

Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-63907874500778422972015-12-11T13:02:00.002-08:002015-12-11T13:02:16.045-08:00Building Construction and EconomyCareful planning in scheduling the construction operations for a building and in providing the forms can assure the maximum economy in formwork and also the highest efficiency by labor, both of which will reduce the cost of formwork.

Consider the six-story building in Figure 2-1, to be constructed with concrete columns, girders, beams, and slabs. The floor area is large enough to justify dividing the floor into two equal or approx-imately equal areas for forms and concreting. A construction joint through the building is specified or will be permitted. If the structure is symmetrical about the construction joint, the builder will be fortunate. If the building is not symmetrical about the construction joint, some modifications will have to be made in the form procedures presented hereafter.

Each floor will be divided into equal units for construction purposes. Thus, there will be 12 units in the building. One unit will be completely constructed each week, weather permitting, which will include making and erecting the forms; placing the reinforcing steel, electrical conduit, plumbing items, etc., and pouring the concrete. The carpenters should complete the formwork for unit 1 by the end of the third day, after which time some of them will begin the form-work for unit 2 while others install braces on the shores and other braces, if they are required, and check; if necessary, the carpenters will adjust the elevations of girder, beam, and deck forms. One or two carpenters should remain on unit 1 while the concrete is being placed. This will consume one week.

FIGURE 2-1 Construction schedule for concrete frame of building.

During the second week, and each week thereafter, a unit will be completed. Delays owing to weather may alter the timing but not the schedule or sequence of operations. Figure 2-1 shows a simplified section through this building with the units and elapsed time indicated but with no provision for lost time owing to weather.

Forms for columns and beam and girder sides must be left in place for at least 48 hours, whereas forms for the beam and girder bottoms, floor slab, and vertical shores must be left in place for at
least 18 days. However, concrete test cylinders may be broken to determine the possibility of a shorter removal time of shores. Form-work will be transferred from one unit to another as quickly as time requirements and similarity of structural members will permit.

Table 2-2 will assist in determining the number of reuses of form units and total form materials required to construct the building illustrated in Figure 2-1. Although the extent to which given form sections can be reused will vary for different buildings, the method of analyzing reusage presented in this table can be applied to any building and to many concrete structures.

If the schedule shown in Table 2-2 will apply, it will be necessary to provide the following numbers of sets of forms: for columns and beam and girder sides, two sets and for beam bottoms, slab decking,
and shores, three sets.

TABLE 2-2 Schedule of Use and Reuse of Formwork for a Building (Continued )

If structural sections such as columns, girders, beams, and floor panels in odd-numbered units 1 through 11 are similar, and those in the even-numbered units 2 through 12 are similar, but those in units 1 through 11 are not similar to those in units 2 through 12, it will be necessary to move form sections to higher floors above given units. For example, forms for unit 1 cannot be used in unit 2, or those from unit 3 in unit 4, and so on. Under this condition, it will be necessary to provide one set of columns and beam and girder sides for unit 1 and another set for unit 2, which will be sufficient for the entire building.Edin O'Brienhttps://email@example.com:blogger.com,1999:blog-1261207097767179272.post-32970572946531681472015-06-16T09:05:00.000-07:002015-06-16T09:05:30.167-07:00WIND VERSUS EARTHQUAKE RESISTANCE OF BUILDINGSAs discussed in Section 3.4, many of the structural strategies used for wind load resistance and earthquake resistance are essentially similar. Buildings are, therefore, generally designed to resist either earthquake loads or wind loads, whichever causes the worst effect (greater stresses). This is based on the assumption that there is a negligible probability of maximum wind speeds occurring at the same time as an intense earthquake. In regions of low seismic activity, wind loads govern the design of the lateral resistance of buildings; in regions of intense seismic activity, the reverse is the case.

The design of lightweight envelope components, such as glass curtain walls and roof membranes, is governed by wind loads even in highly seismic regions. (Remember that earthquake loads are influenced by the weight of the component.) Despite the similarities between the provisions for wind load and earthquake load resistance, there are several differences in the details. An important difference is that as an earth-quake shakes the ground on which the building rests, it affects all components of the building—exterior as well as interior components. Damage to the building's contents and injury to occupants may occur by falling interior contents, Figure 3.24 . Thus, all compo-nents, equipment, and fixtures in a building located in a seismically active zone must be adequately anchored to remain intact during an earthquake.

FIGURE 3.24 Effect of earthquake shaking (1989 Loma Prieta earth-quake) on the contents of a building's interior. Note that the building envelope is intact.

Wind, on the other hand, acts on the building envelope. It is through the envelope that wind loads are transmitted to the building structure. If the envelope remains intact, the building will generally retain its overall structural integrity in a storm. Thus, the wind damage in a building usually begins with the damage to envelope components, such as the roof, exterior walls, exterior doors, windows, and other cladding elements. Once the building changes from fully enclosed to partially enclosed (see Figure 3.15), the wind loads on the building increase due to the ballooning effect, which may result in additional damage or collapse of the structure, damage to interior contents, and injuries to occupants, Figure 3.25.

<img alt="FIGURE 3.25 Damage to the glass curtain wall of the 37-story Bank One Building, Fort Worth, Texas, by a forceful tornado on March 28, 2000. As soon as the glass in the curtain wall shattered, substantial damage to the building's interior (ceiling, drywall, electrical fixtures, etc.)" border="0" src="http://1.bp.blogspot.com/-l-SlgWMb0Uk/VYBH3FSDQbI/AAAAAAAAPGs/FGAQyoGusqU/s1600/1.gif" title="FIGURE 3.25 Damage to the glass curtain wall of the 37-story Bank One Building, Fort Worth, Texas, by a forceful tornado on March 28, 2000. As soon as the glass in the curtain wall shattered, substantial damage to the building's interior (ceiling, drywall, electrical fixtures, etc.)" />

FIGURE 3.25 Damage to the glass curtain wall of the 37-story Bank One Building, Fort Worth, Texas, by a forceful tornado on March 28, 2000. As soon as the glass in the curtain wall shattered, substantial damage to the building's interior (ceiling, drywall, electrical fixtures, etc.)

<img alt="FIGURE 3.15 Ballooning of a building with a relatively large opening in one wall. Such a building is referred to as a partially enclosed building. A building that is not partially enclosed is called an enclosed building. Most buildings belong to the enclosed building category. " border="0" src="http://2.bp.blogspot.com/-4k1YoihpN9M/VYBI6BsI80I/AAAAAAAAPHA/lTwCZvJEz8o/s1600/1.gif" title="FIGURE 3.15 Ballooning of a building with a relatively large opening in one wall. Such a building is referred to as a partially enclosed building. A building that is not partially enclosed is called an enclosed building. Most buildings belong to the enclosed building category. " />

	FIGURE 3.15 Ballooning of a building with a relatively large opening in one wall. Such a building is referred to as a partially enclosed building. A building that is not partially enclosed is called an enclosed building. Most buildings belong to the enclosed building category.

Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-50781129542885095972015-04-23T13:10:00.003-07:002015-04-23T13:10:58.581-07:00BUILDING'S MASS AND DUCTILITY OF THE STRUCTURAL FRAMEFrom Newton's second law of motion, the other factor that affects the magnitude of the earthquake load is the weight of the building. Lighter buildings attract a smaller earthquake load than buildings constructed of heavy materials. Thus, concrete frame and masonry structures attract a greater earthquake load than wood frame or steel frame structures. Residential structures with wood siding or stucco finishes attract a smaller earthquake load than those with brick or stone veneer.

Indeed, because of its light weight, the earthquake load on a tent is negligible even in a severe earthquake, Figure 3.22. A tent structure has the additional advantage of its built-in resistance toabsorb structural deformations (ductility)—an important structural property for earthquake regions.

Buildings constructed of heavy materials with little or no capacity to absorb deformations are among the most hazardous buildings in a seismically active zone. Such buildings include those whose structural system consists of unreinforced masonry structures (i.e., bricks, stone or concrete block walls with no vertical rein-forcement), Figure 3.23.

Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-10790612962197475802015-03-16T19:56:00.002-07:002015-03-16T19:56:50.308-07:00RAIN LOADAlthough roofs are designed to have adequate drainage so that no accumulation of water occurs, loads resulting from accidental accumulation of melted snow or rainwater must be considered as a possibility. Drains may be blocked by windblown debris or hail aggregating on the roof or the formation office dams near the drains.

Long-span, relatively flat roofs are particularly vulnerable to rainwater accumulation because, being flexible, they deflect under the weight of water. This deflection leads to yet more accumulated water, causing additional deflection, which increases accumulation. If adequate stiffness is not provided in the roof, the progressive increase of deflection can cause excessive load on the roof. Water accumulation has been the cause of complete collapse of several long-span roofs.

Generally, roofs with slope greater than 1/4 in. to 1 ft (1:48 or, say, 1:50 slope) are not subjected to accumulated rainwater unless roof drains are blocked. Building codes mandate 1/4 in. to 1 ft as the minimum slope required for roofs, which, apart from providing positive drainage, also helps to increase the life and improve the performance of roof (waterproofing) membranes.

Building codes also require that in addition to primary drains, roofs must be provided with secondary (overflow) drains. The secondary drains must be at least 2 in. above the primary drains so that if the primary drainage system gets blocked, the secondary system will be able to drain the water off the roof, Figure 3.5.

Water accumulation generally occurs on roofs that are provided with a parapet. In the absence of a parapet, water accumulation will generally not occur. Therefore, secondary drains are not required on unparapeted roofs or on steep roofs.

Edin O'Brienhttps://email@example.com:blogger.com,1999:blog-1261207097767179272.post-67295159004595737242015-03-02T17:34:00.002-08:002015-03-02T17:34:26.235-08:00ROOF LIVE LOAD The live load on a roof takes into account the weight of repair personnel and temporary storage of construction or repair materials and equipment on the roof. Roof live load is generally given as 20 psf acting on the horizontal projected area of the roof, Figure 3.4.

This applies to a roof that will not be used in the future as a floor. If the building is expected to be extended vertically in the future, the roof live load is the floor live load for the anticipated future occupancy. Additionally, if the roof is to be landscaped, the load due to the growth medium and landscaping elements must be considered as dead load on the roof.

Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-46437945727486352322015-02-12T09:55:00.000-08:002015-02-12T09:55:20.768-08:00LIVE LOADS IN A BUILDINGWhile the dead load is a permanent load on the structure, live load is defined as the load whose magnitude and placement change with time. Such loads are due to the weights of people (animals, if the building houses animals), furniture, movable equipment, and stored materials. As shown in Figure 3.1 , live loads are further divided into

• Floor live load
• Roof live load

Floor live load depends on the occupancy and the use of the building. Therefore, it is also called the occupancy load, and it is different for different occupancies. For instance, the floor live load for a library stack room is higher than the floor live load for a library reading room, which in turn is higher than the floor live load for an apartment building.

Floor live loads are determined by aggregating the loads of all people, furniture, and movable equipment that may result from the particular occupancy. Safety considerations require that the worst expected situation be considered so that the structure is designed for the maximum possible live load that may be placed on it.

Based on a large number of surveys, floor live loads for various commonly encountered occupancies, such as individual dwellings, hotels, apartment buildings, libraries, office buildings, and industrial structures, have been determined and are contained in building code tables. Table 3.1 gives floor live loads for a few representative occupancies. For instance, the floor live load for a library stack room is 150 psf, for a library reading room is 60 psf, and for an apartment building is 40 psf. Note that these are the minimum floor live loads for which the building must be designed. Even if the actual live load on a floor is smaller, the building must be designed for the minimum live load specified by the building code.

The floor live load values in Table 3.1 are conservative. In most situations, the actual loads are smaller than those given. However, the architect or the engineer must recognize unusual situations that may lead to a greater actual load than the one specified in the code. In such situations, the higher anticipated load should be used.

Additionally, if the live load for an occupancy not included in building code tables is to be obtained, the architect or the structural engineer must determine it from first principles, taking into account all the loads that may be expected on the structure. Most building codes require that such live load values be approved by the building official.

Edin O'Brienhttps://email@example.com:blogger.com,1999:blog-1261207097767179272.post-60660505787812061912015-01-28T15:59:00.003-08:002015-01-28T15:59:43.414-08:00DEAD LOADS IN A BUILDINGDead loads are always present in a building; that is, they do not vary with time. They include the weights of the materials and components that comprise the structure. The dead load of a component is computed by multiplying its volume by the density of the material. Because both the densities and the dimensions of the components are known with reasonable accuracy, dead loads in a building can be estimated with greater certainty than other load types. Densities of some of the commonly used materials are given in Table 2.

The dead load for which a building component is designed includes the self-load of the component plus the dead loads of all other components that it supports. For example, the dead load on a column includes the weight of the column itself plus all the dead load imposed on it. In Figure 3.3, the dead load on a column is the weight of the column plus the dead load from the beams and slab resting on it. Similarly, the dead load on a beam is the weight of the beam itself plus the dead load from the slab that it supports. The dead load on the slab is only the self-weight of the slab. However, if the slab supports a floor finish, ceiling, light fixtures, or plumbing and electrical pipes, their weights must be included in the dead load acting on the slab.

Edin O'Brienhttps://email@example.com:blogger.com,1999:blog-1261207097767179272.post-18362505895811051742015-01-07T11:06:00.002-08:002015-01-07T11:06:38.440-08:00CONSTRUCTION CONTRACT ADMINISTRATION The general contractor will normally have an inspection process to ensure that the work of all subcontractors is progressing as indicated in the contract documents and that the work meets the standards of quality and workmanship. On smaller projects, this may be done by the project superintendent . On large projects, a team of quality-assurance inspectors generally assists the contractor's project superintendent. These inspectors are individuals who, by training and experience, are specialized in their own areas of construction—for example, concrete, steel, or masonry.

Additional quality control is required by the contract through the use of independent testing laboratories. For instance, structural concrete to be used on the site must be verified for strength and other properties by independent concrete testing laboratories.

Leaving quality control of materials and performance entirely in the hands of the contractor is considered inappropriate. It can render the owner vulnerable to omissions and errors in the work, and it places an additional legal burden on the contractor. Therefore, the owner usually retains the services of the project architect to provide a third-party level of scrutiny to administer the construction contract. If not, the owner will retain another independent architect, engineer, or inspector to provide construction contract administration services. The contracting community favors this third-party oversight of its work.

The architect's role during the construction phase has evolved over the years. There was a time when architects provided regular supervision of their projects during construction, but the liability exposure resulting from the supervisory role became so adverse for the archi-tects that they have been forced to relinquish this responsibility. Instead, the operative term for the architect's role during construction is field observation of the work.

The observational role still allows the architects to verify that their drawings and specifications are transformed into reality just as they had conceived. It also provides a sufficient safeguard against the errors caused by the contractors' misinterpretation of contract documents in the absence of the architects' clarification and interpretation. The shift in the architect's role to observer of construction also recognizes the important and entirely independent role that the contractor must play during construction. This rec-ognition provides full authority to the general contractor to proceed with the work in the manner that the contractor deems appropriate. This reinforces the earlier statements that:

• The architect determines the what and where .
• The contractor determines the how (means and methods) and when (sequence) of construction.

In other words, daily supervision or superintendence of construction is the function of the contractor—the most competent person to fulfill this role. The architect provides periodic observation and evaluation of the contractor's work and notifies the owner if the work is not in compliance with the intent of the contract documents. This under-scores the division between the responsibilities of the architect and the contractor during construction.

Note that by providing observation, the architect does not certify the contractor's work. Nor does the observation relieve the contractor of its responsibilities under the contract. The contractor remains fully liable for any error that has not been discovered through the architect's observation. However, the architect may be held liable for all or part of the work observed, should the architect fail to detect or provide timely notification of work not conforming with the contract documents. This omission is known as failure to detect.

Because many components can be covered up by other items over days or hours, the architect should visit the construction site at regular intervals, as appropriate to the progress of construction. For example, earthwork covers foundations and underground plumbing, and gypsum board covers ceiling and wall framing. Observing the work after the components are hidden defeats the purpose of observation.

On some projects, a resident project architect or engineer may be engaged by the architect, at an additional cost to the owner, to observe the work of the contractor. Under the conditions of the contract, the contractor is generally required to provide this person with an on-site office, water, electricity, a telephone, and other necessary facilities.

INSPECTION OF WORK

There are only two times during the construction of a project that the architect makes an exception to being an observer of construction. At these times, the architect inspects the work. These inspections are meant to verify the general contractor's claim that the work is (a) substantially complete and (b) has been completed and hence is ready for final payment. These inspections, explained in Section 1.10, are referred to as:

• Substantial completion inspection
• Final completion inspection

PAYMENT CERTIFICATIONS

In addition to construction observation and inspection, there are several other duties the architect must discharge in administering the contract between the owner and the contractor. These are outlined in the box "Summary of Architect's Functions as Construction Contract Administrator." Certifying (validating) the contractor's periodic requests for payment against the work done and the materials stored at the construction site is perhaps the most critical of these functions. An application for payment (typically made once a month unless stated differently in the contract) is followed by the architect's evaluation of the work and necessary documentation to verify the contractor's claim. Because the architect is not involved in day-to-day supervision, the issuance of the certificate of payment by the architect does not imply acceptance of the quality or quantity of the contractor's work. However, the architect has to be judicious and impartial to both the owner and the contractor and perform within the bounds of the contract.

CHANGE ORDERS

There is hardly a construction project that does not require changes after construction has begun. The contract between the owner and the contractor recognizes this fact and includes provisions for the owner's right to order a change and the contractor's obligation to accept the change order in return for an equitable price adjustment. Here again, the architect performs a quasi-judicial role to arrive at a suitable agreement and price between the owner and the contractor. Edin O'Brienhttps://email@example.com:blogger.com,1999:blog-1261207097767179272.post-45338862874221753822014-12-02T11:59:00.001-08:002014-12-02T11:59:14.186-08:00CONSTRUCTION PHASE Once the general contractor has been selected and the contract awarded, the construction work begins, as described in the contract documents . The contract documents are virtually the same as the bidding documents, except that the contract documents are part of a signed legal contract between the owner and the contractor. They generally do not contain Division 00 of the MasterFormat.

In preparing the contract documents, the design team's challenge is to efficiently produce the graphics and text that effectively communicate the design intent to the construction professionals and the related product suppliers and manufacturers so that they can do the following:

 • Propose accurate and competitive bids
 • Prepare detailed and descriptive submittals for approval
 • Construct the building with a minimum number of questions, revisions, and changes

SHOP DRAWINGS

The construction drawings and the specifications should provide a fairly detailed delineation of the building. However, they do not describe it to the extent that fabricators can produce building components directly from them. Therefore, the fabricators generate their own drawings, referred to as shop drawings , to provide the higher level of detail necessary to fabricate and assemble the components.

Shop drawings are not generic, consisting of manufacturers' or suppliers' catalogs, but are specially prepared for the project by the manufacturer, fabricator, erector, or subcontractors. For example, an aluminum window manufacturer must produce shop drawings to show that the required windows conform with the construction drawings and the specifications. Similarly, precast concrete panels, stone cladding, structural steel frame, marble or granite flooring, air-conditioning ducts, and other components require shop drawings before they are fabricated and installed.

Before commencing fabrication, the fabricator submits the shop drawings to the general contractor. The general contractor reviews them, marks them "approved," if appropriate, and then submits them to the architect for review and approval. Subcontractors or manufacturers cannot submit shop drawings directly to the architect.

The review of all shop drawings is coordinated through the architect, even though they may actually be reviewed in detail by the appropriate consultant. Thus, the shop drawings pertaining to structural components are sent to the architect and then to the structural consultant for review and approval. The fabricator generally begins fabrication only after receiving the architect's review of the shop drawings.

The review of shop drawings by the architect is limited to checking that the work indicated therein conforms with the overall design intent shown in the contract documents. Approval of shop drawings that are later discovered to deviate from the contract documents does not absolve the general contractor of the responsibility to comply with the contract documents for quality of materials, workmanship, or the dimensions of the fabricated components, Figure 1.9.

MOCK-UP SAMPLES

In addition to shop drawings, full-size mock-up samples of one or more critical elements of the building may be required in some projects. This is done to establish the quality of materials and workmanship by which the completed work will be judged. For example, it is not unusual for the architect to ask for a mock-up of a typical area of the curtain wall of a high-rise building before the fabrication of the actual curtain wall is undertaken. Mock-up samples go through the same approval process as the shop drawings.

OTHER SUBMITTALS

In addition to shop drawings and any mock-up samples, some other submittals required from the contractor for the architect's review are:

• Product material samples
• Product data
• Certifications
• CalculationsEdin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-2058726306106699502014-11-18T18:43:00.000-08:002014-11-18T18:43:20.409-08:00DBB METHOD—INVITATIONAL BIDDING Invitational bidding, also called closed bidding , is another variation of the DBB method that is generally used for quasi-public and some private projects. In this method, the owner preselects general contractors who have demonstrated, based on their experience, resources, and financial standing, their qualifications to perform the work. The selected contractors are then invited to bid for the project, and the contractor with the lowest bid is then awarded the contract. The architect (as the owner's representative) may be involved in the prescreening process. Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-90001366104054997742014-11-18T18:41:00.001-08:002014-11-18T18:41:15.014-08:00DBB METHOD—COMPETITIVE SEALED PROPOSAL This method is very similar to competitive sealed bidding and is commonly used for publicly funded projects. The difference between competitive sealed bidding and competitive sealed proposal methods is that the owner's selection of the general contractor is not based on price alone but also on such other criteria as the contractor's past experience, safety record, proposed personnel, project schedule, and so on. To ensure fairness, the advertisement and bidding documents must provide the details of the selection criteria, with relative weightings assigned to each criterion. Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-60668112283510053902014-08-27T10:44:00.001-07:002014-08-27T10:44:23.658-07:00DBB METHOD—COMPETITIVE SEALED BIDDING On several publicly funded projects, the award of a construction contract to the general contractor is based on competitive sealed bidding , also called open bidding . This refers to the process by which qualified contractors are invited to bid on the project. The invitation is generally issued through advertisements in newspapers, trade publications, and other public media.

The advertisement for bids includes a description of the project, its location, where to obtain the bidding documents, the price of the bidding documents, the bid opening date and location, and other important information. The purpose of the advertisement is to notify and thereby attract a sufficient number of contractors to compete for the construction contract.

The general contractor's bid for the project is based on the information provided in the bidding documents . The bidding documents are essentially the construction document set with such additional items as the instructions to bidders, requirements with respect to the financial and technical status of bidders (see the information on surety bonds in the box "Expand Your Knowledge"), and the contract agreement form that the successful bidder will sign when the contract is awarded. Because these additional items are text items, they are bound together as a project manual, Figure 1.8.

 FIGURE 1.8 The project manual in the bidding document set includes specifications and
 Division 00. After the general contractor has been selected, the project manual (in the contract
document set) generally excludes Division 00.

In the competitive sealed bidding method, the bidding documents are generally given only to contractors who are capable, by virtue of their experience, resources, and financial standing, to bid for the project. Therefore, the architect (as the owner's representative) may prescreen the bidders with respect to their reputation and ability to undertake the project.

An exception to prescreening for the release of bidding documents involves projects funded by the federal, state, or local government, for which almost anyone can access the bidding documents. However, even in this kind of project, the number of contractors who can actually submit the bids is practically limited. This limitation is generally the result of the financial security required from the bidders, known as a bid bond . The bidder must obtain a bid bond from a surety company in the amount specified in the bidding documents. This bond is issued based on the contractor's experience, ability to perform the work, and financial resources required to fulfill the contractual obligations.

Whether or not the release of the bidding documents is restricted, the procedure stated earlier ensures that all the bidders are similarly qualified with respect to financial ability, experience, and technical expertise. Because all bidders receive the same information and are of the same standing, the competition is fair; therefore, the contract is generally awarded to the lowest qualified bidder. Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-9998314024018421272014-07-16T10:40:00.000-07:002014-08-27T10:44:56.058-07:00DESIGN-BID-BUILD PROJECT DELIVERY METHOD In the design-bid-build method, the general contractor is selected through competition. The owner obtains multiple bids for the project from which the general contractor, who provides the "best value for money," is selected. Within this overall approach, several versions are available to suit the requirements of the project and the particular needs of the owner. Collectively, these delivery versions are referred to as the design bid-build (DBB) method because in this version, the design, bid, and construction phases of a project are sequential, and one phase does not begin until the previous phase has been completed, Figure 1.7 . Following are three commonly used versions of the DBB method of delivery:

 • DBB method—competitive sealed bidding (open bidding)
 • DBB method—competitive sealed proposal
 • DBB method— invitational bidding (closed bidding)

 FIGURE 1.7 Sequence of operations in the design-bid-build (DBB) method of project delivery. Note that the owner's approval is required before proceeding from one phase or stage to the next.

Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-48293451376338868132014-07-07T13:41:00.001-07:002014-07-07T13:41:09.552-07:00GENERAL CONTRACTOR AND PROJECT DELIVERY METHODS Selecting the general contractor is a crucial part of a project. A number of selection methods exist. The method used in selecting the general contractor, its timing, and the contractor's obligations under the contract distinguishes one project delivery method from the other. Some of the most commonly used delivery methods are:

• Design-bid-build method
• Design-negotiate-build method
• Construction manager as agent method
• Construction manager at risk method
• Design-build method
• Integrated project delivery method

The design-bid-build method is the oldest and most familiar method of project delivery. This method is covered first. Because the essential features of construction and postconstruction phases are almost identical in all delivery methods, a discussion of what is included in these two phases is presented next. Subsequently, other methods are discussed in terms of how they differ from the design-bid-build method. The table "Project Delivery Methods at a Glance" provides a synopsis of these methods.

 Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-84018988059245489142014-07-02T09:27:00.002-07:002014-07-02T09:27:32.988-07:00CONSTRUCTION-RELATED INFORMATION The preconstruction phase generally begins after the construction drawings and specifications have been completed and culminates in the selection of the construction team. The construction of even a small building involves so many specialized skills and trades that the work cannot normally be undertaken by a single construction firm. Instead, the work is generally done by a team consisting of the general contractor and a number of specialty subcontractors .

Thus, a project may have roofing; window and curtain wall; plumbing; and heating, ventilation, and air-conditioning (HVAC) subcontractors, among others, in addition to the general contractor. The general contractor's own work may be limited to certain components of the building (such as the structural components—load-bearing walls, reinforced concrete beams and columns, roof and floor slabs, etc.), with all the remaining work subcontracted.

In contemporary projects, however, the trend is toward the general contractors not performing any actual construction work but subcontracting the work entirely to various sub-contractors. Because the subcontractors are contracted by the general contractor, only the general contractor is responsible and liable to the owner.

In some cases, a subcontractor will, in turn, subcontract a portion of his or her work to another subcontractor, referred to as a second-tier subcontractor, Figure 1.6. In that case, the general contractor deals only with the subcontractor, not the second-tier subcontractor.

Whether the general contractor performs part of the construction work or subcontracts the entire work, the key function of the general contractor is the overall management of construction. This includes coordinating the work of all subcontractors, ensuring that the work done by them is completed in accordance with the contract documents, and ensuring the safety of all workers on the site. A general contractor with a good record of site safety not only demonstrates respect for the workers but also improves the profit margin by lowering the cost of construction insurance.

 FIGURE 1.6 Members of the construction team and their interrelationships with each other and
the owner. A solid line in this illustration indicates a contractual relationship between parties. A
dashed line indicates a communication link, not a contract. The relationships shown here are not
absolute and may change with the nature of the project.

Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-18357574281883773632014-06-26T11:15:00.000-07:002014-06-26T11:15:00.152-07:00RECOLLECTING THE MASTERFORMAT DIVISION SEQUENCE Architectural design typically involves Divisions 2 to 14 of the Facilities Construction Subgroup. Although the basis for sequencing the Divisions in this subgroup is far more complicated, the first few divisions (those that are used in virtually all buildings) may be deduced by visualizing the sequence of postearthwork operations required in constructing the simple building shown in Figure 1.5. The building consists of load-bearing masonry walls, steel roof joists, and wood roof deck.

 FIGURE 1.5 A simple load-bearing masonry wall building with steel roof trusses and wood roof
deck used as an aid to recalling the sequence of the first few (architecturally important) divisions of
the MasterFormat.

The first operation is the foundations for the walls. Because foundations are typically made of concrete, Concrete is Division 03. After the foundations have been completed, masonry work for the walls can begin. Thus, Masonry is Division 04. After the walls are completed, steel roof joists can be placed. Thus, Division 05 is Metals . The installation of the wood roof deck follows that of the steel joists. Hence, Wood, Plastics, and Composites is Division 06.

After the roof deck is erected, it must be insulated and protected against weather. Therefore, Thermal and Moisture Protection is Division 07. Roofing and waterproofing (of basements) are part of this division, as are wall insulation and joint sealants. The next step is to protect the rest of the envelope; hence, Division 08 is Openings . All doors and windows are part of this division, regardless of whether they are made of steel, aluminum, or wood.

With the envelope protected, finish operations, such as those involving the interior dry- wall, flooring, and ceiling, can begin. Thus, Division 09 is Finishes . Division 10 is Specialties , which consists of several items that cannot be included in the previous divisions, such as toilet partitions, lockers, storage shelving, and movable partitions.

Obviously, the building must now receive all the necessary office, kitchen, laboratory, or other equipment. Thus, Division 11 is Equipment . Division 12 is Furnishings , followed by Special Construction (Division 13) and Conveying Equipment (Division 14).

Before any construction operation can begin, there must be references to items that apply to all divisions, such as payment procedures, product-substitution procedures, contract-modification procedures, contractor's temporary facilities, and regulatory requirements imposed by the city or any other authority having jurisdiction. This is Division 01, General Requirements . Division 00 ( Procurement and Contracting Requirements ) refers to the requirements for the procurement of bids from prospective contractors. Edin O'Brienhttps://email@example.com:blogger.com,1999:blog-1261207097767179272.post-42939617715973366402014-06-17T08:49:00.002-07:002014-06-17T08:49:47.937-07:00RECOLLECTING THE MASTERFORMAT DIVISION SEQUENCEArchitectural design typically involves Divisions 2 to 14 of the Facilities Construction Subgroup. Although the basis for sequencing the Divisions in this subgroup is far more complicated, the first few divisions (those that are used in virtually all buildings) may be deduced by visualizing the sequence of postearthwork operations required in constructing the simple building shown in Figure 1.5 . The building consists of load-bearing masonry walls, steel roof joists, and wood roof deck.

 FIGURE 1.5 A simple load-bearing masonry wall building with steel roof trusses and wood roof
deck used as an aid to recalling the sequence of the first few (architecturally important) divisions of
the MasterFormat.

The first operation is the foundations for the walls. Because foundations are typically made of concrete, Concrete is Division 03. After the foundations have been completed, masonry work for the walls can begin. Thus, Masonry is Division 04. After the walls are completed, steel roof joists can be placed. Thus, Division 05 is Metals . The installation of the wood roof deck follows that of the steel joists. Hence, Wood, Plastics, and Composites is Division 06.

After the roof deck is erected, it must be insulated and protected against weather. Therefore, Thermal and Moisture Protection is Division 07. Roofing and waterproofing (of basements) are part of this division, as are wall insulation and joint sealants. The next step is to protect the rest of the envelope; hence, Division 08 is Openings . All doors and windows are part of this division, regardless of whether they are made of steel, aluminum, or wood.

With the envelope protected, finish operations, such as those involving the interior dry-wall, flooring, and ceiling, can begin. Thus, Division 09 is Finishes . Division 10 is Special-
ties , which consists of several items that cannot be included in the previous divisions, such
as toilet partitions, lockers, storage shelving, and movable partitions.

Obviously, the building must now receive all the necessary office, kitchen, laboratory, or other equipment. Thus, Division 11 is Equipment . Division 12 is Furnishings , followed by Special Construction (Division 13) and Conveying Equipment (Division 14).

Before any construction operation can begin, there must be references to items that apply to all divisions, such as payment procedures, product-substitution procedures, contract-modification procedures, contractor's temporary facilities, and regulatory requirements imposed by the city or any other authority having jurisdiction. This is Division 01, General Requirements . Division 00 ( Procurement and Contracting Requirements ) refers to the requirements for the procurement of bids from prospective contractors.

Edin O'Brienhttps://email@example.com:blogger.com,1999:blog-1261207097767179272.post-163099250759531262014-06-10T12:07:00.001-07:002014-06-10T12:07:29.764-07:00THE CONSTRUCTION DOCUMENT SET Just as the construction drawings are prepared separately by the architect and each consultant for their respective portions of the work, so are the specifications. The specifications from various design team members are assembled by the architect in a single document called the project manual . Because the specifications consist of printed (typed) pages (not graphic images), a project manual is a bound document—like a book.

The major component of a project manual is the specifications. However, the project manual also contains other items, as explained later in this chapter.

The set of construction drawings (from various design team members) and the project manual together constitute what is known as the construction document set, Figure 1.3. The construction document set is the document that the owner and architect use to invite bids from prospective contractors.

FIGURE 1.3 A construction document set consists of a set of architectural and consultants' construction drawings plus the project manual. The project manual is bound in a book format.

Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-59657386996072253012014-06-04T11:59:00.003-07:002014-06-04T11:59:46.688-07:00CONSTRUCTION SPECIFICATIONS Buildings cannot be constructed from drawings alone, because there is a great deal of information that cannot be included in the drawings. For instance, the drawings will give the locations of columns, their dimensions, and the material used (such as reinforced concrete), but the quality of materials, their properties (the strength of concrete, for example), and the test methods required to confirm compliance cannot be furnished on the drawings. This information is included in the document called specifications.

Specifications are written technical descriptions of the design intent, whereas the drawings provide the graphic description. The two components of the construction documents—the specifications and the construction drawings—complement each other and generally deal with different aspects of the project. Because they are complementary, they are supposed to be used in conjunction with each other. There is no order of precedence between the construction drawings and the specifications. Thus, if an item is described in only one place—either the specification or the drawings—it is part of the project, as if described in the other.

For instance, if the construction drawings do not show the door hardware (hinges, locks, handles, and other components) but the hardware is described in the specifications, the owner will get the doors with the stated hardware. If the drawings had precedence over the specifications, the owner would receive doors without hinges and handles.

Generally, there is little overlap between the drawings and the specifications. More importantly, there should be no conflict between them. If a conflict between the two documents is identified, the contractor must bring it to the attention of the architect promptly. In fact, construction contracts generally require that before starting any portion of the project, the contractor must carefully study and compare the drawings and the specifications and report inconsistencies to the architect.

If the conflict between the specifications and the construction drawings goes unnoticed initially but later results in a dispute, the courts have in most cases resolved it in favor of the specifications—implying that the specifications, not the drawings, govern the project. However, if the owner or the design team wishes to reverse the order, it may be so stated in the owner-contractor agreement. Edin O'Brienhttps://email@example.com:blogger.com,1999:blog-1261207097767179272.post-3523386909988513462014-05-27T09:55:00.001-07:002014-05-27T09:55:13.232-07:00CONSTRUCTION DRAWINGS During the CD stage, the architect and consultants prepare their own sets of drawings, referred to as construction drawings . Thus, a project has architectural construction drawings, civil and structural construction drawings, MEPF construction drawings, landscape construction drawings, and so on.

Construction drawings are dimensioned drawings (usually computer generated) that fully delineate the building. They consist of floor plans, elevations, sections, schedules, and various large-scale details. The details depict a small portion of the building that cannot be adequately described on smaller-scale plans, elevations, or sections.

Construction drawings are the drawings that the construction team uses to build the building. Therefore, they must indicate the geometry, layout, dimensions, types of materials, details of assembling the components, colors and textures, and so on. Construction drawings are generally two-dimensional drawings, but three dimensional isometrics are sometimes used for complex details. Construction drawings are also used by the contractor to prepare a detailed cost estimate of the project at the time of bidding.

Construction drawings are not a sequence of assembly instructions, such as for a bicycle. Instead, they indicate what every component is and where it will be located when the building is completed. In other words, the design team decides the "what" and "where" of the building. The "how" and "when" of the building are entirely in the contractor's domain.

NOTE

Working Drawings and Construction Drawings The term working drawings was used until the end of the twentieth century for what are now commonly referred to as construction drawings.

Edin O'Brienhttps://email@example.com:blogger.com,1999:blog-1261207097767179272.post-51289943967958029242014-05-21T10:21:00.001-07:002014-05-21T10:21:35.816-07:00BUILDING DESIGN DEVELOPMENT (DD) STAGE—EMPHASIS ON DECISION MAKING Once the schematic design is approved by the owner, the process of designing the building in greater detail begins. During this stage, the schematic design is developed further—hence the term design development (DD) stage.

While the emphasis in the SD stage is on the creative, conceptual, and innovative aspects of design, the DD stage focuses on developing practical and pragmatic solutions for the exterior envelope, structure, fenestration, interior systems, MEPF systems, and so forth.

This development involves strategic consultations with all members of the design team. Therefore, the most critical feature of the DD stage is decision making, which may range from broad design aspects to details. At this stage, the vast majority of decisions about products, materials, and equipment are made. Efficient execution of the construction documents depends directly on how well the DD is managed. A more detailed version of the specifications and probable cost of the project is also prepared at this stage. Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-46220873374979337582014-05-14T12:12:00.000-07:002014-05-14T12:12:07.363-07:00BUILDING SCHEMATIC DESIGN (SD) STAGE—EMPHASIS ON DESIGN The schematic design gives graphic shape to the project program. It is an overall design concept that illustrates the key ideas of the design solution. The major player in this stage is the architect, who develops the design scheme (or several design options) with only limited help from the consultants. Because most projects have strict budgetary limitations, a rough estimate of the project's probable cost is generally produced at this stage.

The schematic design usually goes through several revisions, because the first design scheme prepared by the architect will rarely be approved by the owner. The architect communicates the design proposal(s) to the owner through various types of drawings—plans, elevations, sections, freehand sketches, and three dimensional graphics (isometrics, axonometrics, and perspectives). For some projects, a three-dimensional scale model of the entire building or the complex of buildings, showing the context (neighboring buildings) within which the project is sited, may be needed.

With significant developments in electronic media technology, especially building information modeling (BIM), computer-generated imagery has become common in architecture and related engineering disciplines. Computer-generated walk-through and flyover simulations are becoming increasingly popular ways of communicating the architect's design intent to the owner and the related organizations at the SD stage.

It is important to note that the schematic design drawings, images, models, and simulations, regardless of how well they are produced, are not adequate to construct the building. Their objective is merely to communicate the design scheme to the owner (and to consultants, who may or may not be on board at this stage), not to the contractor.Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-4105474917665195712014-05-07T09:56:00.000-07:002014-05-07T09:56:09.220-07:00BUILDING DESIGN PHASE The design phase begins after the selection of the architect. Because the architect (usually a firm) may have limited capabilities for handling the broad range of building-design activities, several different, more specialized consultants are usually required, depending on the size and scope of the project.

In most projects, the design team consists of the architect, civil and structural consultants, and mechanical, electrical, plumbing, and fire-protection (MEPF) consultants. In complex projects, the design team may also include an acoustical consultant, roofing and waterproofing consultant, cost consultant, building code consultant, signage consultant, interior designer, landscape architect, and so on.

Some design firms have an entire design team (architects and specialized consultants) on staff, in which case the owner will contract with a single firm. Generally, however, the design team comprises several different design firms. In such cases, the owner typically contracts the architect, who in turn contracts the remaining design team members, Figure 1.1. Thus, the architect functions as the prime design professional and, to a limited degree, as the owner's representative. The architect is liable to the owner for his or her own work and that of the consultants. For that reason, most architects ensure that their consultants carry adequate liability insurance.

 FIGURE 1.1 Members of a typical design team, and their interrelationships with each other and
the owner in a traditional contractual setup. A line in this illustration indicates a contractual rela-
tionship between parties. ("MEPF consultants" is an acronym for mechanical, electrical, plumbing
and fire consultants.)

In some projects, the owner may contract some consultants directly, particularly a civil consultant (for a survey of the site, site grading, slope stabilization, and site drainage), a geotechnical consultant (for investigation of the soil properties), and a landscape architect (for landscape and site design), Figure 1.2 . These consultants may be engaged before or at the same time as the architect.

 FIGURE 1.2 Members of a typical design team, and their interrelationships with each other and
the owner in a project where some consultants are contracted directly by the owner. A solid line
in this illustration indicates a contractual relationship between parties. A dashed line indicates a
communication link, not a contract.

Even when a consultant is contracted directly by the owner, the architect retains some liability for the consultant's work. This liability occurs because the architect, being the prime design professional, coordinates the entire design effort, and the consultants' work is influenced a great deal by the architectural decisions. Therefore, the working relationship between the architect and an owner-contracted consultant remains essentially the same as if the consultant were chosen by the architect.

In some cases, an engineer or another professional may coordinate the design process.

This generally occurs when a building is a minor component of a large-scale project. For example, in a highly technical project such as a power plant, an electrical engineer may be the prime design professional.

In most building projects, the design phase consists of three stages:

 • Schematic design stage
 • Design development stage
 • Construction documents stage Edin O'Brienhttps://firstname.lastname@example.com:blogger.com,1999:blog-1261207097767179272.post-89803354140962315222014-04-30T11:46:00.001-07:002014-04-30T11:46:46.108-07:00(BUILDING) PROJECT PREDESIGN PHASE During the predesign phase (also called the planning phase ), the project is defined in terms of its function, purpose, scope, size, and economics. This is the most crucial of the five phases, and is almost always managed by the owner and the owner's team. The success or failure of the project may depend on how well this phase is defined, detailed, and managed. Obviously, the clearer the project's definition, the easier it is to proceed to the subsequent phases.

Some of the important predesign tasks are:

• Building program definition
• Economic feasibility assessment, including the project's overall budget and financing
• Site assessment and selection, including verifying the site's appropriateness and determining its designated land use
• Governmental constraints assessment, for example, building code and zoning constraints and other legal aspects of the project
• Sustainability rating —whether the owner would like the project to achieve the U.S. Green Building Council's (USGBC's) Leadership in Energy and Environmental Design (LEED) certification at some level
• Design team selection

BUILDING (PROJECT) PROGRAM

This includes defining the activities, functions, and spaces required in the building, along with their approximate sizes and their relationships with each other. For a house or another small project, the programis usually simple and can be developed by the owner without external assistance. For a large project, however,where the owner may be an institution (such as a corporation, school board, hospital, religious organization, or governmental entity), developing the program may be a complex exercise. This may be due to the size and complexity of the project or the need to involve several individuals—a corporation's board of directors, for example—in decision making. These constituencies may have different views of the project, making it difficult to create a consensus.

Program development may also be complicated by situations in which the owner has a fuzzy idea of the project and is unable to define it clearly. By contrast, experienced owners tend to have a clear understanding of the project and generally provide a detailed, unambiguous program to the architect.

It is not unusual for the owner to involve the architect and a few other consultants of the design team in preparing the program. In this instance, the design team may be hired during the predesign phase. When the economic considerations of the project are paramount, the owner may also consult a construction cost analyst.

Whatever the situation, preparing the program is the first step in the project delivery process. It should be spelled out in writing and in sufficient detail to guide the design, reduce the liability risk for the architect, and avoid its misinterpretation. If a revision is made during the progress of the project, the owner's written approval is necessary. Edin O'Brienhttps://firstname.lastname@example.com


text:
Today the prince of sun, Luke and I went to visit the prince of sun's brother and his family plus two dogs, one adult German Shepherd mix and one puppy, pitbull mix. Luke loves playing with the puppy and together, they run and jump and dig and play around the large 'sitio' of the prince of sun's brother (sitio is kind of a huge backyard-garden mix). His wife is a declared plant lover and takes care of about 100 different trees, bushes and smaller herb plants, all on their property.
|Acerola tree
Every time we go to visit them, they offer us some of the fruits or herbs growing in their sitio, this time it was fresh pitanga while watching the dogs play and then the prince of sun plugged about 300g of fresh acerola fruits from the medium size tree.
Arriving at home, we directly started making the juice, it is pretty simple, especially now that we bought a new mixer (our old one broke down, just too much juicing during the last couple of months :D hopefully the new mixer (ours is from Philips Walita and is quite sturdy) will last a good while.
|Acerola juice & our Philips Walita mixer
Making the juice is quite simple:
After washing the 300g of acerolas, there is no need to remove the stone/pit, you just put them in the middle sieve part of the mixer that automatically seperates the fruit rests from the actual juice (with our old mixer we still had to manually press the juice through our small sieve when seperating the fruit stone pieces in the end), add about 800ml of water and use the highest speed. Then you pour the juice in a seperate can, wash out the stone pieces of the mixer can and re-pour the juice into it. Now you add as much sugar as you wish to (as it is quite on the sour side of tastes, we prefer 4 soup spoons, but you can add less). Mix the pure juice and sugar and your fresh acerola juice is ready!


text:
This time around I had enough and stood up for myself which he didn't like very much. I haven't been able to handle his rejection I keep texting and calling him to try to get him to rethink his decision, but he keeps saying, "I don't love you anymore." And "leave me alone" but I can't leave him alone. I'm so heart broken. How can he change his mind in 2 days? I know in the past I made my mistakes and I've apologized for them for 3 years, he has never forgiven me or moved on from what happened. He blames me for everything and says such hurtful and mean things, then when I snap and say hurtful things back he no longer loves me anymore.
I want to talk to him to explain everything, but he doesn't want to listen. He'll never change his mind. I sit and think of ways to win him back, but nothing will work. I don't understand. I don't get why he won't block me from everything if he doesn't want me talking to him anymore, why does he keep responding to me when I text him if he wants nothing to do with me? He asked me today, "why do you want to text someone who doesn't love you." And I said, "texting you now is like texting you before, it still feels the same." Then he said, "I don't want you to text me." I keep getting mad and lashing out at him. Every time we have one of our falling outs he gets with someone else the very next day and that hurts. He makes me feel easily replaceable. As if I didn't matter. How can I move on and get over him?
Most Helpful Guy
Very simple.. make your intentions clear, and then walk away. DO NOT contact him again. Use that time to work on yourself. Clear your head, and take time for you. If he comes back you'll be at stage where YOU decide. Pull away let him miss you. Then if he comes back make him put all the work in. If he comes back you may by that time because of the work you've done, and the clear head, find that you don't actually want him. You can then set him strait. Hopefully his regret will make him think hard about the next person so he won't hurt someone else.
If he has a negative view of you now, and you continue with contact even in a different way e. g. Less of it.. different tone.. more flirty or whatever it will on enforce his negative view. He needs to change the way he thinks of you with time, space and distance.
I appreciate your advice! I'll do that. I know it's pointless to try to talk to him now because he's angry and upset with me. I doubt he'll come back especially with how crazy I'm acting, but I'm trying to fight. He told me if you love someone you shouldn't have to fight for it. I was like huh? No matter what I do he still pushes me away. I left him alone for one day and I texted him and his tone was a little nicer towards me. I'll leave him alone for good and let him think about everything that has happened. I've taken accountability for my actions he hasn't, he thinks it's all my fault even though I've apologized. He sees things his way and that's it. It hurts when he keeps saying he doesn't love me anymore, but maybe with distance and time he might.
- Show AllShow Less
I blocked him on social media to help me move on. It's only been a week since he has said what he said. The more I talk to him the more and more I aggravate him. Know the first week of no contact is hard, but once I can get past a week I know I'll be able to o longer. I still have good and bad memories of us and my feelings are confused, like I want to hate him, but I can't. I need some time to figure out myself maybe I'll have it all figured out if and when he does decide to come back.
Exactly correct just leave him, and figure out where you went wrong as he has told you. Then if he comes back you'll be different, you won't repeat the same mistakes. You'll also not make hose mistakes with the next guy too.


text:
Commercial building minutes from downtown Oconomowoc with convenient access to I-94 and Hwy 16. Property features office/storage space and 3 apartments for rental income. New roof over industrial space will be installed.
Features Commercial/Industrial
|Type of Commercial: Office(s), Warehouse
|Type of Industrial:
|Total Est Sq Ft: 13,721
|Lot Size:
|Est Acreage: 0.75
|Est Year Built: 1951
|Taxes: $4,663
|Tax Year: 2017
|Location: Corner, Free Standing
|Road Frontage: Paved Road, Town/City Road
|Zoning: RMH
Estimate your monthly mortgage payment
How much can I borrow?
Speak with a mortgage consultant: 608-276-5210


text:
Boxing is one of the most demanding sports offered at Marine Military Academy. Cadets will find themselves in an extremely rigorous training program, challenging their physical and mental limitations.
Training begins with long-distance running combined with strengthening routines designed to develop a fighter's core. Boxers hone their speed, strength and strategy through shadow boxing and supervised sparring sessions.
MMA boxers compete annually in the RGV Golden Gloves Tournament. The MMA boxing team is the only high school team in the nation officially certified by USA Boxing.