text:
Tell me a little bit about yourself, about your life? Where do you go to school? What helped prepare you to become the artist that you are today?
I'm a middle-class lawyer's son from rural Indiana. My artistic life started when I was a kid; my mom used to lock us out of the house for hours in the summer, and would stay home with the air conditioning on, water coloring. We hated her for that. Indiana summers are hot and sticky. But I guess that was some kind of example to me, seeing her paintings. Also, me and a group of neighborhood kids formed a kind of kicked-out-of-the-house refugee group. If you consider the vandalism and general loitering we did, I guess you could call it a gang. We also played with hypnotism, explosives, voodoo, poison mixing, and weapon making. I had a great childhood.
I grew up just outside Toronto, Canada. I drew as a kid but was more interested in ice hockey, skateboarding and other sports. I was really active I guess. In high school all I did was play hockey and I was planning on going into aerospace engineering until my friend told me about the animation program at Sheridan College. I ended up focusing on that and studied classical animation for three years there. After my first year there I kind of started to break down emotionally and really struggled to finish. I graduated and worked in Toronto for a bit until I went on a personal spiritual pilgrimage doing full-time volunteer work for the church I joined while in college. I came back to Toronto still not sure if I wanted to get back into the industry and experimented with the idea of going into other fields like engineering or east Asian studies, while working in my buddy's dad's shop fixing women's shoes. I was really bad at it but I think he felt sorry for me. Now I'm at Brigham Young University working on my undergraduate animation degree. I love it here and the environment is so nurturing and the people are amazing. I learn everyday from life and those around me and am dedicated to my craft again.
I was born in UT but grew up in Reno NV. My Papa graduated in fine arts so he worked as an illustrator and later on as a graphic designer. So I guess I picked up the art thing from my dad. In high school I was a life guard at a local indoor pool so I just doodled here n there. During that time I first planned on doing architecture, then I moved onto graphic design and finally ended up deciding on doing the computer animation thing. After high school graduation I went to Spain for two years during 2002 -2004. When I got back home I decided to get an education. I looked into a few schools and found that Brigham Young University was doing some fuuun animation stuff so I decided to check it out.
I've been here at BYU since 2005 attempting to figure out how to animate and design. Thanks to the faculty and some great students here I have been able to start to figure things out.
How do you go about designing, and what goes through your mind, from start to end?
Honestly, my thought process is something like this:
1) I find a story/character that really moves me.
2) Then I stress out and worry if it's a good enough concept to spend three weeks of my life on, when there's tons of homework to do, and art classes, and work so I can pay rent, and a senior project I'm directing. Is it worth it to spend my little free time pursuing this story? Am I just overly romantic and seeing something nobody else will understand? Or am I just desperate for something to put in my portfolio?
3) Then randomly one day, usually after a weekend, the story floods back into my soul, and I HAVE to work on it, all day, days on end. This is my favorite part of my manic-depressive life. I research. I sketch based on that research. I try to get inside my character's head and really understand their true motives and desires. I think about how the shapes of their design communicate their outward and inward characteristics. Are they brave, but really just driven by lack of confidence? Or are they dominating, but deep inside just want the best for people, and under that, they're actually trying to compensate for their own failed life? Then I think, how the heck to I communicate that much complexity in a shape? What shape?
I like to play this game. I walk around all day, looking at people's faces and body shapes, and I think "If I were to cast this person in a film, what kind of character would I cast her as?" In other words, I try to find the type of character that fits with the person's design. This way, I can practice identifying the infinite shapes of human beings, and what kind of impression they give me. For example, I notice a guy has very delicate features, almost birdlike, but also has a chiseled quality to his face. Usually, delicate features say one thing. Sharp chiseled features may say another. Put 'em together and you've got two definite statements about a character, right there in one design. And there's no limit to the number of statements you can make. They can't all be super obvious; some design traits should be subtle, just like people's motives and personality traits have varying degrees of obviousity. (that's not a real word)
Like any other form of art, I think it's only worth while as long as you have something to say. By that, I don't think that it has to be something altruistic or benevolent or trying to push contemporary social issues but that great artists have within themselves something they need to express. My friend shared with me this quote, "[Artists] are driven to lessen the burden of the unbearable disparity between their conscious and unconscious minds, and so to achieve peace." - David Mamet
I used to have the idea that it is important to make a pretty shape(using size, contrast, line quality etc.) and create a character based on that shape. By doing this I was able to make an "appealing" character. I have recently changed the way that I go about designing. I've learned a ton from Jason Kim and Jed Henry about the importance of creating a character based on the story they are in, rather than, creating a character and making a story out of it. By doing this I'm able to focus more on a character's personality and attitude. Artistic and technical aspects of a film or game or whatever it might be, should support the story, and not the opposite.
What are some of the things that you have worked on? (Books, Movies, Games,)
Well, I'm still a student, so not much, other than some local freelance gigs and junk.
I started out in Toronto working on various 2-d animated commercials and films, and designing for CG. While I've been down here in Utah I've had the opportunity to work at Avalanche (Disney interactive) on an upcoming Disney Title as well as an in-house project.
I'm still pretty young in the design/animation industry so I really haven't done much. Here at BYU the students in the animation program work on short animation films, so I've worked on a few of those. I've done a little bit of the free lance stuff, but nothing big. I think that the biggest, hippest thing that I have worked on so far would be...Hannah Montana mo-cap!!! yah...so I worked over at Avalanche Disney Interactive last year, helping out on several Disney games.
Is there a design you have done that you are most proud of?
Now this is tricky! I can get really emotionally attached to a design, and love it, and you may look at it and think "meh". But if I were to have to choose... I'd go with my most recent design of Musashibo Benkei. - Not that I think it's gorgeous, or terribly ground-breaking in its design. I do think it's sincere though. The most sincere character I've ever designed. I really got inside this guy's head, and heart, and understood who he is. And then I wept.
Not really. If I ever like anything that I've designed, it only lasts momentarily and then I start to see all the ways in which I can make it better. I think it's really important to love the process of what you're doing. It's too easy to slip into a self-deprecating, perfectionist mind set and hate what you do while you're doing it. You really do have to love what you do. Recognize the ways in which you need to improve while acknowledging how far you've come and what you're doing right. Stay humble. It's the best way to improve.
I can't say there is, I'm still working at that one.
What do you see your self doing for the next ten years?
Working and working and working until I'm a precise, insightful, consistent designer.
That's a tough question for me personally. It tends to mess me up when I try to telegraph my career too much. I think for now I just love discovering who I am as an artist, and how I fit into the job market will reveal itself in time.
My goal is to acquire a job in the film industry, particularly feature animation. So I see myself doing animation for a while and working my way into the character development side of things.
What are you working on now?
I'm currently doing matte paintings for a senior film we're doing here at BYU: Kites. Buy it on Blue Ray, kids.
I'm just working on graduating and getting my degree. Part of that is working on the film we do as a collaborative project here. This year's film is called, "Kites."
I'm still in school, planning on graduating in April. I'm working on a short student film titled, "Kites". Other than that I'm just working on building up my demo reel/ portfolio so I can be prepared for the real world, life after college.
Who do you think are some of the top artists out there?
I have no idea what's "top". People think some artist is great, but is she really? What makes greatness? It's all so subjective that it makes me dizzy. I do know I admire a lot of people. Marcelo Vignali was my mentor last summer, and I grew to admire him deeply. He's a great artist, of course, but he's also a artist dedicated to self-improvement. His designs, his figure drawings, even his personal life - he taught me a lot about being a strong, competent servant of the Muses. I'm sure that throughout my career, lots of other people will impress me.
I think there are countless great artists and it's hard to say who's better than who because I don't like to invalidate what any given individual has to say. I also think that there are so many inspirational people in different fields who I would consider to be artists that don't necessarily draw, paint, sculpt or animate. But if we're talking strictly contemporary visual designers I think my favorites are Mark English, Joe Mosier, Glen Keane, Genndy Tartakovsky, and I think some of the most purposeful refined design is the stuff the guys and gals at Pixar are putting out.
Some of the top artists...right now I've really been liking: Alice and Martin Provincen, Shane Prigmore, Aurelius Battaglia, Tadahiro Uesugi and Aurelien Predal. These guys are all really guuud!! I tend to "change" my top artists based on what project I'm working on.
Could you talk about your process in coloring your art, as well as the types of tools or media that you use?
Photoshop is cool. I feel sorry for the ancients who had to draw with blood. I also enjoy watercolor for sketching and illustrating... but not so much for designing. For me, designing is all about getting an idea communicated, and since I was raised in the Photoshop generation, and it's the fastest tool in my arsenal, I use it. Not because it's high or low art, but because it's fast, and the medium's not the point anyway. Ideas are the big deal in my opinion.
I've really been enjoying learning oils lately. I plan on doing more with it in the near future, but other than that I use Photoshop for its versatility and speed. This is useful when you're trying to express, as quickly as possible, all the stuff in your head.
Well, my process is pretty simple. I don't do much detailed intense coloring so mostly I just find the main colors that fit my characters and just block it in. Then if I want more color I'll lay in some more color on top. Ya, not too crazy. I pretty much just use Photoshop to color, sometimes I'll play around with markers.
What part of designing is most fun and easy, and what is most hard?
Riding the wave of manic energy is easy. Conjuring inspiration when I'm not inspired, that's discipline.
The easiest part of design for me is that I love to do it. Things just turn out better when you want to do it. The most difficult is that it's really hard to design well. Sometimes my love for drawing and painting can overwhelm and convolute my design, so I have to keep reminding myself what I'm trying to accomplish.
The best part of designing for me has been doing some of the initial research and initial sketches. It's nice to sketch, and see my crap turn into decent ideas as I refine my research. Doing those initial sketches along with painting/coloring my designs is also probably the hardest part of design. I tend to struggle with these two things the most but when I overcome this struggle I'm able to feel more at ease and excited about what I did. I think that I need that struggle in order to feel pleased with the results in the end.
What are some of the things that you do to keep yourself creative?
I like reading stories from all over the place, and from all eras. If it's about the human experience, chances are it'll have the power to inspire me. I also like to look at art books and go to galleries.
Life experience is the best way to keep yourself inspired. If you really live and love life you'll never be in any shortage of ideas.
To stay creative and to not fall back on the same thing over and over, I try to keep my styles diverse. I tend to look at a lot of other artists work to get new ideas and to branch out. I also use a lot of reference. The net is full of resources. I get on Google images or Gettyimages and look up ideas that fit the story and/or character that I'm designing and use it for inspiration. Something else that I haven't done well but I'm attempting to do better at is, to use my own life experiences and stories to help express a character that I'm designing.
What are some of your favorite designs which you have seen?
I don't really have a favorite. Favorite for what reason? Because it looks good? Or because it was effective? I usually just accept designs if they effectively portray a character. If they don't, then I get angry.
I'm always surprised to find amazing designs on the Internet by people I've never heard of, contemporary
As far as design is concerned, I love Aurelien Predal's stuff, go check it out! His art is sooo loose and out there, I love it.
What is your most favorite subject to draw? And why?
I like people. I'm one of them. Sometimes we do the same funny things. By drawing them, I learn about myself.
I love drawing character.
I like drawing humans, mostly because I'm more familiar with them than anything else.
What inspired you to become an Artist?
I decided to go into animation after I watched Prince of Egypt. Maybe not because it was earth-shatteringly inspirational in its own right (though it was inspiring). Maybe just because I was susceptible at the time, and it was there, and I was there, and it just happened. But that film was very pretty, and I found it sincere.
Maybe other great art? Although there's a book I read that got me to recommit myself to art after having spent several years uninspired and not drawing.
When I was young I liked to draw...I have drawn ever since and I still love to draw. Now that I'm in college I have been inspired by people around me and artists around the world. By seeing their work it makes me want to be goooood like them.
What are some of the neat things you have learned from other artists that you have worked with or seen?
Again, Marcelo taught me to really think my characters through-- get to know them.
When I worked at Disney Interactive, Sam Nielson, an amazing painter and designer, taught me to cognitively identify and solve problems. Sam is like Yoda, - with better diction.
The most important thing I have learned from other artists is to create art to inspire or tell some kind of message.
What are some of your favorite websites that you go to?
I just surf blogs.
I just randomly follow art blog links.
This blog and...and some others. I tend to hop around on different sites and blogs through links.
What wisdom could you give us, about being an Artist? Do you have any tips you could give?
Find your own voice with art. What is it about life that you want to say? What makes your ideas worth looking at? Am I going to discover something about myself by viewing your work? Will I have something reinforced, or challenged, or revolutionized. My advice is to be a thinker. Pay attention to your life, and how you're living it. Pay attention to the thoughts and feelings you experience. Pay attention to your choices, and the motives for them. Be honest with yourself, and you'll make honest designs.
As much as you work on your art, you should be working on yourself as a human being.
Work hard but make sure to have a life outside of the art world. Learn new things, learn how to cook, to speak another language, whatever it is, just keep learning and growing.
If people would like to contact you, how would you like to be contacted? (Email, Web page)
Email: email@example.com
Blog: http://jedart.blogspot.com
Email: firstname.lastname@example.com
Blog: http://doitforthefatlady.blogspot.com/
Email: firstname.lastname@example.com
Blog: http://stottart.blogspot.com
Finally, do you have any of your art work for sale (sketchbook, prints, or anything) for people that like your work can know where and when to buy it?
No, I'm just a maggot. I don't sell any of my work yet.
I'll sell anything. Everything has a price. Just kidding. No I don't.
No but I'm sure I could sell Jed and Jason's stuff for a couple bucks.
Well thanks a lot you guys, and good luck with you future carriers. If you want to know more about Jed, Jason or Tyler, please go visit their blogs, they update them often. If you want to know more about BYU Animation and some of their award winning shorts, go to http://animation.byu.edu/
4 comments:
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A good massage therapist is able to give their clients treatments that feel great. It is as simple as that, but that is not so simple. First of all, what is relaxing and feels great varies a lot from person to person. There is not one particular kind of massage that feels great to all people. Not only does a massage therapist have to learn many different styles of massage, they also have to learn how to figure out what style each client enjoys, and invent new things as they go. It's not just a matter of asking clients, "What style of massage do you like?" To really give a great massage, the therapist has to ask the body what it likes, and then be able to understand the body's response. If your massage therapist seems to have a "sixth sense" that enables them to know just what feels great, then that therapist is listening to the language of your body. Without this essential quality, massage therapy doesn't work well at all.
The language of the body is not some kind of cosmic metaphor, and a good massage therapist doesn't have a magical sixth sense. The body physically responds to touch, movement, and pressure in specific, predictable ways and massage therapists listen to those physical responses with their ordinary senses. What makes the art of massage therapy special is that a skilled massage therapist's senses are refined. In much the same way a musician can hear when an instrument is just a little bit off-pitch, or right in tune, a massage therapist can sense when someone is experiencing pleasure, and when they are not, just by paying attention to the physical responses of the body to touch. When massage feels great to a client, a massage therapist knows it because they have developed the ability to notice their clients' body's physical expression of pleasure and relaxation. They should also be able to notice when they are doing something that hurts, or feels dull and boring. In this way, a skillful massage therapist interacts with the body in a language of touch and response, always moving in the direction of relaxation and pleasure, always dissolving pain and discontentment.
There is also a strong social and emotional component to good massage therapy. We all have the ability to notice how someone is feeling. If a person is agitated, we notice. If a person is tired, we notice. A good massage therapist refines their ability to notice how people are feeling emotionally and energetically, and that informs their quality of touch and their approach to treatment. If a client is feeling sad, they may not like an intense massage. If a person is feeling exhausted, they may not enjoy an engaging, interactive massage. A sad, exhausted person will more likely enjoy a soothing, quiet treatment. A good massage therapist pays attention to the social, emotional and energetic qualities of their clients, and then uses techniques that are supportive, pleasant, and relaxing.
Similarly, clients have the ability to notice how a massage therapist is feeling. If the massage therapist is outwardly sad and tired, then the client is less likely to feel safe and supported, and is less likely to have a relaxing experience during their treatment. If a massage therapist doesn't demonstrate genuine interest and care for their clients, then their clients are less likely to enjoy their treatments. A good massage therapist is a physically and emotionally healthy person who is capable of directing all of their attention to the needs and feelings of their clients. Just as good massage therapists refine their ability to pay attention to the physical, emotional and energetic states of their clients, they also refine their ability to cultivate their own physical, emotional and energetic health.
Very often, massage teachers and massage school students assume that teaching and learning massage therapy is a matter of the teacher showing the students how to perform massage strokes and routines. For example, Swedish Massage strokes have names and forms, such as effleurage and petrissage. Teachers tend to show beginning level massage school students how to perform effleurage and petrissage, and then give the students time to practice. The problem is that massage instructors are usually massage therapists with years of experience, and their experience informs their touch. Massage teachers make it look easy, and while on the outside they may be showing effleurage and petrissage, the other good qualities of massage therapy – listening to the language of the body and attending to the emotional and energetic state of their clients – are likely to be present in the teacher's work. Even when the teacher explains the attention and sensitivity that they are using, still, the primary lesson is about the form and routine, and not specifically about the attention and sensitivity. The teacher's attention and sensitivity developed with practice, and if the lesson is not specifically designed to provide the students with that practice, but rather for them to practice the strokes, then when it comes time for the students to practice what the teacher showed them, they discover that it isn't easy. Thus, for their first and important developmental educational experiences, new students end up giving mediocre massages without the essential ingredients of attention to the language of the body. In this way, many massage therapy students develop their foundational skills without the qualities that really make massage therapy work, much like a musician learning to play without first learning to tune their instrument.
There is another way to teach massage therapy, where from the very beginning, the student receiving the massage during the practice sessions is having an enjoyable experience, and the student giving the massage is not practicing strokes and routines, but rather building a foundation of essential attention and sensitivity. Rather than being introduced to the basic strokes of Swedish Massage, which are relatively ineffective when not supported by a foundation of attention and sensitivity, students first practice several months of exercises that specifically develop their capacity to notice when what they are doing feels good for their clients, and when it doesn't. These exercises do not look like Swedish Massage at all, and they are not ultimately what the student is going to do when they graduate from school. Rather, they are exercises that have been developed by a professional educator, with the specific intention to support the experiential learning process that is fundamental to developing the real skills that make massage therapy effective.
Very often, massage teachers are well-trained, experienced massage therapists, and have little or no training as teachers. Even if they have been teaching massage for years, it is most likely that they have been primarily teaching students how to perform the strokes and routines of various styles of massage, and only secondarily educating their students in the other qualities that are the real foundation for professional success. This is simply because most massage education in the United States follows a general format that starts with Swedish Massage and then moves into other techniques, and lacks classes that are focused on those qualities that don't have names like effleurage and petrissage, but are none-the-less essential to good massage therapy. Also, there are very few educational programs for training massage therapists to become professional massage therapy educators. Lacking training, and relying upon the accidental and surprisingly ineffective educational format that has become the norm, massage therapy teachers often lack the resources and the training to teach massage therapy in such a way that students graduate from school as great massage therapists. More often, students graduate massage school as inexperienced, novice therapists with few of the skills that are essential for success in the profession. Then, just as their teachers did before them, they enter the workplace to learn the real art of massage therapy through a rough and unsupported process of trial and error.
Teaching massage therapy and doing massage therapy are two very different things. Rather than teaching students how to perform the strokes and routines of massage therapy, and then hoping that they will develop the other qualities that make massage effective, it is appropriate to start by supporting students as they develop the ability to listen to the language of the body, speak the language of the body, and interact with their clients as whole, feeling, living, thinking people with complex, sensitive minds and perspectives. Once a therapist can do that, then the traditional massage strokes make much more sense, and the therapist is able to apply them in a manner that is very pleasant and very relaxing. Starting with a foundation in refined sensitivity, and then moving from there into learning various techniques, a year of massage school becomes a year of practicing the essential skills for professional success. Students who enter into a training program that uses specific and well-planned teaching techniques graduate with the experience and the skills they need to enter directly into the work place as excellent therapists, rather than as inexperienced new practitioners.

subset: commoncrawl


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39 Years Ago Peter Frampton Begins Work On "Frampton Comes Alive"
Rock and roll history was being made at the Winterland Ballroom in San Francisco this week in 1975. Peter Frampton played two nights at Winterland and the concerts were recorded and a few months later would be used in part to make "Frampton Comes Alive."
The album would become one of the top selling live collections. The number sold worldwide is almost 12 million copies.
Here's Peter captured live on TV in England from 1976 satin pants and all.


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Apparatus for manufacture of tunnel tubes
Apparatus for manufacture of tunnel tubes
Patent Drawings:
(16 images)
Johnston, et al.
Date Issued:
December 6, 1983
April 23, 1981
Jacobs; Morton
(Houston, TX)
Johnston; Edward
(Newark, DE)
Kaucic; Robert A.
(Newark, DE)
Miller; Melvin E.
(Havre de Grace, MD)
Amca International Corporation
(Hanover, NH)
Primary Examiner:
Husar; Francis S.
Assistant Examiner:
Jones; David B.
Attorney Or Agent:
Harness, Dickey & Pierce
U.S. Class:
Field Of Search:
International Class:
U.S Patent Documents:
Foreign Patent Documents:
Other References:
This invention relates to improved apparatus and process for manufacture of tunnel modules and tunnel sections used to build underwater tunnel tubes. A collapsible fixture is used to roll up a steel plate into a cylindrical shell. Cables wrapped around channels on the outer ends of fixtures are used to roll up the fixture along the plate. After the fixture with the shell on it is placed on pedestals for further fabrication, cables placed in the channels are used to rotate the shells. After the fixture is collapsed within the shell, it is raised up by pedestal lifting mechanisms, and wheels provided on the fixture are lowered into place to aid in removal of the fixture from the shell, and onto a roll-out table. Roller mechanisms are also used to aid in the removal of the fixture from the shell. The roll-out table is situated between two sets of pedestals and used in the removal of fixtures from single modules or sets of modules. A common winch is utilized to pull out the fixture onto the table from each shell module.
We claim:
1. An apparatus for use in the manufacture of generally cylindrical shells for tunnel tubes, said apparatus comprising a fixture generally cylindrical in shape and having means thereonfor roll-forming plate material therearound into a generally cylindrical shell, said fixture further having at least one cable channel on an end, pedestal means for supporting said fixture, and winch means positioned at said one end of said fixturehaving cable means wrapped around said cable channel for rotating said fixture on said pedestal means in order to roll said plate material therearound.
2. The invention as set forth in claim 1 wherein said cable channels are U-shaped and extend substantially around in a circle.
3. The invention as set forth in claim 1 wherein said cable channels have openings therein for passage of a cable therethrough for securing it to the fixture.
4. A collapsible fixture for use in the manufacture of tunnel tube modules, said fixture being generally cylindrical in shape and comprising:
a plurality of support members arranged along the axial length of the fixture,
a plurality of members connecting said support members together,
means for collapsing said fixture for removal thereof from said module, and
wheel means mounted on said support members for use in removing said fixture from said module.
5. The invention of claim 4 further comprising means for raising and lowering said wheel means.
6. The invention of claim 4 further comprising cable channel members secured on the fixture.
7. The invention as set forth in claim 6 wherein two cable channel members are provided, one on each end of the fixture.
8. An apparatus for use in the manufacture of shells for tunnel tubes comprising a fixture generally cylindrical in shape for rolling a plate means therearound into a cylindrical shell, means for rolling said fixture comprising cable channelmeans on an end of said fixture, cable means wrapped at least once around said fixture in said channel means and winch means attached to said cable means, whereby said shell may be rolled in one uninterrupted operation.
9. The apparatus as set forth in claim 8 wherein said means for rolling said fixture further comprises second cable channel means on the other end of said fixture and second cable means wrapped at least once around said fixture in said secondchannel means and connected to said winch means.
10. The apparatus of claim 8 further comprising roll-up table means for supporting said plate during rolling of said plate into a cylindrical shell.
11. The apparatus of claim 8 wherein said fixture comprises:
a plurality of support members arranged along the axial length of the fixture,
a plurality of members connecting said support members together,
means for collapsing said fixture for removal thereof from said shell, and
wheel means mounted on said support members for use in removing said fixture from said shell.
12. The apparatus of claim 11 further comprising roller means disposed on said support members for use in removing said fixture from said shell.
13. The apparatus of claim 11 further comprising winch means for removing said fixture from said shell.
14. The apparatus as set forth in claim 1 further comprising a roll-out table positioned adjacent said pedestal means.
15. The apparatus as set forth in claim 14 wherein said pedestal means comprises two pedestal support members, one of said pedestal support members being disposed on said roll-out table.
16. The apparatus as set forth in claim 15 wherein said one of said pedestal support members is removably disposed on said roll-out table.
17. The apparatus as set forth in claim 14 further comprising winch means on said roll-out table for assisting in the removal of said fixture from said shell onto said roll-out table.
18. The apparatus as set forth in claim 1 wherein said fixture includes an axle and said pedestal means rotatably support said fixture by said axle.
19. The apparatus as set forth in claim 1 wherein said pedestal means includes jacking means for raising and lowering said fixture.
20. The apparatus as set forth in claim 1 further comprising wheel means on said fixture for use in removing said fixture from said shell.
The subject matter of this application is related to the subject matter disclosed in application Ser. No. 256,729, entitled "Collapsible Fixture for Manufacture of Tunnel Tubes"; Ser. No. 256,728, entitled "Apparatus & Process for ImprovedManufacture of Shells for Tunnel Tubes"; and Ser. No. 256,709, entitled "Access Tower for Manufacture of Tunnel Tubes", which were filed on the same day as this application and assigned to the same assignee.
This invention relates to the construction of tunnel tubes for use under rivers, bays and other bodies of water, and more particularly to improved apparatus and process of manufacture of the component parts for such tunnel tubes. Then the tubesare positioned in open-trenches on the floors of the bodies of water, the tubes are assembled from individual sections which are fabricated on land and then floated to the tunnel site where they are lowered into place. Due to their enormous size, thetunnel sections are in turn constructed of a plurality of separate modules which are individually fabricated and then assembled together.
Tunnel tubes for vehicular highways or mass-transportation systems can be on the order of one-half mile to a mile or more in length. Typically, the tunnel sections used to make up the tunnel tubes are made of steel, can be 300 to 400 feet inlength, 30 to 40 feet in diameter, for example, and thousands of tons in weight. The tunnel modules in turn are the same diameter as the sections, but are a fraction of their length and weight and are easier to assemble and handle. For example, atunnel section can be comprised of five to ten tunnel modules or more, each module being 30 to 45 feet in length.
The tunnel tubes can have a single passageway or lane for traffic, or can have several lanes. Often two tunnel sections are intimately joined together side-by-side forming a tunnel tube with four lanes or more for traffic.
The individual tunnel modules are welded or otherwise securely fixed together at the construction site into an elongated tunnel section. Where a single tunnel section is utilized, the requisite number of modules are reinforced, positionedend-to-end, and then joined together as unit. Where two tunnel sections are to be constructed as a tunnel unit, the modules are welded both end-to-end with other modules, as well as side-by-side with adjacent modules. An external framework of steelplates is positioned around the perimeter of the tunnel sections forming enclosed units. The open ends of the hollow tunnel sections are also covered with steel plates so that the sections can be floated and towed to their final positions. Either atthe site where the tunnel sections are assembled, or at another site where the sections are first towed, the sections are completed internally with a concrete lining, roadways, fresh air passageways, wiring and the like. In this manner, once the tunnelsections are positioned in the trenches, most of the remaining work will involve connecting the internal structures and mechanisms together.
The construction methods and equipment used to position and lower the tunnel sections into the trench and then fasten them together underwater are known and do not form a part of this invention. A preferred method is disclosed in the articleentitled "Deep-Water Tunneling Operations Tie-In with Pinpoint Accuracy", which appeared in the September, 1973 issue of "Construction Methods & Equipment", the disclosure of which is hereby incorporated by reference.
The trench is dredged and the bed is prepared while the tunnel sections are being constructed and towed into position. The tunnel sections are accurately positioned over the trench on the water surface by barges and tugboats and then weightedfurther with ballast and slowly lowered beneath the water into the trench. One end of each section has a large rubber gasket mounted around it and hydraulically operated jacks and locking devices are actuated to pull the sections together in the trenchand securely lock them together. Since the tunnel sections are hollow and sealed, the only water which needs to be evacuated is contained in the areas between the sections. Once this is pumped out, the facing plates on the ends of the sections areremoved and finishing work is done to connect the sections and complete the tunnel tube. When the tunnel sections are finally positioned and locked in place, they are covered over with fill as well as the material originally excavated from the trench.
The tunnel modules are formed from a large rectangular steel plate of about 1/4 to 9/16 inch in thickness which is rolled into a large cylinder. A cylindrically-shaped fixture is used as a form around which the cylinder is rolled. The rollingfixture (also called a "spider") is collapsible so that it can be removed later from the module.
After the module shell is formed, the shell and fixture are placed as a unit on pedestals where a supporting and bracing framework is constructed around the external surface of the shell. The shell and fixture unit is adapted to be rotated sothat the external framework can be secured to it in the easiest manner. An access tower is provided for workmen so they can more easily position and secure the framework components to the shell.
Once the braces, struts and other supporting framework are fixed to the shell, the module is complete except for the external skin or surface of steel plates. The plates can be added at this time before the fixture is collapsed and removed, orafterwards when the module is being secured to other modules.
When all the modules are welded together and the external plates and end plates are welded on them forming an integral tunnel section, the section is complete and ready to be launched. Access to the tunnel sections for any further internal workis accomplished through one or more holes cut in the top thereof.
Heretofore when tunnel modules have been constructed, some problems and difficulties have been encountered in the construction process. Some of these problems relate to the rolling up of the steel shell, the rotating of the shell and fixture onthe pedestals, the collapsing of the rolling fixture, the removal of the fixture from the shell, and the reassembly of the fixture for reuse. Another problem area concerns workman access from the tower to the shell for assembly of the diaphragms andsupport framework.
It is an object of this invention to improve the apparatus and process for fabrication of tunnel modules. It is a further object to overcome one or more of the problems and difficulties heretofore encountered in the construction of tunnelmodules and sections.
The above problems and difficulties are overcome by means of the apparatus and process described and claimed herein. The apparatus and process are further shown in the appended drawings which are described below.
FIG. 1 illustrates a section of a multi-lane vehicular tunnel tube which consists of a plurality of modules made in accordance with the present invention;
FIG. 2 is an exploded view of the tunnel section of FIG. 1 showing the individual modules;
FIG. 3 is a side view, partially in section, of one of the tunnel modules of FIGS. 1 and 2;
FIG. 4 is an end view of a tunnel module;
FIGS. 5 and 6 illustrate a side view and a top view, respectively, of the roll-up table fixture and roll-up procedure used to form the initial portions of a tunnel module;
FIG. 7 is an end view of the fixture used to form a tunnel module;
FIG. 8 is a side view of the fixture;
FIG. 9 is a cross-section of the fixture when viewed in the direction of arrows 9--9 of FIG. 8;
FIG. 10 is a cross-section of the fixture when viewed in the direction of the arrows 10--10 of FIG. 8;
FIG. 11 is an enlarged view of the encircled area of FIG. 7, showing the collapsible mechanism of the fixture;
FIG. 12 is a top view of the mechanism of FIG. 11;
FIG. 13 is a length-wise cross-section of the fixture of FIGS. 7 and 8 when viewed in the direction of arrows 13--13 of FIG. 7;
FIG. 14 is an enlarged view of the encircled area of FIG. 5 and depicts the manner in which the cable is attached to the fixture for roll-up;
FIG. 15 is an enlarged view of one of the mechanisms used to collapse the fixture for removal from the tunnel module;
FIG. 16 is a side view of the fixture after the module shell has been rolled up and the fixture and shell unit has been positioned on the pedestals for further processing;
FIG. 17 is a cross-sectional view taken in the direction of arrows 17--17 of FIG. 16 and showing one of the pedestals and the access tower;
FIG. 18 is a cross-sectional view taken in the direction of arrows 18--18 of FIG. 16 and showing the other pedestal;
FIG. 19 is an enlarged view of the encircled area of FIG. 16 showing a side view of the moveable bridge;
FIG. 20 is an enlarged view of the encircled area of FIG. 17 showing the end view of the moveable bridge;
FIG. 21 is an enlarged view of the encircled area of FIG. 18 showing the adjustable top of a pedestal;
FIG. 22 is a cross-sectional view taken in the direction of arrows 22--22 of FIG. 16 showing the mechanism for rotating the fixture on the pedestals;
FIG. 23 is a side view of the module after further processing and when lowered onto supports;
FIG. 24 is an end view of a tunnel module with the fixture collapsed for removal;
FIG. 25 is an enlarged view of the encircled area of FIG. 24 showing the foldable mechanism after it is collapsed;
FIG. 26 depicts the fixture after it is raised up within the tunnel module, the roller mechanisms have been positioned inside the shell, and the removal wheel members are lowered;
FIG. 27 illustrates the removal wheel members before they are lowered;
FIG. 28 is an enlarged view of the encircled area of FIG. 26 showing the removal wheel members in their lowered position; as well as the positioning of the roller mechanism inside the module shell;
FIG. 29 shows the hub of one of the fixture sections before collapse, and also is an enlarged view of the encircled area of FIG. 7;
FIG. 30 shows the hub of one of the fixture sections after collapse, and also is an enlarged view of the encircled area of FIG. 24;
FIG. 31 shows the fixture resting on the roller mechanisms for removal from the shell;
FIG. 32 is a cross-sectional view of one of the roller mechanisms, and is viewed in the direction of the arrows 32--32 of FIG. 31;
FIG. 33 is a side view of the dual-purpose roll-out table;
FIG. 34 is a top view of the roll-out table of FIG. 33;
FIG. 35 is a side view of the roll-out table after a fixture has been removed from a module; and
FIG. 36 is an enlarged view of the encircled area of FIG. 35 showing the removal wheel members on the rollout table.
A section of a tunnel tube for a multi-lane vehicle roadway is shown in FIG. 1 and generally designated by the reference numeral 50. An exploded view of the tunnel section 50 showing the individual tunnel modules 52 and 54 is shown in FIG. 2. The section 50 is formed in this instance of fourteen modules, ten modules 54 each approximately forty-five feet long and four modules 52 each approximately thirty feet long. Other combinations and sizes are of course possible. One of the individualtunnel modules 54 is shown in side and end views in FIGS. 3 and 4, respectively.
As shown in FIGS. 1-4, each of the tunnel modules and thus each of the tunnel sections has a cylindrically-shaped internal hollow shell 56. When the modules 52, 54 are connected end-to-end, an elongated tunnel 58 is formed. The shell 56 issurrounded on its external surface by a plurality of bulkheads or diaphragms 60 and supporting girders or struts 62. The outer surface of the shell 56 also has a plurality of stiffening members 64 which are secured to the plate prior to the time it isrolled up into a shell. The diaphragms 60 act to form a stabilizing framework around the shell to help strengthen it for its ultimate use and at the same time act together with struts 62 to form a supporting framework for the external plates 66. Aplurality of plates 66 are secured as by welding around the entire outer surface of the tunnel modules and sections. Later, after the tunnel section is almost finished, some of the compartments formed between the shell 56 and the outer skin of plates 66are filled with concrete or ballast. Eventually, when it is time to sink the tunnel sections and position them into the trench in the seabed, virtually all of these compartments are filled with concrete or other ballast.
The shell 56 and the plates 66 are formed of about 1/4 to 9/16 inch thick steel plates. The diaphragms, supporting girders and stiffening members also are made of steel. The diaphragms are preferably formed into I-beams or T-shaped beams incross-section, and the girders are either angle irons or metal box beams with a square-shaped cross-section. Also, all of the metal plates, girders, etc. are secured and permanently fastened together by welding. Of course, other materials with similarproperties and performance are also believed to be usable.
Although the internal shell 56 is circular in cross-section, the outer surface formed of plates 66 is generally octagonal in cross-section. When two tunnel modules are to be positioned side-by-side as depicted in FIGS. 1-4, one side 68 of eachmodule is adapted to abut a corresponding side of another module which is formed as a mirror-image of the first one. The side 68 and corresponding side of the adjacent module also do not have plates 66 positioned thereon, but are butt welded togetherfacing each other as shown in FIGS. 1 and 2. The plates 66 welded to all of the remaining external surfaces of the two-part tunnel section 50 completely enclose the structure.
After the modules 52 and 54 are welded together into a completed tunnel tube section, the structures inside the tube or she11 56 are completed. A concrete liner 70 is formed around the entire inside diameter of the shell and a concrete roadway72 is added. A ceiling surface 74 is formed above the roadway 72 and openings 76 and 78 are left for fresh air passageways, wiring, conduits, ducts and the like. Typically, the completion of the internal structures is done after the tunnel section islaunched and floated, but before it is towed into position above the trench or lowered into it.
The apparatus and procedure used to construct the shell 56 is shown in FIGS. 5 and 6. The rectangular piece of steel 56' from which the shell is to be made is laid out flat on a roll-out table 80. The table 80 is constructed of I-beams andother steel components in a grid pattern essentially as shown and the table is positioned on concrete footings 82. The flat plate 56' is fabricated from numerous smaller plates 84 which are cut to size and butt welded together along their seams. Thelength and width of the plate 56' are predetermined and the plate 56' is cut to the size necessary to form the shell 56 of the module. A plurality of long, thin stiffening members 64 are welded to the plate 56' before it is laid on the table 80. (Thestiffeners 64 are better shown in FIGS. 4, 16 and 22.) The stiffeners 64 are positioned on the bottom of the plate 56' when it is laid out on the roll-up table 80 so they will be on the outer surface of the shell 56 when it is rolled up. The stiffeningmembers 64 fit within a plurality of spaced-apart slots 86 in the grid members on the table so that the plate 56' will lay flat.
The plate 56' is rolled up around a fixture 88. The fixture is also called a spider and is described in more detail below. The fixture 88 is placed on one end of the plate 56' on the roll-up table 80. Blocks 90 and 92 are provided on each endof the table 80 to limit the movement of the fixture and hold it steady at the beginning and conclusion of the roll-up process. The end of the plate 56' (the left end as shown in FIGS. 5 and 6) is secured to the fixture 88 using a plurality of U-shapedbrackets (not shown) positioned over appropriate members of the fixture and welded to the surface of the plate 56'. Later, after the plate is completely rolled up and two opposite ends of the plate are butt welded together, the U-shaped brackets areknocked off.
During roll-up, the fixture 88 with the plate 56' attached is rolled in the direction of the arrow 94 from one end of the table 80 to the other. The position of the fixture 88 at the conclusion of the roll-up process is shown in phantom linesand designated by the numeral 88'. Steel wire cables 96 attached at one end to the fixture 88 and at the opposite end to winches 98 are used to roll the fixture along the table. Preferably the winches are hydraulically driven but can be electrically orpneumatically driven instead. A pair of cables and winches are provided, each pair associated with a U-shaped channel 100 extending in a circle around the outer edges of the fixture 88. (For a better understanding of the channels they are also shown inFIGS. 8, 11-14, 16 and 23.) Before the roll-up procedure is initiated, the cables 96 are wrapped at least once completely around the fixture (in the channels 100) and securely attached thereto. Preferably, the cables are wrapped 11/2 times around thefixture channel, as shown in FIG. 5. In this manner, the cables do not have to be detached, repositioned and reattached at any point in the roll-up process, as was necessary with prior tunnel fabrication procedures, but the process can be continued fromstart to finish without any interruptions.
FIG. 14 is an enlarged view depicting the manner in which the cables 96 are attached to the fixture 88. A wedge-cable anchor socket 102 is attached by pin 104 to a bracket 106 which is secured to and part of the fixture. The cable 96 after itis wrapped in the U-shaped channel 100 completely around the fixture is passed through a gap 108 in the channel 100 and secured to the lug 102.
If the two ends of the plate 56' overlap when it is rolled up, the excess can be cut off and the two ends welded together, or the plate can be sprung open to allow the two ends to meet. If, on the other hand, a gap is left between the ends ofthe plate when it is rolled up, means must be provided in order to compensate for it. In accordance with the present apparatus and process, a mechanism is provided in the fixture for slightly adjusting the diameter of the fixture to compensate for suchan occurrence. This mechanism is discussed below in connection with the discussion of FIG. 15.
The details of the fixture 88 are shown in FIGS. 7-13. An end view of the flxture is illustrated in FIG. 7 and a side view in FIG. 8. FIGS. 9, 10 and 13 depict cross-sectional views taken along lines 9--9, 10--10 and 13--13 respectively ofFIGS. 7 and 8 and are viewed in the direction on the arrows.
The fixture 88 has a central axle 110 and a plurality of circular main support members 112 and 114 (resembling spoked "wheels"). Three complete wheels 112 are provided (two or more are believed necessary) which have a complete framework ofgirders and I-beams, including some girders 188 and 188' extending inwardly to the axle 110. The girders 188 and 188' are attached to enlarged hub plates 116 which in turn are secured directly to the axle. The remaining circular members 114 areincomplete in the sense that they do not have any structural members connected directly to the central axle (see FIG. 9). The members 114 are connected to the other circular members 112 by means of the supporting framework of braces, I-beams and thelike, as shown in FIGS. 8 and 13.
As mentioned earlier, the fixture 88 is adapted to be collapsed in order for it to be withdrawn from the completed or semi-completed module. Essentially, each of the circular support members 112 and 114 consists of four parts which allow thediameter of the fixture to be reduced sufficiently for removal. As shown in FIGS. 7, 9 and 10, the members 112 and 114 have a stationary base portion 118, two inwardly rotating side portions 120 and 122, and a folding top linkage portion 124. The twoside portions 120 and 112 are pivotably connected to the base portion 118 by hinges 126 and 128 respectively. The top linkage portion 124 in turn is pivotably connected to the two side portions 120 and 122 by hinges 130 and 132, respectively. Thelinkage 124 is comprised of two foldable portions 134 and 136 which are pivotably connected together in the center by hinge pin 138. (The linkage arrangement is shown in more detail in enlarged form in FIGS. 11 and 12.)
The center pin connection 138 between the two parts of the foldable linkage is directly attached to a jacking truss 140. The truss 140 extends the axial length of the fixture 88 and operates all of the foldable linkages on all of the wheels 112and 114 at the same time and in the same manner. In this regard, the operation of the jacking truss and thus the collapse and reassembly of the fixture is described in more detail below.
In general, when the jacking truss is lowered (i.e. pulled downwardly in FIG. 7 in a manner to be described hereinafter), the linkage 124 will fold inwardly causing the side portions 120 and 122 to rotate inwardly around pivot hinges 126 and 128. Stop members 142 and 144 limit the amount of movement of the linkage 124 and thus control the amount of collapse of the fixture.
A series of wheel members 146 are positioned along the length of the fixture and aid in the removal of the fixture from the module (as explained later). As shown in FIGS. 7 and 8, two rows of four wheel members 146 are provided. When the shell56 is being rolled up and the module is being constructed, the wheels are in their "up" position (as better shown in FIG. 27). Later, when the fixture is being removed from the module, the wheel members are lowered into their operating positions. It isunderstood that the wheel members 146 are not shown in scale in relation to the other parts of the fixture 88 in FIGS. 7-10 and 13, but have been enlarged for ease of presentation and clarity.
The circular support members 112 and 114 and the various cross-braces, angular connecting and axial connecting members of the fixture 88 are comprised of I-beams, girders, box beams and other steel structural members arranged as shown in thedrawings. It is not believed necessary to specifically identify and describe each of such members. Persons of ordinary skill in the art have sufficient information from the drawings together with this written description in order to duplicate andconstruct a similar fixture. It is also possible to build into the inside of the fixture various walkways, additional supports, ladders and the like if they are needed depending on the frequent use and specific application of the fixture. For example,three ladders 148 and a walkway 150 for access by workmen to the jacking truss operating system are included in the fixture shown in FIG. 8.
The ends 152 and 154 of the axle 110 extend outwardly beyond the supporting framework of the fixture 88. The ends 152 and 154 are circular shafts and are adapted to rotatably mate with cradle-type sockets at the top of pedestals 156 and 158(FIGS. 16-18 and 21) when the fixture and shell unit is removed from the roll-up table 80 and subjected to further processing. The axle 110 and ends 152 and 154 act as a shaft to allow the fixture and shell to be rotated as a unit on the pedestals forassembly of bulkheads or diaphragms, girders and the like on the outer surface thereof.
The jacking truss 140 is best shown in FIG. 13. The truss 140 is made from a series of I-beams, box beams and other girders in the configuration shown. The truss 140 extends the entire axial length of the fixture 88 and acts like a rigid beamfor collapsing and reassembling all parts of the fixture simultaneously and in the same manner. The top beam 160 of the truss 140 is attached by connecting members 162 to each of the foldable linkage mechanisms 124 of the circular support members("wheels") 112 and 114.
The operating mechanisms 164 for the jacking truss 140 are attached at one end 166 to the truss itself and connected at the other end 168 to the central axle 110. Three identical operating mechanisms 164 are provided (two or more are believednecessary) in the fixture 88 and one of them is illustrated in enlarged detail in FIG. 15. The mechanism 164 generally comprises a structural support 170, a dual action hydraulic cylinder 172, and, sliding member 174. The support 170 is comprised ofseveral girders and I-beams and provides the necessary rigidity and support for the cylinder 172 and sliding member 174. The cylinder 172 is preferably hydraulically operated but could be pneumatically operated instead. The cylinder 172 is a two strokemechanism with two actuation chambers 176 and 177, a long stroke piston 178 and a short stroke piston 180. The long stroke piston 178 is attached by connecting mechanism 179 to sliding member 174 which in turn is directly connected to the jacking truss140. The short stroke piston is attached directly to axle 110 by connecting member 181.
When the foldable linkage 124 is in its normal unfolded position (as shown in FIG. 11) and the fixture 88 has full cylindrical-shape, the long and short stroke pistons 178 and 180 are in their fully extended positions. In order to prevent theweight and the forces applied to the fixture 88 during roll up and subsequent processing steps from prematurely collapsing the fixture, a pin 182 is positioned in mating holes 183 and 185 through the structural support 170 and sliding member 174.
The pin 182 is attached by connecting mechanism 189 to piston arm 184 of another hydraulic cylinder 186. The cylinder 186 is positioned perpendicular to the hydraulic cylinder 172 and is attached to and supported by a beam 187.
When it is necessary to collapse the fixture 88 for removal from the module shell 56, the cylinder 186 is activated withdrawing the pin 182 from the sliding member 174. Then, the two cylinders 176 and 177 are activated and the jacking truss 140is pulled inwardly toward the central axis of the fixture. This in turn causes the foldable linkage 124 to fold, the side portions 120 and 122 of the fixture to rotate inwardly, and the fixture to "collapse". The latter steps are shown in FIGS. 24 and25. In this manner, a clearance "D" (FIG. 25) of from 8 to 10 inches can be obtained where the fixture has a diameter of from 30 to 40 feet.
Before the fixture 88 can be collapsed, it is also necessary to allow the inner ends of the beams 188 extending to the center of the circular support wheels 112 to have some freedom of movement. This movement is provided and is accomplished bythe bolt and slot mechanisms shown in FIGS. 7, 29 and 30 which are formed as part of the hub plates 116. In the circular support members 112, the plates 116 are welded directly to the center axle 110 and the beams 188 which extend inwardly from themovable side portions 120 and 122 are attached (welded) to arc-shaped members 190 and 192. Since the two lowermost beams 188' which also extend to the center of member 112 are connected at their outer ends to the stationary base 118 they do not need asimilar freedom or availability of movement.
A series of slots 194 (four are shown) are provided in the plates 116. The bolts 196 extend through such slots and are threadably connected to nuts (not shown) on the opposite side of the arc-shaped members 190 and 192. When the fixture 88 isin its normal non-collapsed position, the bolts 196 and nuts are tightened and the arc-shaped members are in the positions shown in FIG. 29. When it is necessary to collapse the fixture, the bolts and nuts are loosened. In this manner, the arc-shapedmembers 190 and 192 will assume the positions shown in FIG. 30 when the cylinders 177 and 177 are activated and the linkage mechanism 124 is folded.
The dual action or two-stroke cylinder 172 also serves another purpose. If the steel plate 56' on the roll-up table 80 is cut slightly too small or a small gap exists for any other reason between the ends of the plate when it is rolled up into acylindrical shell, then the short stroke piston 180 and its corresponding cylinder 177 can be activated. This will reduce the overall diameter of the fixture 88 to the slight extent necessary to close the gap and allow the ends of the plate 56' to bewelded together. When the cylinder 177 is activated in this manner, it is not necessary to 1oosen the bolts 196, although it is necessary to remove the pins 182 from the operating mechanisms 164. There is sufficient clearance and elastic flexibility inthe parts of the fixture which will allow the diameter of the fixture to be reduced slightly without loosening the bolts on the hub plates 116.
After the shell 56 has been rolled up on the spider 88, the shell and fixture is moved as a unit onto pedestals 156 and 158. This is shown in FIG. 16. A tower 198 is positioned at one end of the pedestals to allow workmen to have ready accessto the shell for further processing.
The pedestals 156 and 158 are A-frame type structures (see FIGS. 17 and 18) made of steel beams and other structural components. Pedestal 156 is positioned adjacent to and supported by the access tower 198, while pedestal 158 has a rear brace200 for support. Pedestal 156 is permanently installed in the position shown, while the other pedestal 158 is adapted to be removable. As explained later, pedestal 158 must be removed in order for the fixture 88 to be pulled out and removed from thetunnel module.
The tops of each pedestal 156 and 158 have hydraulically operated jacking beams 240 and 242, respectively installed in them. (See FIGS. 17, 18 and 21.) These beams 210 and 242 comprise slidable steel frameworks 244 and 246 which are attached tothe piston arms of hydraulic cylinders 248 and 250 and supporting cradles 252 and 254. The frameworks 244 and 246 are slidably arranged in the tops of pedestals 156 and 158 and the cradles support the shafts 152 and 154 of the axle 110. When thecylinders 248 and 250 are actuated, the fixture 88, together with the shell 56 (or completed module), can be raised or lowered.
The access tower 198 has sufficient height to allow workmen to have access directly to the top of the shell 56. Due to the weight and structural configuration of the diaphragms and supporting framework members, as well as the manner in whichthey are positioned on the shell, it is easier to assemble them on the top surface of the shell. In order to facilitate easy assembly of these members on the shell and always on the top surface, the shell and fixture unit is rotated on its pedestalsupports.
The tower 198 has a steel I-beam framework and a series of ladders or stairways 202 leading from the ground to the upper platform 204 as shown in FIGS. 16 and 17. A house or booth 206 is positioned on top of the tower to protect the workmen fromadverse weather elements. A moveable bridge 208 is positioned in the booth 206 and on top of the platform 204. After the shell and fixture unit is positioned on the pedestals 156 and 158, the bridge 208 is rolled out and extended over the surface ofthe shell so that the workmen can have safe access to the top of the shell. Also, as indicated earlier, the tunnel modules sometimes have varying lengths (30 to 45 feet), but, since they all have the same diameter and are constructed in essentially thesame manner, they are all made on the same fixtures 88. Thus, the moveable bridge 208 is adapted to extend far beyond the edge of the fixture 88 in order to allow workman access to shells which are much smaller in length than the fixture.
Further details of the bridge 208 are shown in FIGS. 19 and 20. Handrails 209 are included on the sides of the bridge. A pair of V-rollers 210 are installed in the floor of the platform 204 and mate with bridge members 212 positioned underneaththe floor 214 of the bridge 208. In addition, a pair of small rollers 216 are attached to the rear of the bridge by appropriate supporting members 218. These small rollers 216 glide along the underside of a supporting frame 220 attached to the platform204 and prevent the bridge from tipping when a workman is on the outer end thereof. The frame 220 also has a stop 222 which prevents the bridge from rolling too far off the tower.
The arrangement for rotating the fixture and shell unit on the pedestals is shown in FIG. 22 in conjunction with FIG. 16. A pair of winches 224 and 226 are positioned on the ground or other supporting surface 225 at one end of the fixture 88 andapproximately on opposite sides of a cross-section thereof. Cables 228 and 230 from winches 224 and 226, respectively, are positioned in one of the U-shaped channels 100 used earlier to roll up the shell. The cables 228 and 230 which are 5/8 inchdiameter wire cables, are wrapped prespecified distances around the circular channels 100, passed through appropriate gaps in the channel, and attached with wedge-socket cable anchor lugs 232 and 234 (in the same manner as that discussed above withreference to FIG. 14). Cable size is of course determined by the load. The winches 224 and 226 can be either electrically, hydraulically or pneumatically operated and preferably are similar in type, size and operation to the winches 98 used on theshell roll-up table 80.
The cable 228 is passed from winch 224, wrapped approximately three-quarters of the way around the perimeter of the fixture channel 100 (as predetermined for this construction), and connected to anchor lug 232 at the position shown in FIG. 22. Similarly, the cable 230 is passed from winch 226, wrapped approximately one whole turn around the fixture channel, and connected to anchor lug 234.
When the diaphragms 60 are assembled and installed on the shell 56, the portions comprising each diaphragm ring (eight are shown) are installed separately or may be installed as combinations of several adjoining portions. As indicated above, thediaphragm portions and other supporting framework members (such as members 62 shown in FIG. 3) are installed on the shell from the top position, although the other supporting framework members may also be installed from the bottom. To accomplish this,the winches 224 and 226 are operated and the shell and fixture unit is rotated on the pedestals 156 and 158 so that the appropriate surface of the shell is presented at the top position.
To install the diaphragm 60' as shown in phantom lines in FIG. 22, the first diaphragm portion to be assembled is portion A. At that point, the portion A' of the shell 56 adjacent portion A will be at the top position. The shell and fixture unitis then rotated at 45.degree. intervals counterclockwise and diaphragm portions B, C and D are welded in place. Then, the unit is rotated 180.degree. clockwise and diaphragm portions E, F and G are installed. Finally, the unit is rotated another45.degree. in a clockwise direction and portion H is welded in place. At this point, the anchor lugs will be at the positions 232' and 234' (shown in phantom lines). Due to weight and balance considerations, the number of rows of diaphragms that maybe installed at the same time may vary. If less than a complete set of diaphragm rings 60 and other adjacent support members are assembled in place initially, the process is repeated over and over until all of the requisite rings are in place. At thispoint, the module is essentially completed and the module will resemble the one shown in FIG. 23.
After the module is complete, the spider or fixture 88 must be removed so that the module can be transported to the site where the tunnel section is being assembled and the exterior plates 66 are added on. To accomplish this, the jacking beammechanisms on the pedestals 156 and 158 are activated (described above) and the entire fixture and module unit is lowered onto blocks or other supports 256. This is shown in FIG. 23. At this point, the weight of the structure is supported by the blocks256 and not by the pedestals.
Next, the fixture 88 is collapsed inside the module. As shown in FIGS. 24 and 25, the jacking truss operating mechanisms 170 consisting of hydraulic cylinders 176 and 177 are actuated and the foldable linkages 124 are collapsed. Of course,prior to activation of the cylinders 176 and 177, the pins 182 are withdrawn (through activation of hydraulic cylinders 186 described above) and bolts 196 in the slots 194 in plate hubs 116 are loosened (also as described above). The resulting collapseof the fixture 88 results in a sizeable space (D in FIG. 25) being formed between the top of the spider and the inner surface of the module shell 56.
As the next step, the pedestal jacking beam mechanisms 240 and 242 are again actuated and the spider which is now free from the module shell is raised approximately one-half the distance D formed by the collapse. This is shown in FIG. 26. Atthis point, the wheel mechanisms 146 shown in FIGS. 27 and 28 are lowered into operating position and a series of roller mechanisms 258 are installed. The wheel mechanisms 146 are described above and each comprise a wheel 260 arranged in a support 262which is pivotably mounted at one end by member 264 on one of the beams or girders 265 of the fixture 88. The other end of support 262 is mounted in its "up" position by pin member 266 and adapted to be secured in its lowered position by pin member 268.
The roller mechanisms 258 are preferably of the type manufactured by the Hillman Equipment Company and are shown in more detail in FIG. 32. The mechanisms each have an endless chain track of cylindrically-shaped rollers 290 positioned around abar 292 in a strong housing 294. As shown in FIG. 28, the roller mechanisms are welded in position directly beneath an I-beam 265 which extends the length of the fixture 88. Two rows of three or four roller mechanisms 258 are provided along the lengthof fixture 88. They are positioned beneath an I-beam 265 so that the fixture can be removed easily and without damage by rolling it along the rollers 260. Later, after the spider is removed from the module, the Hillman rollers are knocked off from theshell for reuse.
After the wheel mechanisms 146 are lowered into position and the Hillman roller mechanisms 258 are installed in position, the pedestal jacking beam mechanisms are actuated further. The mechanisms 240 and 242 are actuated to lower the collapsedfixture onto the Hillman rollers, as shown in FIG. 31. The wheels 260 are not quite touching the shell 56 at this stage so that no damage will be done to the shell.
Since the module is now resting on supports 256 and the fixture is resting via the roller mechanisms on the inside surface of the module shell, the pedestals 156 and 158 are no longer required. Thus, pedestal 158 is now detached from itssupports, slid backwards, and removed completely from the area.
In order to remove the spider from the module, a roll-out table 267 is provided. As shown in FIGS. 23 and 33-35, the roll-out table is positioned opposite the access tower 198 and supported on footings 269. The table 267 comprises a pair oftracks 270 and 272 made from steel I-beams supported by a framework 274 of other beams and girders. The tracks 270 and 272 are arranged in line with the rows of wheels 260 so that the wheels will rest, roll on and be supported by the tracks when thespider is pulled out from the module. A close-up view of wheel 260 after the spider has been rolled out onto the roll-out table 267 is shown in FIG. 36. In order to ensure that the wheels 260 remain on the tracks when the fixture is rolled out,retaining ridges or flanges (not shown) can be welded along the length of the upper surfaces of I-beams 270 and 272.
The spider 88 is preferably pulled and rolled out from the module by means of a cable and winch mechanism although it is understood that there are various other ways in which the fixture can be removed or pulled out. If a winch is utilized, itcan be positioned at the furthest end of the roll-out table away from the module or at least at a point which allows the fixture to be pulled out completely from the module at one time.
Preferably the roll-out table 266 and removal winch have dual-purpose abilities as shown in FIGS. 33-35. The roll-out table is situated between two sets of similar pedestals (156, 158 and 156', 158') and used to roll out the fixtures 88 and 88'from adjacent modules when they are finished. This feature conserves space and materials at the building site. The access towers 198 and 198' on each side of the roll-out table, as well as the other features relating to each of the pedestalarrangements, are the same.
A common winch 276 is utilized for the dual-purpose roll-out table and is situated approximately in the center thereof. In order to remove one of the fixtures, such as the one shown inside the left-hand module in FIGS. 33-35, the cable 278 fromthe winch is passed first around a pulley mechanism 280 on the opposite removable pedestal 158' and then attached to the fixture 88 at connection point 282. Activation of the winch 276 will then pull out the fixture from the module and roll it onto thetracks 270 and 272 on the roll-out tab1e 266.
The common winch 276 can also be used to slide back pedestals 158 (and 158') so they can be removed from the pull-out area. Preferably, the removal of pedestals 158 and 158', as well as the placement of plate 56' on the roll-out table 80, theposition of spider 88 on the plate 56', and the placement of the shell and fixture unit on the pedestal, is accomplished by the use of a large crane.
When it is necessary to remove fixture 88' from the right-hand module in FIGS. 33-35, the procedure which was used to remove fixture 88 is repeated in a similar fashion. The winch cable 278 is passed around a pulley mechanism 280' on pedestal158 (which has been secured back in place) and then attached to fixture 88'.
It is also believed that the general principles and features of the present invention may be equally applicable to the construction of other similar generally cylindrical structures.
While it is apparent that the preferred embodiments illustrated herein are well calculated to fulfill the objects above stated, it will be appreciated that the present invention is susceptible to modification, variation and change withoutdeparting from the scope of the invention, as defined by the following claims.
* * * * *
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Saturday, August 20, 2005
Æ antoninianus, Salonina, Mediolanum, Göbl 1374e
SALONINA AVG, Diademed draped bust right on crescent | AVG IN PACE, Salonina seated left holding olive branch left and long transverse scepter. MS in exergue.
A number of coins minted at Milan use this unusual reverse or a simple variant of it. It's only seen for this reign, and some people have been tempted, by the similarity to requiescat in pace, to imagine it as evidence for Salonina being a Christian.
While Gallienus, unlike his father, was notable for religious tolerance, there's no good reason to believe that any member of this imperial family predates Constantine's belief.
Friday, August 19, 2005
Æ28, Antioch in Pisidia, Gallienus, Lindgren & Kovacs A1258C
IMP CA GALIHNVS PIVS AV, Radiate draped cuirassed bust right | ANT_IOCH C_OL, Veiled founder of the colony with two oxen plowing right; behind, two standards. SR in exergue.
Scenes such as that shown on the reverse go back at least as far as Augustus. Plowing around the perimeter of a city was part of a founding ceremony. Here's a similar reverse on a coin of Philip II from Heliopolis (modern Baalbek.)
The seller attributed this as SNG Von Aulock 4984, which is correct, but missed this being the plate coin for Lindgren & Kovacs A1258C.
Thursday, August 18, 2005
Silvered Æ antoninianus, Salonina, Antioch, Göbl 1637e
SALONINA AVG, Diademed draped bust right on crescent | CERERI AVG, Ceres seated left, holding scepter right and grain head left. Branch in exergue.
Ceres was a Roman grain goddess, related to the Greek Demeter. Associating her with the Empress seems wise, as nothing in the Roman food supply was more important than grain.
Wednesday, August 17, 2005
Silvered Æ antoninianus, Claudius II Gothicus, Antioch, RIC 225
IMP C CLAVDIVS AVG, Radiate draped cuirassed bust right | VIRTVS AVG, Minerva standing facing, head right, holding spear left and shield right, S in exergue.
Marcus Aurelius Claudius Gothicus became emperor after the death of Gallienus, in 268 CE, and continued battling the Goths. It's often thought that the importance of his victory at Naissus was intentionally confused with that of Gallienus at the Nestus by biographers hoping to please Constantine, who invented claims of Gothicus as his ancestor.
Claudius died in 270 of some contagion.
(He was probably involved in the assassination of Gallienus, who is the focus of my collection. I feel a certain fondness for Gallienus, and a lack of same for Claudius.)
Tuesday, August 16, 2005
Æ26, Coela in Thrace, Gallienus, Cohen 1363var (AEL MV COEL)
IMP GALLIENVS, Laureate head right | AEL MV_NICI COEL, Genius, head left, nude from the waist up, holding palladium left and cornucopiae right.
The second edition of Henry Cohen's Description Historique des monnaies frappées sous l'Empire Romain was published between 1880 and 1892. While it's not widely used today by English-speaking collectors, it remains popular in Europe, and remains useful as an additional source of information.
After a fruitless search for this coin in SNG Copenhagen, Sear Greek Imperial Coins, and Lindgren II and III, I thought to look in Cohen. While his books concentrate on Imperial coinage, they also cover provincial coins with Latin legends, such as this. The third coin on this page is like this coin, but is described with a more abbreviated reverse legend. (At the end of the description, F. indicates that there's an example in the French national collection, and M.B. that it's a "middle bronze", a bronze of medium denomination and size.)
The desciption there of the reverse isn't very helpful, failing to identify the figure, but a quick question at FORVM's Classical Numismatics Discussion Board confirmed my guess.
Monday, August 15, 2005
Æ as, Gallienus, Rome, Göbl 439c
IMP GALLIENVS P F AVG, Laureate cuirassed bust right | PAX AVG, Pax standing facing, head left, holding branch left and long scepter transverse. S_C across fields.
A similar design to that on Saturday's coin, the as was a low-value bronze coin dating back to the Republic. While examples from the time of Valerian & Gallienus are uncommon, they do appear for sale every few months.
The dupondius was a similar coin, worth two ases, and I've yet to see a sale offer one of this family. I do sometimes see coins which aren't dupondii offered as such, sometimes by people who should know better.
Sunday, August 14, 2005
Æ tetradrachm, Alexandria, Valerian, Emmett 3705(6)
A K Π ΛI OVAΛEPIANOC EVEVC, Laureate draped cuirassed bust right | L_S, Eagle standing left, head right, wreath in beak. Regnal year across fields.
Issued a year after Friday's coin, this issue of Valerian Sr. features the same reverse design and very similar encrustation. It's possible that they weathered in the same soil, certainly in very similar soil, that's degraded some of the bronze of the coin into red, orange, and green compounds.


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2017 - USA 7 Mile Championships 15th
2018 – Garry Bjorklund Half Marathon 9th
Danny is a native of St. Paul and a graduate of Cretin-Derham Hall High School where he competed in track and cross country. He was a two-time All-State performer at the Minnesota State Track & Field Championships finishing fourth in the 3200 and fifth in the 1600m. He was a six-time State Meet qualifier from 2006-08 in the 3200m, 1600m, and cross country. His championship performances include three Section 4AA titles in cross country and track. In the fall of 2007, Danny was a dual-sport conference champion in cross country and soccer.
His collegiate achievements at Loyola include qualifying for the 2012 NCAA West Preliminary Round in the 10000m, a 5000m runner-up performance at the 2012 Horizon League Indoor Championships, a 12th place at the 2011 Horizon League Cross Country Championships, and a pair of fifth-place finishes at the 2009 Horizon League Outdoor 1500m and 2010 Indoor Mile.
He is finding his stride this past year on the roads with new personal bests in the 15k, 10 Mile and Half Marathon. His focus in the coming year will be on USATF road and cross country championships along with the USATF Outdoor Track & Field Championships.
Danny joined Team USA Minnesota in July 2017.


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Academic calendar Erasmus School of Economics
Generally the academic year starts on 1 September and ends on 31 August the following year. The degree programmes are divided into five blocks, each of which contains eight weeks (seven weeks of education and one week of examinations).
|Below you find a schematic representation of the current academic year.
Note:occasionally Saturdays may also be designated for educational activities.
|(*) Dutch public holidays:


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The book will look quietly glamorous on the coffee table, especially if left open at the double-page photograph of the Delaire Graff Estate, Stellenbosch, or even better on the knees as one looks with increasing astonishment at the beauty on every page.
The William Kent: Designing Georgian Britain exhibition at the Victoria and Albert Museum is now closed but the catalogue, a hefty book, intellectually and physically, is still available. At over eight pounds in weight this book should be placed on a table of dining height to be dipped into time and time again.
The third book, House Proud: A Social History of Atlanta Interiors, 1880-1919, loaned to me by my old prof, is something of an exception for me, for, generally speaking, I'm uninterested in anything that happens locally. The book reads like an academic thesis – no bad thing – and one written by someone who enjoyed herself writing it. It also has a curiously old-fashioned feel due to the book designer's use of coated papers and a curly, turn of the twentieth century display font. Atlanta decorating at the end of the nineteenth-century and the early years of the twentieth-century was no different from that in the rest of the country and, judging by the plentiful black-and-white photographs of overstuffed interiors, as suffocating as it must have been in the years before air-conditioning was invented. This book, though, is more than a book about decorating (it's a social history, after all) because it places these houses and rooms in the period after Reconstruction when Atlanta began its long journey to enter the modern world.
Book four is actually book three of Deborah Harkness's The All Souls Trilogy – The Book of Life, a long-awaited work about magic, vampires, witches and daemons, time travel and all those other things that unite us, that has given me many an hour's enjoyment since I read the first book, A Discovery of Witches, three years ago. I'm one for re-reading and typical male, I suppose, I like a proper beginning, middle and ending, and lots of action within a credible, thus well-constructed universe. This trilogy has a proper ending that feels also like a new beginning in the sense of there could well be sequels.


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Sweet Pork Sausage and Spinach Salad with Grilled Pineapple Dressing
Jun 18th, 2014
Sausage is an easy, go-to grilling item that can make for a quick and simple meal. This particular recipe is one that you can do in under 15 minutes and the whole family will love!
Here are some helpful tips:
Turn your sausage continuously while grilling – this keeps the casings from breaking, which keeps all of the juices and flavors inside your sausage!
Before you grill your pineapple, soak your skewers; this keeps them from burning.
We have pineapple cut and ready to go for you in our Fresh Cuts Section!
Put the pineapple onto the skewers close together, but not too close, to ensure they all cook evenly.
The natural sugars in the pineapple will caramelize while grilling, making the pineapple much sweeter.
Get everything you need to make this dish (including a complete shopping list) here!


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Fashion Gilding Love Lips Print Pillowcase
Unfortunately This Product Is Sold Out
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Package weight: 0.1200 kg
Product size (L x W x H): 45.00 x 45.00 x 0.30 cm / 17.72 x 17.72 x 0.12 inches
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Will we soon see details on the sequel four years in the making?
If the latest online report is to be believed, the next installment in the Grand Theft Auto series will come next year, or roughly four years after Grand Theft Auto IV was released.
For the last two years, rumors have suggested publisher Rockstar was ready to show off the newest in the "numbered" series of GTA titles, but nothing has come to fruition yet.
But surely everyone knows it's just a matter of time before we start to hear something, and GameSpot reports the game will be in stores next year, claiming it heard from an inside source that development is "well under way."
GTA IV was seen as a huge advancement for the franchise becuse the technological capabilities on the PS3 and Xbox 360 hugely expanded what was possible. The result was an open-ended adventure that gamers were content to spend countless hours with, and never get bored.
Grand Theft Auto is, of course, known for its controversial yet highly addicting and critically acclaimed portrayal of seedy, crime-filled life.
Players are rewarded for participating in underground drug markets, having random sex, and inflicting violence on innocent citizens.
But beyond its notorious relationship with media and parent activist groups, the GTA series has gained commendations for its brilliant programming, amazing graphics, and open-ended environments.
GTA 5 will take that legacy even further, with Gamespot calling it "the big one" - players will be able to roam around a huge city with vast, sweeping environments that are beyond anything previously seen in the series.
Earlier rumors have suggested that unlike the fictional cities GTA has become known for, GTA 5 will take place in a digital version of Los Angeles.
GTA 4 was available for the PS3 and Xbox 360; it's assumed GTA 5 will be released on the same platforms and likely for the same $60 price tag.
Via GameSpot


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Tiberian Sun Reborn is a standalone game recreating the universe of Tiberian Sun in a FPS. The project first started in 2004 with a first release in 2008, and has been entirely redesigned in 2011 onward to bring a more immersive Tiberian Sun experience. We invite you to visit our website : www.w3dhub.com
A video showing the fast paced gameplay of C&C Reborn
what is the name on the last song and where can i download it?
Only registered members can share their thoughts. So come on! Join the community today (totally free - or sign in with your social account on the right) and join in the conversation.


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Welcome to the new hub for the Making Connections Community!
The Making Connections National Resource Center is proud to present our new community site, built with the marvelous tools afforded by the Commons in a Box project! Feel free to explore the site, or for a guide to get started, click here.


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We've given our awards for this year's best games, and tomorrow we shall trawl through the trenches to find 2017's shittiest offerings, but what of the limbo between? The games that neither amuse or disgust? The milky, lukewarm games that one struggles to even remember?
Here at The Jimquisition, we celebrate ALL games, and that includes the unforgivably pedestrian!
It's time for our third annual MEDIOCRE Awards. Which games failed to make us care? Which ones struggled to elicit a single emotional response? Let's find out, and hand out some pococurantism trophies!


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Our Favorites of 2016
- Posted By : Brook Willeford
- Comments : 0
At the start of a new year, the three blood-born Willefords who can speak (the Little One still has a ways to go) get together and talk about their favorite movies from the previous year. Each of us always has at least one movie on our list that makes the other two go "huh?" (usually me in particular). And we always have a couple of movies that make everyone's list.
This year, everyone had The Big Short, Hunt for the Wilderpeople, and Sing Street on their lists. Blake was the only one with The Music of Strangers, Spotlight, Eye in the Sky, and Where to Invade Next and Lynn was the only one with The Babushkas of Chernobyl, The Confirmation, Maggie's Plan, Captain Fantastic, and A Man Called Ove on her list. As for me… well, let's just say that I appreciate sci-fi, fantasy, and comics more than either of my parents do.
Blake's List: Trumbo, Spotlight, The Big Short, Where to Invade Next, Eye in the Sky, Sing Street, The Hunt for the Wilderpeople, The Music of Strangers, Hell or High Water, and Deadpool.
Lynn's List: The Hunt for the Wilderpeople, Star Wars: The Force Awakens, The Big Short, Zootopia, Moonlight (she saw it early, so I say she's cheating to include it this year), Hell or High Water, The Babushkas of Chernobyl, Sully, Arrival, The Confirmation, Midnight Special, Sing Street, Maggie's Plan, Captain Fantastic, A Man Called Ove, and Bad Mamas (although she specifically called this one out as a guilty pleasure).
Brook's List: Creed, Trumbo, Star Wars: The Force Awakens, The Big Short, Zootopia, Deadpool (once Lynn sees this one, it will undoubtedly go into the guilty pleasure category too), The Jungle Book, Sing Street, Captain America: Civil War, Ghostbusters, The Hunter for the Wilderpeople, Kubo and the Two Strings, Sully, Doctor Strange, Arrival, and Fantastic Beasts and Where to Find Them.


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Know someone who would enjoy this recipe? Why not share it with them.
Fashion a large "double boiler" using a large stockpot and a stainless steel mixing bowl. Fill the pot 1/3 full of water and place the bowl on top, then bring the water to a gentle simmer. Use the stockpot lid to cover the apples while they heat. Mix sugar, cornstarch, apple/lemon juice together and place it in the bowl.
Begin to peel, core, and slice apples one at a time, adding slices to the bowl as you work. When all 7 apples are sliced and the water is at full simmer, cover the apples and heat through for 10 minutes. Take care not to get burnt from any escaping steam.
You may prefer to include 1/4 tsp cinnamon, nutmeg, and/or allspice in this filling if you are only using it for pies. Spices can always be added when you remove it from the freezer depending on what you wish to cook with it.
Apple School
In this recipe, apples are heated gently so that they do not reach boiling temperature, this:


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Rachel Bilson & Jaime King: ShoeMint Celebration Brunch!
Rachel Bilson keeps it chic while hosting an intimate brunch at Laurel Hardware on Saturday (November 10) in West Hollywood, Calif.
The 31-year-old actress was joined by her Hart of Dixie co-star Jaime King, stylist Nicole Chavez, and Lauren Conrad while celebrating the 1 year anniversary of her shoe collection ShoeMint.
PHOTOS: Check out the latest pics of Rachel Bilson
Rachel recently talked with omg! from Yahoo! about her love for harem pants.
"All men hate harem pants, but I don't give a s�"t," Rachel shared. "They are so comfortable. You get a little room, you know?"
FYI: Jaime is dressed head to toe in Jason Wu.


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Track your healthy lifestyle accurately with our steps tracking and activity logging capabilities.
Check In
Check in to facilities such as gyms and sports complexes as well as health classes or talks.
We incentivise your fitness efforts by collating them into points, to redeem for rewards.
Monitor your health stats to track pre and post exercise differences and what to watch out for.