Contrary to what was expected a few years ago, printed books are not about to disappear, so it is best to know how to make them.
Before I was a designer I was already a reader. I did not know the secrets of good typography, but I was aware of the mysterious power of a good story. Books were my favorite objects long before I dreamed that one day I would design them. In fact, I loved books even before I could read them (that smell of ink and paper!), but it was the discovery of reading—that alchemy of letters coming together to reveal words, unravel sentences and tell stories—that transformed THE BOOK into the holy of holies for me. It is still the same today.
“Books were my favorite objects long before I dreamed that one day I would design them..”
When I first learned to read I did not realize that part of the ease with which I turned page after page of my first “grown-up” books, the ones with flowing text and no images, was due to the quality of the typesetting—a light grid with nice leading and kerning, well-planned margins and, above all, good typography.
I still didn’t know that, no matter how well a narrative arc is resolved and how enthralling the characters are, if the book’s layout isn’t good, the reader may be tempted to put it down in the first chapter. Today I’m sure I never finished the copy of “Doctor Zhivago” that sat on my parents’ bookshelf because the font was so tiny and poorly chosen that it created a dense, unpleasant block of text. We can also speculate here that the myriad of Russian patronymics were too much for me, but that didn’t bother me at all when I read a more modern, better-conceived edition of “The Idiot” that lived on the bottom of that same shelf. Was Pasternak a worse storyteller than Dostoievski? Probably, but that’s not the point. What happened was that poor Doctor Zhivago was a victim of bad layout options. And that is saying it all.
“… no matter how well a narrative arc is resolved and how enthralling characters are, if the book’s layout isn’t good, the reader may be tempted to put it down in the first chapter.”
Today, with the huge variety of free and paid fonts available, it can be a challenge to start designing a book. Should we follow the traditional path or be bolder? It is worth remembering that creativity and originality are important, but when it comes to book-design, easy reading should always be at the top of our concerns. So my advice on tackling the intimidating blank page is just this: Don’t reinvent the wheel. If it has been done before and with good results, learn from it, listen to the voice of experience. For classic typesetting, classic fonts. And for me that means serifs. They never fail.
“ …creativity and originality are important, but when it comes to book-design, easy reading should always be at the top of our concerns.”
These are “my” five fonts, the ones I trust and love to use to ensure simple, elegant layouts and optimal reading from the first page to the last. Besides that, they are beautiful. Can we ask for more?
I fell in love with this serif font while still in college. At the time I used it for all my art history essays because it’s a font that provides great readability even in small points. (Yes, I always wrote a lot more than I should…) Besides, for a font that has been around since 1750, it looks very modern and sharp. Baskerville makes beautiful, easy-to-read pages with a nice mix of a traditional/modern feel, making it perfect for works of fiction. I also love to use it for titles, posters and book covers, but it is in typesetting that its excellent qualities stand out. It is available in several typologies but I have never needed more than regular, bold and italic. Keep it simple…
Thank you, John Baskerville!
The classic of the classics, or, since we’re talking about a French font, “La crème de la crème!” Jorge dos Reis, who was my teacher at Faculdade de Belas Artes de Lisboa, and who taught me to love typography, used to say that one can guess the nationality of the font maker based on the design of the font itself. Garamond is a good example of that. When we look at that capital G, the figure of a very French Claude Garamond pops out, with effortless sophistication and loads of charm. And if we consider the italics…“Oh, la, la!”
This was the first font I got used to recognizing as a text block. Most of the books on our shelves are set in Garamond. Go take a peak. And there’s always that nice warm feeling of opening a book set with this font, even if we don’t understand right away why it feels so good. As popular as it is versatile, neutral and of simple beauty, it never lets us down…Great for that 400 page tome, the font is available in six weights in the Adobe Garamond Pro version, so there are no excuses not to use it all the time. That’s what I do.
The 1960’s gave us more than social revolutions, psychedelic patterns and eternal songs. In the field of typography, Sabon means to Jan Tschichold what “Sgt. Pepper’s Lonely Hearts Club Band” means to the Beatles. “Rolling Stone” considers Sgt. Pepper’s to be the best album ever cut and I don’t overstate the connection in considering Sabon to be one of the 5 Best Fonts Ever—for book typesetting. After following the New Typography movement coming from Bauhaus, and even becoming one of the greatest representatives of this style, the German typographer Tschichold returned to his origins after reaching the height of his career. He created what is considered to be the most elegant of the Roman style re-inventions. Reminiscent of Garamond, Sabon is considered romantic, feminine, even, and this may be because of the clarity of its modern lines and the sweet reading it provides. Not that women are always clear…or sweet. But you get the idea.
If you have a thick text in hand, Sabon is always a great bet!
If Garamond is the quintessential French font, Caslon is the greatest representative of classic British fonts. Considered the first original English font, it was created in 1722 by William Caslon and was so popular at the time that it crossed the Atlantic and became the font in which the first printed United States Declaration of independence was set. Impressive, right? It has known some less popular periods, but never truly ceased to be used. A great favorite of the Arts & Crafts movement in the nineteenth century, it is still preferred today by many designers who love the solemnity it adds to the text, immediately turning any page into something “serious.” Although not a font that fools around, we can use it without fear because its eighteenth-century class never fails us and has adapted beautifully to the twenty first century. Adobe’s new version (Adobe Caslon Pro) works great in digital media and remains lovely as always. I just used it to design a poetry book’s cover and pages and the layout turned out particularly good.
5. Goudy Old Style
This list already includes French, English and German fonts…now comes the American! There are a lot of Goudy fonts, but here we are talking about Goudy Old Style – perfect for lengthy…and boring texts. This is a modern font, created by Frederic Goudy for the American Type Founders in 1915. Its main feature is being so, so LIGHT! Inspired in the Italian Renaissance, an influence much in vogue in the early twentieth century in the United States, this font is a result of the exhaustive study of sixteenth-century italics, which Goudy loved. Maybe that’s why, even when it’s in the regular version, it always seems to be about to take off… Italics, of course, are beautiful, but I especially love the clear tone of a full-text page. Even with tight leading and kerning, we can easily get a very nice looking text block with that…Old Style feeling! It’s mandatory to use at least once. No wonder the famous Harper’s Bazaar magazine was originally set with this font.
Bonus font: Rongel
And now, if I may, this is an out-of-box choice. Let’s add one more font to the list. First, a confession: I have never used this font myself, but I admire it a lot…from a distance. Rongel, is a font a Portuguese designer, Mário Feliciano, created. I first encountered it in Portuguese editions of Zadie Smith’s books “On Beauty ” and “Swing Time” designed by Henrique Cayate’s atelier and…what shall I say? It was love at first read!! It is a Spanish inspired font full of salero. Solid, elegant and very fun, with whimsical details to discover. It creates bold, attitude-packed, very expressive pages. Yet it never loses sight of that serif font classic tone. I love reading pages set in Rongel…or I really love Zadie Smith. Probably both! I am waiting for the perfect project to try it out. If you’re tempted also get to know it better here:
Now that you know my preferences, why not share yours, too? Which fonts do you like for classic books? Any of these? What book have you read recently with a very good layout? Or, on the contrary, did you give up reading something because it was terrible? How do you choose the right font for each project?
Let’s exchange ideas! 😉


Involvement in the theater has always been a big part of my life, especially in the areas of props, puppetry, and mask making. Here are a few projects on which I played a significant role.
My senior year of undergrad, I was granted the role of props designer for our production of The Yellow Boat. I designed and acquired all the props, worked with the lighting, set, and costume designers to integrate the theme of the props with the production, and instructed a team of props runners for maintaining items during the run of the show.
My proudest accomplishment on this project was designing and building a small puppet manned by the main character of the show.
For a college production of Caucasion Chalk Circle, I performed as assistant mask maker to build masks for the entire cast. We built a combination of detailed neoprene masks and simple cloth and Sculpt-or-coat masks.
In addition to creating the masks, I also compiled step-by-step instructions and photo reference for our mask building processes. These include rehearsal masks, plaster face positives, and latex/neoprene masks.
To see the process documentation, visit the mask-making section of my personal site.
At the summer stock theater season of the Berkshire Theatre Festival, I was given the responsibility of designing and creating the Neverland Wolves for Peter Pan.
My instructions were to create 5 wolf heads on sticks that could be held by one person, and which had articulated jaws. The rest of the design and implementation was left totally up to me.
For a detailed overview of the process I took to create this prop, please visit its project page on my personal site.


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A MapReduce program comprises a Map() procedure that performs filtering and sorting (such as sorting students by first name into queues, one queue for each name) and a Reduce() procedure that performs a summary operation (such as counting the number of students in each queue, yielding name frequencies). The “MapReduce System” (also called “infrastructure”, “framework”) orchestrates by marshalling the distributed servers, running the various tasks in parallel, managing all communications and data transfers between the various parts of the system, providing for redundancy and fault tolerance, and overall management of the whole process.
The model is inspired by the map and reduce functions commonly used in functional programming, although their purpose in the MapReduce framework is not the same as their original forms. Furthermore, the key contribution of the MapReduce framework are not the actual map and reduce functions, but the scalability and fault-tolerance achieved for a variety of applications by optimizing the execution engine once.
A MapReduce job usually splits the input data-set into independent chunks which are processed by the map tasks in a completely parallel manner. The framework sorts the outputs of the maps, which are then input to the reduce tasks. Typically both the input and the output of the job are stored in a file-system. The framework takes care of scheduling tasks, monitoring them and re-executes the failed tasks.


Sustainability is the basis of our development concept. This includes the 3 pillars of green development:
A sustainable, more community-orientated concept can generate competitive returns for investors. We only work with those who share our ideals and support a different approach to real estate development.
Our aim is that our sustainable concept delivers the same or higher returns than the current standard development model. Ultimately the sustainable development model should become the new standard.
The industry should become a driver towards a greener future.
We create attractive living environments that withstand the test of time.
Some periods of construction are characterised by good planning and creative design. The results are still enjoyed today. Other periods that lacked these attributes created buildings that blight our landscape and communities for decades.
Our projects have an energy and longevity that will continue to be attractive for future generations.
Healthy collaboration with partners who share our values is essential. Our network includes:
We seek and implement the latest technology and ideas, to re-write the manuscript:
Every project goes through a planning process from the macro-level to the micro-level.
Our values are integrated into each stage.


|Touchy – WordPress Mobile Menu Plugin Free Download|
|Type||WordPress Plugin (Original Zip File, Not Nulled)|
|Name||Touchy – WordPress Mobile Menu Plugin v4.1 Free Download|
|Version||4.1 (Latest Version)|
|Update||11 Aug, 2020|
|Category||Codecanyon WordPress Plugin|
|Selling Platform||Codecanyon (Vendor: BonfireThemes)|
|Download Type||Original Zip File, No Nulled Version, No License Key, No Activation Key, No Registration Key, No Purchase Code, No Crack, Free Download from Google Drive|
Touchy – WordPress Mobile Menu Plugin is a premium mobile menu and header plugin for WordPress. Designed for smartphones, it’s fast, responsive and super comfortable to use. As well as having been tested extensively on different mobile devices, Touchy – WordPress Mobile Menu Plugin also works great on desktop browsers, so if you want you can even use it on a full-fledged desktop site.
Featuring a logo location, quickly accessible call and email buttons, a built-in search function, as well as a back button and multi-level drop-down menu, Touchy – WordPress Mobile Menu Plugin can serve as a Complete mobile navigation and header solution on any WordPress theme. It can even be used to hide your logo / theme menu by class / ID.
In addition, Touchy – WordPress Mobile Menu Plugin is extremely customizable. With a few clicks, you can change the color of any element, change the positioning options, hide any of the menu bar buttons, override button functions, change transparencies, etc., all thanks to to the ridiculously easy to use Realtime Live Customizer integration. You can also use the unstyled widget locations to add call-to-action behavior to your menu, embed content, insert shortcodes, or whatever else you might need. To sum up, you can make it essentially unrecognizable from its default appearance.


999KT 20 GMS BANYAN TREE 999.9 SILVER COIN
This coin depicts India's national tree, the Banyan tree and symbolizes longevity and fulfillment of wishes. For centuries, its leaf has been used during worship. The finesse of craftsmanship stands out through the clean lines that give it a 3d quality, and adds value to this fine collectible.
- Availability: Pre-Order
- Model: SSC0002
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The all-new modular design of the Y16 simplifies assembly and accelerates daily maintenance. An IP67 rating provides reliable protection for key components of the drone. A light, yet durable airframe is made of carbon fiber composites and can be quickly folded to 45% of its original size, making it easy for transportation. Both the battery and spray tank are easily swappable, significantly improving the efficiency of power and liquid supply.
Supported by its outstanding flight performance, the Y16 spray tank can carry up to 16 L, and the spray width has increased to 6 m. The spraying system has 1 delivery pumps and 6 high-pressure sprinklers with a maximum spray rate of 3L/min. The Y16 can spray 27.4 acres (11 hectares)  per hour. The spraying system also has an all-new flow meter, providing higher precision and stability than conventional flow meters.
The all-new modular aerial-electronics system in the Y16 has IMUs and barometers and adopts a propulsion signal redundancy design to ensure flight safety. The GPS+RTK dual-redundancy system supports centimeter-level positioning. It also supports dual-antenna technology that provides strong resistance against magnetic interference.
Safety with Vision.
Y16 supports HD remote transmission technology which extends its control range to up to 2 km. It also has a wide-angle FPV camera and spotlights that can monitor aircraft operation during the day and at night to ensure flight safety.
Y16 is equipped with anti-ground radar and high-precision RTK. The ground data is transmitted to the mobile APP in real-time. Based on the preset flight height, it automatically senses the crop distance. It supports flat and mountain planning operations and fruit tree operation modes to meet most operation needs. All manual, AB point, and route planning modes are available, and ordinary terrain operations are easily completed.
The PC2400 can balance the two 12S batteries of the drone at the same time. The working modes include fast charging, slow charging, battery storage, and charger housekeeping, so you can charge more worry-free. The LED battery level display interface is simple to operate and has One-button charging operation function to give users a better experience.
The Y16 Intelligent Flight Battery has a capacity of 22,000 mAh. It uses a high-strength rubber case design, which increases the safety of the battery. With the support of battery balancing technology, the power is stronger and the operating efficiency is improved.
|Total weight (excluding battery)||16kg|
|Standard take-off weight||36.8kg|
|Maximum effective take-off weight||45kg（Near sea level）|
|Hovering accuracy (good GPS signal)||EnableRTK：
Horizontal ± 12 cm, vertical ± 12 cm
RTK is not enabled：
Horizontal ± 0.7 m, vertical ± 0.4 m (radar function enabled: ± 0.2 m)
|Hover time||33min（No load）
|Maximum operating flight speed||7 m/s|
|Maximum flight speed||10m/s|
|Maximum wind speed||8m/s|
|Maximum flight altitude||1500m|
|Recommended working temperature||-5℃-50℃|
|Dimensions||1712*1712*600mm（The arms are extended and the blades are folded）|
|Diameter x pitch||30*0.9 inch|
|Maximum working current (continuous)||80A|
|Maximum working voltage||52.2V|
|Maximum light intensity||12 lux@5m Direct shot|
|Job box capacity||16L|
|Atomizing particle size||170 - 265 μm|
|Effective spray width (1.5-3 m from the work)||4-6m|
|High precision radar module|
|Working power consumption||1.5W @25°C|
|Fixed height and ground following||Height measurement range：1 - 30 m
Fixed height range：1.5 - 15 m
Mountain mode maximum slope：35°
|Intelligent flight battery|
|Number of channels||12|
|Signal output||SBUS PWM 12C|
|Limited signal distance (no interference, no blocking)||1.5km|
If you would like to purchase the product, please contact firstname.lastname@example.org or leave your contact details and we will get in touch with you shortly.


Inspired by the Colorado potato beetle, Colorado Canterbury is a three-strip plank made from the offcuts of large single-strip floors. The result is a unique floor with a striking diversity of wood grains. The 189mm planks are finished in a raw umber hue that looks equally lovely with warm and cool colour schemes. This allows you to mix and match décor while retaining a satisfying harmony in your home. The engineered wood construction combines a hardwood top layer with a supple softwood core, providing an ultra-durable floor. With an impressive 25-year residential warranty, you can rest easy – knowing that the beauty of your floor will last for decades to come.


*Updated January 2021* Back in 2017, I worked with Outside Van, a Portland-based company to build the custom Sprinter Van conversion that I’ve been living and traveling in for the last few years. In this van, I’ve driven over 14,000 foot passes in Colorado, chased powder, camped with my family, leaf peeped in New England, and more. Sprinter van life has been an incredible adventure, and this van has proved itself to be one incredible beast. In this blog post, I give the full tour and also share some updates on the few minor things I’d do differently.
This is actually my second Sprinter Van conversion. I joined the Sprinter Van community back in 2015 when I purchased my first 144” Sprinter Van. I had this first Sprinter Van converted into an awesome mobile tiny home, and traveled from California to Canada in it. During those two years, I learned a lot about how I was using the space. My last Sprinter had a full indoor bathroom, an open aisle all the way to the back doors, and a convertible sofa bed across from the slider door (you can check out the video tour of my first Sprinter Van here). In some cases, it worked – particularly when I was solo on shorter trips. However, I found myself never using the bathroom, wanting a more dedicated workspace, and needing more indoor storage for camping gear and bikes. In addition, I learned a lot about materials, the importance of building light, and having weight properly balanced across the van.
With the knowledge I gained, I decided to sell my first Sprinter and put what I learned into Sprinter Van #2. This time around, I went longer with a 4×4 170” wheelbase (read my comparison with the 144″ here) and hired a Portland-based Sprinter Van conversion company that you may have heard of called Outside Van.
50,000 miles in, I’m still absolutely loving my Outside Van Sprinter Van. Keep on reading for the full tour of my Outside Van Sprinter Van conversion, a review of my experience, and more details about why I decided to switch up my floor plan.
**Make sure to check out my free online course all about van life – The Van Life Roadmap – where I share everything I’ve learned over the last 4 years.
Take a tour of my Outside Van Sprinter Van conversion.
Outside Van YouTube Tour
First, watch this video and get the full inside tour of my 4×4 170″ Mercedes Sprinter camper van.
Sprinter Van Galley
Starting at the slider door when you walk in, Outside Van installed their medium sized galley. I wanted to leave the space open near the door and the galley so Ryan (my boyfriend and I) could be cooking together or brushing our teeth at the same time without having to sneak around each other. The open space by the slide door also leaves room for our dog Charlie so we aren’t tip toeing around him.
>> Read Next: Kitchen Ideas for your Van Conversion
Outside Van’s galley is made of marine grade plywood which is treated so it won’t expand in heat or distort over time. Marine grade plywood is the standard used in boats and is made to withstand a bumpy ride. Outside Van builds their drawers using dovetail construction and are made of bamboo, which is antimicrobial and eco-friendly. All of the drawers have a slow closing mechanism to prevent them from slamming shut.
Overhead cabinet and drawer faces are covered using a high-quality laminate, which gives all of the wood in the van a nice finish while protecting the marine grade plywood underneath. Laminate is lightweight and way more durable than regular wood. I chose a reclaimed look for the overhead cabinets and a deep blue for the galley.
The white galley counter-top is made of a material called avonite. Avonite is an acrylic material, which is lighter than granite and quartz and more durable than corion – the other materials you can make a white counter-top from. The avonite is also very easy to clean, and I love the modern look it gives the van.
The Avonite counter top has held up really well. There is one minor chip on one of the edges, but otherwise, it’s proven to be pretty scratch resistant and very easy to clean. Sometimes I do wish that it wasn’t white as it requires constant wipe down to look clean.
In my last Sprinter Van conversion, I had a permanent two burner propane stove inside the van. In my current van, I opted for an induction instead. The gas stove was a huge pain to clean and it took up a ton of counter space that was otherwise unusable.
I loved being able to cook in the van when the weather was crummy, but as long as the weather is tolerable, I now prefer to do a majority of my cooking outside. In my new Sprinter, I have a one-burner induction stove for morning coffee, very simple meals, and bad weather days. The rest of my cooking, I’m doing outside with a two burner, portable camp stove.
While you need a powerful battery bank and inverter to run an induction stove, they have a lot of benefits. The induction stove in my Sprinter Van heats up and cool down fast, so you aren’t likely to burn yourself. Induction stoves are also easy to clean and safer since you aren’t combusting gas inside the van. One other thing Outside Van did is made the induction stove completely flush with the countertop, so when the stove isn’t on, it basically serves as normal counter space for chopping, etc.
We use this stove way more than we expected, and I’m so glad we installed it. It’s especially useful to be able to cook inside in winter without having to set anything up or when we are stealth camping.
The fridge in my first Sprinter Van conversion was way too small for our needs. In this van, I wanted a larger fridge with enough room to carry a weeks worth of fresh food. I chose a 4.6 cubic foot fridge by Isotherm. Isotherm is one of the premier marine and RV fridge companies, and their fridges are designed to survive shaking, vibration, and rigid movements that you have in vans and boats.
We love the size of our fridge and it functions quite well. My only complaint about this fridge is after about 6 weeks, the freezer starts to ice up and the entire fridge has to be turned off and defrosted. I’m not sure if other fridge styles – like drawer fridges – have the same issue.
For the sink, we have a nice pull-down faucet and a large, round stainless steel under-mount sink. I wanted a sink large enough that would make doing dishes very easy. Outside Van also created a cover that sits flush with the sink and creates a flat surface for additional prep space.
Drawers and Storage
The push locks keep the drawers and cabinets from opening while I’m driving, and Outside Van used a custom powder coat so the push locks match the other metal features in the van.
Lastly, for storage near the galley, there is a large 5’ long overhead cabinet for food and other essentials. I also opted for Outside Van’s overhead cab shelf which adds a lot of additional storage for oddly shaped items.
Sprinter Van Dinette
In my last Sprinter van conversion, my sofa converted to a bed. That meant when the bed was out, I couldn’t set my table up. This became a problem for my working productivity because Ryan and I have slightly different sleeping habits sometimes. I’m an early riser, and it’s the time of day I get most of my work done. Therefore I wanted a dedicated workspace that was always ready to go and didn’t have to be set up and taken down every day.
Behind the galley, Outside Van built me a custom dinette that comfortably seats two people. In my last van, Ryan and I had to sit next to each other on the sofa if we wanted to play a game or eat dinner. In this van, the dinette allows us to sit across from each other, which I prefer and feels more comfortable on my back.
I wanted the bench seats to add a pop of color to the van, so I choose fun fabric made by Sunbrella, which Outside Van uses as it’s stain and fade resistant. The two bench seats have ample storage in them and the bench seats also pull out to make a full lounge that spans the width of the van. It’s very easy to set up and could easily sleep a child or a Great Dane.
The dinette has worked out fabulous for both working, eating, and hanging out. We have never used the lounge and since there isn’t a seatbelt for an extra passenger, I’m not sure it was necessary to have this additional sleeping area. For the upholstery, we’ve removed the covers a few times and washed them in our washing machine. They clean up nice, but we do keep the bottom half covered with a towel since we step on it in order to get up in the bed. Next time, I might use a vinyl type material that wipes clean instead.
The table in the middle is on a Lagun swivel mount and serves as a desk and dining table. It’s 30” long and can be used width or lengthwise. The Lagun mount allows the table to be pushed all the way to one side, making it easier to access the storage underneath the bed. If I want to pull the bench seats out, I can remove the whole table from its mount and place it in a second mount next to the galley.
The table was constructed in-house by Outside Van. I had the idea to have a US map placed on the table top, and not only did they pull it off, but it looks fantastic and is one of my favorite parts of the van.
This Lagun table is awesome. We drive with it in place and have never removed it.
>> Read Next: Get Tips for Planning your Van Layout
Outside Van Sprinter Three-Panel Bed
Next at the rear of the van is Outside Van’s standard three-panel aluminum platform bed that goes all the way to the back doors with Outside Van’s exoskeleton cabinet for clothing storage. The bed has a capacity of 500 pounds and is almost a king-sized bed (we sleep the long way down the van even though the pillow placement suggests otherwise). All three panels are secured to the bed rails via a spring-loaded threaded fastener. The bed panels can also be removed if I was moving, for example, and needed to be able to store bigger things in the back of the van.
Mattress and Bedding
I chose the medium firm mattress with memory foam and added a latex topper for additional comfort. Outside Van’s mattress cover is made from Sunbrella, which is stain resistant, tear resistant, and easy to clean. While we keep ours protected with an additional waterproof mattress cover, I can even take their cover off and throw it in the washing machine.
My comforter for those who are curious is made by Rumpl.
Discover my top 17 must have van life gear essentials.
On the passenger side of the van, I have what Outside Van calls an exoskeleton cabinet which is open with no cabinet face. They put it on the opposite wall as the galley overhead cabinet to help balance out the van’s weight. This style of cabinet is stuffable, removable, modular and more lightweight than traditional cabinets. We use this exoskeleton cabinet to store packing cubes containing all of our clothes.
The open style cabinet has its pros and cons. I like that it’s easy to stuff a jacket in there or quickly grab something. At the same time, unless you are super diligent about putting your clothes away in your packing cubes, it can quickly look messy and unorganized.
Sprinter Van Garage
Underneath the bed is a ton of storage. Right now we have room for two Specialized e-mountain bikes, all of our camping, and outdoor gear, shoes, and even a couple of inflatable stand-up-paddle boards. There is also 25 gallons of water, a Webasto Dual Top Evo 6 for heat and hot water, and a very powerful battery bank.
Everything gets secured in the garage using Mac’s Versatile Tie Down System – basically a version of L Track. Using Mac’s tie-down rings, we cinch all of our bins up using straps so nothing moves while we are driving. The bikes use the same system. We simply take the front wheel off of our bikes, put the bikes in facing the opposite direction so we can get them as tight as possible together, and then mount them to the Mac System using fork mounts. It takes a few minutes to unpack and restore the bikes, but I’m very happy being able to store our electric bikes inside the van to prevent them from getting stolen and to minimize the number of things that are hanging off of the van and causing drag.
We can access the garage via the back doors or from the inside of the van. Outside Van makes a softwall that attaches to the front of the bed frame and drops down to the floor. The middle of the softball has a zippered doorway that you can leave open to get in and out of the garage without having to go outside. We typically just leave this up since we store our shoes right behind the soft wall.
You may be wondering how easy it is to stay organized in here without a robust drawer system. In my Outside Van Sprinter, I opted to keep storage simple. A big drawer system, especially if it’s made of wood, is very heavy and is just another component of the van that you have to worry about breaking if you like to drive off-road. Instead, I wanted to store my gear in lightweight plastic bins and duffel bags. That way it’s easy to pull everything out of the van together in the bins/bags, rather than having to take each individual item out of drawers to transport my stuff in and out of a house. It would be cool to have the bikes on some sort of slider system, but you end up losing a few inches vertically, and we didn’t want our bed any higher.
>> Read Next: How to Fit your Stuff into 100 Square Feet
Sprinter Van Electrical System
My last Sprinter Van had high performing electrical components, and in this van, I opted for many of those same components but a beefier system overall. Running low on power is stressful, and if you drop below a certain point, it can damage your batteries to the point of needing to replace them. We plan on living in the van full-time for 6 months a year, and with electric bikes, my computer, camera, induction stove, the heater, and other electronics, I wanted to never have to worry about running out of power – especially in the winter.
We’ve spent almost two years living full time in this Sprinter van, and we’ve never had to plug in. I’m so happy I went with a robust system that I never have to worry about. Occasionally in winter if we are using the induction stove a lot, we might turn on the van so the alternator sends some additional juice to the batteries. But other than that, this power system has performed great. The technology has changed since my van was built, so next time I might consider Lithium. However, I’ve never had any issues with my AGM batteries, and they are still holding charge as if they were brand new.
I almost doubled my battery bank in my new Sprinter. In my last van, I had 375 amp hours of batteries. In this van, I have 660 amp hours. I opted for AGM batteries because they perform better in cold weather than Lithium Ion, and they are also more cost-effective. The batteries are stored in a cabinet in the garage. The batteries charge off of the solar on the roof, and they are also hooked up to my engine’s alternator, so the batteries are constantly charging while I’m driving.
On the roof, I have 445 watts of solar panels made by Zamp Solar. They are the same brand I had on my last van, and Outside Van uses Zamp because their panels are made right here in the US, and out of the companies they’ve tried, they’ve found their panels to be the highest performing. I have four 80 watt panels and one 125 watt panel. One of my single 80-watt solar panels should cover the consumption rate of the fridge, while the rest run the other things in the van.
>> Read Next: Planning your electrical system for your van conversion
My solar setup on the roof is secured to a custom-made Outside Van roof rack. The rack is very low profile, so you can barely see it from the ground, and it has a walkway down the center of the van that I use to hang out or access the solar panels for cleaning. It’s worked out great as a platform for taking photos too.
The final piece is the inverter. I have a 2000 watt Magnum Pure-Sine Inverter which converts power from the batteries to AC power that I use to run the induction stove and other things that plug into the 110 outlets. I have 6 USB outlets and 6 regular 110 outlets, including two 110 outlets in the garage that we use to charge our e-bikes. In addition to our ebikes, we have a computer, cameras, phones, a blender, a dust buster, and a few other appliances that we charge.
Sprinter Van Temperature Control
I opted against a rear AC in my Sprinter Van conversion. They draw a ton of power, and it didn’t seem necessary. I can confirm now that we made the right decision. We don’t camp in the desert in summer, and when it gets too hot, we flock to higher elevations. Of course, if you plan on living in Florida or Arizona in summer, you may need to plan differently.
Outside Van did do a few things though to keep the interior of the van comfortable, even on hot sunny days.
First, they replaced the front side factory windows with CR Laurence Windows that vent. Next to the bed, we also have small slider windows that open up.
I have two Maxx Fans. One above the galley and one above the bed. They each have a rain sensor and create really nice airflow in the van. Compared to my Fantastic Fan in my last Sprinter Van, the Maxx Fans seem superior.
Insulating Window Shades
All of the window shades in my Sprinter van conversion are made of a ripstop nylon with a layer of closed cell foam in the middle which helps insulate the van from the heat in the summer and prevent warm air from escaping through the windows in the winter. The shades are very simple to put up and take down via the snap buttons and most of the time, we find ourselves driving with them in place to keep the sun out.
The curtain that leads to the front of the van is the same material and has a zippered walkway in the middle. This is one of my favorite things in the van. We leave it hanging up at all time, and I love how easy it is to zip is closed when we want privacy or to insulate the living area from the cab.
For heat in the winter, I have a Webasto Dual Top Evo 6. This equipment produces hot air and hot water and runs of the diesel in your existing diesel tank. Outside Van generally installs these Webasto units inside the van in the garage which improves their performance in the winter versus having them on the outside.
We’ve had our van down to single digits at night, and the van feels toasty warm inside.
>> Read Next: Options for Temperature Control in your Van Conversion
Sprinter Van Plumbing System
In my new Sprinter, I wanted my entire plumbing system contained inside the van, so I don’t have to worry about anything freezing in the winter. It’s a simple streamlined setup and very easy to fill up our water.
I have a 25-gallon water tank inside a cabinet in the garage, alongside the Webasto Dual Top which stores an additional 3 gallons of hot water in the boiler. The BPA-free water tank is permanent, but it can easily be filled using a hose or 5-gallon jugs if I can’t find a spigot with potable water. Water that runs through lines to the sink goes through a three-stage charcoal water filter that ensures the water we are drinking is clean.
For showering, Outside Van does build lightweight indoor showers for those of you who truly need a regular indoor shower…but based my experience with my last indoor shower, I decided this wasn’t a necessity for me or worth the sacrifice in space. For showering, we can quickly hook up a shower hose to the back of the water tank, which allows us to take hot outdoor showers. When we travel in the winter, we’ll have to find other ways to shower – like gyms, community centers, campgrounds, or houses of family or friends.
>> Read Next: 7 Reasons you Don’t Need a Permanent Shower in your Van
In my last Sprinter Van, I had a Thetford portable toilet. It did the trick, but I hated using it for #2 because dumping it was gross. Plus, finding a dump every 5-7 days to empty the toilet was a hassle.
For the first year we traveled in this new Sprinter, we didn’t have a toilet. But now, with wanting to avoid public bathrooms, we carry this foldable Go Anywhere toilet that utilizes wag bags. We prefer go outside and dig a hole following Leave No Trace principles, but when it’s not possible to go outside, we use this toilet. Once you’re done, the bag just goes in the trash can. The bags do get pricey, and I’m not crazy about the plastic waste, but for the occasional use, it’s worked out great for us. The space we save by not having a normal toilet is more than worth it, and I enjoy not having the toilet-related chores
>> Read Next: Best camper van toilet options
Sprinter Van Floor
In my last Sprinter, I found that the dark wood floors looked great, but they were very hard to keep clean. Dirt shows very easily on dark colors and with our dog, all we saw was footprints. The wood also didn’t provide any traction.
The first thing Outside Van does when building their floors is to remove the factory floor. They then build a new floor out of marine grade plywood and adhere a layer of high-density vinyl to the top. This is a slightly heavier than the factory floor, but its a little thicker and way more durable, so there’s no flex in the floor when you place heavy features on it.
In my Outside Van Sprinter, I choose two different types of flooring – both made of a high-density vinyl. In the front, I wanted something that would provide a balance between durability and easiness to clean, which led me to a lighter colored vinyl weave with a hint of black that ties in with other black features in the van like the window shades. Update: The texture in the weave the floor up front actually makes. it quite difficult to clean.
In the back, I chose a diamond plate style vinyl floor, which is one of the most durable floor types you can put in a Sprinter Van. It doesn’t scratch, so it can withstand bins and bikes sliding across it. We’ve found this to be true after years of dragging gear across it.
>> Read Next: A Guide to Floor Materials for your Van
Sprinter Van Walls
One of my favorite features of my last Sprinter Van was the white walls. It made the van feel so bright, open, and airy. Outside Van had never built a van with white walls, so my van is a completely new look for them. They found a synthetic leather product called Sileather that is eco-friendly, VOC-free, easy to clean with a damp cloth, waterproof, and fade proof. It’s perfect for people with dogs, as dog hair doesn’t stick to it. I’ve been really happy with the walls – even bloody mosquitos wipe right up.
Behind the walls, is insulation, a really powerful sound dampening material, and a custom infrastructure that Outside Van has developed to reduce the twisting and flexing of the van interior, making the build more durable. The van is incredibly quiet when I drive. There are no rattles or other noises from the cabinets or other components, making for a very peaceful ride.
>> Read Next: Best Insulation types for your Van Conversion


What To Incorporate in an Office Background
If you are using video conferencing software to visit with family and friends, your background may not matter much. However, if you use it for professional meetings or conferences, having the right background can impact your success. These are things you can incorporate into your office background.
Minimalist Plain Zoom
Your first step to creating an office background is to declutter. Remove anything that creates a busy-looking area. Your minimalist plain zoom background shouldn’t have extra furniture, cords, desk accessories, etc.
Move as much out of your camera view as possible. If you do have bookshelves behind you, make sure that everything is put away and they look tidy. If you don’t need it for your presentation, remove it. In fact, a background in one solid color with one focal point, such as a piece of artwork, is often best. In addition, avoid placing your camera where you can see the doorway in the frame.
Incorporate a Logo
When you have cleared out all the furniture and other accessories, you should have a rather blank canvas, especially if you removed those bookshelves. Hopefully, you are starting with a blank wall. Now, incorporate your company logo.
You can size it based on the frame and color of the logo versus the wall. Make sure your logo doesn’t overpower the screen, but make it visible.
Add a Plant
Plants not only pull toxins out of the air, but they give your area a natural, lively look. They also help you feel happy. In the background, they add interest and height. Choose something attractive and interesting, but don’t let it overwhelm the background. If you have trouble keeping plants alive, choose a lifelike artificial plant.
Custom Office Backgrounds
If you cannot clear out your background, you can adopt a custom office background. You can choose from a number of background options and even insert your logo. You also gain more privacy because others on your video call cannot see your home or desk.
Because they are customized, you can also use them to build brand recognition. Those you are meeting with will see that you care about keeping your “meeting room” tidy and ensuring that it reflects your company, encouraging them to trust your brand. In addition, you can choose from many low-cost or free options, so you can create unique backgrounds for your calls.
Pay Attention to the Lighting
Your lighting is important because it can make you and your background look great or not so great. For example, you may choose a ring light, which is a popular choice for many YouTubers, but if you are at a desk, choose a high-color rendering index light. These lights show true color, so you and your background won’t be washed out or off-color during your meetings.
You don’t have to spend a lot of money on a lighting system. Use natural light if you have it, but if you don’t you can find affordable options with great results online.
You can also choose free zoom backgrounds office for important business meetings where you need your attendees to pay close attention. The key is to create a natural-looking background that isn’t cluttered with unnecessary distractions but shows a little personality.


White and ivory are timeless colors that have been popular in interior design for centuries. These neutral hues are versatile, elegant, and timeless, making them a popular choice for many modern homes. White and ivory are often used to create a fresh and airy look in a room, and they can also be paired with other colors to create a warm and inviting atmosphere.
Handmade modern minimal rugs have become increasingly popular in recent years, as homeowners seek to add a touch of elegance and sophistication to their homes. These rugs are characterized by clean lines, simple patterns, and a focus on high-quality materials. Some of the most popular materials for handmade modern minimal rugs include wool, cotton, and silk, each of which offers a unique texture and feel.
In 2023, the trend towards minimalism in interior design is expected to continue, and handmade modern minimal rugs will play a significant role in this movement. These rugs offer a simple, yet elegant, way to add texture and depth to a room, and they can be paired with a wide range of decor styles to create a truly unique and personalized look. Whether you're looking to create a minimalist space or simply add a touch of elegance to your home, handmade modern minimal rugs are a great choice.


The first grade just made some awesome winter inspired art! They did drawings of a snowy landscape and a snowman with a wax resist!
Here's how they did it.
First they drew three circles to represent the snowman.
Then they created trees and mountains for the horizon.
Next they colored in the trees and used a blue crayon to add some shading and value to the snowman. They also used a white crayon to draw snowflakes in the sky that you cannot see... yet!
Last they used a watercolor paint in the sky and mountains. But the white crayon created a wax resist. It was like magic the snowflakes started appearing all over they page!
Here are the finished pieces!


Fantasies of a European Lady.
The Stereo-Daguerreotypes of Princess Zinaida Yusupova’s Palace in Saint Petersburg
An outstanding series of ten stereo-daguerreotypes from the early 1860s shows the interiors of a most fashionable palace at 42 Liteyny Avenue in Saint Petersburg, then capital of the Tsarist Empire. The building was owned by Princess Zinaida Yusupova (1810–1893), a descendant of the noble Moscow boyar family, the Narishkins (A). In 1827, while still very young, she had married Prince Boris Yusupov (1794–1849), an important official of the imperial court. The couple bought a palace on the Moika River in 1830 and had it rebuilt and expanded several times. The princess was known for her beauty, intelligence and knowledge of poetry and art, as well as for various affairs and her proximity to Tsar Nicholas I. After her husband’s death, Zinaida had the palace built on Liteyny Avenue and moved there after her only son Nikolai Yusupov (1827–1891), to whom she left the palace on the Moika River, married in 1856. Zinaida Yusupova was one of the capital’s richest aristocrats at the time, and her prominent status in Russian high society is still reflected in her magnificent palace, built between 1852 and 1858 by architect Ludwig Bohnstedt (1822–1885).
The eye-catching two-story building is located on one of the main boulevards of the city center, which runs north-south from Liteyny Bridge to Nevsky Avenue, and is best seen from Belinsky Street, at the end of which it is located (B). On the one hand, the façade, strictly structured with large round-arched windows, is inspired by Italian Renaissance architecture. On the other hand, the façade’s lavish architectural and sculptural decoration – such as columns and pilasters, caryatids, atlantes, putti and vases – is more reminiscent of Baroque architecture. This way, the palace represented the latest fashion: the amalgamation of different stylistic models of past epochs was characteristic of the so-called “eclecticism” in 19th-century architecture. The somewhat imposing décor, however, seems to have suited the princess’s taste rather than the architect’s artistic convictions. A peculiarity of the palace is that its façades are completely faced with stone, unlike most other buildings of this era in Saint Petersburg, where brick walls were plastered and decorated with cheaper stucco. The main façade and all its decorations are carved from light-colored “Bremen sandstone” which was one of the reasons why the palace was considered a culmination of taste and splendor at the time.
Zinaida Yusupova, proud of her new residence, had the palace and its interiors documented in various media. Around 1860, Vasily Sadovnikov (1800–1879) painted the palace in a series of detailed watercolors, and apparently photographs also existed of the building at that time. Highlighted are the preserved stereo-daguerreotypes presented here. Using a camera with two lenses, the interiors were photographed from two slightly different angles side by side on one plate. When these images are looked at through a simple optical device, an illusion of three-dimensional depth is created, and the viewer can be literally immersed in the image.
The ten stereo-daguerreotypes measure 8.5 x 11 cm each and are subtly hand-tinted with dust and watercolor paints. They are mounted under a protective glass plate in a cardboard passepartout covered with gold foil and carrying the imprint of the manufacturing company: “T. SCHNEIDER UND SOEHNE” [T. SCHNEIDER AND SONS]. Also preserved is the original wooden storage box with ten compartments and a sliding lid, and a leather-bound wooden viewing case lined with red velvet. A daguerreotype inserted into this case could be viewed through the integrated fold-out lens plate. This way, the desired perception of spatial depth was easier to achieve and the viewing experience improved.
The Age of the Daguerreotype
The Daguerreotype, first viable photographic method, developed by Louis Jacques Mandé Daguerre (1787–1851), was introduced to the public in August 1839 at the French Academy of Sciences in Paris and changed the world of imagery forever. Daguerre’s cameras and equipment sold quickly and many enthusiasts learned the profitable technique which made it possible to depict the world in a relatively simple but entirely new and lifelike way. After further technical improvements to the process, even portraits of living people could be taken. To make a daguerreotype, silver-plated and polished copper plates first had to be made light-sensitive with iodine vapor. Then they were inserted into the camera and exposed. Subsequently, the plates were developed using mercury vapor, and finally they had to be fixed in a specific solution.
The daguerreotype soon spread to Russia, and in the 1840s and 1850s, the decades considered the “Age of the Daguerreotype”, many photographic studios opened in Saint Petersburg and Moscow. French, Italian, German, and Russian daguerreotypists worked there, producing mainly single and group portraits. In the 1860s, the daguerreotype, whose primary disadvantage was the non-reproducibility of the resulting unique prints, was rapidly replaced by various negative processes that allowed the photograph to be duplicated.
Trupert Schneider and the Schneider Brothers
In the early 1860s, however, daguerreotypes taken as stereo images were Schneider and Sons’ area of expertise, setting them apart from other photographers. Trupert Schneider (1804–1899), a skilled carpenter from the Duchy of Baden, completely changed his career in his 40s after discovering the technique of the daguerreotype. First, he assisted Joseph Broglie (*1810), an itinerant daguerreotypist from Huningue (Alsace), but soon acquired the necessary equipment to work on his own. From 1848, Schneider and his son Heinrich (1835–1900) traveled as daguerreotypists, undertaking extensive trips to Italy and Austria. In 1856 Trupert’s younger son Wilhelm (1839–1921) joined them and from mid-1858, the brothers traveled on alone, establishing themselves for periods in Hamburg and Berlin, where they mainly portrayed local society. After a two-month stay at home, they returned to work in Berlin and Prussian Silesia in March 1860. Now, for the first time, a “Bilderkästchen” [picture box] and a “Stereoskopkasten” [stereoscope box] – presumably a storage box and a viewing case for stereo-daguerreotypes – are mentioned in their commission book in connection with interior photographs of a building. It is quite possible that the stereo-daguerreotypes were an innovative proposal devised by Trupert Schneider and his sons in view of the threatening decline of the daguerreotype. In this case, the spectacular illusion of three-dimensional depth of stereoscopic images – particularly suitable for the representation of architecture and interiors – could counterbalance the lack of reproducibility of the image. On May 1 1861, Heinrich and Wilhelm Schneider left Ehrenstetten in Baden for Russia, arriving in Saint Petersburg on May 21. After having taken only a few pictures, the bad weather prompted them to travel on to Moscow. Here they spent more than two weeks photographing the Kremlin, the tsar’s residence, totaling around eighty stereo-daguerreotypes. Back in Saint Petersburg, prominent residents of the city posed in front of the camera and the Schneider brothers documented their castles, villas and dachas in great detail. In winter, they were forced to pause for about three months due to the lack of daylight before returning to work in Saint Petersburg and Moscow (C). According to the commission book, they worked in Zinaida Yusupova’s (then Countess Chauveau) palace during their partnership with Carl Hedler, which began in mid-April 1862. After fourteen months in Russia, the Schneider brothers left the country in early August 1862. Only a few years later, now young millionaires, they settled in Krotzingen, where they built a house with a studio and laboratory. They adopted the more modern wet plate and later the dry plate techniques, but at the same time continued to work with daguerreotypes even until 1880. Their legacy has not survived and their photographs are now either lost or dispersed in collections and museums throughout Europe. The few stereo-daguerreotypes held in the collections of the State Russian Museum in Moscow and the State Hermitage in Saint Petersburg are all works of Heinrich and Wilhelm Schneider, made in 1861 and 1862, and show mainly interiors.
Stylish Interiors and Colorful Illusions of Depth
The stereo-daguerreotypes of Zinaida Yusupova’s palace show nine locations of its vast premises. All rooms are lavishly decorated with stucco, gilding and decorative painting and equipped with many gas-powered lamps. The princess, who had spent a lot of time in Paris in recent years, had the palace furnished according to the taste of the time, strongly influenced by the eclectic Second Empire style, also known as Napoleon III style. The rooms vary in design depending on their function, creating a kaleidoscope of artistic impressions, historical and literary associations, and resulting in stylistic codes that could easily be deciphered by contemporaries. The architect Andrei Zhukovskii commented in 1859:
The entire furnishing altogether produces a magnificent effect; the most fanciful architectural fantasies of female taste could not be more successfully and more satisfactorily executed; the most exquisite conditions of a European lady’s quarters seem to be fulfilled in perfection in this building.
A first stereo daguerreotype shows the view from below of the impressive red-carpeted staircase leading to the upper main floor (1). The garlanded pilasters, steps and handrail are carved from marble, while the walls and ceilings are decorated with stucco. On the upper floor, the most important halls where the princess would receive her guests, are arranged around the staircase. Two daguerreotypes depict the pink drawing room facing Liteyny Avenue in the northwest corner of the building (2). It features pink fabrics, gilded pilasters, and a large oval mirror above a dark marble fireplace. Two other daguerreotypes show the two adjoining rooms to the east. The image of a smaller drawing room, furnished with light blue upholstered and gilded chairs and a large chandelier, is the least successful of the series (3). The camera was set up slightly inclined and the room is poorly lit, which is why the fireplace next to the door and the painting on the left wall disappear in the dark. The daguerreotype of the following narrow, elongated room, which served as a gallery for paintings, miniatures, majolica and Chinese porcelain, is again well accomplished (4). Thanks to the windows facing the winter garden and the first courtyard the lighting is better here. The picture gallery, where further paintings, portraits and small statues and busts are exhibited, and which is located on the opposite side of the courtyard, can be seen in the following daguerreotype (5). Between the two galleries extends a very particular space, accessible from the main staircase through a glazed door: The winter garden under a sloping glass roof was one of the largest in Saint Petersburg at the time and displays a lush vegetation, clearly visible in another daguerreotype (6). Such winter gardens, which took visitors off to warm and exotic destinations, were very popular at that time in the often winter cold city.
Two other daguerreotypes show interiors, which are probably located on the first floor of the palace. One photograph shows a Renaissance-style room with a stucco ceiling decorated with large painted medallions (7). On one side of the room, a buffet is set up, containing drinking vessels, platters and table centerpieces. The other photograph reveals Zinaida Yusupova’s bedroom (8). It is decorated entirely in blue and white, and not only by coincidence resembles her former bedroom in the palace on the Moika River, The furniture was brought – as well as other fixtures suitable for the princess’s new house – from the Yusupov’s Moika Palace. The last daguerreotype shows the private church, established with the approval of the Synod on the third floor of the palace’s south wing (9). Consecrated in 1861, the church is arranged according to a design by Alexey Gornostaev (1808–1862). It is covered with a dome and vaults and decorated with portraits of saints and scenes from the gospel, as well as gilded stucco decoration and a carved iconostasis.
Zinaida Yusupova spent little time in her palace. In May 1861, she married the much younger officer Charles Chauveau (1829–1889), whom she had met in France, in her palace’s newly completed church. Fallen out of favor with Tsar Alexander II because of the mésalliance, the princess acquired the title of Count Chauveau and Marquis de Serres for her husband and soon left the country. She settled with Chaveau in a chateau in Brittany and spent the years after his death mainly in Paris, without being able to return to her homeland.
A Set of Exceptional Value
The stereo-daguerreotypes of Zinaida Yusupova’s palace are an important heritage in several respects. Since daguerreotypes are very sensitive to humidity and temperature, relatively few have survived to this day. The well-preserved stereo-daguerreotypes of the palace on Liteyny Avenue, each of them unique, are among the few existing Russian photographs by the Schneider brothers. They bear witness to the history of early photography in Russia and to the above-average quality and the distinctive characteristic of the work of Heinrich and Wilhelm Schneider, who were still very young at the time. Another unique fact is that not only the daguerreotypes, but also the original wooden storage box and the viewing case have been preserved. Both the format of the daguerreotypes and the storage box differ from the usual standards and demonstrate the inventiveness and craftsmanship of Trupert Schneider. Originally specialized in manufacturing exclusive small objects such as sewing boxes and jewelry boxes, he later not only produced his own photographic equipment, and also supplied his traveling sons with the necessary wooden boxes and viewing cases for stereo-daguerreotypes. Furthermore, the pictures are historical documents that provide extremely precise information about the housing needs of the nobility of the time and their preferences in interior design. They show a snapshot of the newly built palace of a most important Saint Petersburg lady of the time. Today, some of the depicted interiors are still preserved – albeit without the movable furnishings – but others have long since been lost, among them the church and the winter garden, which had to make way for a theater hall in 1908. For these rooms and for the lost furnishings, the stereo-daguerreotypes are significant and detailed sources that reproduce the palace’s initial atmosphere. Finally, the stereo-daguerreotypes commissioned by Zinaida Yusupova testify to the princess’s enthusiasm for the new possibilities of photography as well as her love for the arts.
Price on request


How Do I Promote Inclusive Classrooms for Students with Disabilities?
Promoting Inclusive Classrooms for Students with Disabilities: Strategies for Education Equality
Learn effective strategies for creating inclusive classrooms that cater to students with disabilities. Discover how inclusive education promotes diversity, equity, and educational opportunities for all students, fostering an inclusive learning environment.
Things that are found in Inclusive Classroom
Inclusive classrooms are designed to accommodate the diverse needs of all students, fostering a supportive and equitable learning environment. Here are some key elements commonly found in inclusive classrooms:
Inclusive classrooms consist of students with a wide range of abilities, backgrounds, cultures, and learning styles. Students with disabilities, English language learners, and students from various ethnic, socio-economic, and religious backgrounds are welcomed and included.
Universal Design for Learning (UDL)
Inclusive classrooms incorporate the principles of UDL, which provide multiple means of representation, engagement, and expression. Differentiated instruction and materials are utilized to accommodate diverse learning styles and support the individual needs of students.
Individualized Education Plans (IEPs)
Students with disabilities have personalized IEPs that outline their specific goals, accommodations, and support services. IEPs ensure that students receive the necessary resources and adjustments to access the curriculum and participate fully in classroom activities.
Inclusive classrooms often involve collaborative teaching approaches. General education teachers, special education teachers, and support staff work together to provide instruction and support to all students. Collaboration ensures that the diverse needs of students are met effectively.
Assistive Technologies and Supports
Inclusive classrooms may utilize assistive technologies and support to enhance accessibility and accommodate individual needs. These can include assistive devices, specialized software, visual aids, adaptive equipment, and classroom modifications.
Teachers in inclusive classrooms employ differentiated instruction to meet the diverse learning needs of students. Instruction is tailored to individual abilities, providing various levels of challenge and support to promote student success and engagement. Promoting Inclusive Classrooms for Students with Disabilities: Strategies for Education Equality
Positive Behavior Support
Inclusive classrooms implement positive behavior support strategies to create a safe and respectful learning environment. Clear expectations, behavior management plans, and social-emotional learning activities help foster a positive classroom culture.
Peer Support and Collaboration
Inclusive classrooms encourage peer support and collaboration among students. Cooperative learning activities, group projects, and peer tutoring provide opportunities for students to interact, learn from each other, and develop empathy and understanding.
Accessible Learning Materials
Inclusive classrooms ensure that learning materials, including textbooks, worksheets, and digital resources, are accessible to all students. Materials may be provided in alternative formats, such as braille, large print, or audio, to meet the diverse needs of learners.
Sensitivity and Inclusion Education
Inclusive classrooms prioritize fostering sensitivity, empathy, and inclusion among students. Teachers promote discussions on diversity, disability awareness, and acceptance to cultivate a culture of respect and understanding.
By incorporating these elements, inclusive classrooms aim to create a nurturing and empowering educational environment that values and celebrates the uniqueness and abilities of all students.
Ways To Promote Inclusive Classrooms for Students with Disabilities
Promoting inclusive classrooms for students with disabilities requires a concerted effort from educators, administrators, and the entire school community. Here are some effective ways to promote inclusive classrooms:
Provide ongoing professional development and training for teachers and staff to enhance their knowledge and skills in inclusive education. Training can cover topics such as differentiation strategies, Universal Design for Learning (UDL), assistive technologies, and positive behavior support.
Collaborative Team Approach
Foster collaboration among teachers, special educators, related service providers, and families. Regular communication and collaboration help create a unified support system for students with disabilities. Sharing insights, strategies, and progress updates ensures a consistent and inclusive educational experience.
Individualized Education Plans (IEPs) and Accommodations
Implement individualized education plans (IEPs) for students with disabilities. Collaborate with students, their families, and specialists to develop IEPs that outline specific goals, support services, and accommodations tailored to their needs. Ensure that accommodations are implemented consistently and effectively.
Universal Design for Learning (UDL)
Incorporate UDL principles into instruction by providing multiple means of representation, engagement, and expression. Use diverse instructional strategies, materials, and technologies that cater to different learning styles and abilities, making the curriculum accessible to all students.
Sensitivity and Disability Awareness
Promote disability awareness and sensitivity among students and staff. Organize awareness campaigns, guest speaker sessions, or disability-focused events to educate the school community about different disabilities, and foster empathy, respect, and understanding.
Peer Support and Social Integration
Facilitate peer support and social integration for students with disabilities. Encourage interactions, cooperation, and mutual understanding among students of all abilities. Implement programs such as peer mentoring, buddy systems, or inclusive extracurricular activities to promote friendships and reduce social isolation.
Accessible Physical Environment
Ensure that the physical environment of the school is accessible and inclusive. Remove physical barriers, and provide ramps, elevators, accessible washrooms, and designated spaces for assistive technologies. Create a welcoming and inclusive atmosphere that accommodates the mobility needs of students with disabilities.
Inclusive Curriculum and Instructional Materials
Develop and implement an inclusive curriculum that represents diverse perspectives and experiences. Incorporate materials and resources that are accessible, culturally responsive, and reflect the diversity of the student population. Use accessible formats, such as braille, large print, or audio, for students with visual impairments.
Parent and Community Engagement
Involve parents and the community in promoting inclusive classrooms. Encourage their participation in school activities, decision-making processes, and parent-teacher meetings. Seek their input and feedback to ensure that their perspectives are considered in creating an inclusive learning environment.
Ongoing Evaluation and Reflection
Regularly evaluate the effectiveness of inclusive practices and make adjustments as needed. Seek feedback from students, parents, and staff to identify areas for improvement. Reflect on the progress and challenges faced in promoting inclusive classrooms and continuously strive for growth and inclusivity.
By implementing these strategies, schools can create an inclusive learning environment that supports the academic, social, and emotional development of students with disabilities, fostering a culture of acceptance, respect, and equality for all learners.


Nintendo Entertainment System (NES) was created back in 1985 by the famous Japanese company Nintendo. It was an extremely revolutionary console at its time and was the best selling console for a number of years. I used to play NES a lot as a kid, so I have all those memories of the old games, and had an imminent urge to dig into the inner details of the console to figure out how it worked.
I got myself a Digilent Nexys 3 FPGA development board. It's a ready made FPGA board with built in Flash, RAM, USB programming interface, and power supply circuitry. This is a really quick and easy path into the world of FPGAs. The alternative could be to make the whole PCB from scratch, and that is something I want to learn some day. A guy named Kevtris has done exactly that with his FPGA Game Console.
There are two competing hardware description languages, VHDL and Verilog. I chose to learn Verilog because VHDL seemed unnecessarily verbose while Verilog offered a much more compact syntax.
The NES contains a Ricoh 2A03 CPU, virtually identical to the MOS 6502 CPU, but includes an on chip APU (Audio Processing Unit), while removing some CPU features such as Binary Coded Decimal arithmetic, supposedly to avoid paying patent royalties. Side by side to the CPU is a PPU (Picture Processing Unit), which is responsible for generating a 256x240 sized image. The console has extremely small amounts of memory with today's standards. It has a built in 2kB RAM for the CPU, and another 2kB used by the PPU. Additionally, some carts provided a few kilobytes of extra memory.
Since the CPU uses only a 16-bit address bus, it was common to include mapper chips inside of the cartridge. These are used to implement a mapping (or windowing) mechanism, so the CPU can select which part of the ROM to map into the address space. There exist a plethora of mapper configurations, around 200 different configurations or so. In some cases these were regular discrete logic chips such as 74LS161, while in other cases it was custom made ASICs. In order to support all NES games, I need to implement all those mapper chips too, as the FPGA NES uses an iNES ROM image instead of a physical cartridge.
The NES PPU runs off of a 21.4773 MHz crystal. This frequency was chosen by the original NES designers because it's the frequency used by NTSC video. These are the frequencies I make use of in my FPGA:
- 100MHz: The frequency of the devboard crystal, this gets converted down to 21.4773MHz by the FPGA's built in Digital Clock Manager (DCM) by first multiplying the frequency by 189, then dividing by 220, and finally dividing by 4.
- 21.4773MHz: The internal frequency the FPGA runs on, is used to clock the PSRAM logic, the VGA scanline doubler, ROM loader and some other top level logic.
- 5.37MHz: Generated by dividing 21.4773 by 4. This is frequency the PPU runs at, and every clock another pixel is outputted by the PPU. In my FPGA, I used clock enables to run the PPU only every 4th cycle, to avoid having multiple clock domains.
- 1.79MHz: PPU clock divided by 3. This clocks the CPU. Implemented as a clock enable that's active only every 12th cycle.
Here's a description of the various components that make up the FPGA NES:
Spartan 6 LX16 FPGA Core:
The heart of the board, the Spartan-6 is the programmable chip that runs the NES. It's a pretty advanced FPGA where the basic building block is a 6 input LUT instead of the more commonly used 4-input LUT used in the Spartan-3 series. Here's an FPGA Logic Cells comparison with more info.
The LUT is used to create an arbitrary function of 6 bits of inputs into one bit of output, i.e. 2^6=64 bits of state. These LUTs get interconnected and state is persisted between clock cycles through the use of flip flops, which each keep 1 bit of memory.
16Mbyte Micron Cellular RAM
This is PSRAM, a hybrid of a cheap DRAM and a more expensive SRAM. It still requires DRAM refresh cycles, but all that is happens behind the scenes so I don't need to worry about it. The RAM has an access time of 70ns, meaning that after I put the address out on the bus, I need to wait 70ns before the data is available for me to read. In my RAM logic, I wait 2 cycles (90ns). I timed it so I perform one single byte fetch per PPU clock.
The NES has separate address buses for the CPU (code) and the PPU (graphics). Since I use a single RAM chip, I'm time multiplexing the accesses. The PPU accesses ram only every second clock cycle, i.e. 50% of the time, while CPU accesses every third PPU cycle (33% of the time).
This is a rather mediocre video solution, as it only gives me 3 bits for Red, 3 bits for Green and 2 bits for Blue. This only allows for 4 levels of grayscale, so I can't even represent all NES colors accurately (see the picture). I need to move away from this once I figure out a better solution. I really wish the Digilent board would have used a proper video DAC instead, such as Analog Devices ADV7123.
These are Digilent's own expansion connectors. I created some simple audio circuitry using a 16 bit AD1866 Audio DAC connected to a single supply Operational Amplifier. The Audio DAC has a bit limited voltage range, 1.5V - 3.5V, so the peak to peak voltage after the opamp is only around 1 volt or so. I discovered the hard way by trial and error that I had to connect an electrolytic capacitor in series with the speaker to act as a high pass filter and remove the DC component to get the average voltage down to 0 volts instead of 2.5 volts.
The Digilent USB Interface can also be used as a bidirectional communications channel between the FPGA and a program running on the PC. The only controllers I had were USB SNES controllers, so I hooked the controller up to the PC and have a small program that reads the joystick movements and sends these over the cable to the FPGA.
6502 CPU Core
I wrote my own 6502 Verilog core, it seemed like a fun challenge and was a lot more educational and challenging than just stealing someone else's. The CPU contains an ALU, a set of registers, and a datapath structure that connects these together. Each instruction runs in a variable number of cycles, and a big microcode table controls which muxes and control signals that are active for every cycle of an instruction. There exists a lot of good documentation of how the 6502 worked down to the cycle level.
Interestingly, the 6502 had a bunch of undocumented instructions. These exist because instructions are only partially decoded by a Decode PLA, and the unused opcodes trigger random control signals in the CPU, causing unplanned things to happen. I implemented most of these, except for some very esoteric ones.
APU (Audio Processing Unit)
The NES APU contains 5 tone generators: Two square wave generators, one triangle generator, one noise generator and a DMC (Delta Modulation Channel). These are periodically controlled by the CPU by writing to a few IO registers in the APU. The outputs of these 5 channels are then combined in a way to mimic the audio hardware of the NES, by using a few look up tables implemented on the FPGA's block ram.
Because the sample frequency of the APU is 1.79MHz, and the output frequency of my DAC is much much lower, I need to implement a digital low pass filter to remove the very high frequency components, to avoid aliasing artifacts. I implemented a 767 order FIR filter using one of the FPGA's DSP Multiply and Accumulate units and some block ram. The DSP unit can compute expressions on the form P = P + A * (B + C) in a single clock cycle. The FIR filter runs at 21.4773 MHz, and generates an output sample rate of 1/384th of that (55.9 kHz). Thanks to FIR filters being symmetrical, I only need to perform 768/2 = 384 multiplications per output sample, i.e. exactly one multiplication per clock cycle.
PPU (Picture Processing Unit)
Generates output pixels and VGA control signals so the picture can be output on a standard PC monitor. I use the output resolution 512x480, so I implemented a scanline doubler in the FPGA, so that one PPU pixel becomes a 2x2 pixel on the VGA screen. The PPU implements the NES tile engine, where the screen is made up of a 32x30 8x8 pixel tiles, and there can be 64 sprites each either 8x8 or 8x16 pixels. The PPU aims to be completely cycle accurate, or else there will be glitches in certain games that depend on the exact NES clock timing.
So far I've only implemented a subset of all mappers that exist.
MMC1: Nintendo ASIC, used in Megaman 2, Zelda, Metroid.
MMC2: Nintendo ASIC. The only game that uses this seems to be Punch Out. It contains some dynamic bank switching to allow for more tiles than normal to be displayed on the screen simultaneously.
MMC3: Nintendo ASIC, used in Megaman 3,4,5, Super Mario Bros 2,3. This mapper features a pretty interesting scanline counter that counts the number of transitions on the address lines. By making some assumptions on the pattern at which the PPU accesses things, an IRQ can be generated to the CPU when a certain scanline is about to be rendered. This is mostly used for split screen effects.
Tepples Multi Discrete Mapper: A single mapper that can be reconfigured to support several different discrete logic mappers. I reuse this code path to implement support for the UxROM, CNROM, AxROM mappers.
Here is a photo of the result:
Spartan 6 LX16 Utilization:


Tall buildings have always relied on a combination of passive building elements and active fire detection, alarm/notification, and suppression systems to control fire and its effects. What has changed is how we use these passive and active elements and the intended results of these fire safety strategies. This evolution is the result of both advances in structural and fire safety technology, as well as new safety and security threats that make the integrity of the building structure and the ability to evacuate occupants in a timely manner of the utmost priority.
Fifty years ago, the technology available to us to create fire-safe tall buildings was quite basic. Passive protection of the steel structural elements was provided by sprayed-on cementitious or fiber fireproofing materials. These materials were designed to insulate the steel from the heat of a fire and keep the steel below critical temperatures for a prescribed period (usually 3 hours for the structural frame and 2 hours for floors when tested to a standardized fire exposure test). Exit stairs to evacuate occupants from the fire area to areas of relative safety within the building were provided. Firefighting features such as elevators and firefighting water supplies to facilitate fire department response and manual suppression of fires at altitude were developed. Still missing from fire protection strategies were reliable fire detection, alarm and voice communications, and automatic suppression by sprinklers.
The idea that tall buildings would someday be targets for a broad range of malicious attacks was not a consideration for the first wave of tall buildings constructed in the 1960s and 70s in the U.S.
The Post WWII Era
The 1970s witnessed the first, sustained tall building boom in the United States with iconic, tall buildings constructed in Chicago, New York, and other major cities around the country. Most building codes did not include provisions specifically for high-rise buildings. During this time, design practices advanced ahead of codes and standards. Only after significant experience with high rise design and high-rise fires did codes and standards adopt specific high-rise provisions. In those early days, passive elements were more prevalent than active elements. Fire alarm systems were not considered reliable in fire safety design. And, automatic sprinkler systems that, at the time, used thick-walled schedule 40 pipes with screwed fittings that were cut and threaded on-site, were considered too expensive.
The goal of passive elements was to control the spread of fire and to maintain the buildings’ structural integrity during occupant evacuation and manual firefighting operations. Structural systems were primarily structural steel frames with steel deck and concrete floor slabs.
John Hancock Center, Chicago.
The 875 N. Michigan Avenue Building in Chicago, formerly the John Hancock Center, is a typical example of high-rise construction during this period. The building structure consists of a robust structural steel frame where the perimeter structural system carries significant structural load with perimeter diagonal bracing for lateral loads. Although the robust steel structure itself has significant resistance to heat from a fire by virtue of its high thermal mass, spray-applied cementitious fireproofing was also applied to the structure to provide the required fire resistance of 3 hours to the structural frame and 2 hours to the floors.
Exit stairs, elevator shafts, and mechanical shafts were enclosed with fire-rated non-structural drywall or concrete block construction. In those early designs, the building core was typically not a structural element and did not generally contribute to the structural strength or fire resistance of the structure itself. Active firefighting systems were limited to a water supply. In most cases, this included relatively small on-site tanks and heavily relied upon municipal water supplies pumped to upper levels of the building to serve wet standpipe outlets located in each stair for use by fire department personnel. Those services were considered highly reliable, and the need for the building to operate “off the grid” was not a high priority.
Codes “Catch Up”
During the mid-1970s, building regulations in Chicago, New York, and throughout the U.S. “caught up” with the design practices of early tall buildings and mandated specific requirements for tall buildings. The requirements included most of the passive features incorporated into the earlier designs, including structural fire resistance and enclosed egress stairs. At the time, automatic sprinklers, active smoke control systems, and emergency voice communication systems were not required by these codes.
During the 1980s, the U.S. experienced many significant fires in high-rise buildings, including hotels and office buildings. However, none of those high-rise fires resulted in the overall failure of the buildings’ structure. In several cases, there was significant localized structural failure where the localized heat of the fire had compromised the steel structural frame with spray-on fireproofing. As a result of those fires, many of the U.S. codes mandated automatic sprinkler protection for all new high-rises and eventually for most existing high-rise buildings. It is widely held that automatic sprinklers are the most effective way of controlling fire size and therefore controlling heat and smoke from a fire. Sprinkler system technology had also advanced considerably at this time, reducing costs and improving constructability.
The next tall building boom occurred in Asia during the 1990s. Two iconic projects during this timeframe were the Jin Mao Tower in Shanghai and the Petronas Twin Towers in Kuala Lumpur, Malaysia. Built contemporaneously, these two projects represent an evolution in the structural design of tall buildings and the associated fire safety strategies of these buildings. In both cases, the buildings were designed by U.S. based design and construction teams, using a combination of local building regulations and international design standards and practices. In terms of both structural systems and fire safety, both projects were quite advanced for their time.
Petronas Twin Towers and the Kuala Lumpur skyline.
Both designs incorporated poured concrete structural cores with composite perimeter super columns and steel and concrete floor assemblies. The early use of high strength concrete enhanced the design efficiency of the core and perimeter columns. This structural system was found to have the advantages of both improved structural efficiency and improved ease of constructability. With the concrete core carrying a significant portion of the lateral loads on the building, the structural system had the advantage of allowing the perimeter to be more open to more glass curtain walls and better views for building occupants.
The concrete cores provide a highly fire-resistant enclosure in the center of the towers, separated from the occupied areas of the buildings where fire is likely to occur. All critical life safety egress stairs, firefighting elevators, and critical risers’ power, fire alarm, fire sprinkler, and smoke exhaust are located within the fire-resistant core, protecting them from fire occurring in the perimeter occupied portion of each floor. The concrete core wall also forms a portion of a fire-rated public corridor system surrounding the core and separates occupied office spaces from the common public exits and core elements.
In the case of the Jin Mao tower, the concrete core contains the emergency egress stairs, firefighting elevator vestibules, passenger elevators and critical fire alarm, emergency communications, smoke extraction, and fire suppression system risers, protecting them from exposure to a fire in the occupied portion of the building. The concrete cores also facilitate safe “refuge” areas required by local building regulations.
In the Petronas Towers, in addition to the emergency evacuation stairs, firefighting elevator vestibules, and critical life safety risers, the concrete cores also contain passenger elevators that can be used in some emergency scenarios to evacuate building occupants from the sky lobby levels. The sky lobbies are designed with limited combustible contents so they can act as safe areas for staged building evacuation during emergencies. The sky bridge has the additional benefit of providing an emergency evacuation route between the towers in case of an emergency affecting the lower portion of one tower.
9/11 Brings Changes
As a result of the events of September 11, 2001, the U.S. National Institutes of Science & Technology (NIST) undertook a series of investigations into all aspects of the design and construction of the World Trade Center towers. The results of these investigations, published in the document “NIST NCSTAR 1 Final Report on the Collapse of the World Trade Center Towers,” includes “areas in current building and fire codes, standards, and practices that warrant revision” including “a list of 30 recommendations for action in the areas of increased structural integrity, enhanced fire endurance of structures, new methods of fire-resistant design of structures, enhanced active fire protection, improved building evacuation, improved emergency response, improved procedures and practices, and education and training.”
The NIST recommendations included changes to structural design standards to prevent progressive collapse, as well as changes to fire endurance of structures, in-service performance of fireproofing materials, redundancy of active fire protection systems, and provision for full building evacuation in response to a wide range of emergency scenarios other than fire.
Many of these recommendations were adopted by model code groups and were incorporated into their building and fire codes. The 2009 International Building Code (IBC) adopted a series of new requirements specific to buildings more than 420 feet (128 meters) in height. These requirements include:
- Reverting to earlier code requirements mandating a fire resistance of the structural frame of 3 hours by removing the allowance for 2-hour ratings on buildings over 128 meters.
- Design of the structure to eliminate the likelihood of progressive collapse
- Impact-resistant construction materials for walls enclosing exits and elevator shafts
- Minimum bonding strength for spray-applied fireproofing materials, so they are less likely to fail in a fire
- Redundant water supply sources and risers for automatic sprinkler systems
- One additional exit stair for firefighters or elevators designed for emergency occupant evacuation
Many of these enhanced features that were incorporated into high-rise buildings on a project-by-project basis were now mandated for all buildings over 420 feet.
2000 to the Present
The design of Burj Khalifa, currently the world’s tallest building, began in 2003 after the events of 9/11, but before the release of the NIST report and the incorporation of the report’s findings into the 2009 IBC. The design does incorporate several features that eventually became part of the 2009 IBC requirements. The design also incorporated some relevant aspects of the local code in conjunction with international codes (IBC) and fire safety enhancements.
Burj Khalifa – currently the world’s tallest building.
Structurally, the use of a reinforced concrete structure incorporating a concrete core, shear walls in each wing, columns, and concrete floor slabs was dictated by the fact that the building is primarily a residential occupancy and the shape of the building is three wings. Because the building is residential, it is highly compartmented by concrete corridor walls and demising walls.
Passive fire protection is achieved primarily by the building’s concrete structure, which acts as a fire-rated enclosure for all exit stairs, firefighting elevators, and evacuation elevators. Critical fire safety system risers are incorporated into the building’s concrete core.
Because of the extensive pace of development in Dubai at the time of construction, the building was designed so that it does not rely on municipal water or electric service during emergency operations. The fire protection water supply is provided from water tanks of 1- or 2-hour capacity located on all mechanical floors. Water supplying automatic sprinklers is fed by gravity to zones below the tanks, so there is no reliance on fire pumps to supply necessary water in an emergency.
Finally, evacuation elevators are incorporated into the design to enable full building evacuation, if needed, based on a broad range of emergency scenarios. Shuttle elevators are operated in “lifeboat” mode to shuttle occupants from sky lobbies to grade.
The Future: Jeddah Tower
Currently under construction in western Saudi Arabia, Jeddah Tower, when complete, will be the world’s tallest building at over 1,000 meters. Structurally, the building is quite similar to the Burj Khalifa, using a fully reinforced concrete structure for most of the building, incorporating concrete core, shear walls in each wing, columns, and concrete floor slabs. Because the building is residential, it is also highly compartmented by concrete corridor walls and demising walls. Passive fire protection is achieved primarily by the building’s concrete structure, which acts as a fire-rated enclosure for all exit stairs, firefighting elevators, and evacuation elevators. Critical fire safety system risers are incorporated into the building’s core.
One of the distinguishing features of the Jeddah Tower is the use of highly protected refuge floors every 20 floors, as mandated by local code. The refuge floors are full floors and, in an emergency, become safe areas for occupants’ evacuating the building. Occupants from the 20 floors above each refuge floor can evacuate their zone of the building using exit stairs to reach the refuge floor below. Each refuge floor is a safe area with minimum connections to other floors and includes independent mechanical systems. During an emergency, they serve as a staging area for elevator evacuation. Shuttle elevators are used to evacuate occupants from refuge floors to grade.
Over the past 50 years, our approach to fire safety in tall buildings has evolved considerably, incorporating new technologies to provide buildings that are protected from a broad range of threats from fire, natural disasters, and malicious acts. As we keep building taller, our strategies and technologies will continue to evolve.■


Hi there, my name is Nicole Johnson. I’m a digital designer and mental health peer supporter based in Auckland, New Zealand. This wordpress blog is intended to be a live documentation of my year as I set out on a creative journey to complete my digital design degree.
Right now I’m not sure what direction I want to take with my project. My main interests include animation, character design and game development. My interests that are not related to my degree include mental health advocacy, nature, photography, feminism, music and books.
I’ll be working on a personal visual manifesto for my digital technology and design class over the next week.
That’s all for now!


The design and analysis of a 1/5-scale model high-temperature superconducting (HTSC) magnet test facility for electrodynamic suspensions (EDS) Maglev is discussed. Although the science of low-temperature superconducting magnets is well developed, high-temperature superconductors present unique electrical and mechanical design challenges for magnetic suspensions. The design, analysis, and test of a scale-model magnetic suspension suitable for electrodynamic suspensions is the topic of this thesis. The test fixture allows low-friction motion of the levitating magnets, simulating the vertical movement of a Maglev train under external disturbances.
A new low-cost, multiple-loop guideway has been built and tested, and resultant lift, drag, and guidance forces have been measured at operating speeds approaching that of an actual high-speed train. These results are compared to predictions based on simple circuit models with good results. Scaling laws have been derived and the circuit models have been used to size a full-scale system.
The test fixture has also been used to validate the concept of lift generation at zero velocity by AC excitation of the main magnet coils. Scaling laws have been applied and predictions made for a full-scale HTSC suspension. Further work in this area may help overcome one of the fundamental limitations of EDS Maglev --- zero levitation force at zero train velocity, requiring a mechanical suspension for slow speeds.
A novel magnetic secondary suspension has been designed and tested, where vertical position has been monitored and damped in operating conditions that mimic actual Maglev train operating conditions. Results from these tests show that it may be possible to design an active secondary magnetic suspension based on high temperature superconductors, thereby removing the cost and additional complexity of a mechanical secondary suspension from the Maglev train design.
Thesis Supervisor: Professor Richard D. Thornton, Professor of Electrical Engineering, Laboratory for Electromagnetic and Electronic Systems
Thesis Committee: Dr. Yukikazu Iwasa, Francis Bitter Magnet Laboratory and Professor Steven Leeb, Laboratory for Electromagnetic and Electronic Systems
Research supported by:
Marc T. Thompson, Ph.D.
Thompson Consulting, Inc.
Copyright © 1998-2008, Thompson Consulting, Inc.
Page created: October 9, 1998. Last modified: October 9, 1998