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The New Age of Madison Street Capital

The Madison Street Capital is a top-notch, world-class financial deliberation firm. The firm has made a name for itself around the world for its success in aiding an assortment of well-known business around the globe. It advises companies on how to achieve credit, make prudent investments choices and navigate complicated transactions. It also provides business valuation and merger consulting services, private equity, investment banks, corporate tax planning services, appraisal for financial reporting, and budgetary option service. In the year 2014, the firm provided consultative services to the Vital Care Industries, a medical product manufacturing industry. The company was able to elect a fitting lender and obtain a commercial loan. Early in the year, it also helped the DCG Software Value, software support and analysis service provider, in its merger with the Spitfire Group.

Besides that, Madison Street Capital worked as the sole advisor of the ARES Security Corporation in the complex transaction concerning minority recapitalization and subordinated bonds. The security corporation protects essential computer systems in nuclear power plants and government agencies. It has also operated with the Maryland company, WLR Automotive Group on the sale of the over 13-million-dollar leaseback deal. This client portfolio has exalted Madison Street Capital reputation earning them more clients in return.

The company has enjoyed distinguished awards over the years. Recently in November 2017, it was awarded the M&A Advisor Award Finalist, as the winner of the Debt Financing Deal. It also got exceptional regard as the year’s top boutique investment banking firm. At the beginning of that same year, Madison Street Capital won a Turnaround Award beating over 300 competing companies.

Madison Street Capital stands out for its charitable benefactions. It is in support of its belief in building an active business and striving to enact a variance in the local and global society. In 2011, the firm granted funds in the Eastern and Midwestern parts of the United States that sustained severe damage caused by the harsh weather. The company also contributes to nonprofit organizations like the American Red Cross and the United Way Disaster Relief Organization.

The firm also enjoys the headship of able and well-established leaders. The co-founder, for example, Mr. Anthony Marsala, was awarded the 40 Under Forty award by the National Association of Certified Valuator in 2015. It was honoring prize for being a young business leader, and yet with notable accomplishment in the over fourteen years, he has been in the business.

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Never got Item but PayPal doesn’t care

I purchased an item off ebay, 248$. I paid through Paypal. Well i never received my item. So I requested a tracking #. Seller finally provided a tracking number. Well, it said it was sent first class mail. And anyone knows, frist class mail must be under 13 oz. My item weighed around 13 POUNDS. The post office also told me that the item sent was a small business type letter, and they would investigate where it went. i then called our neighborhood friendly Paypal. Told them the story and the way my 250$ 13 lb item was sent via first class mail and thats IMPOSSIBLE and I never received an item. They were more interested in finding out where this “package” was than how the seller was able to ship a 13 lb item with first class mail! I was outraged. The post office is currently trying to find where this package went, and the seller runs off with my money. Paypal does not give a damn about their customers, oh the guy I bought this from had 0 feedback but oh you know I thought I would be protected and safe by paypal and thought well everyone has to start somewhere. My 400+ feedback score of 100% and 1000s of paypal transactions meant nothing considering i feel i had substantial evidence for a full refund.

Posted: September 7, 2012 at 4:50 pm

One Response to Never got Item but PayPal doesn’t care

  1. Matthew W says:

    Paypal are as dumb as they come. The complete lack of common sense over at paypal is remarkable. Paypal will lure you in making you believe that they are the safest way to pay or get paid lol. I don’t think there are many users that will agree with this. The only think paypal i protecting is their own ass and money and the only thing they are working hard on is how to get more of our money. If they were to refund you your money they would have to refund the fees as well and then they don’t profit any from that transaction

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computer science homework help for Dummies

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Salem Female Anti-Slavery Society

Collection History

The Salem Female Anti-Slavery Society (SFASS) was formed in 1834. The preamble to the SFASS's constitution stated its three principles: that slavery should be immediately abolished; that people of color, enslaved or free, have a right to a home in the country without fear of intimidation, and that the society should be ready to acknowledge people of color as friends and equals. These principles, in addition to the American Anti-Slavery Society's principles, were in direct opposition to the American Colonization Society, which had been founded in 1817 with the objective to emancipate slaves, and transport them with all other free blacks to a "homeland" in Africa.

The majority of SFASS membership was comprised of wives and daughters of the members of the Anti-Slavery Society of Salem and Vicinity (ASSSV), who were drawn largely from Salem's middle and professional classes. Early activities of the society included distributing clothes to freed blacks in the area, supporting the National Anti-Slavery Bazaar at Faneuil Hall, organizing a sewing school for black girls, and aiding fugitive slaves in Canada. Between 1844 and 1862, the society organized an annual anti-slavery lecture series. Abolitionists such as Lucy Stone, Wendell Phillips, Frederick Douglass, Charles Lenox Remond, and William Lloyd Garrison, who travelled on circuit tours across the country, were requested to speak. With its primary goal, the abolition of slavery, accomplished during the Civil War, the Society voted to dissolve on January 3, 1866.

The original manuscripts in this collection are owned by our project partners, the Phillips Library at the Peabody Essex Museum. Further information about the collection can be found in the Phillips Library's finding aid.

Digital Materials

Society records, 1834-1846

This volume contains the society's earliest meeting minutes.

Society records, 1840-1845

This record book contains a history of SFASS's foundation and proposed guiding principles, a list of nominees and elected officers, meeting minutes, a list of visiting lecturers and other notable individuals, and a list of members. The volume also includes the society's annual reports from 1840, 1842, 1843, 1844, and 1845.

Society records, 1847-1862

This volume contains a preamble followed by the SFASS's constitution and meeting minutes.

Society correspondence, 1839

Various letters of correspondence between the SFASS and their members and donors, including several letters to and from William Lloyd Garrison.

1839 January 9 from L. A. Duncklee to SFASS request for membership
1839 January 5 from SFASS to William Lloyd Garrison letter awarding $100 to Lloyd Garrison from SFASS
1839 January 9 from SFASS to Harriet Webster acknowledgement of donation
1839 January 14 from William Lloyd Garrison to SFASS acknowledgement of $100 payment
1839 January 21 from Coloured Sabbath School to SFASS acknowledgement of $13 donation
1839 January 29 from Danvers Female Anti-Slavery Society to SFASS general correspondence
1839 April from SFASS to Anti-Slavery Convention of American Women general correspondence
1839 April 5 from SFASS to William Lloyd Garrison invitation to speak at Salem
1839 April 8 from William Lloyd Garrison to SFASS acceptance of invitation to speak
1839 April 5 from J. A. Collins to SFASS note advising lecture date for William Lloyd Garrison
1839 April 22 from J. A. Collins to SFASS confirmation of lecture date for William Lloyd Garrison
1839 April 26 from SFASS to Mr. Johnston acknowledgement of report on behalf of the New York Committee of Vigilance

Special Thanks

These digital resources have been made possible in part by the Council on Library and Information Resources, through a Digitizing Hidden Collections grant.

Any views, findings, conclusions, or recommendations expressed in this resource do not necessarily represent those of the Council on Library and Information Resources.

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January 24, 2019
Holy Humanitarians


text:
 'A Turtle is Worth More Alive Than Dead'

'A Turtle is Worth More Alive Than Dead'

Adams, Nalisha

Publisher:  Inter Press Service News Agency
Date Written:  26/11/2018
Year Published:  2018
Resource Type:  Article
Cx Number:  CX23140

Various participants at the Sustainable Blue Economy Conference in Kenya discuss ways they can sustainably economically benefit from the local environment.

The area of Matura is one of the few places in the world where the leatherback turtles nest. Sammy tells IPS that it is also easily accessible via a beach road, something which places the turtles at risk to poachers.

But in four years the community residents, who had formed a conservation organisation, were able to stop the slaughter of turtles, Sammy tells IPS. The residents themselves had been part of the problem initially, he adds.

"They changed because the community became part of the solution."
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Blitzkrieg1701, November 6th, 2010, 8:09 pm

Original note - May 27, 2009
Here's the thing about trying to organize photoshoots: they'd be MUCH easier if there weren't PEOPLE involved. Our little Digimon group involved over half a dozen people, but we never had more than half of us in the same place at once. I'm sure the big new location contributed, but the main problem was that none of us could freakin' stay put for more than ten seconds (and yes, I'm including myself in that)

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How to Find Competitors’ Keywords For Your SEO & PPC

Author: Gab Goldenberg

Want to find out competitors’ keywords? Here’s how to find what keywords competitors use on their sites – and protect your own!

There are three ways to find out what keywords competitors your are trying to rank for or buy with PPC ads. Click any link to skip to that technique.

Technique 1: The Competitor Site Analysis

Technique 2: Buy That Data and More From A Keyword Monitoring Service

Technique 3: Buy The Data From A Panel Measurement Service

Competitor Site Analysis

Step 1: Look at their sitemaps. This is a page, usually created for search engines, where every valuable page on a site is linked to using the keywords the page is targeting. In technical terms, the anchor text of those links is keyword rich.

Step 2: You can either:

  • Copy-paste the code on that page into a  file. Then use CTRL+F to find all the links starting with the first one and then copy paste those into an excel file. That excel file will then show you your competitors’ main SEO keywords.
  • Or you could get a web spider, and have it crawl the page then extract the links for you. Again, this will show you competitors’ main SEO keywords.

This technique has limits, though. It doesn’t:

  • Show the relative value of keywords. Linda Bustos of Elastic Path Ecommerce asked me, “Should I target body wash or shower gel? Your technique doesn’t answer that.”
  • Show the absolute value of a keyword. Does it convert, at all? Imagine an ambiguous keyword. Eg “bass” – Is that bass fish or bass guitars?
  • Tell you what competitors’ message is, in their PPC or SEO listing. Are they promoting a deal or upmarket? Special feature or ease of use?

Solution (in principle): Find out how many competitors and how long competitors have been buying a keyword. If many of them have been advertising on it for a while, it’s effective.

Spyfu can do tell you that…

Technique 2: Buy The Data From A Keyword Monitoring Service, such as Spyfu

Spyfu Competitive Intelligence Spy on Competitors AdWords and Keywords

Spyfu has 2 tools that answer the limits of the analysis we ran of our competitors’ website.

1 – Spyfu Domain History tells you what keywords a competitor bought over the past year, and for how long. By seeing the keywords they’ve bought for the longest time, you can see what keywords are most valuable.

2 –Ad History shows you all the competitors who have been bidding on a keyword in PPC auctions for the past year, and for how long they’ve been bidding.

Ad History shows you their ad text, too. By seeing the patterns in competitors ads, especially over time, you can see how to pitch the people searching.

I also like Spyfu for other reasons. Spyfu helps find keyword patterns or categories I hadn’t discovered during my own keyword research. It seems years are often used with car model names, when people want to get car insurance.

Spyfu also tells you the competitors’ ad ranking in the search results. The higher the ad’s position, the more that traffic is important to them. A good indicator of value…

Spyfu value-maximization tip Look at trends in position over time. If you see a competitor gradually raising their ad’s position, chances are that the keyword is proving better than expected. And if they’re dropping, it’s probably a poor keyword!

Compete Inc offers you similar keyword data. Their collection methodology is more reliable, though because it includes data from a “panel” – a group of 2 million people. Their actual use of the search engines is tracked! (The downside is that it’s a lot more expensive than Spyfu, starting at $199/month.)

With Compete you can see the actual keywords that are referring traffic to given websites, and which websites are getting the greatest CTR from the SERPs.
So you can “Build better search campaigns by understanding the competition,” as Compete says, which I think is a fair positioning statement since their data is looking at traffic stats as opposed to what another SEO/SEM is trying to do (my technique and Spyfu).

How do you protect your own keywords then?

While I’m no expert in SiteMaps, it’s my understanding that you can submit an XML sitemap without having a separate html sitemap on your website. If that’s the case, I would avoid making the sitemap if getting your keywords ripped off is a concern.

If you must have an html SiteMap on your site to submit one to the SEs, then this is where breaking usability convention is allowed. Hide it 5 clicks/folders deep and link to it with misleading anchor text like “ugly fat bearded ladies.” And give each folder users need to navigate to get there 5 other folders, each of them titled something really helpful, like 1,2,3,4,5…

So to get to the site map, the person would have to know the “combination” to your “folder lock” e.g. 4-2-5-4-1. You get bonus points for doing this all in Ajax – which doesn’t load a new page each time you click a link – so that they can’t use the URL to locate themselves unless they finally reach the site map.

While any decent SEO can find some of your keywords, you can at least make it a lot more difficult and laborious if they try to take shortcuts by swiping your keywords. Besides, there’s no guarantee they’ll find all the keywords you’re targeting, on their own. If you can keep them out of at least some of your markets/keywords, you’re preserving profit margins there.

Note: by observing the navigation elements of a site, competitors can find out some of your keywords anyways. Nevertheless, it’ll be very time-consuming and the competition may not be thorough enough to find all your keywords. If it’s being done by scrapers, you can try and detect them and cloak for the scrapers to not find what they needed.

Another way to protect your own keywords is to keep in mind how Spyfu and Compete work. They give information about particular domains. So if you split your PPC campaigns amongst multiple domains, your competitors would have to know all your domain names to get all your keywords. This can minimize the risk of losing all your keywords to a competitor in one swoop. Of course, that might be offset if one draws much higher CTR, but it’s a delicate balance…

Experienced direct marketers will tell you that 80% of their success lies in the ‘list’ of prospects they send their mail/email to. In search marketing your list consists of your keywords. So go find out competitors’ keywords!

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  1. I hate to bash on someone I don't know in the SEO world, but I have to say, this is probably some of the worst advice I've read regarding sitemaps. Please take this as constructive criticism, as I think your readers deserve to know more about this. Your sitemaps (plural, because you should have BOTH an XML and HTML sitemap for your site) need to be the easiest link a spider can find. Why? Because this is your one and only way to guarantee all of your pages, no matter how deep they are within your site, get indexed. By creating an intricate path of folders you are cutting yourself down significantly, especially because a sitemap isn't really that useful for doing competitive keyword research since you only get 1 keyword per page. An alternate suggestions for competitive keyword research is to use the search engines against your competitor. If you know they are doing a lot of link building, use to see all of the inbound links your competitor has. Then, go to those sites and see what anchor text is used to lead to the site. This is by no ways the only or even best way to do keyword research, but it is a better alternative to scouring sitemaps in my opinion.

    Comment by Kyle Wegner - May 4, 2008 @ 8:54am
  2. Hey Kyle, First of all, I appreciate the criticism of the idea as opposed to criticism of my person. Constructive debate of that nature is always welcome. It all depends on your perspective. If you build your site architecture properly to begin with, SEs shouldn't have a problem finding all your pages and indexing them. Webmasters got large sites fully indexed before the advent of sitemaps, and therefore it must still possible afterwards. If you're using it to get deep pages indexed that wouldn't get found using your site's regular navigation, it might be worth asking whether you don't have a usability/design issue. Alternatively, if you don't need it to get other pages besides the deep ones indexed, perhaps a partial map might be better to avoid revealing your strategy. Your alternative suggestion is pretty good too. I'd suggest it's perhaps best for picking up modifiers which couldn't all be fit into the site's navigational anchor text, and thus complements my tactics above. I note in passing that rather than do this manually, it can be done by using SEOmoz's toolset. As to the intricate path of folders, that may be my own error due to my newb level knowledge of sitemaps. The point was that if you HAVE to have one on the site to correspond to your submission through Webmaster Central / MSN/ Yahoo's equivalents, then you should bury it far and away from the prying eyes of humans. Perhaps linking to it from inauspicious/low-traffic places like the privacy policy or other TOS type statements might be better.

    Comment by Gabriel Goldenberg - May 4, 2008 @ 12:57pm
  3. This is a neat technique Gab - I usually go look at the inbound link anchor texts, on site navigation, and also the footer navigation. Many optimized sites will have a 'fat footer' of sorts, leaving all the keyword anchors at the bottom of the site as a site wide internal link. Cheers -- Dev

    Comment by Dev Basu - May 5, 2008 @ 3:31pm
  4. Glad to hear my comment was taken light heartedly Gab. I think in the end, my takeaway here is that reading posts like these makes me realize just how much I love SEO. It is an art, not a science, and every person will use their brush differently. Like art, there is good art and bad art, but most of that comes down to the the end, if an artist has talent the value will be realized. You have just gained a new subscriber :)

    Comment by Kyle Wegner - May 6, 2008 @ 6:20pm
  5. Dev - sweet tips dude, thanks for sharing. Added some link love. Kyle, I quite agree. There's more than one way to skin the cat. And thanks for subscribing! Both of you - if you care to email me your MSN messenger addresses, I'll be happy to add you so we can chat regularly

    Comment by Gabriel Goldenberg - May 7, 2008 @ 12:02am
  6. No offense man but this is some pretty bad advice. You want your site map to be prominent so the spiders (not to mention the visitor) can find all your pages. You never want to have it drill down into buried folders or use numbers as your anchor text. The methods you explain defeat all the benefits for having a sitemap both from a user and SEO perspective. Not sure I agree copying others sitemaps for keywords is a great idea either because 99% of sites don't optimize their sitemaps and anyone with a few hours could probably build a better list themselves. Maybe it would help in the research process but I doubt it because the chances of finding a well optimized sitemap in your exact industry would take more time then its worth.

    Comment by Phil Laboon - May 7, 2008 @ 1:18am
  7. yeah its really difficult to prottect your own keywords when at the same time you have to get your competitors KW :)

    Comment by amelia - May 7, 2008 @ 2:28am
  8. Sorry to come a rain on the parade... but say you had a site where you had done this, I would likely just use a "sitemap generator" to spider the site and give me a nice list of urls. In fact, xenu link sleuth would likely be the best option for that. Additionally, you can get software such as webceo or something similar to wander around a website and make a nice list of all the keywords used etc. Anyway, this is nice to stop the noobs from copying what you are doing, and any seo agency worth its salt will know how to get around it in moments... though I would also argue that they need not even do that as they should be fine doing their own keyword research and optimising a site on a 'per site' basis :) Anyway, the folder lock thing is interesting as an item on its own and I enjoy your writing style. Fine tune to topic of your posts a bit more and you will go far :) Thank you for the read! Dave

    Comment by David - May 7, 2008 @ 4:35am
  9. David, the point about using a sitemap generator is really bright - totally hadn't thought of that. Great way to get other people's keywords! And I didn't know you could use Xenu that way. As to WebCEO, I've tried it before and it couldn't pick out my keywords for the life of it. Crummy piece of software imho. Well, I suppose you've poked some holes in my ideas on protecting your keywords, but evidently you've shown that my technique for getting them from competitors works ;). Happy to hear you enjoyed the folder lock thing. I thought it was a clever trick my friend showed me.

    Comment by Gabriel Goldenberg - May 7, 2008 @ 1:34pm
  10. Very interesting, but not too worried. If I check Google Analytics on one site it shows 17,604 key phrases in the last month. Only those at the top of the list would show up in sitemaps. Only about the top ten would show in remote anchor links. And those at the bottom of the list that don't show are the ones that convert.

    Comment by Stephan Miller - May 7, 2008 @ 2:31pm
  11. If you want to see a cooler pay tool which has a free trial check out Adgooroo it will tell you both organic and PPC terms. And how your market penetration is compared to your competitors. Little bit pricey but if your spending a lot on SEO, or PPC then this may save you some money (their advice is very good too). :)

    Comment by Daryl from Quenet SEO - May 10, 2008 @ 1:41am
  12. Stephan, you have an excellent point about this being largely limited to the shorttail. That said, the longtail tends to be composed of the shorttail plus modifiers, so this is still a valid starting point. Furthermore, I've done analytics on sites earning 5 figures/month from single word searches... Daryl, thanks for sharing that. FYI, Spyfu does that and I believe Compete does too.

    Comment by Gabriel Goldenberg - May 11, 2008 @ 1:13pm
  13. Nice work, this article made WebProNews too :)

    Comment by Linda Bustos - May 12, 2008 @ 7:24pm
  14. Hey Gab! Thanks for the link love sir. Check your email, as I'm looking for your MSN/gtalk id -- Dev

    Comment by Dev Basu - May 15, 2008 @ 10:08pm
  15. You can also use Wordze's competitor keywords tool. And follow it up by using this tool of theirs: But there always seems to be debate over how accurate wordze is compared to other keyword research tools for some reason.

    Comment by Will - May 22, 2008 @ 1:10am
  16. uh oh, my competition better watch out!

    Comment by failureblogger - May 25, 2008 @ 5:55pm
  17. There are many tools out there which profess to be the end all in keyword research. If chasing the competition was all you had in mind, this is fine. The point is to lead and formulate new thoughts and ideas while embracing the old. Why chase when you can lead.

    Comment by Dave - June 23, 2009 @ 7:56am
  18. Excellent point there Dave. The reason is that Buy comes before sell, generally speaking.

    Comment by Gabriel Goldenberg - June 23, 2009 @ 2:10pm
  19. Thanks for the Adgooroo mention! Will check that out. I'm just deciding whether to go with SpyFu or KeywordSpy!? You got experience of any of the above!?

    Comment by sasdaman - July 29, 2009 @ 11:57am
  20. I've used and like SpyFu.

    Comment by Gabriel Goldenberg - July 29, 2009 @ 12:05pm
  21. Nice tips Gab.I've never tried it before and I never knew that you can protect your keywords.I thought hiding keywords is against the google guidelines.BTW,thanks I found these topic.

    Comment by Andre Colt - October 12, 2009 @ 10:29pm
  22. It's a question of not making the location obvious to humans ... that doesn't necessarily imply hiding it.

    Comment by Gabriel Goldenberg - October 13, 2009 @ 2:19am
  23. Agree With u Bro Very Useful For Finding Competitor Step by Step Explanation is awesome ...

    Comment by vikram - March 8, 2012 @ 12:23am
  24. yeah its really difficult to prottect your own keywords when at the same time you have to get your competitors KW :)

    Comment by arun - March 16, 2012 @ 4:39am
  25. Good advice. Is there any plugin for wp that could help hide my sitemap or backlinks? I would be ready to pay for it.

    Comment by Raimond - June 1, 2012 @ 4:55pm
  26. Thanks for this article! Very useful information you have shared. I have heard about the other. Try The Google Wonder Wheel and WordStream offers highly sophisticated grouping tools which facilitate the grouping of thousands of keywords quickly and efficiently. And here are some other useful tools, check it out. Thank you Gabriel! Margus Internetiturundus

    Comment by Internetiturundus - August 27, 2012 @ 11:02am
  27. I use a different technique but it also has some limitations. Generally what I do is to go to the source code and look at the meta. I always like using Firefox. What I do is to open the website using Firefox. I click on "Tools". In the dropdown menu, select "Web developer" and click on it. In the dropdown menu, select "Page Source". You will be able to view the source code. Look for the keyword meta. You will be able to see the keywords used for that particular page. If it's the homepage, you will be able to know the main keywords of the site. Does that work for you?

    Comment by Charles Kiyimba - November 21, 2012 @ 6:08pm

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text:
Douglas Bianchi: Edible cannabis should concern politicians as much as tax revenue

Regarding “California preps for pot infused fare,” from the Dec. 27 edition of The Union, I never thought I’d see the day when The Union published a puff piece (sorry) for the marijuana industry.

You pulled it off the Associated Press wire so I can’t call it a joint effort, more’s the pity.

And seeing as how I am fresh out of bad puns, I’ll get to my serious purpose.

As a 70-something who has enjoyed occasional responsible cannabis use for over 50 years, and who has looked forward wistfully to legalization since my first hit, I was shocked by the cheerful ignorance in what is essentially a propaganda piece for edible cannabis.

… it seems that instead of courts and jails propping up the price, the tax man and the bureaucrat will take over.

In all my innocence and naiveté,

... read more at:


text:
Sunday, September 7, 2014

Caution Tape - Mixtape design

Caution Tape

Caution Tape Vol. 1 is the debut compilation project from Trinidad and Tobago artiste Nathanael. The 26 year-old, relatively known for a more unique melodic approach, with his signature blend of urban r&b and Caribbean sound releases his first full offering this August 2014.

According to Nathanael, the mixtape project was intended to embody varying aspects relating to the theme of caution:
·      an alert to social ills and perils currently gripping our societies... CAUTION!
·      an alert to those members of society wanting to be part of the solution to be careful in doing so, especially given the limitations placed on them by those in authority possessing the power to influence and foster change… CAUTION!
·      a response to cautionary warnings issued to those bent on speaking out against the rampaging spiritual immorality in our homes, in our schools, in our families & in our societies… CAUTION!
·      an ironic reversal wherein which the voice of the church in society espouses a cautionary warning of its own, declaring that they will speak out against these ills - going on record to state that their lips will not be taped… CAUTION!
The reeling tape represents Nathanael’s desire to speak out amidst a barrage of cautionary warnings, voicing his perspectives through music, as depicted by the cassette tape.
The tomb, a symbol of death, suggests a loss of life and destruction – a realization of an end. The bordering chalked lines indicate a measure of finality, mirroring that of a modern crime scene. This crime scene, however, finds itself juxtaposed with the presence of the cross – a symbol of resurrection and renewed life.
The unraveling of the tape which takes form over the grave and around the cross represents an emanation of biblical truth & life into a society often said to be dying and decaying… Proceed with CAUTION!

Download the Mixtape for free here

Concept Sketch

Illustrated in Adobe Ideas
Final Design - Completed in Adobe Illustrator

CD and case design.
Booklet Design

Facebook profile picture and cover image design.

Caution Tape poster design

Caution Tape T-shirt design.

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Toilet Paper Magazine

Words by Billie Jenkins Images courtesy of Toilet Paper Toilet Paper Magazine is a punch of colour in the face. Four years, and nine editions, into its life it has a clear identity – bold, bright, provocative photography. Started by Maurizio Cattelan and Pierpaolo Ferrari, and art directed by Micol Talso, the publication has become synonymous […]


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Dates for GLOW – A Cork Christmas Celebration 2018

Join us for the return of GLOW 2018.

Visit our festive installation in Bishop Lucey Park, soar high above Cork on a giant Ferris wheel and indulge in our festive market and entertainment on the Grand Parade this Christmas.

Glow will take place on

  • Friday, 30th November to Sunday, 2nd December
  • Friday 7th December to Sunday 9th December
  • Friday 14th December to Sunday 16th December
  • Thursday 20th December to Saturday 22nd December

The Ferris Wheel will open each day from 12 noon to 9pm* from Friday, 30th November 2018 to Sunday 6th January 2019**

**Closed on Christmas Day and Closing at 4pm on Christmas Eve and New Year’s Eve.

E-mail: christmascelebration@corkcity.ie
Telephone: 021-492 4344

Cork City Council,
City Hall, Cork


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Friday, May 3, 2013

Burlap Art Work Display

I seem to be a bit random in my posts lately. I think it due to the weather. If it's nice outside, I want to show you outdoor fun. If it's it is AGAIN today, I seem to move my thoughts inside. I want to show you my latest indoor project.

Does anyone else have problems with a refrigerator overflowing with your children's artwork? I guess I shouldn't say problem because I LOVE to look at all of Ethan's creations. To me, they are like looking at miracles. The problem that I have is that it looks messy & they are always falling! Especially when Ethan decides he wants to play with the refrigerator magnets!

So, I moved all of his (and my niece & nephew's) artwork to the coveted place of over the couch! It was awesome! I loved looking all all their art & the variety of colors made the words of Ethan...made my heart feel happy. It worked great & was super cheap to create...thanks to Pinterest. However, when the windows were open & the house fan was on....these precious pictures were blown to smithereens!

So I moved them to the hallway across from our entryway. I liked how it looked because it was right above Ethan's oil pan magnetic board...lots of fun & color in this space! However...the house fan STILL got to these guys. So, even though I really liked them in this space, I had to think of a different way to display them.

Enter my new favorite things....burlap.
I have seen people use burlap & cardboard to create a bulletin board on Pinterest, and that was what I was planning on doing. Recently, we have been ripping up our carpets & laying hardwood laminate flooring. And the flooring comes in long boxes of cardboard! I cut my piece of burlap to the size I needed & then headed for our garage to gather up some cardboard to attach the burlap. But I found a GREAT surprise when I went to the garage...I found this piece of foam insulation. I ran inside & asked my husband if I could have it. Turns out it was my father-in-law's. He had sent it with my husband in order to protect a saw he has loaned us to help us cut our flooring pieces. Corey texted his Dad to see if I could have it. Does that strike anyone else as funny? Most gals might get excited over jewelry or flowers but I was over the moon excited for a scrap piece of foam! LOL!

Well, my father-in-law said I could have it, and I took it right over to the piece of was the PERFECT SIZE!!!

I got out my stapler & began attaching the burlap to the foam. I think I might need to add some kind of tape to it as well to keep it secured.

Here it is! Burlap attached to a piece of foam! I could have tackled the wrinkles, but I kinda like them. Plus, I wasn't quite done...

The next part was to add my frames. I wanted to use actual frames, but we are really trying to use what we have & I don't have any old frames laying around the house...well....not yet! Well, what's a gal to do but improvise! I grabbed a couple of Sharpie markers & some paper...

Using extra paper & some of Ethan's artwork, I played around with layout. Keeping in mind that I would be drawing in frames, I needed to keep the space between the papers & the edges of the board. After playing around the a few layouts, I found one that I was happy with & began to trace the papers with a marker.

Here is the board with the layout of my "frames." Next, I needed to embellish these guys to make them a bit more interesting!

Here is my board with my frames. I didn't use any stencils because I wanted it to be a bit organic. However, I have a couple of OCD friends that would HATE this...they would get out all kinds of fun stencils & edgers. I think either way is's whatever you want to look at!

Finally, I nailed it to the wall in the four corners. I think it looks really good above Ethan's magnet board. I'm already thinking I may want to make a frame for this guy...just to make him pop a bit more.

And here it is with Ethan's artwork attached! I used straight pins to hold his art in place. I think this looks so fun & it only cost me the cost of the burlap which I got on sale for $2.99 a yard a couple of weeks ago. This took less than an hour to do! Ethan keeps walking by & commenting on how "cool" it looks...that's the best part!

1 comment:

  1. LOVE this!! Your Sharpie frames are my favorite part. I would have sat there paralyzed with a Sharpie in hand (afraid of messing it up), and I love that you can just dive in and see how it turns out. I think the end result is FANTASTIC!


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sparky 11.jpg

When I staggered out of bed this morning, I glanced in the bathroom mirror and knew I had to capture that special look. That crazy hair look is so me. Kinda like a brown throw pillow that has a busted seam and the stuffing is coming out. That's just on the surface, of course. Look at the angst in those eyes, the suffering and tragedy--why, it's a little personal Guernica! Except instead of fascism, torture, firing squads, and death, it's about overdue library books, microwave dinners that taste like shit, and humidity. Hey! Don't judge me!


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Posted on

“WE are the CCF”

– Emma Quin, CEO, Craft Ontario
That such a simple statement caused quite a stir for those attending the Canadian Crafts Federation annual meeting last weekend in Quebec City is very telling. Usually at these meetings, we spend a great deal of time trying to decide what portion of a project is the CCF’s responsibility, what its exact role is and how to manage the processes needed to support this role. We treat the CCF as a separate entity that we are all tasked with running.

But it isn’t. As CCBC’s ED, I have been an active part of the CCF for the past seven years, I am the chair of the Advocacy Committee, co-chair the International Committee, sit on the Governance Committee and routinely support the president(s) around HR. Yet when asked, I always say that CCBC is a CCF member – I have never said that CCBC and all the artists we represent are the CCF.

And I was wrong – we are and so is every provincial & territorial craft council (PCC/TC) in Canada.

The CCF only exists to promote excellence in Canadian contemporary craft nationally and internationally, whether that is through international exhibitions, conferences or movements like Craft Year or Citizens of Craft. The only way we accomplish any of these activities is through the ongoing contributions of the PCC/TCs – whether it be in time, money, energy or expertise. There are no CCF self-directed projects, there are only national or regional projects that various PCC/TCs take the lead on that are coordinated to varying degrees through the CCF office.

So while “WE are the CCF” is evident in our collective actions, it has not yet been infused into our collective approach to the CCF. My hope is that this tiny shift in perspective will serve to refocus and invigorate the CCF to accelerate our collective efforts to internationally & nationally promote you and the Canadian contemporary craft sector.

executive director


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CCBC Granville Island

CCBC Shop and gallery

About The Shop

CCBC Shop & Gallery, Granville Island (formally Crafthouse) is proud to feature exquisite hand-crafted contemporary items from over 100 of our member artisans. Choose from a wide selection of items across the mediums of ceramic, fibre, glass, jewellery, metal, mixed media and wood. By treating yourself (or someone else!) to a piece of contemporary hand-crafted art, you are adding something unique and wonderful to your life and supporting our talented local artists.

Since 1986, proceeds from CCBC Shop and Gallery have supported B.C's craftspeople and the programs and activities of the Craft Council of BC. Your purchases help to ensure the continued growth of a vibrant and diverse craft sector in B.C.

And our location? Granville Island offers a vibrant and diverse mix of people and activities. A destination so dynamic, no visit to the city is complete without spending at least a day here.

Stay In The Know

Sign up for our newsletter and be the first to know about new work in the shop, annual sales, gallery exhibitions and other news!

First & Last Name:

Sell With Us

Are you a craftsperson interested in selling with the Craft Council of BC? - We exclusively sell the work of our members; if you haven't already become a member, now's the time! This can be done online through our Member Services page, where you can find out more about the the application process and the benefits of joining us.

1386 cartwright street.
vancouver. bc. v6h 3r8
Tel: 604-687-7270

September-April: Daily 10:30am-5:30pm
May-August: Daily 10:00am - 6pm
CLOSED Mondays in January

sandra ramos wall vases

Above: wall vases by Sandra Ramos

Artists You Will Find Here:

Kate Arkiletian
Carolyn DiPasquale
Jackie Frioud
Anyuta Gusakova
Russell Hackney
Denise Jeffrey
Grace Lee of eikcam ceramics
Ann Maliatski of Golem Designs
Vincent Massey
Meghan McCrone of Muddy Marvels Pottery
Sandra Ramos
Geraldine Rinkel
Jacqueline Robins
Sid Samphire
Gera Scott Chandler
Laura Van Der Linde
Nancy Walker

Catherine Barr
Monica Bennett
Kirsten Chursinoff
Deborah Dumka
Rene Evans
Marina Georgiadis
Don Gillard of Dig Leather Co.
Jane Kenyon
Kimiyo Kitamura
Keiko Kiyota
Bettina Matzkuhn
Jan McLeod
Dawn M Russell of Della Terra Designs
Louise Smith
Angelika Werth
Amanda Wood
Yvonne Wakabayashi

elk Studio Glass
Julian Duerksen
Lisa Harbidge of Spirit Rider Studio
Heather Konschuh
Hope Forstenzer
Jaan Poldaas
Bruce Thurston
Damaris Oakley of Redroom Art Glass Studio
Vanessa Gaudet of Lady Dragon Glassworks

Bridget Catchpole of Votum Designs
Madeleine Chisholm
Erin Christensen
Fia Cooper
Stuart Duncan of Wren Silverworks
Linda Freedman Katz
Amanda Green
June Hunter
Aleksandra Kalinic
Negar Kathami
Olympia Komianos
Kathy Kristmanson
Chi Cheng Lee
Joanna Lovett
Judi Patson
Linda Read
Debbie Ritchie
Joan Tayler
Dawn Teasdale
Nina Turczyn of Paprika Designs
Andrea Waines
Kari Woo
Billy Would Designs
Elnaz Zomorodian
Zula Jewelery + Design

Stefanie Dueck

Mixed Media
Rachael Ashe
Andrea Russell
Melanie Thompson

Ron Bazar of Arbutus Arts
Stuart Bowyer / Bowyer and Toulson
Neno Catania
Allan Cusworth
Michael Hamilton-Clark
Gerry Hebert
Wild Woods
Mark Salusbury
Mike Sasaki

Have You Thought About What You Buy?

Copper x Light from Tomo Suru Films on Vimeo.

CCBC Retail - Other Locations

Audain Art Museum - Whistler

4350 blackcomb way
whistler. bc
canada. v0n 1b4

Tel: 604.962.0413

Open Daily: 10am - 5pm (Closed Tuesdays)

Crafthouse YVR - Vancouver

Crathouse yvr_banner

domestic departure. level 3
vancouver international airport
vancouver. bc

Tel: 604-278-7949

Open Daily: 6:00am-9:00pm

Recently, one of our artists, Michael Hamilton-Clark, has had success in reaching an international audience through selling at Crafthouse YVR. Read more about his success here.

Artists Selling at Crafthouse YVR:

Trezlie Brooks
Heather Dahl
Carolyn DiPasquale
Jackie Frioud
Grace Lee
Lilach Lotan
Gillian McMillan
Margit Nellermann
Gailan Ngan
Sandra Ramos
Celia Rice-Jones
Keith Rice-Jones
Geri Rinkel
Jacqueline Robins
Kinichi Shigeno
Wanda Shum
Debra Sloan
Jasna Sokolovic
Joan Tayler
Laura Van Der Linde

Keiko Kiyota
Jocelyne Mange
Laura McKibbon
Wendy Murphy
Kaija Rautianinen
Andrea Russell
Robi Smith
Deanna Welters

Jill Allan
Julian Duerksen
Bonny Houston

Melissa Abram
Gera Scott Chandler
Madeleine Chisholm
Fran Feuer
Monica Gewurz
Tania Gleave
June Hunter
Karin Jones
Kathy Kristmanson
Naomi Levitin
Joanna Lovett
Caroline Miller
Judi Patson
Linda Read
Diane Tordjman
Kristal Vinas

Mixed Media
June Hunter
Andrea Russell
Wanda Shum

Ron Bazar
Gerry Hebert
Christine Kelly

LSTR - Victoria International Airport

pre-security arrivals hall
victoria international airport
victoria. bc

Monday-Sunday: 5:30am-9:00pm

Artists Selling at LSTR Victoria International Airport:

Grace Lee

Kaarina Talvila

Bruce Thurston

Damaris Oakley
Linda Read

Corporate Program

Have you been looking for the perfect thank you gifts for your upcoming events? Unique gifts are a great way to showcase our BC culture to your keynotes at workshops and conferences. The Craft Council of BC can help connect you to local artists to commission custom works or purchase existing pieces.

Crafts are also perfect gifts for annual staff awards, client or employee recognition, promotional initiatives and holiday celebrations. If you are interested in getting artworks for Christmas 2018, you need to order by October 15th 2018 to receive them in time for this Christmas.

 KFoC BC YK Citizen's Leadership Award

"We wanted the award to reflect the spirit of our [Citizen's Leadership] initiative. What better way than to highlight and support the work of a BC artist. Through the guidance and assistance of The Crafts Council of British Columbia, Vancouver-based artist Hope Forstenzer was commissioned to create a beautiful and meaningful sculptural glasswork to serve as the award. I would like to thank The Crafts Council of British Columbia for their support and encourage you to consider the commissioning of work by BC artists for your corporate recognition needs."

~ Dr Karen Philp
Executive Director (2015)
The Kidney Foundation of Canada, BC & Yukon Branch

“The work I did for the Kidney Foundation was an amazing experience on many levels. First, it was an opportunity that I would never have had if not for CCBC. Second, it was a chance to use glass to do work for a great cause. And finally, it showed what happens when craft becomes part of how the greater community at large comes together and celebrates itself.”
~ Hope Forstenzer
CCBC Artist Member

"I am a wood turner and, as a CCBC member artist, I was delighted to be commissioned to provide items for the Corporate Program earlier this year. The items were sixteen 9-inch bowls in English Walnut ordered as annual service awards. It is gratifying that thought was given to supporting local craft and I derive considerable pleasure in knowing that things I make are appreciated and put to good use. The Corporate Program deserves to flourish and continue to provide a useful link between local artists and the Corporate community for the provision of various forms of gifts and presentation items."

~ Michael Hamilton Clark
CCBC Member Artist

To look at more of our products, set up a consultation or get connected with one of our artists please contact us by completing our enquiry form.


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Small Ring shank
Gold Filled wire protectors - 50 pcs
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Monday, June 7, 2010

B70 Vision: I'm a fan

These goggles are great. The best I have worn for open water yet and also incredibly comfortable for pool swimming. I highly recommend these if you can get your hands on them. Swim 2000 just put out a promo code so try it : Sweet16 (save 16%).

In other news I have been swimming a lot of long distance lately -- relatively spaced out so as not to hurt my shoulder. So far I have been feeling good! I've gone 4 miles twice and 3 miles once so I feel prepared for the distance. The conditions of Chesapeake will be the wild card.

I had a lot of fun on Memorial Day weekend at he first and only Last Chance Meet in Westbrook -- aka the last chance to wear a USMS legal speed suit. Just for kicks I swam the 200 fly and 400 IM and am proud to say finished both without a DQ or obvious embarrassment. Phew. 2:37 for the 200 fly and 5:33 for the 400 IM. As Bill Jones, a 75-year old Maine Masters 200 fly expert told me, "Just keep thinking 'long and loose' and you'll make it". Great advice. He was right!

Maybe it will work for the Great Chesapeake Bay Swim next Sunday?

"Here I go again..." Anybody know who sang that line?

Wendy said...

200 fly & 400 IM? You're a lot braver than I am!

I'm glad you found goggles that pass muster in the great outdoors.

Swimming for ME said...

Gotta love that cheesy 80's music -- or was it 90's? I'm getting too old to remember.

Mary IronMatron said...

Go Alina! have a Great time down there! it will be fun!

maria conley said...

Have fun, Alina. You are going to do awesome!!!


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Monowar Hasan

Student Researcher
University of Illinois

Monowar Hasan ( is currently working toward his Ph.D. in the Department of Compute Science at the University of Illinois (UIUC). He received M.Sc. degree in Electrical and Computer Engineering at the University of Manitoba, Winnipeg, Canada, in 2015 and B.Sc. degree in Computer Science and Engineering from Bangladesh University of Engineering and Technology (BUET), Dhaka, in 2012.

Monowar has won several awards including the C.L. and Jane W.-S. Liu Award, Feng Chen Memorial Award, Best Student Paper and Outstanding Paper Award at the 2016 IEEE Real-Time Systems Symposium (RTSS), University of Manitoba Graduate Fellowship, Professor Dr. Ahmad Ullahand ChemanaraAhmed UllahTrust Fund Scholarship. His current research interests include Internet-of-Things security, real-time scheduling, and resource allocation in 5G cellular networks. In his current work, he and his research group are developing solutions for the security issues in real-time cyber-physical systems and Internet-of-Things. He served as a reviewer for several major IEEE journals and conferences.


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Skip to main content

Showing posts from May, 2018

latest updates...

My yellow climbing rose update. Top picture was March and this bottom one is from Mother's day. I'm so glad it's surviving! I also planted another one, but it's either red or orange..I don't remember! Lol

Here is what I made my mom for Mothers day. I was inspired by a pintrest. Its a small clay pot with air dry clay and paint turning it into a fairy garden house... I may make her a while little set...
It was my 2nd time working with air dry clay, I greatly enjoyed it. Here was the first time, a gift to my son for his birthday:

Here is a little picture I just colored while listening to an audio book, it was very relaxing!
 And just for fun, here is my ferret baby, his name is Shiro-san
Yes, his eyes are red! Lol
Thanks for stopping by! -hazel-crochetamommy


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E-Safety Assembly

Date: 7th Jan 2017 @ 8:35pm

Posted on June 10, 2014

Today in assembly, the children thought about what the Internet would look like in an ideal world. Everyone would be able to have fun and no-one would write anything that was mean.
Don’t forget, mums and dads, and anyone else who is interested, we have a meeting after school tomorrow to discuss Internet safety.

Please login in as a parent or pupil to leave comment on blog

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To make an appointment to see the doctor please phone our helpful and experienced reception staff on 028 9074 1188 Group image of reception stafffor use our online appointment facility (see below). If your circumstances change and you will not be needing your booked appointment please inform the reception asap so that the time can be reallocated to another patient.

Please note that a standard appointment is of 10 minutes duration. If you feel your condition is such that you will need longer than this kindly inform the receptionist and we will schedule a longer appointment for you.

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If you have an urgent issue please tell reception and you will be seen the same day by the first doctor or nurse, as appropriate, that becomes available. Urgent appointments are intended to deal with the immediate problem. Please do not bring up unrelated issues during this appointment.

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If you are too ill or frail to attend the surgery and require a home visit please telephone reception before 10:30 am if possible. In the case of children, your child will be seen sooner if you can bring him / her to the surgery.

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If you have a health concern and would like to discuss it with a doctor please contact reception before 12.00 noon briefly stating your concern and ask for a doctor to call you back.

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If a medical condition arises out side of surgery hours that can't wait until it reopens contact the N&W Urgent Care Out of Hours Centre on 028 9074 4447. A doctor will advise you and, if necessary, arrange to see you at the Out of Hours Centre which is located across the road from the Mater Hospital.

Temporary Resident

If you are ill while away from home you can receive emergency treatment from a local General Practice for 14 days. After 14 days you will need to register as a temporary or permanent patient.

Online Appointments

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Monday, July 6, 2009

1957: Humboldt 7 Shootings

Cuba History Timeline Events
April 20, 1957
The police find four DR student leaders sought for their participation in the Presidential Palace and Radio Reloj attacks in their Havana hideout, apartment #201 at 7 Humboldt Street. All are killed by Col. Esteban Ventura Novo and his men. The event is called “The Humboldt 7 Massacre”. Contemporaneous news accounts reported that a weapons cache and bomb-making equipment were found at the Humboldt hideout.

The four decedents were Fructuoso Rodríguez (one of the DR founders, who took over FEU Presidency after José Antonio Echeverria's death), Joe Westbrook Rosales (also one of the founders of DR), José Machado Rodríguez, and Juan Pedro Carbó Serviá. Carbó was additionally sought by police for the assassination of Col. Antonio Blanco Rico, Chief of Batista's secret service. The deaths of the four effectively left the DR leaderless.

There is some indication that the Communists set up the DR survivors to eliminate revolutionary competitors, and it has been noted that their two confederates (Faure Chaumon and Raúl Díaz Argüelles) left the hideout shortly before the police arrived. In 1964 Castro’s revolutionary courts convicted Communist Marcos Rodríguez Alfonso, aka “Marquitos”, of tipping off the police to the Humboldt hideout, and he was executed by a revolutionary firing squad.

7 Humboldt St c1957DR Leaders, Mexico 1956
7 Humboldt St, Havana c1957. (photo: Bohemia) (L to R) Fructuoso Rodriguez, Joe Westbrook, Faure Chomon, Juan Nuity. Mexico City, 1956

based on Manuel Márquez-Sterling's Cuba 1952-1959 and
Cuba 1952-1959 Interactive Timeline

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Peacocking With Alpha Nail

Sometimes a piece comes along that can fit into several CultureWaves™. This is one of them. What we have here is a nail polish aimed squarely at men which made me immediately think: Yin Yang Blend™: “I see the line … Read More

Dude Quilting

I have seen two articles about men making quilts in as many days so I think that warrants a mention.  Yin YangBlend™ is about the blurring of the sexes, and I think  men quilting falls neatly into that wave. The … Read More

Goodbye Beer Gut!

Yin Yang Blend™ is about “balancing the sexes” Now guys get to be as dishonest about their unwanted bulges as women! Yep, Spanx is now for men too. We’ve seen t-shirts that claim to have shaping qualities however, we ladies … Read More

Let’s Get Hairy

The smooth clean-cut look at the University of Maine is abandoned for a month every year when it observes “No Shave November”—and it’s not only for men sporting beards. … Read More

Gender Nurturing

Whether you act like a girl or play like a boy may not correspond to the sex you happen to be. In a recent study, researchers disguised the gender of the babies in the test and allowed adults to observe them. … Read More

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Toys R Us for Reinforcing Stereotypes?

I am honestly not sure which is more newsworthy, the fact that a group of Swedish sixth graders are accusing Toys R Us of reinforcing damaging notions of gender roles, or the fact that the accusation is based on a two year long study of the effects of gender roles that the students have been undertaking. … Read More

Makeup’s battle for androgyny.

So, the rise of the male polish begins. And I’m not just talking about Cuccio’s spa line. You’ve got your share of retail products as well, from Europop lines to “Man Glaze”. … Read More

The Zapotec’s Third Gender: Muxe

Gender equability is the essence of our Yin/Yang Blend wave. It sees the line between the sexes as dotted if it chooses to recognize the line at all. In American culture, we have become incredibly tolerant of male and female … Read More

Men’s Bra an Online Bestseller in Japan

Add men’s bras next to men’s pantyhose’s on our list of things that blur the line between the sexes in our yin/yang blend wave. Just two weeks after launching the bras, a Japanese online lingerie retailer says it’s their hottest … Read More


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Russia, In Search of Lost Modernity

Russia was the largest republic in the Soviet Union and has retained its vast territory unchanged since the empire crumbled in 1991. Three-quarters of the country’s population of 143 million is urban, but dispersed. There are only fourteen cities with over one million residents and just two true metropolitan centers: Moscow (11.5 million), Europe’s biggest city where West meets East; and St. Petersburg (5 million), the Russian Imperial capital for almost two hundred years, after which, in the wake of the 1917 socialist revolution, Lenin reinstated the seat of government in Moscow. It is in these two cities that the greatest majority of architecturally significant historical and contemporary projects is concentrated.

 Traditional architecture in Russia is distinctive. Its Orthodox churches are recognizable by their tent-like towers and gilded or brightly painted onion-shaped domes. Russia’s first masonry buildings for sacred purposes were influenced by Byzantine architecture of the 10th century—the time when the country was converted to Christianity—while its timber building culture goes back many centuries before this. The evolution of European architecture can be seen everywhere in Russian cities, as European styles were preferred by Russian monarchs following Peter the Great’s visionary building of St. Petersburg from scratch at the mouth of the Neva River on the Baltic Sea. But starting even earlier, some of the most renowned landmarks in the country were built by foreign masters and crafters, imported from Constantinople, the Balkans, the Netherlands, Italy, France, and Germany. Many of these architects made Russia their home and stayed there for generations, making significant contributions to adapting Romanesque, Renaissance, baroque, neoclassicism, empire, art nouveau, and other styles to Russian soil. The likes of Bartolomeo Rastrelli (Winter Palace, St. Petersburg, 1762) and Joseph Bove (Bolshoi Theater, Moscow, 1825) are among most widely celebrated architects, rightfully referred to as Russian despite their foreign origins.

Orthodox churches, Moscow

Rejecting its Soviet Past

Architects practicing in Russia today have been searching for their own identity ever since the breakup of the Soviet Union, when it was finally up to them and not the state bureaucrats to define their creative agenda. It was this freedom and the advantage of the market economy embraced by a new Russia that delivered a plethora of novel building types that were nonexistent in the previous socialist society (where workers’ clubs, palaces of pioneers, and communal housing figured largely), including corporate headquarters, places of worship, private universities, museums, banks, luxury apartment buildings, shopping malls, night clubs, spas, and perhaps most importantly, single-family homesa quintessential playground for architectural experimentation. These sudden opportunities scattered Russian architecture into all possible directions at once—postmodernism, historicism, and eclecticism as new unsophisticated clients tended to associate beauty with the old age—pre-modern, pre-revolutionary, or even Stalinist-era socialist realism. These pseudo-historical choices, being the most common, were welcomed by clients and the public alike, as well as by many architects in their compulsive urge to get rid of the austerity and faceless construction of mass housing—the most prominent and depressing feature of socialist cities from the 1960s forward. By rejecting the whole of the immediate past—the reoccurring tradition of Soviet architects going through an absurd cycle of emotionally and politically charged u-turns, from constructivism (1919-32), to Stalin’s socialist realism (1932-54), and back to modernism (1955-85) initiated by Khrushchev—the new generation of Russian architects of the late 1980s and early 1990s undertook yet another 180-degree turn, the fourth time in less than a century, but for once, it was of their own accord!

Paper Architecture and Excess

Conceptually, Russian architects had been preparing for their coup against the status quo since the early 1980s, when glasnost and perestroika enabled very young architects—predominantly students of the Moscow Institute of Architecture—to exercise their design imaginations in the spirit of Piranesi, Ledoux, and, of course, Russia’s own Yakov Chernikov. Despite their reliance on techniques used a decade earlier by postmodernists including Leon and Rob Krier, Charles Moore, Massimo Scolari, Superstudio, and others, the fantasies of these fresh architects were much freer and less grounded, as they were not concerned with questions of functionality, let alone constructability. These poetic dream-like manifestos were their only way to be liberated, even if only on paper, from somber everyday surroundings and the kind of work they were expected to do in Soviet state bureaus. Their utopian projects were handsomely rewarded internationally with dozens of top prizes, mainly through Japanese-sponsored idea-competitions exploring such themes as The Nameless River, The Intelligent Market or Bridge across the Rubicon. This spark of creativity was recorded in history as the “paper architecture” movement, prompting many international exhibitions and publications to follow.

  Paper architecture did not last. Its triumphant march was interrupted by liberalization of Socialist economy and the immergence of small cooperative architectural studios in the late 1980s. New opportunities to build, particularly for private clients, diverted the attention of young architects to much more pragmatic projects. Yet, paper architecture had perhaps a somewhat similar effect on Russian architects as Robert Venturi’s seminal book Complexities and Contradictions in Architecture (1966) did on those in the West—it was a rebellion against the surrounding stagnation and lack of imagination. The 1985 Russian translation of Charles Jencks’s influential book The Language of Post-Modern Architecture (1977) appeared just in time to be used by architects as yet another inspirational source. Local architects were finally free to test their wildest creative ideas against the existing constrains of the preceding decades. The realization of many eccentric projects followed. The aftershock of this wave echoes in Russia to this day.

Private commissions, mostly from the nouveaux riches, proved very quickly that it takes a good client as well as a good architect to produce sensitive architecture. Neither group was ready, but both jumped to the opportunities to build, producing horrific private residences, condominiums, shopping centers, office buildings, and more. The new freedoms went too far too fast, with the apotheosis of banal and kitsch culminating with such gaudy residential structures as the Egg-House (Sergey Tkachenko, Moscow, 2002) in the form of a giant Fabergé egg, and the Pompeii House (Mikhail Belov, Moscow, 2005) where Disney-style “historical” representation and Russian fairytale converged. These buildings are curious period pieces indicative of times of excess and farce at its worst. They illustrate a painful path from socialist to capitalist Russia when its relatively homogeneous middle class population was torn into what mostly became the very poor, sprinkled with a few very rich individuals. The economic spectrum in Russia remains among the most extreme anywhere—while median salaries are still nowhere near the salary levels in the rest of Europe, Moscow has now displaced New York as home to the largest number of billionaires.

 After the “dashing” 1990s, stymied by economic instability and the acute monetary crisis of 1998, Russia emerged at the dawn of the new millennium as a new country with a strong grasp on economic growth under Vladimir Putin, which was enabled particularly by the unprecedented rise of oil and natural gas prices. In just eight years of Putin’s two-term consecutive presidency, the Russian gross domestic product more than doubled, while the number of people living below poverty level diminished in half, or about fifteen percent of the population. It was this economic stability and swift empowerment of the Russian elite that propelled construction of a new layer of built environment in the country.

The Nameless River by Alexander Brodsky

New Symbolism

The building that perhaps symbolizes the new Russia best is not architecture on the cutting edge but the rebuilt Cathedral of Christ the Saviour in Moscow (Konstantin Thon, 1883; rebuilt, 2000), the tallest Orthodox church in the world. Splendidly designed in Russian Revival style and originally consecrated on the day Tsar Alexander III was crowned there, it was blown up by Stalin in 1931 to clear the way for the Palace of the Soviets, envisioned as a 400-meter tall monument to socialism designed by Boris Iofan. The unfinished building was dismantled at the outbreak of World War II, and the site was subsequently converted into world’s largest swimming pool. In the 1990s, as architectural plans to rebuild the cathedral were interpretively drawn, it proved too tempting not to “improve” the historical project by placing the dome a little higher and inserting modern-day parking underneath.

      It is perhaps such paradoxical examples as the fate of the cathedral that explain why architecture in Russia revolves around its own, often ideological orbit and is not yet a part of the current global debate on social agenda, as was in fact the case during the Soviet period. Sustainable design is still thought of as too exotic and unfit for the local climate, landscape architecture as a profession is in its infancy in the country. There is still no consensus among architects about whether modernism or historicism should be pursued as a model for architectural development. Some architects practice in both paradigms, drifting from one client’s taste to the next. The eighteen-year tenure (1992-2010) of the charismatic Moscow mayor Juri Luzhkov, who personally preferred and encouraged the use of neo-baroque superfluities in architecture did much damage by luring Russian architects to yet another breed of pseudo-historical architecture, now widely known as Luzhkov Style or New Moscow Style.

 Luzhkov modernized the capital city as no one before him had done, by heavily investing in new infrastructure and erecting numerous residential and commercial venues to keep up with exploding population and increasing consumerism, most apparent in the quadrupling of the number of cars in the city in the last twenty years. This hyper development often proceeded at the expense of losing valuable historical and modernist urban fabric. In some cases, historical structures are completely rebuilt as novodels—replicas of the original buildings—to avoid expensive faithful restoration and to provide modern-day amenities. One of the most outrageous examples of this built heritage vandalism was the “upgrade” of Hotel Moskva (1935) designed by conflicting generations of architects during a transitional period from constructivism to socialist realism, with distinct features of both. This building was demolished and rebuilt anew in 2012, flattening its rich architectural history to a mere facade image to accommodate underground parking for two thousand cars and a new five-star hotel within.

Parallel to such eradication of culture, a number of Russian architects of the paper architecture generation, as well as recent graduates including a loosely associated Moscow-based group called Children of Iofan (after architect Boris Iofan), have committed themselves to working within neoclassical language, arguing that classicism did not reach its full potential. When asked about his place in modern architecture, one of the key proponents of classicism in Russia, Mikhail Filippov, replied: “There is no such thing as modern architecture.” Yet, classicists there do realize that they operate in modern times and, as a result, employ a multitude of familiar tricks of a far gone post-modernist era, locking themselves in a time capsule that has no relevance to current architectural debate.

Cathedral of Christ the Saviour in Moscow (Konstantin Thon, 1883; rebuilt, 2000)

Creative Crisis

Russia’s architectural culture remains in isolation and should be defined as “going through creative crisis.” The architectural profession there is tiny—the entire workforce of Russian architects, a mere 12,000, is comparable to that of Portugal, which has a smaller population than Moscow, and its impact on the country’s built environment is relatively insignificant. Russia’s building industry standards remain low with little competition among developers, as their profit margins are significantly higher than in the West. Its building codes are very conservative and disjointed with world practice. Its education system is poorly funded and not integrated into the global thought process. Due to their limited experience during the final Soviet period when architects’ creativity was suppressed by constrained choices and budgets as well as their subordination to contractors, the older generation of architects does not possess the kind of knowledge needed to pass on to their younger colleagues. In fact, it is the practitioners in their 50s who are the most experienced in Russia today. The architects in their 20s and 30s are not showing progress and compatible edge compared to their counterparts in the rest of Europe or America, as many went to schools in the 1990s, when students were keener to indulge in working for private clients rather than to focus on schooling. Finally, Russian schools and offices do not attract professionals from abroad as the rest of the world does—a much needed condition for a true creative environment to flourish.

            All in all, due to so many directional changes and interruptions throughout Soviet history, local architects never had the opportunity to build a distinctive long-term architectural culture of their own. It is these factors that surely did not glean much confidence in the eyes of the new generation of local clients. As a result, the most prestigious commissions were either given to foreign architects directly or awarded through international competitions, some of which did not even invite Russian architects to participate.

Architectural competitions in Russia are still a novelty. Furthermore, they almost never produce a building. Such was the case with government-sponsored Mariinsky Theater Second Stage project in St. Petersburg, first commissioned in 2002 to Eric Owen Moss whose radical deconstructivist glazed form caused so much public outrage that the project was cancelled. The following year, an international competition was won by Dominique Perrault. His no less striking “golden cocoon” proposal was quite a challenge for Russian builders, the climate, and the public’s conservative taste in a city with a predominant neoclassical context. After several years of tackling the problem and even commencing the construction, the project featuring Perrault’s infatuation with wrapping geometric masses with cloak-like metal and glass structure to provide this northern city with much needed indoor public space, was classified as “not fit” for Russia. The theater is now being finished by the Canadian firm Diamond Schmitt Architects, which was commissioned for the job directly. Their Four Seasons Centre for the Performing Arts in Toronto (2006) comforted the Mariinsky Theater’s artistic director Valery Gergiev in regard to its acoustics and its appearance.

Another compromise in the making is Okhta Center, also in St. Petersburg. This ill-conceived project was originally called Gazprom Tower, which was to house the most powerful government-run energy company in Russia. The 2006 competition brief called for a tall tower. That was exactly what British corporate office RMJM brought to the table as the other six invited world-class architects—Massimiliano Fuksas, Herzog & de Meuron, Rem Koolhaas, Daniel Libeskind, and Jean Nouvel—were all eliminated. Their attempts to impress the Russians with sophisticated takes on reinventing the skyscraper as a building type by breaking the verticality of its form were the result of realizing that a traditional skyscraper would be grossly out of place in the city with a 48-meter legal building height limit with most of its buildings barely reaching half of that. Protesting the very idea of a skyscraper, no matter how innovative, three distinguished international judges—Norman Foster, the late Kisho Kurokawa, and Rafael Viňoly—walked out of the jury. All in vain, as it was the dumb tower—almost half a kilometer tall—that was purportedly needed to express the might and power of one of the world’s richest corporations in the form of a banal, sky-scraping gas flame. Years later, the project is still being debated and has been moved further from the proposed location, which was too close to the historical center, a UNESCO World Heritage Site, so as not to irritate the public.

 Despite many misfortunes, architectural competitions continue to take place in the country. Three in particular offer new hope that innovative design will finally make its presence in modern-day Russia. In 2009, UN Studio won a new dance palace competition for St. Petersburg’s Boris Eifman Ballet Theatre with a design of translucent, liquid-like form featuring softly stylized creases—a stark contrast to the formal stone facades that surround it. The other two competitions recently selected young progressive firms—Japanese architect Junya Ishigami for reconstruction of Polytechnic Museum in Moscow and New York-based Work AC for their masterplan of a new cultural hub in New Holland Island in St. Petersburg.

In 2008, I interviewed thirteen of the sixteen foreign architects working in Moscow and St. Petersburg for the Russian Pavilion at the Venice Architecture Biennale where they were paired with an equal number of Russian counterparts. The foreigners’ works were much more spectacular, and, at the time, it seemed an unfair match. Yet, almost all of the foreigners’ grand schemes were eventually cancelled, while most projects by the Russians are completed by now. Time and time again, projects by top architects proved too challenging to be built. Along with Moss and Perrault, the list of unfinished projects includes designs by such illustrious names as Will Alsop, Frank Gehry, Zaha Hadid, Jean Nouvel, Rafael Viňoly, and Chris Wilkinson among others. There were at one point more than a dozen projects by Norman Foster all over the country, of which only one, the expansion of the Pushkin Museum of Fine Arts in Moscow, remains on the boards but is not yet under construction. Another project by Foster—a glass pyramid exceeding 600 meters in height—was planned as part of a cluster of thirty towers, seven of which would be Europe’s tallest. The project is Moscow City, a vertical collage development with every skyscraper type, form, color, and texture imaginable. Due to the ongoing credit crisis, this ambitious business, living, and entertainment skyscraper hub in central Moscow, conceived in the spirit of La Défense in Paris, is now a mere shadow of its original grand vision, with most buildings scaled down or canceled.

There are, however, a few completed “starchitect” projects to note. The Moscow School of Management by David Adjaye at Scolkovo (2010), in my opinion, is the most powerful piece of architecture in contemporary Russia so far. The complex’s clever composition works perfectly with the local climate—it is a vertical, modernist city-campus that eliminates the need to venture outdoors to get from building to building. The school’s footprint is minimized and suspended like a dot over the landscape with the overall form paying homage to Malevich’s Prouns and suprematist planes. Another foreign architect who succeeded in Russia is Dutchman Eric van Egeraat, who has been working there since the early 2000s. After a number of false starts, two of his buildings were finally realized, bringing world-class architecture deep into Russian territory—the Chess Club in Khanty-Mansiysk (2010) and the commercial center “Vershina” in Surgut (2010), both located in oil boom towns in Siberia.

Rem Koolhaas who has been coming to Russia regularly since the mid-1960s should hardly be considered a foreigner there. There is no official count of how many of his Russian projects were canceled, but those going ahead include a free-standing building for Dasha Zhukova’s prestigious Garage Center for Contemporary Culture in Moscow’s Gorky Park. More importantly, Koolhaas is now building a different kind of legacy in Russia—he is the creative director of Moscow-based Strelka Institute, a postgraduate school for media, architecture, and design created in 2010 with private funding. It is a small, English-speaking, all-expense-paid program conceived to address global issues and to increasingly integrate Russia into the latest international architectural currents.

Dasha Zhukova’s prestigious Garage Center for Contemporary Culture as imagined by Rem Koolhaas

Fathers and Sons

The post-Soviet, generation-spanning learning curve of Russian architects is now well documented in glass, steel, stone, and wood in Moscow and across the country. Since 2000, considerably improved design and construction quality have begun to emerge. Among the most mature projects created within the modernist idiom are residential and office complexes by Juri Grigoryan of Project Meganom, Vladimir Plotkin, and Sergey Skuratov; the Hermitage Expansion in St. Petersburg (2013) by Nikita Yaveyn; and the Car Park in Moscow (2004) by Nikolay Lyzlov. The Hermitage-Plaza Business Center in Moscow (2006) by the late master Sergey Kiselev is one of the first successful examples of high-tech architecture in Russia.

             Curiously, some of the best quality buildings designed by several leading Moscow-based practitioners are conveniently located in one exclusive residential enclave, Ostozhenka, in downtown Moscow, which has cemented its reputation as the ultimate showcase of the best urban contemporary architecture in Russia. This affluent neighborhood, dubbed “Golden Mile,” commands real estate prices comparable to the most expensive addresses in Hong Kong, London, and New York. Among its dozen or so office and apartment buildings, one stands out—Copper House by Skuratov (2004), perhaps the most western-looking building in Russia. Three residential blocks with one apartment per floor are clad in stone and oxidized copper. They are interconnected by the linear volume of a glazed, single-story lobby. Two of the end walls of the complex feature fields of playfully angled narrow glass panel strips that beautifully reflect the sun and the sky. It is undeniable that Ostozhenka’s building envelopes are delightful and beautiful, but this neighborhood fails spectacularly when it comes to contributing to the quality of urban space, as it comprises deserted streets and sidewalks alongside heavily guarded buildings, accessed mainly through automated garage doors that open to chauffeured luxury cars.

Ostozhenka’s building envelopes

The great majority of projects by today’s leading Russian architects, no matter how attractive and sophisticated they may be, are nevertheless largely derivative and do not rightfully represent the unique qualities of the region, culture, or individual talents of their creators. The ideas expressed by most of these projects come from outside sources. This is why when such buildings are put in one place, the whole environment seems foreign. It does not possess a kind of genius loci that one hopes to encounter when visiting a new place for the first time. Sure, not every culture can succeed in producing its own distinct architecture, but every culture should try. Russia has a rich legacy on which to build. Russian practitioners are the direct descendants of arguably the greatest generation of architects of the twentieth century—the Soviet constructivists Moisei Ginzburg, Ilya Golosov, Ivan Leonidov, El Lissitzky, Konstantin Melnikov, Vladimir Tatlin, and the Vesnin brothers. It is in Russian architects’ DNA to maintain the tradition of reinventing architecture by creating new social and aesthetic models with a great rigor and power of unbound imagination. Enacted, this is the only way that a distinct character of contemporary architecture will finally occur there.

There is a group of former paper architects who, despite the small scale of their studios’ outputs, produce the kind of work that is rooted in Russian culture and history. They consistently achieve deeply personal architectural visions. Alexander Brodsky brings a unique sense of warmth, nostalgia, casualness, and poetry to his artistic constructions that seem to exist in a world of imprecision and creative disorder. His summer Restaurant 95° in Pirogovo Lake outside Moscow (2000), supported by crude piles leaning five degrees, appears to be both—anonymously peasant-like and avant-garde. His other project—a house near Tarusa in the Kaluga region (2006), is a hybrid of a perfectly modernist construct of a house, inserted into an idealized form of archetypal home that can be inhabited only in memory or a dream. Totan Kuzembaev is well known for his small scale inventive constructivist works exploring such qualities as lightness, transparency, openness, and plasticity, combined with the use of both modern and traditional materials and techniques. Finally, there is architect and educator Eugene Asse, who co-founded the new Moscow-based, post-graduate, alternative private school MARSH in 2012. In his project of laconic, almost stripped of architectural details Office in Chelobitievo village in Moscow region (2004), he achieved maximum lyric effect with minimum means by sensitively juxtaposing familiar forms and imagery. It remains to be seen whether the architecture of these masters can be brought to a larger scale.

            Among still forming young practices in Russia there is Boris Bernasconi, the first Russian to win an open international competition for Perm Art Museum (2008) whose heroically inventive and provocative work follows distinct footsteps of such architects as Rem Koolhaas—conceptually, textually, graphically, and even image and attitude wise. His seemingly dissolving in a forest surrounding Villa Mirror Mongayt in Moscow region (2010) is a literal reflection on such themes as incompleteness and multiplicity of meanings and functions. Other young practices such as Totement/Paper and Za Bor explore deconstructivist language in their complex fractured interiors and small-scale residences. Since 2005 architects Ivan Ovchinnikov and Andrey Asadov have started a semiannual tradition of organizing architectural festivals “Goroda” or Cities with such themes as City on Water (2005) and City on Snow (2006) where young architects and students from all over Russia and now the world gather to build small-scale structures and land-art objects with their own hands. Another annual art festival that has become international has been organized since 2006 by artist Nikolay Polissky in Nikola-Lenivets, Kaluga region. Here architects along with local residents use their imaginations to push architecture beyond what is seemingly possible and expected by constructing primitive towers, ziggurats, and aqueducts of wood, earth, snow, and hay. Russian architects now have been building a culture of their own—most importantly, not from scratch.

Summer Restaurant 95° in Pirogovo Lake by Alexander Brodsky