#EGRESS NORTHWEST

[nnn-lll-nnn]

// TUNING...

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[nylandquest]

Welcome to your new private country paradise! This property consists of a house, barn-shop, pole barn, and pavilion overlooking the 2 acre pond. The house was built in 1991 and includes over 1,400 sq. ft., 3 bedrooms, and 2 full bathrooms. There are 2 bedrooms upstairs with one of the bedrooms being the master bedroom, and a full bathroom. The kitchen and living-dining room are a spacious open concept area. The downstairs is a partially finished basement which includes another bedroom and a full bathroom. Washer and dryer hook ups are upstairs and downstairs. The basement has ingress and egress allowing you to turn the downstairs into additional living space including a potential mother in-law suite. There is an attached 2 car garage with a large mudroom. The house has a septic, well, and natural gas. To the northwest of the house is a 40 x 40 barn with electric that has horse stalls and a closed-off shop area. This would be perfect for someone who wants to have a couple of farm animals or start a hobby farm. The southwest part of the property has a 30 x 60 pole barn with electric. This is great for storage or can be turned into a large shop or cattle stalls. To the east of the home is a large pavilion with electric that overlooks the pond. The pavilion is perfect for family get-togethers and to enjoy the view! There are 2 access points onto the property. The main access is from the south side of the property, and the other access is a right-of-way from the east side. $399,900. Contact Travis Thurston 585-386-9413 for more information. @nylandquest #houseforsale #barn #pond #pavilion #countryliving #farm #perryny #wyomingcountyny #westernny https://www.instagram.com/p/Crgjo68ONY1/?igshid=NGJjMDIxMWI=

[kriegankorsair]

Darktide

The Brawler banked, playing it's nose bolter over an encroaching swarm of the risen dead. "Throne on Terra there's a lot of these frakking things." The small gunship slowed, until it hovered in place over the teeming hordes of the undead. "This AO is warpfrakked to hell, Captain, what are we even looking for out here."

The Captain was standing on an external stirrup, welded onto the exterior of the gunship, hand grasped around a paired handhold, one of eight pairs mounted to the exterior of the craft to allow it to, after an uncomfortable fashion, carry infantry. Gazing through a pair of magnoculars, he scanned the ground beneath them on the preysense setting. The night was dark, and the wind wet and harsh against the small aircraft, causing it, and the brilliant searchlights it projected, to bob and dance. Someone lose their footing on their stirrup, panicked for a moment as they hung on their harness, and calmed as their fellows helped them back into place. The sound of boltguns, barely audible, rang out from below. The swarm seemed to shift, like a changing current in a fleshy sea. "THERE!" Zig indicated a building to the Northwest with the designator built into his magnoculars. It was a sturdy looking structure, all rockcrete and reinforced pillars, bearing the sigil of the Administratum. "They're in there. Bring us in." The rotary cannons on the undersides of the Brawler's wings were already audibly spinning up as they turned about, losing altitude to come in for a combat landing on a projected balcony off one side of the structure. Heavy shells hosed down the hordes of the dead that scaled the rockcrete face of the building, throwing them backwards into the pulsing black, to land amid their fellows. Eight pairs of boots hit the rockcrete, and small, fast figures darted towards their projected point of egress. The high pitched scream of a chainsword broke out, along with a shower of sparks. With a hydraulic hiss and a shriek of distressed metal, the doors were open, and they were inside. The intermittent flash of hellguns lit their way inside the darkened interior, until they were upon them. Space Marines? "Pardon my impertinence..." The grim cadre of troopers arranged themselves behind him in a staggered V, barely visible in the dim light, clad in matte black carapace and cloak. "But who the frak are you?" ( @red-ledger-astartes )

[greatworldwar2]

• Battle of Cape Gloucester

The Battle of Cape Gloucester was fought in the Pacific theater of World War II between Japanese and Allied forces on the island of New Britain, Territory of New Guinea.

Cape Gloucester is a headland that sits on the northern peninsula at the west end of the island of New Britain, which lies to the northeast of mainland New Guinea. At the time of the battle it was part of the Territory of New Guinea. It is 230 miles (370 km) west of Rabaul, and 245 miles (394 km) northeast of Port Moresby. The peninsula on which Cape Gloucester sits consists of a rough semi-circular coast, extending from Lagoon Point in the west to Borgen Bay in the east. At the base of the peninsula is Mount Talawe, a 6,600-foot (2,000 m) extinct volcano, which runs laterally east to west. The area is densely vegetated with thick rainforest, sharp kunai grass and deep mangrove swamps. In 1943, there were only a few beaches suitable for landing operations and there were no roads around the coast along which troops and vehicles could quickly advance. Rainfall was heavy, especially during the northwest monsoon season that ran until February. Air operations in this period could be mounted from Finschhafen but after February, the climate there was expected to restrict air operations, which would have to be conducted from Cape Gloucester. The climate dictated the timetable for the Cape Gloucester operation.

In 1943, an Allied intelligence survey of the area estimated the local population around Cape Gloucester at around 3,000. There were numerous villages spread across four main areas. Prior to the war a landing ground had been established on the relatively flat ground that lay at the apex of the peninsula. The Japanese invasion of New Britain in early 1942, the landing ground had been developed into two airstrips (the larger of the two being 3,900 feet (1,200 m) long). The area was assessed by Allied intelligence as largely being unsuitable for large-scale development, with reefs to the south, west and north hampering the movement of large vessels, and a lack of protected anchorages suitable for such vessels. By late 1943, the fighting in New Guinea had turned in the favor of the Allies after a period of hard fighting. The Japanese drive on Port Moresby during 1942 and early 1943 had been defeated during the Battle of the Coral Sea and the Kokoda Track campaign. The Japanese beachhead at Buna–Gona was subsequently destroyed, with many casualties. The Allies then seized the initiative and implemented Operation Cartwheel, a series of subordinate operations aimed at the reduction of the Japanese base at Rabaul and the severing of lines of communication in the South-West Pacific Area, as the Allies advanced towards the Philippines where operations were planned for 1944–1945. As Allied forces began to make headway on the Huon Peninsula, Allied attention then turned to securing their seaward flank on the other side of the Vitiaz and Dampier Straits.

On September 22nd, 1943, General Douglas MacArthur issued orders for the invasion of New Britain, codenamed Operation Dexterity. This operation was conceived with several phases, with the broad Allied scheme of maneuver being to secure all of New Britain west of the line between Gasmata and Talasea on the north coast. Within this scheme, Operation Backhander was a landing around Cape Gloucester aimed at the capture, and expansion of, two Japanese military airfields. This was to contribute to the increased isolation and harassment of the major Japanese base at Rabaul, which was subjected to heavy aerial bombing in October and November. A secondary goal was to ensure free Allied sea passage through the straits separating New Britain from New Guinea. Amongst Allied commanders there was some debate about the necessity of invading New Britain. Nevertheless, army and naval commanders felt it was necessary to secure convoy routes through the Vitiaz Strait to support operations in western New Guinea and to the north.

Responsibility for the seizure of western New Britain was given to Lieutenant General Walter Krueger's Alamo Force. For the Cape Gloucester operation, US planners assigned the 1st Marine Division (Major General William H. Rupertus) which had previously fought on Guadalcanal. The operation would be the 1st Marine Division's second landing of the war. Initial planning had envisaged an airborne landing from the 503rd Parachute Infantry near the airfields in conjunction with a two-pronged seaborne landing either side of the cape, with two battalions of the 7th Marine Regiment advancing on the airfields from the beaches north of Borgen Bay, while another blocked ingress and egress routes along the opposite coast around Tauali. However, the airborne landing was later removed from the plan due to concerns about overcrowding of staging airfields and possible delays due to weather. The combat teams moved into three staging locations (Milne Bay, Cape Sudest and Goodenough Island) after which further practice landings were conducted around the Taupota Bay area, before they concentrated at Cape Sudest in the Oro Bay area, southeast of Buna in December 1943. The US troops were opposed by elements of the Japanese 17th Division (Lieutenant General Yasushi Sakai), which had previously served in China before arriving on New Britain in October and November 1943. These troops were known as "Matsuda Force", after their commander, Major General Iwao Matsuda and consisted of the 65th Brigade, with the 53rd and 141st Infantry Regiments and elements of the 4th Shipping Group. These troops were supported by field and anti-aircraft artillery, and a variety of supporting elements including engineers and signals troops. Just prior to the battle, there were 3,883 troops in the vicinity of Cape Gloucester. At the time of the fighting around Cape Gloucester, the effectiveness of these troops had been degraded by disease and lack of supplies, due to interdiction of the Japanese coastal supply barges.

The landing on Cape Gloucester was scheduled for December 26th. Prior to the operation, planners directed that a stockpile of supplies enough for a month of combat operations be built up around Oro Bay, and this was in place by the 16th, and would be shuttled to Cape Gloucester by landing craft as required. The day before, supporting operations began, when the US Army 112th Cavalry Regiment landed at Arawe on the south-central coast, to block the route of Japanese reinforcements and supplies from east to west and as a diversion from the Cape Gloucester landings. An additional operation around Arawe succeeded in diverting about 1,000 Japanese troops from Cape Gloucester. For several months before the landings, the area around the airfields and the coastal plain between Cape Gloucester and Natamo, south of Borgen Bay, was bombed by Allied aircraft. Japanese entrenchments were destroyed and the airfields around Cape Gloucester were put out of action from November. A total of 1,845 sorties were launched by US aircraft around Cape Gloucester, with the expenditure of almost 3,000,000 rounds of ammunition and 3,926 tonnes (3,926,000 kg) of bombs. Japanese defensive planning was focused upon holding the airfield sector. Bunkers, trenches and fortified positions were built along the coast to the east and west, with the strongest position being established to the southeast, to defend against an approach through the flat grasslands. A complex was also established at the base of Mount Talawe, affording a commanding view of the airfields, which were held by a battalion of infantry supported by service troops and several artillery pieces. To the east of the peninsula, the Japanese defensive scheme based on holding several high features, Target Hill and Hill 660 and maintaining control of lateral tracks, rapidly to move forces in response to an attack.

The Allied plan called for a two-pronged landing at several beaches to the east and west of the peninsula, followed by an advance north towards the airfields at Cape Gloucester. Final rehearsals were carried out on December 21st after which the troops embarked on their vessels early on Christmas Day. The convoy, designated Task Force 76 under Rear Admiral Daniel E. Barbey, consisted of nine APDs, 19 Landing Craft Infantry (LCIs), 33 Landing Ship Tank (LSTs), 14 Landing Craft Mechanized (LCMs) and 12 Landing Craft Tank (LCTs), escorted by 12 destroyers. The troops were carried aboard the APDs, while the LSTs carried the heavy vehicles including bulldozers, tanks and trucks. In order to supply the force, a total of 20 days of supply of rations was detailed for assault troops, while the follow-on troops were to land with 30 days of supply. In order to speed up the unloading process and reduce congestion on the eastern beaches, a mobile loading scheme was devised with the supplies preloaded directly on 500 2.5-ton trucks. These vehicles would arrive on the beaches with the first echelon that would land the assault troops in the morning, and would be able to drive straight off the LSTs and unload their cargo at several dumps ashore before re-embarking on LSTs assigned to the second echelon that would land in the afternoon on the first day with the follow-on troops. This force was escorted United States Navy (USN) and Royal Australian Navy (RAN) cruisers and destroyers from Task Force 74, under Rear Admiral Victor Crutchley of the Royal Navy. Maintaining a speed of 12 knots, the convoy proceeded through the Vitiaz Strait towards Cape Gloucester, traversing between Rooke and Sakar Islands. As they made their way towards their objective, Allied patrol boats operated to the north and western approaches, in the Dampier Strait and the southern coast of New Britain. While heading towards their objective, the convoy was spotted by a Japanese reconnaissance plane as well as an observer around Cape Ward Hunt. As a result, their progress reported to Rabaul. However, the commander of the Japanese Southeast Area Fleet, Admiral Jinichi Kusaka, incorrectly assessed that the convoy was bound for Arawe instead, as reinforcements, and subsequently ordered a heavy air attack there instead of around Cape Gloucester with 63 Zero fighters and 25 bombers from Rabaul.

The main operation began just after dawn on December 26th, with a naval barrage on the Japanese positions on the cape followed by air attacks by the United States Army Air Forces (USAAF) and Royal Australian Air Force (RAAF). In addition, several fighter squadrons flew combat air patrols to negate the threat from Japanese aircraft: one squadron covered the approaching convoy, three would cover the landing beaches, and another would cover the seaborne elements that would withdraw in the afternoon. These attacks and an aerial smoke screen were followed by the landing of the 1st Marine Division, at Yellow Beaches 1 and 2, to the east near Silimati Point and Borgen Bay, about 5 miles (8.0 km) southeast of the airfield and a diversion at Green Beach, to the west at Tauali, about 6.5 miles (10.5 km) from Cape Gloucester. The main assault came at Silimati Point with only one battalion landing in the west. The diversionary western landing at Tauali (Green Beach), on the Dampier Strait side of the peninsula was assigned to Landing Team 21 (LT 21), consisting of the 2nd Battalion, 1st Marines with a battery of artillery from the 11th Marines. After a preliminary naval and aerial bombardment around 07:30, the Japanese defenses around Green Beach were found abandoned. LT 21 experienced no opposition coming ashore, preceded by heavy preparatory fires including rockets fired from several amphibious vehicles. The beachhead was established by 08:35 and all first day objectives had been secured by 10:00. Due to interference from the surrounding terrain, the Marines were unable to raise their divisional headquarters, and were instead had to relay messages through headquarters Sixth Army (Alamo Force). By nightfall, the Marines had secured a perimeter and had cut the coast road, establishing a road block.[60] This prevented the Japanese from using it to reinforce their positions around the airfields, but a secondary route, to the east of Mount Talawe, remained open to the Japanese, having gone undetected by US intelligence.

Shortly after the western landing, the Japanese dispatched two companies of the 53rd Infantry Regiment to respond. In the days that followed, the Marines clashed with small groups of Japanese, and Japanese artillery and mortars fired on the US perimeter from Dorf Point. Patrol clashes increased until early morning on December 30th, when the two companies of the 53rd Infantry attacked the Marines around Coffin Corner, exploiting the concealment of a heavy storm and darkness to launch a concentrated assault along a narrow avenue of approach between two defended ridges. Supported with mortars, machine guns and artillery, a five-hour firefight followed before the assault was turned back. Casualties amounted to 89 killed and five captured for the Japanese, against six Marines killed and 17 wounded. Following this, there were no further assaults on the western perimeter. Although the Japanese sought mainly to avoid contact as most withdrew to support the fighting on the east coast, patrol actions continued throughout early January 1944. The remainder of Task Force 76 consisting of 9 APDs, 14 LCIs, and 33 LSTs were allocated to the eastern zone (Yellow Beaches 1 and 2). The 7th Marines were to go ashore first and were tasked with securing the beachhead, while the 1st Marines less the battalion assigned to the diversionary landing around Tauali would follow them up after the initial assault, and would pass through their lines to begin the advance north towards the airfield.

As the task force moved into position, the approaches to the beach were marked and cleared during the darkness, and at 06:00, an hour and 45 minutes prior to H-Hour, a heavy naval bombardment began, with the cruisers engaging targets around the airfields, as well as around the beaches and towards Target Hill. As H-Hour approached, the escorting destroyers also joined in the bombardment, followed by a carefully co-ordinated aerial bombing raid with five squadrons of B-24s, and one squadron of B-25s, attacking Target Hill. The first wave of assault troops disembarked from the APDs and were loaded into 12 Landing Craft, Vehicle, Personnel (LCVPs): six were bound for Yellow 1 and the other six for Yellow 2. While the APDs withdrew, the LCVPs began their run to the shore. After the B-25s made a final strafing run over the beach, two rocket-equipped LCIs stationed to the flanks fired onto the beach defenses. Drifting smoke from the aerial bombardment of Target Hill, obscured the beaches and the approaches, and briefly hampered the landing with some troops coming ashore in the wrong spot. Nevertheless, the first wave made landfall around Yellow 1 one minute after H-Hour followed two minutes later at Yellow 2. There was no opposition in the vicinity of these two beaches, but the small group from the 3rd Battalion, 7th Marines which landed 300 yards (270 m) northwest of Yellow 1 by mistake came under fire from machine guns firing at maximum range from a number of bunkers after pushing through the thick jungle to locate the coastal trail. The landing area to the north of Borgen Bay, was surrounded largely by swamp, with only a small narrow beach along which the Marine infantry and their supporting Sherman tanks from the 1st Tank Battalion could advance towards the airfields. This slowed the advance inland and resulted in heavy congestion on the beaches, hampering the unloading process. Nevertheless, around 13,000 troops and about 7,600 tons of equipment were pushed ashore during the first day of the operation on either side of the cape, and the attacking Japanese aircraft suffered losses to US fighters and ship-borne anti-aircraft fire.

Opposition in the main landing area was limited initially to rear-area troops that had been overrun but a hasty counterattack by the 2nd Battalion, 53rd Infantry Regiment, which had marched from Nakarop, lasted through the afternoon and evening of the first day, falling mainly against the 2nd Battalion, 7th Marines. By the end of the day, the 7th Marines held the beachhead, while the 11th Marines had brought their artillery pieces ashore and the 1st Marines had begun a slow advance north, forced into a long column along the narrow trail. The following day the Marines advanced westward, pushing 3 miles (4.8 km) towards their objective, before reaching a Japanese blocking position, identified by the Marines as Hell's Point, on the eastern side of the airfields. This position was well concealed, and equipped with anti-tank and 75 mm field guns. On December 28th, a secondary landing beach Blue Beach, was established about 4 miles (6.4 km) closer to the fighting to reduce the distance supplies had to travel ashore. The 5th Marines, which had been in reserve for the initial landing, were landed on December 29th. After establishing themselves ashore, the 5th Marines carried out a flanking move to the south-west, while the 1st Marine Regiment continued to advance along the coast. By the end of the day, the Marines had broken through the Japanese defenses and were in control of most of the airfield. During the final days of December, the Marines overran the airfield and expanded their perimeter, incorporating Razorback Ridge, a key feature about 1,500 yards (1,400 m) to the south of No. 2 Strip running north to south.

In the weeks that followed the capture of the airfield, US troops pushed south towards Borgen Bay to extend the perimeter beyond Japanese artillery range. In this time, further actions were fought by the 5th and 7th Marines against the remnants of the 53rd Infantry Regiment and the 141st Infantry Regiment, which had undertaken a march north across difficult terrain from Cape Bushing, following the initial landings. On January 2nd, there was a sharp engagement around Suicide Creek, when the advancing Marines came up against a heavily entrenched defending force from the 53rd Infantry. Held up by strong defenses that were well concealed amongst the dense jungle, the Marines were halted and dug-in temporarily around Suicide Creek. The following day, a reinforced company from the Japanese 141st Infantry Regiment launched an unsuccessful counterattack on the US troops around Target Hill. This was followed by renewed fighting around Suicide Creek, as the Japanese put up a stubborn defense, which was eventually overcome with the assistance of tanks and artillery on January 4th. After reorganizing on January 5th, US troops secured Aogiri Ridge and Hill 150 on January 6th. This was followed by an action towards the high ground around Hill 660. Slowed by bad weather, rugged terrain and Japanese resistance, progress for the Marines around Hill 660 was slow. The position was finally secured on January 16th, 1944 following three days of fighting in which 50 Marines and over 200 Japanese were killed. The capture of this position represented the end of Japanese defensive operations in the Cape Gloucester and Borgen Bay areas. Following this,the Japanese withdrew with around 1,100 troops, ceding the area to the Americans.

Casualties during operations to secure Cape Gloucester amounted to 310 killed and 1,083 wounded for the Americans. Japanese losses exceeded 2,000 killed in the December 1943 to January 1944 period. In assessing the operation, historians such as Miller and Samuel Eliot Morison have argued that it was of limited strategic importance in achieving the Allied objectives of Operation Cartwheel. Morison called it a "waste of time and effort". Following the battle of Cape Gloucester, engineering teams had developed airbases which played a vital role in supporting the Admiralty Islands operation commencing in February 1944 and as an emergency landing field for aircraft damaged in raids on Kavieng and Rabaul; it remained in use until April 1945.

[gystink]

Call for Entry: Utah Division of Arts & Museums Public Art Program (Western US artists only)

Utah DABC Salt Lake City & Foothill Utah Division of Arts & Museums Public Art Program 617 E. South Temple Salt Lake City, UT 84101 APPLY NOW Contact Email: jglenn@utah.gov Call Type: Public Art Eligibility: Regional State: Utah Entry Deadline: 6/7/21

REQUIREMENTS: Media Images - Minimum: 1, Maximum: 10 Video - Minimum: 0, Maximum: 1 Total Media - Minimum: 1, Maximum: 10

View Site Details

Call for interested artists, residing in the western US, to create site specific artwork or propose appropriate existing artwork for two Utah Department of Alcoholic Beverage Control facilities in Salt Lake City, Utah. COMMITTEE STATEMENT The Utah Department of Alcoholic Beverage Control (UDABC) is relocating and constructing these new stores in Salt Lake City to improve access and service for their customers. As part of this effort the UDABC has made a commitment to include public art and contemporary architecture. It is the intention of the Art Committee to commission new artworks or purchase existing art. This public artwork may draw inspiration from or derive context from the community of Salt Lake City and the surrounding community and/or the services offered by DABC, the architecture, and/or the magnificent Utah landscape. For the Downtown Project, the Committee has identified three interior and one exterior possible sites for an artist’s contribution. They are identified on the plan GN 221 with purple shading. For the Foothill Project, the Committee has identified two exterior and one interior as possible sites indicated on plans GN 195 and GN 196 with red cloud marking. Any proposal for the exterior court yard must accommodate visit access and egress. ​ Please note any proposed existing work must include the full costs to cover presentation to the committee, shipping, engineering, assembly, installation, and any structural alterations that may be necessary to install the work. For those artists submitting qualifications only, these details will be required for the finalist presentation. THE UTAH DEPARTMENT OF ALCOHOLIC BEVERAGE CONTROL http://www.abc.utah.gov/index.html The Department of Alcoholic Beverage Control has been in existence since 1935. The Utah State Legislature created the department by statute and charged it with the responsibility of conducting, licensing and regulating the sale of alcoholic beverages in a manner and at prices which reasonably satisfy the public demand and protect the public interest, including the rights of citizens who do not wish to be involved with alcoholic beverages. The legislature also mandated that the department be operated as a public business using sound management principles and practices. Two years earlier, the ratification of the Twenty First Amendment not only ended national prohibition, but it also gave individual states the right to choose their own system of controlling and distributing alcoholic beverages. The Utah legislature at that time believed that the state, rather than private enterprise, should control sales. The purpose of control is to make liquor available to those adults who choose to drink responsibly - but not to promote the sale of liquor. By keeping liquor out of the private marketplace, no economic incentives are created to maximize sales, open more liquor stores or sell to underage persons. Instead, all policy incentives to promote moderation and to enforce existing liquor laws is enhanced. SALT LAKE CITY, UTAH The land now known as Utah was first inhabited by the ancient Pueblo people, sometimes referred to as the Anasazi. Later, the Ute Tribe, which the state is named for, settled in the area centered around the Provo Valley. Other Native American peoples like the Shoshone, Navajo, Paiute, and Goshute also called the area home. Spanish Franciscan Missionary Silvestre Velez de Escalante explored Utah reaching as far north as Utah Valley, approximately 50 miles south of Salt Lake City. The area was first surveyed by US Army Officer John C. Fremont in 1843. Emigration Canyon, which opens onto Foothill and Downtown Salt Lake City was the main path of explorers, migrants and others into Salt Lake for many years. Salt Lake City was founded on July 24, 1847, by a group of Mormon pioneers. (Mormons are members of the Church of Jesus Christ of Latter-day Saints.) In 1869, the transcontinental railroad was completed by the driving of the Golden Spike at Promontory Summit, some 80 miles northwest of Salt Lake City, Utah. Salt Lake City is the capital and most populous city of Utah, as well as the seat of Salt Lake County, the most populous county in Utah. With an estimated population of 200,567 in 2019. The city is the core of the Salt Lake City metropolitan area, which has a population of 1,222,540 (2018 estimate). Salt Lake City downtown offers restaurants, watering holes, urban adventures, art, music, and after-dusk fun. The city is set at the base of towering peaks. Residents and visitors attend open-air concerts on summer nights, farmer’s markets, art galleries, performing arts venues or a Utah Jazz NBA game. Foothill Drive is the most eastern north to south thoroughfare on the east bench of Salt Lake City. The Drive runs between the University of Utah and Interstate 80 and is populated by businesses, hotel and shopping centers. BUDGET The Downtown SLC project budget is up to $64,000. The Foothill Boulevard SLC project budget is up to $23,600. Each of these project budgets are to include all related expenses of these Public Art commissions or purchase including (but not limited to) artist fees, fabrication, framing insurance, shipping, travel, installation, documentation, etc. ELIGIBILITY This project is open to resident American and legal resident artists / artist teams residing in the immediate Western United States to include: Utah (Utah artists are strongly encouraged to apply), Arizona, California, Colorado, Idaho, Montana, Nevada, New Mexico, Oregon, Washington, and Wyoming. Art selection committee members and immediate families, board members and employees of Jacoby Architects or Utah Division of Arts and Museums are not eligible for this project. This online application process will prompt you for all necessary documents and information. Utah Arts & Museums will not be responsible for applications delayed or lost. The DABC Art Selection Committee reserves the right to withhold the award of a commission or re-release the call for entries. SELECTION PROCESS AND SCHEDULE The DABC Selection Committee will review artist’s qualifications and/or proposals from which a short list of semi-finalists will be selected. Semi-finalists will be asked to send or present a full proposal to the committee on August 12, 2021 to include budget and time-line. The finalist honorarium will be applied toward the commission amount for the artist(s) awarded the commission or purchase. Final selection(s) will be made from the semi-finalists. June 7, 2021 - Deadline June 23, 2021 - Committee reviews applications August 12, 2021 - Finalist presentations July, 2022 - Foothill Project substantial completion October, 2022 - Salt Lake City substantial completion ART SELECTION COMMITTEE Nancy Rivera - Visual Arts Coordinator - Utah Arts & Museums Cori Price - DABC Cade Meier - DABC Joe Jacoby - Architects - Jacoby Architects Matthias Mueller - State of Utah Facilities Construction and Management If you have any questions about this or other projects information is available at: https://artsandmuseums.utah.gov/publicart/ or contact: Tory Guilfoyle at 801 245 7270 or tguilfoyle@utah.gov Jim Glenn at 801-245-7271 or e-mail at: jglenn@utah.gov

apply

[ghtyyioli9-blog]

Identifying a Ponzi Scheme and Scam Artists - Part III of III

 III of III in this series of write-ups on Ponzi schemes will certainly check out a real world, recurring scam, the con man behind it and a few of the hundreds of financiers victimized by his criminal venture, Millennium III Corporation.

Background: At a very early age, Gregg Scott Luce was incorrectly converted that his Maine based blood line was directly connected to the storied Time-Life Henry Luce tradition. It's uncertain whether this misconception was instilled within him by personal mental deterioration or a collective domestic dementia. Luce fled his very dysfunctional household at age nineteen and also began trafficking in marijuana. Within a five year period, petty trafficking expanded to major circulation: freight planeloads of product, much of it brought in directly from Jamaica.

10 years into this venture, Luce understood that a much higher earnings margin was to be recognized in trafficking drug. It was the very early 1980's and drug was a popular and accepted leisure drug amongst the establishment. There wasn't the preconception connected to the numbing that exists today. Luce was driven to the quick fix by rashness, an entrepreneurial spirit, fierce and also limitless ambition, and also an insatiable food craving for the acknowledgment, cash money as well as cache that had actually thwarted his household for the better part of a generation as it made every effort, futilely, to recognize itself with the opulent Time-Life Luce lineage.

Sociopathology, single minded emphasis as well as indifference to the body count in his wake, both actually and also figuratively talking, enabled Luce to establish a port of entrance circulation center in Seattle, Washington, and also quickly control the unclaimed US Northwest territory. Originating from a family of commercial fishermen, Luce was well versed in nautical maps. The Pacific Northwest's unclear, remote shoreline enabled unnoticeable ingress as well as egress of transport airplanes from Colombia. Luce leased a pier and houseboats off Lake Washington, hosting drug fueled parties often visited by popular location musicians, magnate, attorneys, politicians as well as lenders.

Within a five year period of time, the circulation network prolonged north to Canada and as far Southwest as Aspen, Colorado, where his cartel's administrative team supervise procedures. The growing company invested in a Nascar race group. Product was moved to merch decline points in trailers utilized to ferry vehicles and pit equipment from city to city.

Just like the majority of narco-centric companies, Luce's endeavor operated borrowed time. When the DEA and Feds separated the drug ring, all senior personnel, save for one person, got away. The captured operative rejected to transform state's evidence, permitting his associates to quietly seek other organisation opportunities. Luce took a two year hiatus lying low and pored over current financial trends. It was the early nineties and also the Nasdaq bubble had started to gestate. Silicon Valley, Boston, Austin as well as Seattle were the brand-new Wild West. Greed and also eco-friendly were in the air. In the fast paced globe of new media start-ups, the "alcoholic drink paper napkin to boardroom" standard ruled, as did drugs, violence, betrayal, and also lawful adjustment: or else known as 21st century company ideal techniques. Easy bargains were the money of success; futures contracts and also penny stocks were the new impact. The careful vetting of organisation strategies demurred to the haste of being first to market with a provided item. Venture capitalists indiscriminately bathed IT newcomers and veterans alike with more venture capital than most could reasonably want to match in profits. Boom-bust high tech gold fever remained in full force. Luce couldn't have scripted a much better meal right into legit organisation.

Ponzi System: Therefore marked Gregg Luce's introduction from the mob of medication trafficking to the organized crime of Wall Street. The starting of Millennium III Corp. (MIII) honored Luce's intro to Fortune 500 culture at the VC cotillion. In order to fly under the radar of SEC guidelines as well as regulatory authorities, the recently minted Chief Executive Officer of MIII, a broadband media streaming business, limited his initial investor swimming pool to thirty-five non-accredited investors. He later broke the SEC Regulation 505 exception provision with inclusion of an additional 10 capitalists As opposed to concern shares to capitalists, Luce provided "exchangeable note car loan arrangements": a tool exchangeable to either buybacks or shares in MIII at growth. Luce took his hurt service version an action even more, saying the company maintained a non-profitable count on that protected investor monies. In this and succeeding cons, Luce suggested, with poetic license, that the first business form would certainly somehow morph into a "bank", thus making sure the liquidity of MIII's funding funds and also the protection of financier cash.

In keeping with Millennium III's smoke and also mirrors business structure, its Chief Executive Officer was functionally uneducated in New Modern technology: the company's core item offering. Luce was able to effectively pass himself off as an IT avatar by surrounding himself with skilled, authentic technology professionals, providing the Ponzi system with a patina of authenticity. He preserved an entourage of tech wise breakthrough people, lest his shareholders and also customers recognize that the emperor had no clothes.

Seven years after the beginning of MIII, I was preserved to review intellectual property problems. Roughly twelve months right into my job, original note owners started contacting me, expressing worry that they had received no yearly declarations from MIII-- for that matter, no interaction whatsoever from the board of supervisors or corporate police officers for a number of years. More uncomfortable, to a male, every investor had actually required buyback upon growth of their exchangeable note funding contracts. Luce declined to recognize the cosigned promissory notes. The paper trail showed Luce made use of money from the non-accredited investor pool to line his own pockets, and cash from brand-new financiers to pay gotten staff members that held supply choices; consequently, perpetuating the ruse. A textbook definition of the classic Ponzi scheme with a small twist: making use of cash from new investors to pay dividends to initial investors.

For more info :  Lash Artist

CompanyName Ogden Lash and Wax Address 1144 W 2700 N Suite 300 Unit A Ogden, Utah 84404 Phone 801-701-8951 Google Map URL https://www.google.com/maps/place/Ogden+Lash+and+Wax/@41.307759,-112.009503,15z/data=!4m2!3m1!1s0x0:0xac3383882d6f9f35?sa=X&ved=2ahUKEwiB2emC-MHlAhVYrJ4KHSWgCHwQ_BIwCnoECA4QCA

[efrikanengine]

List of Efrika Riders (Axel’s Gang) Members (A-Z, ranks)

President (1): Armstrong, Axel “Chief”

Road Captain (1): Schafter, Tony “Patriot”

Sgt. At Arms (1): Kaviz, Sophia

Secretary (1):  Grau, Fulvey “Fufu”

Treasurers (2): Gryll, Anthony | Hart, Katherine

Enforcers (12): Arlington, Demeter “Acid” |  Aniy, Reid “Chino” | Chitzky, Jane “Jewels” | Colter, Troy “Colt” | Ducatti, Maurice “Maul” | Eastwood, Jonathan “Johnny” | Fujimori, Aki “Fuji” | Le Mans, Yamille “Spagonia Yam” | Oberwich, Hunter | Prince, Anatoliy | Ramirez, Harley | Sokolov, Tuma “Eagle” |

Members/Patched (62): Ach, Tamara “Tammy” | Ackermann, Thomas “Tack” | Acrey, Wesley “Acres” | Ahrendt, Lynn | Amarov, Randall | Bohan, Suro “Trophy” | Bohan, Boro “Tarmac” | Bohan, Taro | Bojanowski, Jack | Boomgarden, Tanya “Boomer” | Bramante, Daniel “Bram” | Brazelton, Tom “Tabby” | Cliffe, Sanford | Corvette, Salvador “Sal” | Corwood, Nigel | Czechowicz, Jakob “Czech” | Davis, Pam | Eisenhardt, Faust | Elk, Moore | Eyre, Jayna “Darling” | Featherstone, Trevor “Tiny” | Fehl, Wellington “Wellie” | Finelli, Pat | Furlong, Jason | Gadberry, Ron “Fancy” | Gallo, Logan | Gilgreath, Martin “Ivy” | Ginyard, Keanu | Gorringe, Terry | Grau, Fibi “Racer” | Grohman, Rat | Hashimoto, Tokage | Hatt, Phil | Hendershott, Sterling | Jackowski, Neil | Jackowski, Gerry | Jonassen, Hadvar “Jon” | Kahr, Boris | Kerrick, Stanley “Mad Dog” | Kozlovsky, Yov “Crazy” | MacGregor, Willy | Marine, Ryker | McClinton, Steve “Cueball” | Na, Xiao “Grim” | Niewiarowski, Aleksander “Polski” | Notch, Bonnie “Smiley Face” | O’Neil, Charles “Charlie” | Racki, Pablo | Redmont, Harry | Remington, William | Renninger, Rosaline “Rose” | Repkovi, Kalari “Viper” | Scarff, Allen “Scarf” | Tackett, Sierra | Tierney, Scott | Trask, Colin | Tomkiewicz, William “Bill” | Vacca, Milo “Farmhand” | Van Liere, Treyard | Vee, Joey | Wesley, Kevin | West, Yanni “Northwest”

Prospects (24): Abernathy, Roland | Akridge, Sven | Arey, Richie | Backe, Corey | Cooke, Francis | Eavey, Sally | Eis, Wyatt | Danley, Owen | Desmond, Monik | Durich, Jakson | Durn, Noah | Dwight, Austin | Emmerson, Patti | Escalante, Patrick | Fann, TJ | Ferris, Alex | Ferris, Dana | Fritz, Michael | Gresley, Evan | Grestin, June | Takashi, Kenji | Thorpe, Catherine | Vienna, Marc | Zentorno, Oliver

    * note that numbers and names are sometimes subject to change owing to deaths, expulsions and/or egressions from the gang.

[college-girl199328]

Broken smoke detectors, small egress windows, no kitchen — these are all things William Allen got used to over the years when living in illegal basement suites. But rent was cheap in Calgary's tight rental market.

"I knew they were illegal," said Allen, about the suites he found through Facebook Marketplace. "The whole mentality is, 'OK, I need a place to go for now. I can hunker down here and then look for something legal or better.'"

Now that Allen has moved into his friend's backyard suite, he's worried more Calgarians will be forced to rent in dangerous situations because of the tight rental market — or because they aren't aware they're illegal.

It's something the City of Calgary is trying to tackle. While it can't keep track of all of them, it says there are many more illegal secondary suites than legal ones. The city said it received around 2,500 complaints regarding secondary suites between 2020 and 2022.

When CBC Calgary asked community members about basement suites, many said they had unflattering experiences with illegal basement suites and people who owned them. They noted mice, bugs, faulty electrical systems, and stove ventilation.

Some knew the suites were illegal when they lived in them; others didn't know until they moved out. One wondered if the suite they're currently living in was safe for their children.

So, how do renters in Calgary identify if a basement suite is illegal, and what can they do if it is? In 2009, three young people died in a basement suite fire in northwest Calgary. Fire officials noted security bars on some windows and a smoke detector that wasn't working.

Over a decade later, Cliff de Jong knows "thousands of existing illegal suites out there." As a manager with the City of Calgary, part of his job is to ensure Calgarians are safe in their homes.

"We did a safety blitz in 2012 where we looked at 50 existing illegal suites, and 80 percent of them had major safety issues," said de Jong. "And ugly yet, owners didn't even know what we were talking about when we were talking about life safety."

This is why renters should know how to identify unsafe, illegal basement suites. The first line of defense? The city's online secondary suite registry, which de Jong says renters should check before they sign a lease.

"You just load the registry map, enter an address, and it comes up with whether or not it's a registered suite." Renters should also check if the suite has a City of Calgary sticker on the door, said de Jong. All registered suites come with the seal of approval.

Anyone with further questions about whether a suite is legal can call the city's planning services center at 403-268-5311. They will confirm whether the suite is registered, de Jong said.

Calgarians can also learn more about legal suites through the city's webinars, which de Jong says will be updated later this month. The most common way illegal suites are found and shut down is when a neighborhood has parking, says Bo Fric, owner of Reimagine Builders and co-founder of Rentfaster.ca.

"What will happen is there's no parking for the illegal suite … and it gets overwhelmed with these vehicles," said Fric. "That's when it becomes an issue for the neighbors on the street, which is when the neighborhood reports it to the city."

Inside the mechanical room is the place to look for a legal suite. In a legal basement suite, the mechanical room will be smoke sealed. The walls and ceiling will be drywalled, with a fire barrier wrapped around the venting and ductwork.

"Which you can never see in a house that wasn't done as a legal suite because it's expensive and difficult to do," said Fric. If not, the suite will be equipped with sprinklers - an alternative option before the province's fire code allowed converted suites.

Legal suites will also have multiple working smoke and carbon monoxide detectors, barrier-free windows that are large enough for an adult to fit through in case of a fire, and a separate outdoor entrance.

It must also include a bathroom, a sleeping area, and cooking facilities. There's a spectrum of illegal basement suites, says Fric. On the one end, the landlord has done most things to code but has skipped some steps of the legalization process. But on the other end, the suite is unsafe to live in, with inadequate windows and no fire protection.

CBC Calgary previously reported that basement suites could be complicated and expensive. "I don't necessarily feel it's practical to drive around and report every illegal suite, but certainly anything unsafe I think people should be flagging to the city," said Fric.

At the City of Calgary, de Jong says renters should report illegal suites to the city's planning services center. "We thoroughly examine every single one that comes in," said de Jong.

If the landlord is working on legalizing the suite and no issues are spotted, de Jong says the city will give them more leeway to bring the suite into compliance.

But if there are issues and the suite is occupied, de Jong says, "we have to take action and require the owner to make sure that it's safe before it can be occupied."

That includes enforcement tools like orders, charges, bringing people to court, and more. A recent change also allows the city to suspend or remove suites from its registry list if they don't meet safety standards.

[caranelguild]

October 24 - 25, DY 26

Semlen leads the party up the mountain, keeping them out of the way of a small rockslide as they wind higher and higher. Dimble notices a snowy owl nearby and engages it in some simple dialogue as they hike.

Ser Lars gets it in his head to suspect Semlen of leading them into a trap and he shares this with Roy, who is unbothered.

They arrive at the edge of the first glacier and Semlen has the party split up to find firewood. She wants to use the last hour or so of daylight to press forward, but is aware of a stormfront coming from the south that will arrive by morning. They will rest most of the night on the glacier, she advises, and then head for shelter at its far end to weather the storm in the morning.

As they head out on the glacier, the pony carrying the firewood, Semlen warns the party to look at the feet - for crevasses - and at the sky - for flying cat creatures called fjelgryn. Ser Lars does not trust her to lead them and strides out front, prodding the ground ahead with his spear.

They traverse the glacier without trouble until night falls in earnest. A fire is started and camp is set; Ser Lars divvies up the night’s watches.

On second watch, the stormfront seems to have paused in the south, and a faint blue light is noticed through the glacial ice by the crackling fire - about ten meters down. Roy on third watch notices this too, and as the storm continues to hesitate, he wakes up Semlen for a fourth watch and tells her about the light.

Semlen wakes everyone a couple hours later when the storm has once again neared them; she suggests they head for a spur of mountain and grove of trees about half an hour’s hike further up the glacier.

Ywan and Ser Lars decide they’d rather tunnel down to the blue light, and Roy brings logic to their planning. The storm being an hour away, he gives them fifteen minutes to devote to their tunnel.

Ser Lars religious fervor takes shape in blasts of fire and the chaos is honed into sharp bursts of eldritch power by Ywan - they exhaust themselves in constant blasting for the full fifteen minutes - and before they really know what they’ve dug down to, Ser Lars has leaped into the dripping, angled tunnel.

Ywan follows on a rope let down by Roy, finding Ser Lars on the dirty floor of a subglacial tunnel lit dimly by blue gemstones every ten meters or so. Ser Lars heads off down this tunnel and Ywan follows.

Roy calls Semlen back - she had gone off towards the mountain spur to find shelter - while Dimble slips down the dripping tunnel. Roy sends the pony towards the grove, recognizing that it will neither fit nor want to fit beneath the glacier.

Eventually, just as the storm hits, everyone is traveling northwest through this subglacial passage - and when they reunite, the wiser heads among them decide to stop for a rest. The cold has hit everyone but Semlen and Roy hard.

When they set off again, they realize quickly that they are traveling through an icy labyrinth. Keeping their left hands upon the wall, they hope to find its center or an egress - and soon, they smell something beastly up ahead.

Sounds follow - sounds of beasts.

They creep forward and discover a large chamber with a moat or trench surrounding a central platform of ice, on which is a mound of ice beneath an icicle so large it’s better described as a stalactite. Or, stalactice, if you will.

Upon the walls of the central platform, cast from the trenches, our adventurers can see the silhouettes of many hulking forms . . .

Ywan belly crawls up to the edge of the trench and looks down to see that the trench is filled with yeti. Some of them are sucking on icicles protruding from the walls like hamsters at a water bottle.

The trench is only ten feet wide; Ywan takes an end of Roy’s rope and decides to leap over it onto the central platform. The trench yeti are excited by the activity, but are unable to catch the aasimar or the rope. Ywan discovers that the trench goes all the way around the platform, but that there is another corridor on the chamber’s far side.

Ser Lars, meanwhile, has come up to the trench and attempts to poke at the yetis with his pike - losing the weapon in the process. Undaunted, he pokes at them with his spear.

Ser Lars tires of this after failing to catch any yeti, and leaps over the trench - just barely making it. Ywan pulls him up onto the platform.

The mound of ice behind them pulses with a blue glow.

As Dimble, Roy, and Semlen determine how best to get the tiny gnome across the trench, the mound of ice cracks and blue light spills from the crevasses. Ser Lars puts his hand in the light and finds that it is cold.

Dimble ultimately leaps across with his own strength, followed by Semlen and Roy - and just in time, or just at the wrong time: the mound of ice dissolves into steam and water and a massive, horned yeti stands before our party, now tightly packed on the platform. The creature has water pouring from it and is distinctly a sky blue colour.

With more resignation than hope for success, our adventurers attack the yeti. It pummels Ser Lars with clasped fists, but fails to return as much as it itself receives - it gets skewered through the arm by Semlen, stabbed in the anus by Ser Lars, battered in the skull by Roy’s spiritual weapon, and cut in the ankles by Dimble. 

After being covered in watery blood spewing from the beast’s pierced bottom, Ser Lars finds himself being lifted into the air - the yeti’s eyes glow as it exerts magical force over the water soaking the dwarf, and he is dropped over the edge of the trench!

Semlen immediately goes to the edge to offer her spear, but her reach and the weapon are too far above Ser Lars, who attempts to leap off the reaching arm of a trench yeti to grab it.

The situation is dire . . .

[floridastormwindows]

Why Are We A Professional Window Installation?

Every house is distinct. So, when it involves replacing your home windows, you need professionals that comprehend the different inner-workings of different residences and their home window openings. Window setup is more than standing out a new home window right into a current space in the wall. It's about skillfully determining and suitable the brand-new home windows into your residence, so they are each air-tight and also reputable for years to find. Right here are some reasons for expert home window installation.

# 1: Quick and also reliable procedure. Have you ever before attempted to deal with a home maintenance project that at first looked like a breeze, yet it wound up taking a very long time? This can be an aggravating circumstance. Professional home window setup by our team of professionals at Lifetime Windows and Doors makes sure a turn-key procedure that is done promptly and efficiently. We have the experience required to make everything smooth-- from beginning to end. # 2: Devices. Specialist home window installers have the right tools required to install your home windows properly, the first time. Our devices are particularly created to obtain your new windows quickly. Lot of times, house owners believe they have the best products and tools to do a DIY window replacement. But, then they end up recognizing that they don't have the correct devices to do the job the appropriate way. This typically sends them to the shop to buy pricey tools, or they end up using equipment that isn't suitable for the work. This might bring about errors, damage to your home, or improper setup.

# 3: The appropriate setup. There must be no gaps between the window/frame, as well as the existing wall surface. With an expert window installation, you'll have assurance that the work is done right. Drafts and chilly places will certainly be removed in your house if the windows are set up appropriately. Whether it's an egress window, a picture window for your living room, a solidified glass window for your bathroom, or a yard home window in your kitchen area, we understand each part of the installation process, so every little thing is limited and also safe upon completion. LifeTime Windows and Doors has actually offered clients around the Pacific Northwest with quality home window products and setup for over two decades. We have hands-on experience you can trust. Get in touch with our team today to read more concerning our specials! Or, request for a cost-free quote on your home window replacement task. We are standing by to aid get your home renovation project finished in a timely manner as well as on budget plan!

[gystink]

Call for Entry: Utah Division of Arts & Museums Public Art Program (Western US artists only)

Utah DABC Salt Lake City & Foothill Utah Division of Arts & Museums Public Art Program 617 E. South Temple Salt Lake City, UT 84101 APPLY NOW Contact Email: jglenn@utah.gov Call Type: Public Art Eligibility: Regional State: Utah Entry Deadline: 6/7/21

REQUIREMENTS: Media Images - Minimum: 1, Maximum: 10 Video - Minimum: 0, Maximum: 1 Total Media - Minimum: 1, Maximum: 10

View Site Details

Call for interested artists, residing in the western US, to create site specific artwork or propose appropriate existing artwork for two Utah Department of Alcoholic Beverage Control facilities in Salt Lake City, Utah. COMMITTEE STATEMENT The Utah Department of Alcoholic Beverage Control (UDABC) is relocating and constructing these new stores in Salt Lake City to improve access and service for their customers. As part of this effort the UDABC has made a commitment to include public art and contemporary architecture. It is the intention of the Art Committee to commission new artworks or purchase existing art. This public artwork may draw inspiration from or derive context from the community of Salt Lake City and the surrounding community and/or the services offered by DABC, the architecture, and/or the magnificent Utah landscape. For the Downtown Project, the Committee has identified three interior and one exterior possible sites for an artist’s contribution. They are identified on the plan GN 221 with purple shading. For the Foothill Project, the Committee has identified two exterior and one interior as possible sites indicated on plans GN 195 and GN 196 with red cloud marking. Any proposal for the exterior court yard must accommodate visit access and egress. ​ Please note any proposed existing work must include the full costs to cover presentation to the committee, shipping, engineering, assembly, installation, and any structural alterations that may be necessary to install the work. For those artists submitting qualifications only, these details will be required for the finalist presentation. THE UTAH DEPARTMENT OF ALCOHOLIC BEVERAGE CONTROL http://www.abc.utah.gov/index.html The Department of Alcoholic Beverage Control has been in existence since 1935. The Utah State Legislature created the department by statute and charged it with the responsibility of conducting, licensing and regulating the sale of alcoholic beverages in a manner and at prices which reasonably satisfy the public demand and protect the public interest, including the rights of citizens who do not wish to be involved with alcoholic beverages. The legislature also mandated that the department be operated as a public business using sound management principles and practices. Two years earlier, the ratification of the Twenty First Amendment not only ended national prohibition, but it also gave individual states the right to choose their own system of controlling and distributing alcoholic beverages. The Utah legislature at that time believed that the state, rather than private enterprise, should control sales. The purpose of control is to make liquor available to those adults who choose to drink responsibly - but not to promote the sale of liquor. By keeping liquor out of the private marketplace, no economic incentives are created to maximize sales, open more liquor stores or sell to underage persons. Instead, all policy incentives to promote moderation and to enforce existing liquor laws is enhanced. SALT LAKE CITY, UTAH The land now known as Utah was first inhabited by the ancient Pueblo people, sometimes referred to as the Anasazi. Later, the Ute Tribe, which the state is named for, settled in the area centered around the Provo Valley. Other Native American peoples like the Shoshone, Navajo, Paiute, and Goshute also called the area home. Spanish Franciscan Missionary Silvestre Velez de Escalante explored Utah reaching as far north as Utah Valley, approximately 50 miles south of Salt Lake City. The area was first surveyed by US Army Officer John C. Fremont in 1843. Emigration Canyon, which opens onto Foothill and Downtown Salt Lake City was the main path of explorers, migrants and others into Salt Lake for many years. Salt Lake City was founded on July 24, 1847, by a group of Mormon pioneers. (Mormons are members of the Church of Jesus Christ of Latter-day Saints.) In 1869, the transcontinental railroad was completed by the driving of the Golden Spike at Promontory Summit, some 80 miles northwest of Salt Lake City, Utah. Salt Lake City is the capital and most populous city of Utah, as well as the seat of Salt Lake County, the most populous county in Utah. With an estimated population of 200,567 in 2019. The city is the core of the Salt Lake City metropolitan area, which has a population of 1,222,540 (2018 estimate). Salt Lake City downtown offers restaurants, watering holes, urban adventures, art, music, and after-dusk fun. The city is set at the base of towering peaks. Residents and visitors attend open-air concerts on summer nights, farmer’s markets, art galleries, performing arts venues or a Utah Jazz NBA game. Foothill Drive is the most eastern north to south thoroughfare on the east bench of Salt Lake City. The Drive runs between the University of Utah and Interstate 80 and is populated by businesses, hotel and shopping centers. BUDGET The Downtown SLC project budget is up to $64,000. The Foothill Boulevard SLC project budget is up to $23,600. Each of these project budgets are to include all related expenses of these Public Art commissions or purchase including (but not limited to) artist fees, fabrication, framing insurance, shipping, travel, installation, documentation, etc. ELIGIBILITY This project is open to resident American and legal resident artists / artist teams residing in the immediate Western United States to include: Utah (Utah artists are strongly encouraged to apply), Arizona, California, Colorado, Idaho, Montana, Nevada, New Mexico, Oregon, Washington, and Wyoming. Art selection committee members and immediate families, board members and employees of Jacoby Architects or Utah Division of Arts and Museums are not eligible for this project. This online application process will prompt you for all necessary documents and information. Utah Arts & Museums will not be responsible for applications delayed or lost. The DABC Art Selection Committee reserves the right to withhold the award of a commission or re-release the call for entries. SELECTION PROCESS AND SCHEDULE The DABC Selection Committee will review artist’s qualifications and/or proposals from which a short list of semi-finalists will be selected. Semi-finalists will be asked to send or present a full proposal to the committee on August 12, 2021 to include budget and time-line. The finalist honorarium will be applied toward the commission amount for the artist(s) awarded the commission or purchase. Final selection(s) will be made from the semi-finalists. June 7, 2021 - Deadline June 23, 2021 - Committee reviews applications August 12, 2021 - Finalist presentations July, 2022 - Foothill Project substantial completion October, 2022 - Salt Lake City substantial completion ART SELECTION COMMITTEE Nancy Rivera - Visual Arts Coordinator - Utah Arts & Museums Cori Price - DABC Cade Meier - DABC Joe Jacoby - Architects - Jacoby Architects Matthias Mueller - State of Utah Facilities Construction and Management If you have any questions about this or other projects information is available at: https://artsandmuseums.utah.gov/publicart/ or contact: Tory Guilfoyle at 801 245 7270 or tguilfoyle@utah.gov Jim Glenn at 801-245-7271 or e-mail at: jglenn@utah.gov

apply

[architectnews]

UWA Early Learning Centre, Perth

UWA Early Learning Centre, University of Western Australia, Perth Architecture Project, Photos

University of Western Australia Early Learninng Centre in Perth

14 May 2021

UWA Early Learning Centre

Design: Hames Sharley

Location: Perth, Western Australia

The UWA Early Learning Centre outcome is an environmentally sustainable design with a fun environment for children to play, learn, and explore.⁠⁠ ⁠⁠

Nestled into a quiet, leafy corner of the UWA campus, the building’s single-storey scale and residential character relate well to the neighbouring residential area. ⁠⁠ ⁠⁠

The centre is contained within a walled perimeter that meets noise emission regulations and acts as a secure barrier for the facility. ⁠⁠ ⁠⁠

The facility includes zone indicators that provide information on energy consumption and acts as an educational tool for children.

What are the key moves and design principles? Located on the northwest corner of the UWA campus, the early learning centre’s single storey scale and residential character relate well to its neighbouring residential area and context.,

The centre is contained within a walled perimeter that meets noise emission regulations and acts as a secure barrier for the facility.

The building comprises three linked wings accessed through a controlled, single entrance at the central reception and administration.

A high level of environmentally sustainable design has been achieved with the inclusion of northerly orientated large and operable windows enabling cross ventilation and solar pergolas to north-facing elevations.

The facility includes zone indicators that provide information on energy consumption and act as an educational tool for children.

What were the key challenges? + Designing a high-quality learning environment that encourages spontaneous and serendipitous events. + Creating a space to coincide with the belief that children learn through play and that childhood should be filled with fun, wonder and exploration. + Designing an early learning centre that will be an example for future centres. + Creating a design that allows different sections to be opened or closed for the different age groups and their relative sections. + Controlling the egress from pick up and drop off. + Providing a natural play environment with maximum natural light whilst ensuring shaded areas are included.

What were the solutions? + An early learning centre that incorporates an environmentally sustainable design with a fun environment for children to play, learn, and explore.

UWA Early Learninng Centre in Perth, Western Australia – Building Information

Interior design: Hames Sharley

Project Budget: $4500000

Images © Hames Sharley

University of Western Australia Early Learninng Centre in Perth images / information received 140521

Location: Perth, Western Australia

Western Australia Buildings

Contemporary Architecture in Western Australia – architectural selection below:

Perth Architecture Design – chronological list

Perth Architecture News

North Perth House by Nic Brunsdon Design: Architect Nic Brunsdon photo : Ben Hosking North Perth House

Capital Square Architects: Cox Architecture photography : Martin Siegner and Peter Bennetts Capital Square

Perth Buildings

Optus Stadium Architects: Cox Architecture / HASSELL / HKS photo : Peter Bennetts Optus Stadium Building in Perth

Australia Architecture

Australian Architecture Design – chronological list

Australian Architecture

Australian Houses

Australian Architect Studios

Comments / photos for the University of Western Australia Early Learninng Centre in Perth Western Australia – page welcome

The post UWA Early Learning Centre, Perth appeared first on e-architect.

[painterlegendx]

Ten Easy Ways To Facilitate Dark Forest Paintings For Sale - Dark Forest Paintings For Sale

Are you blank the abeyant to aggrandize your active breadth or actualize an income-producing in-law apartment in your cavern space?

dark forest ORIGINAL drawing by Katarzyna Kmiecik / pencil .. | dark forest paintings for sale In this week's absolute acreage gallery, we attending at homes for auction that advertise 20 types of accomplished basements. Would you appetite a home theater, custom wine cellar, crafts amplitude or bold allowance on the lower level?Foosball or billiards, anyone?--Janet Eastman | 503-294-4072jeastman@oregonian.com | @janeteastmanWhere, IncWest Hills midcentury modern5335 S.W. Patton Road is listed at $5,985,000.The two-level midcentury avant-garde abode was advised by artist Walter Gordon and congenital in 1971 on 3.4 acres. The adapted abode has bristles bedrooms, bristles abounding bathrooms, two crumb apartment and 8,162 aboveboard anxiety of active amplitude including a lower-level ancestors allowance with bold tables.“Wrapped in brick for a ample part, the exoteric is in abstract adverse to the tropical-inspired breadth and built-in backwoods that beleaguer the perimeter. Floor-to-ceiling windows band the absolute aback side, accouterment amazing angle of the basin and clandestine basin veranda,” say advertisement agents Suzann Baricevic Murphy and Lorraine Rose of Where, Inc.Where, Inc.West Hills English-style manionThe Frank J. Cobbs Mansion at 2424 S.W. Montgomery Dr. is listed at $4,985,000.The English-style abode was advised by artist Albert E. Doyle and congenital in 1918 on 2.04 acres. The four-level home has seven bedrooms, bristles bathrooms, three crumb apartment and 14,335 aboveboard anxiety of active amplitude including a lower akin with a chichi lounge.“Historic archetypal in the affection of Portland. Four floors of different and aberrant active spaces. Extraordinary,” say advertisement agents Suzann Baricevic Murphy and Lorraine Rose of Where, Inc.Read added about the celebrated propertyKnudsen Group LLCMilwaukie midcentury aurora ranch6822 S.E. Savanna St. is listed at $519,500.The two-level, adapted aurora ranch, congenital in 1966 on a 10,018-square-foot lot, has four bedrooms, three bathrooms and 3,372 aboveboard anxiety of active amplitude including independent active abode in the lower akin with a kitchenette, ancestors room, two bedrooms, adapted bath with washer-dryer angle ups, two ductless air conditioning units and abstracted entrance.“This home can calmly board multi-generational active or ADU . Buyer to verify ADU and 4th bedchamber egress,” says advertisement abettor Barbara Knudsen of Knudsen Group LLC.Premiere Acreage Group, LLCForest Park Craftsman10717 N.W. Skyline Blvd. is listed at $1.6 million.

Dark Dark Forest Paintings For Sale | Saatchi Art - dark forest paintings for sale | dark forest paintings for sale The three-level Craftsman-style house, congenital in 2007 on 7.44 acres, has four bedrooms, 5.5 bathrooms and 5,873 aboveboard anxiety of active amplitude including lower-level ancestors and bold rooms.Premiere Acreage Group, LLCForest Park Craftsman"The affection of planning, architecture and architecture is axiomatic in this spectacular, custom, environmentally affable home with solar panels, bamboo floors, rain collection, paperstone counters, Milgard fiberglass windows, home automation arrangement with alarm, motion sensors, altitude and ablaze controls," says advertisement abettor Laura Sheldon of Premiere Acreage Group, LLC.  of the acreage at 10717 N.W. Skyline Blvd.Cascade Sotheby’s International RealtyForest Park Country French6103 N.W. Cornell Road is listed at $1,499,000.The four-level Country French house, congenital in 1992 on 4.85 acres, has four bedrooms, 3.5 bathrooms and 5,236 aboveboard anxiety of active amplitude including a lower-level in-law quarters.“Amazingly agreeable home with accustomed and curated adorableness all around. Truly a different befalling to alive so privately, so abutting in,” say advertisement agents Joe Reitzug and Stephanie Reitzug of Cascade Sotheby’s International Realty.Cascade Sotheby’s International RealtyGresham custom600 S.E. Arrow Creek Lane is listed at $1,375,000.The three-level custom house, congenital in 1994 on 1.11 acres, has four bedrooms, 3.5 bathrooms and 5,380 aboveboard anxiety of active amplitude including a accomplished basement fabricated into an au brace or in-law apartment with a kitchenette.“Rustic walnut, acacia, atramentous bean, marble, limestone, travertine and quartz finishes. Acanthus blade beam domes, sculpted travertine fireplaces, formed chestnut sinks, hand-carved walnut, 4,000-bottle temperature controlled wine cellar, two adept suites,” says advertisement abettor Kristi Calcagno of Cascade Sotheby’s International Realty.Windermere Realty TrustSauvie Island contemporary14025 N.W. Charlton Road is listed at $1,295,000.The two-level, abreast house, congenital in 1975 on 3.49 acres, has six bedrooms, four bathrooms and 4,673 aboveboard anxiety of active amplitude including a lower-level ancestors allowance with a bar, bedchamber and laundry room.Windermere Realty TrustSauvie Island contemporary"Two adept suites on the capital level, floor-to-ceiling windows with abundance and pastoral views; sprawling absorbing spaces; a ample abundant allowance and a gourmet kitchen. The high terrace has an orchard and affluence of amplitude to garden. Alone two-bay boutique with RV parking and appointment amplitude to abundance your toys." says advertisement abettor Matt Mahaffy of Windermere Realty Trust of the acreage at 14025 N.W. Charlton Road.Windermere Realty TrustSauvie Island contemporary

Sue Massey - The Dark Cloaked Figure. spooky atmospheric .. | dark forest paintings for sale 14025 N.W. Charlton RoadLocker PropertiesForest Park traditional7240 NW Summitview Dr. is listed at $1,125,000.The three-level traditional-style house, congenital in 1997 on 5.56 acres, has six bedrooms, 4.5 bathrooms and 5,536 aboveboard anxiety of active amplitude including a lower-level ancestors room.“Spacious kitchen with high-end stainless-steel appliances. Open to ample ancestors room. Step out to Ipe accouter and adore angle of your clandestine backwoods and trails,” says advertisement abettor Linda Locker of Locker Properties.eXp Realty, LLCForest Park Northwest contemporary5525 N.W. Skyline Blvd. is listed at $1.1 million.The three-level Northwest abreast house, congenital in 1995 on two acres, has four bedrooms, three bathrooms and 4,562 aboveboard anxiety of active amplitude including independent active abode in the lower akin with a acceptable kitchen and abstracted entrance.eXp Realty, LLCForest Park Northwest contemporary"Two decks additional two bedchamber apartment balconies, boutique with added than 1,000 aboveboard anxiety of space, ability and RV parking," say advertisement agents Stephen FitzMaurice and Jennifer Tangvald of eXp Realty, LLC. of the acreage at 5525 N.W. Skyline Blvd.Skoro International Absolute Acreage Group, LLCGresham lodge-like custom4688 SE Deer Creek Place is listed at $729,000.The three-level, lodge-like custom house, congenital in 2007 on 1.06 acres, has bristles bedrooms, 4.5 bathrooms and 4,599 aboveboard anxiety of active amplitude including a ancestors allowance on the lower level.Skoro International Absolute Acreage Group, LLC.Gresham lodge-like custom"The home is abounding with high-end, admirable account including reclaimed copse beams, hand-wrought adamant railings, acrimonious slate attic and travertine," says advertisement abettor Becky Gee of Skoro International Absolute Acreage Group, LLC of the acreage at 4688 SE Deer Creek Place.Suntree Inc., RealtorsSherwood custom16860 S.W. Parrett Abundance Road is listed at $1,395,000.

Dark Green Forest Paintings For Sale | Saatchi Art - dark forest paintings for sale | dark forest paintings for sale The three-level, custom estate, congenital in 2003 on six gated acres, has bristles bedrooms, four bathrooms, two crumb apartment and 5,734 aboveboard anxiety of active amplitude including lower-level billiards amplitude and a abstracted alone ADU with 3 appearance ability and a lower studio.“High-end finishes, astonishing angle and accustomed light. A acreage congenital for entertaining,” says advertisement abettor Bryn Lindekugel of Suntree Inc., Realtors.Keller Williams Realty Portland EliteSherwood Craftsman24690 S.W. Allison Lane is listed at $1.2 million.The three-level, Craftsman-style house, congenital in 1994 on 2.73 acres, has bristles bedrooms, 3.5 bathrooms and 5,436 aboveboard anxiety of active amplitude including a lower akin with allowance for an ADU with a abstracted kitchen.“Entertainment deck. Common-sense attic plan.Master apartment on the capital level. Oversized laundry and ability room,” says advertisement abettor Amber Deuchar of Keller Williams Realty Portland Elite.Keller Williams Sunset CorridorBeaverton aurora ranch17980 S.W. Shadypeak Lane is listed at $1.1 million.The two-level, adapted aurora agronomical house, congenital in 1975 on 6.14 acres, has bristles bedrooms, three bathrooms and 2,884 aboveboard anxiety of active space.“Vaulted great-room appearance active with apparent beams, comfortable kitchen and adept apartment on the capital level. Zoned R-6, Outstanding advance acreage in the affection of Cooper Abundance amplification area,” says advertisement abettor Jim Cavanaugh of Keller Williams Sunset Corridor.The Brokerage HouseHillsboro Craftsman25852 S.W. Vanderschuere Road is listed at $999,900.The two-level Craftsman-style house, congenital in 2004 on 9.9 acres, has three bedrooms, 2.5 bathrooms and 3,999 aboveboard anxiety of active amplitude including a accomplished basement with a ancestors allowance and wet bar.“Spectacular Mt. Hood and Mt. St. Helens view. Adept on the capital level, home theater, custom wine cellar, advanced woodworking shop,” says advertisement abettor Aaron Rian of The Brokerage House.John L. ScottLake Oswego townhouse78 Greenridge Court is listed at $579,000.The two-level townhouse, congenital in 1973 on a 2,613 -square-foot lot, has three bedrooms, three bathrooms and 2,000 aboveboard anxiety of active amplitude including a lower-level, abstracted abounding assemblage to hire or use as a bedfellow amplitude or office.“Brazilian blooming hardwoods. Complex has a nice basin breadth and Abundance Park facilities,” say advertisement agents Lynda O'Neill and James Thayer of John L. Scott.Subscribe to Oregonian/OregonLive newsletters and podcasts for the latest account and top stories

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Porthole Windows: They’re Not Just for Ships and Boats

Porthole windows are standard on ships and boats. However, they’re now showing up in residential homes. Just as garage doors aren’t just for garages anymore, porthole windows are being used in other applications. And since porthole windows are available in a variety of materials and sizes, they can add a completely unique touch to your house (from both the interior and exterior). But, how do you know if a porthole window is right for your home?

Advantages of a Porthole Window

This porthole window is perfect for stargazing. Image: Relentless_one/Getty Images

“Porthole windows have the ability to turn a seemingly plain room anywhere in the home into a unique space,” according to Brad Roberson, president of Glass Doctor. He says bathrooms are a popular location. “Why should bathrooms be boring? A porthole window can enhance even the simplest spaces, and that includes bathrooms,” Roberson says.  “And as a bonus, it can also give the nautical illusion of being on a cruise, and who doesn’t want to feel like they’re on vacation?”

A porthole window can also serve as artwork. Image: asbe/Getty Images

Porthole windows can also be used to line the walls of a staircase, according to Roberson. “Using these rounded windows there can help not only draw in light when transitioning levels but also create the illusion of more space,” Roberson says.

Another fun place for them is in the ceiling. “We all have seen a skylight, but circular windows in the ceiling can create a fun illusion of the sun when the light shines through.” Roberson says.

When the curtains are drawn, this porthole window takes center stage. Image: Astronaut Image/Getty Images

Many homeowners use porthole windows as artwork.  “Depending on your home’s scenery, whether it’s overlooking a beautiful beach or lake or the city lights, a large circular window can be thought of as a piece of artwork and a focal point in any room, particularly a living room.” Besides bathrooms, attics and loft areas, porthole windows are also being used in other areas of the home, and there are even doors with porthole windows in them.

This bunkroom porthole window helps to create a nautical feeling. Image courtesy of Dan Nelson, Designs Northwest Architects

Dan Nelson, principal at Designs Northwest Architects, has installed porthole windows in several projects. In the photo above, Nelson installed a porthole window in this bunk room. Due to the room’s design, which includes an arched ceiling, a porthole window works well.

Portholes add a stylish touch to this home gym. Image courtesy of Dan Nelson, Designs Northwest Architects

Nelson also installed a series of porthole windows in this exercise room. “We use porthole windows quite a bit in our work because we specialize in waterfront residences,” he explains. “Porthole windows fit naturally into the nautical theme of many of our homes.”

Disadvantages of a Porthole Window

The porthole complements this home’s design. Image courtesy of Dan Nelson, Designs Northwest Architects

However, there are some factors homeowners should consider before installing porthole windows. “I think porthole style windows are fine as long as a home owner is just using them for aesthetic purposes,” according to Nathan Outlaw, president at Onvico, a general contracting and design-build company in Thomasville, GA.

“They can look great with an appropriately themed room or home but don’t serve much of a purpose,” Outlaws explains.” The light brought in is minimal, they can’t let as much breeze in.” He says another issue is that they don’t serve as egress windows. In the event of an emergency (like a fire), you need a window large enough, and placed low enough, to crawl through. If you’re considering a porthole window, make sure that you have at least one other larger window in the room.

This metal porthole fits perfectly in the metal wall. Image courtesy of Dan Nelson, Designs Northwest Architects

“There is also the problem of making them look good in relation to the outside of the home, Outlaw says. “Many times they look great in the room they are placed but mismatch the exterior architectural style.” That’s not a problem for the well-designed homes in the two photos immediately above, but it is something to consider.

Resale Value

Porthole windows can be designed to let in a cool breeze. Image: BenAkiba/Getty Images

Porthole windows are trendy, but will they affect your home’s resale value or not?

“I do think that buyers may see the window type as an obstacle when they start to think about reselling in the future,” says Nicole Durosko of Warburg Realty.

“Anything that a homeowner does that is too specific, no matter how trendy or cute, will narrow the audience of potential buyers,” warns Steven Gottlieb of Warburg Realty. “If a potential buyer doesn’t want a porthole window, it adds to the number of ‘renovation tasks.’” He believes that it won’t widen the potential buying audience, but says it could narrow the field of buyers.

Porthole windows can be a focal point. Image: numismarty/Getty Images

And Karen Kostiw of Warburg Realty believes a porthole window could be a distraction, and it might turn off a buyer. “Today’s buyers are looking for large windows and lots of light,” she says. However, if there are other windows that provide natural light, it probably won’t be a deal-breaker. And in waterfront homes, it could actually be a selling point.

The post Porthole Windows: They’re Not Just for Ships and Boats appeared first on Freshome.com.

[owensrhodes]

Porthole Windows: They’re Not Just for Ships and Boats

Porthole windows are standard on ships and boats. However, they’re now showing up in residential homes. Just as garage doors aren’t just for garages anymore, porthole windows are being used in other applications. And since porthole windows are available in a variety of materials and sizes, they can add a completely unique touch to your house (from both the interior and exterior). But, how do you know if a porthole window is right for your home?

Advantages of a Porthole Window

This porthole window is perfect for stargazing. Image: Relentless_one/Getty Images

“Porthole windows have the ability to turn a seemingly plain room anywhere in the home into a unique space,” according to Brad Roberson, president of Glass Doctor. He says bathrooms are a popular location. “Why should bathrooms be boring? A porthole window can enhance even the simplest spaces, and that includes bathrooms,” Roberson says.  “And as a bonus, it can also give the nautical illusion of being on a cruise, and who doesn’t want to feel like they’re on vacation?”

A porthole window can also serve as artwork. Image: asbe/Getty Images

Porthole windows can also be used to line the walls of a staircase, according to Roberson. “Using these rounded windows there can help not only draw in light when transitioning levels but also create the illusion of more space,” Roberson says.

Another fun place for them is in the ceiling. “We all have seen a skylight, but circular windows in the ceiling can create a fun illusion of the sun when the light shines through.” Roberson says.

When the curtains are drawn, this porthole window takes center stage. Image: Astronaut Image/Getty Images

Many homeowners use porthole windows as artwork.  “Depending on your home’s scenery, whether it’s overlooking a beautiful beach or lake or the city lights, a large circular window can be thought of as a piece of artwork and a focal point in any room, particularly a living room.” Besides bathrooms, attics and loft areas, porthole windows are also being used in other areas of the home, and there are even doors with porthole windows in them.

This bunkroom porthole window helps to create a nautical feeling. Image courtesy of Dan Nelson, Designs Northwest Architects

Dan Nelson, principal at Designs Northwest Architects, has installed porthole windows in several projects. In the photo above, Nelson installed a porthole window in this bunk room. Due to the room’s design, which includes an arched ceiling, a porthole window works well.

Portholes add a stylish touch to this home gym. Image courtesy of Dan Nelson, Designs Northwest Architects

Nelson also installed a series of porthole windows in this exercise room. “We use porthole windows quite a bit in our work because we specialize in waterfront residences,” he explains. “Porthole windows fit naturally into the nautical theme of many of our homes.”

Disadvantages of a Porthole Window

The porthole complements this home’s design. Image courtesy of Dan Nelson, Designs Northwest Architects

However, there are some factors homeowners should consider before installing porthole windows. “I think porthole style windows are fine as long as a home owner is just using them for aesthetic purposes,” according to Nathan Outlaw, president at Onvico, a general contracting and design-build company in Thomasville, GA.

“They can look great with an appropriately themed room or home but don’t serve much of a purpose,” Outlaws explains.” The light brought in is minimal, they can’t let as much breeze in.” He says another issue is that they don’t serve as egress windows. In the event of an emergency (like a fire), you need a window large enough, and placed low enough, to crawl through. If you’re considering a porthole window, make sure that you have at least one other larger window in the room.

This metal porthole fits perfectly in the metal wall. Image courtesy of Dan Nelson, Designs Northwest Architects

“There is also the problem of making them look good in relation to the outside of the home, Outlaw says. “Many times they look great in the room they are placed but mismatch the exterior architectural style.” That’s not a problem for the well-designed homes in the two photos immediately above, but it is something to consider.

Resale Value

Porthole windows can be designed to let in a cool breeze. Image: BenAkiba/Getty Images

Porthole windows are trendy, but will they affect your home’s resale value or not?

“I do think that buyers may see the window type as an obstacle when they start to think about reselling in the future,” says Nicole Durosko of Warburg Realty.

“Anything that a homeowner does that is too specific, no matter how trendy or cute, will narrow the audience of potential buyers,” warns Steven Gottlieb of Warburg Realty. “If a potential buyer doesn’t want a porthole window, it adds to the number of ‘renovation tasks.’” He believes that it won’t widen the potential buying audience, but says it could narrow the field of buyers.

Porthole windows can be a focal point. Image: numismarty/Getty Images

And Karen Kostiw of Warburg Realty believes a porthole window could be a distraction, and it might turn off a buyer. “Today’s buyers are looking for large windows and lots of light,” she says. However, if there are other windows that provide natural light, it probably won’t be a deal-breaker. And in waterfront homes, it could actually be a selling point.

The post Porthole Windows: They’re Not Just for Ships and Boats appeared first on Freshome.com.