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coming up on nebraska stories... the newest member of the nebraska hall of fame... a king sized lovestory from nashville... teachers who dig geology... and a student pursues the highest honor in 4-h. â™ª music â™ª narrator: fromco-founding the new school to saving european intellectuals from nazi persecution, alvin saunders johnson's life is an epic tale of achievement.

narrator: the academy awardwinning film "shindler's list" tells the story of a germanindustrialist who saved hundredsof jewish workers from the nazi death camps. as improbable as it seems, a man from nebraska also savedhundreds of jewish lives. he grew up nearhomer, nebraska where in the 1880s he rodehis horse to a one-room school. in the 1920s and 30s herose to prominence

as president of the newschool in new york city. he used hisinfluence there to rescue almost200 european scholars. robert ripley: if nebraska needed their own person called "shindler," this is the man who made a similar achievement. and it is nothingshort of remarkable. narrator: butit wasn't easy. he had many critics,some from his own university.

bob kerrey: people who weresaying, don't do this alvin. i mean, come on. this is not our mission to bringgerman jewish intellectuals over here and createsomething different. that's not how we started off. i believe what he didwas the bravest act of any university presidentin the entire history of american education. narrator: our heroesname is alvin johnson.

he is the newest inducteeinto the nebraska hall of fame. interviewer: "haveyou heard of alvin johnson?" woman: "no." man: "alvin johnson? no." man: "no." man: "ah, no. no, i haven't." man: "i've never heard of alvin johnson. never." man: "the baseball player, right?" woman: "i've not heard of alvin johnson."

man: "i'm sorry. i feel an immense sense ofguilt not knowing that." steve shiveley: alvinjohnson was born on a farm near homer, nebraska indakota county in 1874. kerrey: if you'd met himwhen he was 10 years old on a farm in homer, nebraska,you'd be asking him, "well, what do youthink about farming?" jim mckee: he became kindof scholarly in the eyes of his friends and being agangly youth they gave him

the sobriquet of"frog man". narrator:when he was 18 years old, he enrolled at theuniversity of nebraska. where he was tutored by none other than willa cather, who said of one of hisfreshmen compositions, "you write not badly,but you don't see." but alvin johnsondid have vision. after graduating fromnebraska and getting a ph.d. from columbia he rose tobecome one of the founders

and finally the presidentof the new school for social researchin new york city. kerrey: among thethings that he carried over into the creation ofthe new school was the belief that the intellectual activityhad to connect to life. you had to getcivically engaged. narrator: one of the jobsof the new school president was to recruit some of thebest scholars in the world to come to theschool and teach.

kerrey: what alvin johnsonbelieved is you've got a lot of people outthere making decisions and the qualityof the decision making is going to getbetter as a consequence of understanding these things. so he believed in bringing these phenomenal people to deliver lectures and people who were already educated, could sit in theaudience and say, "oh, my god, i neverthought of that before."

(cloth being pulled off of bust) (applause) ripley: alvinsaunders johnson. humanitarian. educator. economist. innovator in americanadult education. creator of a safe haven forjewish scholars fleeing nazism. author of america's firstanti-discrimination legislation. elected the hall of famein 2012. ripley: i have seen threeor four of very few photographs

that were evertaken of dr. johnson, and it was a challenge forthe sculptor to create an image that was a great likeness with very, very scant information. and i think the physical representation of him here, is appropriate to his greatness. wesley wofford: i thinkits really important in trying to capture theessence of someone is to use the bust and to usethings in that bust as symbols to represent their accomplishments.

i thought his handswere very important. his grandson who i wastalking to yesterday was, like, "i hung out withalvin for a summer and he had the biggest hands,you know, his hands". he was a farmer, he workedwith his hands and he read and elevated himself andin doing so elevated many others over thehistory of his life. narrator: adolph hitler came topower in germany in 1933. within months every jewishprofessor in germany was fired.

by the end of 1933, the firstconcentration camp was built. it was called dachua. soon it was illegal for jews tohold any government job. with remarkable foresight, alvinjohnson saw what was coming. at the new school in 1933he created a graduate school called "theuniversity in exile". it was a way to bring scholars into the united statesfrom germany. just how difficult these individual rescues were,

can be seen in the escape route of polish scholar, dr. alexander turyn. dr. turyn made his way frompoland to the black sea where he tooka small boat to istanbul, then another boat to smyrna where he was joinedby his wife and son. together they proceeded bytrain to bagdhad and then flew to karachi and finally got to bombay,

where they boarded the shipthe president roosevelt and by way ofcape of good hope, made itto new york city. in addition to saving lives, johnson's dramatic rescues, brought a new generation ofgifted educators to america whose teaching impactedthousands of students. interviewer: is that worth being in the hall of fame? john janovy: oh, absolutely. and when you look at the talent and the intellectual power that came over to this country

as a result of people like that, absolutely, worthy of the nebraska hall of fame. and, obviously, muchmore than a baseball player. narrator: the professorsat the new school created such adynamic atmosphere, it attracted a 19-yearold student from omaha, named marlon brando. brando said, "i was onlythere one year, but what a year it was."

another studentwas playwright, tennessee williams. three years later,tennessee cast brando in the broadway premier of "a streetcar named desire." in his autobiography, alvin johnson was so modestthat brando and williams weren't even mentioned. johnson's low-key mannerthroughout his lifetime was classically nebraskan.

shively: he wasborn and grew up in nebraska. bachelor and master'sdegrees at the university. and the people i'veinterviewed who talk about him always bring upthat he was a farmer at heart. he never losthis nebraskaness. when elizabeth kinglost her job, she packer her carand moved to nashville. where she not only met country music legends, but the love of her life.

â™ª music from "the mary tylermoore show" â™ª narrator: young,independent, and emerging from a broken engagement, what mary richard's portrayed onthe popular 70's sitcom, elizabeth yaxwas living in real life. elizabeth king: here i'mtwenty-nine, no house, no fiancã©, no job. what do you do? you move to nashville.

(laughter) narrator: rather than a sit-com, elizabeth's storycould be a classic country song. a spunky, small town girl,grows up in a happy family, graduates college with a degreein sociology and big dreams. elizabeth king: i wentinto radio because that's what you do when you havethat kind of degree, i guess. ksyz was thenewcomer on the block and they had a lot of funthings going for them.

narrator: within four yearselizabeth was sales manager and just whenthings couldn't get better, the station was sold. elizabeth's story wasin for a big change. elizabeth king: i had justbeen engaged prior to the radio station selling. and i calledoff my wedding. so, here i am, i'm 29, thestation is sold, i've lost my jobbut i do have my rx-7.

i put everything thatfit in that rx-7, which, trust me, wasn't a lot. i took off to nashville. (car engineaccelerating) elizabeth king: i think iwas a little crazy, but definitely determined andi didn't have anything. narrator:but thanks to a friend, elizabeth had a place to stay and a backstage passto the grand ole opry.

elizabeth king: it was acommon courtesy thing that they would give youaccess back stage if you workedin the radio department, in with a radio station. narrator: in a way onlyelizabeth could do, she turned a single night'saccess into a two year pass. elizabeth king: yes, wellthat's called makin' friends. so, you smile and youmake friends and you just belong there andlittle by little, you know,

i didn't have toshow a pass, i didn't have to be on the list. â™ª music â™ª narrator: elizabethmade a lot of friends. narrator:but, none more important than the one shemade with terry king. terry king: it was likewow, what a great smile. narrator: like a page froma romance novel, elizabeth and terrymet for the first time

backstage at the grand ole opry where terry was working as a musician. terry king: i was stillwith patty and we had just gotten back from a usotour with randy travis and so we were at the opry. narrator: that was thevery night elizabeth used her backstage pass. elizabeth king: prettygood night for me, too, because two years later imarried that terry king.

narrator: terry grew upone hour from nashville and taught himself toplay guitar. terry: â™ª stepped out in the land of the delta blues...â™ª bnarrator: but he didn't gethis start in country music. terry: â™ª w.c. handy, won't... â™ª terry king: i ended up inmuscle shoals and was a staff writerthere for awhile. narrator: terry wrotesongs for top r&b talent, but after a few years hemoved back to nashville

and went to work for topcountry artists. elizabeth king: terry gota call and it was mel and he said, we'regoing to branson. narrator: terry andelizabeth had been dating over a year whenhe got the call. it was the early 90's and whileterry went to branson, elizabethstayed in nashville. terry king: i said, mel,i said you know this girl that i was datingin nashville.

i think i'm goingto ask her to marry me. he said, take mehome and you can take my car. narrator: elizabeth andterry tied the knot back in nebraska just a fewdays before christmas. elizabeth king: it was 15below zero with 25 below zero wind chill. they always said it'd be a coldday when i get married. (laughter.) and it was.

narrator: terry continued to working for mel tillis. but after their firstbaby arrived, terry left his musical career and the familysettled in nebraska. terry king: elizabeth'sa good saleman. she's very strong, notonly personality wise, faithwise, some aspects shehas not only save my life, she saved my soul. elizabeth king: lookingback, do i think i can move

to nashville and do whati did again now at my age? no way. but am i glad i did? because now i can saythere are no regrets. narrator: and here iswhere the story gets a little sweeter. elizabeth and terry still keepin touch with their old friends. narrator: it's more thantwenty years since their fateful meeting backstageof the opry and yet,

the lovebirds arestill singing. teachers travelback into deep time to expand theirunderstanding of geology and discover whatreally drives learning. dave harwood: it's theearth, we study the earth. it's really hard to study theearth in the classroom. harwood: ready to go! (van door shutting) harwood: these teachers,they're going to be challenged,

and they'regoing to feel like their students in the classroom. harwood: we're hereat the platte river. it's really the first stopwhere people have gotten dirty and wet, and,getting into the science. (shovel slicing sand) harwood: what do you see? harwood: but they'realso meeting each other. they're learning a lotabout each other.

(walking through cold water) harwood: we're reallybuilding up a fundamental set of knowledgeabout how rivers work. it's a very basicprinciple of water moves sediment. dyllan pinkman: myname is dyllan pinkman. i teach at dawesmiddle school. and i've been teachingfor three years. i love doing experimentsand i want to be able

to do that with my classroom. i can share myexperiences with them, and i can have some credibilitywhen i go into the classroom. (unpacking the van) harwood: there certainlyis that social dynamic. you've just gottawork through it. (setting up tent andcutting vegetables) harwood: living, camping,sharing, the daily adventure out here.

harwood: i would say thatthis is, just from past trips, this is probablyyour biggest learning day, where you start to perceive howbig geology really is. harwood: each rock has aparticular set of, like, signatures or fingerprintsthat tell us something about how therock was formed. david peters: we arelooking at a lot of sand. i could probably usea little more shade. i probably try to focuson the big picture.

i didn't know there were quiteso many details about sand. harwood: being out oftheir comfort zone, it puts them in the positionof where their students are. i'm a professor and i domy research and i teach about things at a prettyhigh level, but you know, iwas probably, well, i was a really poor teacherfor quite some time. i changed entirely the waythat i teach, based on the interactionwith these teachers

and by seeing the power of whatmotivates these teachers to just keep going. harwood: if you were tosketch this or draw it... mandy: i've taught earthscience for just one year now, and i can really seethat what i was teaching was just really, reallya bit more fragmented. i'm getting this reallybig picture now. mandy: how wideshould we draw it? helen: how about we gofrom edge to edge of that...

mandy: geology is huge,these processes are really big and far reaching. having that understanding,is huge for me at this point. helen: we'll call thatthe "holey layer." helen: earth isn't the same asit was a million years ago, at tenmillion years ago. the earth isconstantly changing. helen: it's exciting tothink, the huge scale of earth's time.

harwood: we're up at six. we go to bed at ten,eleven, twelve. depends on how it goes,but we can be in the vans working from eight o'clockto seven, eight at night. teresa: okay, iam sick of you! harwood: i'm always amazed athow much they can continue to go and continueto stay engaged. group: â™ª happybirthday to you. â™ª helen: thank you.

harwood: to the trip'sgreatest olympic swimmer. helen: yeah. let me see if i can notcatch my hair on fire. harwood: when i preparefor this, i really don't know how its going togo, even every day. it depends on whatthe teachers bring. what questionsthey bring up. they can then startto follow their own curiosity. pinkman: this doesn'tlook like nebraska.

it's crazy. this whole area would've beenfilled up to the highest ridge. that's weathering anderosion, what we're learning in class. harwood: dyllan, he's veryaware of why he's here. he's here to bring more ofthis into the classroom. so i'm really happy he'sgot that perspective of the kids, otherwiseit's just for his own enjoyment. that's not what's drivingany of these teachers.

i mean, it's hard to beout here waking up on the ground every morning. enduring it, for thestudents, i think is what's motivating alot of these teachers. harwood: today'sgonna be a great day. we'll be taking aboat ride into alcova reservior. and up fremont canyon. harwood: see it? right there? we're in the 'road hair',

we're in the 'road hair' stage. harwood: we'll be goinginto the bowels of the earth, if you will,back in time. peters: thisis pretty awesome! harwood: we didn't reallygo down in the earth, but we went back through time. it's like taking a knife,cutting into the earth, folding it back andlooking all the way down. just going into deep time,where its really hard to fathom.

3 billion years old. two billion years. a long time. harwood: so, i want youto try to think about the relationship of theserocks as they cooled. pinkman: its trying to getthe kids to understand the time-frame and how longall of this stuff takes to actually happen. science iseverywhere you go.

i doesn't just have to bejust out of a book, just out of a video. pinkman: whoo! harwood: just this morningdyllan said, "you know, i'm not gonnateach the same way. i realized how lamemy presentation on weathering, orof erosion was." he's gonna change the wayhe presents this and pull it into a way thatmakes the students think.

pinkman: what math classlets you go out and do this? helen: i did it myself, ifi can do it, you can do it. harwood: and they're ableto share with their students, and show apicture of them, standing next tothese rocks; the students, automatically will have respect. the teacherwill have credibility for having been a geologist. that's huge.

mandy: i don't think i'veever learned or done so much in two weeksever in my life. peters: i've begunto wonder if dr. harwood isn't sort of afreak of nature. we're exhausted. and he's the guy cookingthe meals and driving the van. i suggested about ahundred miles back that we turn around anddo it again. that, i'm ready to go.

harwood: you've kind ofgot to let go of your classroom is partlywhat this is about. and let the studentspartly drive what is learned and then theystay fully engaged. sheridan swotek is hoping her innovative 4-h project will put her on track to receive the organization's highest recognition,the diamond clover award. sheridan swotek: i pledge my head to clearer thinking, my heart to greater loyalty,

my hands to larger service, group: my health to better living for my club, my community,my country and my world. sheridan: alright, thank you. and we have the nebraska flag for the nebraska motto. who would like to hold that? sheridan: alright, we'll review it real quickly. its "equality before the law." alright, can we all say that together?

group: equality before the law. sheridan: alright. good job. (sewing machine) karol swotek: my mother was a local 4-h-er and then i was kind of a local and state, now she has gone on to national. oh, i think she will be an intergalactic 4-h-er before you know it. she's very motivatedand very determined and

very willing to do the hard work it takes to get things done. sheridan: in the 4-h program there is something called the diamond clover program. you have to do something monumental in your community i would never thought i'd actually be doing goats. karol: my daughter said i just think it wouldbe just so fun and i know other counties have sheep exchanges or other animal exchanges.

sheridan:goats are just something that peoople are probablynot most familar with. he actually was able to donate six goats from his family. and so that is how we kind ofgot started. cole meador: one of my goals, ultimately, was to be able to have some type of project like this where urban kidscould show a goat. all kids should be able to raise some type of animal during their life.

you know, most kidscan raise a dog or a cat, but their nothing compared to raising a livestock species. kid 1: head might jump on you. kid 2: okay, leave it out so that when they're ready... meador: you know when you are dealing with livestock you're dealing with all sorts of different health problems. meador: go straight into that muscle. and pull it straight back to make sure you're not in a vein. and just give him the shot and rub a little bit.

meador: i'm gettingthose animals broke to show, bonding with that animaland then in the end, ultimately, having to sellthat animal. so it's a totally different aspect to raising a pet. (feeding goats) sheridan: they come out every other night or so and work with their goats and really get the goats to know them. working with our goats is basically just kind of walking them around and practicing setting them up.

and just gettingyour goat to know you. then by the time of the fair, they're realing familiar with their goats and they're ready to show them. meador: then if the judge stands right here, all of you guys should be at the front of your goats. so as that judge looksdown the line all he sees is those animals. so he is comparing them. perfect.

sheridan, why don't you go ahead and walk her again. (traffic noises) sheridan: there are kids who are really disconnected from what how agriculture affects us. i took them to my work and got 160 k through 5 kids be able to interact with a goat. sheridan: "so what are other things you see about ted?" sheridan: some of them, they've never seena goat before in person.

and so having them come up and see a goat and feed a goat and having them havethat hands on interaction. is really pretty cool. 4-h kid 1: so, on a nubians, their ears are big and long, so you can actuallynotice that they have ears. then on the lamancha goats,they have little ear lobes, that are about the size of that. (goat eating hay) 4-h kid 2: at the fair, you take their collar and

you put them up right there and hold them with two fingers and lead them around. 4-h kid 1:so you don't choke them. sheridan: the kidsusually don't expect to come to their summer daycamp and work with a goat. we've done thisa couple of times and they are still talkingabout the goat that came like three weeks ago. (county fair 4-h kidspreparing to show goats)

karol: what i've seenthrough my children and my club and other kidsinteracting with 4-h is, they are enthusiasticwhen they have a chance to learn something new. sheridan: 4-h really teaches 4-h teens to be a greater role model in their community and with whoever they work with. i feel 4-h has mademe definelty a better person. (goat bleating) watch our stories online atnetnebraska.org/nebraskastories

and go to facebook to "like" us and leave a comment. join the nebraska stories conversation. nebraska storiesis funded by the margaret and marthathomas foundation and the nebraska officeof highway safety. sustained funding for arts coverage on nebraska stories is provided by the h. lee and carol genndler charitable fund and the nebraska arts council and nebraskacultural endowment.

Agus 15:19 Admin Bandung Indonesia

Urban Creatures Legends

jay keasling: we are in a race.the race is against time. we have to buildcities, we need them. but we have to makethem in a different way. dan kammen: we need awave of innovation, not only for our way of life,but also for the planet. the consequences wouldbe enormous if we lose this battle. thomas goetz: i'm thomas goetz,executive editor at wired magazine. at wired, we look

at the innovators andinnovations that are changing our world. in the next hour, we'll see three storiesfrom acclaimed filmmakers about the future of energy. we'll explore cutting edgeinnovations in how we drive, how we live, and, in our first story,how we fuel our cars. they're all ideasthat promise to shape the path tothe world of 2050.

[â™ª...] the world has right now,close to a billion cars, and we might double the number of cars onthe planet by 2050. so if we double the number of vehicles, we really increase theamount of fuel they consume, and that's going to have a big, bigfootprint in terms of our demand for resources to move allthose vehicles around. kay keasling: we're pullingup carbon that's been stored

underground andburning it in our automobiles and putting allthat carbon dioxide into the atmosphere. if we don't reduce that, wecould have changes in the climate that we couldnever recover from. there's a number of forecastsfor what type of transportation economy we could move into. one vision is that we would usemore and more liquid fuels, another one is we'll usemore and more electricity.

right now, more of the industrial activity isfocused around liquid biofuels. the thing about a fuel is, itsreally unparalleled on a weight basis how much energyis in a gallon of fuel. and even if batteriesdevelop as some of the advocates hope they develop,we're not going to see batteries running large trucksand we're certainly not going to see anelectrified air flight. we're going to needtransportation fuels for

those that will directlyreplace the petroleum based fuels that we're using today. this has kicked off peoplelooking at a whole range of other alternatives topetroleum in your tank. isaias macedo: commercialproduction of ethanol as fuel started in brazilin 1975. when we started the ethanol program,nobody talked about reducing emissions. this wasnot an issue at that time. first, and most important,we didn't have money

to buy oil anymore afterthe first oil short. we were importers of oil. and today, more than 50%of all cars use ethanol instead of gasoline. brazil made a very consciouschoice to try to find a way to reduce their fossilfuel dependence. and they didn't have to lookvery far because brazil's climate is idealfor growing sugar cane. carlos dinucci: when youhave sugar cane plantation,

you have only twothings to make: sugar and ethanol. my family has been in thesugarcane business since 1955 and about thirtyyears ago, i thought "there's an opportunityto make more ethanol." now, we're producing 120,000cubic meters of ethanol. brazil today has veryclose to 400 sugar mills. the overall salesis 30 billion us dollars. and this number is increasing.

if you look at how they makeethanol and how efficient the process is, it'sreally a model for all of us. they grind the plant up,extract the sugar from the cane, the sugar goes into theselarge fermentation tanks which combine sugars together withyeast that naturally produces ethanol. they use the rest of the plant to generate heatto distill the ethanol and turn it into fuel. they also use that heat togenerate electricity renewably,

not putting excess carbondioxide into the atmosphere. brazil has gotten to a pointtoday where they're using about 40% less petroleum than theywould be otherwise, but brazil cannot supply the whole worldwith ethanol because they would have to cut verystrongly into food production and into criticalnatural areas like the amazon to make that happen. this really boils down to thefact that there's only so much arable land, and growing fuelfor our gas tanks is yet another

demand on that landscape. we cannot kid ourselves intothinking that we've found a general solution forthe world problem. i think we have to face theworld in this way today. we have no oil in verylarge quantities anymore. we have no coal transforming ina clean way, in the meantime we have to do the best wecan, and the best at the moment is thatwe can do biofuels. sugarcane to ethanol is anincredibly efficient process.

you get out aboutseven times the energy you put into growing the sugar cane.in the us when we produce ethanol from corn, for everyunit of input of energy we get about the same amountof energy out. so we're reallynot gaining anything. we need a better process. we don't have to take whatnature's given us, we can actually engineer plants andyeast to be more efficient. and that's the basis

for a lot of the workthat we're doing now. what we need to look at though,is which of the pathways to come out of this are notonly good financially, but those that are alsogood for sustainability. and this equation isreally wide open right now. we are in a raceto develop fuels. the race isn't withother countries, the race is against time. cristiano borges: to meet theimmediate and future demands, we

made the energy solutionspring from the ground. luis scoffone: brazil is themost efficient ethanol producing country in the world. sugarcane alcohol from brazil can reducethe total carbon footprint by up to 70%, compared with gasoline. the biggest challenge for fuelproviders, and car manufacturers is to reduce co2 emissionsover the next twenty years. demand for mobilitywill continue to grow. we believe thatbiofuels are very

important because theyhelp in an immediate way. all forms of fuel are goingto be needed; hydrocarbons, natural gas, biofuels,all of them are going to be part of the energy needs forthe future of transportation. brazil has been very successfulat taking a resource they had and finding the processto make that into ethanol and people callthose first generation biofuels. we have lotsof lab work around the world thatare looking at the

second generation and that'sgenerally turning cellulosic material from for exampleweeds, into biofuels. and the united statesis very much at the forefront of the innovationpart of the equation. for centuries we've been usingyeast to consume glucose and produce wine and beer. we're trying to do somethingvery similar, only we're engineering the yeastto consume that glucose and turn it into a fuelor drug or chemical.

we call this synthetic biologyand when i started in this area, many of my colleaguessaid "oh jay, this is great work, but where'sthe application, what are you going to do withthese tools?" who cares? malaria is an enormous problem. in any one year,a million or so people die of the disease and most of themare children under the age of 5. so we thought this was a greatopportunity to engineer yeast to produce an antimalarialdrug called artemisinin.

this drug is derivedfrom plants right now, but its too expensive forpeople in the developing world. so my laboratory engineeredyeast to produce small quantities of artemisinin, nowthat process is being scaled up and we'll have this drugon the market shortly, but at a substantiallyreduced cost. it turns out that thatanti-malarial drug is a hydrocarbon and it'svery similar in many ways to diesel fuel.

we thought, gosh we canturn our attention now to fuels. we can make a few changesin that microbe to turn it into a fuel-producing microbe. if we imagine that glucose isgoing to be our new petroleum, we need a sourcefor that glucose. so the crops that we'relooking at are crops like switchgrass. this is a native grass, it growswithout a lot of water and on marginal lands. we couldturn it into energy farms.

the challenge though, isthat unlike sugar cane, it's very difficult to get thesugar out of that biomass. so we use what we call apre-treatment process to extract the glucose from the plant,and then we feed that glucose to a yeastthat we've engineered to produce hydrocarbons. and that yeast takes in thesugar, and it changes its composition and gives usthis high-energy molecule. they float to the top,you skim them off,

you put them in your tank. but it takes a lot of work toget from that small test tube all the way up into the million-gallon tank,so we have to give it time. but i think that some of thediscoveries that are happening might be applied bythe end of the decade. in terms of a sustainableequation for the planet, the role of biofuelsis quite tricky. there are a variety of cropsthat do not compete directly

with food, and findingways to utilize those types of crops first,that's very attractive. so solving the science ispart of the story, but then evaluating all of the newfuels in terms of the land-use impacts that they couldhave, that is an even harder story thandoing the good science. imagine that you could have oneprocess that could take in sunlight and carbon dioxideand turn it into fuel. and imagine if thatdidn't involve growing

anything at all. nate lewis: the syntheticbiologists are trying to take plants and make them do thingsthat they wouldn't normally do. on the other hand,materials chemists, like myself, want to do artificialphotosynthesis to improve on the process that nature doesin real photosynthesis. we should follow the blue printof plants converting sunlight into fuel, but take the approachthat it could be much simpler. all we really needis a light absorber

that absorbs sunlight. we also need a catalystlike iron or nickel. so when you see the hydrogencoming off of the photo-active material, that's anexample of a semi-conductor breaking the chemicalbonds of water to make hydrogen and oxygen. ultimately, our pieces aregoing to be contained in something that is easy toroll out like bubble wrap, where in would comesunlight and water.

you would vent the oxygento the air, but the bottom would wick out your liquid orgaseous fuel, that then you could collect and use for ourcars and planes and storage. our goal is within two years,to have the first artificial photosynthesis solarfuelsgenerator that we can hold in our hands. and then, getto scale beyond that time. we're certainly not good atpredicting the future, but to me, electric vehicles looklike a sustainable option. we've heard proposalsabout things as

far-fetched as nuclear powerplanes, and even some proposals to move freight around withlighter-than-air vehicles. and so if thefuture in 2050 does include a fair amount of oil,what it means would be that we haven't deployedas many of these clean technologies as we alreadyknow are possible. if you think about how long it'staken for us to build up the petroleum industry, we can'thope to reverse that overnight. it's a huge change inour infrastructure.

yes, we should have beenworking on it 30 years ago. we didn't. we're trying to make up forthat, and that means basic research needs to be done nowand by as many people as possible. we have a long way to go, but i'm confidentthat we'll get there. in the future, 3d maps are goingto help people get places more efficiently. as we just saw, the race toproduce cleaner energy is

charging ahead. in the meantime, demand forcars continues to climb. by 2050, it's predicted there will be two billioncars on the planet, and fuel consumptionwill have tripled. to keep pace, we'llhave to radically change the way we drive. here's our next story,'driven by design.' asaaf biderman: theautomobile came around,

in many ways it was the future. we thought of it as one of themore positive changes that had happened to society.suddenly, our ability to get a job changed, we canlive farther away with bigger plots of land, withbetter quality of living. it all looked quite good. but there are limitationsto swearing by the car. if it gets congested,your quality of life drops immediately.

you have to spendso long in the car. it's a very inefficientuse of fuel consumption. things stop makingsense all of a sudden. it doesn't bring you closerto where you want to get, it actually, sometimesbrings you farther. narrator: the average americanspends nearly 300 hours a year in their car. 38 of them stuck in traffic. annually, congestionconsumes over $1 billion in

gasoline in theunited states alone. the inefficiencycaused by traffic, both financial andpersonal, is enormous. dirk sheehan andcarmen white's story is not that unusual today. carmen white: dirk works an hourand a half away in warrenville, illinois. generally he wouldn't leave work until 6 or 6:30 and iwould say usual time for him to get home is around 8.

you all done? thanks, buddy. dirk sheehan: usually when iwake up i'm the only one up. sometimes the kids wakeup with my routine. more often than not, i don'tsee them in the morning. i think about my commutewhen i wake up. i check the traffic report tosee if there's any delays. the worst casescenario, it takes me two hours to get to work.

we are already so limited in theamount of time he can spend with the kids, and ourexpenses are crazy high. we're spending $400a month on gas. it takes away from our foodbudget, and we never paid for gas like that before. ever. if there's technology that wouldallow me to spend less time in the car, spend lessmoney on gas, and spend more time at home,i'd be all for that. mike finn: the cost of trafficis people's time, it's fuel

wasted, it's an emotionaltoll, it's a frustration. utilizing the roadsmore intelligently is a much more efficient approach tothe inability to have supply keep upwith traffic demand. john leonard: if you took asatellite picture of the highway, you can see that there's actuallya lot of open space. if we had the technology forcars to drive more closely, but safely, then you couldincrease the utilization of the

road network. what this means is that to bemore efficient, to use less fuel, we need to seethe road differently. we need cars that cannavigate through the urban landscape in aradically different way. cliff fox: maps in the futureare going to be able to help people get places either moresafely or more efficiently. today, just helps you getfrom point a to point b. but, what if i want to getsomeplace and use the least

amount of fuel possible? or, if i've got a hybridvehicle, and i want to make sure i've got plenty ofcharge to not only get there but to get back home? so, informationthat is gonna help people achieve the more efficientor the safer route is more detailed information aboutthe road than a lot of people realize is possibleto collect today. here in chicago, nokia'slocation & commerce unit is

developing the nextgeneration of mapping. lidar, sonar, 360-degree video, all are components of what nokiacalls - digital mapping. we use 64 lasers that rotate andthey collect data in a 3d way about the world. it creates what we call apoint cloud of information. that point cloudallows us to measure distances then between the pointsthat we collect. that system combined with thecameras, with higher precision

location detectionthrough inertial measurement units, that whole datasystem allows us to collect 1.3 millionpoints of data per second. probably within 2-3 years, you're gonna see 3d maps thatare gonna integrate the traffic information into yourrouting, to help you understand. if i've got 5different routes to take, which one is the most efficienttoday, given the way the stoplights are running, giventhe way traffic is running.

all of those factors are gonna be taken into consideration tomake sure i've got the best route. but better mapping that canintegrate topography, infrastructure, and density isonly part of the answer. another key to improvingtransport efficiency is building carsthat drive themselves. autonomous vehicle technologyhas a tremendous potential to improve efficiency ofour road infrastructure.

by removing humans from theequation, we eliminate all the things we do wrong behind thewheel - speeding, changing lanes too often, merging haphazardly; and by marryingthem with sophisticated 3d maps, we can make driving saferand more energy efficient. that next generationvehicle is being built right now by swedishtrucking company, scania. tony sandberg: the solution, aswe see it, is that the vehicles can utilize intelligent maps.

3d maps withtraffic information. the vehicles willbe intelligent and communicate with each other. they will talk to eachother, they will talk to the infrastructure. and we will seeautonomously-driven vehicles. the goal was to have multiplerobots and see if they could go 60 miles fully autonomously. helen taylor:my name's helen taylor.

my husband john and i,we're very passionate about fuel economy. john taylor: yea it's great tobreak world records, but that's not the be all and end all now. it's more importantto educate people. together we're showingdrivers around the world simple techniques to improvetheir fuel efficiency. we run these education programs,get people on the road with us, and we finally tweaktheir driving techniques.

things like justchecking your tire pressures before youeven get into your car. for every one psi your tires are under inflated, you're wasting3% of your fuel efficiency. and the difference between 65 and 75 milesper hour is a saving of 23%. when you talk to the generalpublic, they're very surprised that an energy company,like shell, is trying to educate people onhow to save money,

how to reduce co2 emissions. and here we have shell sendingus around the world to do that. you always hope when you're onthis planet that you can make a real differencein people's lives. when you get emailsfrom people saying "i've saved this amount of money thisyear, now i can put food on the table", then you know you arereally making a difference. by displaying traffic densityin the urban infrastructure in a revolutionary way,

3d digital maps will help createa more fuel-efficient future. but these technologies arelimited by the drivers who sit behind the wheel. somebelieve, that for cars and trucks to be trulyenergy-efficient, they will need to drive themselves. the technology's coming intoplay, through sensors and capabilities for carsto drive autonomously. in 2007, the united states'department of defense held a competition to seeif a completely autonomous,

self-driving vehiclewas possible. darpa stands for the defenseadvanced research projects agency. they had a competitionto develop self-driving robots that could drivethemselves in traffic. the goal was to have multiplerobots, turn them loose on a course, and see if theycould go sixty miles in six hours, fully autonomously. driving may be one of the mostcomplex things we do every day. drivers make dozens ofdecisions at any given moment.

one study found that drivers were exposed to over 1,300 itemsof information per minute. we make so many decisions whenwe're driving without even thinking about it. so in creating our vehicle,a great component of the enterprise wasdeveloping software to handle lots of sensors,feeding lots of data, and generating a bunch of potentialpaths that the vehicle might follow. and eventhough the robot doesn't have

the ability to predictthe future, by using this fast random path generation,the robot could anticipate a potential accidentand choose a path to avoid it because its alwaysthinking about what things could the car do next. no one expects millions ofcars driving themselves anytime soon. but there is aplace where self-navigating technologies are beingoptimized to create the vehicle of the future.

we're on the scania testtrack outside stockholm, where we have basically, it looks like a highway but it'sa separate test track where we conduct our own experiments. scania, the swedish truckingcompany, has recently begun testing its next generationof long-haul truck, utilizing radar, sonar, andintelligent mapping. they've been able to drasticallyreduce fuel consumption. jonas martensson: we have thisexample with platooning, where

will make use of the reductionin air resistance, or air drag, that you get from drivingclose to each other with heavy duty vehicles. and in order to controlthis, you need to know where the other vehicles are,their position, their velocity, their actionsin the near future. and to be very close to thevehicle ahead of you, it requires that you havea very accurate control. if you look at robotics broadly,there's a wonderful set of

research of peoplelooking at schooling fish and trying to develop theability for robots to work together like that. so there are wonderfulexamples from nature of how cooperation can lead to moreefficient resource utilization. jonas hofstedt: you can see itwhen people are competing in tour de france. they platoonto reduce air drag. they are not bicycling behindeach other that close because it's fun, or because they areracing, it is because they are

reducing air drag sitting behindthe man who is leading. a truck traveling 55 miles perhour expends half its energy just to movethe air around it. at 65 miles per hour, thatnumber jumps to almost two-thirds. even if platooning can reducethe energy used by 10 percent, the savingswould be substantial. if a vehicle in front of anothervehicle wants to brake,

it immediately sends outthe brake message to the other vehicles, so they actuallybrake at the same time. hassad alem: the way we do thisis by, we have an automated system. so now for instance, if i take my feet off theacceleration pedal, and turn the system on, thevelocity is automatically governed by gettinginformation from the vehicle ahead throughits wireless system. we want thesevehicles to maintain a

short relative distance. so through this system,we can reduce fuel consumption by utulizingthe air drag reduction by 10%. and 10% would mean youwould be able to save approximately 8,000 eurosper single heavyduty vehicle per year. it may be sometime beforeautonomous vehicles make up the majority of cars onamerica's highways. nevertheless, some of thesetechnologies are already

making their way into our lives. now this polarbaby wants to sleep. do you get to pick out booksevery day or is it just... i get to pick outbooks sometimes. okay. when we look toward the future,the systems will absolutely make it safer and moreefficient and less costly for you and alsomake your life easier because you're spendingless time on the roads.

the city begins to talk, beginsto tell you where is there congestion, what's going onin different areas of town? suddenly the carbecomes a part of a much bigger ecosystem. we can look at how carsinteract with other cars, how cars interact withinfrastructure and us, the drivers, can start to make smart decisions abouthow to move around. suddenly, mobility becomesa whole other thing.

paul goldberger: no matter howmuch money they have, no matter how much oil they have, everybody has to go ina different direction. we've seen that changingthe way we drive can improve transportation efficiencies. but what if we change the way webuild and live in our cities? that's the subject of our nextstory, "searching for utopia". we'll travel to theunited arab emirates, and discover a city risingout of the desert.

let's take a look. from the beginning,we've dreamed of utopia. a place where we could live in harmony with each other,and in balance with nature. many have imagined it, tried to design it, but thedream always slipped away. then, i heard they werebuilding a new city called "masdar", near abu dhabi,in the arabian desert. it sounded like anunlikely place for utopia,

and i wanted to see it. the last half-century has been apretty bad time for the making of cities, mostly. the natural tendency has beento accommodate to the automobile more than anything else. try walking aroundabu dhabi, itâ€™s impossible, you have to takea car everywhere. dubai, the same thing. they are amongthe least pedestrian-friendly

places in the world,they are not green by any other measure either, and theseare not easy things to fix. masdar is still underconstruction, and it doesn't look like much from the highway. but they claim it's going toredefine the way cities are designed, built, and powered. masdar city in abu dhabi, willbe the city of the future, and the role model for the world. once you see what they'veenvisioned for this

utopian city,its very impressive. it's carbon-neutral, pedestrianfriendly and powered by renewable energies. but i do notice, we'regoing to have to change our relationship with cars. car audio: welcometo masdar city. austin relton: we are driving inthe bowels of masdar city in an electric transportation system. it's slightly unnerving to seethis for the first time and

"where are we going?" the first big move thearchitects at foster and partners made was to put alltransportation underneath the city, leaving the streetsof masdar totally free of cars. the place reminded meof a medieval city. and actually, many designelements are adapted from ancient arabictowns and villages. it's all about looking backinto history to move forward.

there are some very very simple ideasthat have a huge impact. this is a pedestrian zone,there's no cars here. this has enabled us to pushour streets together to take advantage of the shade, channelthe cooling breezes through. the whole scale here is based onthe human being, its not based on the motor car. as soon as you lift up thepedestrian plane by seven meters, you've suddenlycaptured this breeze.

what you can see here onthe balcony is we've got a modern interpretation ofan ancient arabic screen. what we must avoid is direct sunlight hittingany piece of glass. as soon as thesun hits the glass, the heat's transferred into thebuilding and we have to use more energy to cool it down. can this really make allthat much of a difference? yeah, absolutely.

for example, downtown abudhabi... sixty-meter wide streets, black asphalt, mirroredreflective buildings, no relief from the sun. on a day in september, theair temperature in both places was 39 degrees. in abu dhabi, the temperature measuredat the asphalt was 57 degrees. in masdar, thetemperature measured on the ground, 33 degrees,so we've actually lowered

the air temperature. we're trying to do as much aspossible, with as little as possible. these simple design moves, cutair conditioning needs by 60%. but this place is also,technically, very sophisticated. the roof panelsnot only provide shade, they alsogenerate electricity. and the wallsthemselves are made of glass reinforced concrete,literally sand taken from the

desert. everything here is gearedtowards maximizing energy efficiency. masdar does represent awhole different value system. it represents anacknowledgment that, eventually, everybody has to go in adifferent kind of direction. no matter how muchmoney they have, no matter how much oil theyhave, no matter anything else. all of the cities herein this part of the world

have come out of nowhere. there was nothing herenot so long ago, except small settlements in the desert. and then all of this oiland all of this money, and suddenly, you know, wham,these cities started popping up. but they sprung upin a false love of a western model that wasalready out of date. the model of the late 20thcentury automobile-based energy-hogging city.

for most of the world, energy isvery expensive. but the united arab emirates is sittingon 10% of the world's oil, and energy is cheap,so cheap you can run a ski slope ina shopping mall, and build the world'stallest skyscraper. but even here, cheap energywon't last forever, and the people behind masdar aredetermined to find alternatives. martin haigh: one of the mostcrucial aspects of our energy odeling and scenarioquantification is how much

energy in total is theworld going to use in 2050. wim thomas: the scenarios teamis a bunch of people with rich imagination, i would say. adam newton: we have political scientists, economists,geopolitical experts. really we try to simplifythe complexity all around us. jeremy bentham: we in thescenarios team are currently putting a lot of attention intocities and city development.

a lot of megacities are going tobe built in the coming decades. we're talking about theequivalent of a new city of a million people every week. that is an incredible demand. most of the world's resourcesare consumed by the cities. what if we could offer ablueprint for a better city? public transportation,information, energy. we understand demand willrise, we understand the current supplies willstruggle to keep pace.

so we have to of course, find ways of bridging the gap betweenthe demand and the supply. decisions that we take now aregoing to have a major impact on decades to come. there's enough oil underthese sands to last 150 years. but fundamental to themasdar ideal, is getting energy from renewablesources, from geothermal and wind, and most ofall, from a source they have in abundance in thedesert: the sun.

this field of solar panelsmakes more than enough electricity to run masdar, andthe excess power is sent to the abu dhabi grid. but silicon panels areexpensive, and the price of solar power needs to drop if its going to be competitivefrom africa to asia to arizona. in the future, masdar hopes toget energy from this prototype called the solar beam down. uusing highly reflectivemirrors, the solar beam down may

generate power more cheaply andecologically than silicon panels. the mirrors bounce the suns raysup to the tower, and then down to a point. reaching atemperature of 600 degrees, steam canbe generated to run turbines to make electricity. there's just one problem:neither of these solar technologies work at night. so masdar needs todraw power from the grid

when the sun goes down, and thatpower comes from natural gas. the reality is, itâ€™s just notyet possible to power masdar entirely without fossil fuels. the great challenge with masdar, will be "how do you makeit a place that will not be just this ideal city thatno other place could actually aspire to, 'cause itdoesn't seem real." what masdar has to be is alaboratory that develops things that then can be applied inexisting cities all around the

world, because that'swhere it will pay off. there's no pay off ifit's just about itself. the payoff is "how caneverything it's trying to do matter in therest of the world?" right now, there's only a store,two restaurants, a bank, and a few hundred studentsliving here. it's too early to tell if masdarwill work as a city when it's finished, but much hasbeen achieved: they are carbon-neutral, and largely,

powered by renewable energies. solutions here won'twork everywhere though, many cities are in coldclimates, and cooling is not their energy problem. they need to let sunlightin, not keep it out. cities like los angeles orhouston are built around cars. can masdar's lessonsbe applied to them? still, its a stepin the right direction. and, its impressivethat this step is being

taken by a country thatdoesn't need to take it. i met a guy who said "actually,they did need to take it." he took me to thedesert to explain. muhamad alkhalil: god says... [arabic] god talks about man'splace in, in the universe. that this world is a trust. and god offered thistrust to the mountains, to the heavens, to the land, to earth,and all refused it, refused to

take this trust. but man being adventurous, vain,maybe too ambitious, being man accepted it. now, accepting it,there is a responsibility. taking responsibilityisn't always easy. utopia may beunattainable, but we must reach for it, and masdardoes give us a clue to what cities will belike in the future. they may not lookquite like masdar,

but they will be shapedby the same concerns. by energy. where it comesfrom, and how its used. the way we've been buildingcities lately is unsustainable. we can't go onbuilding them that way. but to say that we can'tbuild cities the way we have been building them doesn't mean we can't buildcities in the future. in fact, we haveto build cities.

cities are the essentialstatement of human civilization. so, we will continue to makethem, but we have to make them in a different way. what we've seen is that theworld of 2050 won't look drastically different fromthe world today, but the challenges of agrowing population and increased energy usedemand real solutions. its innovations like those we'vejust seen that will be critical in charting our pathto the world of 2050.

Agus 07:00 Admin Bandung Indonesia

Futuristic Design Johannesburg

art and infrastructure -- the museum fountainproject church: our next speaker is margot broom whois a conservator for the royal albertson museum, a provincial museum covering alberta's culturaland human history, biological diversity and geological and paleontological history. asan objects conservator, she has expanded her field of training for furniture and ethnographicconservation for over twenty-five years and has published a range of topics arising fromher work. broom: thank you, jason. you will notice thatthe title is a little different. i was overly optimistic about the project. i thought that,well i did have a deadline of spring 2013 but it's way behind, so i'll talk a littlebit about that.

the outline i will talk about the backgroundthe artist commission sign condition, a little bit about the roadblocks for the project andthe team. this is the fountain this is an image from 2012. at first it came to my attentionin 2003 when the museum started planning redevelopment and the landscaping for the sight did notinclude the fountain and it was to be dismantled and taken to the warehouse. there were jokesabout the dump but it would have been the warehouse. so i became interested in thisproject and it's one of the sculptures that is always sitting there but there is no plaque,there's no description, there is no information whatsoever and even though it's been popular,there was no information about it. so the local paper had a readers contest about favoriteoutdoor sculptures, and i managed to get the

fountain onto the front page and from therea few years later i wrote an article in the museum journal magazine and you know no gooddeed goes unpunished, so a year later it became an infrastructure project. from there it becamea little bit more serious for me. the fountain was commissioned in 1965 andit was made for the centennial of canada. it was commissioned by the cabinet and theinformation that we have is that the provincial cabinet members were impressed and were supportiveof the fountain. the artist was oliver holmsten. he was a swedish sculptor who immigrated inthe late 1950's to alberta. he worked mostly in granite and bronze and he became an instructorin alberta and he taught figure sculpting and he was quite influential for over twentyyears or so that he worked in alberta.

the province commissioned several other artworksby him and these are mostly bronzes and concrete and these were mostly figures, life size figures.he also created the reliefs for the new museum. so this fountain is located in the governmenthouse park. this is a large site, about 12 acres and it has natural tree groups for weddingsand graduation photography mostly but generally it has very large plaza's that are generallyempty at dusk and an edwardian garden. so over the last few decades, two decadespossibly, it was very minimally maintained. so you can see by the dates, the originalconstruction was in 1913 when the government house was built. then the new museum was builtin 1967. there are carvings of petroglyphs from southern alberta.there is an iron statue by a local artist

professor. there is another large bronze byholmsten and that was it until the 1980's when the site had a totem pole given to itduring the university games. then there is a korean pavilion and we can see that thisis the site of the totem pole at the korean pavilion, the government house, somewherethere is the carriage house, the lumberjack, another holmsted and the storyteller, a largeiron abstract that was left from a show. the artist didn't pick it up and the petroglyphs,well there is no sign so, we don't know who did it or who we should contact.the petroglyphs and a very large plaza there that is generally empty and in the centeris the fountain. the fountain is 16 feet tall and it's actually the most popular featurein the park. it is on the south side and it

sort of anchors the heterogeneous elementsof that large space. its design was a departure from the artist's previous works which wasall figures, traditional figure based. it was commissioned as public art but it wasnever accessioned. none of the artwork on the ground that belonged to the province andthat have been purchased publically by the province are accessioned but you know it wascreated for this particular space and it has a public function and the artist himself wasinfluential in the art history of alberta and the 1960 vision was the optimism of theera. he represented that very well so it also has an educational kind of purpose. the artist'sintent was to point to the river, the north saskatchewan river that is just south of thesculpture and also connects it with the museum

where the historic and the natural historyof alberta is explained. the condition of the sculpture, the bronzework is dull but there is actually very little staining. in the 1980's it had been repaired.the form of the bronze does not fit completely into the cradle of the cement so there aregaps in between it and apparently there had been birds nesting and the solution was tofill the gaps with polyurethane foam. that then has created the staining that you seeof the bleached out area. the foam is now totally crumbled but the runoff has bleached.the cement base with a very thin stucco overcoat and has various losses and it has tintingbut generally just on the northeast side. there is actually very little staining otherwiseon the stucco that is exposed to the wind

and rain. it's actually a little weatheredbut it doesn't have a lot of lichens or things like that. here this is during the winterwhen we took climb up to see what is happening in the hollow and the top. i was concernedabout the stability of it before i knew how to get into it. because of the hairline cracks,i didn't really know how deep they would go or if the interior of the sculpture was affected.a little close up, it really is the hairline cracking and then this is from the top view,very little lichen on there so overall it's fairly clean. this is just ice that was brushedoff. other than the cracks which, i didn't know what they meant, the surface seemed fairlystable. we did some cleaning tests. an dry ice company offered to do some tests for usand did some work on the darker biological

areas but it didn't work quickly enough andgently enough so there was abrasion of the stucco and so this was not a cleaning solution.this is the underside, the belly of the sculpture and you see the water spout, the water comesout up here, splashes against the shield and then runs off the granite base and does actuallyfairly substantial damage down here. when we dismantled that, the spout was full ofpebbles and we thought children have been here because they have put these little stonesinto it because the fountain has not had water in it for the last two years and this wasalso one of the reasons why it needed the water just to protect it. water is a protectionagainst people climbing up and pulling things apart but we did find out that for some reasonwhich i don't really understand, all the irrigation

spouts contained pebbles and they need tobe cleaned out. this is what our landscaping people told me that every year they have toclean out the irrigation heads that for some reason are full of pebbles and this was oneof them. so now we knew why there was just a trickling of water coming out just likewe heard before. the project team and scope of work, so whatwe had was the infrastructure project manager, we had the architect, we had the water engineer,we had the general contractor, the facility manager who is funding the project. we havethe site property manager who looks after the maintenance and then it was me. so i basicallywas there by default and you can see the composition of the team was because there was no preservationarchitect in it, there was no curator or historian

who would actually do the research. infrastructurewas doing feasibility studies for their work but there was simply nobody else to do anykind of background or even looking at how the fountain fits into the site or give itsome weight. the infrastructure, the money that was put towards it was $520,000 and atthe present this stands at $493,000 and that only covered the mechanical issues, basicallythe water circulation and the tides of the pool.so there were major roadblocks in the project. one was that this was really an infrastructureproject and it was funded through infrastructure which is a huge department of course versusalberta culture that i work for but the major roadblock was whose fountain is it and whois really responsible for it, who does it

belong to because it was not accessioned asan artwork. my museum said well we are not responsible because it's not accessioned it'snot in our collection. the infrastructure people are demanding they said, "well it'sthe maintenance that we are responsible for," and that has not been resolved and it's reallya sticking point that the province hasn't had an inventory of outdoor sculpture fountainssince 1980 and even though there is on paper a person responsible or a program responsible,the historical resources foundation in reality this has just not been worked out. so thedirectors are still apparently discussing who will pay for it and as my conservationbudget is $7000 for the year, it simply did not cover it.the original proposal was to patch the losses

and clean the bronzes in situ. but in themeantime, we've decided that this was just going to be a stopgap measure and that somethingmore substantial is needed. so first of all, there are responsibilities and so i neededto look at the mandates and really the infrastructure mandate is landscaping, it's the system, it'spublic safety and maintaining the pool basins which they actually hadn't done in decades.even though the government house is the richest alberta resource and does have the fundingof the historical resource foundation, it's their 100 anniversary so there is quite alot of restoration going on. they simply were not prepared at this point to fund somethingthat was not on their list. so this is what i'm working on and this is why i'm so excitedto be here in this conference but we need

to have a better approach to these kind ofprojects and i think i already read quite a bit that will help me do that.going back a little bit, the site has a long history of being unsupported. there was aprevious fountain in 1917 that was dismantled before the abstract fountain was built andwhen the museum was built. i found these drawings but the fountain was actually there. documentationis very, very hard to come by. i went through the provincial archives and boxes and boxesof government records but actual construction details take a full time job to find thoseand this is a volunteer job. okay so health regulations, i beat myselfup after i put this picture into the museum magazine, the mammoth track, because i thoughtokay now i did it, i actually showed people

this is the daughter of a curator colleaguewho got married at the museum and she and her husband were taking pictures in the pooland she said, "here have a great picture" and i thought well the pool is used, peopleare interested, and it seemed like a wonderful picture to include for the friends. afteri did that i sort of beat myself up because now it became a whole issue because i actuallyhad a record of somebody stepping into the untreated water and i felt very bad aboutit until i looked on the internet and then i saw this one with the description, "groomdrops bride into the museum pool" and so now it's out on the internet so it's not justme. okay so i don't feel too guilty now. so that became a major expense point and wheni'm talking about the preservation, not hiring

the preservation architect, that was a problembecause the original cost projections, he didn't know that there would be a health problemwith the water and that the water needed to be treated and that caught the team by surprise.while the original fund was still there it now went over that it became a funding nightmare.and so now we tried to figure out what exactly, well not i but the architect and the engineerstried to figure out exactly what the regulations were and so we explained that the pool isan artistic sculpture and it is not intended for bathing and we'll comply with the regulationsas a wading pool. this went on for like email to email and so then they answered that theydon't have any regulations for reflecting pools and that as long as its labeled andmaintained for decorative purposes, it doesn't

need all the pool systems even if a few peopleare wading in it. well that was still a response and i don't know if you can read it but itwent on and on and talked about the filtration rate and the anti-entrapment and all of thatwhich i'm sure many people here will understand totally and the response of the alberta heath,went back to saying, "as i said before, a wading pool does not blah, blah, blah, howeverif you consider it a pool and it went on nobody would...so the architect, it's not intendedbut if we would leave any water in the pool, it would need to be designed to swimming poolstandards. so this is why we now have a fully treated pool even though the water level isminimal. in the picture before you saw it was at least twelve to eighteen inches highand now i think it's down to four inches.

however, we have a swimming pool quality system.so that went on so then the project manager said, "well we need the permit, we designedit for alberta health regulations even though it was never really clear if it needed thatand we've gotten all the approval if we need it. so it took a life of its own. so now,when you saw before the totem pole and the carriage house in tudor style, the petroglyphs,so now we're getting a very large pump house. i just loved the mechanical systems that wereunderground. ours is now adjacent to the sculpture and it's basically the same size more or less.the sculpture itself was really, really well constructed. the pool had twelve inches ofcement, there was nothing, it was perfect. the underlay, the rim around it and underneaththe granite that had been previously repaired,

the plumbing had been repaired, tiles werepulled out and never put back together so the water leaking was really basically justbad repairs and the tiles and those kind of things were my contribution really. we don'thave this delft style or swirly kind of design so the architect redesigned the pool and wehad some trouble finding something that matched the original tiles from the 1960's, japanesetiles which were absolutely beautiful, bubble glaze, very, very reflective and we triedto get them reproduced but it was simply too expensive. we could not afford that and theseare the fujiwa that are similar. here is the only original photograph during its construction.the steel and wire sculpture and this is the new museum that's been built.here we find the hatch to go into after we

took the splash thing off. this is the insideand so the inside was actually, it looked right, we had just had torrential rains andthere was no water inside. the flash was stained, this is on the bottom, this is looking upand now we could see how the bronzes were attached by rods, iron rods painted, corrosionpaint on top. that explained the copper staining on the outside so this wasn't just from theinterior of the bronze and the polyurethane; it actually corresponded to the fasteners.okay so the last slide. the cost estimate that we now have is for the removal of thebronzes, which as a bronze conservator, is $10,000 and once they come off then to removethe stucco and we stuccoed the whole of the sculpture and that was estimated at $16,000.i want to thank the organizers for this excellent

learning opportunity and for giving me a chanceto present this work and progress. church: we have time for one question beforeour break? yes. unknown: what kind of dual chemistry systemdid you go with? broom: good question. it's not completed.my co-author didn't give me that information. i was not at work the last week. we had ariver flood in a museum so i couldn't press him on that.unknown: so has anything been chosen yet, specifically.broom: yes. unknown: because we've had problems with differentsystems too. broom: yes, i think its chlorination.church: alright so we'll take a fifteen minute

break now so we'll start back at ...

Agus 06:32 Admin Bandung Indonesia

Futuristic Interior Design Definition

break now so we'll start back at ...

jf musial: mclaren is a brandsynonymous with motor racing. formula one is the mostobvious connection. but mclaren was also involvedwith can-am racing as well as indycar. founded in 1963 by brucemclaren, a former racer himself, it's one of the fewbrands in the world that invests itself so heavilyinto racing. john allert: it wouldn'tsurprise you to know when you come to a building like thisthat everything we do is about

attention to detail. but it's not just attention todetail for detail's sake. it's always with anobjective in mind. and 9 times out of 10, thatobjective is winning. we have other businesses wherewinning isn't necessarily being first across the line--it's about being the best. but at the end of the day,everything we do is about being better than our peers,better than our competitors. jf musial: i haveto ask though.

you look at bruce mclaren'svision and actually what ron dennis-- how has mclaren transpired atafter all these years to be what it is, from thoseinitial idea? john allert: i think it'sbecause it's the shared value systems that bruce hadand that bruce imparted on his team. and then when ron took over,he had very much those same values, but then just took themto a whole new level, was

able to bring in greaterfinance. and that gave us the muscle tothen develop that vision and take it into other areas. jf musial: what i love, though,is that you stay close to your racing history. this is incredible. john allert: well, howcan we not stay close to our racing history? i mean, our racing historyis phenomenal.

and we've won 1 in 4 of everyformula one race we've ever competed in. jf musial: unheard of. john allert: we've been on thepodium for 50% of every race we've ever competed in. so it's a pedigree and aheritage that we are obviously very proud of. we're not an extrovert business,but we feel very, very proud inwardlyof that success.

and it's that success thatinspires the current generation of people at mclarento try and take it to another level. how do people feel aboutall of this heritage? jf musial: yeah. john allert: they feelenriched by it. you can't help but feelinspired by it. and it's one of the keyreasons that we have it all on display.

your reaction when you walkedin here is no different than anybody's reaction. which is, wow, there's a sennacar, or there's a prost car, or whatever it is. everybody has their particularera that they get excited about. and for me just as one person,to actually see some of the cars here every day that i'veactually stood on the other side of the wire fromwhen i was 12 or 13

years old, i get tingles. i get goosebumps justthinking about it. we've had people break down intears seeing some of the cars that you've walked past today. jf musial: walking into the mtc,it's as if you're walking into a science fiction movie-- long corridors with highlymetallic surfaces. you walk through hallwaysthinking trent reznor should score a soundtrack for all theguests to listen to as they

enter the place forthe first time. everything is spotless. everything is clean. you can tell everything isdesigned obsessively. and i'm not saying thatin a cold way. in fact, the architecture allowsfor so much natural light into the work spaces itmakes you feel awake, alive. john allert: this building was avision conceived in the kind of mid to late '90s.

jf musial: ok. john allert: ron dennis alwayswanted to bring the kind of the federation of companiestogether under one roof. we'd grown exponentially overa period of 20, 25 years. and we really were wanting thebenefits of being back as one kind of collective. jf musial: mm-hmm. john allert: we then wanted ashowpiece both for commercial reasons, so that we couldexplain to people the vision

of what we're all about andhopefully elicit their investment in us either assponsors, or partners, or in some cases, investors, butalso to make sure that we could recruit the best people,and get the best people to come and share in what it wasthat we were trying to build. and this facility reallydoes inspire the people who work here. and i think that ron really wasahead of time in creating something that people would justwant to be in, want to be

part of, as well as wellas the success of the business itself. to actually come to aplace like this is-- it's an awe-inspiringenvironment in which to work. and it's a little likegoing on stage. you really feel like you haveto up your game when you arrive here every morning. jf musial: it is an invitingexperience, which makes sense. the mtc opened in 2003.

and ron dennis was veryinfluential in its design. inside, you not only havemclaren racing but also mclaren automotive and thenot so well known mclaren electronics. walking in here, you look atthis, this is not what i was expecting at all. john allert: no, this looks-- jf musial: this looks likea scientific laboratory. john allert: i was just goingto say it looks like a

laboratory. but it's not. this is part of mclarenelectronics. jf musial: got it. john allert: so this is whereecus are actually being physically created. i mean, we're printing circuitboards in there. that's high-end stuff. it's not the sexy endof the business.

but it's very high-end. jf musial: ron dennis wantedthe building to attract the best engineers and designers. but more importantly, he wantedto keep them there. walking the hallways, you cantell everyone who works there has a sense of pride to beworking within those walls. john allert: it's actually--it's a very selfless culture. i think we attract like-mindedpeople here who ultimately want to win and what to do thebest they can possibly do in

whatever role they have. but they're selfless peoplewho want to come together as a team. and understand that actuallythe old cliche of 1 plus 1 equals 3, that if they can allcome together and be the best in their particular discipline,chances are that we're more likely tosucceed or to win. and we have a lotto live up to. we have 49 years of success.

in the time that we've been informula one, for example, there have been over100 formula one teams have failed-- have come and gone,left formula one. so this is no place forthe weak or the meek. and we're reminded of thosesorts of statistics every year when people either leave theautomotive sector or they leave formula one. and that's part of that pressureto make sure that

we're being the best. because it's a slippery pole. either in supercarsor in formula one, it's a slippery pole. and those that aren't near thetop have a real struggle. [inaudible] jf musial: now, past the windtunnel and the formula one work bays, we walk down a longhallway, all underground, very james bond-like.

you then hit a set of stairs. you go up. and then you walk intowhat is called the mclaren production center. this is mclaren automotive. this is the future of mclaren. lee boyce: so right now, thisis the north end of the mpc. this is a vip area. this is a hosting suite.

so this is basically wherepotential customers, or dignitaries, or any type ofvip can come to this area. and from this area, we leaddirectly out onto the production facility, justaround this corner here. lee boyce: and i thinkyou need to see that. jf musial: let's gocheck it out. so how old is this place? lee boyce: so we've beenoperating in here now for-- jf musial: whoa!

look at this! lee boyce: --eight months. jf musial: and you're in fullproduction at this point. that is incredible. lee boyce: we are flat-outproduction. and we have been now sincethe turn of the year. we have been at full capacityin terms of our planning requirements for this year. and for sure, everything, froma production point of view is

going absolutely beautifullyat this moment. jf musial: this is surreal. lee boyce: yes. jf musial: it's almosta [inaudible] room. and it mimics the mtc buton a different level. prior to the mp4-12c, mclarenbuilt my favorite hypercar, the f1, then after that, theslr, which was built right alongside the f1 cars. but now, for the new mp4-12c,it's an entirely new building.

the first thing i noticed therewas that there was a lot of unused space. mclaren has been aroundfor about 50 years. but mclaren automotiveis essentially an entirely new company. they built the mclarenproduction center knowing they would be building other modelsbesides the mp4-12c. lee boyce: actually, what you'relooking at now is the best part of 20,000 squaremeters of floor space on which

we want to producethe vehicle. we worked really hard to makesure that we could integrate all of the processes that wereabsolutely critical to ensuring that the assembly ofthis vehicle was felt on absolute personal level from anoperator's point of view, but also gave the customer areally good feeling that actually, his ownershipexperience didn't start when he took the car. it actually started at theplacement of order.

and therefore, if he wanted tovisit this facility, he could actually come and see hisvehicle being birthed. all of the technicians feel asthough they're involved in making that person's car. so it's not just a vehicle. they accept that there behindthat is a customer, and a valued customer. and we wanted to make sure thathis ownership experience started right here from themoment we first loaded any

components into the facility. if we keep taking alook down here-- jf musial: so this isphase 1 right here. lee boyce: so thisis absolutely the start of the process. so this is the mp4-12cmonococque right here. lee boyce: we didn't want anyfeel of industrialization in the facility. we wanted it to be a theater.

jf musial: [chuckles] lee boyce: it was reallyimportant to us that we create an environment where everythingfelt special and everything felt personal. and i think we'veachieved that. so what you don't see is youdon't see any significant levels of automation. you don't see clunking-- jf musial: you almostsee none.

lee boyce: --chains. you don't see any conveyors. you won't see air linesor anything like this. it's all very quiet. it's all very composed. and it's all very simplein its execution. if we take a look at some of theracking and what have you, there are a number of componentssuch as fastenings and such as brackets and thatwhere we can clearly hold

quite a decent level of stockholding lineside. and as you can see with thingslike these front long [inaudible], we've designedsome bespoke stillaging to allow us to-- jf musial: just forthese parts? lee boyce: just for theseparticular parts. and we have bespoke stillagingall around the facility. but i think what's a reallygood, tactile thing about what you're looking at right now isif you look at the diameter

and the radius of the bespokestillaging, it's absolutely the same as the radius and thediameter of the racking. as you could see, this is wherethe vehicle's being more and more progressed throughits build assembly phase. so the windscreen surroundis going on there. and the b-pillar cartingis going on here. so even though we have 100%confidence in the facilities, and the equipment,and the whole process with these guys--

and we are 100% confident-- that doesn't stop us takingevery single body, and it is every single body, andprocessing them into the geometric and surfacevalidation station. so this is geometric andsurface validation. so basically, everysingle body-- even though we're 100% confidentit's in a good place, we still want to measureit just to ensure that we don't get any quality driftin the overall body's vehicle

assembly status. jf musial: so this whole righere is just for measurement. lee boyce: so everything thatyou're seeing here is absolutely for measurement. so if we take a lotof surface points. we take hundreds ofsurface points. we take hundreds of geometricpoints on the vehicle to ensure that we know that the caris in a really good place dimensionally.

the body would exit thesedouble doors here. lee boyce: which are closedat the moment. then it will go into-- thisis the paint facility now. in essence, the vehicle throughthis paint facility is processed across two skids. the body goes on one particularskid and all of the other supplementary panelsgo onto another. this is the single biggest pieceof investment in terms of equipment in thewhole of mpc.

and so we've pushed all ofthe potential suppliers-- with regard to paintfacilities-- hard in terms of making surethat in their thinking, they've got absolutely what wewere all about in terms of an installation. so whilst all of them couldhave satisfied us technically-- that's not a problem-- we wanted to make sure thatthis was right as well.

this was really important forus to make sure that they understood our philosophies,our methodologies, and they clearly understand that from abrand augmentation point of view, whatever they installabsolutely complemented them. because what it creates is itcreates a completely different mindset of thinking forthe technician. what it demonstrates to thetechnician is that we've thought about their workingenvironment as much as we have the product and the customer.

because if we create a perfectwork environment for them, they can only ever give theirbest of themselves. and i actually think you getthat natural transfer into the vehicle there. and you get an upliftof in-built vehicle processing quality. i'm absolutely convincedof that. so what you're seeing herenow is worth seeing. this is what we call skid 2.

and it's just had itsbase coat applied. that won't go forward untilthey put the clear coat on those particular booths here. the whole facility-- eventhough we designed the facility such that ifwe wanted to put robots in here, we could. and whilst robots havegot great dexterity-- and they have-- and you can putall sorts of convoluted and complicated programs intothem, there's nothing more

dexterous than the human. and what a robot doesn't haveas well, he doesn't have the eye as well. it's an application process. there's nothing emotionalabout it. it's very clinical. it's just application. here, these guys can take aview on when they think they've done somethingabsolutely the

right way or not. and they've got an opportunityto do a level of reparation in the booth should a mistake havebeen made or should they see something on the vehicle,then they think, oh, that doesn't look quite right,there's an opportunity here to do that reparation. so [inaudible] this is an audit line. and so basically, when thevehicle has had its clear coat

put on, it goes intothe oven through those glass doors there. there's exits here. and this is the first pointwe do some inspection. every single vehicle getsa full surface quality inspection. the great thing about thisfacility is we have enough flexibility in here to alwaysdo a fix the same day such that it doesn't disruptour output

requirements for the process. so it comes all the way downthis particular facility here, shuffles across again, and thengoes into the polishing and final finishing site. every single car gets a fullflat and polish so that we raise the optical aspectof the vehicle. so we create a far greaterlevel of depth on the color itself. so you can actually lookinto the color.

and you're not just lookingat surface. you're actually lookinginto the color. frank stephenson: everything yousee on the car, we like to say it is done for a reason. which means that everything thatyou see has an effect on the overall performanceof the car. and more so also, when they dosay form follows function, that sounds niceand everything. but with this car, pretty much,

it's form equals function. what looks right works. what we've done is, of course,you have the two main intakes on the front which are foryour inner coolers. they specifically have to geta lot of very air in there very efficiently and dothe job of cooling. but also, we have whatwe call a splitter right here in the front. and that creates a lot ofdownforce, creates the right

feel for the roadwith the car. this area is very criticalunderneath. if you rub your hand underneath,you'll feel some, what we call diblets. they're little-- jf musial: oh, yeah. frank stephenson: --pumps thatactually straighten out the airflow underneath, things thatyou don't even see, but they're on the car.

i mean, every detail is reallytaken to the max on this car. this is what we calledbiomimicry. there's a lot of influencefrom what really works. some organisms in the worlduse this type of design feature for purpose basically. we have had a little bit offreedom with the headlights. this is where you can reallystart to give the car a little bit of a unique look. it's almost as if it's theeyes of the person.

eyes do give people alot of character. so we're not really influencingtoo much technology here. we are using high-techxenon lamps. but you can see that the actualform of your daytime running lamps sort of createsthe feel of the mclaren logo. jf musial: uh-huh. frank stephenson: we let thelight bleed through these three little slots herewhich are almost

like fins or gills-- jf musial: gills-- that'sexactly what i was going to-- frank stephenson:--of a shark. jf musial: --going todescribe as gills. frank stephenson: and that sortof-- when you're in the front, you look back and you seethat, it really gives the car its own unique look to it. another thing that we've reallyconcentrated on is keeping the cowl, the back ofthe hood, as low as we can for

full optimal forwardvisibility. so we pushed it quitefar down. that gives us a greatviewing angle from the driver's position. and one of the funny thingsthat you would not really notice unless you're actuallysitting in the car-- it's very interesting-- is that the centerpoint of the wheel is directly under the highestpoint of the fender. which means when you're actuallysitting down, you

know where your wheels areplaced to hit the apex. jf musial: because you see it. frank stephenson: because youknow that the farthest point you're looking-- or the highestpoint-- is actually the center of the wheel. so you can really place it-- jf musial: interesting. frank stephenson: --preciselythat way. really important is actuallythis blade that we have here

on the side. and although it looks kind oflike an element that we sat down and designed and had funwith, it really came out of the computer, out ofwhat we call cfd, computational fluid dynamics. and in our intent to make thecar as small as possible and center all the weight towardsthe center of the car, we've actually turned the radiatorsparallel to the direction of the car to get the weight, themass, all towards the middle.

this blade here has been doneon the computer such that it generates or actually keepsthe air attached to it. and it throws it in onan accelerated curve. so you get plenty ofcoin that way. so this blade is[interposing voices] very necessary. of course, it adds flavorto the car and makes it more unique. but it's there for areason, as i said.

another element that i reallylike on the car is what we call the air brake onthe back of the car. and we don't considerit a spoiler. it's not even usedas a spoiler. it's basically a wayof adjusting the braking on the car. so anytime you breakin anger-- jf musial: in anger-- i like that.

[laughter] frank stephenson: well, withintent to break, i guess, to slow down-- it goes 90 degrees. and what happens then is thatthe center of gravity actually moves back towards the back ofthe car and puts more weight on the back wheels so that youcan actually use the breaks in the rear a little bit more. a lot of the action is actuallydone by the wind

itself, not by pushing itup but releasing it. and then lift-- goup on its own. one of the design words that weuse a lot on the car is to actually-- for the language-- is actually to almost, like,shrink-wrap the surface. whereas a lot of cars addvolume, what we're trying here to do is take away volume. so you're almost, like,shrink-wrapping the metal over the hard points, which aresuspension mounts, or vision

angles, or head clearanceangles, whatever. so we're trying to minimize,take weight out of the car, by reducing the amount of surfacearea we have running. lee boyce: so this is basicallythe start of the trim and final partof the process. this is where we startlayering the car and installing it ready for us totake it to a point of-- jf musial: no wiring harness? wiring harness?

lee boyce: wiring harness--it's as simple as that. lee boyce: so we have theopportunity of being able to produce the same amount of carsin this facility as any of our competitors with theirlevels of industrialization. you don't actually need that. and we wanted to create adifferent blueprint for how to build cars. and if we take a look at thesevehicle ramps here, these are

a standard vehicle ramp. but we wanted to make surethat we put some nice architectural claddingaround it. and we made sure that we set allof the services underneath the tiles as well. so you do not see any lines. and that's why everythingis really clean. and it was really important tous that we didn't trailing air lines, and we didn't seetrailing cables.

this is a really interestingfeature in the facility. again, same diameter, sameradius, but what's really interesting here is that allof the services are in a trench here. lee boyce: so we have thistrench that runs the full length of the building. we have those in three or fourplaces across the building. all of the services actually gofeed up through the back of these tool cabinets there,so that all of the it

functionality is fed upthrough here as well. so you don't see anycables here. and if you need to usecompressed air or you need to use single phase electrics,it's all embedded within the facility. and you just don'tsee any cabling. every single operator isaccountable for his work. they work with what we call-- we have this little accessswipe system.

so when the car comes into thefacility, every single operator has to swipehis card. if we take a look here-- i won't do it because it meansi'll have to start assembling parts of the car. but he would swipe his cardacross the reader there. and then that locks himpersonally into that particular vehicle to undertakea certain amount of work on that particular car.

jf musial: he's responsible. lee boyce: he's absolutely100% responsible. now, we're getting intothe final stages of-- jf musial: i'm seeing a bunchof grease pen on here. so 248, 248-- so that's howyou identify [inaudible] lee boyce: that's howwe identify-- jf musial: [inaudible] lee boyce: absolutely. so this particular panelwas painted with

this particular body. so that we absolutely makesure we don't get any inconsistencies withcolor matching or anything like this. lee boyce: and not only that-- we want to make sure that thisparticular component is going to be reset with this particulardoor, so we get a really good fit and finish froma gap and profile point of view as well.

lee boyce: jf musial: got it. so what we're doing here now onthis particular station-- this is the geometrysetup lift. this is basically where we dotoe, camber, ride heights, and all of that sort of thing inreadiness for when we go into the dynamic rig. jf musial: cool. lee boyce: [inaudible] this is where we put thecar through its first

real dynamic load. so we do an enginefire-up further upstream in the process. and this is where we putthe car through some dynamic load here now. so basically, we bring the carup to temperature, check most of the electrical systems areworking, and all of the brains in the vehicle are communicatingwith each other. we do some brake activity.

we do some acceleration,deceleration. but just generally, put thecar through some immediate dynamic loads. lee boyce: so in essence,vehicle goes through a dynamic rig into the monsoon wherewe give it a full saturation of water. i don't know-- 16,000 liters in about 6or 7 minutes-- it's a huge amount of water.

car exits there. it then gets prepared, ready forexternal drive appraisal. they all leave throughthat door there. lee boyce: goes out on itsexternal drive appraisal where we put it through some moreaggressive loads. one of things-- when we werelandscaping the whole exterior, the outside of thefacility, what was really important to us was to tryand optimize the land around us as well.

so we've got cobbled sectionsof roadway out there which allow us to shake and rattle thecar a little bit just to loosen anything. go before we actually take iton the highways and byways. jf musial: ah. lee boyce: obviously, duringthe wetter seasons in the year, the car could come backwith some muck and what have you on them. and that's why we just have thiswash down rig here now.

so we just give the undersidea quick wash down and just make sure that the vehicleis fully cleaned before it exits here. it would sit normally on herefor 45 minutes, just to have a final drip-dry. we take a look at the vehicleafter its been out on an external drive. and what we do is we'rebasically checking to make sure that nothing has workedloose, there are no weeps, or

leaks, or anything like thatfrom any of the joints. lee boyce: there's been nodisplacement of any harness clips or anything like this. and everything [inaudible] isabsolutely how we want it to be-- a very, very criticalstation. we're getting ourselves readyto hand the car over to the auditors with what we perceiveto be a car that is acceptable for the customer. the auditors then give it areally thorough investigation,

an interrogation. and again, they go to the nthdegree of checking service quality, checking fit andfinish, checking functionality of all of the systems. jf musial: so that's it. these cars go to thecustomers, right? lee boyce: these cars are readyto go to the customer. jf musial: so where's-- jf musial: where's thecar i'm driving?

lee boyce: unfortunately,it's not one of these. but just for you, we haveone back at the base. lee boyce: ok. jf musial: thank you.

Agus 06:32 Admin Bandung Indonesia

Futuristic Door Design

lee boyce: unfortunately,it's not one of these. but just for you, we haveone back at the base. lee boyce: ok. jf musial: thank you.

japan was a country that has spent most of its history at war. province against province, warlordagainst warlord. the struggle for money, land and power was an endless series of battles, allegiances and legend. armor was perfectly suited to the times, the terrain and the weaponry of the samurai. but how functional is it really? does it stand up against full contact and live weapons? keep watching as we put a taisho qualityarmor to the ultimate test.

the iconic image of the samurai, in full battle armor. often works about allowing the warrior to stand out and be recognized on the field of war. but ultimately it needed to be tough and versatile, allowing for movement and speed. often warn for weeks at a time it was hard wearing and easily repairable. unique, practical and designed to withstand weapons of battle. perfectly suited to the samurai warrior. so welcome to fanhams hall hotel. a beautiful hotel with japanese gardens over 2 acres open to the public. there is a fantastic air show today, aswell as many visitors, visiting the ground. and we're here to test the armor.

the iron mountain armory has been handcrafting samurai armor since 2005. they offer the most authentic, economical and customizable samurai armor in the world. they currently offer their armor in three separate classes. the kachi class, or foot soldier's armor is made for the samurai on a budget. the gashira class or officer's armor is crafted for the samurai who wants their armor ready for battle. the taisho class or general's armor is meticulouslyhandcrafted by the most experienced armorers, for the samurai who wants thehighest in quality. we used all 3 classes during our testing, including the tatami armour. the battles on the japanese planes made full use of samurai cavalry.

but for most samurai, the traveling and fighting was done on foot. once the army reached the mountains in the high fortresses horses becameunsuitable and the real legwork began. this meant weeks or months spent walking, running and climbing, while carrying everything they need for the battles ahead. samurai armor, therefore, needed to be comfortable and flexible to allow the wearer to be able to carry out all of those tasks without hindrance. the armor should allow the ability toclimb trees and scan the land ahead.

climb into the mountainous fortifications of enemy strongholds, all the while dressed in armour. once battle commenced theywould need to be able to move quickly and easily while fighting. if knockeddown have the ability to get up and continue the fight the armor would need to be light enough to allow for this but tough enough to withstand the treatment. the ironmountain armor was tested under all these conditions. after climbing trees, climbingmountains, rolling and fighting the armour surprisingly comfortable. it took all of the impact with easy with no bruising. which is a great success!

can you move in iron mountain armor? the answer is yes! we fight on a regular basis at muso shugyo ryu and we do not hold back. so to be given samurai armor to train in was an absolute pleasure and we took it to town! well the armor certainly took everything we threw at it. there were a few scratches and a few minor dents, but easily polished out and fixed. an absolute pleasure to fight in. muso shugyo ryu would definitely recommend iron mountain armory as the armor to wear for combat.

the taichi and katana are both swords worn by the samurai. while in armor the taichi would be hung from the waist with the blade facing down. while the katana, slightly shorter and less curved; would be worn through the belt, with cutting edge up. despite popular opinion the sword is not a main battlefield weapon, as it is ineffective against most armours. think of it as a side arm for emergency use and perfect for taking enemy heads! so how effectivewill a katana be against iron mountain armor?

we decided to test this particular taisho class suit of armor because we've trained with it for over a year, in the heat, rain and snow. making it allot like a suit of armor a samurai would had worn after a long march into battle. after all this abuse, we will see if it can still stand up to the ultimate test. so the first two strike so we gonna look atis the kabuto (helmet) and the dåœ the body. we're going to bring the sword straight down on top of the helmet . i'm not expecting it to work. the helmet should absorb the blow. we are then going to move through with a good strike to the chest or the dåœ. now this could penetrate,it'll be interesting to find out.

lets see what happens. well we can see the helmet took the blow exceptionally well. it was dented and it was paint chipped. but there's more going on than meets theeye. when we turned around we see that the full force of the blow radiated to the back. and was absorbed by the laminate which exploded out words; exactly as it was designed to. while the då showed extreme touch protection. it literally got dented and scraped. thewearer in both of these strikes would

have known they'd been hit, but would have survived. so we've seen direct blows to the helmet and the body. would possibly bruised andconcussed. the sword is quite often very effective for cutting away the cords of the armor. so we are going to attempt to cut the cords to see if the khazar drop way and then weshould be attacking three targets. the shikoro. now i am expecting them to absorb the blow, but for the lacing to part and allowing it to fall away. we are then going to come through with a strike to the most solid part, the sode or shoulder guard. followed by attack to the plates themselves.

will the cord hold or will the armor bend or will the sword penetrate ? the sword cut through the cords with ease. although it may take several cuts for the armor to fall away. both the shikoro and kuzari survived well. dented, some chipping and definitely the lace was cut. but the samurai would had survived. now for me the weak part of the armor has always been the arm and the wrist. we have quite solid armor on the forearm and just chainmail on the upper arm. i think we will probably be ok.

possible broken arm, but not penetration. but i really think the sword will cut through this chainmail. well i wasn't surprised that the strike to the lower part of the arm didn't penetrate. the metal spines would had absorbed the blow. but the big surprise for me was the chain mail strike. not only did hold, but the sword did not penetrate. a broken arm possibly but again we would a samurai who would had survived. so let's look at the face mask or "menpo" of the samurai it was worn during battle to protect the cheeks.

the nose it detachable, because it did often become a hindrance. interestingly the longer the moustache the older and more valiant the warrior was. we are now going to test it, with a good strike to the cheek. and i am going to attempt to attack the throat, cut the cords; so that it falls away. giving me a perfect strike to the throat the menpo took very minor damage. i am sure the warrior would of had a broken jaw. the cords were very easy to cut. exposing the throat for a secondary cut later. i'm really interested in this next strike. we are going to attack the padding under the shoulders.

now this has lovely little hexagon patterns. but within that are small metal disks, to help protect the wearer. will the sword penetrate? well the small metal disks in the padding certainly did their job. the sword could not penetrate. the ryu-jin sword certainly had a test of its own today. before we attacked the armor, we test cut against a dry bamboo mat. one of the toughest things to cut cleanly. and it went through like butta.

and after battering the armor mercilessly. i fully expected it to be blunted, with lots of chips, damage and possible bending. but the sword itself survived perfectly. it is straight with a few minor chips which can be polished out. but can it still cut? well we found out. we cut again, with some dry bamboo matting and it went through with ease. ryu-jin swords have proven to be swords of quality. the spear or yari were characterized by a straight blade

that could be anywhere, from several inches to more than 3 feet in length. the blades where often made of the same steal the japanese swords were forged with and where very durrable. the yari is perfect for thrusting andslashing and slamming enemy samurai to the ground. all samurai would be expected to trainregularly no matter what rank they were. how will the iron mountain armor standup to the thrusts, slashes and strikes of a yari spear? the yari was the primary weapon of the samurai on foot and also on horse. we're gonna to look at two classic strikes.

yoko shabaki or "temple strike" followed by a thrust to the body. and this spear is designed to penetrate. let's see what happens. the yoko shabaki strikes proved to be ineffective against the armor, even though it had already been struck hard by the sword. while the thrusts didn't actually penetrate, they showed it is very easy to knock a warrior down. there was some severe denting and two of the seams had burst. but the då is still fully wearable and functional.

the iron mountain armory crafts their armor traditionally using laminated plating. each plate its design to flex and absorb the impact. it's versatile, it's flexible, it'srepairable. the yumi bow is exceptionally tall. standing over two meters in heightand unique in design and use. able to be shot from horseback, from foot, from low ground positions, the yumi was a great long distance weapon. but needed years of skill to master. the arrows are longer than their western counterparts and could be fitted with a wide range of arrowheads to devastating effect.

japanese armor had to be able to resist the arrows from penetrating the body. how will the iron mountain armor fare against the yumi bow and arrow? now the japanese yumi bow is unique in all of the world perfect shooting from horseback and from low on foot. at muso shugyo ryu we practice battle field archery. and i've shot many targets but this is the first time i've shot into armor. the arrow definitely did not penetrate. but it was purely a target arrow. i can't help but wonder what an arrowhead would actually do this armor.

and i've decided to find out next. what a difference a arrow head makes. i must admit on a glass-fiber arrow it did throw the aim off slightly to the left. but we had penetration. from 35 feet, we saw it went in about a 1/4 of an inch. not killing the samurai from 25 feet, we managed to get a penetration of about a 1/2 of an inch. but once we moved closer to 15 feet, it penetrated a lot deeper. but as you can see, the samurai would of had a nick

and not a kill. because, it would need to go through at least three inches to finish him off. once again the samurai has survived. but one thing with me, the armor has survived so well so far. i'd like to give it one more test. the tanto was often worn with armor and used very in close and personal lets see what it does to japanese armor. well we certainly bent the tanto. but the armor is absolutely fine.

iron mountain armory, samurai armor for the modern warrior. as you can see the samurai armor crafted by the iron mountain armory, holds up to the test. everything that we put thearmor through, through grappling, fighting, sparring, climbing trees, scalingmountains, it stood up to the test. it held its own and still the armor worksas designed to. its versatile, its flexible, it's repairable. the iron mountain armory and ryu-jin swords are crafted traditionally. they are the most authentic,economical armor and sword on the market today.

of all the questions we are ever asked themost common; "is it really wearable?" "can you move in it?" "is it comfortable?" "is it strong enough for martial arts training?" don't just take our word for it. you've seen it for yourself. the answer is yes. iron mountain armory,traditional armor for the modern warrior. iron mountain armorytraditional armor for the modern warrior.

Agus 06:19 Admin Bandung Indonesia

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