A 55th-story condo with panoramic views of downtown Chicago, the Chicago River and Lake Michigan will hit the market in January.

The three-bedroom, three-and-a-half-bathroom apartment fills out one of the rounded corners of Trump International Hotel and Tower Chicago, with floor-to-ceiling windows running roughly 90 feet from one end of the unit to the other. Primary views are to the north and east but the apartment also gets a bit of southern and western exposure, listing broker Phil Skowron, of @Properties, told Mansion Global.

Mr. Skowron plans to officially list the unit in mid-January for $2.99 million.

More:Trump Lawyer Rudy Giuliani Lists Palm Beach Condo for $3.3M

Homeowners Glenda and Ed Spangler are former suburbanites who bought the property for $2.3 million in April 2010 and became its first and only residents. They renovated it extensively, redoing almost every stone surface of the 3,100-square-foot space, they said in an interview Wednesday.

More:President Donald Trumps Childhood Home Up For Auction Again

Countertops, bathrooms and three fireplaces were made over with elegant materials such as granite; the kitchen features Snaidero cabinets; some of the pillars throughout feature mosaic detailing, Mr. Skowron and the Spanglers said. The couple also found a clever way to maximize the units gorgeous viewsthey installed foot-long mirror panels indented about an inch into the walls in common areas, so the reflection of the city is visible even when occupants are sitting away from the windows.

The Spanglers decision to sell their home was difficult because they love the city and enjoy living in the Trump building, where residents have access to the same amenities as hotel guests. The building, which is about 10 years old, has 339 hotel rooms and more than 400 condos, according to Mr. Skowron. It features a 30,000-square-foot fitness center with a gym, spa, yoga and spinning studios with lake views from the 14th floor. The downtown location provides easy access to theaters, restaurants and shopping.

But there are other things calling us at the moment, Mr. Spangler said, like travel plans and their other homes in warmer climes. We might be back.

Mrs. Spangler, 61, and Mr. Spangler, 64, are both retired from careers in sales and consulting, respectively, and will kick off their new chapter with a holiday trip to Hong Kong, Cambodia and Vietnam.

From PentaSothebys Wine Sales Top $100 Million for Second Consecutive Year

Theyll split their time between a provincial-style home in Sonoma County, Californiawhere they make their own olive oil from the olive trees that grow on the propertyand Naples, Florida, where they keep a condo.

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A 55th-Floor Condo With Panoramic Views in Chicagos Trump Tower Will List for $2.99M - Mansion Global

Incredibly spacious 1,824 sq ft home boasts 5 bedrms 2 full baths, 592 sq ft garage w/skylight, loft, 10' ceilings. Distinctively unique in so many ways, property offers 234' deep private quarter acre fenced yard w/mature trees, low-maintenance exterior w/handsome brick & vinyl siding, enclosed soffits, energy efficient thermal windows, newer roof, cozy covered front porch, relaxing sunroom. Owned by 1 family for 66 years, this amazing well-maintained home showcases impressive detail, warm classic decor, fresh paint, striking wood flrs, beautiful original wood drs/baseboards, updated bath, lovely built-in hutch/French drs in dining rm. Wonderful kitchen w/abundant white IKEA cabinets/glass fronts, faux stone counters, stainless appliances, graphite sink. High-efficiency furnace '19, water heater '16, utility sinks, expansive storage in walkout LL. Versatile main floor OR upper master & plenty of space for everyone. Tremendous Move-In Ready Total Package... Big Bang For The Bucks!

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Affordable Starter Homes in the St. Louis Area - STLtoday.com

(FINDLAY, OH, DECEMBER 17, 2019) The American Red Cross North Central Ohio Chapter responded to a fire on Chestnut St. in Forest on Tuesday.

The Red Cross provided assistance for the immediate needs of two adults and one child affected, such as temporary lodging, food and clothing as well as comfort kits of personal hygiene items. Were deeply saddened for those who were impacted by this fire, said Todd James, Executive Director, North Central Ohio Chapter. As we continue to help them, we urge everyone to take steps to minimize the risk of a fire occurring in their home.

HOME FIRE SAFETY There are several things people can do to protect themselves and their loved ones from fires. They include:

.Installing smoke alarms on every level of the home, inside bedrooms and outside sleeping areas. Test them every month and replace the batteries at least once a year.

.Developing a fire evacuation plan with all members of the household and practicing it several times a year, at different times of the day.Include two ways to get out of every room and consider escape ladders for sleeping areas or homes on the second floor or above. Pick a place outside for everyone to meet and make sure everyone knows where it is.

.Removing any fire hazards from the home.

RED CROSS APPS People can download the all-inclusive Red Cross Emergency app which combines more than 35 emergency alerts to help keep the user safe. And there is a special mobile app -Monster Guard designed for kids, teaching them to prepare for emergencies at home by playing an engaging game. Users can find the apps in smartphone app stores by searching for the American Red Cross or going to redcross.org/apps.

HOME FIRE CAMPAIGN Seven times a day someone in this country dies in a fire. The Red Cross has been working to reduce that number through its Home Fire Campaign, credited in its first year with saving several lives and protecting thousands of others by installing new smoke alarms in their homes.

WHAT PEOPLE CAN DO People can visit redcross.org/homefires to find out more about how to protect themselves and their loved homes from fire. To find the location of smoke alarm installation events or to become a volunteer, contact Volunteer Specialist Mike Vance at michael.vance @redcross.org. People can help by donating to Red Cross Disaster Relief by visiting redcross.org, calling 1-800-RED CROSS or texting the word REDCROSS to 90999 to make a $10 donation. Donations to Disaster Relief will be used to prepare for, respond to and help people recover from disasters big and small. We respond to nearly 70,000 other disasters every year, from home fires to wildfires and more. Learn more about how Disaster Relief donations have helped people affected by previous disasters including home fires.

The American Red Cross North Central Ohio Chapter is a United Way partner.

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Red Cross Provides Aid to Family Following Fire in Forest WKTN- A division of Home Town Media - WKTN Radio

The Cleveland Museum of Art, constructed of white Georgian marble in 1913, is a remarkable demonstration of Neoclassicism in America and serves as the lynchpin of surrounding Wade Park. Servicing the museum and the surrounding grounds requires extensive upkeep, and over the years a haphazard assembly of buildings was erected to service those needs. These have been supplanted a new maintenance facility designed by Boston-based interdisciplinary design firm Sasaki. It is a fine utilitarian solution of digitally-designed concrete formwork and semi-opaque garage doors burrowed into the surrounding landscape.

The facility is 5,400-square-feet and is only fully visible on the north elevation and the northeast corner. Sasakis decision to bury the structure significantly influenced the material choice for the project: It became apparent to the design team that concrete was best suited to handle dead-load stemming from a green roof while being fire-resistant and capable of handling the wear and tear associated with its function.

In addition to being the clear structural choice, poured concrete also afforded the design team a moment of aesthetic flourish along the north elevation. Engineering practice Simpson Gumpertz & Heger and formwork fabricator CW Keller collaborated to maximize the structural performance of the concrete canopy, using computational design to redistribute slab thickness according to stress values and stiffness requirements. The results were then inputted into a five-axis CNC milling machine for the fabrication of dozens of wooden formwork panels.

The complexity of the projects concrete undulating canopy extended to its on-site installation, which depended on a step-by-step review by the entire project team. We had only one shot to get this pour right, and it was a success. Once the formwork was installed, the concrete team used a combination of pre-bent and field-bent rebar that met the structural engineers requirements, said Sasaki principals Katia Lucic and Bradford J. Prestbo. It was a challenge to follow the topography of the formwork with complex double-curvature bends in rebar, and before the concrete pour we mapped out each step of the placement sequence.

Floor-to-ceiling garage-style curtain walls are located just below the concrete soffit and are large enough to accommodate parking bays for bulky landscaping machinery, such as Bobcats. The walls are semiopaque, allowing for natural daylighting while obscuring maintenance equipment within.

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The Cleveland Museum of Art's maintenance facility rises from the earth with sculpted concrete - The Architect's Newspaper

On ViewHill Art Foundation Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise: Charles Ray and the Hill CollectionSeptember 28 February 15, 2020New York

Charles Ray is a slippery artist for me. In the time that I have been engaging with his work, I have often been surprised by what gives me pause, and by what I find myself returning to days, sometimes even years, after I have seen it. So often, it is something slight: witnessing the slow ripples created by the edges of a womans fur sleeve as it dragged through Ink Box (1986), installed in Rays 1998 Whitney retrospective; observing the sheen of flowing ink in 1987s Ink Line and becoming aware, before even reading the title or anything about it, that the line moved. I wondered what, if anything, would strike me when I visited the Hill Art Foundations current exhibition, Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise, which is curated by Ray from the Foundations collection and features, in addition to four of his own pieces, intimately-scaled bronzes made by Italian, French, and Netherlandish sculptors of the 16th and 17th centuries.

While viewing the show I was confident that Golden Jewelry (undated), a tiny shriveled apple, complete with gold stem, gifted by the artist to his wife, would make the greatest impact. But no: what I have been turning over, again and again, is Rays recumbent Mime (2014), and more precisely, the sleeping Mimes soft-soled shoes. They are aluminum, as is the rest of the sculpture, and presumably metallurgically stiff, but visually they are also undeniably ductile and respond believably to the figures bony feet. Similarly, the aluminum cot on which Mime rests strains and bows under his weight: we can notice these effects if we get down on our hands and knees because the sculpture does not sit flat on a podium. Instead, it rests lightly on the floor on the four legs of the cot, rendered fully in the round, even underneath. And then there is the fact that these qualities were not made by the artist at all. Rather, Mime was carved by a robot, as Ray writes in an essay that accompanies the exhibition. Any visible hand is purely metallic, the materials or the non-human makers.

The effects created by the surface finish of Mime are further explored in a sterling silver sculpture nearby, Mountain Lion Attacking Dog (2018), which Ray describes as an essay in mark making. This work portrays, through different methods of chasing, the respective pelts of its animal protagonists. Rays attention to such technical challenges also creates a dialogue with the Renaissance and Baroque sculptures he has selected to appear in the exhibition. The installation is a lesson in withholding: there are only nine pieces included over the two floors, with every wall-mounted object given its own wall and each sculpture in the round provided its own generous floor space. As a result, we can draw quite close to objects that would more often be seen sharing cases with others.

This decision provides opportunities to note, for example, the ripping flesh of Barthelemy Prieurs Lion Devouring a Doe (probably cast before 1583), the fact that the grotesque figure in Adriaen de Vriess Bacchic Man: Lomazzo Personifying the Accademia della Val di Blenio(cast circa 1578-1580) wears a mask (seen from a distance, this is very difficult to understand), or the varying patina of Alessandro Algardis Christ at the Column (circa 1630s), molten chocolate across Christs back, but lighter and more mottled at the knees and the back of his legs. This suggests the touch and caress of an earlier owner (or owners), and, while we cant embrace the sculpture ourselves, Christ at the Column, in the company of Mime, encourages us to imagine the materials properties and the strangely animated suppleness that is at play here. Algardis Corpus Christi (circa 1646), suspended high and alone on the gallerys stark white wall, emphasizes its figures enunciated fingers and toesas Ray comments, the Algardi Christs are depicted as if alive, and this articulation is mimicked in the splayed toes of Rays attacked Dog. Antonio Susinis gilded bronze Cristo Morto (circa 1590-1615) is hung at head height so that we can easily make out his bulging eyes. This Christ is truly dead, or so the artist makes the sculpture and its bronze mediumone I just described as livingseem.

Materiality, finish, the artists hand or lack thereof, and the imitative potential of sculpture: Ray is, in this installation of his work and its important bronze precedents, presenting a philosophical discussion of sculptural possibility. In his essay, Ray asks, Does my mime sleep, or does he mime sleep? and his question is justified: sculpture can only ever mime the real. Mime does not sleep or dream; the apple will never fully rot; statues of Christ are neither living nor dead; and the dog and doe let out no heaven-rending scream.

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Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise - Brooklyn Rail

Seasoned art dealer and collector Jens Faurschou did not make the decision to open a branch of his foundation in New York lightly, even though he has already been through the process twice before in other cities.

Weve done it for manyyears in Copenhagen, for many years in Beijing, and thought, Now, we dare to try New York,' the soft-spoken Faurschou told Artnet News ahead of this weekends opening of his sprawling ground-floor space in Greenpoint, Brooklyn, a former shoe factory converted into a sleek art venue by architect Markus Dochantschi.

In recent years, New York has become home to a number of private museums dedicated to the collections of wealthy tycoons, from J. Tomilson Hills space in Chelsea to the Brant Foundation in the East Village.Faurschou, however, has a far lower profile in the United States than the others, and prefers to let his art collectionfull of blue-chip names but also impractical installations with political themesspeak for itself. And in contrast to private museums that quickly become Instagram magnets, theFaurschou Foundations inaugural display avoids relying too heavily on eye candy, offering a more balanced visual diet.

Faurschou New York in Greenpoint Brooklyn. Photo by Ed Gumuchian Faurschou Foundation

Faurschou, who made his money selling international contemporary art in his native Denmark and established his eponymous foundation in 2011, did not even know where Greenpoint was when he set out to open in the city. But after opting out of other New York City spaces, such as one in Harlem that did not offer a ground-floor option, he found the industrial space in the fast-changing, gentrifying neighborhood to be just what he was looking for.

We went out and found this building and I was amazed, he said. If you take an Uber, its quicker than going from Chelsea to Upper East Side or Midtown. Then we started to look around the area and its lovely. It has its own life with a lot of great small restaurants and shops.

Installation view of the exhibition The Red Bean Grows in the South, Faurschou New York, 2019. Clockwise: Cecily Brown, Louise Bourgeois, Tracey Emin, Ai Weiwei. Photo by Tom Powel Imaging, Faurschou Foundation

In a city with seemingly endless art options, the next hurdle for Faurschou was to figure out how to stand out. New York representsa big challenge because we have to do something where we show who we are and what we can do, he said. He and his teama small operations staff in New York, plus his wife Masha and his three children at homedecided to debut with a group exhibition that would offer a sampling of the artists in the collection.

The result is a thought-provoking and often startling show of international all-stars titled The Red Bean Grows In The South, which touches on topics ranging from the notion of longing to political passions and the desire to break free from repression.

Installation view at Faurschou Foundation with work by Cai Guo-Qiang (ceiling), Alison Saar and photos by Danh Vo. Photo by Eileen Kinsella.

With work by roughly 17 artists including Ai Weiwei, Georg Baselitz, Louise Bourgeois, Cai Guo-Qiang, Tracey Emin, Edward and Nancy Kienholz, Yoko Ono, and Danh Vo, the show also reflects what Faurschou says is a core part of the foundations identity: a longstanding relationship with China and a desire to engage Western audiences with important ideas from the region.

According to the catalogue essay, the inaugural presentation revolves around themes of violence, war, politics, idealism, escapism, desire, hope, dreams and memory, which would sound like a lofty goal were it not so seamlessly executed here.

Faurschou says the display came together somewhat organically. The first pairing seemed somewhat random at first: Georg Baselitzs painting Mit Roter Fahne (With a Red Flag) (1965), which depicts a humiliated soldier returning home from war with a diminutive head and tattered uniform, and Paul McCarthys monumental CSSC Frederic Remington Charles Bronson (201416), which shows the eponymous film star with an outsize cowboy hat riding what appears to be a disintegrating mashup of a melting saddle and a tangled mess of horse legs and hooves.

Edward and Nancy Reddin Kienholz. The Ozymandias Parade (1985). Image courtesy the Faurschou Foundation

You would never really think of putting them together but it just workedyou have this hero coming back from the war and you have Charles Bronson on a horse where the whole structure is falling apart,Faurschou said. Maybe even more surprising for me is that [together] they have such strong visual impact. Thats very important.

This is classic Faurschouhe brings years in the art business to bear on his choices, but he is also willing to let serendipity and instinct take its course. When installing one prominent gallery, for example, where Cai Guo-Qiangs A Boat with Dreams (2008) hovers from the ceiling above Alison Saars haunting life-size sculpture Dying Slave (1989), Faurschou said, We are missing something.

It so happened that his son Christian had just returned from a visit to the National Gallery ofDenmark to see an exhibition of the work of Danh Vo, who often explores cultural history and the meaning of artistic collaboration in his work. You need these prints, he told his father. The body of work presented photos taken by Joseph Carrier, a counterinsurgency specialist in Vietnam from 1962 to 1973 who later became a close friend of the artist. By the time he was forced to leave Vietnam by American authorities because he was gay, Carrier had produced a substantial photographic archive, which he later bequeathed to Vo.

On a whim, Faurschou called up Vo, and the artist happened to be in Denmark. The rest, as they say, is history. Vos work,Photographs of Dr. Joseph M. Carrier 19621973 (2010), now lines the perimeter of Saar and Cais gallery.

Installation view of The Red Bean Grows In the South at the Faurschou Foundation with work by Georg Baselitz and Paul McCarthy. Photo by Tom Powel Imaging, Faurschou Foundation.

Then I got excited, Faurschou recalled. Theres a connectionbetween the rooms all kind of getting together.Look no further than rooms like one featuring Yoko Onos devastating video Happy Xmas (War is Over) (1971/2003), a compilation of disturbing images that run counter to the iconic John Lennon song. It hangs above a large sculpture of menacing bent saws by Robert Rauschenberg, another artist who was horrified by the Vietnam War, titled Lurid Attack of the Monsters from the Postal News (August 1875).

Also immediately visible from the entrance isEdward and Nancy Kienholzs massive installationThe Ozymandias Parade (1985), which brings together objects the couple collected from flea markets across Europe. (The work is perhaps the only major installation by the couple on view in the city, as they have not been well collected by New York museums.)

Installation view of The Red Bean Grows In the South at the Faurschou Foundation with work by Yoko Ono and Robert Rauschenberg. Photo by Tom Powel Imaging, Faurschou Foundation.

Going forward, Faurschou is planning roughly two exhibitions a year. Just dont expect the kind of hit-parade Instagram bait you might find at other institutions. Ihope with this exhibition that it makes you think. Its not just to go in and say, This was beautiful. This was fun,' Faurschou said. I think it digs deeper. And I think we live in a time where its really important that people dont live on the surface.

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Danish Collector Jens Faurschou Is Opening a Private Museum in Brooklynand He Doesnt Care If You Have Fun There - artnet News

A two-bedroom/two bath apartment on the 14th floor of The Plaza at Five Points is on the market for $1,195,000

Lakeland residents Carol and Don Stephens have been coming to the Sarasota area for short getaways for 35 years, most of that time specifically to Longboat Key where they enjoyed beach condominium living, views of the Gulf of Mexico and days of subline relaxation. But, several years ago they decided they wanted a different kind of experience an escape to the city.

"We had been hearing a lot about Sarasotas downtown with its lively cultural scene and we thought that would be just the thing," said Don Stephens. "We wanted to be close to walking distance if possible theaters, galleries, restaurants, shopping, the opera, you name it. We wanted a place where we could park the car, unpack and then enjoy the action. And hopefully not see the car for the next week or so."

When a 14th floor, two-bedroom apartment became available at The Plaza at Five Points, the couple knew they had found their launch pad for fun, as well as two deeded garage parking spaces.

The 1,671-square-foot luxury dwelling has an extra-large covered terrace accessed by both bedrooms and the living room which frames views of Sarasota Bay and metropolitan life. The couple bought the condominium in 2012 primarily because of its location, right in the middle of everything, and were then charmed by their apartment and The Plaza at Five Points building, which has 49 units (four penthouses) and was built in 2005. Its a mixed-use complex. The condominiums begin on the 11th floor. Below that offices, financial services, retail, a bank.

Carol Stephens, an interior designer, furnished her sky-box with urban polish and custom amenities, the way she would a permanent full-time residence so that she and Don would have every convenience and comfort if they were in town for two days days or two weeks. The double door front entrance opens into a lavish foyer and has views across the living room out to the terrace and beyond.

The large rooms express a relaxed elegance with special features such as grasscloth walls in the kitchen, dark granite counters, double vanities in the master and guest baths, artistic lighting, and custom built-ins. She installed wide-plank hardwood floors in the living room, hall and master bedroom. When the couple moved in, the apartment had two generous walk-in closets, which was more storage than they needed. So, Carol converted one of them into a home-office for Don.

The Plaza building itself, apart from its prime location, has been a source of pride for the homeowners. "We love that The Plaza is pet friendly because we have an eight-pound Yorkie whom we take to the park across the street everyday," said Don. "The Plaza has valet parking, guest parking, full-time maintenance management and it is impeccably cared for. We could not ask for more."

These homeowners have also appreciated the 10th floor open-air residents private oasis which includes a heated swimming pool and spa, summer kitchen, outdoor shower, rooftop gazebo, and inside a fitness center and conference room. Theres also a large community room with lounge and catering kitchen.

Carol and Don Stephens have loved everything about their downtown condo with the urban vibe. But, recently the couple put their vacation getaway on the market. It is listed at $1,195,000 through Thomas Netzel of Sothebys International Realty and it is being sold turnkey.

"The reason were giving it up is that we just dont use this wonderful place like we used to" said Don. "Our children and grandchildren are in Lakeland and we are involved in their lives and we want that to be the case. Friday nights for us lately are spent at a high school watching the grandkids in some sporting event.

"The last time Carol and I came to Sarasota for a weekend of city fun, we realized we handt been there for six months. It was a reality check and we both realized its time for somebody else to have The Plaza apartment experience and enjoy the kind of urban getaway we enjoyed for the past seven years."

Five Points, the intersection of Main, Central and Pineapple streets in downtown Sarasota, has been the center of commercial activities since settlers began to arrive in 1885, the date the Scots first came. Where The Plaza condominium is now, there was originally a wooden boarding house constructed in 1886 to accommodate new arrivals and construction workers. That building was demolished in 1924 to make room for First Bank and Trust Building, the areas first skyscraper. It had seven stories and an elevator, which alarmed as many neighbors as it impressed.

Other banks have continued to occupy that corner right up to today. Retail, restaurants and offices are on the lower floors of the Plaza at Five Points. A large clock that faced two ways was a signature feature of the bank (s) that have stood tall at Five Points. Theres still a clock today but its across the street at the entrance to Selby Park at Five Points.

The area that is today a lighted round-about with flags has traditionally been called the triangle at Five Points. In Sarasotas earliest days there was an artesian well, drinking fountain, hitching post and a trough for cows, horses and other thirsty livestock that wandered by. In 1911 community authorities outlawed meandering cows at Five Points. Later the triangle was the site of a World War I memorial.

Five Points has always been considered the hub of the city of Sarasota and today people who live at The Plaza at Five Points or work in one of the offices in the building are keeping history alive as well as enjoying modern urban amenities. Five Points was in the middle of the action when Sarasota was a struggling community of settlers intent on prospering and it still is today.

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An escape to the city - Sarasota Herald-Tribune

Part one of this series focused on slab preparation and sub-base installation. In the article, we learned the importance of a well compacted and smooth subgrade, as well the proper installation of formwork, jointing, vapor barriers and other reinforcement. This article will discuss the next steps to placing, finishing, sawing and curing medium to large concrete slab on grade.

Rate of placement and screeding method are baseline decisions that must be made prior to start of placement. Placing/finishing concrete is time sensitive and susceptible to environmental conditions. Ideally you want to work within an 8- to 16-hour window for place, finish and cure/saw cutting operations.Uniform mix batch to batch and slab edge boarded.Chad White

Major considerations when scheduling concrete and planning day of placement activities include:

Planning Tips

For the purpose of this article we will be discussing concrete placement rates of 60-200 cubic yards per hour and strike-off rates of 4,0008,000 square feet per hour. Formwork and strike-off will dictate the FL numbers. Uniformity of slump and rate of placement will greatly influence FF numbers and panning/finishing processes.Roller tamp attachment to laser screed.Chad White

FF60/FL40 is the new norm for warehouse and open slab placements. Automated raking and screeding of slabs will result in higher production rates and flatter floors.

Major considerations when placing concrete include:

Installation Tips

Finishing floors is all about flatness, burnish and attention to detail. Timing of finishing steps is a critical factor and must be judged in real time.Blending edge burnish.Chad White

Major considerations for finishing concrete slabs include:

Tips for Finishing

Curing is either spray-on membrane or wet cure with blankets. There are pros and cons to both systems, and individual project requirements may dictate choice. The important thing with curing is timeliness and adherence to manufacturers and project specifications.Installing wet cure blankets.Bob Simonelli

Timing is probably the key coordination factor with saw cutting operations. A skilled crew and good equipment are required. There is nothing worse than having a great looking finish marred by crooked or spalled cuts.

Major considerations for installing control joints and curing include:

Tips for Sawing/Curing

Control and conditions of access during the placing/curing period is probably the biggest component to a slab protection plan and the hardest to police. Ensure slab protection plan is communicated to all trades. Advocate for daily cleaning by floor scrubber during construction. Ensuring that a spill kit is available while the slab is being used by other trades is a must and a major component of daily housekeeping. Scratches, gouges, spills and edge destruction are major concerns when slab is being used as a work platform by general trades.

Major considerations for slab protection include:

Execution Tips

Chad White has been involved in all aspects of concrete construction from craftsman to concrete subcontractor and is a founder of WL Concrete. Whitehas personally been involved with design and construction of many industrial slabs, including shake-on hardeners, defined traffic super flats and high tolerance random traffic floors. He is the author of numerous articles regarding concrete slab on grade installationand a speaker at World of Concrete.

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Placing, Finishing, Sawing and Curing Total Concrete Slab Packages - ForConstructionPros.com

Next up in our review of 2019, Kristine Klein picks out the 10 most arresting installations on Dezeen, including Banky's pop-up, pink seesaws slotted between the border wall and a sauna at Burning Man.

Gross Domestic Product, UK, by Banksy

British graffiti artist Banksy opened up a "for display purposes only" pop-up shop in East Croydon to showcase his merchandise, which is for sale online. The retail space was created in response to actions by a greeting card company trying to "seize legal custody" of his name.

The installation in Croydon consists of a series of window displays that contain several works of art created by Banksy, including the stab vest worn by rapper Stormzy for a concert this summer. Many of the retail products were made exclusively for the online shop and include t-shirts and mugs adorned with the artist's famous works.

Find out more about Gross Domestic Product

The Starry Night, The Netherlands, Ivana Jeli and Pavle Petrovi

To highlight the issue of light pollution in urban areas, Serbian artists Ivana Jeli and Pavle Petrovi installed a series of LED lights that together form Van Gogh's Starry Night over a canal in Amsterdam.

Using 1,400 acrylic rods illuminated by small LED lights the designers were able to imitate the artist's brushstrokes and recreate the painting's swirling night sky pattern.

Find out more about The Starry Night

Steam of Life, USA, JKMM Architects

Finnish studio JKMM brought a sauna to this year's Burning Man festival in the Nevada desert. To create the circular pavilion, Steam of Life, the team of architects stacked timber slabs.

The interior was lined with benches and an open atrium for cooling down and meditative relaxation formed the centre of the structure. Apart from the sauna stove, which was transported from Finland, all of the building materials were locally sourced.

Find out more about Steam of Life

Mirage house, Switzerland, Doug Aitken

American artist Doug Aitken built a ranch-style residence clad in mirrors for a site in Switzerland surrounded by mountains, where it will stay for two years. The reflective material of the building casts the scenic landscape, which changes with the seasons, across its exterior.

Inside the mirrored structure kaleidoscopic panels installed on the walls and ceilings refract light and distort the interiors.

Find out more about Mirage house

The Secret of the Great Pyramid, France, JR

French artist JR placed a massive optical illusion made from thousands of paper stickers on the grounds surrounding IM Pei's Louvre pyramid in Paris, to celebrate the building's 30th anniversary.

The collage, which measured 17,000 square metres, formed an imaginative image that proposed the continuing underground construction of the iconic triangular structure. JR's work was only on display for one day, the museum's daily stream of visitors left the piece in shreds.

Find out more about The Secret of the Great Pyramid

US-Mexico border wall seesaws, USA, Mexico, Rael San Fratello

Rael San Fratello inserted three pink seesaws between metal slats of the US-Mexico border wall, so that children on either side can play together. The playground equipment was inserted along the portion of the wall that extends from El Paso, Texas to Ciudad Jurez in Mexico. Rael produced the installation through a collaboration with Taller Herrera, a workshop located in Ciudad Jurez.

"The wall became a literal fulcrum for US-Mexico relations and children and adults were connected in meaningful ways on both sides with the recognition that the actions that take place on one side have a direct consequence on the other side," the designer said on Instagram.

Find out more about US-Mexico border wall seesaws

Unzipping Milan building, Italy, Alex Chinneck

For Milan design week British artist Alex Chinneck installed a giant zipper on the face of a historic Venetian building to give the illusion that it is being peeled open. The installation was created for vape and tobacco brand Iqos.

The 17-metre-wide facade features a large zipper on its right side designed to create an opening that reveals bright lights. Inside the edifice, sculptural zippers attached to the interior walls and a circular opening on the floor also reveals glowing lights.

Find out more about unzipping Milan building

For Forest, Austria, Klaus Littmann

Klaus Littmann planted 300 trees in Wrthersee Stadion, a football arena, in Klagenfurt, Austria to send a message about the anthropocene, deforestation and climate change. For Forest replicates the the types of plantings typically found in European forests.

It memorialises nature as an "artistic sculpture" and was designed to gather people together so that they contemplate the environment and the importance of its protection.

After the installation closed the hundreds of trees were re-planted on a nearby plot of land. A wooden pavilion that provides visitors with educational information accompanies the small forest.

Find out more about For Forest

Sight, Greece, Antony Gormley

British sculptor Antony Gormley placed 29 humanoid sculptures atop hills, inside architectural ruins and along the coast line of the Greek Island Delos near the Aegean sea. Works in Gormley's collection titled Sight were made using iron and formed abstract versions of human bodies.

The exhibition was organised in collaboration with the Ephorate of Antiquities of Cyclades and commissioned by Neon, a nonprofit art foundation.

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Desert X installations, USA, Sterling Ruby, John Gerrard and Pia Camil

Works by 18 artists and groups including Sterling Ruby, John Gerrard and Pia Camil were featured in a series of installations displayed at the biennial art festival Desert X in California's Coachella Valley. The arid landscape, located East of Los Angeles, is the site of the annual Coachella music festival.

Highlights of the exhibition were Sterling Ruby's monolithic rectangular block coated in fluorescent orange and Lover's Rainbow by Pia Camil, made from arched rebar, painted every colour of the rainbow. Camil realised the work as the twin for a matching sculpture located on the other side of the US-Mexico border, the piece sheds light on the current immigration policies between the United States and Mexico.

Find out more about Desert X installations

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Dezeen's top 10 installations of 2019 - Dezeen

While it hardly qualifies as cutting-edge technology, the project described here did provide a solution to an annoying problem I have faced several times: How do you get a decent off-air signal from an AM station, where the studio is in a modern curtain-wall office building and is located at or beyond the 5 mV/m contour of the station?

I saw evidence that several engineers had explored solutions in the past. The hardware was still around when I arrived. A very nice (and pricey!) commercially-made shielded loop was installed on the roof with inside phantom power for its preamp in the studio racks seven floors down. That didnt really work. A better antenna signal could be had from the coax shield than from the actual loop antenna and preamp output.

Another iteration was the installation of pre-amplified loopstick antennas, taped to the window glass in one of the studios with coax routed back to the rack-mounted receivers. This, too, yielded a marginal signal enough to tell if we were on the air, but not useful for critical evaluation at all.

Yet the stations both had very usable, listenable signals on my car radio parked in the building driveway.

A COMMON PROBLEM

As is always the problem with metal-skinned buildings, the openings in the exterior walls behave like sections of waveguide at frequencies below cutoff virtually all of the field is cancelled. I concluded that no inside solution would ever work satisfactorily. Long runs of coax also werent working.

How could the car radio result be replicated in the building? To do that, I borrowed old technology and married it with some moderately-priced new technology to build what I believe is a solid solution.

I fabricated two shielded loop antennas from home center components as shown in Fig. 1. Inside the tubing is 10 turns of ordinary hookup wire. I used some multi-conductor wire and joined the ends to make one long wire length (see Fig. 2). Recall that the purpose of a shielded loop is to make the antenna responsive to only the magnetic component of the transmitted signal.

The shield is there to prevent successful capacitive coupling with electrostatic fields. Since the electrostatic fields from AM stations (and from most sources of interference) are vertically polarized, the electrostatic field induces voltage in only the vertical pieces of conduit. That same electric field exists inside the tubing as well and induces a voltage on the wire turns inside.

So how does this shielding help? Because the electric field in the vertical tubing sections induces voltage in the wire turns in opposite directions on either side of the loop. Thus the electrostatic contribution (in a perfect world) cancels. The gap in the conduit at the top of the loop (Fig. 3) is to avoid having the shield look like a shorted transformer turn, thus cancelling the magnetic component as well.

This is how your field intensity meter works. Regardless that the meter scale is calibrated in volts per meter, it is a magnetic device. The relationship between the electric field and the associated magnetic field is a known constant (120)t and the Potomac folks figure you wont be using the meter in other than an air environment, a pretty safe bet. Loop orientation works just like your field meter as well, with distinct nulls and maxima as you rotate it.

To provide just a bit of pre-selection to the loop, I added a small transistor-radio-style variable capacitor bought from an eBay seller. I calculated my ten turns to have about 200 microhenries, but with the capacitance contributed by the tubing and other unquantifiables, who knows?

My variable cap has two sections, each about 220 picofarads. I paralleled the sections and wired loop and capacitor as a tank circuit the miracle of adjustable components. Just turn the dial until it works! Tune for maximum smoke. The result is a broad resonance, but helpful for me, since my location is in the 50+ mV/m field of two other AM stations.

To couple each loop to a receiver, I used some randomly chosen ferrites found in a drawer and made a small ferrite loaded transformer for each loop antenna. I figured the impedance of the loop would be low. I guessed maybe an ohm or two. So, a 1:5 turns ratio would get me somewhere in the 50-ohm neighborhood.

NON-CRITICAL DESIGN

As youve probably guessed by now, nothing in this design is particularly critical. The radios are ordinary Panasonic in-dash models bought on eBay for about $20 each. This, too, is anything but critical.

Now, with two steerable antennas, I have a decent signal from both stations. But how to get that RF down seven floors to the studio? The answer is not to try. Instead, I installed my two car radio receivers in a weatherproof box (see below) and clamped the whole business to a railing on the roof.

The signals from two AM stations, as well as power, are carried on a piece of Cat-6 cable following the telephone riser path down the seven floors and into our leased space. Power comes up on two paralleled pairs, and baseband audio is coupled from the radio speaker outputs on the other two pairs.

The radios I used are bridge amplifier designs, meaning that the speakers are driven in a balanced, differential way, but I used small audio transformers for isolation anyway. Preserving balance yields undiminished audio quality downstairs. I also added a local headphone jack for each, allowing confirmation of proper operation before leaving the roof.

The whole business was installed into what Amazon calls a black, tactical, weatherproof case as shown in Fig. 4. Weve all seen these used for sensitive electronics that must be shipped. They have snap locks and gasketed lids. I just ordered a generously sized one and installed the shelves you see. The loop antennas attach using ordinary 3/4-inch plumbing components with the antenna coax fished through. I added reinforcement where the pipe flanges attach. Finally, the whole assembly is U-bolted to the railing.

WHAT ABOUT POWER?

Powering the system remotely involved a little I-squared-R thinking. The Cat-6 run overall was about 250 feet. Paralleled Cat-6 conductors at that distance worked out to be about 5 ohms overall. I had no idea what current the radios drew and, barely visible in the pictures, is a small lead-acid battery also in the enclosure. Its there to hold up the radios channel memory if the downstairs power needs to be disconnected for some reason. It needs to remain charged.

Finally, theres a small 12-volt fan in the box as well. I guessed 2 amps for the radios which, with 5 ohms on the way, means my 12 volts will be 2 volts on the roof. I could have done some bench measurements and built a supply, but when I can buy a 30-volt 3-amp adjustable supply with metering and overcurrent protection on Amazon for $60, why bother? The supply is pictured in Fig. 5.

With the battery disconnected, the supply voltage was gradually raised until the receivers saw about 13 volts. I then noted the current. When the battery was connected, the voltage came down to about 12.8 and the current increased by about 50 milliamperes. That seemed a reasonable amount for trickle charging one of the 7amp-hour batteries commonly used in UPS devices. Well see.

Anyway, the completed project, which is shown in Fig. 6, was simple, straightforward, not too terribly expensive, and solved a long-standing and annoying problem. For engineers it doesnt get any better than that.

Frank McCoy is chief engineer of Salem Communications Chicago cluster. Got an idea for a hands-on engineering article? Email rweetech@gmail.com.

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Receivers in a Box on the Roof - Radio World