title: Qarmatians

text: According to Farhad Daftary, the catalyst of the collapse of Qarmatian movement as a whole happened in the year 931 CE when Abu Tahir al-Janabi – the Qarmatian leader in Bahrain – handed over the reins of the state in Bahrain to Abu'l-Fadl al-Isfahani, a young Persian man who had been believed by the Qarmatians to be the Mahdi. However, Abu Tahir soon realized al-Isfahani's appointment was a disastrous mistake, after the "Mahdi" executed some nobles and insulted Muhammad and the other prophets. The incident shocked the Qarmatians and the Islamic community as a whole, and Abu Tahir ordered the youth's execution.


title: Qarmatians

text: Leadership under al-Isfahani lasted only 80 days before his execution, but it greatly weakened the credibility of Qarmatians within the Muslim community in general, and heralded the beginning of the end of their revolutionary movements.


title: Qarmatians

text: After defeat by the Abbasids in 976, the Qarmatians began to look inwards and their status was reduced to that of a local power. This had severe consequences for the Qarmatians' ability to extract tribute from the region; according to Arabist historian Curtis Larsen:


title: Qarmatians

text: In Bahrain and eastern Arabia the Qarmatian state was replaced by the Uyunid dynasty, while it is believed that by the middle of the eleventh century Qarmatian communities in Iraq, Iran, and Transoxiana had either been integrated by Fatimid proselytism, or had disintegrated.


title: Qarmatians

text: By the mid 10th century, persecution forced the Qarmatians to leave Egypt and Iraq, and move towards city of Multan in Pakistan. However, the prejudice against the Qarmatians did not dwindle, as Mahmud of Ghazni led an expedition against Multan's Qarmatian ruler Abdul Fateh Daud in 1005. The city was surrendered, and Fateh Daud was permitted to retain control over the city with the condition that he adhere to Sunnism.


title: Qarmatians

text: According to maritime historian Dionisius A. Agius, the Qarmatians finally disappeared in 1067 after they lost their fleet at Bahrain Island, and were expelled from Hasa near the Arabian coast by the chief of Banu, Murra ibn Amir.


title: Qarmatians

text: According to Qarmatians, the number of imams was fixed, with Seven Imāms preordained by God. These groups considers Muhammad ibn Isma'il to be the messenger – prophet "(Rasūl)," Imām al-Qā'im and Mahdi to be preserved in hiding, which is referred to as Occultation.


title: Qarmatians

text: In addition, the following Ismaili imams after Muhammad ibn Isma'il had been considered heretics of dubious origins by certain Qarmatian groups, who refused to acknowledge the imamate of the Fatimids and clung to their belief in the coming of the Mahdi.


title: Ilya Sutskever

text: Ilya Sutskever is a computer scientist working in machine learning, who co-founded and serves as Chief Scientist of OpenAI.


title: Ilya Sutskever

text: He has made several major contributions to the field of deep learning. He is the co-inventor, with Alex Krizhevsky and Geoffrey Hinton, of AlexNet, a convolutional neural network. Sutskever is also one of the many authors of the AlphaGo paper.


title: Ilya Sutskever

text: Sutskever attended the Open University of Israel between 2000 and 2002. In 2002, he moved with his family to Canada and transferred to the University of Toronto, where he then obtained his B.Sc (2005) in mathematicsand his M.Sc (2007) and Ph.D (2012) in computer science under the supervision of Geoffrey Hinton.


title: Ilya Sutskever

text: After graduation in 2012, Sutskever spent two months as a postdoc with Andrew Ng at Stanford University. He then returned to University of Toronto and joined Hinton's new research company DNNResearch, a spinoff of Hinton's research group. Four months later, in March 2013, Google acquired DNNResearch and hired Sutskever as a research scientist at Google Brain.


title: Ilya Sutskever

text: At Google Brain, Sutskever worked with Oriol Vinyals and Quoc Le to create the sequence-to-sequence learning algorithm.


title: Tapestry

text: Tapestry is a form of textile art, traditionally woven by hand on a loom. Tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike most woven textiles, where both the warp and the weft threads may be visible. In tapestry weaving, weft yarns are typically discontinuous; the artisan interlaces each coloured weft back and forth in its own small pattern area. It is a plain weft-faced weave having weft threads of different colours worked over portions of the warp to form the design.


title: Tapestry

text: Tapestry is relatively fragile, and difficult to make, so most historical pieces are intended to hang vertically on a wall (or sometimes in tents), or sometimes horizontally over a piece of furniture such as a table or bed. Some periods made smaller pieces, often long and narrow and used as borders for other textiles. European tapestries are normally made to be seen only from one side, and often have a plain lining added on the back. However, other traditions, such as Chinese "kesi" and that of Pre-Columbian Peru, make tapestry to be seen from both sides. Most weavers use a natural warp thread, such as wool, linen or cotton. The weft threads are usually wool or cotton but may include silk, gold, silver, or other alternatives.


title: Tapestry

text: Tapestry should be distinguished from the different technique of embroidery, although large pieces of embroidery with images are sometimes loosely called "tapestry", as with the famous Bayeux Tapestry, which is in fact embroidered. From the Middle Ages on European tapestries could be very large, with images containing dozens of figures. They were often made in sets, so that a whole room could be hung with them.


title: Tapestry

text: In late medieval Europe tapestry was the grandest and most expensive medium for figurative images in two dimensions, and despite the rapid rise in importance of painting it retained this position in the eyes of many Renaissance patrons until at least the end of the 16th century, if not beyond. The European tradition continued to develop and reflect wider changes in artistic styles until the French Revolution and Napoleonic Wars, before being revived on a smaller scale in the 19th century.


title: Tapestry

text: In English, "tapestry" has two senses, both of which apply to most of the works discussed here. Firstly it means work using the tapestry weaving technique described above and below, and secondly it means a rather large textile wall hanging with a figurative design. Some embroidered works, like the Bayeux Tapestry, meet the second definition but not the first. The situation is complicated by the French equivalent "tapisserie" also covering needlepoint work, which can lead to confusion, especially with pieces such as furniture covers, where both techniques are used.


title: Tapestry

text: According to the Oxford English Dictionary, the earliest use in English was in a will of 1434, mentioning a "Lectum meum de tapstriwerke cum leonibus cum pelicano". They give a wide definition, covering: "A textile fabric decorated with designs of ornament or pictorial subjects, painted, embroidered, or woven in colours, used for wall hangings, curtains, covers for seats, ..." before mentioning "especially" those woven in a tapestry weave.


title: Tapestry

text: The word "tapestry" derives from Old French , from , meaning "to cover with heavy fabric, to carpet", in turn from , "heavy fabric", via Latin ( ), which is the Latinisation of the Greek (; , ), "carpet, rug". The earliest attested form of the word is the Mycenaean Greek , , written in the Linear B syllabary.


title: Tapestry

text: "Tapestry" was not the common English term until near the end of the classic period for them. If not just called "hangings" or "cloths", they were known as "arras", from the period when Arras was the leading production centre. "Arazzo" is still the term for tapestry in Italian, while a number of European languages use variants based on Gobelins, after the French factory; for example both Danish and Hungarian use "gobelin" (and in Danish "tapet" means wallpaper). Thomas Campbell argues that in documents relating to the Tudor royal collection from 1510 onwards "arras" specifically meant tapestries using gold thread.


title: Tapestry

text: Tapestry is a type of weaving. Various designs of looms can be used, including upright or "high-warp" looms, where the tapestry is stretched vertically in front of the weaver, or horizontal "low-warp" looms, which were usual in large medieval and Renaissance workshops, but later mostly used for smaller pieces. The weaver always works on the back of the piece, and is normally following a full-size drawn or painted cartoon, or possibly another tapestry; depending on the set up, this reverses (is a mirror image of) the tapestry image. The cartoon was generally created from a smaller modello, which in "industrial" workshops from at least the late Middle Ages on was produced by a professional artist, who often had little or no further involvement in the process. The cartoon was traced onto the warp lines by the weaver, and then placed where it could still be seen, sometimes through a mirror, when it hung behind the weaver. With low-warp looms the cartoon was usually cut into strips and placed beneath the weaving, where the weaver could see it through the "web" of threads. The Raphael Cartoons, which are very rare examples of surviving cartoons, were cut in this way.


title: Tapestry

text: In European "industrial" tapestries the warp threads were normally wool, but in more artisanal settings, and older ones, linen was often used. The weft threads were wool, with silk, silver or gold thread used in the most expensive tapestries. Some famous designs, such as the Sistine Chapel tapestries and the "Story of Abraham" set probably first made for King Henry VIII, survive in versions with precious metals and other versions without. Using silk might increase the cost by four times, and adding gold thread increased the cost enormously, to perhaps fifty times that of wool alone.


title: Tapestry

text: The weavers were usually male, as the work was physically demanding; spinning the threads was usually a female preserve. Apart from the design and materials, the quality of tapestries varies with the tightness of the weaving. One modern measure of this is the number of warp threads per centimetre. It is estimated that a single weaver could produce a square yard of medium quality tapestry in a month, but only half that of the finest quality.


title: Tapestry

text: The success of decorative tapestry can be partially explained by its portability (Le Corbusier once called tapestries "nomadic murals"). The fully hand-woven tapestry form is more suitable for creating new figurative designs than other types of woven textile, and the looms could be much larger. Kings and noblemen could fold up and transport tapestries from one residence to another. Many kings had "wardrobe" departments with their own buildings devoted to the care, repair, and movement of tapestries, which were folded into large canvas bags and carried on carts. In churches, they were displayed on special occasions. Tapestries were also draped on the walls of palaces and castles for insulation during winter, as well as for decorative display. For special ceremonial processions such as coronations, royal entries and weddings, they would sometimes be displayed outside. The largest and best tapestries, designed for more public spaces in palaces, were only displayed on special occasions, reducing wear and fading. Presumably the smaller personal rooms were hung permanently.


title: Tapestry

text: Many smaller pieces were made as covers for furniture or cushions, or curtains and bed hangings. Others, especially in the case of those made for patrons outside the top of the elite, were cut up and reused for such functions when they, or tapestries in general, came to seem old-fashioned. Bags, and sometimes clothing were other re-uses. The Beauvais Manufactory became rather a specialist in furniture upholstery, which enabled it to survive after the French Revolution when this became the main remaining market. In the case of tapestries with precious metal thread, they might be burned to recover the metal, as Charles V's soldiers did to some of the Sistine Chapel tapestries, and the French Directory government did in the 1790s to most of the royal collection from the Renaissance.


title: Tapestry

text: In the Middle Ages and the Renaissance, a rich tapestry panel woven with symbolic emblems, mottoes, or coats of arms called a baldachin, canopy of state or cloth of state was hung behind and over a throne as a symbol of authority. The seat under such a canopy of state would normally be raised on a dais.


title: Tapestry

text: As paintings came to be regarded as more important works of art, typically by the 17th century, tapestries in palaces were moved less, and came to be regarded as more or less permanent fittings for a particular room. It was at this point that many old tapestries were cut to allow fitting around doors and windows. They also often suffered the indignity of having paintings hung on top of them. Some new tapestries were made to fit around a specific room; the design of the Gobelins set from Croome Court, now in New York, has a large field with an ornamental design that could easily be adjusted in size to fit the measurements of the customer's room.


title: Tapestry

text: Much is unclear about the early history of tapestry, as actual survivals are very rare, and literary mentions in Greek, Roman and other literature almost never give enough detail to establish that a tapestry technique is being described. From ancient Egypt, tapestry weave pieces using linen were found in the tombs of both Thutmose IV (d. 1391 or 1388 BC) and Tutankhamen (c. 1323 BC), the latter a glove and a robe.


title: Tapestry

text: Pieces in wool, given a wide range of dates around two millennia ago, have been found in a cemetery at Sanpul (Shampula) and other sites near Khotan in the Tarim Basin. They appear to have been made in a variety of places, including the Hellenistic world. The largest fragments, known as the Sampul tapestry and probably Hellenistic in origin, apparently came from a large wall-hanging, but had been reused to make a pair of trousers.


title: Tapestry

text: The Hestia Tapestry from Byzantine Egypt around 500–550, is a largely intact wool piece with many figures around the enthroned goddess Hestia, who is named in Greek letters. It is 114 x 136.5 cm (44.9 x 53.7 inches) with a rounded top, and was presumably hung in a home, showing the persistence of Greco-Roman paganism at this late date. The Cleveland Museum of Art has a comparable enthroned Virgin Mary of similar date. Many of the small borders and patches with images with which the early Byzantine world liked to decorate their clothing were in tapestry.


title: Tapestry

text: A number of survivals from around the year 1000 show the development of a frieze shape, of a large long tapestry that is relatively short in height. These were apparently designed to hang around a hall or church, probably rather high; surviving examples have nearly all been preserved in churches, but may originally have been secular. The Cloth of St Gereon, from around 1000, has a repeat pattern centred on medallions with a motif of a bull being attacked by a griffin, taken from Byzantine silk (or its Persian equivalent) but probably woven locally in the Rhineland. It survived in a church in Cologne, Germany.


title: Tapestry

text: The five strips of Överhogdal tapestries, from Sweden and dated to within 70 years of 1100, have designs in which animals greatly outnumber human figures, and have been given various interpretations. One strip has geometrical motifs. The Skog tapestry, also from Sweden but probably early 14th-century, is comparable in style.


title: Tapestry

text: The most famous frieze hanging is the Bayeux Tapestry, actually an embroidery, which is 68.38 metres long and 0.5 metres wide () and would have been even longer originally. This was made in England, probably in the 1070s, and the narrative of the Norman Conquest of England in 1066 is very clear, explained by tituli in Latin. This may have been an Anglo-Saxon genre, as the "Liber Eliensis" records that the widow of the Anglo-Saxon commander Byrhtnoth gave Ely Abbey a tapestry or hanging celebrating his deeds, presumably in the style of the Bayeux Tapestry, the only surviving example of such a work. This was given immediately after his death in 991 at the Battle of Maldon, so had probably been hanging in his home previously.


title: Tapestry

text: A group with narrative religious scenes in a clearly Romanesque style that relates to Rhineland illuminated manuscripts of the same period was made for Halberstadt Cathedral in Germany around 1200, and shaped differently to fit specific spaces. These may well have been made by nuns, or the secular canonesses of nearby Quedlinburg Abbey.


title: Tapestry

text: In this period repeated decorative motifs, increasingly often heraldic, and comparable to the styles of imported luxury fabrics such as Byzantine silk, seem to have been the common designs. Of the tapestries mentioned above, the Cloth of St Gereon best represents this style.


title: Tapestry

text: A decisive shift in European tapestry history came around 1350, and in many respects set the pattern for the industry until the end of its main period of importance, in the upheavals following the French Revolution. The tapestries made for the very small number of customers able to commission the best pieces were now extremely large, and extremely expensive, very often made in sets, and often showed complicated narrative or allegorical scenes with large numbers of figures. They were made in large workshops concentrated in a number of cities in a relatively small region of northern France and the Southern Netherlands (partly to be near supplies of English wool). By convention all these are often called "Flemish tapestries", although most of the production centres were not in fact in the County of Flanders.


title: Tapestry

text: Before reaching the weaving workshop, the commissioning process typically involved a patron, an artist, and a merchant or dealer who sorted out the arrangements and contracts. Some tapestries seem to have been made for stock, before a customer had emerged. The financing of the considerable costs of setting up a workshop is often obscure, especially in the early period, but rulers supported some workshops, or other wealthy people. The merchants or dealers were very likely also involved.


title: Tapestry

text: Where surviving tapestries from before around 1600 were made is often unclear; from 1528 Brussels, by then clearly the main centre, required its weavers to mark tapestries of any size with the city's mark and that or the weaver or merchant. At any one time from 1350 to 1600 probably only one or two centres could produce the largest and finest royal orders, and groups of highly skilled weavers migrated to new centres, often driven to move by wars or the plague. At first Paris led the field, but the English occupation there after 1418 sent many to Arras, already a centre. Arras in turn was sacked in 1477, leading to the rise of Tournai, until a serious plague early in the next century. Brussels had been growing in importance, and now became the most important centre, which it remained until the Eighty Years War disrupted all the Netherlands. Brussels had a revival in the early 17th century, but from around 1650 the French factories were increasingly overtaking it, and remained dominant until both fashion and the upheavals of the French Revolution and the Napoleonic Wars brought the virtual end of the traditional demand for large tapestries.


title: Tapestry

text: There was always some tapestry weaving, mostly in rather smaller workshops making smaller pieces, in other towns in northern France and the Low Countries. This was also the case in other parts of Europe, especially Italy and Germany. From the mid-16th century many rulers encouraged or directly established workshops capable of high-quality work in their domains. This was most successful in France, but Tuscany, Spain, England and eventually Russia had high-quality workshops, normally beginning with the importation of a group of skilled workers from the "Flemish" centres.


title: Tapestry

text: The main weaving centres were ruled by the French and Burgundian branches of the House of Valois, who were extremely important patrons in the Late Medieval period. This began with the four sons of John II of France (d. 1362), whose inventories reveal they owned hundreds of tapestries between them. Almost the only clear survival from these collections, and the most famous tapestry from the 14th century, is the huge "Apocalypse Tapestry", a very large set made for Louis I, Duke of Anjou in Paris between 1377 and 1382.


title: Tapestry

text: Another of the brothers, Philip the Bold, Duke of Burgundy (d. 1404) was probably an even more extravagant spender, and presented many tapestries to other rulers around Europe. Several of the tapestry-weaving centres were in his territories, and his gifts can be seen as a rather successful attempt to spread the taste for large Flemish tapestries to other courts, as well as being part of his attempt to promote the status of his duchy. Apart from Burgundy and France, tapestries were given to several of the English Plantagenets, and the rulers of Austria, Prussia, Aragon, Milan, and at his specific request, to the Ottoman Sultan Bazajet I (as part of a ransom deal for the duke's son). None of the tapestries Philip commissioned appear to survive. Philip's taste for tapestries was to continue very strongly in his descendants, including the Spanish Habsburgs.


title: Tapestry

text: The new style of grand tapestries that were large and often in sets mostly showed subjects with large numbers of figures representing narrative subjects. The iconography of a high proportion of narrative tapestries goes back to written sources, the Bible and Ovid's "Metamorphoses" being two popular choices.


title: Tapestry

text: It is a feature of tapestry weaving, in contrast to painting, that weaving an area of the work containing only relatively plain areas of the composition, such as sky, grass or water, still involves a relatively large amount of slow and skilled work. This, together with the client's expectation of an effect of overpowering magnificence, and the remoteness of the main centres from Italian influence, led to northern compositions remaining crammed with figures and other details long after classicizing trends in Italian Renaissance painting had reduced the crowding in paintings.


title: Tapestry

text: An important challenge to the northern style was the arrival in Brussels, probably in 1516, of the Raphael Cartoons for the pope's Sistine Chapel commission of a grand set depicting the Acts of the Apostles. These were sent from Rome and used the latest monumental classicizing High Renaissance style, which was also reaching the north through prints.


title: Tapestry

text: Hunting scenes were also very popular. These were usually given no specific setting, although sometimes the commissioner and other figures might be given portraits. The four Devonshire Hunting Tapestries (1430-1450, V&A), probably made in Arras, are perhaps the largest set of 15th-century survivals, showing the hunting of bears, boars, deer, swans, otters, and falconry. Very fashionably dressed ladies and gentlemen stroll around beside the slaughter. Another set, from after 1515, show a similar late-medieval style, although partly made with silk, so extra-expensive.


title: Tapestry

text: But the twelve pieces in "Les Chasses de Maximilien" (1530s, Louvre), made in Brussels for a Habsburg patron, show an advanced Renaissance compositional style adapted to tapestries. These have a hunting scene for each month in the year, and also show specific locations around the city. Goya was still designing hunting scenes in the 1770s.


title: Tapestry

text: After a probable gap since the 11th century, in the late 14th century sets of tapestries returned as the grandest medium for "official military art", usually celebrating the victories of the person commissioning them. Philip the Bold commissioned a "Battle of Roosbeke" set two years after his victory in 1382, which was five metres high and totalled over 41 metres in width. John of Gaunt, Duke of Lancaster insisted it was changed when Philip displayed it at a diplomatic meeting in Calais in 1393 to negotiate a peace treaty; Gaunt regarded the subject-matter as inappropriate for the occasion. The Portuguese Pastrana Tapestries (1470s) were an early example, and a rare survival from so early.


title: Tapestry

text: Many sets were produced of the lives of classical heroes that included many battle scenes. Not only the Trojan War, Alexander the Great, Julius Caesar and Constantine I were commemorated, but also less likely figures such as Cyrus the Great of ancient Persia.


title: Tapestry

text: There were many 15th-century sets of contemporary wars, especially celebrating Habsburg victories. Charles V commissioned a large set after his decisive victory at the Battle of Pavia in 1525; a set is now in the Museo di Capodimonte in Naples. When he led an expedition to North Africa, culminating in the Conquest of Tunis in 1535 (no more lasting than that of Tangier depicted in the Pastrana tapestries), he took the Flemish artist Jan Cornelisz Vermeyen with him, mainly to produce drawings for the set of tapestries ordered on his return.


title: Tapestry

text: Contemporary military subjects became rather less popular as many 16th-century wars became religious, sometimes allegorical subjects were chosen to cover these. But the Battle of Lepanto was commemorated with a Brussels set, and the defeat of the Spanish Armada with the Armada Tapestries (1591); these were made in Delft, by a team who also made many tapestries of Dutch naval victories. The Armada set were destroyed in the Burning of Parliament in 1834, but are known from prints. Both sets adopted a high and distant aerial view, which continued in many later sets of land battles, often combined with a few large figures in the foreground. The French tapestries commissioned by Louis XIV of the victories early in his reign were of this type. Right at the end of the 16th century, a set (now in Madrid) was commissioned of the "Triumphs and battles of Archduke Albert", who had just been made sovereign of the Spanish Netherlands (his military career had in fact been rather unsuccessful). The city council of Antwerp ordered it from the workshop of Maarten Reymbouts the Younger in Brussels, to be first seen on the occasion of his Royal entry to Antwerp in late 1599.


title: Tapestry

text: A set produced for John Churchill, 1st Duke of Marlborough showing his victories was varied for different clients, and even sold to one of his opponents, Maximilian II Emanuel, Elector of Bavaria, after reworking the general's faces and other details.


title: Tapestry

text: Millefleur (or millefleurs) was a background style of many different small flowers and plants, usually shown on a green ground, as though growing in grass. Often various animals are added, usually all at about the same size, so that a rabbit or dove and a unicorn are not much different in size. Trees are usually far too small and out of scale with the flowers around them, a feature also generally found in medieval painting.


title: Tapestry

text: The millefleur style was used for a range of different subjects from about 1400 to 1550, but mainly between about 1480 and 1520. In many subjects the millefleur background stretches to the top of the tapestry, eliminating any sky; the minimization of sky was already a feature of tapestry style; the Devonshire Hunting Tapestries show an early stage of the style. Prominent millefleur backgrounds, as opposed to those mostly covered with figures, are especially a feature of allegorical and courtly subjects. "The Lady and the Unicorn" set in Paris are famous examples, from around 1500.


title: Tapestry

text: Millefleur backgrounds became very common for heraldic tapestries, which were one of the most popular relatively small types, usually more tall than wide. These usually featured the coat of arms of the patron in the centre, with a wide floral field. They would often be hung behind the patron when he sat in state or dined, and were made for many nobles who could not afford the huge narrative sets bought by royalty. Enghien was a smaller weaving centre that seems to have specialized in these. Earlier types of heraldic tapestries had often repeated elements of the heraldry in patterns.


title: Tapestry

text: After about 1520 the top workshops moved away from millefleur settings towards naturalistic landscape, with all the elements sized at a consistent perspective scale. Tapestries whose main content was landscape and animals are known as verdure subjects (from the French for "greenery"). This genre has suffered more than most from colour changes as the greens of tapestries are especially prone to fade, or turn to blues. Smaller tapestries of this type remained popular until the 18th century, and had the advantage that workshops could make them without a specific order, and distribute them across Europe via a network of dealers. From about 1600 they followed the wider trends in European landscape painting and prints. Oudenarde specialized in these, but they were produced in many towns. As with paintings, the addition of a figure or two could elevate such pieces to a depiction of a story from classical mythology, or a hunting subject.


title: Tapestry

text: Tapestry weavers in the Netherlands had become very comfortable working with the Gothic style by the late 15th century, and were slow to reflect the stylistic changes of the Italian Renaissance; perhaps pressure from the customers for tapestries led the way. Prints enabled Italian designs to be seen in the north.


title: Tapestry

text: A distinctive Italian subject was the Petrarchan "triumph", derived from his poem-cycle "I trionfi" (before 1374). The first recorded tapestries were a three piece set ordered by Duke Philip the Bold of Burgundy from Paris in 1399. A set made in the 1450s for Giovanni de' Medici, a leading patron of the latest Florentine style, used cartoons sent from Italy to the Netherlandish weavers. But the subjects suited the tapestry weavers style, as most designs included packed crowds of elaborately-dressed figures, and there were moral messages to be drawn.


title: Tapestry

text: The 16th century continued the taste for tapestry, and was arguably the finest period in the history of the medium. By now the tapestry-producing towns were mostly ruled by the Habsburg family, who replaced the Valois as the dominant patrons. At the start of the century Tournai was perhaps still the largest weaving centre, but after a plague it was replaced by Brussels, which as the Netherlandish administrative capital of the Valois and Habsburgs in recent decades was probably already the main centre for the highest quality weaving by 1500. But there were many other towns where tapestries were woven.


title: Tapestry

text: Tapestries were commissioned in the Netherlands by rulers across Europe, from King Henry VIII in England, to Pope Leo X and Sigismund II Augustus of Poland and Lithuania. Ownership of smaller tapestries was also spreading more widely through the nobility and bourgeoisie. From 1528 tapestries of larger sizes made in Brussels had to be so marked, and with the maker's or dealer's mark, making the task of the historian much easier. After an agreement between the relevant guilds in 1476, the cartoons for the main designs had to be supplied by a member of the painters' guild, while the weavers could elaborate these with detail, especially in "millefeur" designs. This ensured a high quality of design for Brussels pieces.


title: Tapestry

text: At the beginning of the century Late Gothic styles held sway, and both the most famous sets of "millefleur" "unicorn" tapestries were made around 1500, perhaps to designs from Paris: "The Lady and the Unicorn" (now Paris), and "The Hunt of the Unicorn" (now New York). Pope Leo's set for the Sistine Chapel, designed by Raphael in 1515–16, marked the introduction of the full Italian High Renaissance style to tapestry, and the top northern designers now attempted to adopt it, which was rather a struggle for them, although the wide distribution of prints across Europe gave them one easy route, which many took. "Les Chasses de Maximilien" (The Hunts of Maximilian) was a series of twelve huge Brussels tapestries designed by Bernard van Orley in the 1530s for the Habsburgs, one of the most successful efforts to achieve an up-to-date Renaissance style. Technically, Brussels tapestries in the last quarter of the 15th century had already become sophisticated enough to begin to incorporate more illusionistic elements, distinguishing between different textures in their subject-matter, and including portraits of individuals (now mostly unknown) rather than generic figures.


title: Tapestry

text: Over the century oil paintings mostly moved from a panel support to canvas, allowing a far greater size, and began to compete seriously with tapestries. The authenticity of the master's touch that paintings allowed, but tapestry did not, became appreciated by the most sophisticated patrons, including the Habsburgs. However, Charles V and Philip II of Spain continued to spend huge sums on tapestries, apparently believing them the most magnificent form of decoration, and one that maintained continuity with their Burgundian ancestors.


title: Tapestry

text: The early part of the 17th century saw the taste for tapestry among the elite continuing, although painting was steadily gaining ground. Brussels remained much the most important weaving centre, and Rubens, mostly based in Antwerp not far away, brought the grand Baroque style to the medium, with Jacob Jordaens and others also designing many. In later generations important designers included Justus van Egmont (d. 1674), Ludwig van Schoor (d. 1702) and Jan van Orley (d. 1735, the last of a long-lasting dynasty). The Brussels workshops declined somehat in the second half of the century, both as large Flemish Baroque paintings took some of their market, and French competition squeezed the remaining niche for tapestries.


title: Tapestry

text: Production in Paris revived from 1608, flagging in the civil wars of the 1640s, but starting again in 1658 when Nicolas Fouquet founded a workshop. After his fall Colbert mostly merged this to the new Gobelins Manufactory he founded for the king in 1663, which continues to this day. The Beauvais Manufactory, always a private enterprise, was founded by Colbert in 1664, but only became significant from twenty years later. Aubusson tapestry, probably a continuation of earlier small workshops, continued but was to become more significant in the next century. The Gobelins works, fed designs in the latest Style Louis XIV by the court artists, became increasingly dominant over the rest of the century, and by 1700 was the most admired and imitated workshop in Europe.


title: Tapestry

text: The Mortlake Tapestry Works outside London were founded in 1619, with encouragement from King Charles I of England, using Flemish weavers at the start, and in the 1620s and 1630s were producing some of the best quality tapestry in Europe. The Medici workshop in Florence continued, and from 1630 was joined by one in Rome, started by Cardinal Francesco Barberini with the inevitable imported Flemish director. Both the Mortlake and Rome workshops petered out around the end of the century. In Germany, workshops were established in Munich in 1604, and some nine further cities by the end of the century, many sponsored by the local ruler.


title: Tapestry

text: Around the start of the century there was increased interest in landscape subjects, some still with hunting scenes, but others showing genre subjects of rural life.


title: Tapestry

text: Few new workshops were begun in the century, the main exception being the Royal Tapestry Factory in Madrid. This was started in 1720, soon after Spain lost its territories in Flanders under the Treaty of Utrecht. Philip V of Spain brought Jacob van der Goten and six of his sons to Madrid. Much the best known tapestries are those designed by Francisco Goya from 1775. These mostly show genre scenes of lovers or country people recreating. Both his cartoons and the tapestries made from them mostly survive, with many of the cartoons in the Prado, and the tapestries still in the royal palaces. As with Raphael's cartoons for the Sistine Chapel tapestries, modern critics tend to prefer the cartoons. The works were privately owned by the van der Gotens and descendants until 1997, and the last member of the family resigned as chair in 2002. Apart from pauses during wars, the works has continued to produce tapestries.


title: Tapestry

text: Around the mid-century, the new Rococo style proved very effective in tapestries, now a good deal smaller than before. François Boucher produced 45 cartoons for Beauvais, and then by 1753 followed the animal painter Jean-Baptiste Oudry as artistic director at Gobelins. Oudry's best known set was the eight-strong "The Pastoral Amusements" made from the 1720s onwards in many repetitions.


title: Tapestry

text: During the second half of the century, the main Brussels workshops gradually closed, the last in 1794. Tapestry suited neither Neoclassicism nor Romanticism very well, and this together with the disruptions of the French Revolution and Napoleonic Wars brought the production of large figurative tapestries almost to a halt across Europe.


title: Tapestry

text: In the 19th century, William Morris resurrected the art of tapestry-making in the medieval style at Merton Abbey. Morris & Co. made successful series of tapestries for home and ecclesiastical uses, with figures based on cartoons by Edward Burne-Jones. The set of six "Holy Grail tapestries" of the 1890s, repeated a number of times, are the largest they made, and perhaps the most successful.


title: Tapestry

text: Traditional tapestries are still made at the Gobelins factory in Paris, and the royal factory in Madrid. They and a few other old European workshops also repair and restore old tapestries; the main British workshop is at Hampton Court Palace, a department of the Royal Collection Trust.


title: Tapestry

text: The Chinese "kesi" is a tapestry weave, normally using silk on a small scale compared to European wall-hangings. Clothing for the court was one of the main uses. The density of knots is typically very high, with a gown of the best quality perhaps involving as much work as a much larger European tapestry. Initially used for small pieces, often with animal, bird and flower decoration, or dragons for imperial clothing, under the Ming dynasty it was used to copy paintings.


title: Tapestry

text: "The Death of Polydorus" is one of an unusual set of seven large tapestry hangings made in China for the Portuguese governor of Macao in the 1620s, blending Western and Chinese styles. Most of the hangings are embroidery, but the faces and flesh parts of the figures are appliqué painted silk satin pieces, reflecting a Chinese technique often used for Buddhist banners, and the larger forms of thangka.


title: Tapestry

text: Kilims and Navajo rugs are also types of tapestry work, the designs of both mostly restricted to geometrical patterns similar to those of other rug weaving techniques.


title: Tapestry

text: The Moroccan Handira is a hand-woven tapestry made by Berber women in the Middle-Atlas as part of a girl's dowry. This creamy sequined tapestry features embroidery and mirrored sequins believed to warn off the evil eye and to bring "baraka," the Moroccan word for good luck and prosperity. The tapestry is worn by the bride as a cover on her wedding day before using it as a throw in her marital bedroom.


title: Tapestry

text: What distinguishes the contemporary field from its pre-World War II history is the predominance of the artist as weaver in the contemporary medium. This trend has its roots in France during the 1950s, where one of the "cartoonists" for the Aubusson tapestry studios, Jean Lurçat spearheaded a revival of the medium by streamlining colour selection, thereby simplifying production, and by organizing a series of Biennial exhibits held in Lausanne, Switzerland. The Polish work submitted to the first Biennale, which opened in 1962, was quite novel. Traditional workshops in Poland had collapsed as a result of the war. Also art supplies in general were hard to acquire. Many Polish artists had learned to weave as part of their art school training and began creating highly individualistic work by using atypical materials like jute and sisal. With each Biennale the popularity of works focusing on exploring innovative constructions from a wide variety of fiber resounded around the world.


title: Tapestry

text: There were many weavers in pre-war United States, but there had never been a prolonged system of workshops for producing tapestries. Therefore, weavers in America were primarily self-taught and chose to design as well as weave their art. Through these Lausanne exhibitions, US artists/weavers, and others in countries all over the world, were excited about the Polish trend towards experimental forms. Throughout the 1970s almost all weavers had explored some manner of techniques and materials in vogue at the time. What this movement contributed to the newly realized field of art weaving, termed "contemporary tapestry", was the option for working with texture, with a variety of materials and with the freedom for individuality in design


title: Tapestry

text: In the 1980s it became clear that the process of weaving weft-faced tapestry had another benefit, that of stability. The artists who chose tapestry as their medium developed a broad range of personal expression, styles and subject matter, stimulated and nourished by an international movement to revive and renew tapestry traditions from all over the world. Competing for commissions and expanding exhibition venues were essential factors in how artists defined and accomplished their goals.


title: Tapestry

text: Much of the impetus in the 1980s for working in this more traditional process came from the Bay Area in Northern California where, twenty years earlier, Mark Adams, an eclectic artist, had two exhibits of his tapestry designs. He went on to design many large tapestries for local buildings. Hal Painter, another well-respected artist in the area became a prolific tapestry artist during the decade weaving his own designs. He was one of the main artists to "...create the atmosphere which helped give birth to the second phase of the contemporary textile movement – textiles as art – that recognition that textiles no longer had to be utilitarian, functional, to serve as interior decoration."


title: Tapestry

text: Early in the 1980s many artists committed to getting more professional and often that meant traveling to attend the rare educational programs offered by newly formed ateliers, such as the San Francisco Tapestry Workshop, or to far-away institutions they identified as fitting their needs. This phenomenon was happening in Europe and Australia as well as in North America.


title: Tapestry

text: Opportunities for entering juried tapestry exhibits were beginning to happen by 1986, primarily because the American Tapestry Alliance (ATA), founded in 1982, organised biennial juried exhibits starting in 1986. The biennials were planned to coincide with the Handweavers Guild or America's "Convergence" conferences. The new potential for seeing the work of other tapestry artists and the ability to observe how one's own work might fare in such venues profoundly increased the awareness of a community of like-minded artists. Regional groups were formed for producing exhibits and sharing information.


title: Tapestry

text: The desire of many artists for greater interaction escalated as an international tapestry symposium in Melbourne, Australia in 1988 lead to a second organization committed to tapestry, the International Tapestry Network (ITNET). Its goal was to connect American tapestry artists with the burgeoning international community. The magazines were discontinued in 1997 as communicating digitally became a more useful tool for interactions. As the world has moved into the digital age, tapestry artists around the world continue to share and inspire each other's work.


title: Tapestry

text: By the new millennium however, fault lines had surfaced within the field. Many universities that previously had strong weaving components in their art departments, such as San Francisco State University, no longer offered handweaving as an option as they shifted their focus to computerized equipment. A primary cause for discarding the practice was the fact that only one student could use the equipment for the duration of a project whereas in most media, like painting or ceramics, the easels or potters wheels were used by several students in a day. Worldwide, people from all different cultures began adopting these forms of decor for profession and personal use.


title: Tapestry

text: At the same time, "fiber art" had become one of the most popular mediums in their art programs. Young artists were interested in exploring a wider scope of processes for creating art through the materials classified as fiber. This shift to more multimedia and sculptural forms and the desire to produce work more quickly had the effect of pushing contemporary tapestry artists inside and outside the academic institutions to ponder how they might keep pace in order to sustain visibility in their art form.


title: Tapestry

text: Susan Iverson, a professor in the School of the Arts at Virginia Commonwealth University, explains her reasons:


title: Tapestry

text: I came to tapestry after several years of exploring complex weaves. I became enamored with tapestry because of its simplicity — its straightforward qualities. It allowed me to investigate form or image or texture, and it had the structural integrity to hold its own form. I loved the substantial quality of a tapestry woven with heavy threads—its object quality.


title: Tapestry

text: My passion for tapestry arrived suddenly on the first day of my introduction to it in my first year at ECA [Edinburgh College of Art.] I don't remember ever having consciously thought about tapestry before that day but I somehow knew that eventually I'd be really good at this. From that day I have been able to plough a straight path deeper and deeper into tapestry, through my studies in Scotland and Poland, my 8 years as a studio weaver in England and Australia and since 1987 as an independent tapestry artist. The demanding creative ethos of the tapestry department gave me the confidence, motivation and self-discipline I needed to move out into the world as a professional tapestry weaver and artist. What was most inspiring for me as a young student was that my tutors in the department were all practising, exhibiting artists engaging positively with what was then a cutting edge international Fibre Art movement.


title: Tapestry

text: 500 years ago it was already extremely sophisticated in its development-- aesthetically, technically and in diversity of purpose. Today, its lack of a defined purpose, its rarity, gives me an opportunity to seek new roles, to extend its historic language and, above all, to dominate my compulsive, creative drive. In 1967, I made a formal decision to step away from the burgeoning and exciting fiber arts movement and to refocus on woven tapestry's long-established graphic pictorial role.


title: Tapestry

text: In the mid-twentieth century, new tapestry art forms were developed by children at the Ramses Wissa Wassef Art Centre in Harrania, Egypt.


title: Tapestry

text: The term "tapestry" is also used to describe weft-faced textiles made on Jacquard looms. Before the 1990s tapestry upholstery fabrics and reproductions of the famous tapestries of the Middle Ages had been produced using Jacquard techniques but more recently, artists such as Chuck Close, Patrick Lichty, and the workshop Magnolia Editions have adapted the


title: Tapestry

text: Typically, tapestries are translated from the original design via a process resembling paint-by-numbers: a cartoon is divided into regions, each of which is assigned a solid colour based on a standard palette. However, in Jacquard weaving, the repeating series of multicoloured warp and weft threads can be used to create colours that are optically blended – i.e., the human eye apprehends the threads’ combination of values as a single colour.


title: Tapestry

text: This method can be likened to pointillism, which originated from discoveries made in the tapestry medium. The style's emergence in the 19th century can be traced to the influence of Michel Eugène Chevreul, a French chemist responsible for developing the colour wheel of primary and intermediary hues. Chevreul worked as the director of the dye works at Les Gobelins tapestry works in Paris, where he noticed that the perceived colour of a particular thread was influenced by its surrounding threads, a phenomenon he called “simultaneous contrast". Chevreul's work was a continuation of theories of colour elaborated by Leonardo da Vinci and Goethe; in turn, his work influenced painters including Eugène Delacroix and Georges-Pierre Seurat.


title: Tapestry

text: The principles articulated by Chevreul also apply to contemporary television and computer displays, which use tiny dots of red, green and blue (RGB) light to render colour, with each composite being called a pixel.


title: Generation gap

text: A generation gap or generational gap is a difference of opinions between one generation and another regarding beliefs, politics, or values. In today's usage, "generation gap" often refers to a perceived gap between younger people and their parents or grandparents.


title: Generation gap

text: Early sociologists such as Karl Mannheim noted differences across generations in how the youth transits into adulthood, and studied the ways in which generations separate themselves from one another, in the home and in social situations and areas (such as churches, clubs, senior centers, and youth centers).


title: Generation gap

text: The sociological theory of a generation gap first came to light in the 1960s, when the younger generation (later known as baby boomers) seemed to go against everything their parents had previously believed in terms of music, values, governmental and political views as well as cultural tastes. Sociologists now refer to the "generation gap" as "institutional age segregation". Usually, when any of these age groups are engaged in its primary activity, the individual members are physically isolated from people of other generations, with little interaction across age barriers except at the nuclear family level.


title: Generation gap

text: There are several ways to make distinctions between generations. For example, names are given to major groups (Silent Generation, Baby boomers, Generation X, Millennials, Generation Z, and Generation Alpha) and each generation sets its own trends and has its own cultural impact.


title: Generation gap

text: It can be distinguished by the differences in their language use. The generation gap has created a parallel gap in language that can be difficult to communicate across. This issue is one visible throughout society, creating complications within a day to day communication at home, in the workplace, and within schools. As new generations seek to define themselves as something apart from the old, they adopt new lingo and slang, allowing a generation to create a sense of division from the previous one. This is a visible gap between generations we see every day. "Man's most important symbol is his language and through this language, he defines his reality."


title: Generation gap

text: Slang is an ever-changing set of colloquial words and phrases that speakers use to establish or reinforce social identity or cohesiveness within a group or with a trend in society at large. As each successive generation of society struggles to establish its own unique identity among its predecessors it can be determined that generational gaps provide a large influence over the continual change and adaptation of slang. As slang is often regarded as an ephemeral dialect, a constant supply of new words is required to meet the demands of the rapid change in characteristics. And while most slang terms maintain a fairly brief duration of popularity, slang provides a quick and readily available vernacular screen to establish and maintain generational gaps in a societal context.


title: Generation gap

text: Every generation develops new slang, but with the development of technology, understanding gaps have widened between the older and younger generations. "The term 'communication skills,' for example, might mean formal writing and speaking abilities to an older worker. But it might mean e-mail and instant-messenger savvy to a twenty-something." People often have private conversations in secret in a crowded room in today's age due to the advances of mobile phones and text messaging. Among "texters" a form of slang or texting lingo has developed, often keeping those not as tech-savvy out of the loop. "Children increasingly rely on personal technological devices like cell phones to define themselves and create social circles apart from their families, changing the way they communicate with their parents. Cell phones, instant messaging, e-mail and the like have encouraged younger users to create their own inventive, quirky and very private written language. That has given them the opportunity to essentially hide in plain sight. They are more connected than ever, but also far more independent. Text messaging, in particular, has perhaps become this generation's version of Pig Latin."


title: Generation gap

text: While in the case with language skills such as shorthand, a system of stenography popular during the twentieth century, technological innovations occurring between generations have made these skills obsolete. Older generations used shorthand to be able to take notes and write faster using abbreviated symbols, rather than having to write each word. However, with new technology and keyboard, newer generations no longer need these older communication skills, like Gregg shorthand. Although over 20 years ago, language skills such as shorthand classes were taught in many high schools, now students have rarely seen or even heard of forms like shorthand.


title: Generation gap

text: The transitions from each level of lifespan development have remained the same throughout history. They have all shared the same basic milestones in their travel from childhood, through midlife and into retirement. However, while the pathways remain the same—i.e. attending school, marriage, raising families, retiring—the actual journey varies not only with each individual, but with each new generation. For instance, as time goes on, technology is being introduced to individuals at younger and younger ages. While the Baby Boomers had to introduce Atari and VCRs to their parents, Millennials had to teach their parents how to maneuver such things as DVRs, cell phones and social media.


title: Generation gap

text: In 2011, the National Sleep Foundation conducted a poll that focused on sleep and the use of technology; 95% of those polled admitted to using some form of technology within the last hour before going to bed at night. The study compared the difference in sleep patterns in those who watched TV or listened to music prior to bedtime compared to those who used cell phones, video games and the Internet. The study looked at Baby Boomers (born 1946–1964), Generation Xers (born 1965–1980), Generation Yers (born 1981–1996), and Generation Zers (born 1997–2012). The research, as expected, showed generational gaps between the different forms of technology used. The largest gap was shown between texting and talking on the phone; 56% of Gen Zers and 42% of Gen Y’ers admitted to sending, receiving, reading text messages every night within one hour prior to bedtime, compared to only 15% of Gen Xers, and 5% of Baby Boomers. Baby Boomers were more likely to watch TV within the last hour prior to bedtime, 67%, compared to Millennials, who came in at 49%. When asked about computer/internet use within the last hour prior to bedtime, 70% of those polled admitted to using a computer "a few times a week", and from those, 55% of the Gen Z’ers said they "surf the web" every night before bed.


title: Generation gap

text: Another phenomenon within a language that works to define a generation gap occurs within families in which different generations speak different primary languages. In order to find a means to communicate within the household environment, many have taken up the practice of language brokering, which refers to the "interpretation and translation performed in everyday situations by bilinguals who have had no special training". In immigrant families where the first generation speaks primarily in their native tongue, the second generation primarily in the language of the country in which they now live while still retaining fluency in their parent's dominant language, and the third generation primarily in the language of the country they were born in while retaining little to no conversational language in their grandparent's native tongue, the second generation family members serve as interpreters not only to outside persons, but within the household, further propelling generational differences and divisions by means of linguistic communication.


title: Generation gap

text: In some immigrant families and communities, language brokering is also used to integrate children into family endeavors and into civil society. Child integration has become very important to form linkages between new immigrant communities and the predominant culture and new forms of bureaucratic systems. It also serves towards child development by learning and pitching in.


title: Generation gap

text: "USA Today" reported that younger generations are "entering the workplace in the face of demographic change and an increasingly multi-generational workplace". Multiple engagement studies show that the interests shared across the generation gap by members of this increasingly multi-generational workplace can differ substantially.


title: Generation gap

text: A popular belief held by older generations is that the characteristics of Millennials can potentially complicate professional interactions. Some consider Millennials to be narcissistic and self-centered. When millennials first enter a new organization, they are often greeted with wary coworkers. Studies have found that millennials are usually exceptionally confident in their abilities and seek key roles in significant projects early on in their careers.


title: Generation gap

text: Most of these inflated expectations are direct results of the generation's upbringing. During the Great Recession, millennials watched first-hand as their parents worked long hours, only to fall victim to downsizing and layoffs. Many families could not withstand these challenges, leading to high divorce rates and broken families. In fact, 59% of Millennials say the Great Recession negatively impacted their career plans, while only 35% of mature workers feel the same way. For these reasons, millennials are more likely to negotiate the terms of their work. Though some boomers view this as lazy behavior, others have actually been able to learn from millennials, reflecting on whether the sacrifices that they had made in their lives provided them with the happiness that they had hoped for.


title: Generation gap

text: Growing up, millennials looked to parents, teachers, and coaches as a source of praise and support. They were a part of an educational system with inflated grades and standardized tests, in which they were skilled at performing well. Millennials developed a strong need for frequent, positive feedback from supervisors. Today, managers find themselves assessing their subordinates’ productivity quite frequently, despite the fact that they often find it burdensome. Additionally, millennials’ salaries and employee benefits give this generation an idea of how well they are performing. Millennials crave success, and good-paying jobs have been proven to make them feel more successful.


title: Generation gap

text: Because group projects and presentations were commonplace during the schooling of millennials, this generation enjoys collaborating and even developing close friendships with colleagues. While working as part of a team enhances innovation, enhances productivity, and lowers personnel costs. Supervisors find that millennials avoid risk and independent responsibility by relying on team members when making decisions, which prevents them from showcasing their own abilities.


title: Generation gap

text: Perhaps the most commonly cited difference between older and younger generations is technological proficiency. Studies have shown that their reliance on technology has made millennials less comfortable with face-to-face interaction and deciphering verbal cues. However, technological proficiency also has its benefits; millennials are far more effective in multitasking, responding to visual stimulation, and filtering information than older generations.


title: Generation gap

text: However, according to the engagement studies, mature workers and the new generations of workers share similar thoughts on a number of topics across the generation gap. Their opinions overlap on flexible working hours/arrangements, promotions/bonuses, the importance of computer proficiency, and leadership. Additionally, the majority of Millennials and mature workers enjoy going to work every day and feel inspired to do their best.


title: Generation gap

text: Generational consciousness is another way of distinguishing among generations that was worked on by social scientist Karl Mannheim. Generational consciousness is when a group of people become mindful of their place in a distinct group identifiable by their shared interests and values. Social, economic, or political changes can bring awareness to these shared interests and values for similarly-aged people who experience these events together and thereby form a generational consciousness. These types of experiences can impact individuals' development at a young age and enable them to begin making their own interpretations of the world based on personal encounters that set them apart from other generations.


title: Generation gap

text: "Both social isolation and loneliness in older men and women are associated with increased mortality, according to a 2012 Report by the National Academy of Sciences of the United States of America". Intergenerational living is one method being used worldwide as a means of combating such feelings. A nursing home in Deventer, The Netherlands, developed a program wherein students from a local university are provided small, rent-free apartments within the nursing home facility. In exchange, the students volunteer a minimum of 30 hours per month to spend time with the seniors. The students will watch sports with the seniors, celebrate birthdays, and simply keep them company during illnesses and times of distress. Programs similar to the Netherlands’ program were developed as far back as the mid-1990s in Barcelona, Spain. In Spain's program, students were placed in seniors’ homes, with a similar goal of free or cheap housing in exchange for companionship for the elderly. That program quickly spread to 27 other cities throughout Spain, and similar programs can be found in Lyon, France, and Cleveland, Ohio.


title: Generation gap

text: In order for sociologists to understand the transition into adulthood of children in different generation gaps, they compare the current generation to both older and earlier generations at the same time. Not only does each generation experience their own ways of mental and physical maturation, but they also create new aspects of attending school, forming new households, starting families and even creating new demographics. The difference in demographics regarding values, attitudes and behaviors between the two generations are used to create a profile for the emerging generation of young adults.


title: Generation gap

text: Following the thriving economic success that was a product of the Second World War, America's population skyrocketed between the years 1940-1959, to which the new American generation was called the Baby Boomers. Today, as of 2017, many of these Baby Boomers have celebrated their 60th birthdays and in the next few years America's senior citizen population will boost exponentially due to the population of people who were born during the years 1940 and 1959. The generation gap, however, between the Baby Boomers and earlier generations is growing due to the Boomers population post-war.


title: Generation gap

text: There is a large demographic difference between the Baby Boomer generation and earlier generations, where earlier generations are less racially and ethnically diverse than the Baby Boomers’ population. Where this drastic racial demographic difference occurs also holds to a continually growing cultural gap as well; baby boomers have had generally higher education, with a higher percentage of women in the labor force and more often occupying professional and managerial positions. These drastic culture and generation gaps create issues of community preferences as well as spending.


title: Bookbinding

text: Bookbinding is the process of physically assembling a book of codex format from an ordered stack of "signatures", sheets of paper folded together into sections that are bound, along one edge, with a thick needle and strong thread. Cheaper, but less permanent, methods for binding books include loose-leaf rings, individual screw-posts (binding posts), twin loop spine coils, plastic spiral coils, and plastic spine combs. For protection, the bound stack of signatures is wrapped in a flexible cover or is attached to stiffened boards. Finally, an attractive cover is placed onto the boards, which includes the publisher's information, and artistic decorations.


title: Bookbinding

text: The trade of binding books is in two parts; (i) stationery binding (vellum binding) for books intended for handwritten entries, such as accounting ledgers, business journals, blank-page books, and guest logbooks, and notebooks, manifold books, day books, diaries, and portfolios. (ii) letterpress printing and binding deals with making books intended for reading, which comprises library binding and fine binding, edition binding and publisher's bindings.


title: Bookbinding

text: Bookbinding is a specialized trade that relies on basic operations of measuring, cutting, and gluing. A finished book might need dozens of operations to complete, according to the specific style and materials. Bookbinding combines skills from other trades such as paper and fabric crafts, leather work, model making, and graphic arts. It requires knowledge about numerous varieties of book structures along with all the internal and external details of assembly. A working knowledge of the materials involved is required. A book craftsman needs a minimum set of hand tools but with experience will find an extensive collection of secondary hand tools and even items of heavy equipment that are valuable for greater speed, accuracy, and efficiency.


title: Bookbinding

text: Bookbinding straddles the line between an artistic craft of considerable antiquity and a highly mechanized industry, with the two sharing considerable similarities in the main problems faced. The first problem is still how to hold together the pages of a book; secondly is how to cover and protect the gathering of pages once they are held together; and thirdly, how to label and decorate the protective cover.


title: Bookbinding

text: Writers in the Hellenistic-Roman culture wrote longer texts as scrolls; these were stored in boxes or shelving with small cubbyholes, similar to a modern winerack. Court records and notes were written on wax tablets, while important documents were written on papyrus or parchment. The modern English word "book" comes from the Proto-Germanic "*bokiz", referring to the beechwood on which early written works were recorded.


title: Bookbinding

text: The book was not needed in ancient times, as many early Greek texts—scrolls—were 30 pages long, which were customarily folded accordion-fashion to fit into the hand. Roman works were often longer, running to hundreds of pages. The Ancient Greek word for book was , meaning "to cut". The Egyptian Book of the Dead was a massive 200 pages long and was used in funerary services for the deceased. Torah scrolls, editions of first five books of the Old Testament, known as the Israelite (or Hebrew) Bible, were—and still are—also held in special holders when read.


title: Bookbinding

text: Scrolls can be rolled in one of two ways. The first method is to wrap the scroll around a single core, similar to a modern roll of paper towels. While simple to construct, a single core scroll has a major disadvantage: in order to read text at the end of the scroll, the entire scroll must be unwound. This is partially overcome in the second method, which is to wrap the scroll around two cores, as in a Torah. With a double scroll, the text can be accessed from both beginning and end, and the portions of the scroll not being read can remain wound. This still leaves the scroll a sequential-access medium: to reach a given page, one generally has to unroll and re-roll many other pages.


title: Bookbinding

text: In addition to the scroll, wax tablets were commonly used in Antiquity as a writing surface. Diptychs and later polyptych formats were often hinged together along one edge, analogous to the spine of modern books, as well as a folding concertina format. Such a set of simple wooden boards sewn together was called by the Romans a codex (pl. codices)—from the Latin word , meaning "the trunk" of a tree, around the first century AD. Two ancient polyptychs, a pentaptych and octoptych, excavated at Herculaneum employed a unique connecting system that presages later sewing on thongs or cords.


title: Bookbinding

text: At the turn of the first century, a kind of folded parchment notebook called in Latin, became commonly used for writing throughout the Roman Empire. This term was used by both the pagan Roman poet Martial and Christian apostle Saint Paul. Martial used the term with reference to gifts of literature exchanged by Romans during the festival of Saturnalia. According to T. C. Skeat, "in at least three cases and probably in all, in the form of codices" and he theorized that this form of notebook was invented in Rome and then "must have spread rapidly to the Near East". In his discussion of one of the earliest pagan parchment codices to survive from Oxyrhynchus in Egypt, Eric Turner seems to challenge Skeat's notion when stating "its mere existence is evidence that this book form had a prehistory" and that "early experiments with this book form may well have taken place outside of Egypt".


title: Bookbinding

text: Early intact codices were discovered at Nag Hammadi in Egypt. Consisting of primarily Gnostic texts in Coptic, the books were mostly written on papyrus, and while many are single-quire, a few are multi-quire. Codices were a significant improvement over papyrus or vellum scrolls in that they were easier to handle. However, despite allowing writing on both sides of the leaves, they were still foliated—numbered on the leaves, like the Indian books. The idea spread quickly through the early churches, and the word "Bible" comes from the town where the Byzantine monks established their first scriptorium, Byblos, in modern Lebanon. The idea of numbering each side of the page—Latin , "to fasten"—appeared when the text of the individual testaments of the Bible were combined and text had to be searched through more quickly. This book format became the preferred way of preserving manuscript or printed material.


title: Bookbinding

text: The codex-style book, using sheets of either papyrus or vellum (before the spread of Chinese papermaking outside of Imperial China), was invented in the Roman Empire during the 1st century AD. First described by the poet Martial from Roman Spain, it largely replaced earlier writing mediums such as wax tablets and scrolls by the year 300 AD. By the 6th century AD, the scroll and wax tablet had been completely replaced by the codex in the Western world.


title: Bookbinding

text: Western books from the fifth century onwards were bound between hard covers, with pages made from parchment folded and sewn onto strong cords or ligaments that were attached to wooden boards and covered with leather. Since early books were exclusively handwritten on handmade materials, sizes and styles varied considerably, and there was no standard of uniformity. Early and medieval codices were bound with flat spines, and it was not until the fifteenth century that books began to have the rounded spines associated with hardcovers today. Because the vellum of early books would react to humidity by swelling, causing the book to take on a characteristic wedge shape, the wooden covers of medieval books were often secured with straps or clasps. These straps, along with metal bosses on the book's covers to keep it raised off the surface that it rests on, are collectively known as furniture.


title: Bookbinding

text: The earliest surviving European bookbinding is the St Cuthbert Gospel of about 700, in red goatskin, now in the British Library, whose decoration includes raised patterns and coloured tooled designs. Very grand manuscripts for liturgical rather than library use had covers in metalwork called treasure bindings, often studded with gems and incorporating ivory relief panels or enamel elements. Very few of these have survived intact, as they have been broken up for their precious materials, but a fair number of the ivory panels have survived, as they were hard to recycle; the divided panels from the Codex Aureus of Lorsch are among the most notable. The 8th century Vienna Coronation Gospels were given a new gold relief cover in about 1500, and the Lindau Gospels (now Morgan Library, New York) have their original cover from around 800.


title: Bookbinding

text: Luxury medieval books for the library had leather covers decorated, often all over, with tooling (incised lines or patterns), blind stamps, and often small metal pieces of furniture. Medieval stamps showed animals and figures as well as the vegetal and geometric designs that would later dominate book cover decoration. Until the end of the period books were not usually stood up on shelves in the modern way. The most functional books were bound in plain white vellum over boards, and had a brief title hand-written on the spine. Techniques for fixing gold leaf under the tooling and stamps were imported from the Islamic world in the 15th century, and thereafter the gold-tooled leather binding has remained the conventional choice for high quality bindings for collectors, though cheaper bindings that only used gold for the title on the spine, or not at all, were always more common. Although the arrival of the printed book vastly increased the number of books produced in Europe, it did not in itself change the various styles of binding used, except that vellum became much less used.


title: Bookbinding

text: Although early, coarse hempen paper had existed in China during the Western Han period (202 BC – 9 AD), the Eastern-Han Chinese court eunuch Cai Lun (ca. 50 – 121 AD) introduced the first significant improvement and standardization of papermaking by adding essential new materials into its composition.


title: Bookbinding

text: Bookbinding in medieval China replaced traditional Chinese writing supports such as bamboo and wooden slips, as well as silk and paper scrolls. The evolution of the codex in China began with folded-leaf pamphlets in the 9th century AD, during the late Tang dynasty (618–907), improved by the 'butterfly' bindings of the Song dynasty (960–1279), the wrapped back binding of the Yuan dynasty (1271–1368), the stitched binding of the Ming (1368–1644) and Qing dynasties (1644–1912), and finally the adoption of Western-style bookbinding in the 20th century (coupled with the European printing press that replaced traditional Chinese printing methods). The initial phase of this evolution, the accordion-folded palm-leaf-style book, most likely came from India and was introduced to China via Buddhist missionaries and scriptures.


title: Bookbinding

text: With the arrival (from the East) of rag paper manufacturing in Europe in the late Middle Ages and the use of the printing press beginning in the mid-15th century, bookbinding began to standardize somewhat, but page sizes still varied considerably.. Paper leaves also meant that heavy wooden boards and metal furniture were no longer necessary to keep books closed, allowing for much lighter pasteboard covers. The practice of rounding and backing the spines of books to create a solid, smooth surface and "shoulders" supporting the textblock against its covers facilitated the upright storage of books and titling on spine. This became common practice by the close of the 16th century but was consistently practiced in Rome as early as the 1520s.


title: Bookbinding

text: In the early sixteenth century, the Italian printer Aldus Manutius realized that personal books would need to fit in saddle bags and thus produced books in the smaller formats of "quartos" (one-quarter-size pages) and "octavos" (one-eighth-size pages).


title: Bookbinding

text: Leipzig, a prominent centre of the German book-trade, in 1739 had 20 bookshops, 15 printing establishments, 22 book-binders and three type-foundries in a population of 28,000 people.


title: Bookbinding

text: In the German book-distribution system of the late 18th and early 19th centuries, the end-user buyers of books "generally made separate arrangements with either the publisher or a bookbinder to have printed sheets bound according to their wishes and their budget".


title: Bookbinding

text: The reduced cost of books facilitated cheap lightweight Bibles, made from tissue-thin oxford paper, with floppy covers, that resembled the early Arabic Qurans, enabling missionaries to take portable books with them around the world, and modern wood glues enabled the addition of paperback covers to simple glue bindings.


title: Bookbinding

text: Some older presses could not separate the pages of a book, so readers used a paper knife to separate the outer edges of pages as a book was read.


title: Bookbinding

text: There are various commercial techniques in use today. Today, most commercially produced books belong to one of four categories:


title: Bookbinding

text: A hardcover, hardbound or hardback book has rigid covers and is stitched in the spine. Looking from the top of the spine, the book can be seen to consist of a number of signatures bound together. When the book is opened in the middle of a signature, the binding threads are visible. Signatures of hardcover books are typically octavo (a single sheet folded three times), though they may also be folio, quarto, or 16mo (see Book size). Unusually large and heavy books are sometimes bound with wire.


title: Bookbinding

text: Until the mid-20th century, covers of mass-produced books were laid with cloth, but from that period onward, most publishers adopted clothette, a kind of textured paper which vaguely resembles cloth but is easily differentiated on close inspection. Most cloth-bound books are now half-and-half covers with cloth covering only the spine. In that case, the cover has a paper overlap. The covers of modern hardback books are made of thick cardboard.


title: Bookbinding

text: Some books that appeared in the mid-20th century signature-bound appear in reprinted editions in glued-together editions. Copies of such books stitched together in their original format are often difficult to find, and are much sought after for both aesthetic and practical reasons.


title: Bookbinding

text: A variation of the hardcover which is more durable is the calf-binding, where the cover is either half or fully clad in leather, usually from a calf. This is also called full-bound or, simply, leather bound.


title: Bookbinding

text: Library binding refers to the hardcover binding of books intended for the rigors of library use and are largely serials and paperback publications. Though many publishers have started to provide "library binding" editions, many libraries elect to purchase paperbacks and have them rebound in hard covers for longer life.


title: Bookbinding

text: Modern bookbinding by hand can be seen as two closely allied fields: the creation of new bindings, and the repair of existing bindings. Bookbinders are often active in both fields. Bookbinders can learn the craft through apprenticeship; by attending specialized trade schools; by taking classes in the course of university studies, or by a combination of those methods. Some European countries offer a "Master Bookbinder" certification, though no such certification exists in the United States. MFA programs that specialize in the 'Book Arts' (hand paper-making, printmaking and bookbinding) are available through certain colleges and universities.


title: Bookbinding

text: Hand bookbinders create new bindings that run the gamut from historical book structures made with traditional materials to modern structures made with 21st-century materials, and from basic cloth-case bindings to valuable full-leather fine bindings. Repairs to existing books also encompass a broad range of techniques, from minimally invasive conservation of a historic book to the full restoration and rebinding of a text.


title: Bookbinding

text: Though almost any existing book can be repaired to some extent, only books that were originally sewn can be rebound by resewing. Repairs or restorations are often done to emulate the style of the original binding. For new works, some publishers print unbound manuscripts which a binder can collate and bind, but often an existing commercially bound book is "pulled", or taken apart, in order to be given a new binding. Once the textblock of the book has been pulled, it can be rebound in almost any structure; a modern suspense novel, for instance, could be rebound to look like a 16th-century manuscript. Bookbinders may bind several copies of the same text, giving each copy a unique appearance.


title: Bookbinding

text: Hand bookbinders use a variety of specialized hand tools, the most emblematic of which is the bonefolder, a flat, tapered, polished piece of bone used to crease paper and apply pressure. Additional tools common to hand bookbinding include a variety of knives and hammers, as well as brass tools used during finishing (as seen in the lead photograph for this article).


title: Bookbinding

text: When creating new work, modern hand binders often work on commission, creating bindings for specific books or collections. Books can be bound in many different materials. Some of the more common materials for covers are leather, decorative paper, and cloth (see also: buckram). Those bindings that are made with exceptionally high craftsmanship, and that are made of particularly high-quality materials (especially full leather bindings), are known as "fine" or "extra" bindings. Also, when creating a new work, modern binders may wish to select a book that has already been printed and create what is known as a 'design binding'. "In a typical design binding, the binder selects an already printed book, disassembles it, and rebinds it in a style of fine binding—rounded and backed spine, laced-in boards, sewn headbands, decorative end sheets, leather cover etc."


title: Bookbinding

text: Conservation and restoration are practices intended to repair damage to an existing book. While they share methods, their goals differ. The goal of conservation is to slow the book's decay and restore it to a usable state while altering its physical properties as little as possible. Conservation methods have been developed in the course of taking care of large collections of books. The term "archival" comes from taking care of the institution's archive of books. The goal of restoration is to return the book to a previous state as envisioned by the restorer, often imagined as the original state of the book. The methods of restoration have been developed by bookbinders with private clients mostly interested in improving their collections.


title: Bookbinding

text: In either case, one of the modern standards for conservation and restoration is "reversibility". That is, any repair should be done in such a way that it can be undone if and when a better technique is developed in the future. Bookbinders echo the physician's creed, "First, do no harm". While reversibility is one standard, longevity of the functioning of the book is also very important and sometimes takes precedence over reversibility especially in areas that are invisible to the reader such as the spine lining.


title: Bookbinding

text: Books requiring restoration or conservation treatment run the gamut from the very earliest of texts to books with modern bindings that have undergone heavy usage. For each book, a course of treatment must be chosen that takes into account the book's value, whether it comes from the binding, the text, the provenance, or some combination of the three. Many people choose to rebind books, from amateurs who restore old paperbacks on internet instructions to many professional book and paper conservators and restorationists, who often in the United States are members of the American Institute for Conservation of Historic and Artistic Works (AIC).


title: Bookbinding

text: Many times, books that need to be restored are hundreds of years old, and the handling of the pages and binding has to be undertaken with great care and a delicate hand. The archival process of restoration and conservation can extend a book's life for many decades and is necessary to preserve books that sometimes are limited to a small handful of remaining copies worldwide.


title: Bookbinding

text: Typically, the first step in saving and preserving a book is its deconstruction. The text pages need to be separated from the covers and, only if necessary, the stitching removed. This is done as delicately as possible. All page restoration is done at this point, be it the removal of foxing, ink stains, page tears, etc. Various techniques are employed to repair the various types of page damage that might have occurred during the life of the book.


title: Bookbinding

text: The preparation of the "foundations" of the book could mean the difference between a beautiful work of art and a useless stack of paper and leather.


title: Bookbinding

text: The sections are then hand-sewn in the style of its period, back into book form, or the original sewing is strengthened with new lining on the text-spine. New hinges must be accounted for in either case both with text-spine lining and some sort of end-sheet restoration.


title: Bookbinding

text: The next step is the restoration of the book cover. This can be as complicated as completely re-creating a period binding to match the original using whatever is appropriate for that time it was originally created. Sometimes this means a new full leather binding with vegetable tanned leather, dyed with natural dyes, and hand-marbled papers may be used for the sides or end-sheets. Finally the cover is hand-tooled in gold leaf. The design of the book cover involves such hand-tooling, where an extremely thin layer of gold is applied to the cover. Such designs can be lettering, symbols, or floral designs, depending on the nature of any particular project.


title: Bookbinding

text: Sometimes the restoration of the cover is a matter of surgically strengthening the original cover by lifting the original materials and applying new materials for strength. This is perhaps a more common method for covers made with book-cloth although leather books can be approached this way as well. Materials such as Japanese tissues of various weights may be used. Colors may be matched using acrylic paints or simple colored pencils.


title: Bookbinding

text: Though books are sold as hardcover or paperback, the actual binding of the pages is important to durability.


title: Bookbinding

text: Most paperbacks and some hard cover books have a "perfect binding". The pages are aligned or cut together and glued. A strong and flexible layer, which may or may not be the glue itself, holds the book together. In the case of a paperback, the visible portion of the spine is part of this flexible layer.


title: Bookbinding

text: In China (only areas using Traditional Chinese), Japan, and Taiwan, literary books are written top-to-bottom, right-to-left, and thus are bound on the right, while text books are written left-to-right, top-to-bottom, and thus are bound on the left. In mainland China the direction of writing and binding for all books was changed to be like left to right languages in the mid-20th century.


title: Bookbinding

text: Early books did not have titles on their spines; rather they were shelved flat with their spines inward and titles written with ink along their fore edges. Modern books display their titles on their spines.


title: Bookbinding

text: In languages with Chinese-influenced writing systems, the title is written top-to-bottom, as is the language in general. In languages written from left to right, the spine text can be pillar (one letter per line), transverse (text line perpendicular to long edge of spine) and along spine. Conventions differ about the direction in which the title along the spine is rotated:


title: Bookbinding

text: In texts published or printed in the United States, the United Kingdom, the Commonwealth, Scandinavia and the Netherlands, the spine text, when the book is standing upright, runs from the top to the bottom. This means that when the book is lying flat with the front cover upwards, the title is oriented left-to-right on the spine. This practice is reflected in the industry standards ANSI/NISO Z39.41 and ISO 6357, but "lack of agreement in the matter persisted among English-speaking countries as late as the middle of the twentieth century, when books bound in Britain still tended to have their titles read up the spine".


title: Bookbinding

text: In most of continental Europe, Latin America, and French Canada the spine text, when the book is standing upright, runs from the bottom up, so the title can be read by tilting the head to the left. This allows the reader to read spines of books shelved in alphabetical order in accordance to the usual way: left-to-right and top-to-bottom. It also means that if a book is lying face down, the spine title can still be read.


title: Bunker

text: A bunker is a defensive military fortification designed to protect people and valued materials from falling bombs, artillery, or other attacks. Bunkers are almost always underground, in contrast to blockhouses which are mostly above ground. They were used extensively in World War I, World War II, and the Cold War for weapons facilities, command and control centers, and storage facilities. Bunkers can also be used as protection from tornadoes.


title: Bunker

text: Trench bunkers are small concrete structures, partly dug into the ground. Many artillery installations, especially for coastal artillery, have historically been protected by extensive bunker systems. Typical industrial bunkers include mining sites, food storage areas, dumps for materials, data storage, and sometimes living quarters. When a house is purpose-built with a bunker, the normal location is a reinforced below-ground bathroom with fiber-reinforced plastic shells. Bunkers deflect the blast wave from nearby explosions to prevent ear and internal injuries to people sheltering in the bunker. Nuclear bunkers must also cope with the underpressure that lasts for several seconds after the shock wave passes, and block radiation.


title: Bunker

text: A bunker's door must be at least as strong as the walls. In bunkers inhabited for prolonged periods, large amounts of ventilation or air conditioning must be provided. Bunkers can be destroyed with powerful explosives and bunker-busting warheads.


title: Bunker

text: The word "bunker" originates as a Scots word for "bench, seat" recorded 1758, alongside shortened "bunk" "sleeping berth". The word possibly has a Scandinavian origin: Old Swedish "bunke" means "boards used to protect the cargo of a ship".


title: Bunker

text: In the 19th century the word came to describe a coal store in a house, or below decks in a ship. It was also used for a sand-filled depression installed on a golf course as a hazard.


title: Bunker

text: In the First World War the belligerents built underground shelters, called dugouts in English, while the Germans used the term "Bunker". By the Second World War the term came to be used by the Germans to describe permanent structures both large: blockhouse, and small: pillbox, and to bombproof shelters both above ground (as in "Hochbunker") and below ground (such as the "Führerbunker").


title: Bunker

text: The military sense of the word was imported into English during World War II, at first in reference to specifically German dug-outs; according to the Oxford English Dictionary, the sense of "military dug-out; a reinforced concrete shelter" is first recorded on 13 October 1939, in "A Nazi field gun hidden in a cemented 'bunker' on the Western front". All the early references to its usage in the Oxford English Dictionary are to German fortifications. However, in the Far East the term was also applied to the earth and log positions built by the Japanese, the term appearing in a 1943 instruction manual issued by the British Indian Army and quickly gaining wide currency.


title: Bunker

text: By 1947 the word was familiar enough in English that Hugh Trevor-Roper in "The Last Days of Hitler" was describing Hitler's underground complex near the Reich Chancellery as "Hitler's own bunker" without quotes around the word bunker.


title: Bunker

text: This type of bunker is a small concrete structure, partly dug into the ground, which is usually a part of a trench system. Such bunkers give the defending soldiers better protection than the open trench and also include top protection against aerial attack. They also provide shelter against the weather. Some bunkers may have partially open tops to allow weapons to be discharged with the muzzle pointing upwards (e.g. mortars and anti-aircraft weapons).


title: Bunker

text: Many artillery installations, especially for coastal artillery, have historically been protected by extensive bunker systems. These usually housed the crews serving the weapons, protected the ammunition against counter-battery fire, and in numerous examples also protected the guns themselves, though this was usually a trade-off reducing their fields of fire. Artillery bunkers are some of the largest individual pre-Cold War bunkers. The walls of the 'Batterie Todt' gun installation in northern France were up to thick, and an underground bunker was constructed for the V-3 cannon.


title: Bunker

text: Typical industrial bunkers include mining sites, food storage areas, dumps for materials, data storage, and sometimes living quarters. They were built mainly by nations like Germany during World War II to protect important industries from aerial bombardment. Industrial bunkers are also built for control rooms of dangerous activities, such as tests of rocket engines or explosive experiments. They are also built in order to perform dangerous experiments in them or to store radioactive or explosive goods. Such bunkers also exist on non-military facilities.


title: Bunker

text: When a house is purpose-built with a bunker, the normal location is a reinforced below-ground bathroom with large cabinets. One common design approach uses fibre-reinforced plastic shells. Compressive protection may be provided by inexpensive earth arching. The overburden is designed to shield from radiation. To prevent the shelter from floating to the surface in high groundwater, some designs have a skirt held-down with the overburden. It may also serve the purpose of a safe room.


title: Bunker

text: Munitions storage bunkers are designed to securely store explosive ordnance, and contain any internal explosions. The most common configuration for high explosives storage is the igloo shaped bunker. They are often built into a hillside in order to provide additional containment mass.


title: Bunker

text: A specialized version of the munitions bunker called a Gravel Gertie is designed to contain radioactive debris from an explosive accident while assembling or disassembling nuclear warheads. They are installed at all facilities in the United States and United Kingdom which do warhead assembly and disassembly, the largest being the Pantex plant in Amarillo, Texas, which has 12 Gravel Gerties.


title: Bunker

text: Bunkers deflect the blast wave from nearby explosions to prevent ear and internal injuries to people sheltering in the bunker. While frame buildings collapse from as little as 3 psi (0.2 bar) of overpressure, bunkers are regularly constructed to survive several hundred psi (over 10 bar). This substantially decreases the likelihood that a bomb (other than a bunker buster) can harm the structure.


title: Bunker

text: The basic plan is to provide a structure that is very strong in physical compression. The most common purpose-built structure is a buried, steel reinforced concrete vault or arch. Most expedient blast shelters are civil engineering structures that contain large buried tubes or pipes such as sewage or rapid transit tunnels. Improvised purpose-built blast shelters normally use earthen arches or vaults. To form these, a narrow, 1-2 meter, flexible tent of thin wood is placed in a deep trench, and then covered with cloth or plastic, and then covered with 1–2 meters of tamped earth.


title: Bunker

text: A large ground shock can move the walls of a bunker several centimeters in a few milliseconds. Bunkers designed for large ground shocks must have sprung internal buildings to protect inhabitants from the walls and floors.