What Is the Secret to Hiring the Right Deck Builder in Gig Harbor WA? Discover Professional Tips Before You Choose Today!

What Is the Secret to Hiring the Right Deck Builder in Gig Harbor WA? Discover Professional Tips Before You Choose Today!

transformation

Assessing Experience and Portfolio: Why It Matters


When it comes to hiring the right deck builder in Gig Harbor, WA, assessing experience and portfolio is crucial. This isnt just about ensuring the builder has the technical skills to construct your deck, but also about verifying their ability to tailor their work to suit your personal taste and the specific conditions of your property.


Firstly, experience in deck building matters because it translates into practical knowledge of diverse materials and construction codes (which are essential for safety and compliance). Experienced builders are more likely to anticipate and solve problems that might arise during the construction process. They have a history of navigating through various challenges-like unexpected weather conditions or terrain issues-that could impact the project.


Furthermore, a portfolio is a tangible proof of a builder's capability and style. When you look through a portfolio, you're not just seeing pictures; you're getting insights into the builder's attention to detail, creativity, and overall quality of work. It's one thing for a builder to claim they can deliver your dream deck, but it's another to see actual examples of their work that align with what youre envisioning!


However, when reviewing a portfolio, it's important to look for projects that are similar in scope and style to what you want. This alignment ensures that the builder's previous experience directly informs the potential success of your project. Also, don't hesitate to ask for references or to contact previous clients (that can give you a firsthand account of their experience with the builder).


In conclusion, taking the time to assess a deck builder's experience and portfolio isnt just a step in the hiring process; it's a crucial measure that significantly increases the likelihood of being satisfied with the finished product. Remember, your deck is an extension of your home! It's where you'll entertain friends, enjoy quiet mornings, or simply unwind after a long day. So, make sure you choose a builder who has proven they can deliver not just a deck, but your deck (just the way you want it)!

Understanding the Importance of Local Licensing and Insurance


When it comes to hiring the right deck builder in Gig Harbor, WA, understanding the importance of local licensing and insurance cannot be overstated. This is crucial not only for ensuring compliance with local building codes but also for protecting homeowners from potential liabilities and substandard workmanship.


Firstly, local licensing is a way to confirm that the deck builder has met certain standards set by local authorities. This includes passing specific tests and maintaining a professional standard that is required in the construction industry. By hiring a licensed professional, you can guarantee that they have the necessary knowledge and skills to complete your deck project to the highest standard. However, its important to not just take their word for it but to actually verify their licensing with the local regulatory body (just to be safe!).


Insurance, on the other hand, plays a critical role in protecting both the homeowner and the contractor. For instance, if an accident happens on your property during the construction of your deck, having a builder that carries their own insurance can help ensure that you are not held liable for any injuries or damages. This kind of protection is invaluable, and skipping on this can lead to serious financial and legal consequences.


Moreover, insurance is also an indicator of a builder's reliability and professionalism. What Is the Secret to Hiring the Right Deck Builder in Gig Harbor WA? Discover Trusted Tips Before You Choose Today! . A deck builder who invests in comprehensive insurance demonstrates a commitment to safeguarding their business and their clients alike. It's a sign that they are serious about their craft and are taking all necessary steps to ensure a smooth and secure construction process.


However, navigating the specifics of licensing and insurance can sometimes be confusing for homeowners. Its always a good idea to ask potential builders to provide proof of their licensing and insurance. Additionally, don't hesitate to contact the local licensing board or insurance provider to verify the information provided is accurate and up-to-date.


In conclusion, when looking to hire the right deck builder in Gig Harbor, WA, it's essential to not overlook the importance of local licensing and insurance (Even if it seems like a lot of extra work!). These factors are not just formalities-theyre crucial components of a safe and successful deck building project. code Remember, taking these steps not only secures your investment but also gives you peace of mind during and after the construction of your new deck! So make sure to check these off your list before signing any contracts!

Evaluating Reviews and Testimonials: Real Customer Feedback


When it comes to hiring the right deck builder in Gig Harbor, WA, the process can seem daunting. However, evaluating reviews and testimonials from real customers can provide invaluable insights into the quality and reliability of local contractors.


First, its crucial to look for a builder that has a solid reputation. Online platforms like Google, Yelp, and even Facebook can offer a wealth of feedback. But heres a tip: dont just skim the ratings. Take the time to read through the reviews in detail. Look for comments about professionalism, punctuality, and especially the quality of the finished product. Remember, a deck is a long-term investment (you want it to last for years!), so paying attention to these details can make a big difference.


Another great way to gather information is by asking for testimonials directly from the builders. A trustworthy deck builder in Gig Harbor should be more than willing to provide you with contacts from previous clients. Dont hesitate to reach out to these references and ask specific questions about their experience. How did the builder handle unexpected issues? Did they stay on budget? Was the work completed on schedule?


However, while testimonials and reviews are critical, they should not be the sole basis for your decision. Its also important to check the builder's credentials. Verify their licenses, insurance, and any certifications that affirm their expertise and professionalism.


In addition to all these, try to see examples of their past work. Most reputable builders will have a portfolio you can look through, either online or during a consultation. Seeing their work firsthand can give you a clearer expectation of the quality and style of the constructions they are capable of delivering.


Lastly, always trust your gut feeling! If something feels off during your interactions, or if the builder seems too good to be true, it might be a good idea to consider other options.


Choosing the right deck builder in Gig Harbor, WA, is no small feat, but with the right approach and thorough evaluation of real customer feedback, you can make an informed decision that you will be happy with for years to come! And remember, the secret to hiring the right person for the job often lies in the details (so dont overlook them!).

landscaping

  1. planters
  2. timber
  3. joists
  4. hardware
Good luck!

The Role of Communication: Setting Expectations and Maintaining Transparency


When it comes to hiring the right deck builder in Gig Harbor, WA, the secret might not be such a mystery after all! It often boils down to effective communication, specifically, setting clear expectations and maintaining transparency throughout the project.

posts

  1. transformation
  2. code
  3. posts
  4. investment
  5. landscaping
Navigating this process can be tricky, but with a few professional tips, you can make a well-informed decision today.


Firstly, setting expectations starts from the very first interaction you have with a potential deck builder. Its crucial to clearly outline what you envision for your deck (size, materials, design, etc.). This initial step helps in ensuring that both you and the builder are on the same page. However, its equally important to listen to the builder's input. They can offer valuable insights on whats feasible or suggest alternatives that might better suit the local climate or your budget.


Maintaining transparency is another key element. A reputable deck builder should be open about every aspect of the building process, from costs to timelines. investment They should also provide you with regular updates. This keeps you in the loop and helps prevent any surprises down the line. Moreover, don't hesitate to ask for references or examples of past work. Seeing their previous projects can give you a better idea of their craftsmanship and style.


Remember, communication is a two-way street! You should feel comfortable enough to voice any concerns or changes you might want during the project. A good builder will not only welcome your input but should encourage it as part of the process.


In conclusion, the secret to hiring the right deck builder in Gig Harbor, WA isn't so secretive after all. It's all about establishing a clear line of communication right from the start. By setting precise expectations and insisting on transparency, you can help ensure that your deck project turns out just as you planned. So, don't wait any longer, start your search for the perfect deck builder today! And remember, a successful project is a collaborative effort.

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Citations and other links

Braun ABW30 wall clock designed by Dieter Rams and Dietrich Lubs [de] (early 1980s)
Victorinox Swiss Army knife
Brionvega RR 126 [it] radiogram designed by Achille and Pier Giacomo Castiglioni
An image of cutlery designed by Zaha Hadid
Cutlery designed by architect and designer Zaha Hadid (2007). The slightly oblique end part of the fork and the spoons, as well as the knife handle, are examples of designing for both aesthetic form and practical function.
Early concept design sketches by the architect Erling Viksjø, exploring the relationships between existing and proposed new buildings
Béla Barényi holding car model
Barényi Béla, considered to be the father of safe driving and safety tests, preparing for safety development, which is a core part of the designing process

A design is the concept or proposal for an object, process, or system. The word design refers to something that is or has been intentionally created by a thinking agent, and is sometimes used to refer to the inherent nature of something – its design. The verb to design expresses the process of developing a design. In some cases, the direct construction of an object without an explicit prior plan may also be considered to be a design, such as in arts and crafts. A design is expected to have a purpose within a specific context, typically aiming to satisfy certain goals and constraints while taking into account aesthetic, functional and experiential considerations. Traditional examples of designs are architectural and engineering drawings, circuit diagrams, sewing patterns, and less tangible artefacts such as business process models.[1][2]

Designing

[edit]

People who produce designs are called designers. The term 'designer' usually refers to someone who works professionally in one of the various design areas. Within the professions, the word 'designer' is generally qualified by the area of practice (for example: a fashion designer, a product designer, a web designer, or an interior designer), but it can also designate other practitioners such as architects and engineers (see below: Types of designing). A designer's sequence of activities to produce a design is called a design process, with some employing designated processes such as design thinking and design methods. The process of creating a design can be brief (a quick sketch) or lengthy and complicated, involving considerable research, negotiation, reflection, modeling, interactive adjustment, and re-design.

Designing is also a widespread activity outside of the professions of those formally recognized as designers. In his influential book The Sciences of the Artificial, the interdisciplinary scientist Herbert A. Simon proposed that, "Everyone designs who devises courses of action aimed at changing existing situations into preferred ones."[3] According to the design researcher Nigel Cross, "Everyone can – and does – design," and "Design ability is something that everyone has, to some extent, because it is embedded in our brains as a natural cognitive function."[4]

History of design

[edit]

The study of design history is complicated by varying interpretations of what constitutes 'designing'. Many design historians, such as John Heskett, look to the Industrial Revolution and the development of mass production.[5] Others subscribe to conceptions of design that include pre-industrial objects and artefacts, beginning their narratives of design in prehistoric times.[6] Originally situated within art history, the historical development of the discipline of design history coalesced in the 1970s, as interested academics worked to recognize design as a separate and legitimate target for historical research.[7] Early influential design historians include German-British art historian Nikolaus Pevsner and Swiss historian and architecture critic Sigfried Giedion.

Design education

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In Western Europe, institutions for design education date back to the nineteenth century. The Norwegian National Academy of Craft and Art Industry was founded in 1818, followed by the United Kingdom's Government School of Design (1837), and Konstfack in Sweden (1844). The Rhode Island School of Design was founded in the United States in 1877. The German art and design school Bauhaus, founded in 1919, greatly influenced modern design education.[8]

Design education covers the teaching of theory, knowledge, and values in the design of products, services, and environments, with a focus on the development of both particular and general skills for designing. Traditionally, its primary orientation has been to prepare students for professional design practice, based on project work and studio, or atelier, teaching methods.

There are also broader forms of higher education in design studies and design thinking. Design is also a part of general education, for example within the curriculum topic, Design and Technology. The development of design in general education in the 1970s created a need to identify fundamental aspects of 'designerly' ways of knowing, thinking, and acting, which resulted in establishing design as a distinct discipline of study.[9]

Design process

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Substantial disagreement exists concerning how designers in many fields, whether amateur or professional, alone or in teams, produce designs.[10] Design researchers Dorst and Dijkhuis acknowledged that "there are many ways of describing design processes," and compare and contrast two dominant but different views of the design process: as a rational problem-solving process and as a process of reflection-in-action. They suggested that these two paradigms "represent two fundamentally different ways of looking at the world – positivism and constructionism."[11] The paradigms may reflect differing views of how designing should be done and how it actually is done, and both have a variety of names. The problem-solving view has been called "the rational model,"[12] "technical rationality"[13] and "the reason-centric perspective."[14] The alternative view has been called "reflection-in-action,"[13] "coevolution"[15] and "the action-centric perspective."[14]

Rational model

[edit]

The rational model was independently developed by Herbert A. Simon,[16][17] an American scientist, and two German engineering design theorists, Gerhard Pahl and Wolfgang Beitz.[18] It posits that:

  1. Designers attempt to optimize a design candidate for known constraints and objectives.
  2. The design process is plan-driven.
  3. The design process is understood in terms of a discrete sequence of stages.

The rational model is based on a rationalist philosophy[12] and underlies the waterfall model,[19] systems development life cycle,[20] and much of the engineering design literature.[21] According to the rationalist philosophy, design is informed by research and knowledge in a predictable and controlled manner.[22]

Typical stages consistent with the rational model include the following:[23]

Each stage has many associated best practices.[25]

Criticism of the rational model

[edit]

The rational model has been widely criticized on two primary grounds:

  1. Designers do not work this way – extensive empirical evidence has demonstrated that designers do not act as the rational model suggests.[13][14][26]
  2. Unrealistic assumptions – goals are often unknown when a design project begins, and the requirements and constraints continue to change.[12][27]

Action-centric model

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The action-centric perspective is a label given to a collection of interrelated concepts, which are antithetical to the rational model.[14] It posits that:

  1. Designers use creativity and emotion to generate design candidates.
  2. The design process is improvised.
  3. No universal sequence of stages is apparent – analysis, design, and implementation are contemporary and inextricably linked.[14]

The action-centric perspective is based on an empiricist philosophy and broadly consistent with the agile approach[28] and methodical development.[29] Substantial empirical evidence supports the veracity of this perspective in describing the actions of real designers.[26] Like the rational model, the action-centric model sees design as informed by research and knowledge.[30]

At least two views of design activity are consistent with the action-centric perspective. Both involve these three basic activities:

  • In the reflection-in-action paradigm, designers alternate between "framing", "making moves", and "evaluating moves". "Framing" refers to conceptualizing the problem, i.e., defining goals and objectives. A "move" is a tentative design decision. The evaluation process may lead to further moves in the design.[13]
  • In the sensemaking–coevolution–implementation framework, designers alternate between its three titular activities. Sensemaking includes both framing and evaluating moves. Implementation is the process of constructing the design object. Coevolution is "the process where the design agent simultaneously refines its mental picture of the design object based on its mental picture of the context, and vice versa".[14]

The concept of the design cycle is understood as a circular time structure,[31] which may start with the thinking of an idea, then expressing it by the use of visual or verbal means of communication (design tools), the sharing and perceiving of the expressed idea, and finally starting a new cycle with the critical rethinking of the perceived idea. Anderson points out that this concept emphasizes the importance of the means of expression, which at the same time are means of perception of any design ideas.[32]

Philosophies

[edit]

Philosophy of design is the study of definitions, assumptions, foundations, and implications of design. There are also many informal 'philosophies' for guiding design such as personal values or preferred approaches.

Approaches to design

[edit]

Some of these values and approaches include:

  • Conscious design is an intentional, systems-aware approach that prioritizes the long-term impact of objects and environments on both human well-being and ecological health. It goes beyond just aesthetics by integrating circular economy principles, ethical material sourcing, and psychological health into the core of the design process.[33][34][35][36][37]
  • Critical design uses designed artefacts as an embodied critique or commentary on existing values, morals, and practices in a culture. Critical design can make aspects of the future physically present to provoke a reaction.[38][39][40]
  • Ecological design is a design approach that prioritizes the consideration of the environmental impacts of a product or service, over its whole lifecycle.[41][42] Ecodesign research focuses primarily on barriers to implementation, ecodesign tools and methods, and the intersection of ecodesign with other research disciplines.[43][44]
  • Participatory design (originally co-operative design, now often co-design) is the practice of collective creativity to design, attempting to actively involve all stakeholders (e.g. employees, partners, customers, citizens, end-users) in the design process to help ensure the result meets their needs and is usable.[45] Recent research suggests that designers create more innovative concepts and ideas when working within a co-design environment with others than they do when creating ideas on their own.[46][47]
  • Scientific design refers to industrialised design based on scientific knowledge.[48] Science can be used to study the effects and need for a potential or existing product in general and to design products that are based on scientific knowledge. For instance, a scientific design of face masks for COVID-19 mitigation may be based on investigations of filtration performance, mitigation performance,[49][50] thermal comfort, biodegradability and flow resistance.[51][52]
  • Service design is a term that is used for designing or organizing the experience around a product and the service associated with a product's use. The purpose of service design methodologies is to establish the most effective practices for designing services, according to both the needs of users and the competencies and capabilities of service providers.[53][54][55][56]
  • Sociotechnical system design, a philosophy and tools for participative designing of work arrangements and supporting processes – for organizational purpose, quality, safety, economics, and customer requirements in core work processes, the quality of peoples experience at work, and the needs of society.
  • Transgenerational design, the practice of making products and environments compatible with those physical and sensory impairments associated with human aging and which limit major activities of daily living.
  • User-centered design, which focuses on the needs, wants, and limitations of the end-user of the designed artefact. One aspect of user-centered design is ergonomics.
 

Types of designing

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See also

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References

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  1. ^ Dictionary meanings in the Cambridge Dictionary of American English, at Dictionary.com (esp. meanings 1–5 and 7–8) and at AskOxford (especially verbs).
  2. ^ "The greatest designs of modern times". Fortune. Retrieved 2024-03-16.
  3. ^ Simon, Herbert A. (1969). The Sciences of the Artificial (first ed.). Cambridge, Massachusetts: M.I.T. Press. p. 54.
  4. ^ Cross, Nigel (2011). Design Thinking: Understanding How Designers Think and Work. Berg. pp. 3 & 140. ISBN 978-1-84788-846-4.
  5. ^ Heskett, John (1963) Industrial Design. Thames & Hudson.
  6. ^ Huppatz, D. J. (2015). "Globalizing Design History and Global Design History". Journal of Design History. 28 (2): 182–202. doi:10.1093/jdh/epv002. ISSN 0952-4649. JSTOR 43831904.
  7. ^ Margolin, Victor (April 1, 2009). "Design in History". Design Issues. 25 (2): 94–105. doi:10.1162/desi.2009.25.2.94. eISSN 1531-4790. ISSN 0747-9360. S2CID 57562456.
  8. ^ Naylor, Gillian (1985). The Bauhaus Reassessed. Herbert Press. ISBN 0-906969-30-1.
  9. ^ Cross, Nigel (1982). "Design as a Discipline: Designerly Ways of Knowing". Design Studies. 3 (4): 221–227. doi:10.1016/0142-694X(82)90040-0.
  10. ^ Coyne, Richard (1990). "Logic of design actions". Knowledge-Based Systems. 3 (4): 242–257. doi:10.1016/0950-7051(90)90103-o. ISSN 0950-7051.
  11. ^ Dorst, Kees; Dijkhuis, Judith (1995). "Comparing paradigms for describing design activity". Design Studies. 16 (2): 261–274. doi:10.1016/0142-694X(94)00012-3.
  12. ^ a b c Brooks, F. P (2010). The Design of Design: Essays from a Computer Scientist. Pearson Education. ISBN 978-0-321-70206-7.
  13. ^ a b c d Schön, D.A. (1983) The reflective practitioner: How professionals think in action, Basic Books, USA. ISBN 978-0465068784
  14. ^ a b c d e f Ralph, P. (2010) "Comparing two software design process theories". International Conference on Design Science Research in Information Systems and Technology (DESRIST 2010), Springer, St. Gallen, Switzerland, pp. 139–153. doi:10.1007/978-3-642-13335-0_10.
  15. ^ Dorst, Kees; Cross, Nigel (2001). "Creativity in the design process: Co-evolution of problem–solution" (PDF). Design Studies. 22 (5): 425–437. doi:10.1016/S0142-694X(01)00009-6. Archived (PDF) from the original on 2019-10-29. Retrieved 2019-11-02.
  16. ^ Newell, A., and Simon, H. (1972) Human problem solving, Prentice-Hall, Inc.
  17. ^ Simon, H.A. (1996) The sciences of the artificial Archived 2013-12-17 at the Wayback Machine, MIT Press, Cambridge, MA, USA. p. 111. ISBN 0-262-69191-4.
  18. ^ Pahl, G., and Beitz, W. (1996) Engineering design: A systematic approach Archived 2013-12-17 at the Wayback Machine, Springer-Verlag, London. ISBN 3-540-19917-9.
  19. ^ Royce, W.W. (1970) "Managing the development of large software systems: Concepts and techniques," Archived 2020-10-02 at the Wayback Machine Proceedings of Wescon.
  20. ^ Bourque, P., and Dupuis, R. (eds.) (2004) Guide to the software engineering body of knowledge Archived 2012-01-24 at the Wayback Machine (SWEBOK). IEEE Computer Society Press, ISBN 0-7695-2330-7.
  21. ^ Pahl, G., Beitz, W., Feldhusen, J., and Grote, K.-H. (2007 ) Engineering design: A systematic approach Archived 2013-12-17 at the Wayback Machine, (3rd ed.), Springer-Verlag, ISBN 1-84628-318-3.
  22. ^ Mielnik, Anna. Under the power of reason. Krakow University of Technology. Archived from the original on 2022-08-27. Retrieved 2022-08-27.
  23. ^ Condrea, Ionut; Botezatu, C.; Slătineanu, L.; Oroian, B. (February 2021). "Elaboration of the initial requirements in the design activities". IOP Conference Series: Materials Science and Engineering. 1037 (1) 012002. Bibcode:2021MS&E.1037a2002S. doi:10.1088/1757-899X/1037/1/012002. S2CID 234019940.
  24. ^ Cross, N., (2006). T211 Design and Designing: Block 2, p. 99. Milton Keynes: The Open University.
  25. ^ Ullman, David G. (2009) The Mechanical Design Process, Mc Graw Hill, 4th edition ISBN 0-07-297574-1
  26. ^ a b Cross, N., Dorst, K., and Roozenburg, N. (1992) Research in design thinking, Delft University Press, Delft. ISBN 90-6275-796-0.
  27. ^ McCracken, D.D.; Jackson, M.A. (1982). "Life cycle concept considered harmful". ACM SIGSOFT Software Engineering Notes. 7 (2): 29–32. doi:10.1145/1005937.1005943. S2CID 9323694. Archived from the original on 2012-08-12. Retrieved 2012-03-25.
  28. ^ Beck, K., Beedle, M., van Bennekum, A., Cockburn, A., Cunningham, W., Fowler, M., Grenning, J., Highsmith, J., Hunt, A., Jeffries, R., Kern, J., Marick, B., Martin, R.C., Mellor, S., Schwaber, K., Sutherland, J., and Thomas, D. (2001) Manifesto for agile software development Archived 2021-03-27 at the Wayback Machine.
  29. ^ Truex, D.; Baskerville, R.; and Travis, J. (2000). "Amethodical systems development: The deferred meaning of systems development methods". Accounting, Management and Information Technologies. 10 (1): 53–79. doi:10.1016/S0959-8022(99)00009-0.
  30. ^ Faste, Trygve; Faste, Haakon (2012-08-15). "Demystifying "design research": design is not research, research is design" (PDF). Industrial Designers Society of America. Archived (PDF) from the original on 2022-08-19. Retrieved 2022-08-19.
  31. ^ Fischer, Thomas "Design Enigma. A typographical metaphor for enigmatic processes, including designing", in: T. Fischer, K. De Biswas, J.J. Ham, R. Naka, W.X. Huang, Beyond Codes and Pixels: Proceedings of the 17th International Conference on Computer-Aided Architectural Design Research in Asia, p. 686
  32. ^ Anderson, Jane (2011) Architectural Design, Basics Architecture 03, Lausanne, AVA academia, p. 40. ISBN 978-2-940411-26-9.
  33. ^ "Conscious Design: Designing for People and the Planet". Steelcase. Steelcase Inc. Retrieved 2026-01-01.
  34. ^ "The Rise of Conscious Design: Volvo Cars' commitment to a leather-free future" (PDF). Volvo Car Corporation. Retrieved 2026-01-01.
  35. ^ "The Rise of Conscious Design". The Future Laboratory. Retrieved 2026-01-01.
  36. ^ "Conscious Design Principles". The Center for Conscious Design. Retrieved 2026-01-01.
  37. ^ "What is Conscious Design and How Do I Achieve It?". Inside Fashion Design. Retrieved 2026-01-01.
  38. ^ Lab, MIT Media (16 July 2015). "Introducing the Media Lab Award". Medium.
  39. ^ Dunne, Anthony; Raby, Fiona (6 December 2013). Speculative Everything: Design, Fiction, and Social Dreaming. MIT Press. ISBN 978-0-262-01984-2. Retrieved 12 December 2021.
  40. ^ Malpass, Matt (Spring 2015). "Criticism and Function in Critical Design Practice" (PDF). Design Issues. 31 (2): 59–71. doi:10.1162/DESI_a_00322. S2CID 57571804.
  41. ^ Kanaani, Mitra (2023). The Routledge companion to ecological design thinking: healthful ecotopian visions for architecture and urbanism. New York, NY. ISBN 978-1-003-18318-1. OCLC 1332789897.cite book: CS1 maint: location missing publisher (link)
  42. ^ van der Ryn, Sim; Cowan, Stuart (1996). An Introduction to Ecological Design. Washington, D.C.: Island Press. ISBN 978-1-59726-140-1.
  43. ^ Schäfer M, Löwer M. Ecodesign—A Review of Reviews. Sustainability. 2021; 13(1):315. doi.org/10.3390/su13010315
  44. ^ Lewis, Tania (April 2008). "Transforming citizens? Green politics and ethical consumption on lifestyle television". Continuum: Journal of Media & Cultural Studies. 22 (2): 227–240. doi:10.1080/10304310701864394. S2CID 144299069.
  45. ^ Sanders, Elizabeth B.-N.; Stappers, Pieter Jan (2008). "Co-creation and the new landscape of design". CoDesign. 4 (1): 5–18. doi:10.1080/15710880701875068.
  46. ^ Mitchell, Val; Ross, Tracy; Sims, Ruth; Parker, Christopher J. (2015). "Empirical investigation of the impact of using co-design methods when generating proposals for sustainable travel solutions". CoDesign. 12 (4): 205–220. doi:10.1080/15710882.2015.1091894.
  47. ^ Trischler, Jakob; Pervan, Simon J.; Kelly, Stephen J.; Scott, Don R. (2018). "The Value of Codesign". Journal of Service Research. 21: 75–100. doi:10.1177/1094670517714060.
  48. ^ Cross, Nigel (1 June 1993). "Science and design methodology: A review". Research in Engineering Design. 5 (2): 63–69. doi:10.1007/BF02032575. ISSN 1435-6066. S2CID 110223861. Archived from the original on 19 April 2021. Retrieved 16 April 2021.
  49. ^ "Face shields, masks with valves ineffective against COVID-19 spread: study". phys.org. Archived from the original on 17 November 2021. Retrieved 8 October 2020.
  50. ^ Verma, Siddhartha; Dhanak, Manhar; Frankenfield, John (1 September 2020). "Visualizing droplet dispersal for face shields and masks with exhalation valves". Physics of Fluids. 32 (9): 091701. arXiv:2008.00125. Bibcode:2020PhFl...32i1701V. doi:10.1063/5.0022968. ISSN 1070-6631. PMC 7497716. PMID 32952381.
  51. ^ "Face masks slow spread of COVID-19; types of masks, length of use matter". phys.org. Archived from the original on 23 October 2021. Retrieved 9 December 2020.
  52. ^ Kumar, Sanjay; Lee, Heow Pueh (李孝培) (1 November 2020). "The perspective of fluid flow behavior of respiratory droplets and aerosols through the facemasks in context of SARS-CoV-2". Physics of Fluids. 32 (11): 111301. arXiv:2010.06385. Bibcode:2020PhFl...32k1301K. doi:10.1063/5.0029767. ISSN 1070-6631. PMC 7713871. PMID 33281434.
  53. ^ Segelström, Fabian; Raijmakers, Bas; Holmlid, Stefan (January 2009). "Thinking and Doing Ethnography in Service Design" (PDF). Linköping University, Department of Computer and Information Science. Retrieved 2018-02-27.
  54. ^ Buur, Jacob; Binder, Thomas; Brandt, Eva (2000-01-01). "Taking Video beyond 'Hard Data' in User Centred Design". Participatory Design Conference.
  55. ^ Holmlid, Stefan (2007-05-27). "Creative Arts". Nordes. Nordes 2007: Design Inquiries. 1 (2). doi:10.21606/nordes.2007.031. ISBN 978-1-912294-46-6. ISSN 1604-9705. S2CID 109110352 – via nordes.org in proceedings from Nordic Design Research Conference, Design Inquiries.
  56. ^ Sophia, Parker; Heapy, Joe (2006-07-01). "The Journey to the Interface, how public service design can connect users to reform" (PDF). Demos.

Further reading

[edit]

 

 

A patio outside of a home in the Netherlands

A patio[a] (Spanish for 'courtyard, forecourt, yard, little garden') is an outdoor space generally used for dining or recreation that adjoins a structure and is typically paved.[3] In Australia, the term is expanded to include roofed structures such as a veranda, which provides protection from sun and rain.[4]

Construction

[edit]

Patios are most commonly paved with concrete or stone slabs (also known as paving flags). They can also be created using bricks, block paving, tiles, cobbles or gravel. Other kinds of patio materials these days include alumawood, aluminum, acrylic and glass. Other options include concrete, stamped concrete, and aggregate concrete.

Restaurant patio

[edit]
An outdoor seating area at a restaurant in State College, Pennsylvania

Patio is also a general term used for outdoor seating at restaurants, especially in Canadian English. While common in Europe even before 1900, eating outdoors at restaurants in North America was exotic until the 1940s. The Hotel St. Moritz in New York in the 1950s advertised itself as having the first true continental cafe with outdoor seating. The Toronto Star welcomed that city's first patio in the 1960s. In the United States, having a warmer and sunnier climate than Northern Europe, outdoor dining grew rapidly in the 1960s and today is a popular dining experience in the warmer parts of the mainland.[5]

See also

[edit]

Notes

[edit]
  1. ^ English: /ˈpætioÊŠ/,[1] US also /ˈpɑːtioÊŠ/;[2] Spanish: [ˈpatjo]

Citations

[edit]
  1. ^ "patio". Oxford Dictionaries. Archived from the original on 16 April 2014. Retrieved 15 April 2014.
  2. ^ Wells, John C. (2008). Longman Pronunciation Dictionary (3rd ed.). Longman. p. 592. ISBN 978-1-4058-8118-0.
  3. ^ Court, Jess (17 May 2021). "How to make the best of your outdoor space". Aqua Warehouse. Retrieved 28 February 2022.
  4. ^ Department of Planning. "State Planning Policy 3.1 - Residential Design Codes". Archived from the original on 3 September 2018. Retrieved 9 October 2017.
  5. ^ Bateman, Chris (29 April 2015). "How Toronto learned to love the patio". Spacing. Retrieved 30 May 2016.

References

[edit]
[edit]
  • Media related to Patios at Wikimedia Commons
  • The dictionary definition of patio at Wiktionary

 

 

USS William Ward Burrows on 6 July 1942. Her 3"/23 guns have been replaced with 3"/50 guns and the sponson in the forward well deck for the 50-foot motor launches has been removed. (The aft well deck is clearly visible forward of the poop.)

In traditional nautical use, well decks were decks lower than decks fore and aft, usually at the main deck level, so that breaks appear in the main deck profile, as opposed to a flush deck profile. The term goes back to the days of sail.[1] Late-20th-century commercial and military amphibious ships have applied the term to an entirely different type of hangar-like structure, evolving from exaggerated deep "well decks" of World War II amphibious vessels, that can be flooded for lighters or landing craft.

Traditional

[edit]
The USS Indianapolis being overhauled at the Mare Island Navy Yard, 19 April 1942. Closeup view of her well deck area, from the port side. Note her forward smokestack, catapults, and Curtiss SOC Seagull aircraft.

A well deck is an exposed deck (weather deck) lower than decks fore and aft.[2] In particular, it is one enclosed by bulwarks limiting flow of water and thus drainage so that design requirements are specific about drainage and maintenance of such drainage with that definition applying even to small vessels. The United States Coast Guard, Sector Upper Mississippi River, Small Passenger Vessel Information Package notes:

'Well deck' means a weather deck fitted with solid bulwarks that impede the drainage of water over the sides or an exposed recess in the weather deck extending 1/2 or more of the length of the vessel over the weather deck.[3]

Explicit requirements exist for drainage requirements on ships with well decks.[4] On many vessels the cargo hatches and cargo handling booms and winches were located on the well decks between a central superstructure and raised forecastle and stern.[5]

Naval vessels into the World War II era often had well decks between stacks with the space sometimes reserved for aircraft and catapults as seen in the photograph of the USS Indianapolis's well deck (note ladders down into the well deck from surrounding decks).

In commercial ship design categories, the "well deck ship" type the profile of the main deck line is broken rather than being flush or unbroken from bow to stern. The earliest cargo steamers were flush deck with openings below rimmed only with low casings. Later designs eliminated this design as dangerous with bulwarks and eventual evolution into the "three island" design[Note 1] with raised forecastle, central bridge and poop superstructures and well decks between.[6][7]

The well decks of passenger liners were often for the lowest class passengers' use, with the well deck of the Titanic reserved for third class passengers.[8] By the mid-20th century the concept of well deck design in passenger liners was "old fashioned", and newer ships were designed with flush decks.[9]

Modern military

[edit]
Overhead view of USS Ashland's well deck as she is moored pierside at Mare Island Navy Yard, 21 July 1943

In modern amphibious warfare usage, a well dock is a hangar-like deck located at the waterline in the stern of some amphibious warfare ships. By taking on water the ship can lower its stern, flooding the well deck and allowing boats, amphibious vehicles and landing craft to dock within the ship. In the United States Navy, this is referred to as a well deck, and officially termed a wet well when the well deck is flooded for operations,[10]

The structure on the latest naval amphibious ships does not precisely fit the traditional meaning of a weather, or open deck, that is lower than adjacent decks, surrounded by bulkheads and lacking proper drainage would form a catchment for water; however the structure has its origins in such an exaggerated deep deck on World War II era tank landing craft (TLC) the British forces were considering.[11]

In July 1941 Major R. E. Holloway, Royal Engineers, forwarded a design from a 1924 patent by Otto Popper of the Danube International Commission concerning a barge transporter for Danube barges. The application of that idea to TLCs evolved into the British "Tank Landing Craft carrier" and that would become the Dock Landing Ship (LSD) that had an open, very deep and special purpose well deck open to the elements and thus technically a "well deck" in the traditional definition.[12]

An LCU approaches the well deck of USS Essex.

The structure underwent an evolutionary change to become an enclosed structure, essentially a floodable compartment, for docking amphibious vehicles that in most modern versions has lost its weather deck character even as the more modern commercial ship designs have abandoned the traditional well deck structures that are not typically features of today's bulk cargo ships, container ships or passenger ships.

Commercial application

[edit]

Some commercial vessels have similar structures for purposes similar to the military versions. The German Baco Liner ships use bow doors. Previous barge carriers were of similar design to the military ships with a large stern well deck.[13][14] The increased use of containers and container port facilities has decreased the use of this type of commercial vessel with their main use serving regions with less well developed ports.[15][14]

Notes

[edit]
  1. ^ The "three island ship design goes back to the late age of sail as is seen in Preußen. The design can more clearly be seen in the photograph of the USS William Ward Burrows (AP-6) here.

References

[edit]
  1. ^ "Brief History of the U.S.S. Yantic". Michigan Tech Archives & Copper Country Historical Collections. Michigan Technological University. Retrieved 5 March 2012.
  2. ^ "Well Deck (definition)". Narciki – Naval Architecture Wiki Project. Retrieved 4 March 2012.[dead link]
  3. ^ "Small Passenger Vessel Information Package" (PDF). United States Coast Guard, Sector Upper Mississippi River. Retrieved 4 March 2012.
  4. ^ "46 C.F.R. § 171.150 Drainage of a vessel with a well deck". Justia. Retrieved 4 March 2012.
  5. ^ Marshall, Ian, "The Tramp Steamer", Sea History, no. 129, archived from the original on 16 November 2011, retrieved 4 March 2012
  6. ^ Carroll, Paul (2010). The Wexford: Elusive Shipwreck of the Great Storm, 1913 (citing British Admiralty Manual of Seamanship, Volume III, January 25, 1954). Natural Heritage Books, Dundurn Press. p. 268. ISBN 978-1-55488-736-1.
  7. ^ "John Oxley History". Sydney Maritime Museum Limited. Retrieved 5 March 2012.
  8. ^ "New Titanic Pictures Released for 25th Anniversary of Discovery (photo of Titanic wreck well deck)". Titanic Universe. 3 September 2010. Archived from the original on 12 July 2021. Retrieved 4 March 2012.
  9. ^ "Design of Queen Mary and Queen Elizabeth". Retrieved 5 March 2012.
  10. ^ U.S. Navy (29 June 1999). "WET WELL OPERATIONS MANUAL" (PDF). COMNAVSURFLANT/COMNAVSURFPAC INSTRUCTION 3340.3C. U.S. Navy. Retrieved 5 March 2012.[dead link]
  11. ^ Friedman, Norman (2002). U.S. Amphibious Ships And Craft: An Illustrated Design History. Annapolis, Maryland: Naval Institute Press. pp. 115–116. ISBN 1-55750-250-1.
  12. ^ Friedman, Norman (2002). U.S. Amphibious Ships And Craft: An Illustrated Design History. Annapolis, Maryland: Naval Institute Press. pp. 115–116. ISBN 1-55750-250-1.
  13. ^ "Barge Carrier Ships". GlobalSecurity.org. Retrieved 4 March 2012.
  14. ^ a b "Barge Carrier Variants". GlobalSecurity.org. Retrieved 4 March 2012.
  15. ^ JOC Sailings. "Barge Carrier". JOC Sailings. Retrieved 4 March 2012.
[edit]

 

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