Significance and Impact of the Study: Large-volume water samples may be screened for the presence of Salmonella both preseason and preharvest. This will provide better data from which to make risk management decisions to improve fresh produce safety. The time required to complete screening (2 days) will make it more practical to screen surface waters for Salmonella prior to use during produce production, to facilitate source tracking in root-cause determination or to determine risk associated with water nearby produce fields. The method enables the direct screening for pathogens in a timely manner, which avoids the need to rely on indicator or index organisms to evaluate food safety risks. Use of this method has the potential to decrease the risk of in-field fresh produce contamination. Two immunomagnetic separation (IMS) methods, Pathatrix and Dynabeads, for further concentration of Salmonella were compared following filtration and overnight enrichment. Detection of Salmonella by PCR, qPCR or culture-based methods was compared. TFF and MMS preformed equally well in concentrating Salmonella. MMS was able to consistently concentrate Escherichia coli O157:H7 for culture-based detection; only at the higher concentrations tested was the TFF able to consistently concentrate E. coli O157:H7 for culturebased detection. Salmonella, at population densities <10 CFU l À1 in 10 l of spiked surface water, could be reliably (6/6) detected within 2 days by combining TFF or MMS, with IMS Pathatrix and qPCR. The theoretical limit of detection for Salmonella is considered to be sufficiently sensitive to meet all the practical screening purposes for surface waters in an agricultural setting intended for application to edible horticultural crops.

In modern day architecture practice, the role of the hand in the design process has been displaced by the advent of new technology. There is an inherent desire in practice to rely fully on the computer, which within its digital parameters removes the direct connection of the architect’s hand from the creative process. To create meaningful architecture, it is imperative to understand that the relationship of the architect’s hand in the design process is as critical as the relationship of the architectural joint to the project. To understand the hand, I approached it architecturally and rigorously studied its form and structure. At the same time, I studied several sculptors and artists, such as Richard Serra, Eduardo Chillida, Robert Morris and Eva Hesse who concentrated on the process over the final product.  I created section drawings of select pieces and analyzed them with hand motions to study their forms. With these analyses, I created a material joint that explored different ways to “hold” masses and “join” different materials. With my hand analyses and material joints, I have understood the level of the “joint” at different scales: from the hand that makes the architecture to the actual structure that holds architecture together.