<p>New York is known as a metropolis of skyscrapers; however less than 1.5% of the 1 million buildings in the city stand over seven stories tall. Over 95% are thought to be of wood-frame or masonry and wood construction.</p><p>Most of this building stock was constructed using wood sourced from old-growth forests across the eastern seaboard. The city now sits on a stockpile of wood which germinated before New Amsterdam became New York, and which was felled while signatories of the Declaration of Independence were still President; this is structurally valuable hard, dense and high strength-to-weight ratio wood. As our buildings degrade and require renovation or replacement the city must ensure that this resource is not wasted, for environmental and economic reasons.</p><p>The total number of buildings is large, but because of the rapid and repetitive way that NYC was constructed the variation in building type and structural element sizes across the building population is small. Cross referencing NYC department databases using geographic information systems allowed the Department of Buildings to produce an estimate of the number of buildings in the city of each type. Assessment of historic pattern books, prescriptive regulations, and inspection of existing buildings allows generic estimates of wood dimension and quantity per building type. Combined, this data allows the estimation of the annual rate of release of wood from demolition in NYC - a predicted supply available for future use. A review of existing practices in wood salvage, processing and reuse is then assessed in context, outlining proposals for future local policy and research work.</p>

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SKveral c:o,:. i.on5 re drawn frc, rr, t .4 of eects if z E ctsappears t.o be thE "heart" of AirLand Batt1 '.l' :L-.,:~nla: Next, the current concept is most useful at trhe iactical 'level in thie JCS-defined operational siaie of war. Even so, this concept is a good starting point for an umbrella concept that applies 'to tne operational artist. A more holistic view of actions and effects needs to be built into the present concept. The author suggests the concept of time-medium-force windows better portrays effects at the operational level. These windows of effects can even be used in synchronizing effects at the tactical level. The revised concept also needs to incorporate space, EW, and psyops medi,,ms. It also needs to address the impact of civilian agencies in the operational artist's area of operations. The paper also contains some other conclusions and implications. Key JCS manuals do not address ihe synchronization concept. Also, the development of synchronization as an Army doctrinal concept 11c.

Quantifying total well loss through well screens has been traditionally undertaken through experimentally based empirical equations or equations derived for water flow through (circular) orifices. Advances in computer capacity enables incorporation of CFD formulations at millimeter scale, coupling Darcy flow and Reynolds Averaged Navier Stokes (RANS) to better understand and quantify processes related to well loss for different screen types. This study provides a methodology of quantifying well screen head loss using numerical models, coupling Darcy flow (aquifer and filter/gravel pack) with turbulent flow (in‐well and through screen) at a sub‐millimeter scale. Results are used to compare performance of four different types of well screens (Louver, slotted, bridge and wire wrap) and their overall impact and contribution to total well head loss for different slot apertures, pumping rates and hydraulic conductivity of the filter/gravel pack providing a new empirical formulation to quantify screen head loss.