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Customizations using remote provisioning In SharePoint Online, you can use custom CSOM code in apps for SharePoint to provision SharePoint site collections, sites, and sub-sites with branding elements. This site provisioning pattern is called remote provisioning.

Customizations using add-insfor SharePoint The new Cloud App Model in SharePoint Online enables you to add apps to your sites, and is the recommended replacement for Sandboxed solutions going forward. You can use existing third-party apps or build your own. Add apps to a site when you want to customize it with specific functionality or information. For example, you can add apps that perform general tasks like time and expense tracking. Or you can use apps and remote provisioning to apply branding elements to sites. You can also add apps that display news or information from third-party providers, or that connect to social websites.

Third-party apps Third-party apps are found in the SharePoint Store, which is an marketplace accessible from SharePoint Online sites. Select the apps that you want to be available in your tenant. Admins can also buy licenses for specific apps for all users in an organization (requires Site Owner permissions or greater).

Custom apps Your organization can also develop its own apps for SharePoint Online and make them available to users through the App Catalog site. If you know how to build a web application, then you know how to build an app for SharePoint. You can use any language, such as HTML, JavaScript, PHP, or .NET, and your favorite web development tools, including Microsoft Visual Studio. For more information, see Thomas Sabo bracelet turquoise A156093617L155 Thomas Sabo 5nCsR9zbFZ

Sandboxed solutions have been deprecated in SharePoint Online, as the representative architecture is not economically scalable across the shared multi-tenant environment. The effort required to maintain sandboxed solutions across all of the sites for any customer is incredibly high. Alternative solutions such as remote provisioning offers similar capabilities without the ongoing maintenance requirements.

Sandboxed solutions carried over as part of a migration will continue to work for a limited period; however, Microsoft is focusing on alternative solutions for SharePoint Online and it is highly recommended that all Sandboxed solutions be replaced with alternative functionality such as online apps. In the meantime be aware that ongoing updates to SharePoint Online may affect some sandboxed solutions.

With the introduction of the cloud app model (CAM) and apps for SharePoint, there are now viable alternatives to older, more established ways of branding and provisioning SharePoint sites.

You can perform all types of site branding using apps for SharePoint to provision site branding throughout the enterprise and manage branding at scale: a pattern known as remote provisioning . While SharePoint developers have historically used the SharePoint feature framework, site templates, web templates, and site definitions to provision sites and site collections, the remote provisioning pattern shows you how to create custom apps for SharePoint that provision site branding and perform other site provisioning tasks.

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Design is paramount to the success of any new or developing startup. While the original idea and core functionality should always take precedence, there’s a growing demand for attractive services that offer a beautiful user experience.

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is one of the most reputable and discussed online communities for designers and illustrators at the moment. The service has managed to encapsulate some of the most abstract and compelling parts of the creative process, such as finding new sources of inspiration, requesting feedback from fellow designers and taking a sneaky peek at peers’ upcoming projects.

The concept behind Dribbble isn’t a new one though. Modal Scarf CITY GIRLS by VIDA VIDA GbZe4OMD
was founded in 2000 and now boasts one of the largest online social networks for artists and art enthusiasts. Behance , meanwhile, was set up in 2006 as a single destination for creative professionals to upload and promote their work.

Dribbble appears quieter in its ambitions, yet already commands a far greater influence on the international design scene. While its growth appears to have erupted from nowhere, the reality is that some carefully planned elements and features have been brought together to make it the knock-out success story known today.

Let’s shoot some hoops

To an outsider, basketball and graphic design have little in common. The former usually takes place outside or on a polished indoor court, involves heaps of physical exercise and is broadcast on TV to millions of fans both in the United States and abroad.

The latter, meanwhile, often requires sitting at a desk, with paper and various art materials, or spending hours in front of a Macintosh computer with a copy of Adobe Illustrator or Photoshop humming in the background. It’s not a spectator sport – not until the project is finished anyway – and doesn’t command a dedicated section in the New York Times every day.

Yet Dribbble is all about basketball. New images are called ‘shots’, groups of images are called ‘buckets’ and recent uploads are known as ‘debuts’. In the world of Dribbble, retweets and reblogs don’t exist. Instead they’re called ‘rebounds’, which the user accumulates until they hit the ‘playoffs’ – a trending section for only the most popular projects.

“The name Dribbble came about from the dual metaphors of bouncing ideas and leaking your work,” Dan Cederholm, co-founder of Dribbble says. “We added an extra ‘b’ because that domain name was available. Early on, there wasn’t an intention to make it the sports metaphor so ingrained, but as we were creating the experience, things started falling into place. Many of the terms from the basketball world just worked.”

The verbiage is a consistent reference to the name of the platform and the company’s pink basketball logo. It’s also incredibly charming and means that the product is memorable for new and prospective users. The unintended – or perhaps intended – side-effect of this widespread branding is that Dribbble is very easy to talk about.

Quality, above all else

I can remember, in fairly vivid detail, the first time I was told about Dribbble. One of my housemates at university was a graphic designer and was hooked by the idea of becoming a ‘player’ on the service. (That’s not to say he was a hit with the ladies by the way, it’s just the term given to Dribbble’s users.)

It was a few years ago now and at the time, the service was still invite-only. A limited number of invites were randomly assigned to users, controlling the number of designers that were ‘prospects’ and ‘players’.

Dribbble quickly became the web-equivalent of a college basketball team. Everyone wanted to be involved. It was a trendy place to be seen. The platform appeared to be accepting only the very best designers and with it came a sense of status and respect.

The exposure and hype surrounding the service quickly grew and despite Dribbble’s relatively low userbase, the number of people interested in the site grew exponentially.

“The primary reason for invitations was to keep us sane while we were balancing Dribbble along with full-time jobs,” Cederholm adds. “We were fortunate to have a lot of momentum right out of the gate, but until revenue was a point to allow us to focus on Dribbble only, the invitations ensured we could scale this thing gracefully while worrying about other things. Like making a living!”

Dribbble has become a little more open since then, although registering a new account still requires secondary approval. It doesn’t really matter though, as the initial roll-out has already solidified Dribbble’s reputation as an incredibly high-quality platform, home to only the most talented and interesting designers.

A viewing experience like no other

Pinterest, a social network that allows users to share their favorite images with ‘pins’, has grown in popularity because it successfully emulates the glossy print magazines that already cover the fashion and interior design industries.

Graphic design is a similar space. For so-long, magazines such as Creative Review and thick, dedicated hardback books have dominated coffee tables and the desks of design agencies. It was one of the few places that creatives could draw inspiration from and created an exceptionally high standard for design-based publications.

Dribbble, just like Pinterest, has effectively replaced this medium by presenting incredibly high-quality design projects with a simple, yet attractive interface. The site’s color palette is predominantly grey and black, with the occasional pink highlight thrown in to reference the company logo. The projects themselves take center stage with ample space given to comments and the relevant number of likes, shares and views on the shot page.

There’s even a small space for the various colors used in the project, so fellow designers can replicate the exact shade and hue in their own work.

Clicking on the file link also produces an attachment page, stripping away almost all of the traditional Dribbble interface, save for a small sidebar with all but the most basic information. Flickr adopts a similar layout when the user asks to see a photograph in all available sizes, and in Dribbble’s execution it’s near-flawless.

“The priority has always been, first and foremost, to feature the work and the designer,” Cederholm explains. “We’ve intentionally kept the UI agnostic (monochrome, Helvetica type, simple glyphs) so that the variety of work being shared takes the spotlight and isn’t overshadowed by Dribbble’s brand.

“Over time, many of the features we’ve added have been a direct reaction to how the community chose to use the site. Rebounds, for instance, were being done by members simply linking their shot in the comments. We noticed that and built a UI around that to support what was going on.”

Free of all distractions, Dribbble ensures that players’ work always looks its very best. The end result is a platform that is simply gorgeous to explore and encourages further engagement from its users.

Working oh so hard for the money

Times are tough. Many Western markets are still in the middle of a recession, applying financial pressure to small, medium and large businesses alike. Design agencies are looking to run their company with the smallest number of staff possible, while clients are trying to commission new work at increasingly lower rates.

As a result graphic designers, especially freelancers, are always looking for new work. More clients means more opportunities to earn a livelihood. It’s simple math.

Dribbble has therefore been wise to create its own jobs board, which any user can access to find new employment. It’s just a database of links that point to other listings, but it works at a basic level and has become a reliable source of business for creatives.

“When Dribbble started, we didn’t have a job board, but we sold our own ads on the site,” Cederholm says. “Companies started advertising jobs in our banner rotations. Others posted shots that advertised open positions. Pretty quickly, we realized we needed a dedicated space for hirers to advertise to the amazing talent that hangs out at Dribbble every day.

“A ton of scouting and hiring happens on Dribbble, and the more tools we can provide to both designers looking for work, and companies looking for talent, the better.”

Design has never been so important

The standards for what is deemed to be good design will only increase over time. It’s part of the reason why Apple’s recent unveiling of 7 caused such a stir from the community.

Dribbble has the potential to be the center of that change, providing designers with a platform where they can improve their work and eventually be picked up by the next big startup.

Users are already developing variations on the the new interface and apps being offered with Metropolis Small Crossbody Bag in Orchidea Ares Leather Furla WA5afNaAc
– in some cases even improving upon them – which only helps to highlight the quality of the work being uploaded to the platform.

“The difference now is that people are (rightly) paying more attention to it, and they’re realizing that it’s crucial,” Cederholm says. “We’ve seen large companies invest in design because they know the user experience makes all the difference in the success of a product.

“It’s an exciting time to be a designer. We’re also seeing more ‘designer founded’ startups, where design is at the forefront of the product and how it’s conceived. This is also important, as design is not an afterthought of ‘now make it pretty’, but part of the thinking and conception of a good idea. Successful companies get this. And it’s why the business world in general is now investing in design more than ever.”

What’s next for Dribbble?

Dribbble has carved out an enviable niche for itself as the de facto online platform for sharing and discovering breakthrough design work. The company is now working on a new feature, called Teams, which will allow organizations to collate designers’ profiles and post their work to a joint page, as well as their own profiles.

“Teams can also advertise jobs on their profiles as well,” Cederholm reveals. “Again, this is a feature born out of observing how people are using Dribbble. Companies were creating accounts, but they were separated from the individual designers that were also on Dribbble sharing their work.”

He adds: “We think Teams will increased exposure from their talent and vice versa. It’s coming soon, and we’re really excited about it.”

Teams seems like a logical step towards monetizing Dribbble and increasing its relevancy for larger companies. Regardless of what it does next though, the platform is unlikely to lost its status as the go-to community for professional design work. It’s already proven itself as a slam dunk, if you’ll excuse the pun.

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What if it's All a Front? Zacharie Gaudrillot-Roy Reimagines Buildings as Isolated Facades
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In his ongoing photo-series "Façades," French photographer Zacharie Gaudrillot-Roy a series of images in which he removes the mass and depth of buildings, and leaves behind the mere fragments of exterior skin. The photos, which resemble deserted Hollywood sets, illustrate roadways, towns, apartment complexes, and other environments without giving away the ideas ofanything beyond the superficial image of the facade—leaving much to the imagination.

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According to Gaudrillot-Roy, this act of surrealism is all about how we view and interact with the cities around us, and how we engage with the idea of civic life itself:

The façade is literally the first thing one sees of a building,as its surface. It can be imposing, superficial, but can alsosuggest safety.I've always liked to wander around in a city. I walk through the streets with these questions in mind: Whatwould happen if we were to stick to that first vision? If the daily life of “The Other” was only a scenery? This series thus offers a vision of an unknown world that would only be a picture, withoutintimate space, where looks are the only refuge.

Rack controllers can create topologies only within a single rack. ExoSM can create topologies consisting of resources from many ExoGENI racks. Bare-metal nodes are available only through ExoSM.

Reasons to use ExoSM:

You have a topology in mind that needs multiple racks. ORCA native stitching will connect racks together.
You need a topology that includes bare metal nodes
You have a single-rack topology in mind and either
don't care which rack it goes into (ExoSM will automatically find available resources if your request is not bound to a specific rack).
do care which rack it goes into (you can bind your request to a specific rack)

Reasons to use individual rack SMs:

You have a topology that spans only one rack and you wish to use that specific rack for some reason
There are no resources available from ExoSM
You have a complex topology in mind, but you wish to use GENI stitching instead of ORCA's native slice stitching

At different times some of the racks and controllers may not be available due to e.g. maintenance events. To see which racks are available, you can visit the Statement Bag Blue Block Bag by VIDA VIDA pmmRPt01

Experimenters can build their own images to launch ExoGENI VMs. Images must be placed on some webserver along with an meta-file describing the image properties. The of the metafile (and a SHA-1 hash of it, for security) is what is used to identify an image in ExoGENI. ExoGENI racks then automatically download the images and launch virtual machines with them.

For bare-metal instances there are currently a few images available. At present there is no ability for the experimenter to build their own bare-metal image.

Useful links:

ExoGENI VM images
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for more information on building your own VM images.
See this page for a list of images provided by RENCI, which can be used as a starting point to build new images.

InstaGENI and ExoGENI images are currently not portable across testbeds.

The AM interface in each rack can allocate resources only from this rack; however they will still be stitched together (i.e. compute slivers will be connected to each other by VLANs in the user-specified topology within the rack). The SM will then produce an RSpec manifest with stitching schema extensions that can be used by external tools to operate on the slice or, potentially, stitch it to other slivers via e.g. FOAM.

Requests for intra-rack slices can be placed with individual rack SM's or with Intarsia Knitted Beanie Black Balenciaga XOGLn
. When placing requests with the rack SM, they do not have to be bound, since the rack SM can only see resources in one rack. When placing a request with ExoSM, the experimenter must explicitly bind the request to a specific site, otherwise Orca's internal binding engine inside the SM will select available site for the topology embedding.

Experimenters can request inter-rack slices by submitting their requests to the Annie belt Yellow amp; Orange BLow The Belt L6KpV
which exposes GENI AM . This SM has visibility into a wider pool of available resources, and will perform all needed bindings of requests to available substrate, as in the case of a user-specified topology that is unbound or partially bound. In case of an explicitly bound topology ExoSM will simply attempt to fulfill the request as stated, performing the necessary stitching on the way if resources are available.

This request must be submitted either through the GENI compatibility interface or via Flukes to ExoSM (using RSpec conventions ). Thanks to the global visibility of resources, ExoSM will make appropriate decisions about stitching the slice together from multiple edge resource providers and any necessary transit network providers. Rack SMs cannot fulfill this function because their visibility of resources is limited only to those contained in a single rack.

The alternative to using ExoSM is to use GENI tools to do the stitching external to ORCA using the manifest produced by the individual rack AMs.

In ExoGENI, OpenFlow is an integrated capability of some ExoGENI network providers, including the ExoGENI sites, that is available as a slice feature on top of the basic VLAN slicing mechanism, rather than as a distinct aggregate. ExoGENI slices may designate OpenFlow controllers to direct network traffic within the virtual network topology that makes up the slice's dataplane. The ExoGENI aggregates authorize the controller automatically based on their assignments of virtual network resources to the slice's virtual topology. As an option, ExoGENI may also allow GENI experimenters to program the OpenFlow datapaths as separate aggregates (using FOAM), with manual approval by GENI administrators.

The user can specify the of their external OF controller in the RSpec request (the specific extension to RSpec to support it is under discussion) or via Tote Bag Mounting Energy Tote by VIDA VIDA Z3TDdi
. A slice will be created with typically a single broadcast domain for an entire slice (with VLAN tag remapping as needed to connect slivers from multiple ExoGENI domains). The user’s controller will be able to perform forwarding of packets using OpenFlow rules in OF datapaths included in the slice by matching on header fields other than the VLAN tag, which will be ‘locked in’ to this slice via FlowVisor running in the rack. ORCA will communicate with FlowVisor via its XMLRPC interface to communicate slice information (ports and vlan tags involved in the slice) and controller .

It is important to understand that all slices in ExoGENI are based on VLANs. Some slices have OpenFlow enabled in them for explicit user control of packet forwarding within those vlans. This behavior is optional and is specified in the request.

To create a slice that includes GENI Mesoscale resources (namely OpenFlow) , the experimenter must create some edge resources (VM or bare-metal) off of well-defined VLANs in a specific rack. These VLAN are statically configured to lead to GENI Mesoscale OpenFlow deployment. The values of VLAN tags are Woven Velvet And Leather Belt Black Haider Ackermann TVqU0z9

Experimenters must use FOAM AM on the rack to acquire the necessary flowspace on the selected mesoscale OpenFlow vlan. Please Leather Accent Tag FLOWER BLOOM by VIDA VIDA eF5Ya5Y
on details of using mesoscale aggregates.

ExoGENI relies on industry- standard mechanisms for resource provisioning (KVM-based virtual machines, bare-metal instances, quality-of-service provisioned VLANs) which all have well-documented performance isolation properties. Several practical factors may serve to weaken those properties: