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The Top Date Places in Denver
You know what they say, Denver is for lovers. Okay, no one says that, but they should. The Mile High City is teeming with opportunities for romance and there are many great places to go when out on a date with that special someone.
To take advantage of Denver’s quixotic side, the first thing you need to do is get yourself a date. Unfortunately, we can’t help you with that except to say when you’re in the process of finding that special someone don’t mention the fact that you’re fluent in Klingon or reveal why Mr. Fluffy Paws and Baron Von Whiskers don’t get along.
Perhaps you don’t need to get yourself a date because you’re already married or in a long-term relationship. That’s great, just keep in mind that established couples and new couples could possibly go on very different kinds of dates.
For instance, Colorado natives that have been married for several years might find romance in a Denver Broncos game at Invesco Field followed by dinner at the Denver Diner. A young couple that has been dating for a while might wish to attend Lilith Fair at the Comfort Dental Amphitheatre and then top the evening off with a meal at the Pizzeria Basta.
While those types of focused dates are great they are beyond of the scope of this article. That’s why we’ve chosen to focus on a more traditional kind of evening–dinner, a show of some sort, and a lovely night cap. By using such a conventional format our suggestions can be enjoyed by couples on their first date as well as couples on their 100th or their 1,000th.
Since it’s a date you don’t want to visit the usual haunts and eat the usual fair. So why not try something different like Cuba Cuba (1173 Delaware Street, 303-605-2822) and its delicious Cuban cuisine and sinful mojitos.
Take a gastronomical adventure in South American cuisine at Cafe Brazil (4408 Lowell Boulevard, 303-480-1877). This vibrant restaurant offers patrons fresh seafood and scrumptious smoked meats doused in zesty Latin spices.
You and your date are guaranteed to find romance at the Vesta Dipping Grill (1822 Blake Street, 303-296-1970). Located in the lower downtown area of Denver (LoDo), Vesta is an updated take on the 1970′s fondue fad. Just think how romantic it will be feeding your date a chuck of meat covered in melted cheese.
If you want to pull out all the stops make reservations at Restaurant Kevin Taylor at the Hotel Teatro (1106 14th Street, 303-820-2600). You and your date will undergo a world class culinary feast at this cozy and elegant Art Deco-style restaurant.
If your pocketbook demands a more modestly priced meal then venture to Angelo’s (620 East 6th Avenue, 303-744-3366). This casual, but still very romantic restaurant, offers sublime pizzas and tasty traditional Italian dishes. If the weather is nice, you and your companion can dine on Angelo’s outdoor patio.
After dinner you’ll need something to do (unless of course you blew it by showing off your goiter). If your date is a film buff, visit the very hip Mayan Theatre (110 Broadway, 303-744-6799). This small independent theatre has a bar and shows films you won’t see at the local multiplex.
Does your date have a sense of humor? The Impulse Theatre (Wynkoop Street, 303-297-2111) features some of Denver’s best Improv artists. This theatre is adjacent to the trendy Wynkoop Brewery so after laughing the night way you and your date can wander over to their bar and enjoy a pint or two.
To catch a Broadway style show accompany your date to the Denver Center for the Performing Arts (1245 Champa Street, 303-893-4000). The complex houses the Buell Theatre which brings the nation’s top touring productions to Denver. The Buell has hosted shows like Wicked, In The Heights, Shrek, Mamma Mia!, and Young Frankenstein.
Another venue at the Denver Center is the sublime Ellie Caulkins Opera House. Now attending an opera may sound like the epitome of boring but they are actually quite amazing. Even if you don’t listen to opera music you should attend at least one production during your lifetime. So why not kill two birds with one stone and see an opera while on a date?
If you’re looking for less art in your music and more intimacy, try the Blue Theatre (3317 East Colfax Ave, 303-377-1666). If you go on a night with the right band, this is a great place for you and your date to sip cocktails while swaying to the music.
Show your date that you know how to move your body by visiting the effervescent La Rumba (99 West 9th Avenue, 303-572-8006). This club is one Denver’s most popular Latin dance venues. When you need a break from salsa dancing order a martini or a microbrew from the club’s well stocked bar. Make sure you’re fashion forward, La Rumba has a very strict dress code.
If country is your thang, mosey on down to The Grizzly Rose (5450 North Valley Highway, 303-295-1330). This venue is one of the best honky tonks in the world and it hosts some of the biggest names in the business (Garth Brooks, Brooks & Dunn, Willie Nelson, and Taylor Swift). It’s not the most intimate venue in Denver, but they do have 2,500 square feet of dance floor, a pool room, and a mechanical bull.
You’re going to need someplace to go to finish off the evening, unless of course your date suddenly tells you they need to go home because they have jury duty in the morning–what did you do now? Fortunately, Denver has plenty of wonderful options to conclude your date.
Trios Enoteca (1730 Wynkoop, 303-293-2887) is an independent wine bar featuring tapas, appetizers, and live music. You and your date will be able to order a glass from a selection of 40-plus wines.
Another fabulous wine bar in Denver, located at Larimer Square, is Cr (1442 Larimer Street, 303-893-9463). Cr has over 300 wines, 40 of which can be sampled by the glass. This elegant wine bar also has a menu featuring flavorsome appetizers and flights of cheese.
Take a trip back in time and experience the Art Deco of the 1920′s at The Cruise Room, located in the Oxford Hotel in downtown Denver (1600 17th Street, 303-825-1107). The Cruise Room was city’s first bar and it was designed after one of the lounges from the Queen Mary. The establishment serves the best martini in the city and features music from a free jukebox–dibbs on “Don’t Stop Believing.”
To satisfy a sweet tooth look no further than D Bar Desserts (1475 East 17th Avenue, 303-861-4710). D Bar not only serves up scrumptious deserts like palmond, crme brulee, and apple tarte tatin but they also offer wine, beer, coffee, and tea.
The above suggestions were obviously for a “date night.” If you and your companion decide to schedule your date during the day, or you’re so creepy no one wants to be with you after the sun goes down, you still have plenty of romantic options.
First and foremost is the Denver Art Museum (100 West 14th Avenue, 750-865-5000). DAM (as the locals call it) is known for its collection of American Indian Art. After perusing the museum’s 68,000 pieces, you and your date can dine at one of the several nearby restaurants. Two worth mentioning are Dozens (236 West 13th Ave, 303-572-0066) and Pint’s Pub (221 West 13th Avenue, 303-534-7543).
Denver City’s Park is another great place for a romantic daytime outing. The 330-acre park, located in east-central Denver, contains the Denver Zoo, The Denver Museum of Nature and Science, and a couple of lakes. You can rent a row boat for a romantic spin on the water. Just don’t splash, you might mess up their hair.
As you can see, Denver has plenty to offer a couple looking to spend some quality time together. Whether it’s a hot date with a brand new paramour or “date night” with the old ball and chain, Denver is a very romantic city.
Ryan Hogan writes for DenverSmarts, a website that offers all kinds of entertainment information for people who visit or live in the Denver, CO area. Learn things like places to visit in Denver and of course the best dating ideas for people in Denver.
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Lifehouse “Everything” Skit CONAMAD.REGGIO EMILIA
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Pradar Handbags History
Pradar Handbags History
Mario Prada started the Prada label in 1913. He designed and sold handbags, shoes, trunks, and suitcases though two boutiques in Milan, and had clients across Europe and the US. When the signature Prada suitcase, made from heavy, cumbersome walrus skin, proved to be ill suited for air travel, Prada concentrated on designing exquisite leather accessories and waterproof handbags.
In 1978, Mario’s granddaughter, Miuccia Prada, took over the company. Miuccia was a former mime who had spent five years studying at Milan’s Teatro Piccolo, and had a PhD in political science. Although her qualifications didn’t seem appropriate, her sense of fashion was unmistakable. The label was still mainly a leather goods manufacturer at that point, and had been struggling financially for several years. Competition from other fashion houses like Gucci had taken its toll. Miuccia turned things around and steered the House of Prada towards the world of haute couture.
In the 1980′s, other labels were creating designs that played on sexuality. Frilly, lacy, brightly colored garments that were low cut on top and short on the bottom were popular. Prada hit the runway in 1989 with its pret-a-porter collection, with elegant, simple pieces featuring clean lines, luxurious fabrics, and basic colors. The fashion world took notice, and Prada’s popularity skyrocketed.
By the 1990′s, Prada was a leading force in fashion. The garments and accessories were smart, sophisticated, and extremely high quality. Luxurious fabrics and simple styles, mostly in blacks, browns, grays, greens, and creams, became the signature Prada look. The apparel was sexy and spoke of confidence without revealing too much skin. Accessories included skinny leather belts, elegant high heeled shoes, and of course, the classic handbag.
In 1992, Miuccia presented the more affordable Miu Miu line, which targeted a younger consumer. More flowing shapes and earthy colors and prints set this collection apart, although the simple designs and classic appearance continued the quality of the Prada label. Soon after, the Prada Sport label was created, followed by a line of men’s wear and a lingerie collection.
The following year, in 1993, Prada received the Council of Fashion Designers of America award for accessories.
Must Visits during Italia Trips
During an Italy travel, the “fairy tale city” of Venice is the place to be. This city has successfully kept itself untainted from the ugliness and hustle-bustle of regular metropolitan cities. The innumerable number of canals and bridges built across the city, with their sheer architectural magnificence, are sure to cast an everlasting spell on the person witnessing them. The Canal Grande, the Fondaco dei Turchi, the Ca’ Pesaro, the Ca’d'Oro, the Piaza San Marco and the Basilica de San Marco all boast of the rich architecture and historical roots of Italy. Venice is also the best place to experience Italian cuisine in all its might and glory.
Milan, Italy, is justly termed as the “fashion capital of the world”. This city has got “style” written all over it. The leading fashion houses of the world have their centers located in this city. The elegance and the charm of the city are sure to leave you awed with surprise. Yet, as example of Italy’s architectural genius, the Piazza del Duomo and the Teatro alla Scala are two of the must visit places of Milan. Milan also happens to be the headquarters of Italy’s biggest stock exchange company. It is also the home for all the leading football clubs of Italy, which makes it a major tourist attraction.
The Center of Italy’s art and beauty, Florence, boasts of the best of art collections of the World. The Piazza della Signoria, the Loggia della Signoria, Renaissance gardens of Palazzo Pitti should never be missed during Italy trips. The holder of best of Florentine and Italian art collection, the Galleria delgi Uffizi should not be missed by any art lover of the world. This gallery is also the home for the masterpieces of historically celebrated sculptures like Michelangelo. The works of Botticelli, Van Dyck, Durer and Tintoretto, also add to the glory of this world famous gallery.
If you want to gather more knowledge about the must visits during Italia trips, a thorough search of the internet can come extremely handy.
The author is well-known for reviewing <a rel=”nofollow” onclick=”javascript:_gaq.push(['_trackPageview', '/outgoing/article_exit_link/2840222']);” href=”http://italiatrips.com”>Italy vacation packages</a>and must visits of <a rel=”nofollow” onclick=”javascript:_gaq.push(['_trackPageview', '/outgoing/article_exit_link/2840222']);” href=”http://italiatrips.com”>Italy trips</a>.
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Mama Mia-So many varieties of womens innerwear
The inner wear industry cherishes the present day market thanks to one sex. Yes we must pay duly credits for the economics developed by women in this society. A lot of revenue comes out of their innerwear varieties and the contribution may be indirect as well as direct in distinct ways.
I can go gaga about their inner wear variety. Commonly the varieties arise due to the different styles and colors, materials and last but not least, brands. There are so many varieties of models and brands that I am sure that no female in this world would be left alone when it comes to expressing their womanhood and as I scroll down trying to figure out the options available my wrists starts hurting.
I wouldn’t be surprised if they take a whole day when it comes to buying a single piece of underwear. Even if you do finally choose a particular model then you have so many brands to choose from. So you can go on and on and on.
Choosing out of Colors
You almost have every color in various brands. You have white, black, yellow, pink, red, neon, gold, silver and it goes on. Then you have shades or mixtures of these colors to choose from. Black tops the list. Most females prefer black because they believe it is the safest of all the options and it apparently makes them look slimmer. Thus almost every woman in this world owns a black piece.
Choosing out of Styles
Basically style is differentiated into two types. You have the single piece. And then you have the two pieces.
As we go deeper into the classification, in today’s market you can choose among bras, panties, shape wear, lounge and sleep wear, hosiery, camisoles and slips, active wear and swim wear.
We can further sub-categorize the above. For example in bras you have balconette bras, bandeau bras, bralettes, convertible bras, demi bras, padded bras, push up bras, short sleeve shirts etc
Panties are classified into bikinis, boy shorts, G-strings, Hipsters, shorts, thongs etc
Likewise each and every category mentioned above has dozens of styles within them.
Choosing from Brands
As per the above mentioned categories, best brands which make quality bras are belabumbum, beyond yoga, calvin klein, cosa bella, eberjey, elle Macpherson intimates, fleurt etc
As for panties again, the above mentioned brands are pretty good enough. You also have many other brands apart from the above mentioned brands.
Likewise for every other innerwear varieties mentioned above.
The internet provides a lot of details about the available brands as well as styles in the market. When it comes to choosing, you must feel free to surf several websites and buy online. However it is better to go to a whole sale market to try out different styles of innerwear and at the same time keep in mind the most significant factor when it comes to choosing any underwear, comfort is very crucial. So buy the ones that best suit you.
Beverly Kathryn is an expert author for Belabumbum. He has written many articles like Cosabella. For information visit our site Eberjey.
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Related Cosa Articles
DESIGN – BASED RESEARCH
DESIGN – BASED RESEARCH
Prof. Mrs. Geeta Kamble and Narendra Sidhaye
Abstract:
Researches in educational settings have historically been driven by two broad goals
1. Understanding how people learn, particularly within school settings and
2. Designing ways to better ensure that learning will happen in these settings.
Educational researchers, policymakers and practitioners agree that educational research is often divorced from the problems and issues of everyday practice. Understanding how technology can best support student learning in diverse classroom settings remains a crucial line of educational research.
What is an alternative model for conducting education research that addresses the complex nature of learning in classrooms, extends fundamental research in cognition, fosters a broad systemic understanding to transform a variety of environments as well as provides valid examples of successful educational reforms?
Thus, Design Based Research is an emerging paradigm for the study of learning in context through the systematic design and study of instructional strategies and tools. DBR can help create and extend knowledge about developing, enacting and sustaining innovative learning environments.
Design experimentation is an inter-disciplinary approach that acknowledges the fundamentally applied nature of educational research. Within this approach, researchers working in partnership with educators seek to refine theories of learning by designing, studying, and refining rich, theory-based innovations in realistic classroom environments. One of the popular approaches in Design Experimentation is ‘The Design Principles Approach’. It stems from the design experiments research trajectory, initiated in the early nineties by Brown (1992). These experiments were the ancestor of the DBR methodology. During same period, Collins (1992) called researchers to refer to education as a DESIGN SCIENCE. He based this notion on Simon’s (1969) famous book, which identifies various professions, such as architecture, engineering, computer science, medicine and education with the sciences of the artificial.
The Design Principles DATABASE
Based on this approach, the DPD (Kali & Linn) was developed to capture, coalesce and synthesize design knowledge. The DPD is a mechanism to support researchers and curriculum designers to share their design knowledge in the form of design-principles, exemplified by descriptions of features from learning environments. The database is an infrastructure for participants to publish, connect, discuss and review design ideas, as well as use these ideas to design new curricula. The current entries in the Design Principles Database represent the contributions of over sixty individual researchers. The database includes about one hundred features (mainly from physical, life and earth sciences) connected with several dozen design-principles.
How does the DPD work?
The DPD is a set of interconnected features and principles. Each feature is linked with a principle and principles are linked between themselves in a hierarchical manner. Principles in the database are described in three levels of generalization. Specific Principles are those that connect directly to a single feature or single research investigation and provide the specific rationale behind the design of that feature. Pragmatic Principles connect several Specific Principles and Meta-Principles capture abstract ideas represented in a cluster of Pragmatic Principles
Conclusion
Design – Based research methods can compose a coherent methodology that bridges theoretical research and educational practice. Viewing both design of an intervention
and its specific enactments as objects of research can produce robust explanations of innovative practice and provide principles that can be localized for others to apply to new settings. DBR, by grounding itself in the needs, constraints and interactions of local practice, can provide a lens for understanding how theoretical claims about teaching and learning can be transformed into effective learning in educational settings.
Full Paper
Introduction
Researches in educational settings have historically been driven by two broad goals
1. Understanding how people learn, particularly within school settings and
2. Designing ways to better ensure that learning will happen in these settings.
Pursuing these goals in parallel poses significant challenges. However, such work can yield significant rewards, as learning settings can be rapidly refined in response to ongoing research.
Educational researchers, policymakers and practitioners agree that educational research is often divorced from the problems and issues of everyday practice – a split that creates a need for new research approaches that speak directly to problems of practice (National Research Council [NRC], 2002) and that lead to the development of “usable knowledge” (Lagemann, 2002).
Understanding how technology can best support student learning in diverse classroom settings remains a crucial line of educational research. For decades, computer technology has been developing at a rapid pace and this pattern of development is unlikely to change in the future. Also, research on institutional aspects of educational reform, cognitive aspects of student learning, and the design of technology – enhanced instruction have historically occurred as separate endeavors. At best, the level of exchange among these research communities is trading monographs, methodologies or isolated pieces of technology. A principal difficulty with bridging these communities lies in the different criteria for what constitutes educational success using learning technologies. The questions and methods one community considers valid may be considered tangential, inappropriate or inconsequential by another community.
What is an alternative model for conducting education research that addresses the complex nature of learning in classrooms, extends fundamental research in cognition, fosters a broad systemic understanding to transform a variety of environments as well as provides valid examples of successful educational reforms?
Design Based Research (DBR)
Design Based Researchin education is probably very old, but recent interest can be traced back to the early nineties, e.g. Brown and Collins (1992).
According to Collins, design research was developed to address several issues central to the study of learning, including the following
1. The need to address theoretical questions about the nature of learning in context. 2. The need for approaches to the study of learning phenomena in the real world rather than the laboratory.
3. The need to go beyond narrow measures of learning.
4. The need to derive research findings from formative evaluation
According to the Design-Based Research Collective (2003)
The central goals of designing learning environments and developing theories or proto theories of learning are intertwined.
Development and research take place through continuous cycles of design, enactment, analysis, and redesign.
Research on designs must lead to sharable theories that help communicate relevant implications to practitioners and other educational designers.
Research must account for how designs function in authentic settings. It must not only document success or failure but also focus on interactions that refine our understanding of the learning issues involved.
The development of such accounts relies on methods that can document and connect processes of enactment to outcomes of interest.
Thus, Design Based Research is an emerging paradigm for the study of learning in context through the systematic design and study of instructional strategies and tools. DBR can help create and extend knowledge about developing, enacting and sustaining innovative learning environments.
Reeves draws a clear line between research conducted with traditional empirical goals and that inspired by development goals leading to DESIGN PRINCIPLES
Design Experimentation
Design experimentation is an inter-disciplinary approach that acknowledges the fundamentally applied nature of educational research. Within this approach, researchers working in partnership with educators seek to refine theories of learning by designing, studying, and refining rich, theory-based innovations in realistic classroom environments.
Design experimentation reflects a range of practices and methodologies that are drawn from a variety of disciplines. However, the broad array of methods, claims, theoretical stances and intellectual traditions makes it extremely difficult to articulate exactly what design experimentation is and how it can advance as a coherent field of study.
If design experimentation is to develop into a viable, robust field, its practitioners must come to agreement about the nature and scope of design experimentation and develop shared practices and methods that allow us to build on each others’ research, to share results and outcomes in ways that contribute to theory and practice and (ultimately) to make a significant contribution to how people learn in a range of contexts.
Reeves (2008), Ann Brown and Alan Collins (1992) defined critical characteristics of design experiments as
1. Addressing complex problems in real contexts in collaboration with practitioners,
2. Integrating known and hypothetical Design Principles with technological affordances to render plausible solutions to these complex problems and
3. Conducting rigorous and reflective inquiry to test and refine innovative learning environments as well as to define new Design Principles.
Design Experiments,
Address learning programs involving important subject matter,
Are usually mediated by innovative technology,
Are embedded in everyday social contexts which are often classrooms,
Can serve as models for broader reform and
Contribute simultaneously to fundamental scientific understanding of learning and education.
One of the popular approaches in Design Experimentation is ‘The Design Principles Approach’
It stems from the design experiments research trajectory, initiated in the early nineties by Brown (1992). These experiments were the ancestor of the DBR methodology. During same period, Collins (1992) called researchers to refer to education as a DESIGN SCIENCE. He based this notion on Simon’s (1969) famous book, which identifies various professions, such as architecture, engineering, computer science, medicine and education with the sciences of the artificial.
It uses ‘Design Principles’ as an organizational unit for synthesizing design knowledge. The DP is an intermediate step between scientific findings, which must be generalized and replicable and local experiences or examples that come up in practice. Because of the need to interpret design-principles, they are not as readily falsifiable as scientific laws. The principles are generated inductively from prior examples of success and are subject to refinement over time as others try to adapt them to their own experiences.
The Design Principles DATABASE
Based on this approach, the DPD (Kali & Linn) was developed to capture, coalesce and synthesize design knowledge. The DPD is a mechanism to support researchers and curriculum designers to share their design knowledge in the form of design-principles, exemplified by descriptions of features from learning environments. The database is an infrastructure for participants to publish, connect, discuss and review design ideas, as well as use these ideas to design new curricula. The current entries in the Design Principles Database represent the contributions of over sixty individual researchers. The database includes about one hundred features (mainly from physical, life and earth sciences) connected with several dozen design-principles.
How does the DPD work?
The DPD is a set of interconnected features and principles. Each feature is linked with a principle and principles are linked between themselves in a hierarchical manner. Principles in the database are described in three levels of generalization.
Specific Principles are those that connect directly to a single feature or single research investigation and provide the specific rationale behind the design of that feature.
Pragmatic Principles connect several Specific Principles and
Meta-Principles capture abstract ideas represented in a cluster of Pragmatic Principles
References
Barab, S. A., & Kirshner, D. (Eds.) (2001) Special issue: Rethinking methodology in the learning sciences. Journal of the Learning Sciences, 10(1&2), 1-222.
Barab, S. A., & Squire, K. (Eds.). (2004). Design-based research. [Special Issue] Journal of the Learning Sciences, 13(1).
Bell, P. (2004). On the theoretical breadth of design-based research in education. Educational Psychologist, 39(4), 243-253.
Brown, A. L. (1992). Design experiments: Theoretical and methodological challenges in creating complex interventions in classroom settings. The Journal of the Learning Sciences, 2(2), 141-178.
Cobb, P., Confrey, J., diSessa, A., Lehrer, R., & Schauble, L. (2003). Design experiments in educational research. Educational Researcher,
Collins, A. (1992). Towards a design science of education. In E. Scanlon & T. O’Shea (Eds.), New directions in educational technology (pp. 15-22). Berlin: Springer.
Design-Based Research Collective (2003) Design-Based Research: An Emerging Paradigm for Educational Inquiry. Educational Researcher, Vol. 32, No. 1, pp. 5
diSessa, A. A. (1991). Local sciences: Viewing the design of human-computer systems as cognitive science. In J. M. Carroll (Ed.), Designing Interaction: Psychology at the Human-Computer Interface. NY: Cambridge University Press, 162-202.
Edelson, D. C. (2002). Design research: what we learn when we engage in design. Journal of the Learning Sciences, 11(1), 105-121.
Enyedy, N. (2005). Inventing mapping: creating cultural forms to solve collective problems. Cognition and Instruction, 23(4), 427-466. (this is an example study).
Kali Y. and Orion N., (1996). Spatial abilities of high-school students in the perception of geological structures. Journal of Research in Science Teaching, v.33, pp.369-391.
Kelly, A. E. (Ed.). (2003). Theme issue: the role of design in educational research. [Special Issue] Educational Researcher, 32(1).
Lehrer, R., & Romberg, T. (1996). Exploring children’s data modeling. Cognition & Instruction, 14(1), 69-108. (example study)
Lesh, R. A., & Kelly, A. E. (2000). Multitiered teaching experiments. In A. E. Kelly & R. A. Lesh (Eds.), Handbook of research design in mathematics and science education (pp. 197-230). Mahwah, NJ: Lawrence Erlbaum Associates.
Reeves, Thomas C. (2000). Enhancing the Worth of Instructional Technology Research through Design Experiments and Other Development Research Strategies, Paper presented on April 27, 2000 at Session 41.29, International Perspectives on Instructional Technology Research for the 21st Century, a Symposium sponsored by SIG/Instructional Technology at the Annual Meeting of the American Educational Research Association, New Orleans, LA, USA. PDF.
Reiser, B. J., Tabak, I., Sandoval, W. A., Smith, B. K., Steinmuller, F., & Leone, A. J. (2001). BGuILE: Strategic and conceptual scaffolds for scientific inquiry in biology classrooms. In S. M. Carver & D. Klahr (Eds.), Cognition and instruction: Twenty-five years of progress (pp. 263-305). Mahwah, NJ: Lawrence Erlbaum. (example study).
Sandoval, W. A., & Bell, P. (Eds.). (2004). Design-based research methods for studying learning in context. [Special Issue] Educational Psychologist, 39(4).
Zitter, Ilya (2006), Design of competency-based, ICT-supported learning environments in higher education: The role of artefacts, ICO Toogdag research meeting
1. Mrs. Geeta Kamble is lecturer in sociology in Department of Education and Extension of University. She teaches to M. Ed. and M. Phil. courses. She has authored few books and few are in pipeline.
2. Mr. Narendra Sidhaye is Mechanical Engineer by profession. He has done his Masters in Education. He has devoted himself to the cause of education. He is founder chairman of Creative Engineers, a voluntary organization of engineers dedicated to the cause of Basic Education. He is working as an independent researcher in the field of education for last 15 years. The organization has carried out many research projects in Basic Research as well as Action Research Category.
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