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Pro-Railing is a range of handrailing components designed with simplicity of use in mind. This handrail and stainless steel balustrade system consists of over 1000 components, allowing for the quick installation of complex and attractive stainless steel railings and balustrade systems; simply cut then glue or screw to create a clean and contemporary look, giving you professional results every time. It is available in stainless 304 for internal installations and stainless 316 for exterior handrails or balustrades, and comes either in a brushed steel or mirror polished finish.
To view Pro-Railing products please visit:
Ramsey Campbell's botanic Green God (it is actually nameless) and its Children from his short story "The Horror under Warrendown" were the basis for this custom Great Old One for Arkham Horror 2nd Ed..
I wanted to incorporate both threats in a rather simple fashion, without extra game material, so that the Green God can be easily integrated into the basic game and its expansions. Therefore, the standard Cultists were employed as The Green God's mutated, rodent-teethed and rabbit-like Children, and they became part of a kind of race sub-plot that adds threat but also offers players the option to counter it.
When a Child of the Green God appears through regular play, it will dash across the board and potentially open an additional Gate, speeding up the Great Old One's awakening and releasing some more Monsters onto Arkham's streets.
The Children themselves are not very dangerous, but they are fast and hard to confront, so that players better act fast to stop them. However, a confrontation with them is potentially dangerous, too, because Investigators might become infected with the Green God's mutagenic matter, initiating the slow but hard-to-stop transformation into a Child, which will eventually try to open a new Gate! This conforms not 100% with the literature background (only the Green God is "infectious"), but it's a nice players' threat.
With six Cultists in the basic game and a few more in the expansions, this will not happen frequently, though.
However, as a threat balance, the curse-induced transformation also starts with ANY Curse the Investigators might catch!
The final battle relies on a similar pattern, based upon being Cursed and starting to gradually mutate into Children of the Green God.
Manual de instruções, lancetas descartáveis, alças coletoras descartáveis, tampão de corrida, suporte na embalagem e suporte fora da embalagem.
Chinatown, Manhattan, New York City, New York, United States
he 97 Bowery Building is a five-story, 25-footwide, early Italianate style, significantly intact, cast-ironfronted store-and-loft building. Built in 1869 for John P. Jube and designed by architect Peter L.P. Tostevin, the building was occupied until 1935 by John P. Jube & Co., a hardware and carriage supply business.
97 Bowery was built in a time when the Bowery was the major thoroughfare through the Lower East Side and a major commercial street with specialty shops, dry-goods stores and fancy hardware businesses. The 97 Bowery Building is typical of commercial cast-iron construction during the 1850s and 1860s; and it is likely that various elements of the design were selected from a catalogue of standardized cast-iron components. Notable design elements include the Corinthian columns supporting arches as well as a classical cornice with a segmental arched pediment and acanthus modillions and studs, and spandrels similar in design to the spandrels of the former McCreery’s Dry Goods Emporium at 801 Broadway .
The design features of 97 Bowery are similar to several other significant cast-iron buildings, such as the “Thomas Twins” at 317 Broadway and 319 Broadway , and the Haughwout building . Today, 97 Bowery remains an important reminder of the Bowery’s commercial emergence after the Civil War, and is a rare example of cast-iron architecture in this particular area of the city.
DESCRIPTION AND ANALYSIS
The Bowery
The Bowery is the oldest thoroughfare on Manhattan Island and is part of an old road once known as the Wickquasgeck Road, since it led to lands of that tribe, and later as the Post Road to Boston. From the city of New Amsterdam at the south end of Manhattan, it veered northeast around a freshwater pond known as the Collect, beyond which in 1625-26 Crijn Fredericks set out a dozen bouweries, or company farms, intended to supply the initial settlement. The vulnerability of these scattered farms to attacks by Native Americans prompted an order in 1660 that settlers gather in towns “after the English fashion,” and Bowery Village was established on part of what had been the Company’s Great Bowerie.
The road leading to it became known as “Bowery Lane,” which served as the city’s principal route of expansion during its first two centuries of growth. The area developed rapidly following the turn of the 19th century and by the 1830s had become a bustling neighborhood composed in large part of brick and brick-fronted Federal style row houses. By the mid-19th century, as wealthier residents moved uptown, the Bowery became more commercial in character, defined by specialty shops, drygoods and fancy hardware businesses. In 1869, John P. Jube constructed a five-story building with a cast-iron facade, at 97 Bowery to house his hardware and carriage supply store on this portion of the Bowery.
After the Civil War, the Bowery became known for its cheap amusements—some wholesome, some not—as music halls, dramatic theaters, and German beer halls shared the street with dive bars, taxidance halls, pawnbrokers, medicine shows, confidence men, and “museums” featuring sword swallowers, exotic animals, and scantily clad women. With the opening of the Third Avenue Elevated along the Bowery in 1878, the street was cast into permanent shadow, and pedestrians were showered with hot cinders from the steam trains running above. Despite its honky-tonk reputation, the Bowery also functioned as “the grand avenue of the respectable lower classes,” where Federal-era residences converted to saloons and boarding houses stood cheek-byjowl with grand architectural showpieces constructed by the neighborhood’s cultural and financial institutions, including the Bond Street Savings Bank at the northwest corner of the Bowery and Bond Street, the Germania Bank at the northwest corner of the Bowery and Spring Street, the Young Men’s Institute Building of the YMCA at 222 Bowery, Bowery Savings Bank at 130 Bowery.
In the 20th century, the Bowery became notorious as a “skid row” lined with flop houses and vagrants, but at the same time, because of low rents, became one of New York’s centers of specialty shops such as lighting fixtures and restaurant equipment. The elevated railway line, reconstructed in the middle of the Bowery in 1916, helped to deter the redevelopment of this area for decades , and 97 Bowery’s close physical proximity to the line had an undoubted role in its survival.
The Architect: Peter L. P. Tostevin
Peter L. P. Tostevin first worked in New York City as a mason. By 1866-67 he was working as a builder and is credited with 45-49 Charles Street in the Gansevoort Historic District . In 1870, Tostevin joined in partnership with William Rabold in the building firm of Rabold & Tostevin. At this time Tostevin designed a row of Italianate houses, constructed by Rabold & Tostevin, in what is now the Greenwich Village Historic District . Peter Tostevin is listed as the architect of record for 97 Bowery and Rabold & Tostevin are listed as the builders.
In 1874 Tostevin is listed as the architect of record for the enlargement of 385 Greenwich Street, an early nineteenth-century building, into a tenement with a commercial base in what is now the Tribeca West Historic District. In 1879 he is listed as architect and builder of 17-19 Bond Street located in the Noho Historic District. The partnership of Rabold & Tostevin ended by 1880, Tostevin returned to his previous profession of masonry. By the turn of the century he was working independently as a contractor and builder.
Cast-Iron-Fronted Buildings in New York City
Cast iron was used as an architectural material for entire facades of American commercial buildings in the mid-to-late-19th century, and was particularly popular in New York City. Promoted and manufactured by James Bogardus, Daniel D. Badger, as well as other firms, such as J. B. & W. W. Cornell Iron Works, cast-iron parts were exported nationally for assembly on the site. Touted virtues of cast iron included its low cost, strength, durability, supposed fireproof nature, ease of assembly and of parts replacement, ability to provide a wide variety of inexpensive ornament, and paintable surfaces.
The economy of cast-iron construction lay in the possibilities inherent in prefabrication: identical elements and motifs could be continually repeated and, in fact, could be later reproduced on a building addition, thus extending the original design. After a number of simple “constructive” cast-iron buildings in the late 1840s by Bogardus, the material was employed for commercial buildings modeled after Venetian palazzi, from the mid-1850s through the 1860s. Designed in imitation of masonry and featuring round-arched fenestration, this mode is exemplified by the Cary Building , 105-107 Chambers Street, and the Haughwout Building , 488-492 Broadway.
After the Civil War, the French Second Empire style began to influence designs in cast iron. Some buildings, such as McCreery’s store and 287 Broadway , were still Italianate but with mansard roofs. Cast-iron fronts in the Second Empire style, produced into the 1880s, were generally articulated with segmental-arched fenestration framed by columns and pilasters; large areas of glass; and a certain abstraction and paring-down of elements combined with the usage of variations on classically-inspired ornament. Examples are the Arnold Constable Store , 881-887 Broadway, and 28-30 Greene Street .
The architectural features of 97 Bowery are similar in design to several elements on the McCreery store at 801 Broadway , as well as several other cast-iron buildings including the “Thomas Twins,” 317 Broadway , and 319 Broadway . While the Haughwout building is larger in scale, it shares similar design elements with 97 Bowery such as a molded arched fenestration with keystones, and spandrel panels with a diamond pattern, framed by Corinthian columns.
With the knowledge that buildings of cast iron were not in fact fireproof, however, particularly after the Boston and Chicago fires of 1872 and the 1879 New York fire that destroyed rows of such structures on Worth and Thomas Streets, restrictive revisions were made to the New York City building code in 1885. This contributed to ending the era of cast-iron fronts in the city, although they continued to some extent through the 1890s.
J. B. & W. W. Cornell Iron Works
The company was founded by brothers John Black and William Wiggins Cornell in 1847. Starting as makers of iron rails, gates, stairs, and vaults, they established their foundry at 143 Centre Street between Walker and White Streets. John B. held patents on many inventions: the first granted in 1854, was for revolving iron shutters, and the second granted in 1856, was for metal supports for plaster fireproof partitions. The most important invention was for continuous corrugated sheet lathing, resulting in fireproof partitions and ceilings, which revolutionized the way in which buildings were constructed and popularized iron as a building material.
By the 1860s, the J.B. & J.M. Cornell Iron Works had established itself as one of the city’s major producers of cast-iron architectural elements and foremost in the construction of fireproof buildings. In the ensuing decades, the firm became one of the city’s largest manufacturing operations, employing over 1,200 people, at its peak. Providing steel and iron for projects such as the Produce Exchange , the Park Row Building , the iron base and stairways of the Statue of Liberty , as well as over 13,000 tons for elevated railroad stations throughout Manhattan and Brooklyn. During the Civil War, the company was employed in the production of turrets and pilot houses for the government, including the revolving turrets of the monitors Miantonomah and Tonawandah. By 1897, the company had expanded into Cold Spring, on the Hudson River, a location which provided it with the capacity to provide 20 tons of castings per day.
In 1900, a letterhead for the firm described more than 25 different products, among them: awnings, balcony railings, bank screens, columns, beams, doors, fire escapes, lamps, mausoleum doors, memorial tablets, rolling shutters, sidewalk elevators, and stairs, to name a few. Additional letterheads from the time advertised other work performed by the company, including to “construct, erect and repair all kinds of architectural and other work in iron, bronze, electrobronze, and brass” and “repairs of all kinds on buildings as well as repairs on skylights, patent lights, shutters, steel shutters, rolling shutters, sidewalk elevators, railings, gratings, etc; also painting.”
In 1900 the company liquidated its heavy production shops in response to the westward movement of steel and iron operations across the country. Around this time, the company began to focus on smaller-scale iron and steel products. In 1911, John M. and his sons Milton and John Jr., formed a new partnership called Cornell Iron Works.
The Cornell Iron Works continues to be a family-owned and operated business, manufacturing metal-rolling service doors, counter doors, fire doors, rolling grilles, and side folding grilles. In 2001 the company opened a new state-of-the-art production facility in Mountain Top, Pennsylvania.
John P. Jube
John Prosser Jube was born in New York to English emigrant parents. In 1838 Jube began his career as a carriage manufacturer in Newark, New Jersey. In 1843 Jube moved his business, the John P. Jube & Company carriage manufacturer, to New York City, where over the years he extended and enlarged his business. The company moved progressively northward on the Bowery beginning, in 1843, at 51 Bowery, moving to 83 Bowery in 1845 and moving to his final place of business, 97 Bowery in 1871.
Jube made his home in Newark, New Jersey. He married twice, however, all eight of his children were from his first marriage to Sarah Jube. His sons, William Uzal, John Jr., Albert B., and Thomas S., all took part in the family business. Jube made numerous contributions to Newark. He was a principal supporter of the First Congregational Church of Newark, contributing largely to the building of a new edifice, and in May of 1907, the church was renamed the Jube Memorial Church in his honor. For several years Jube was director of the National State Bank and later its president from 1889 to1893. Jube was one of the original members of the Fireman’s’ Insurance Company and its director for 40 years. Jube was also a lifetime member of the New Jersey Historical Society. Upon his death in 1905, his eldest son William Uzal inherited the family business; he was head of the company until his death in 1911. William’s brothers continued to run the business successfully at 97 Bowery for close to 25 years.
97 Bowery Building
Based on surviving historic evidence, the property was purchased by John P. Jube from William Dally in 1868. The five-story, cast-iron-fronted retail building at 97 Bowery was constructed for John P. Jube & Company, was designed and built by Peter L. P. Tostevin of Rabold & Tostevin in 1869, and the iron facade was forged by the J.B. & J.M. Cornell Iron Works. The business was located at this address for the next sixty years until 1931, when John P. Jube Carriage Wagon and Automobile Supplies moved to 6 Howard Street. An article in 1911 touted its more than 60 year existence as one of the longest running carriage manufactures in the City of New York.
The estate of Thomas Jube sold the property to the Benjamin sisters in the early part of 1931. The Gorbaty brothers leased the property starting in June of that same year and later purchased the property. The Gorbaty family operated a store fixture and display manufacturing business at 97 Bowery. The Gorbaty Brothers fixture store operated at this location for more than 50 years until 1981, before relocating to Queens Village, the family-owned business is still in operation.
Description
The 97 Bowery Building is a five-story, three-bay, Italianate style, masonry building with a cast-iron front façade and a modern non-historic storefront. The storefront has had several alterations: the first in 1908, again in 1942 and 1961. The modern ground floor storefront has been totally re-configured; a non-historic stone tile ramp leads to the modern entrance that is clad in glass-and-metal with stone tile at the bulkhead. It has a tripartite division with a central glass entrance with double-doors and transom that is flanked by a secondary entrance and a display window. The secondary entrance to the left is entirely of glass, and features sidelights and a transom.
The display window to the right is framed in metal and rests on the stone tile bulkhead. The window consists of two vertical glass panels that open at the center. The tinted green glass pilasters probably hide the iron columns that support the facade. A non-historic clear glass awning is supported by seven metal brackets, followed by four metal support anchors for metal lettering that displays the name of the establishment. A historic modillioned metal cornice with decorative florets transitions to the upper floors, and supports non-historic signage at the second story. The second through the fifth stories have a molded arched fenestration, with keystones, and spandrel panels with a diamond pattern, framed by Corinthian columns. The outer pilasters that frame the windows at the second through fourth floors support the cornice at each level, and are devoid of decoration.
There are three windows bays at each level, the first and second bay of windows, at every story have been replaced and contain non-historic two-over-two double-hung windows with transoms at the second, third, and fifth stories. The fourth floor transoms have wood panel fillers. The third bay of windows at each story is filled in, to accommodate an elevator shaft. Some of the capitals on many of the columns at each story are missing some ornament. The building is crowned by a denticulated cornice that features a segmental broken pediment that is supported by fluted brackets, with raised paneled fascia and coin ornament.
The north and south walls are of unarticulated brick that has been parged and are visible above the adjacent properties. At the roof level a one-story bulkhead addition is visible from the street which gives access to the elevator machinery, also visible are metal HVAC vents.
Despite these alterations, the 97 Bowery Building is a rare surviving relatively intact cast-iron building from the post Civil War era, and a rare example of cast-iron architecture in this particular area of the city.
- From the 2010 NYCLPC Landmark Designation Report
A rather overly complicated machine with a single purpose. To create lengths of wire with the insulation removed from either end. (for use in electronics breadboards)
(an example: www.flickr.com/photos/snazzyguy/3162122089/ )
Wondering What it Does?
Check out a video of it in action here:
www.youtube.com/watch?v=F2O7kGE34EA
Wish to make your own?
Details can be found here:
www.thingiverse.com/thing:268/
Care to check out more delightfully fun open source projects:
External DVD ROM (Asus SDRW-08D2S-U), Samsung SSD 840 Basic and HDD Western Digital Caviar Green 2TB.
Viewfinder removed from an old film camera. _Really_ interesting mechanics - it's like a periscope with more magic.
A crew member installs platform shelter components at the SE Bybee Blvd MAX Station. Crews continue work on station platforms along the east segment of the light rail project.
Licensed for all uses by TriMet.
What would you call this one? Tribal? I'm having trouble describing this pattern.
Copyright © 2013 by Ginger Davis Allman The Blue Bottle Tree, all rights reserved.
Research can be beautiful on some occasions.
This graph represents thirty seconds of the Firefox running time.
The complexity of the modern software is stunning.
These are the components supplied with the Y-axis feeder that are used to interface the feeder unit to the Y-axis lead screw. The limit stop components are discussed further down in this album.
From left, George Diller, NASA Public Affairs Officer, Gary Lagerloef, Aquarius Principal Investigator, Earth & Space Research (ESR), Yi Chao, Aquarius Project Scientist, NASA JPL, and Daniel Caruso, Aquarius/SAC-D Project Manager, CONAE (Argentina space agency), are seen during the Aquarius/SAC-D mission science briefing on Tuesday, June 7, 2011, at the NASA Resident Office at Vandenberg Air Force Base, Calif. The joint U.S./Argentinian Aquarius/Satélite de Aplicaciones Científicas (SAC)-D mission, set to launch June 9, will map the salinity at the ocean surface, information critical to improving our understanding of two major components of Earth's climate system: the water cycle and ocean circulation. Photo Credit: (NASA/Bill Ingalls)
Making new components always means I get ideas for new jewelry designs. These bracelets are so much fun to make… and wear!
See my tutorial here and make your own: artjewelryelements.blogspot.com/2014/03/make-your-own-wir...
Ramsey Campbell's botanic Green God (it is actually nameless) and its Children from his short story "The Horror under Warrendown" were the basis for this custom Great Old One for Arkham Horror 2nd Ed..
I wanted to incorporate both threats in a rather simple fashion, without extra game material, so that the Green God can be easily integrated into the basic game and its expansions. Therefore, the standard Cultists were employed as The Green God's mutated, rodent-teethed and rabbit-like Children, and they became part of a kind of race sub-plot that adds threat but also offers players the option to counter it.
When a Child of the Green God appears through regular play, it will dash across the board and potentially open an additional Gate, speeding up the Great Old One's awakening and releasing some more Monsters onto Arkham's streets.
The Children themselves are not very dangerous, but they are fast and hard to confront, so that players better act fast to stop them. However, a confrontation with them is potentially dangerous, too, because Investigators might become infected with the Green God's mutagenic matter, initiating the slow but hard-to-stop transformation into a Child, which will eventually try to open a new Gate! This conforms not 100% with the literature background (only the Green God is "infectious"), but it's a nice players' threat.
With six Cultists in the basic game and a few more in the expansions, this will not happen frequently, though.
However, as a threat balance, the curse-induced transformation also starts with ANY Curse the Investigators might catch!
The final battle relies on a similar pattern, based upon being Cursed and starting to gradually mutate into Children of the Green God.
Travelled down to Chico, California to tour the Paul Components headquarters and document the fabulous work they do.
Fecha de creación: 1946
La Escuela de Técnicas de Mando, Control y Telecomunicaciones (EMACOT) es una Unidad histórica que, con la denominación de Escuela de Transmisiones del Ejército del Aire, fue creada por el ministro del Aire, Eduardo González Gallarza, como uno de los componentes del "Servicio de Transmisiones del Ejército del Aire" (Boletín Oficial del Aire núm.15 de 2 de febrero de 1946), para el perfeccionamiento teórico y práctico del personal que prestase su servicio en transmisiones.
En 1949 comenzó a impartirse el primer curso de Transmisiones en el Acuartelamiento del primer Regimiento de Transmisiones, en la madrileña colonia de El Viso.
Por Orden Ministerial de 25 de enero de 1950 se reorganizó el "Servicio de Transmisiones del Ejército del Aire", suprimiéndose la Jefatura de Instrucción de dicho Servicio y como consecuencia, la Escuela de Transmisiones asumió directamente las misiones de formación de especialistas de esta materia. El día 2 de septiembre del mismo año tomó posesión el coronel Fernando Alfaro y del Puedo, su primer jefe y organizador.
Tras diversas vicisitudes, el 29 de mayo de 1951, fue cuando la Escuela de Transmisiones se trasladó al lugar donde actualmente radica, al sur de la Base Aérea de Cuatro Vientos, carretera de Extremadura kilómetro 10.600, principalmente dentro del término municipal de Alcorcón, ciudad con la que le unen especiales vínculos de relación.
En febrero de 1952 se incorporaron a la Escuela de Transmisiones los soldados alumnos aspirantes a Ayudantes de Especialistas: Radiotelegrafistas, Mecánicos de Transmisiones y Mecánicos de Radio, procedentes de la Escuela de Especialistas de Málaga que se trasladó como tal a su nueva sede en León, iniciándose con ellos las actividades de formación de tropa especialista. En marzo de 1953, la Escuela consolidó sus actividades de formación, iniciándose en sus instalaciones, el primer curso completo de especialistas.
Por otro lado, en 1958 inició sus actividades como Escuela de Controladores de Interceptación, con la instalación del simulador de una sala de operaciones del Sistema de Defensa Aérea, en el histórico edificio de Jefatura de Estudios de la Escuela.
Merece especial mención que la Escuela desde su traslado a Cuatro Vientos y hasta 1972 contó con una Unidad de Vuelo para las prácticas de alumnos y entrenamiento del profesorado, ubicada en el hangar principal y la plataforma del actual Museo del Aire, que a partir de 1965 se denominó 755 Escuadrón y en 1970 pasó a ser la 515 Escuadrilla, utilizando principalmente el T-2B Júnker Ju-52, entre otros como la E-3B Bucker BU-131, el Huarte Mendicoa HM-1 y el Hispano Suiza HS-42.
El 26 de junio de 1960, se entregó a la Escuela su primer Estandarte, regalo de la Asociación Técnica Española de Constructores de Material Aeronáutico (ATECMA).
El 8 de julio de 1966, por Orden Ministerial núm. 1262/66 de 8 de julio (Boletín Oficial del Aire número 82), se crea la Escuela de Formación Profesional Industrial (de Primer Grado) del Ejército del Aire de Cuatro Vientos, sita en la Escuela de Transmisiones. Dicha Escuela desarrolló su labor docente en las ramas Eléctrica (Instalador-montador) y Electrónica, hasta septiembre del año 1986, formando hasta veinte promociones. También un año antes concluía la Instrucción Técnica Especial (ITE) que se venía impartiendo en la Escuela a personal de Tropa en materias técnicas, habiéndose formado quince promociones de alumnos.
El 12 de julio de 1978 se inauguró, por Su Majestad el Rey don Juan Carlos I, la Plaza de Armas de la Escuela, coincidiendo con la entrega de despachos a todos los sargentos especialistas del Ejército del Aire promocionados ese año.
El 13 de julio de 1982 se cambió el Estandarte con el nuevo escudo constitucional, aprovechando la entrega de despachos a los Sargentos Especialistas y el 7 de julio de 1989 se celebró la entrega e imposición de una corbata honorífica al Estandarte por acuerdo del Ayuntamiento de Alcorcón, durante el acto de entrega de despachos a los nuevos sargentos especialistas.
El 29 de octubre de 1992 se tuvo el honor de recibir de nuevo la visita de Su Majestad el Rey don Juan Carlos I, a quien se le presentó un nuevo simulador de Defensa Aérea, basado en la tecnología del Sistema de Defensa Aérea de Canarias.
El 5 de septiembre de 1996, la Escuela de Transmisiones ha pasado a denominarse Escuela de Técnicas de Mando, Control y Telecomunicaciones (EMACOT), integrándose más tarde en la Base Aérea de Cuatro Vientos con carácter de unidad independiente.
A partir del año 2000, una vez decidida la integración en un único área doctrinal C2/CIS de las materias de Mando y Control, Telecomunicaciones, Sistemas de Información y Seguridad de la Información Electrónica, la Escuela ha preparado y realizado una serie de cursos, nuevos o modificados, para la dirección, el planeamiento, la operación y el mantenimiento de estos Sistemas CIS.
En el verano de 2002 entra en funcionamiento el nuevo Simulador de Defensa Aérea, de tecnología análoga al nuevo sistema de mando y control implantado en los centros operativos de Grupo Central de Mando y Control, Grupo Norte de Mando y Control, y Grupo de Alerta y Control.
En Navidades de 2002, una sección compuesta por un teniente, un sargento, un cabo primero y 24 cabos y soldados de esta Escuela participó en la recogida del fuel vertido por el petrolero Prestige en las costas gallegas.
El 28 de marzo del 2003 se celebró, con un solemne acto militar, los cincuenta años del ingreso en la Escuela de su 1ª Promoción de Soldados Ayudantes de Especialistas (Radiotelegrafistas, Mecánicos de Radio y Mecánicos de Transmisiones).
En los últimos años la EMACOT sigue ejerciendo funciones de Centro de Formación Militar para Personal de Tropa, de acuerdo a lo previsto en la Ley 17/99 y en virtud de esta función se han realizado en la plaza de armas de la misma, actos solemnes de Juramento o Promesa de fidelidad ante la Bandera de España, de alumnos de tropa, de ciclos formativos, de diferentes especialidades.
El 24 de noviembre de 2003 se celebró en el salón de actos de la EMACOT el 75 aniversario de la creación de la Escuela Superior de Aerotecnia, con un solemne acto académico presidido por Su Majestad el Rey y que contó con destacadas autoridades civiles y militares. Los edificios principales de la Escuela se construyeron para ubicar en 1930 la entonces Escuela Superior de Aerotecnia, que impartió enseñanzas de ingeniería aeronáutica por primera vez en España.
Desde 2003, sucesivos Jefes de Estado Mayor del Ejército del Aire han visitado oficialmente la Escuela:
El día 2 de abril de 2003, general del aire Eduardo González-Gallarza Morales.
El día 5 de octubre de 2005, general del aire Francisco José García de la Vega.
El día 7 de noviembre de 2008, general del aire José Jiménez Ruiz.
La Escuela muestra con orgullo su historia y su personal es consciente de la responsabilidad que tiene de conservar sus tradiciones y, al mismo tiempo, innovar en las materias de su competencia, sujetas a una continua evolución tecnológica.
the modules all lined up. very important to get a head count and align them all straight before attaching. makes for faster installation.