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My barometric skirt takes data from the environment in the form of pressure, altitude & temperature - data one would often use to predict the weather and visualises it into colour via RGB LEDs. The barometric sensor sits outside the skirt, whilst inside another temperature sensor takes my reading. I'm interested in how my own data intertwines and is visualised as a colour value alongside that of my ambient environment.
The skirt is finally taking shape after 2 months of making the skirt itself from scratch, including painting it, then prototyping electronics on breadboard and then transferring to stripboard to be soldered, as well as coding acordingly. There's been a lot of unpicking, desoldering and redoing of things as 1. I'm not a seamstress and 2. the electronics I'm putting together from scratch components and there's been wires and components put together, then pulled apart and rebuilt! Instead of using a pre bought / assembled microcontroller board I've used the kit parts of a simple microconroller kit called a Shrimp which incorporates an ATmega 328 with a host of other components.
More info about these bad boys on my blog:
cyclingwmd.blogspot.com/2009/02/introducing-vallie-compon...
Modified body, M42 adapter to create a tread in the body. Helicoil, Lens with modified M42 lens cap to mount the lens.
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pneumatic control, vacuum component, Festo products, Burkert Products, Baumer
Products, Electro pneumatic drives, Semi rotary drives, gripper cylinder, Pneumatic
Cylinders, Rodless cylinders, compact cylinders, Solenoid Valves, Process Valves,
Control valves, Mass flow controller, Angle Seat Valve, Sensors for industrial
applications, Absolute Encoder, Label Sensor, Copy Counter, high speed adhesive application, Industrial sensors, Incremental Encoder, Safety switches, istance sensors, Barcode Reader, Windmill Sensor, Sensor for shipping and port, Sensor for construction Machinery, Cylinders with piston rod, Rodless cylinders, Tandem, Stopper cylinders, Clamping cylinders, Bellows cylinders, Sick Products
Rathaus (Ulm)
Ulm Town Hall from the southeast (with festival flying of flags on the occasion of Schwörmontags - Swear Monday)
Not least because of its frescoes and and an astronomical clock the Town Hall of Ulm is among the outstanding monuments in the city of Ulm. Its complex architectural history - it consists of three different components - began in the 14th century, its present appearance dates back to the early Renaissance.
Architectural History
Gewandhaus (Cloth hall or Linen Hall)
The oldest part of the Ulm City Hall formed a (later demolished) construction in the area of today's town hall north wing. 1357 this is referred to as "Gewandhaus" respectively in 1362 as "Store". A Ulmer business center of those times formed in addition to iron and salt drapery, in particular the fustian. 1369 also received the saddler the right to sell their goods there.
New Department Store
Imperial window of the east side of City Hall with figures of Hans Multscher
1370 was as extension today's eastern wing of Ulm town hall - then also referred to as "new store" - added. In its ground floor there was an 8 m high sales hall of the butchers. A related pointed arch on the south side exists to this day. 1383, the building is also referred to as the "Court House" as it now on the ground floor possessed an towards the north open arbor where the Niedergericht (lower legal jurisdiction) met in public.
At the latest from 1395 also the Ulmer Council had a council chamber in the building that 1419 from now on is called "Town Hall". Around this time, above the three-aisled sales hall a great council chamber was installed and provided the southeastern front of the building on the 1st floor after 1420 with 5 large, late Gothic magnificent windows. The two windows of the east side received an ogee arch framing (Kielbogenrahmung), the three south-facing windows Wimperg superstructures (a wimperg is a German and Dutch word for a Gothic ornamental gable with tracery over windows or portals, which were often accompanied with pinnacles. It was a typical element in Gothic Architecture especially in cathedral architecture. Wimpergs often had crockets or other decorative elements in the Gothic style. The intention behind the wimperg was the perception of increased height). In addition at the windows stone figures were attached. While the sculptures of the six electors of the windows facing south of the Town Council stem from master Hartmann, are the sculptures at the east window works by Hans Multscher. The figure of the emperor (shown is Charlemagne, since 1420-1433 there did not exist any German Emperor) is flanked by two squires and the kings of Bohemia and Hungary (both crowns then held King Sigismund, who in 1433 also was crowned emperor of Germany). The originals of today's copies at the town hall are located in the Ulmer Museum.
Preaching pulpit at the east side
There is also a preaching pulpit at the east side from which the emperor or his representatives received tributes, but also death sentences were read. It must already in 1473 have been present, but in 1539 and 1604 it was completed and remodeled.
Roth'sches house
Yet during the construction of the (new) department store in the west of the complex an older half-timbered house ("Roth'sches House") had been purchased. This one around 1480 was rebuilt and adapted to the main building structure. By 1900, this part was completely demolished and replaced.
Restructuring in the 16th century
In the 4th decade of the 16th century followed extensive alterations whereby the north wing (ie the original drapery or department store) was demolished and the northern transept (with arcades) by architect Hans Michel completely renovated. Of original North structure (Gewandhaus - Drapery house) only the basement vault has been preserved, which during longer periods still was used as a prison. The East Wing received its present form with filigree columns and entablatures in terracotta, also the yet existing bay turret at the southeast corner has been changed.
Ulm City Hall from the North, frescoes by Martin Schaffner
1540 the Martin Schaffner attributed facade painting of the north and east side was completed. It is regarded as the greatest cycle of frescoes of the 16th century in Germany. The east facade deals with topics such as Divine Wisdom, Self-Knowledge and Justice based on biblical stories. On the other hand on the north facade can be found topics of Roman and Greek mythology as War Respectableness, Male Boldness or Obedience. Schaffner by doing so resorted to templates - especially woodcuts for book illustrations - stemming from Augsburg Renaissance artists (including Hans Schäufelin). 1576 to 1578 must have been followed another transformation of the old building.
Renovation about 1900
1898-1905 the in the meantime partly dilapidated Ulm Town Hall was extensively renovated and partially transformed, even though many voices had advocated for an abandonment of the building and for a new building elsewhere. The Roth'sche house was demolished and replaced by a better into the overall complex integrated building. In 1903, this part of the building in the northwest additionally got a staircase. The in the meantime much faded facade painting was restored respectively according to ancient designs reconstructed, and the since then demolished preaching pulpit restored, as well as the astronomical clock repaired.
The original painting of the south facade is not preserved and was redesigned in 1905. In the south gable an Ulmer Schachtel (curious wooden ships) is depicted above the coat of arms of cities and countries with which Ulm was in trade relations. In the lower part the return of the victorious Ulmer over the besieger emperor Charles IV in 1376 is shown.
From the Second World War
In a heavy air attack on Ulm on 17 December 1944, the interior of Ulm's town hall was mostly destroyed. The outer shape and the mural paintings but remained, as well as the vaulted rooms of the lower storeys, largely intact. A previously removed hall door of Jörg Syrlin the Younger of 1509 was preserved (it is now located in the Museum of Ulm). After the war the building parts for the time being were provided with emergency roofs. From 1951, the main municipal offices and the lord mayor were able to move back into the city hall. End of the 1950s and in 1973, the frescoes at the Ulm City Hall were repaired.
1987-1989 followed a further profound remodeling of the inside of the town hall. Among other things - in supplementation of the (now small) Council hall in the southeast - a second, large Council hall in the north wing was added.
Astronomical Clock
Astronomical clock at Ulm City Hall
The Astronomical clock of Ulm's town hall at the eastern front of the building dates from around 1520. Around 1580, the Strasbourg watchmaker Isaac Habrecht was entrusted with the renewal by the Ulmer Council. Its mechanism was destroyed in the Second World War and renewed in 1952.
Miscellaneous
In the atrium of City Hall today is a replica of the glider of the "Tailor of Ulm", Albrecht Berblinger, exposed.
In the (small) Ulmer Council chamber glass panes from the period around 1600 are preserved, in one of the eastern council windows also a glass sundial, which probably dates back to the time of the remodelling around 1540.
On the square south-east of the town hall there is a fountain of Jörg Syrlin the elder from the year 1482. In this so-called fish box on market days fishes were set free.
Students sorting out the resistors, capacitors, transistors, IC chips, LEDs, speakers and on-off switches for making the biometric device. They were able to stay calm and collected through this very complex and difficult process
Sun Temple, Modhera
The Sun Temple is a Hindu temple dedicated to the solar deity Surya located at Modhera village of Mehsana district, Gujarat, India. It is situated on the bank of the river Pushpavati. It was built in 1026-27 AD during the reign of Bhima I of the Chaulukya dynasty. No worship is offered now and is protected monument maintained by Archaeological Survey of India. The temple complex has three components: Gudhamandapa, the shrine hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls have intricately carved exterior and pillars. The reservoir has steps to reach bottom and numerous small shrines.
The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty in 1026-1027 (Vikram Samvat 1083). Earlier, during 1024-25, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera. Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence.
The temple is built on 23.6° latitude (approximately near Tropic of Cancer). The place was later known as Sita ni Chauri and Ramkund locally. No worship is offered here now. The temple is Monument of National Importance and is maintained by Archeological Survey of India.
The temple complex is built in Maru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; the shrine proper (garbhagriha) in a hall (gudhamandapa), the outer or assembly hall (sabhamandapa or rangamandapa) and a sacred reservoir (kunda).
The sabhamandapa is not in continuation with gudhamandapa but is placed little away as a separate structure. Both are built on paved platform. Their roofs have collapsed long ago leaving behind few lower-most courses. Both roofs are 15' 9" in diameter but are constructed differently. The platform or plinth is inverted lotus shaped.
Gudhamandapa and garbhagriha
The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into Gudhamandapa, the hall and garbhgriha, the shrine proper. Both are rectangular in plan with one projection on each of the smaller sides and two projections on each of the longer sides. This projections on the smaller sides form the entrance and the back of shrine. The three projections of outer wall of Gudhamandapa had windows on each side and the east projection had the doorway. These windows had perforated stone screens; the northern is in ruins and the southern is missing. Pradakshinamarga is formed by the passage between the walls of garbhgriha and the outer walls of gudhamandapa. The roof of passage has stones slabs carved with rosettes. The Shikhara of the it no longer exists.
Garbhagriha
The Garbhagriha, the shrine proper or sanctum sanctorum is square measuring 11 feet from inside.
The shrine had two cells; a cell below the level of upper cell. The floor of upper cell is now fallen which once housed the image of deity. The seat of image is now in pit. The lower cell was probably used for storage.
The walls inside shrine is plain and outer wall is decorated. The doorway has carved figures of seated Surya in panels surrounded by dancers and amorous couples. All figures are mutilated and the images on the door-lintel is completely destroyed.
The sanctum sanctorum is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.
Base mouldings
The outer walls of shrine is highly decorated. The base and walls of the shrine and hall are divided into several stretches with unique carvings. the pitha or adhisthana, base has the two square members called bhat followed by a cymarecta carving (lower part convex and upper part concave). It is followed by padma or padmaka, the moulding in form of inverted lotus. The next is antarita, a fillet or an astragal with a sharp edge between two recesses. Above this is patta having thin moulding called chhaja at its lower edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved with elephants. The following band narathara has figures of men in different attitudes.
Mandovara or wall mouldings
Mandovara, the wall mouldings starts with kumbha, a pitcher. It has a broad undecorated band at lower part while middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are separated by a deep band. There is a thin fillet above which the major paneled face of wall called jangha exist. This panels are decorated with figures of gods but the figures of Surya are placed prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and other figures.
The figures of Surya are prominently carved on three niches of shrine proper as well as on the each side of three windows in the outer wall of Gudhamandapa. The figures of Surya is in standing position with two arms holding lotuses and driven by seven horses. It has some Persian influences. The walls have 12 niches showing the different aspects of Surya in each month. Other figures include eight Dikpals, Vishwakarma, Varuna, Agni, Ganesha, Saraswati.
Every figure in panel has a small cornice over it surmounted with triangular pediment consisting of chaitya-window which is called udgam. The next projecting band with chaitya-window and kirtimukha is called malakval. The top most is the major cornice called chhajli.
This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines. It is judged by the shrines on the steps of Kunda.
Mandapa
The Mandapa, a hall was roofed by a dome which probably rose in concentric manner. It is supported by eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in the recesses of windows and door.
Sabhamandapa
Sabhamandapa or Rangamandapa, the assembly hall or dancing hall is parallelogram in plan with rows of pillars opening entrance on each side diagonally. The extensively carved exterior has series of recessed corners giving impression of the star like plan of it. There are 52 intricately carved pillars. Madhusudan Dhaky has suggested that the sabhamandapa may has been later addition based on style and construction.
Base mouldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The padma is carved richly here with floral ornamentation.
Wall mouldings
Above the Narathara, there is a band with figures of dancers and gods known as rajasena. The next is vedi which correspond to jangha of mandovara decorated with large panels of gods, goddesses and floral designs. The next is cornice called asinot. It followed by kakshasana which slopes outwards and forms the back-rests of the bench, asana which runs round the hall. There are erotic figures on it interrupted by rail-patterns.
Ceiling and torana
The roof was in shape of stepped pyramid but it no longer exists. Inside, the walnut-shaped ceiling rises in tiers which has numerous floral girdles. It is 23 feet high. It is supported by pillars arranged in an octagon. These pillars have stilts which supports the lintels. Torana or the decorated cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two types; semicircular and triangular. The semicircular arches has cusped arches with tips while triangular arches has round apex and wavy sides. Both types has broad band decorated with figures and tips which are now defaced and damaged. The lower brackets has makara which gives the name of makara-torana while decoration gives name of chitra-torana.
Pillars
The pillars of Sabhamandapa and Gudhamandapa are of two types; short and tall. The short pillars rests on walls and supports the roof. The tall pillars rise from the floor.
Short pillars
The shaft is square in shape till half of its height followed by vase and then followed by octagonal shaft. It is surmounted by a capital and a bracket. The square part has floral design in circle on each side of faces. The vase is decorated similarly on its corners. The octagonal part have four bands; the top most has kirtimukha. The capital has three annulets.
Tall pillars
They arise from square or octagonal base, kumbhi, with triangular ornamentation on each face. Above it is kalasha. It is followed by a deep band and the next is kevala decorated with chaitya-windows. the next is kirtimukha. The next is triangular pediment with chaitya-windows.
The next is beginning of shaft. It is first decorated with standing figures, mostly dancers, on all eight faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by round pillow-like band. It is followed by still smaller band with sixteen standing human figures separated by small annultet below. The next is band of leaves. Then the shaft becomes circular and had three or four bands having row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are separated by chain and bell ornamentation.
It follows capital similar to small pillars crowned with makara brackets if eight stilted pillar and dwarfs in the rests. the eight stilted pillars have one more shaft and similar type of capital which is crowned with brackets of volutes and pendant leaves.
Iconography
The panels on the Gudhamandapa is decorated with Surya centrally which indicates that the temple is dedicated to Surya. These images wears peculiar West Asian (Persian) boots and belt. The other corners and niches are decorated with figures of Shiva and Vishnu in various forms, Brahma, Nāga and goddesses. The depicted scenes on small flat ceilings and lintels of sabhamandapa are from epics like Ramayana.
Kirti-torana
There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no longer exists but two pillars remains. The moulding and decoration is similar to that of walls of sabhamandapa and pillars. There were two more kirti-torana on each side of the kunda of which only one exists without upper part.
Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including many Vaishnavite deities and goddesses such as Shitala.
Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented. The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th century.
Diet is the science of offering your entire body with the components for vitality, progress and rebuilding. ~ The Science of offering our bodies the crucial factors for continued progress, vitality,endurance and fix is termed Diet,
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Components needed in the Mansueto Library basement are being lowered through a small hole in the ground floor that will be sealed later. (Photo of Mansueto Library construction by John Pitcher)
This is a shot of my 1988 Manufactured AVO Eight MK.6 Post Office type 1 Multimeter, Internal components view, Very nice quality made instrument
The unit is powered by two batteries, A 15volt BLR 154 for the higher ranges and a D Cell 1.5volt for the lower ranges
73, de Dave 2W0DAA / GW4JKR
As part of the LEV Components Special Exhibition at EUROBIKE 2016, copies of the ExtraEnergy Magazine will be available for you to take away free of charge on Stand FO-OG100.
Read the article: extraenergy.org/main.php?language=en&id=87713
Die LEV Komponenten Sonderausstellung finden Sie auf der EUROBIKE am Stand FO-OG100 im Foyer Ost.
Dort steht auch das ExtraEnergy Magazin mit insgesamt 72 Testergebnissen bis 4. September kostenfrei zur Mitnahme zur Verfügung.
Zum Artikel: extraenergy.org/main.php?language=de&category=&su...
You might remember this body cap from a previous experiment in which I added a step up ring in order to hold filters. I've removed the old pinhole and bored a larger hole using a dremel tool.
Similarly, I recycled this pinhole and film canister cap from my Asahi-Pentax mod.
Just recently, a friend brought me this box of cover glasses. These are almost next to impossible to source in Hanoi.
Shutter power module.
The external VS14s shutter need an 65V @4 ms pulse to close into 3.5ms. This powermodule make the 65V from the 7.2V battery. During camera focus adjusting, I need near 20V to close the shutter and 5V to hold the shutter open. This circuit has a fet to limit the 65V to 20V in adjust mode.
A lot of security functions are need, to drive the DC/DC convertor an AVR controller ATtiny26 is used.
Ashley Zee
age 12
The Dashanzi factory complex began as an extension of the "Socialist Unification Plan" of military-industrial cooperation between the Soviet Union and the newly formed People's Republic of China. By 1951, 156 "joint factory" projects had been realized under that agreement, part of the Chinese government's first Five-Year Plan. However, the People's Liberation Army still had a dire need of modern electronic components, which were produced in only two of the joint factories. The Russians were unwilling to undertake an additional project at the time and suggested that the Chinese turn to East Germany where much of the Soviet Union's electronics equipment was imported. So at the request of then-Premier Zhou Enlai, scientists and engineers joined the first Chinese trade delegation to East Germany in 1951, visiting a dozen factories. The project was green-lighted in early 1952 and a Chinese preparatory group was sent to East Berlin to prepare design plans. This project, which was to be the largest by East Germany in China, was then informally known as Project #157.
The architectural plans were left to the Germans, who chose a functional Bauhaus-influenced design over the more ornamental Soviet style, triggering the first of many disputes between the German and Russian consultants on the project. The plans, where form follows function, called for large indoor spaces designed to let the maximum amount of natural light into the workplace. Arch-supported sections of the ceiling would curve upwards then fall diagonally along the high slanted banks or windows; this pattern would be repeated several times in the larger rooms, giving the roof its characteristic sawtooth-like appearance. Despite Beijing's northern location, the windows were all to face north because the light from that direction would cast fewer shadows.
The chosen location was a 640,000 square meter area in Dashanzi, then a low-lying patch of farmland northeast of Beijing. The complex was to occupy 500,000 square meters, 370,000 of which were allocated to living quarters. It was officially named Joint Factory 718, following the Chinese government's method of naming military factories starting with the number 7. Fully funded by the Chinese side, the initial budget was enormous for the times: 9 million rubles or approximately 140 million RMB (US$17 million) at today's rates; actual costs were 147 million RMB.
Ground was broken in April 1954. Construction was marked by disagreements between the Chinese, Soviet and German experts, which led at one point to a six-month postponement of the project. The Germans' harshest critic was the Russian technology consultant in charge of Beijing's two Soviet-built electronics factories (714 and 738), who was also head consultant of the Radio Industrial Office of the Second Ministry of Machine Building Industry. The disputes generally revolved around the Germans' high but expensive quality standards for buildings and machines, which were called "over-engineering" by the Russians. Among such points of contention was the Germans' insistence, historical seismic data in hand, that the buildings be built to withstand earthquakes of magnitude 8 on the Richter scale, whereas the Chinese and Russians wanted to settle for 7. Communications expert Wang Zheng, head of Communications Industry in the Chinese Ministry of National Defense and supporter the East German bid from the start, ruled in favor of the Germans for this particular factory.
At the height of the construction effort, more than 100 East German foreign experts worked on the project. The resources of 22 of their factories supplied the construction; at the same time, supply delays were caused by the Soviet Red Army's tremendous drain on East Germany's industrial production. The equipment was transported directly through the Soviet Union via the Trans-Siberian railway, and a 15 km track of railroad between Beijing railway station and Dongjiao Station was built especially to service the factory. Caltech-educated scientist Dr. Luo Peilin (罗沛霖), formerly head of the preparatory group in 1951-1953, was Head Engineer of Joint Factory 718 during its construction phase. Dr. Luo, now retired in Beijing, is remembered by his former colleagues as a dedicated perfectionist whose commitment to the obstacle-strewn project was a major factor of its eventual success.
Dr. Theo Bovens, the King's commissioner of Limburg in the Netherlands, was a guest at the E-3A Component on May 26, 2014. During the visit Doctor Bovens was informed about recent developments at the component such as our Ukraine support missions and the force review. Afterward, Doctor Bovens took a close look at an E-3A. Finally, the mission and flight simulator were visited where he took the opportunity to fly the E-3A in the simulated environment. The King's commissioner is the head of a province in the Netherlands and is being appointed by the King. (Photo by Andrea Hohenforst)
AJE's component of the month for April 2014—a gorgeous handcrafted button clasp from Lesley Watt!
Read all about it on my blog here: www.treewingsstudio.com/2014/04/aje-april-2014-com-challe...
The Optoelectronic Component and Materials Laboratories (or OCM Labs) is a collection of graduate students, post doctoral fellows, visiting scientists and research staff who are engaged in investigating an enormous variety of phenomena and devices related to electronic materials and optics. Some of the work involves the basic physics of new semiconductor and organic materials, some focuses on devices using these materials, and yet other work looks at the system impact of optical devices and structures. The unifying goal of our work is the realization of practical optoelectronic devices.
Photo by James M Rotz for the College of Engineering Office of Communications and Marketing