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Drivers are now following a newly aligned section of highway west of Devonshire Road in Montesano. The temporary roadway configuration gives the crews room to remove and replace the culvert that has been identified as a barrier to fish passage.
Showing one configuration of period attachment of the sword belt to the scabbard. This is my most successful recreation of the integrated scabbard belt that was period from the mid-eleventh through the mid-fourteenth centuries.
A great example of this style still exists in the scabbard of Infante Fernando de la Cerda dating to the 1270s. It is also depicted in various forms of artwork including tomb effigies of knights. Probably the most prominent examples of it are the fantastic statues of the patrons of Naumburg Cathedral. Margrave Ekkehard's sword is sheathed in a scabbard very similar to the one I recreated above.
As complex as it may look, this is deceptively simple to accomplish with nothing more than an exacto knife, a punch, and a straight edge. The buckle end of the belt is split into two halves that lace through a series of slits in the scabbard leather. The long end of the belt merely loops around the scabbard.
The scabbard is a modified Albion campaign scabbard; two slats of wood covered with leather, just like the originals.
Dull screenshot of the configuration of a Drupal view that I took for the question I've asked on Stack Exchange
Coney Island, Brooklyn, New York City, New York, United States
The seven-story theater and office building recently known as the Shore Theater and originally known as the Coney Island Theater is one of the largest, most substantial structures in Coney Island in Brooklyn and, when it was constructed in 1925, represented the optimistic attitude of that period for the successful year-round development of Coney Island as a premier entertainment district. Seeking to change the atmosphere of the resort from the somewhat seedy aura it had developed in the 19th century into an area of wholesome family amusement, the city constructed the Boardwalk and extended subway service to Stillwell Avenue while private developers built enclosed amusement parks, restaurants and hotels. The Coney Island Theater was part of this redevelopment effort and featured live performances as well as motion picture screenings.
The neo Renaissance Revival style building was constructed and owned by the Chanin Construction Company and leased to the prominent Loew’s theater chain. This large building contained stores, a theater and offices, originally intended for businesses related to the theater industry. Faced with brick and terra-cotta and highlighted by stone and terra-cotta details this structure presents a grand and substantial counterpoint to Coney Island’s more modest one- and two-story buildings. The architects, Reilly & Hall, were leading theater architects of the day. Their selection for the design of the building is indicative of the desire, on the part of Coney Island’s civic and business leaders, to confer legitimacy, grandeur, and elegance on Coney Island. The building is organized in a tri-partite configuration, with a rusticated base, a buff brick shaft and a crown featuring a central arcade and balcony. The Shore Theater Building is a remarkably intact survivor of the early 20th century period when Coney Island was New York City’s playground, and was striving to become a year-round entertainment district for the entire city.
DESCRIPTION AND ANALYSIS
Coney Island
Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These lines were built by businessmen and entrepreneurs who developed large hotels on the eastern end of the island and wanted to provide easy access to Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the west side. The Manhattan Beach Hotel was opened in 1877 on the far eastern end of Coney Island, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878, primarily drawing its clientele from Brooklyn’s middle-class business community.
Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day-trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as “Lucy the Elephant” (destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton became “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.”
By the end of the 19th century a series of devastating fires opened up vast tracts of land for redevelopment and the West Brighton section became home to a new type of diversion: the enclosed amusement park. In 1895 Paul Boyton’s Sea Lion Park opened, quickly succeeded in 1897 by George C. Tilyou’s legendary Steeplechase Park, and Coney Island took on a different mien. These parks, along with Luna Park (opened in 1903) and Dreamland (opened in 1904) offered thrilling, gravity-defying mechanical rides as well as exotic fantasy architecture shimmering with millions of electric lights, sideshows, live entertainment, theatrical reenactments, music and dance halls, bathing pavilions, and eateries.
It was during the first decades of the 20th century, with the advent of the great amusement parks, that the idea of the “New Coney Island” began to take shape. The “New Coney Island” was a notion promulgated by some Coney business leaders to turn Coney Island into a year-round resort, similar to Atlantic City. Chief among the goals of the “New Coney Island” was to slough off the seedy, somewhat dangerous reputation of the late 19th century, and replace it with a more wholesome image. The enclosed parks all banned alcohol, and required patrons to pay an admission fee. It was believed that this would help to keep out patrons perceived as undesirable. Several civic organizations began calling for the construction of a boardwalk, which would provide visitors with an important public amenity.
The Boardwalk opened in 1920, the same year subway service was extended to Coney Island. Three years later, the Coney Island Chamber of Commerce was organized, with the goal of “developing Coney Island on a larger and broader scale.” With the support and promotion of the Coney Island Chamber of Commerce, several new buildings and amusements were erected. These included the (second) Child’s Restaurant on the Boardwalk, the Cyclone Roller Coaster, the Wonder Wheel, the Stillwell Avenue subway terminal, the Half Moon Hotel, Stauch’s Baths, the RKO Tilyou Theater, and the Coney Island Theater. The Coney Island Theater Building is one of the few structures still extant from this period. Other surviving features include the Wonder Wheel, the Cyclone and the Child’s Restaurant (all designated New York City Landmarks) on the Boardwalk. By decade’s end, Coney Island had been transformed once more.
The Coney Island Theater Building
This large, intact building rising on the Coney Island skyline is a prominent neo Renaissance Revival style structure that expresses, through its size and style, the aspirations of Coney Island’s boosters in the 1920s. The Coney Island Theater Building, most recently known as the Shore Theater Building, was constructed as a fireproof structure on part of the site of the former Culver Railroad line depot (replaced by the newly extended subway). A comment by Irwin S. Chanin, president of the Chanin Construction Company who was the developer of this building indicated a concern for changing the atmosphere at Coney Island. “We realized the great need in Coney Island for an all-year amusement, and I believe we have satisfied this need. We spared no expense to provide adequate facilities that will attract the finest business and amusement ventures.”
By the booming 1920s, with the Jazz Age in full swing, the culture of Coney Island was fully formed. The construction of the Half Moon Hotel in 1927, the first major hotel to be built in Coney Island since the days of the great resorts of the late 1800s, along with the completion of the newly reconstructed and publicly accessible Boardwalk, was to be a harbinger of Coney’s direction for the future. The construction of the Coney Island Theater was part and parcel of this movement. The Brooklyn Daily Eagle reported in May, 1925 that “[the theater] will be the first of its kind at the resort and the forerunner of similar structures in the movement to make Coney Island an all-year amusement resort.” Expanding upon this theme, Irwin S. Chanin continued,
The resort has the greatest population area in the country to draw from, and nothing has prevented it from being an all-year amusement place but the present type of structures, which for the most part are built only for summer use. With the subway terminating at Surf Avenue, the boardwalk extending the full length of the ocean front and the adequate police regulations, nothing can now stand in the way of its advancement.
These bold intentions are also visible in the choice of the architectural firm for the theater building. Reilly & Hall were noted theater architects of the 1920s. Some of their most important commissions were New York’s Sheridan Theater (now demolished) and the Newton Theater in Newton, New Jersey. Upon the opening of the New Jersey theater, a local newspaper, the Sussex County Democrat remarked that,
These young men have, in a short time, impressed theatre owners with their unusual ability, as operators of exquisite theatres and supervised the Tivoli Theatre in Newark, the Sheridan Theatre in New York, the Strand Theatre in Schenectady, and are engaged at present in directing the work on the Coney Island Theatre which, when completed, will rival the best picture palaces of the country.
The firm’s choice of material also indicates the ambitious building campaign. Limestone, brick, and terra cotta were used, rather than wood, as had been the custom at Coney Island. Additionally, the building is not merely a movie theater, but a seven-story “Coney Island Theater Building,” complete with offices intended to be occupied by organizations related to the entertainment industry. With buildings such as this theater and the Half Moon Hotel, the business community of Coney Island was announcing the area’s legitimacy and its aspirations.
Indeed, a 1925 Brooklyn Eagle headline announced, “$2,000,000 Theater and Office Building Reflects Transformation of Coney Island.”
The theater was immediately leased to the prominent Loew’s movie theater chain, an organization that was expanding its holdings throughout the city and beyond.
Chanin Construction Company
The Chanin Construction Company, developers of the Coney Island Theater Building, was founded in 1919 by Irwin S. Chanin (1892–1988) and his brother Henry (1893–1973), an accountant. Irwin was graduated from the Cooper Union School of Engineering in 1915. Beginning with modest residences in Bensonhurst, the firm quickly expanded and by the late 1920s, it was responsible for some of New York’s most significant buildings, including the Century and Majestic Apartments on Central Park West, and the Chanin Building (all designated New York City Landmarks). Indeed, a 1929 profile of the company in The New Yorker notes that “What is unusual about the Chanins’ story is that their achievements are visible; a whole city of scattered buildings, a hundred and forty-one of them in New York and Brooklyn.” Henry was responsible for the day-to-day management of the firm, while Irwin was the artistic visionary. Two other brothers, Samuel and Aron, also played a role in the Chanin Construction Company.
Among their numerous projects were many theaters. One of the earliest was the Roxy Theater, known as the “Cathedral of Motion Pictures” (demolished) followed by the Biltmore Theater; the Forty-Sixth Street Theater; the Mansfield Theater; the Theater Masque; The Royale Theater; and the Majestic Theater. Irwin Chanin had distinct ideas about theater design. The theme of fantasy and escape, of taking people away from their everyday lives was always uppermost in Chanin’s mind. The comfort of the theatergoer and performer was also paramount. The Chanin Construction Company built theaters with wide aisles, wide seats, roomy entry foyers, ample dressing rooms and good acoustics.
The Loew’s Corporation
From the beginning, this theater was leased and operated by the Loew’s theater chain. Marcus Loew (1870 – 1927), the company founder, was born on Manhattan’s Lower East Side and had an early career as a furrier. While working in this field Loew met Adolph Zukor, who was also in the fur business, and Morris Kohn and the three began investing in residential real estate. When Zukor and Kohn invested in a penny arcade on 14th Street, Loew watched the business thrive and was invited to join the partnership. Soon after, Loew began a competing establishment with an arcade on 23rd Street. By 1907 Loew’s company had a nationwide chain of 3,000 nickelodeons. Loew then purchased Watson’s Cozy Corner, a so-called low vaudeville theater in downtown Brooklyn, transformed it into a genuine movie palace and renamed it the Royal Theatre, charging 10 cents for admission, which was twice the standard. Loew began to expand his business rapidly, taking control of several large theaters in Manhattan and then constructing new ones, the first being the National Theatre in the Bronx in 1910. By 1911 a newly reorganized company - Loew’s Theatrical Enterprises – had purchased or taken over the management of dozens of theaters across the country.
During the second decade of the 20th century, studios and audiences had embraced full-length feature films. Zukor’s company had created the earliest essays of this new type and by 1919, Loew was convinced that this was the future of the industry. He changed his company’s name one again to Loew’s Incorporated and acquired Metro Pictures Corporation, a small existing movie production company. Loew’s Inc. then started producing its own movies in addition to owning or managing the theaters in which they would be shown. One of their first productions, The Four Horsemen of the Apocalypse with Rudolph Valentino, which premiered in 1921, was a smash and with it Loew’s Inc. became a force in the motion-picture industry. The firm embarked upon an extensive theater-building campaign of which the apogee was the construction of the Loew’s State Theater in 1921. Designed by legendary theater architect Thomas W. Lamb, the construction of this theater was a “major event in Loew’s progress [and] fulfilled his dream of possessing a big vaudeville-picture palace in the nation’s theatrical center, Times Square.” If a location could vie with Times Square as a center of entertainment and amusement, it was Coney Island. Although Loew’s Inc. leased rather than owned the new theater, when it opened in 1925 the new building was named the Loew’s Coney Island Theater.
Reilly & Hall
Paul C. Reilly, (1890 – 1984)
Douglas Pairman Hall (1880 – 1945)
Reilly, a native of New York City, was graduated from the Columbia University School of Architecture. In addition to the design of several theaters, Reilly was closely associated with the Roman Catholic Archdiocese of New York, and served for a period as the architect of St. Patrick’s Cathedral. Among his church commissions were the Sacred Heart Cathedral in Newark and the Church of Our Saviour on Park Avenue and East 38th Street in Manhattan. Other works include St. Ephrem’s Church, Brooklyn and the Church of St. Peter Claver in Montclair, New Jersey.
Hall, a Scotsman (like Lamb), immigrated to America in 1912. He was graduated from the University of Edinburgh and received his architectural degree from the Royal Institute of Architecture in London. Hall developed a reputation as a theater architect, and was responsible for the design of more than 50 theaters in the New York area.
Early in their careers, both Reilly and Hall were employed by the firm of Thomas W. Lamb, theater architect, where Reilly held the position of chief designer. By 1920, the pair formed a partnership and the firm Reilly & Hall occupied an office at 749 Fifth Avenue. Though fruitful, the venture does not appear to have lasted long. By 1928, there is no longer a listing for Reilly & Hall, and Hall is a sole practitioner with an office on East 45th Street. Reilly opened his own office in 1930 on lower Fifth Avenue.
Neo Renaissance Revival Style and the Movies
The 1920s was an era of tremendous growth in the development of movie theater buildings. Often constructed by the studios to showcase their films, theaters were seen as crucial advertising. If the theater was elegant, if it served to enhance the escapism of the movie-going experience, if the eye could be continually delighted, the patron would return week after week. Some theaters were developed as grand “movie palaces” with fantastic interiors that added to the total experience of the invented world on the screen.
Others were dressed in historical revivalist styles, still popular in the 1920s. Of these, there were many variants, including Italianate and French. Based on European precedents of the Renaissance, Baroque, and classical, the style is characterized by rational planning, with classical elements like balustrades and prominent cornices, restrained facades, and a light palette. The neo Renaissance revival style (popular in the 20th century) was an outgrowth of the earlier Renaissance Revival style, which was in vogue beginning in the 1880s. Buildings constructed in these styles ranged from public buildings like theaters and municipal structures to private homes, such as row houses or town houses. These historical revival styles suggested sophistication, wealth, and class. For a movie theater to be outfitted in such architectural clothing communicated the serious side of the Loew’s Coney Island Theater. Its builders intended the structure to evoke high-brow entertainment and edification, as part of Coney Island’s more dignified aspirations at this time.
History of the Loew’s Theater
The Loew’s Coney Island Theater opened on June 17, 1925. Marcus Loew himself presided, and with typical show-business bravura promised an array of stage, screen, and radio stars in attendance. Those who were scheduled to attend included Johnny Hines, Barbara Lamarr, Mae Busch, Ben Lyon, John Irving Fisher, Texas Guinan, Dorothy Mackaill, Virginia Lee Corbin, and John Lowe. Builder Irwin S. Chanin declared, “Here all of the island arrive, and here we hope to make the corner a sort of Coney Island ‘Broadway and 42nd Street.’” During the first week of operation, the stage was given over to Violet and Daisy Hilton, the famed Hilton Sisters.
Built primarily as a movie theater, the Loew’s Coney Island also featured live vaudeville entertainment, as Loew’s included live performances in many of its theaters to bolster the box office.
The Loew’s Coney Island Theater remained under the control of Loew’s Incorporated until 1964. Spaces on the ground floor housed small shops or restaurants, and various offices were located in the upper floors. Some of these businesses included Nedick’s, Garcia y Vega Cigars and Admiration Cigars. The office building housed such varied tenants as Angelo Paino & Co., Inc. (building contractors); Belpark Construction Corporation; and a local draft board.
By the end of 1964, Loew’s Inc. lost control of the theater, and it became the Brandt Shore Theater. As the Shore Theater, movies were shown exclusively, although by the end of 1965, the management announced that the space would become a legitimate theater with musicals, revues, and plays. During this period, some of the offerings included “Let’s Dance,” “The Jewel Box Revue,” and “Bagels and Yox.” By April 1966, burlesque operator Leroy C. Griffith was staging shows at the Shore; thereafter, films resumed being shown along with live entertainment.
It appears that the era of live entertainment in the building was short-lived. Films returned exclusively and by the early 1970s, it had become an adult venue. In 1972 the orchestra level of the theater was converted to a bingo hall and during the 1970s, the Gay Way Bar was a tenant in the ground floor corner retail space. In the 1980s, a branch of Kansas Fried Chicken occupied the corner store. During the late 1960s and through the 1970s, tenants in the office space above included a dress manufacturer, a Medicaid office, and a Head Start nursery program. The building is currently vacant.
Description Surf Avenue Façade: The Shore Theater Building is located on the northwest corner of Stillwell and Surf Avenues. The building, including the ground floor storefronts, is vacant. Scaffolding projects at the first floor cornice line and covers the marquee which is located at the center of the seven-bay wide facade. The storefronts are non-historic and are covered by roll-down iron grilles. The westernmost opening on this facade is for vehicular access and is covered by a solid, roll-down gate. A pedestrian entrance is located in the bay just to the east of this. It has a stone surround, with a rope molding framing the doorway and a stone plaque carved with the name, “Coney Island Theatre Building” above. This opening is also covered by a solid metal gate. Another doorway under the marquee is also surrounded by dressed stone blocks, as are the end piers on both facades.
Above the base is a piano nobile faced with terra cotta molded to replicate rusticated limestone. This level has double-height, round-arched windows with one-over-one metal replacement sash. Within each arched opening the top part has non-historic metal infill, while the spandrels beneath the windows feature terra-cotta panels with foliate designs. This section of the building is capped by a narrow cornice formed by a terra-cotta dentil molding and a series of stone moldings.
Floors three through five are faced with buff-colored brick and have unadorned, rectangular window openings, set in pairs. The top of this level is marked by a dentil course of terra cotta. The sixth floor has the same window pattern as below, but the windows are framed by white terra cotta and the panels between the windows are faced with square white terra-cotta tiles set on the diagonal. The top of the sixth story has a broad, terra-cotta frieze ornamented with circles and classical foliate designs and topped by a terra-cotta cornice. All of the sash in the windows on this facade has been replaced.
The brick-faced seventh floor consists of a central pavilion, five-bays wide, with single-bay setbacks at the eastern and western ends of the facade. These setback bays are fronted by small terraces set behind terra-cotta balustrades and are topped by a brick dentil course and terracotta coping. The top of each round-arched window has been filled with a terra-cotta panel. The round-arched windows of the central pavilion have brick moldings and terra-cotta keystones, with round, flat terra-cotta panels inset into the brick in the spandrels between the arches. Two additional round-headed windows are located to the outside of this central area and these windows have terra-cotta moldings and keystones and sit above small panels of terra-cotta ornament. A broad balcony projects in front of the central five, round-arched windows of this level. Its underside is faced with terra cotta and it is supported on ornate terra-cotta brackets, and topped by a delicate, classically-inspired iron railing. All of the windows on the seventh story have replacement, one-over-one metal sash and the upper areas of the round-arched windows have been filled in. The central area of this level is capped by a projecting, overhanging terracotta cornice with modillions. A broad, bronze frieze ornamented by moresque fretwork sitting on a terra-cotta rope molding is also part of this capping element.
At the southeastern corner of the building a neon blade sign is affixed between the third and sixth floors. The sign reads “SHORE.” Stillwell Avenue façade: The east façade, along Stillwell Avenue, exhibits the narrow side of the seven-story office tower with the undecorated brick facade of the movie theater, about half its height, extending northward beyond it. The design of this facade of the office building is similar to that on Surf Avenue. The ground floor storefronts are vacant and covered by grilles. The double-height piano nobile is faced with terra cotta and pierced by three large, round-headed windows. Between the two northernmost windows are two smaller rectangular window openings, one above the other. The large, northernmost window has its original metal sash, while the other windows have replacement sash. The next four stories have rectangular window openings, with a few of the windows on the northern side of each level retaining their original two-over-two wood sash. The window pattern on these floors is 2-1-2-1-1. The moldings and decorative treatment are the same on this facade as on Surf Avenue. At the top floor level are three round-headed windows flanked by a single rectangular window on each side. The central windows have non-historic infill at the top of the windows, and all have non-historic one-overone sash. The side windows are capped by inset round, terra-cotta circles and the northernmost window has small paned, double-hung sash.
The painted side wall of the theater extends to the north behind the office building. There is a small entrance door at the ground level and a variety of small window openings at the second story level, either blocked closed or filled by non-historic sash. A covered metal emergency stairway steps down along this facade, toward the northern side of the building. A small non-historic storefront is located at this side of the facade along with a doorway near the top of the building, fronted by a metal balcony, with a ladder leading to the roof. West façade: The western façade has two sections, the office building and the other side of the movie theater. Both are not designed. The side of the office building is faced with buff brick and features three vertical columns of rectangular, one-over-one double-hung replacement windows. The top of the building features three setbacks, and coping stones are evident at the top. The movie theater is faced in painted brick with a covered emergency stairway that steps down toward the rear. North façade: The northern facade consists of two angled blank painted brick walls, projecting outward slightly and forming the end of the movie theater.
- From the 2010 NYCLPC Landmark Designation Report
on-chip IDE configuration AMI BIOS SETTING boot off PATA IDE see SATA IDE MS-6728 ATX motherboard DSCN1714
Carabus auronitens, carabidae
Mitutoyo M Plan Apo 5X/0.14 + Apo Gerogon 210/9 (f. 9) + Canon 5D mark II (ISO 100, 0.3, EFSC) + Jansjö LED
90 shots at 0.04 µm step stacked with Zerene Stacker (Pmax).
To view more of my images, of aircraft, please click "here" !
The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft. It was also the only British fighter to be in continuous production throughout the war. The Spitfire continues to be a popular aircraft, with approximately 53 Spitfires being airworthy, while many more are static exhibits in aviation museums all over the world. The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works (which operated as a subsidiary of Vickers-Armstrong from 1928). In accordance with its role as an interceptor, Mitchell designed the Spitfire's distinctive elliptical wing to have the thinnest possible cross-section; this thin wing enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane. Mitchell continued to refine the design until his death from cancer in 1937, whereupon his colleague Joseph Smith took over as chief designer, overseeing the development of the Spitfire through its multitude of variants. During the Battle of Britain (July–October 1940), the Spitfire was perceived by the public to be the RAF fighter, though the more numerous Hawker Hurricane shouldered a greater proportion of the burden against the Luftwaffe. However, because of its higher performance, Spitfire units had a lower attrition rate and a higher victory-to-loss ratio than those flying Hurricanes. After the Battle of Britain, the Spitfire superseded the Hurricane to become the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber and trainer, and it continued to serve in these roles until the 1950s. The Seafire was a carrier-based adaptation of the Spitfire which served in the Fleet Air Arm from 1942 through to the mid-1950s. Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 1,030 hp (768 kW), it was strong enough and adaptable enough to use increasingly powerful Merlin and, in later marks, Rolls-Royce Griffon engines producing up to 2,340 hp (1,745 kW); as a consequence of this the Spitfire's performance and capabilities improved, sometimes dramatically, over the course of its life. R. J. Mitchell's 1931 design to meet Air Ministry specification F7/30 for a new and modern fighter capable of 250 mph (400 km/h), the Supermarine Type 224, was an open-cockpit monoplane with bulky gull-wings and a large fixed, spatted undercarriage powered by the 600 horsepower (450 kW) evaporatively cooled Rolls-Royce Goshawk engine. This made its first flight in February 1934. The Type 224 was a big disappointment to Mitchell and his design team, who immediately embarked on a series of "cleaned-up" designs, using their experience with the Schneider Trophy seaplanes as a starting point. Of the seven designs tendered to F7/30, the Gloster Gladiator biplane was accepted for service. Mitchell had already begun working on a new aircraft, designated Type 300, with a retractable undercarriage and the wingspan reduced by 6 ft (1.8 m). This was submitted to the Air Ministry in July 1934, but was not accepted. The design then went through a series of changes, including the incorporation of a faired, enclosed cockpit, oxygen-breathing apparatus, smaller and thinner wings, and the newly developed, more powerful Rolls-Royce PV-XII V-12 engine, later named the "Merlin". In November 1934 Mitchell, with the backing of Supermarine's owner, Vickers-Armstrong, started detailed design work on this refined version of the Type 300 and, on 1 December 1934, the Air Ministry issued contract AM 361140/34, providing £10,000 for the construction of Mitchell's improved F7/30 design. On 3 January 1935, the Air Ministry formalised the contract and a new specification, F10/35, was written around the aircraft.
OpenWrt - wireless interface configured as Access Point.
Security: WPA-PSK
Host: Wireless Router TP-Link WR841ND
Chipset: Atheros AR7240
Processor architecture: MIPS 24Kc v7.4
***
OpenWrt - беспроводный интерфейс сконфигурирован как Точка доступа.
Настройки безопасности: WPA-PSK
Хост-система: беспроводный маршрутизатор TP-Link WR841ND.
Чипсет: Atheros AR7240.
Процессорная архитектура: MIPS 24Kc v7.4
How to upgrade the kernel on CentOS
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Configuration: Apple M1 Max chip with 10-core CPU and 32-core GPU; 32GB unified memory; 1TB SSD. This replaces my late-2019 model, which I part with a year earlier than planned.
Some quick first-impressions, with less than eight hours screen time:
Liquid Retina XDR display is visually stunning. Spectacular is better. Text is super sharp and colors are rich and vibrant—like nothing I have experienced on any laptop. Scrolling is super smooth. Hello, ProMotion! Technical resolution is 3024 by 1964 pixels. Actually available maximum scaling: 2056 by 1329. Bright, bright, bright—love it.
M1 Max chip looks promising but I will need to embark on several planned heavy-duty projects to truly assess. I will say this: Performance is fluid, and I can’t say the same about my late-2019 MBP.
Keyboard is unexpectedly better. The keys feel fabulous, require light touch, and caress the fingers. I am surprised by the subtle but absolutely significantly improved experience compared to the 16-inch MBP.
MagSafe 3 and return of other ports (HDMI and SDXC) are nice-to-haves but not need-to-haves. Over time, surely I will appreciate them.
3.5-mm headphone jack supports high-impedance headphones, which I own. My daughter is fanatical about vinyl records; to make for a more authentic listening experience, I gave her my Grado GS1000e. I now use the Audio-Technica ATH-R70x, which impedance is fairly high at 470 ohms. But, I haven’t opportunity to truly test.
Construction is solid, like a tank. The hinge is incredibly rigid (in a good way). My initial trepidation gives way to satisfaction with the apparent ruggedness.
Design is stately and strong. I don’t notice the camera notch, in case you wondered. The thin bezel makes interaction with the 16.2-inch panel both expansive and immersive. The laptop looks and feels Pro—no, premium—oddly emphasized by the brand name machine-embossed/etched onto the underside.
I will need more time using the late-2021 MBP before conveying much (much) more about it.
Regarding the photo, I feel black and white appropriately suits the Space Gray color and tank-like conveyance.
Basix 78W x 30D x 24H with chemical resistant laminate work surface, 2x2 frame upgrade, custom cubby configuration, and casters.
3255. Seen here with her original bow and radome configuration, the Oberon Class HMAS ONSLOW is conducted an experimental test on the old WWII submarine slipway at Fremantle, now the site of the Western Australia Maritime Museum. Her sister boat HMAS OVENS now rests permanently on the slip as the Museum's most prominent external display.
ONSLOW is herself preserved at the Australian National Maritime Museum in Sydney's Darling Harbour.
HMAS ONSLOW was also built at Scotts Shipbuilding and Engineering at Greenock, Scotland. She was commissioned into the RAN on Dec. 22, 1969, and decommisssioned on March 30, 1999 after almost 30 years service. Singularly - and pretty sadly - she was the boat that an unwilling submariner almost took into a steep death dive off Sydney in 1972, by refusing to close off the forward ballast tanks valve when ordered. An crew member managed to close the valve, but the submarine only managed to resurface hours later by the use of its propellors, and back at the HMAS PLATYPUS base the disgruntled man - somewhat beaten by crewmates - was removed from the ONSLOW in a straitjacket. As a result of this incident recruitment into the RAN's submarine service became reserved for volunteers.
Also involved in a fatal gas leak incident in 1981, ONSLOW nonetheless had become the first conventional submarine to be fitted with anti-ship missiles, with which she achieved spectacular theoretical results against the USN in exercises, 'sinking' a seven ship flotilla at KANGAROO 3 in 1980, and 'sinking' the supercarrier USS CARL VINSON at RIMPAC 1998.
Photo: Photographer unknown, GKAC, from a private disc, with permission.
666: Based on the solar flare cycle.
I first created to see what I got from what I saw in my mind.
I begun with the middle sum and then went back 11 from the middle sum and 16 forward from the middle sum.
11 represents the solar flare cycle. 16 represents my sum for maximum solar activity = next cycle with a rise....shall be explained in comments.
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85 West 1st Ave, Vancouver, BC.
The building was renovated to the present configuration just prior to 2010 Olympics.
Historic Place:
The historic place, a familiar local landmark, is the large, red, wood industrial building at 85 West 1st Avenue, Vancouver, built in or around 1930 and located on city-owned land in South East False Creek.
Heritage Value:
The Vancouver Salt Company Building has heritage value for representing the secondary food-processing industry and the diversification of the local economy to meet the needs of the fishery; for its architectural and structural qualities; as a rare intact survivor of the industrial buildings that once dominated South East False Creek (SEFC); and as a neighbourhood landmark. SEFC was, through much of the twentieth century, a beehive of industrial activity. Most industries located here for access to water, rail, and road transportation. Heavy industrial uses, such as sawmills and steel fabrication, prevailed. The subject site was used from the early 1900s for gravel storage.
The Vancouver Salt Co. operation was important technologically for the means of
extraction, for using False Creek to transport goods, for its contributions to other
industries, and for the way in which ownership changes illustrate patterns of international trade and corporate acquisition. Unrefined salt was shipped to Vancouver from the San Francisco Bay Area, where it had been recovered from brine by solar evaporation. This unusual technique was traditional to the Bay Area, originating with the Ohlone Indians and continued by the Spanish missionaries. The Vancouver-bound salt was extracted by the Leslie Salt Refining Co. of Newark, California (acquired in 1978 by Cargill Inc.), which owned the Vancouver Salt Co. The operation changed to Arden Vancouver Salt Co. Ltd. in 1970 and was later acquired by Domtar Ltd. By the late 1980s the building was used for paper recycling: first by Belkin Paper Stock Ltd. and then by Paperboard Industries. Raw salt was unloaded at Burrard Inlet and brought by scow to False Creek, where the Vancouver Salt Co. ‘semi-refined’ it by washing, drying, grinding, and sifting it into a coarse product fit for human consumption. The original market was as a preservative for the fishery, particularly the area’s Asian-Canadian fish-packers. Subsequent uses included other kinds of food-packing, tanneries, cold-storage plants, and highway ice removal. By 1950 rail and then trucks replaced boats for receiving and shipping the salt, reflecting changes brought about by the development of wheeled transport.
The building has heritage value as a pragmatic and attractive response to the needs of the salt operation and the site. It was built about 1930, squeezed between two lumber operations and mostly on a City-owned water lot, with only the southwest corner situated above the historic high water line. The original structure, a block about 90 by 145 feet, is supported on piles. A complex roof truss system directs the loads onto columns in the lateral walls and down the centre, creating a large open space. A raised monitor roof has a clerestory to admit light and air. The expansion of the building to the north in 1954-55 (Wright Engineers Ltd.) speaks to the growing demand for salt and the evolving refinery technology. New equipment was accommodated in part by building a roof over the existing 35-foot-deep apron at the rear, the former loading dock. The gable-roofed eastern portion held four large brine tanks, and the shed-roofed western part became a dry storage shed. A new hopper and conveyor were installed by the 1st Avenue loading dock, since the raw salt now arrived by truck. The conveyor may have necessitated raising the roof, which would date the tall silo-like cap at the front to this time. Minor alterations were made in 1970 for the Arden Vancouver Salt Co. Ltd. (Richard E. Cole, Engineer). The replacement of the salt-processing machinery with paper-shredding equipment in 1987 reflects the growing importance of the recycling industry. Belkin Paper Stock Ltd. also clad the sides with galvanized steel and cut new doors in the north elevation (De Guriby Ltd., Engineers, and Amundson Construction Co. Ltd). The building stands empty today, displaying physical evidence of its evolution and its uses.
Character-defining Elements:
- Broad building with a medium-sloped roof and gable at the front (south)
- Monitor roof, with a clerestory containing a row of 15-pane windows and cedar
ventilation louvres
- Taller, silo-like, gable-roofed feature at front of monitor
- Small-paned windows on the front elevation
- Loading dock at the front, protected from the weather by a shed roof
- Wood stud walls, covered externally with diagonal sheathing and horizontal
finished siding
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- Large, open interior space, interrupted only by a row of columns down the centre
- Elaborate roof truss and knee braces, composed of wood members with metal
fastenings and hardware
- Two salt hoppers along the side wall (inside the building)
- Profile of main gable and monitor roof seen from the rear (north)
- Location on the axis of Manitoba Street
- Wetland beneath building
- City of Vancouver
With the new configuration, the Boeing 737-800NG aircraft will have 177 seats, and will be identified with the symbol "GOL +" on the fuselage. Rows 2 through 7 on the right side and 3 to 7 on the left will be identified as GOL Comfort +. Besides the middle seat locked, the distance between the rows 30 passes to 34 inches (86.3 cm) and the back reclínio increase by 50%. Airlift in these seats have the comfort offered in the domestic market. GOL + Comfort seats will be offered free to customers Diamond Smiles Elite and Delta Air Lines, and may also be purchased by other customers from U.S. $ 30.00, according to availability. In other rows distance increases from 30 to 31 inches (78.7 cm).
With the wheels removed by way of quick releases, the anhanger / stretcher carrier becomes a sled. If the road bed has compacted snow and ice on an incline, then it's a good idea to hold onto this anhanger as it will slide away otherwise.
How to configure Raspberry Pi for the first time
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Motorcycle: Three Wheel semi-enclosed
Configuration: Single Passenger Cyclecar
Body: Non-structural Fairing and Canopy
Body material FRP Composite
Canopy Blow formed Cast Acrylic Lucite
Chassis: Steel box
Chassis type Lateral Pivot Ladder
Suspension: UniShock
Shock type: MC type Hydraulic/coil spring
Steering: Handlebar w/ linked tie rod
Overall Length: 93"
Overall Width: 46"
Overall Height: 52"
Empty weight: 215
With batteries: 385
Payload: 215
GVLW: 600
Weight dist: 60f/40r
Turning circle: 20 ft dia.
Aerodynamic drag : Est .35 (CD)
Watt/hours per mile: Est 50
Max range: Est 30 miles at 30 mph.
Max speed: Est 50 mph.
Gear ratio: 6/1
Power to weight: 1/40 (hp/lbs)
Specified components
Motor: Advanced DC series wound 140-01-4005
Horsepower: Cont/BHP: 3hp/17bhp
Controller: Alltrax CT1937
Charger(s) Soneil 48v
Instrumentation: Battery Charge Meter, Speedometer
Wheels: 16" Aluminum Mag type
Tires: 2.25 x 20
Brakes: Drum type-hand operated
Accelerator: Thumb operated potentiometer
Batteries: Four M34 AGM Blue Top lead acid
Battery Box 20" long x 14" wide x 9" tall
Lighting
Head lights: Halogen 45w
Turn signals Halogen 25w
Brake light Inc. bulb
Tail light Inc. bulb
Horn MC type
Freight Specs. 320 lbs 44"w x 56"h x 93"l (boxed pallet) class 150
How to configure Raspberry Pi for the first time
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Cylinders: flat-6 (boxer-configuration)
Displacement: 2341 cc
Bore x stroke: 84 x 70.4 mm
Rated output: 140 PS @ 5600 rpm (carburetored, except the USA where the new BOSCH K-Jetronic CIS (continuous fuel injection system) was used, according to stricter environmental laws)
Max. torque: 197 Nm @ 4000 rpm
Top speed: 205 km/h
0-100 km/h: under 10 s
Empty weight: 1077 kg
Cooling system: Air cooled with fan
© www.carfolio.com/specifications/models/car/?car=26521
The “F-Series” (F-model) are widely seen as the genuine models (master pattern) of all 911-types in summing up of the series from MY 1968 (introduced in the middle of 1967) “A-series” to MY 1973 (discontinued in the middle of 1973).
The identifying of an early successor, an European G-model MY 1974, could lead to the following mystic question: Why are impact bumpers fitted to some early “G-series” models only?
The new 911 G-Series was introduced in 1973. The US-Versions were all equipped with this new bumpers to conform with low speed protection requirements of US law from the very beginning. The integration of the new shock absorbing bumpers as standard of the European versions followed only one year later. In Germany the “G-Series” models since 1974 are called “Blasebalg”-models (German for “bellows”).
KlassikSTADT Frankfurt
Pyritz Classics
14 February 2014
Third and final configuration. I settled on a Brooks team pro for a saddle, which required me to get a seatpost with more setback (i.e. Nitto S-84). I had also come to the conclusion that I wouldn't mind being a bit more upright, which prompted me to do a second look at bar alternatives. Found out that the geometry of the Jitensha bars was a perfect fit for where I wanted to put my hands if I would close my eyes and stick my hands out while sitting on the bike, propped up in a trainer.
I also switched out the parts bin stem for a 120mm Nitto technomic deluxe, which gave me a bit more room to adjust the bars for height.
Guest room of the western-style Comfort Twin Room in triple bed configuration. Not all Comfort Twin rooms are capable of this configuration.
iss071e522256 (Aug. 21, 2024) --- NASA astronaut and Expedition 71 Flight Engineer Matthew Dominick checks CubeSat configurations packed inside launch cases installed in the Kibo laboratory module's Small Satellite Orbital Deployer.
With the dual blend configuration of the NJ4, you can offer up to five products from only 3 hoses. The ability to offer E15 through a separate hose with the NJ4 reduces the risk of mis-fueling.
To learn more about the NJ4, visit www.gilbarco.com/us/products/fuel-dispensers/flex-fuel-di...
Cylinders: flat-6 (boxer-configuration)
Displacement: 2341 cc
Bore x stroke: 84 x 70.4 mm
Rated output: 140 PS @ 5600 rpm (carburetored, except the USA where the new BOSCH K-Jetronic CIS (continuous fuel injection system) was used, according to stricter environmental laws)
Max. torque: 197 Nm @ 4000 rpm
Top speed: 205 km/h
0-100 km/h: under 10 s
Empty weight: 1077 kg
Cooling system: Air cooled with fan
© www.carfolio.com/specifications/models/car/?car=26521
The “F-Series” (F-model) are widely seen as the genuine models (master pattern) of all 911-types in summing up of the series from MY 1968 (introduced in the middle of 1967) “A-series” to MY 1973 (discontinued in the middle of 1973).
The identifying of an early successor, an European G-model MY 1974, could lead to the following mystic question: Why are impact bumpers fitted to some early “G-series” models only?
The new 911 G-Series was introduced in 1973. The US-Versions were all equipped with this new bumpers to conform with low speed protection requirements of US law from the very beginning. The integration of the new shock absorbing bumpers as standard of the European versions followed only one year later. In Germany the “G-Series” models since 1974 are called “Blasebalg”-models (German for “bellows”).
KlassikSTADT Frankfurt
Pyritz Classics
14 February 2014
INSTRUCTIONS AVAILABLE FOR P558 SUPERDUTY - MULTIPLE CONFIGURATIONS
On September 24, 2015, Ford unveiled the 2017 Ford Super Duty line at the 2015 State Fair of Texas. he frame is made from 95% high strength steel and the body (like the contemporary F-150) is made from 6000 series aluminum alloy. For the first time since 1999, both the Super Duty and F-150 lines are constructed using the same cab.
For 2017 production, the Super Duty line shares its powertrain lineup with its 2016 predecessor: a 6.2L gasoline V8, 6.8L V10 (F-450 and above), with a 6.7L diesel V8 available in all versions. The 6.2L gasoline V8 engine remains at 385 hp but torque rises from 405 lb-ft to 430 lb-ft. Additionally, the gasoline V8 produces its max torque at over 700 rpm less than the previous 405 lb-ft engine. The 6.7L diesel engine also remains at the same 440 hp (323 kW) but torque increases from 860 lb-ft upwards to 925 lb-ft.
The 2020 Super Duty debuted at the 2019 Chicago Auto Show. It features a revised grille and tailgate design, new wheel options, and higher-quality interior materials for the Limited trim. A new 7.3-liter gasoline engine is available. Nicknamed "Godzilla", it makes 430 horsepower and 475 lb-ft of torque.
Cab configurations continue to be 2-Door Regular Cab, 4-Door Super Cab, and 4-Door Super Crew Cab, with Short Box (6' 9") and Long Box (8') bed lengths. The truck will be available in F-250, F-350, and F-450 pickup truck models, and F-350, F-450, and F-550 chassis cab models. All will be available in both 4X2 and 4X4 configurations. The F-350 will be the only model available in either Single Rear Wheel (SRW) or Dual Rear Wheel (DRW) configurations, the F-450 and F-550 will only be available in a Dual Rear Wheel (DRW) configuration, and the F-250 will only be available in a Single Rear Wheel configuration.
The first California Cab-Ahead design (also known as a Cab-Forward) was built in 1901 by William J. Thomas, a master mechanic of the North Pacific Coast Railroad. Its unique design was possibly influenced by an Italian cab-ahead which had received much publicity in the trade press. The configuration provided the best visibility for locomotive engineers on sharp curves. Southern Pacific officials also recognized the value of the cab-forward as a design that would save engineers from being asphyxiated by smokestack fumes in SP's numerous long mountain tunnels and snowsheds. The first Cab-Forwards were delivered to SP by Baldwin in February 1910. Locomotive #4294 was part of SP's AC-12 class (Articulated Consolidation type, twelfth series group) locomotives, the last new steam locomotives acquired by the company.
The Cab-Forward design worked well on these large articulated locomotives. An articulated locomotive is equipped with two independent sets of driving wheels, able to follow the rails flexibly. SP 4294 is often incorrectly called a Mallet. Named for its French designer, Anatole Mallet, the Mallet is not only articulated, but it is also compounded, meaning the steam is used more than once. The steam goes first to high pressure cylinders, then to low pressure cylinders. Early Cab-Aheads on the SP were Mallets. SP 4294 is articulated, but not compounded, and thus is not a true Mallet.
In total, Baldwin built 256 Cab-Forward locomotives for SP, the only American railroad to make extensive use of this design. Wheel arrangements for these oil-burning behemoths were 2-6-6-2 (changed to 4-6-6-2 after a serious derailment), 2-8-8-2, and 4-8-8-2. Although they were identified mainly with the Sierra Nevada, these locomotives also saw service on the Tehachapi Mountains, the Shasta Division, the Modoc route and other parts of the SP system.
SP 4294 was in service from March 19th, 1944 to March 5th, 1956, hauling both freight and passenger trains in California and Oregon. The 4294 occasionally pulled the famous Overland Limited (Train Nos. 27 and 28) over the arduous Donner Pass route between Sacramento and Sparks, Nevada.
In September 1958 the now dieselized SP wrote-off its 29 remaining cab-forwards. The Pacific Coast Chapter of the Railway & Locomotive Historical Society organized a campaign to save No. 4294 from the scrap heap. SP responded by putting the engine "on hold" while the rest of the cab-forwards were scrapped.
SP 4294 was placed on outdoor display in front of SP's Sacramento station and dedicated to the City of Sacramento on October 19, 1958 in a celebration that also featured the "C. P. Huntington". Both locomotives were moved in 1967 to make way for an Interstate 5 approach ramp. They temporarily appeared at the Sacramento station in May 1969 for the Gold Spike Centennial Celebrations.
For eleven years No. 4294 was stored in SP's Sacramento yards, awaiting restoration and display in the California State Railroad Museum. In early 1981 the monstrous locomotive received a cosmetic restoration in the Museum's restoration facility. It has been completely repainted and refurbished, and many of the missing parts replaced. Mechanically, the engine is in remarkably good condition; during the Museum's cosmetic restoration, nothing was found that would preclude the possible restoration of the locomotive to operable condition at a later date.
Southern Pacific No. 4294, the last one of its kind in the world, occupies a place of prominence on the main floor of the Museum of Railroad History.
The kit and its assembly:
This whif kitbashing was inspired by real design studies from General Dynamics that show evolutionary developments of the F-16 in a no-tail configuration, but with an enlarged diamond-shaped wing shape (much like the F-22's), obviously based on the F-16XL. Additionally you find several similar fantasy CG designs in the WWW – the basic idea seems to have potential. And when I stumbled across the remains of a Revell X-32 in my stash and an Intech F-16A kit, I wondered if these could not be reasonably combined...?
What sounds easy eventually ended up in a massive bodywork orgy. The Intech kit (marketed under the Polish Master Craft Label) is horrible, the worst F-16 kit I have ever seen or tried to build - it's cheap and you get what you pay for. Maybe the PM Model F-16 is worse (hard to believe, but sprue pics I saw suggest it), but the Intech kits are …challenging. This thing is like a blurred picture of an F-16: you recognize the outlines, but nothing is sharp and no part matches any other! Stay away.
Well, actually only the fuselage, the cockpit and parts of the Intech kit's landing gear survived. The X-32 kit is, on the other side, a sound offering. It was not complete anymore, since I donated parts like the cockpit and the landing gear to my SAAB OAS 41 'Vيًarr' stealth aircraft from Sweden some time ago, but there were many good parts left to work with. Especially the aerodynamic surfaces (wings and V-tail) attained my interest: these parts match well with the F-16 fuselage in size and shape if you look from above, and the leading edges even blend well with the F-16 LERXs. But: the X-32's wings are much, much thicker than the F-16's, so that the original blended wing/fuselage intersection does not match at all. Additionally, the X-32's bulged landing gear wells in the wings had to go, so these had to be filled as an initial step. The wing roots were roughly cut into the F-16 kit's shape and glued onto the fuselage. After drying, the whole blended wing/fuselage intersection had to be sculpted from scratch - several layers of putty and even more wet sanding sessions were necessary. I stopped counting after turn five, a tedious job. But it eventually paid out…
Additionally I decided to change the F-16's chin air intake and implant parts from the X-32 divertless supersonic "sugar scoop" intake. Such an arrangement has actually been tested on an F-16, so it's not too far-fetched, and its stealthy properties make a welcome update. The respective section from the X-32's lower front fuselage was cut away and had to be modified, too, because it would originally not fit at all under the F-16's front. The intake was carefully heated at the edges and the side walls bent inwards - I was lucky that no melting damage occurred! Inside of the new intake, the upper, bulged part was implanted, too, so that in real life the jet engine parts would be protected from direct frontal radar detection. The front wheel position was retained. As a consequence of the new, much more voluminous and square air intake, the rather round section from the main landing gear onwards had to be sculpted for a decent new fuselage shape, too. But compared to the massive wing/fuselage body work, this was only a minor task.
The F-16A's fuselage was not extended, but for a different look I decided to eliminate the single fin and rather implant the X-32's outward-canted twin fins - the original extensions that hold the F-16's air brakes and now blend into the new wings' trailing edge were a perfect place, and as a side benefit they'd partly cover the jet nozzle. The latter was replaced by a respective spare part from an Italeri F-16 – the Intech nozzle is just a plain, conical tube!
The landing gear was mostly taken over from the Intech F-16, even though it is rather rough, as well as the pylons. The ordnance was puzzled together: the Sidewinders and the cropped drop tanks come from the Intech kit (the latter have a horribly oval diameter shape and the triangulare fins are a massive 1mm thick!), the Paveway bombs come from a Hasegawa air-to-ground weapons set.
Trying to figure out the best configuration. I might make a DIY insert to allow me to fit in a 13" MBP without scratching it.
This particular configuration of the Milford style is shown with a LAF chaise, an armless chair, a curved corner, and a RAF chair - making the overall size 120 x 88"
Shown in body cloth fabric #452270 "Charisma" and coordinating pillows in #631072 "R5448"
The last few weeks the Taklift 7 from Smit Internationale has preformed several tasks around the Waalhaven. Now they have fitted him with the longboom option.
As you can see the main boom has been taken back a bit and the long boom has been placed in front of the main boom.
With his option it's a little over 120m high. There is another configuration which allows the Taklift 7 to reach up to 160 meters.
With this lonboom option it is still able to lift a maximum of 478tons at 120m!
Mistral Air Boeing 737-3Q8(QC) EI-FGX climbing out of Naples operating another short Mediterranean charter flight. 18/08/17.
c/n 28054 first flew at Renton on the 27th of March 1998 before being delivered ILFC and immediately leased to Air Vanuatu as YJ-AV18 on the 21st of April 1998. The aircraft was leased to bmibaby on the 25th of July 2008 as G-TOYI andwas named 'Geordie Baby'. In January 2011 the aircraft was named 'Tinylife Baby'. After IAG shutdown BmiBaby in September 2012 the aircraft was withdrawn from service on the 9th of September and flown to Norwich for further storage the next day. The aircraft was registered to Automatic LLC as N54AU and was flown to Tampa, FL for conversion to a 'Quick Change' configuration. The aircraft was delivered to Mistral Air as EI-FGX on the 16th of March 2015.
Benchmarx Corner Unit - 48 x 48 x 24 x 30H used in conjunction with 3 Benchmarx 96W x 24D x 30H benches.
Microchip announced its third-generation USB3 Controller Hubs (UCH3s)—the four-member USB553XB-5000 family, which is SuperSpeed Logo Certified by the USB Implementers Forum and is the world’s first to integrate OTP Flash configuration memory. This UCH3 family is also the industry’s most flexible, as it includes a seven-port hybrid version with a certified four-port USB3 hub and three additional USB2 lanes. The remaining three family members feature two-, three- and four-port USB3 hubs, respectively, providing a broad migration path for the designers of PCs, peripherals, computing platforms, storage solutions, networking and consumer devices, set-top boxes, docking stations and monitors. For more info, visit: www.smsc.com/Products/USB/USB_Hubs/Standalone_USB_Hubs/US....
The kit and its assembly:
This whif kitbashing was inspired by real design studies from General Dynamics that show evolutionary developments of the F-16 in a no-tail configuration, but with an enlarged diamond-shaped wing shape (much like the F-22's), obviously based on the F-16XL. Additionally you find several similar fantasy CG designs in the WWW – the basic idea seems to have potential. And when I stumbled across the remains of a Revell X-32 in my stash and an Intech F-16A kit, I wondered if these could not be reasonably combined...?
What sounds easy eventually ended up in a massive bodywork orgy. The Intech kit (marketed under the Polish Master Craft Label) is horrible, the worst F-16 kit I have ever seen or tried to build - it's cheap and you get what you pay for. Maybe the PM Model F-16 is worse (hard to believe, but sprue pics I saw suggest it), but the Intech kits are …challenging. This thing is like a blurred picture of an F-16: you recognize the outlines, but nothing is sharp and no part matches any other! Stay away.
Well, actually only the fuselage, the cockpit and parts of the Intech kit's landing gear survived. The X-32 kit is, on the other side, a sound offering. It was not complete anymore, since I donated parts like the cockpit and the landing gear to my SAAB OAS 41 'Vيًarr' stealth aircraft from Sweden some time ago, but there were many good parts left to work with. Especially the aerodynamic surfaces (wings and V-tail) attained my interest: these parts match well with the F-16 fuselage in size and shape if you look from above, and the leading edges even blend well with the F-16 LERXs. But: the X-32's wings are much, much thicker than the F-16's, so that the original blended wing/fuselage intersection does not match at all. Additionally, the X-32's bulged landing gear wells in the wings had to go, so these had to be filled as an initial step. The wing roots were roughly cut into the F-16 kit's shape and glued onto the fuselage. After drying, the whole blended wing/fuselage intersection had to be sculpted from scratch - several layers of putty and even more wet sanding sessions were necessary. I stopped counting after turn five, a tedious job. But it eventually paid out…
Additionally I decided to change the F-16's chin air intake and implant parts from the X-32 divertless supersonic "sugar scoop" intake. Such an arrangement has actually been tested on an F-16, so it's not too far-fetched, and its stealthy properties make a welcome update. The respective section from the X-32's lower front fuselage was cut away and had to be modified, too, because it would originally not fit at all under the F-16's front. The intake was carefully heated at the edges and the side walls bent inwards - I was lucky that no melting damage occurred! Inside of the new intake, the upper, bulged part was implanted, too, so that in real life the jet engine parts would be protected from direct frontal radar detection. The front wheel position was retained. As a consequence of the new, much more voluminous and square air intake, the rather round section from the main landing gear onwards had to be sculpted for a decent new fuselage shape, too. But compared to the massive wing/fuselage body work, this was only a minor task.
The F-16A's fuselage was not extended, but for a different look I decided to eliminate the single fin and rather implant the X-32's outward-canted twin fins - the original extensions that hold the F-16's air brakes and now blend into the new wings' trailing edge were a perfect place, and as a side benefit they'd partly cover the jet nozzle. The latter was replaced by a respective spare part from an Italeri F-16 – the Intech nozzle is just a plain, conical tube!
The landing gear was mostly taken over from the Intech F-16, even though it is rather rough, as well as the pylons. The ordnance was puzzled together: the Sidewinders and the cropped drop tanks come from the Intech kit (the latter have a horribly oval diameter shape and the triangulare fins are a massive 1mm thick!), the Paveway bombs come from a Hasegawa air-to-ground weapons set.