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#macromondays #5Letters
The latest #macromondays challenge #5Letters prompts me to share this picture with you.
Small, rectangular and unique!
Pez (stylised as PEZ) is the brand name of an Austrian candy and associated manual candy dispensers. The candy is a pressed, dry, straight-edged, curved-corner block 15 mm (5⁄8 inch) long, 8 mm (5⁄16 inch) wide and 5 mm (3⁄16 inch) high, with each Pez dispenser holding 12 candy pieces.
Pez was invented in Austria and later exported worldwide. The all-uppercase spelling of the logo echoes the trademark's style on the packaging and the dispensers, with the logo drawn in perspective and giving the appearance that the letters are built out of 44 brick-like Pez mints (14 bricks in the P and 15 in each of the E and Z).
Logo
Despite the widespread recognition and popularity of the Pez dispenser, the company considers itself to be primarily a candy company, and "[t]oday, billions of PEZ candies are consumed annually in the U.S.A. alone". Pez dispensers are a part of popular culture in many nations, an example being "Soul Candy" in the Japanese manga series Bleach. Because of the large number of dispenser designs over the years, they are collected by many.
PEZ was first marketed as a compressed peppermint sweet in Vienna, Austria, in 1927 by Eduard Haas III. The name PEZ is an abbreviation of PfeffErminZ (German for peppermint).The original product was a round peppermint lozenge called PEZ drops. Over time, a new manufacturing process evolved and the hard pressed brick shape known today was created. The product packaging evolved from wrapped rolls to a small tin to hold the mints, similar to the modern Altoids tins. The first PEZ mint dispensers, known as "regulars", were similar in shape to a cigarette lighter and dispensed an adult breath mint marketed as an alternative to tobacco. They were invented by Oscar Uxa. Haas Food Manufacturing Corporation of Vienna was the first to sell PEZ products.
Thank you for visits, comments and favs!
Vielen Dank für Eure Besuche, Kommentare und Sternchen!
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
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Thomas Leopold Willson
While frequent visitors to Gatineau Park may be familiar with the Carbide Willson ruins, the history of the man behind the buildings may remain a mystery to them. Born in 1860 in Woodstock, Ontario, Thomas Leopold “Carbide” Willson was a pioneer of the North American electrochemical industry, with over 70 patents in his name.
The inventor’s fame and his nickname “Carbide” come primarily from his discovery in 1892, while he was working in the United States, of a calcium carbide manufacturing process. As is often the case, this discovery resulted from a series of fortunate accidents.
In 1907, Willson purchased 460 acres of land at Meech Lake for his summer home. He used the site to advance his research on nitrogen. Four years later, he built a dam, a generating station and an acid condensation tower near his home, at Meech Creek, on the shore of Meech Lake. The entire complex formed a superphosphate (monocalcium phosphate) fertilizer plant. Unfortunately, in 1915, while in New York City trying to raise new venture capital, Willson collapsed in the middle of the street, struck down by a heart attack.
#macromondays #Stack
The latest #macromondays challenge #Stack prompts me to share this picture with you.
Small, rectangular and unique!
Pez (stylised as PEZ) is the brand name of an Austrian candy and associated manual candy dispensers. The candy is a pressed, dry, straight-edged, curved-corner block 15 mm (5⁄8 inch) long, 8 mm (5⁄16 inch) wide and 5 mm (3⁄16 inch) high, with each Pez dispenser holding 12 candy pieces.
Pez was invented in Austria and later exported worldwide. The all-uppercase spelling of the logo echoes the trademark's style on the packaging and the dispensers, with the logo drawn in perspective and giving the appearance that the letters are built out of 44 brick-like Pez mints (14 bricks in the P and 15 in each of the E and Z).
Logo
Despite the widespread recognition and popularity of the Pez dispenser, the company considers itself to be primarily a candy company, and "[t]oday, billions of PEZ candies are consumed annually in the U.S.A. alone". Pez dispensers are a part of popular culture in many nations, an example being "Soul Candy" in the Japanese manga series Bleach. Because of the large number of dispenser designs over the years, they are collected by many.
PEZ was first marketed as a compressed peppermint sweet in Vienna, Austria, in 1927 by Eduard Haas III. The name PEZ is an abbreviation of PfeffErminZ (German for peppermint).The original product was a round peppermint lozenge called PEZ drops. Over time, a new manufacturing process evolved and the hard pressed brick shape known today was created. The product packaging evolved from wrapped rolls to a small tin to hold the mints, similar to the modern Altoids tins. The first PEZ mint dispensers, known as "regulars", were similar in shape to a cigarette lighter and dispensed an adult breath mint marketed as an alternative to tobacco. They were invented by Oscar Uxa. Haas Food Manufacturing Corporation of Vienna was the first to sell PEZ products.
Thank you for visits, comments and favs!
Vielen Dank für Eure Besuche, Kommentare und Sternchen!
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Flickr app doesn't support sRGB color. For best viewing use your browser.
Shouting its signature drone of 645 noise to full effect, a half-century-old Clinchfield veteran gives a hardy shove to thirty side dumps weighed down from unwanted discards of the taconite manufacturing process against a Minnesota hillside sheathed in misty morning fog and the brilliant colors of autumn. These tailings moves, oriented push-pull for bi-directional ease, operate several times per day to deposit ore scraps from Northshore Mining's iron processing plant at Silver Bay to the outfit's tailings pile located a few miles uphill, a move necessitated by the lack of wasteland adjacent to the processor's plot along the bank of Lake Superior.
He looked at the manufacturing process of the cotton candy eagerly.
The state that interest is vague.
What I want to regard as important.
あなたの興味はそこはかとない。
The impressive three-storeyed Ynysypandy slate-slab mill, and its surrounding yard, rail-access and water-supply system, was built to serve Gorsedda quarry in 1856-7 by the local contractor Evan Jones of Garndolbenmaen, probably to the design of the distinguished engineer James Brunlees. It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. An internal pit accommodated an overshot water wheel, supplied by the Henwy stream, and on the south side a long curving ramp brought branches of the railway from Gorsedda quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct, and derive from foundry practice. The eastern gable is surmounted by a decorative feature incorporating a false chimney stack, and the windows were at one time framed. It is one of very few architecturally ambitious buildings in the slate industry of Wales.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to the poor quality of the quarried slate) and the business went into liquidation in 1871.
The building provided a venue for eisteddfodau until the roof was removed around 1906. It was conserved by the Snowdonia National Park in 1981 and is accessible to visitors.
Text source: coflein.gov.uk/en/site/40572/
The impressive three-storeyed Ynysypandy slate-slab mill, and its surrounding yard, rail-access and water-supply system, was built to serve Gorsedda quarry in 1856-7 by the local contractor Evan Jones of Garndolbenmaen, probably to the design of the distinguished engineer James Brunlees. It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. An internal pit accommodated an overshot water wheel, supplied by the Henwy stream, and on the south side a long curving ramp brought branches of the railway from Gorsedda quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct, and derive from foundry practice. The eastern gable is surmounted by a decorative feature incorporating a false chimney stack, and the windows were at one time framed. It is one of very few architecturally ambitious buildings in the slate industry of Wales.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to the poor quality of the quarried slate) and the business went into liquidation in 1871.
The building provided a venue for eisteddfodau until the roof was removed around 1906. It was conserved by the Snowdonia National Park in 1981 and is accessible to visitors.
Text source: coflein.gov.uk/en/site/40572/
Shellac has a unique manufacturing process. It's derived from a resin secreted by insects native to forests in Thailand and India. The secretion is scraped from the bark of trees and then processed to form small, light-brown, or orange flakes. The flakes are mixed with alcohol to create a finish.
Ynysypandy Slate Mill, Cwmystradllyn, Dolbenmaen, Caernarfonshire.
Ynysypandy Slate Mill grid ref...SH5499043364
Ynysypandy Slate Mill, Map ref...SH54SW
The impressive three-storeyed Ynysypandy slate-slab mill, and its surrounding yard, rail-access and water-supply system, was built to serve Gorsedda quarry in 1856-7 by the local contractor Evan Jones of Garndolbenmaen, probably to the design of the distinguished engineer James Brunlees. It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. An internal pit accommodated an overshot water wheel, supplied by the Henwy stream, and on the south side a long curving ramp brought branches of the railway from Gorsedda quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct, and derive from foundry practice. The eastern gable is surmounted by a decorative feature incorporating a false chimney stack, and the windows were at one time framed. It is one of very few architecturally ambitious buildings in the slate industry of Wales.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to the poor quality of the quarried slate) and the business went into liquidation in 1871.
Click the pic to Explore ❤️
Europe, The Netherlands, Zuid Holland, Rotterdam, Kop van Zuid, Rijnhaven, Dredging, Boskalis, Silt, Water (uncut)
The redevelopment of the Rijnhaven has begun. The preparations of the filling-in for the realization of the 'Skyline Posthumalaan' are shown here. The plan: an office/apartment building strip with up to 200m high edifices, with an adjacent park and city beach.
Some background about the old Rijnhaven harbour basin. It was created in 1895 to offer shelter for Rhine vessels (rijnaken), when they could not operate due to freezing of the rivers during the winter.
After the creation of the Rijnhaven (Rhine harbour), the transit freight traffic to Rotterdam continued to increase and it was made suitable for large sea-going vessels by deepening it. As planned, the Rijnhaven became an important port for the transhipment of bulk goods 'on stream' - the sea-going vessels were moored on buoys, separate from the quay and their cargo was moved directly to rhine ships. In de 70/80s of the last century, the Rijnhaven lost its transshipment function and was brought back to its old function. In 2015, the rhine ship berths were moved to, among others, the Maashaven. Enabling the redevelopment of the old harbor of which 30% will be filled up. The rest of the harbor will be turned into a floating park : here.
In the BG on the right is Fenixlofts - the gentrified / redeveloped Fenix veem (harbor storage facility). The building dates back to 1898 and is an early example of modernist industrial architecture without load-bearing walls.
On the left is, the former Co-O, then Latenstein’s meelfabriek (flour factory) and now Codrico (architect J.J.M. Vegter / engineering A. Aronsohn. It consists of a silo building and a mill building on the quay. In the building, all parts of the manufacturing process have been given their own building proper part with their own construction and their own architectural expression.
This is number 261 of Urban frontiers.
and 4 of the new Rijnhaven, the redevelopment album.
On the edge of the center of Dresden you will find the Gläserne Manufaktur. This is a Volkswagen factory where you can take a tour to see the manufacturing process up close. However, it is not a traditional factory with chimneys, workers in dirty overalls and smoky diesel fumes, but a state-of-the-art car factory made entirely of glass.
The Gläserne Manufaktur is working on the production of the electric VW Golf. There is glass everywhere, so that a lot of daylight enters. It is also the first car factory in the world with a wooden parquet floor! The fabrication employees vary the operations a lot, so that the work does not become too boring.
The electric cars are assembled for 99 percent by hand. There are only three robots in the entire factory. It is primarily a factory that Volkswagen uses to research the manufacturing process. Only 72 cars roll out of this glass building every day, compared to several thousand cars in a real factory.
The production of one car takes a full 7 minutes. In every other Volkswagen factory, a car is ready in 1 minute. The electric cars in this factory are so popular that they have all been ordered.
The impressive three-storeyed Ynysypandy slate-slab mill, and its surrounding yard, rail-access and water-supply system, was built to serve Gorsedda quarry in 1856-7 by the local contractor Evan Jones of Garndolbenmaen, probably to the design of the distinguished engineer James Brunlees. It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. An internal pit accommodated an overshot water wheel, supplied by the Henwy stream, and on the south side a long curving ramp brought branches of the railway from Gorsedda quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct, and derive from foundry practice. The eastern gable is surmounted by a decorative feature incorporating a false chimney stack, and the windows were at one time framed. It is one of very few architecturally ambitious buildings in the slate industry of Wales.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to the poor quality of the quarried slate) and the business went into liquidation in 1871.
The building provided a venue for eisteddfodau until the roof was removed around 1906. It was conserved by the Snowdonia National Park in 1981 and is accessible to visitors.
Text source: coflein.gov.uk/en/site/40572/
Europe, The Netherlands, Zuid Holland, Rotterdam, Kop van Zuid, Rijnhaven, Dredging, Boskalis, Strandway (slightly cut from B &T)
It doesn't seem to get more industrial than this, the Boskalis trailing suction hopper dredger (TSHD) Strandway (Shipkits Groningen and Stocznia, Poland (2014)) in the Rijnhaven in front of the 'Cordico' flour plant. It’s there for the redevelopment of the Rijnhaven. Worldwide there aren't a lot of these dredgers, an they move all over the world. The Strandway for instance, was used for the dredging of the New Suez canal.
Some background about this old harbour basin. It was created in 1895 to offer shelter for Rhine vessels (rijnaken), when they could not operate due to the freezing of the rivers during the winter. After the creation of the Rijnhaven (Rhine harbour), the transit freight traffic to Rotterdam continued to increase and it was made suitable for large sea-going vessels by deepening it. As planned, the Rijnhaven became an important port for the transhipment of bulk goods 'on stream' - the sea-going vessels were moored on buoys, separate from the quay and their cargo was moved directly to rhine ships. In de 70/80s of the last century, the Rijnhaven lost its transhipment function and was brought back to its old function. In 2015, the rhine ship berths were moved to, among others, the Maashaven. Enabling the redevelopment of the old harbor of which 30% will be filled up. The rest of the harbor will be turned into a floating park: here.
In the BG is the former Co-Op factory , then Latenstein’s meelfabriek (flour factory) and now Codrico. Architect: J.J.M. Vegter / engineering: A. Aronsohn. It consists of a silo building and a mill building on the quay. In the building, all parts of the manufacturing process have been given their own building proper part with their own construction and their own architectural expression. There’s, by the way, a nice urban legend about the structure on top of the silo: Rumour had it that urbanist Riek Bakker (who designed the Kop van Zuid) lived there for a while to get the right sense of place of the area ;-)
The somewhat silly ".7xEF20-213mm f/4.5" in the camera/lens description, flags the use of the Viltrox 'Canon to Lumix' mount adaptor / speedbooster in combination with the good old Tamron AF 28-300 LD ASP 285D.
This is number 262 of Urban frontiers.
and 5 of the new Rijnhaven, the redevelopment album.
Adding the stylish (and inefficient) Woodslites to a Looonnnng and Low hood.....eye catching on this 1930 Cord Cabriolet!
Errett Lobban Cord was, seemingly, fearless. He’d worked his way into the industry on sheer chutzpah by bluffing his way into a Chicago Moon dealership, and his success there led frightened investors at the failing Auburn manufacturer to take a chance on him as the man who could turn their brand around. First as general manager in 1923 and soon as president he did so in magnificent style. Auburn became the springboard for an empire.
Like Henry Ford, E.L. Cord believed in controlling as much of the manufacturing process as he could, and acquired Auburn’s engine supplier Lycoming. New subsidiary Duesenberg used Lycoming engines as well, albeit a heavily modified version.
With Auburn selling between $1,000 and $2,000, and Duesenberg starting at over $8,000, there was a big gap in the lineup, and Cadillac, Packard and Pierce-Arrow were all targeting a sweet spot at $3,000 to $4,000 with their mid-range cars. The market was booming, and E.L. Cord wasn’t about to miss out.
The new car would be the first with Cord’s name on it, so he was determined it had to be special, especially in styling which he wanted to be lower and sleeker than the competition. At the same time he didn’t want to compromise on headroom. In keeping with his “be different” motto, he determined that front-wheel drive was the answer.
In 1926, Cord purchased the rights to a front-wheel drive passenger car design from Harry Miller, whose FWD race car had made a very strong showing at Indianapolis in 1925. He hired Miller himself on as well to oversee engineering, and Miller in turn brought on engineer and driver Cornelius W. VanRanst; together, they had a working prototype by 1927. Together with Auburn and Duesenberg engineers in Indianapolis, they began developing it into a production-ready automobile. On a test drive in 1928, the doors popped open on a rough road, which inspired Auburn to use the first known application of an x-brace in the frame. Cross and roller joints in the driveshafts were replaced with double universal joints to quell vibration. The engineering reportedly wanted more time to develop the car further–for instance, despite the engine being set far back in the chassis with the transmission in front of it, the weight balance is unfavorable and L-29 Cords have difficulty with traction under certain conditions, such as climbing hills in the rain. The car was capable of high-speed driving, but Lycoming’s 125hp, 298.6-cu.in. straight-eight was taxed during acceleration of a 4,320-pound cabriolet and never designed to be in this reversed installation, driving the transmission in front of it.
But any shortcoming were lost behind the L-29 Cord’s styling. The longest and lowest hood in the industry combined with that sensational radiator made the car a sensation, as well as proving irresistible to coachbuilders.
In four short years of production, Auburn built just over 5,000 L-29 Cords, before the Depression combined with a lack of distribution and lingering public mistrust of the unconventional configuration ended sales in 1932. That was ample time, however, to make it a legend and completely change the course of American luxury car styling.
Because of the L-29s avant garde construction and high cost, some $3,000 and up, comparable to a less-expensive Chrysler Imperial or V-8 Cadillac, owners tended to be artistic and adventurous. Frank Lloyd Wright famously owned one, as did designer Brooks Stevens.
AS ALWAYS....COMMENTS & INVITATIONS with AWARD BANNERS will be respectfully DELETED!
The impressive three-storeyed Ynysypandy slate-slab mill, and its surrounding yard, rail-access and water-supply system, was built to serve Gorsedda quarry in 1856-7 by the local contractor Evan Jones of Garndolbenmaen, probably to the design of the distinguished engineer James Brunlees. It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. An internal pit accommodated an overshot water wheel, supplied by the Henwy stream, and on the south side a long curving ramp brought branches of the railway from Gorsedda quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct, and derive from foundry practice. The eastern gable is surmounted by a decorative feature incorporating a false chimney stack, and the windows were at one time framed. It is one of very few architecturally ambitious buildings in the slate industry of Wales.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to the poor quality of the quarried slate) and the business went into liquidation in 1871.
The building provided a venue for eisteddfodau until the roof was removed around 1906. It was conserved by the Snowdonia National Park in 1981 and is accessible to visitors.
Text source: coflein.gov.uk/en/site/40572/
The one shot I was after while away; we stayed at a hotel in Turin which was part of Fiat's old Lingotto factory until the seventies. This is eight portrait shots, second attempt, at a time when there was no-one else in sight, thirty-degree heat in an extremely perilous crouch at the very top of the bank.
The building atop, the Pinacoteca Giovanni e Marella Agnelli Art Gallery - not the ugly, incongruous glass and steel one being built behind - contains an exhibition full of works by Canaletto, Matisse, Picasso, Modigliani and others. I love this place.
The factory was completed in 1923. Unlike any other car factory to date, the factory featured a spiral assembly line that moved up through the building and a concrete banked rooftop test track. It was the biggest car factory Europe had ever seen and was the second largest in the world.
Designed by engineer Giacomo Mattè-Trucco, the five story building featured a simple loop rooftop test track with two banked turns that consumed a 1620 foot x 280 foot portion of rooftop. The test track's banked turns were constructed from an intricate series of concrete ribs in a construction technique that had not been used frequently before Lingotto's construction. It's safe to say the technique had never been used for a test track six stories in the air.
The rooftop test track at Lingotto was not a novelty or an afterthought, but an integral part of the manufacturing process; the Lingotto factory featured a unique upward spiral assembly line. As each Fiat was put together it would progress upwards through the building story by story. Each floor was sequentially designated to specialize in a major part of assembly. What would start on the ground floor as raw materials and individual parts became a running driving Fiat by the time it spiraled its way to the top of the building.
When a Fiat had finished its climb through the 16,000,000 square feet of Lingotto it exited the building by way of the roof. Each Fiat was taken on to the roof and around the banked race track to make sure the prior five floors of manufacturing had done their jobs to satisfaction. The Lingotto test track was even briefly featured in the Italian Job. During the famous escape sequence the red white and blue Mini's go three wide on the banked rooftop race course with police in hot pursuit.
If you're in Turin, go. It's worth the trip. Plus you can go to the track for free if you use a little confidence or you can buy a ticket for the exhibition and go with your ticket.
I took a ride to Leeds yesterday to meet an old college mate for lunch, and was pleasantly surprised to catch DB Cargo 'Shed' 66176 rolling through Frodsham with the previous day's 1.49pm Tilbury Container Services - Ince & Elton Encirc Works (6M63). The cargo was presumably sand for the glass manufacturing process undertaken there.
It was a non-photography day and the train kind of kind of snook-up on me. Thankfully the phone was to hand and put to good use .... in a heartbeat, you might say.
iPhone13 mini
8.22am, 23rd November 2023
A Minnesota landscape sheathed in all of autumn's glory brightly backdrops NorthShore Mining baby blue and white at the MP 5 rock bluffs as two company SD40-2's hammer slowly uphill, bracketing thirty side dumps of loaded "tailings," unwanted discards from the taconite manufacturing process. There unmistakable EMD 645 drone echos off the colorful hillside as the two veteran six-axles are giving it everything they've got to muscle there heavy train upgrade away from Lake Superior's banks as the engineer rips his throttle back into the left corner to keep his old steed from losing the battle against gravity. These tailings trains operate several times a day in a push-pull, bi-directional ease orientation to deposit scraps of iron ore from the processing plant down at Silver Bay up to the outfit's large tailings pile located about two miles further up the line. NSM's 47-mile long stretch of track linking the iron mine at Babbitt with the plant and port of Silver Bay through Minnesota's remote backwoods was once again graced by the turning of steel wheels following an eleven-month operational hiatus which took effect May of 2022, ending recently in April of 2023. As a side note, we were lucky enough to get No. 651 on point here, which is the only locomotive in NSM's fleet to receive company lettering on its white nose.
A screw, bolt, and nut sizing gauge for both US and metric hardware. Besides holes to size up screws and bolt diameters, this useful piece of plastic also has aids for checking nuts, determining thread pitch, and measuring screw length.
I positioned the device at an angle so the height fits within the three-inch (76.2mm) maximum.
Another miracle on the Missabe.
It started sometime last week when Dickhead Southwell BO'd the CN 5244, which was paired up with two of the three BLE orange T-motors in ore service.
Strings were pulled after BLE 909 returned from repair in Winnipeg and for the first time in over five years, a trio of orange T-3's were plying the rails. Unfortunately I had to do my best to not contribute to the profits when they ran south exactly 7 days ago.
After heading down to Lakehead to get loaded with dolomite (limestone to be used in the taconite pellet manufacturing process), the pumpkins sat in the Proctor B yard - motionless - for 91 hours before running today for a show of nearly a dozen railfans from all over the country.
Management said they plan on sending the EMD's off to their new homes with a bang - and I'd say they're doing a great job.
Factory and warehouse. Here, we manufacture, process, and ship steel sheets. Since the steel plate is thin, it has a wound shape like a reel.
What has been one of the most consistent employers and a fixture of Michigan's Upper Peninsula, Tilden Mine has a history dating all the way back to 1930. Today, it is the last operating iron ore mine in the state with neighbor Empire Mine shut down. The mine was recently given a 30 year life, which sounds good now, is still a ticking clock that worry many in the area. In the shadow of the massive tailings piles from the open pit mine, which are the tallest land mass above sea level in the State of Michigan, CN U745 make their way onto LS&I trackage with bentonite loads for the pellet manufacturing process and empty vans for loading ore to ship to Algoma Steel in Sault Ste. Marie, Ontario. For now, many who see the mine as a way of life, are hoping that way of life is secure for many years to come.
RBC Front Street at Bay Street, Toronto, Ontario.
The two Royal Bank Plaza towers are connected by a 39-meter (130 foot) tall glass Banking Hall.
All 14,000 windows of the towers are coated with a layer of 24-karat gold (2,500 ounces or 70,875 grams), worth about $70 per window. The total amount of gold used in the windows is just over $1,000,000.
Not only does this gold give the buildings a particular look (especially in sunlight), it also reduces heating bills, as gold is an excellent insulator. The manufacturing process for the glass has made the gold non-recoverable.
THE NEW STANDARD BICYCLE RACK FOR NYC
The Hoop Rack designed by Ian Mahaffy and Maarten de Greeve is the new standard bicycle rack for the streets of New York City. There are over 5000 racks installed throughout the city, as part of a larger initiative that is helping transform New York into a cycle-friendly city — designed for the New York City Department of Transportation (
The circular shape of the Hoop Rack provides accessible locking points all around its profile for all sizes of bicycle frames and wheels. An intersecting horizontal bar is at an optimal height for locking the bicycle frame. Moreover, the slimline design profile allows it to be easily installed on the crowded NYC sidewalks while consuming a minimum space and preventing congestion. As a whole and in its details, there are sharp or protruding edges or parts that could cause harm to pedestrians or bicycles.
Our aim for the design was twofold, to create a simple yet symbolic design for NYC and improved functionality over the existing installed racks. The circular and wheel like form is the symbol and expresses a strong relationship with the bicycle, helping with functional communication.
Though the form, materials and manufacturing process we considered how well it should fit into different urban environments from the more modern and new build areas of Manhattan to the classic and historic neighbourhoods like the brownstones around Brooklyn.
Creating a design that could stand the test of time, survive harsh weather and treatment on the streets of NYC was critical. The pure form of the circle has inert strength as well as a simplicity to being timeless.
We considered a permanent look in the NYC urban environment, and material choice and production methods helped achieve this. We also wanted a good fit with other street features such as utility hole covers and quality park benches. For strength (tried and tested), character, permanence and solidity cast iron was selected.
The simple pared down form allows for multiple racks to be placed close together without becoming an ‘eyesore,’ crude looking, attention seeking or overbearing. The clean and simple design makes this possible.
“Mahaffy and DeGreeve have created a bike rack that works beautifully in a variety of contexts: in historic districts and newly built environments. The form of the rack-a wheel-is ‘product semantics’ in motion!
Mahaffy and De Greeve’s design reflects a modern simplicity that will greatly enhance the City’s streetscape. The rack is round with a horizontal crossbar, evoking an abstracted bicycle tire. Constructed of cast-metal, the design is elegant yet sturdy enough to withstand New York cyclists’ harsh treatment.”
Well, sort of a scale model tree, but it's actually a new step drill bit. I bought this bit, the smallest size made, so I could drill 15/32" (11.9mm) holes for a project I'm working on. I like the easy-to-read diameter markings on this bit, which was made by a major US power tool manufacturer well known for an invention of theirs, the reciprocating saw.
Including the part of the shaft that was cropped out, the overall length of this bit is 3" (76.2mm). I noticed a few scuff marks, apparently a byproduct of the manufacturing process.
A general view of the mill building which clearly shows the stone faced approach to the upper floor which facilitated rail access.
The impressive three-storeyed Ynys-y-pandy slate processing works, which served the Gorseddau Quarry, was built in 1856-7 by Evan Jones of Garndolbenmaen and probably designed by James Brunlees.
It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. A deep trench inside accommodated a large overshot water wheel (26 ft, 8m in diameter), and on the south side a long curving ramp brought branches of the tramway from Gorseddau Quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct.
The eastern gable is surmounted by a decorative feature incorporating a false shimney stack, and the west gable windows have at some time had window frames or shutters. Otherwise the construction is bold and plain but none the less impressive.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to poor quality of the quarried slate) and the business went into liquidation in 1871.
The building provided a venue for eisteddfodau until the roof was removed around 1906.
Source: Haslam, Orbach and Voelcker (2009), The Buildings of Wales: Gwynedd. Pevsner Architectural Guide, page 362.
Click here for photographs of the Slate Industry of Wales. www.jhluxton.com/Industrial-Archaeology/Slate-Industry-of...
The old and abandoned rice granary (before it was demolished) near downtown Houston, Texas.
Taken with an Olympus OM-10 35mm film camera, circa 1990.
Adraga Beach - Sintra - Portugal
Initially for other purposes, recently added the Nikkor AF-S 14-24 f / 2.8 G ED to my gear.
Faced with the purpose and need to use it with neutral density filters, I looked for a quality solution that could be versatile, easy handling on the ground and adaptable to the remaining line of lenses that I have. The goal was to prevent the use of two systems filters ( 100mm and another).
After some searching, reading some reviews, view some results, I found PROGREY USA and decided to risk ordering their 150mm system, together with a few ND filters and accessories.
Although the whole process of purchase / delivery took place in a short time, the bureaucracy and the Portuguese Customs retained my order for almost 30 days !
A very special thanks to Progrey USA in the person of Lynn Radeka, always very helpful and cooperative in sending all the statements requested by the Portuguese Customs during clearance process. Very good customer support !
All material is of exceptional quality! Very well packed, finishes and details that reveal care in the design and manufacturing processes and on top of all this, all with individual protective bags.
I will perform some more tests and share some of my conclusions, but the first impression is that the risk paid off !
Stay tuned ;)
Brought to you by Progrey USA
Nikon D810 + Nikkor AF-S 14-24 f / 2.8 G ED @ 14 mm
ISO 64 - f/3.5 - 1/4 sec
Filter Used:
PROGREY G-150X holder + Formatt/Hitech ND Firecrest 1.2 + PROGREY Titan GND 0.6 HE + PROGREY Titan GND 0.6 SE
This is the hole at the centre of a compact disc case - you know, that strange 'button' (with teeth) you have to press in order to release the disc.
The colours are the result of a technique called cross-polarization, which allows you to see the points of stress in the plastic caused by its manufacturing process.
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It has been said that there is a hole at the centre of each and every one of us... a God-shaped hole. Blaise Pascal, French mathematician, physicist, inventor and writer (1623 – 1662) described that hole perfectly:
What else does this craving and this helplessness proclaim but that there was once in man a true happiness, of which all that now remains is the empty print and trace? This he tries in vain to fill with everything around him, seeking in things that are not there the help he cannot find in those that are, though none can help, since this infinite abyss can be filled only with an infinite and immutable object; in other words by God himself.
Abrir todos los enlaces pulsando botón derecho del ratón y abriendo en una nueva ventana.
Adjunto un hermoso trabajo de David Arkenstone
www.youtube.com/watch?v=KYq6Pm02Ads
whytake.net/Portfolio/FranciscoDominguez/5334
www.linkingoo.com/foto/13/1304/francisco_dominguez.html
www.fluidr.com/photos/35196188@N03
www.fotonatura.org/galerias/6318/
www.youtube.com/user/25elgaucho
www.youtube.com/user/25elgaucho/videos?tag_id=&view=0...
es.wikiloc.com/wikiloc/spatialArtifacts.do
Sao Miguel es el único lugar de Europa donde se produce el té. Las primeras semillas (camelia sinensis) llegaron a finales del siglo XIX, junto con los expertos que vinieron a enseñar a las diversas fases de la producción. Las diferentes variedades de té dependen de la madurez de las hojas utilizadas y sobre el proceso de fabricación.
Ver vídeo de Azores por el mismo autor:
www.youtube.com/watch?v=H0oD6IVen4k
Sao Miguel is the only place in Europe where tea is produced. the first seeds (Camellia sinensis) arrived in the late nineteenth century, together with the experts who came to teach the various stages of production. Different varieties of tea depends on the maturity of the leaves used and the manufacturing process.
Biała Fabryka Ludwika Geyera
ul. Piotrkowska 282/284, 93-034 Łódź
Usytuowana na południowym krańcu ulicy Piotrkowskiej budowla fabryczna stanowi znakomity przykład architektury przemysłowej pierwszej połowy XIX wieku na terenie Polski. Przybyły z Lobau w Saksonii Ludwig Geyer (1805-1869) należał do pierwszych przedsiębiorców, którzy wykorzystali dogodne warunki stworzone przez władze Królestwa Polskiego i założyli w Łodzi swe fabryki. Firma Geyera rozwinęła się w latach trzydziestych ubiegłego wieku. Wówczas, w latach 1835-38, powstał zlokalizowany nad północnym brzegiem stawu na Jasieniu czterokondygnacyjny budynek fabryczny o surowych formach, nawiązujących do obowiązującego w tym czasie klasycyzmu. Fabryka, zbudowana na planie litery "C", zwrócona była fasadą ku ulicy Piotrkowskiej. Długa na około 60 m, pokryta białymi tynkami elewacja frontowa (stąd wzięła się obiegowa nazwa budynku) otrzymała symetryczny układ, akcentowany przez trzy trójkątne szczyty. Na wewnętrznym dziedzińcu wzniesiony został pawilon sprowadzonej z Belgii maszyny parowej - "serca" przedsiębiorstwa. Choć dzisiejszy mechanizm pochodzi z czasów późniejszych, stanowi ciekawy zabytek techniki. Właśnie tu zobaczyć można charakterystyczne regulatory ciśnienia pary, które pojawiły się później jako motyw dekoracyjny na fasadach pałaców łódzkich fabrykantów.
Fabryka Geyera osiągnęła swój rozkwit około połowy XIX wieku, gdy przejęła również położone po przeciwległej stronie ul. Piotrkowskiej rozległe tereny zakładów J. Ch. A. Rundziehera. Tam właśnie powstały w latach 80. ubiegłego wieku zabudowania nowych tkalni zaopatrzone w neogotycki detal.
Po wojnie "Białą Fabrykę" adaptowano na siedzibę Centralnego Muzeum Włókiennictwa. W nakrytych drewnianymi stropami halach można oglądać nie tylko eksponaty ukazujące rozwój łódzkiego przemysłu, ale także okazjonalne wystawy tkaniny unikatowej i artystycznej. W 2008 r. przy muzeum powstał Skansen Łódzkiej Architektury Drewnianej.
ze strony Urzędu Miasta Łodzi
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The Central Museum of Textiles
282 Piotrkowska St., 93-034 Łódź
tel.: (+48) 042 683 26 84, 042 684 61 42
fax: (+48) 042 684 33 55
e-mail: ctmustex@muzeumwlokiennictwa.pl
www: www.muzeumwlokiennictwa.pl
The Central Museum of Textiles is the oldest and the biggest museum in this part of Europe, which collects items linked with the textile manufacturing process, starting with raw materials, through products (textiles produced industrially and executed with the use of artistic techniques) to garments. It was established in 1960 as the Museum of the History of Textiles (previously it was a Department of Textiles in the Museum of Art).
Its organiser and the first director was Krystyna Kondratiukowa. The seat of the Museum is the so-called "White Factory", one of the most beautiful examples of the classicist industrial architecture. The mill itself was build by Ludwik Geyer in the years 1835-1839 and was the first "multi-departmental mill" in Poland with the first mechanical spinning room, weaving room and printing workshop for cotton fabrics. The first steam machine in Poland was placed here.
The Museum's surface equals 10.500 square meters; over 5.000 square meters are used for exhibitions. Since 1972 the Central Museum of Textiles has been the co-organiser, and since 1982 the sole organiser of the International Triennial of Tapestry.
from webpage of City Hall of Łódź
The impressive three-storeyed Ynys-y-pandy slate processing works, which served the Gorseddau Quarry, was built in 1856-7 by Evan Jones of Garndolbenmaen and probably designed by James Brunlees. It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. A deep trench inside accommodated a large overshot water wheel (26 ft, 8m in diameter), and on the south side a long curving ramp brought branches of the tramway from Gorseddau Quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct. The eastern gable is surmounted by a decorative feature incorporating a false shimney stack, and the west gable windows have at some time had window frames or shutters. Otherwise the construction is bold and plain but none the less impressive.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to poor quality of the quarried slate) and the business went into liquidation in 1871. The building provided a venue for eisteddfodau until the roof was removed around 1906.
A different view of a conveyor/roller system inside an abandoned automotive factory. These rollers were throughout the facility and moved various parts to different stages of the manufacturing process.
This temperature gauge is on a stainless steel beer tank at the Newstead beer brewery in Brisbane, Australia. Rather good beer I might add! My favourite is the 3/4 Time Session IPA. Photo available for licensing at Alamy: www.alamy.com/temperature-gauge-on-a-stainless-steel-beer...
We have some old books that I was thumbing thru, and discovered this personal note handwritten from a friend to Fuller Barnes in 1899. Fuller F Barnes was a descendant of the founders of Wallace Barnes Mfg. now Associated Spring in our old town in Bristol CT.
Prior to my retirement I Designed and Engineered Tooling for their modern manufacturing processes.
here is a link on the history of Barnes family
Europe The Netherlands, Zuid Holland, Rotterdam, Rijnhaven, Katendrecht, Cordico factory, Silo building, Street art, Puddles (cut from B&T).
Shown here is the entrance to the silo building of Cordico, formerly a Co-Op factory, then Latenstein’s Meelfabriek (flour factory). It consists this silo and a mill building on the quay. In the building, all parts of the manufacturing process have been given their own proper part, each with their own construction and their own architectural expression. Architect: J.J.M. Vegter / engineering: A. Aronsohn.
The Codrico company produces semi-finished products for the food and animal feed industry by processing maize, grains and other agricultural products. In 2008, the total production volume was 200,000 tons. In 2017, the company entered into an intensive collaboration with industry peer Meneba.
It's the last operational factory of Katendrecht.
This is number 61 of the Graffiti / Street art album.
Abrir todos los enlaces pulsando botón derecho del ratón y abriendo en una nueva ventana.
Adjunto un hermoso trabajo de David Arkenstone
www.youtube.com/watch?v=KYq6Pm02Ads
whytake.net/Portfolio/FranciscoDominguez/5334
www.linkingoo.com/foto/13/1304/francisco_dominguez.html
www.fluidr.com/photos/35196188@N03
www.fotonatura.org/galerias/6318/
www.youtube.com/user/25elgaucho
www.youtube.com/user/25elgaucho/videos?tag_id=&view=0...
es.wikiloc.com/wikiloc/spatialArtifacts.do
Sao Miguel es el único lugar de Europa donde se produce el té. Las primeras semillas (camelia sinensis) llegaron a finales del siglo XIX, junto con los expertos que vinieron a enseñar a las diversas fases de la producción. Las diferentes variedades de té dependen de la madurez de las hojas utilizadas y sobre el proceso de fabricación.
Ver vídeo de Azores por el mismo autor:
www.youtube.com/watch?v=H0oD6IVen4k
Sao Miguel is the only place in Europe where tea is produced. the first seeds (Camellia sinensis) arrived in the late nineteenth century, together with the experts who came to teach the various stages of production. Different varieties of tea depends on the maturity of the leaves used and the manufacturing process.
Porcelain was first developed in China around 2,000 years ago, then slowly spread to other East Asian countries, and finally Europe and the rest of the world. Its manufacturing process is more demanding than that for earthenware and stoneware, the two other main types of pottery, and it has usually been regarded as the most prestigious type of pottery for its delicacy, strength, and its white colour. It combines well with both glazes and paint, and can be modelled very well, allowing a huge range of decorative treatments in tablewares, vessels and figurines. It also has many uses in technology and industry. This coffee pot was seen in an abandoned fabric in Arzberg,
Text from Wikipedia.
in explore (03/23/2017)
I composed this image recently, while gazing out a stairway window of a residential home. The goal of the composition was primarily to present an image of the window itself. Capturing evidence of autumnal colour and beauty was a quite secondary goal. What an underappreciated, taken-for-granted element of our modern life. It grants us light, helps fend off the cold and wind and wet,, welcomes the beauty of the outdoors in, and may even help us remain safe.
For those interested in the history of glass and window development, read on.
In prehistoric times, glass was first discovered in nature. However, this glass isn’t the clear, transparent type of glass that we’re used to. The prehistoric people used naturally-occurring volcanic glass such as obsidian to fashion weapons like knives and arrowheads, as well as jewelry and money.
According to archaeological evidence, the first man-made glass surfaced at 3500 BC in the regions of Eastern Mesopotamia and Egypt. The ancient glass industry had its ups and downs but eventually, this region of the world (along with some surrounding areas) would become the very first centers for glass manufacturing for 500 years.
Understandably, manufacturing glass used to be a slow and difficult process due to small glass melting furnaces and their insufficient heat. But this changed when Syrian craftsmen introduced the blowpipe. This discovery made the process faster, easier, and cheaper.
Back then, the idea of glass windows was not yet conceived and glass was used mostly for making vessels and jewelry.
The art of glass production made its way to Rome and its colonies. And by the end of the 1st century AD, manufacturing glass was refined and done at scale - to a point that glass became a commonly-available material in the Roman world.
It was also during this period that Romans were the first to make window glass panes. This early type of window glass was of uneven thickness and was not see-through like modern glass but it allowed some light to pass through.
During the 4th century, Christians started to build the early churches as Christianity began to spread throughout Europe. In building these churches, stained glass was used for the windows to create beautiful biblical images, thereby making stained glass a dominant art form of this millennium.
During the early 17th century, window glass was first manufactured in Britain. It was during this time that glass windows started to become more popular for homes across the western world.
The manufacturing process was still crude. The process involved the creation of a lengthy balloon of glass that was blown then both ends of this balloon would be removed, leaving behind a cylinder. This cylinder of glass was then split and flattened. During this time, large sheets of glass were not yet made for windows, which is why old glass windows usually had multiple panes of glass that were fastened together with bars.
Large sheets of glass were only made possible by the float process which evolved much later in the glass windows’ historical timeline. After some time, the first glass factory was opened in Jamestown, Virginia. The manufacturing process was still relatively the same, consisting of a bubble of glass that was flattened and reheated before being cut into shapes. This was, however, a cheaper and more efficient to make window glass.
Crown glass was a pivotal discovery and was introduced to Britain in 1674. The process of making crown glass involves a sphere of molten glass that is blown into a bubble and pierced by a rod. This is then spun into a circular sheet. When it was cooled down, it was cut into panes. Despite its imperfections and ripples, this type of glass it was still finer and clearer than the broad glass of before.
Then, in 1834, a cylinder method of manufacturing quality glass was developed in Germany. This allowed for even larger sheets of glass to be made.
The process of ‘drawing’ glass was introduced by Emile Fourcault in 1904. As the name suggests, the process involves placing a slot in a tank of molten glass and then ‘drawing’ sheets of glass through it, over water-cooled rollers, and straight into a cooling chamber.
Around the same time, Irving Colburn introduced the Colburn machine which made glass in a relatively similar fashion but with the paper-making process as its inspiration. In this machine, the sheet of glass was drawn vertically from the surface of molten glass then gently bent over a roller until it lay horizontally. For both of these processes, the glass had to be ground and polished afterwards.
In the year 1903, a French chemist named Edouard Benedictus made the accidental discovery of laminated glass when his glass flask that was coated with plastic cellulose nitrate dropped to the floor and shattered - but did not break. Since this discovery, the process of inserting a thin plastic film between two sheets of glass allowed for more safety with larger windows.
In 1959, Alastair Pilkington introduced the process of making float glass. This remains to be the industry standard of making glass today. In this process, the molten glass is poured onto a bed of molten tin. As the molten glass floats on the molten tin, the molten glass spreads out to form a level surface. This process allows for very large panes of distortion-free glass to be made.
Float glass has come a long way. Now, homeowners have various glass options for their windows. Laminated glass, obscured glass, tempered glass, and Low-E glass are among the options.
Happy Window Wednesday, everyone.
The history of Light painting dates back to 1914 when Frank Gilbreth and his wife Lillian Moller Gilbreth first used small lights to follow the movement of the manufacturing process of their company in a long exposure photograph. His intention was not to produce the photographs as an artistic activity, but to study the possibility of simplifying the work that was performed in his company, yet they produced what for us today is known as the first photograph in which the scene was painted with light.
In 1935, Man Ray was the first artist to explore the technique of Light painting. His greatest contribution to this discipline came in his series of photographs: "The writing space". Man Ray opened the shutter of his camera and used a small flashlight to create a series of swirls and lines in the air.
In the 1930s to 1940s, Gjon Mili began using strobe light to capture the movement of everything around him, from dancers and jugglers to how many people were capable in a single exhibition. His techniques today are still widely used in long exposure photography, both night and day.
It was in 1949 when Pablo Picasso, influenced by Gjon Mili, made a photograph in which he drew the silhouette of a centaur using a small light source.
For his part, Eric Staller contributed greatly to Light painting with his series "Drawings of Light" being the largest series of night photography using the discipline of Light painting published so far. (Source: Wikipedia)
La historia del Light painting se remonta a 1914 cuando Frank Gilbreth y su esposa Lillian Moller Gilbreth utilizaron por primera vez pequeñas luces para seguir el movimiento del proceso de fabricación de su empresa en una fotografía de larga exposición. Su intención no era producir las fotografías como una actividad artística, sino estudiar la posibilidad de simplificar el trabajo que se desempeñaba en su empresa, aun así produjeron la que para nosotros hoy en día se conoce como la primera fotografía en la que la escena estaba pintada con luz.
En 1935, Man Ray fue el primer artista en explorar la técnica del Light painting. Su mayor contribución a esta disciplina se produjo en su serie de fotografías: "El espacio de escritura". Man Ray abrió el obturador de su cámara y utilizó una linterna pequeña para crear una serie de remolinos y líneas en el aire.
En la década de 1930 a 1940, Gjon Mili empezó a utilizar la luz estroboscópica para capturar el movimiento de todo lo que le rodeaba, desde bailarines y malabaristas hasta cuantas personas eran capaces en una sola exposición. Sus técnicas hoy en día siguen siendo muy utilizadas en fotografía de larga exposición, tanto nocturna como diurna.
Fue en 1949 cuando Pablo Picasso, influenciado por Gjon Mili, realizó una fotografía en la que dibujaba la silueta de un centauro mediante una pequeña fuente de luz.
Por su parte, Eric Staller contribuyó enormemente al Light painting con su serie "Dibujos de Luz" siendo esta la mayor serie de fotografía nocturna utilizando la disciplina del Light painting publicada hasta su momento.( Fuente : Wikipedia)
Fragonard Laboratory Guided Visit.
Nestled in a picturesque setting between Nice and Monaco, at the foot of rocks and poised above the sea, this modern design perfume factory is an interesting contrast to its location in the charming medieval village of Eze. The laboratory uses modern technology to supply all of Fragonard's creams, lotions, and bath gels. The entire manufacturing process is displayed for these cosmetics and beauty products.