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Escuela Agrotécnica Salesiana “Carlos M. Casares”
La Escuela Agrotécnica Salesiana “Carlos M. Casares” ubicada en Del Valle, perteneciente a la Región bonaerense de 25 de Mayo. La comunidad, distante a 5 Km. del centro urbano. Donada en 1925 por la señora Concepción U. de Casares.Institución privada a cargo de salesianos, actualmente, está incorporada como Instituto privado al Ministerio de Educación de la Provincia.
Los alumnos deben permanecer internados en el colegio de Lunes a Viernes. La escuela pertenece a la Obra de Don Bosco, por lo que destaca su carisma Salesiano. Además de las asignaturas correspondientes al ciclo secundario o Polimodal, los alumnos tienen formación profesional , que va desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. La Escuela Agrotécnica ofrece una propuesta educativa basada en la práctica de actividades rurales, en áreas de producción agrícola, ganadera e industrial, con acciones que van desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. Este proceso de fabricación y todas las actividades productivas tienen como resultado una gran cantidad de desechos que no son utilizados. Para lograr convertir los remanentes se fabricó el “biodigestor”.
Muchas personas de esta comunidad trabajan en dicha institución que es todo un orgullo local
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Escuela Agrotécnica Salesiana “Carlos M. Casares”
The Salesian Agrotechnical School "Carlos M. Casares" located in Del Valle, belonging to the Buenos Aires Region of 25 de Mayo. The community, 5 km away from the urban center. Donated in 1925 by Mrs. Concepción U. de Casares. Private institution run by Salesians, currently, it is incorporated as a private Institute to the Ministry of Education of the Province.
Students must remain interned in the school from Monday to Friday. The school belongs to the Work of Don Bosco, for which its Salesian charism stands out. In addition to the subjects corresponding to the secondary cycle or Polimodal, the students have professional training, which goes from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. The Agrotécnica School offers an educational proposal based on the practice of rural activities, in areas of agricultural, livestock and industrial production, with actions ranging from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. This manufacturing process and all productive activities result in a large amount of waste that is not used. In order to convert the remnants, the "biodigester" was manufactured.
Many people of this community work in this institution that is a local pride
Discover the Drones Regulations in Zimbabwe
There are just some things that you would want to see the manufacturing process and these are the laws as well as the sausages. But there are lots of facts behind them. There are lots of awful things that go along with the processes that you do...
www.dronewatchdogs.com/discover-drones-regulations-zimbabwe/
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today we have following Lettice in one of London’s many taxis, in her case a rich and glossy blue one, as it ends its way through the city streets, leaving Cavendish Mews and Mayfair behind as Lettice heads west, skirting around Hyde Park via Hard Park, through the quiet and leafy tree lined streets of Tyburnia*, through the less salubrious and more crowded Westbourne Green** and finally into Notting Hill*** where it pulls up in front of an old two storey building with a rounded Georgian window in Portobello Road****. Lettice peers out of the window at the beautiful black painted bay filled with a vast and intriguing array of antiques, collectables and general bric-à-brac glinting in the pale summer sunshine. Above the window on a sign winding around the width of fascia***** reads ‘L. de Vries Curios******: items of interest bought and sold’.
“That’ll be six and six, mum.” the taxi driver says in rough and throaty voice through the glass divider between the driver’s compartment and the passenger carriage, breaking Lettice from her thoughts as she stares out the window.
Lettice’s eyes grow wide in shock as she lifts her beaded purse from her lap and opens it. “So that’s why you took me via the Grand Union Canal*******.” she mutters bitterly.
“I thought a nice laydee like yourself might enjoy the scenery, mum.” he defends with a wily smile as he tips the brim of his grey flannel worker’s cap. He leans back in his seat, stretching his arm through the window and opening his grubby palm to the well dressed lady swathed in a powder blue coat and a stylish hat in the black leather back seat.
“And you’d enjoy the extra fare.” Lettice retorts sulkily, fetching out the money from her reticule and dropping it into his outstretched hand, careful her dove grey kid glove clad hand does not come into contact with his dirty hand.
“Chap has to make an honest living, mum.” he replies, showing off a set of grey gravestone teeth******** as he smiles at the money falling into his palm.
“Honest!” Lettice scoffs as she opens the taxi door and alights onto the footpath, where a number of rather undernourished and scruffy looking children have gathered, drawn by the sight of the gleaming blue London taxi with its black and white chequered stripe and collapsible hood.
“Much obliged, mum.” he replies as she slams the door closed irritably.
With a belch from the engine the taxi glides out of the kerb and heads off down Portobello Road with the urchin children in hot pursuit, cheering and waving their hands enthusiastically.
Left alone in the high street, Lettice turns her back to the taxi disappearing in the distance and ascends the three steps up to the ship’s front door, which is painted a glossy black just like the window. She turns the polished brass handle and pushes open the door. A bell tinkles jovially above her head as the bell catches on the opening doorframe, announcing her arrival. Then, as the door closes softly behind her on its well-oiled hinges, her nose is hit by the familiar scents of Lancelot de Vries Curios and Collectables shop: bees wax furniture polish, Goddard’s Silver Polish********, candlewax, a hint of roses and the musty, dusty smell of old books, which reminded Lettice of her father’s beloved library in Wiltshire – one of her favourite rooms in Glynes, her childhood home and the Chetwynd’s family seat. She steps across the threshold and her feet sink into the thick woven carpets scattered across the bare boards and walks into the premises. Lancelot de Vries Curios and Collectables is a trove of treasures. Everywhere you look there is something of interest that if not enough to take your fancy, will at least pique your interest, as it does Lettice’s. The walls of the shop are lined with tall shelves or china cabinets, with a few bare parched of flocked wallpaper sporting paintings in gilded frames or ornamental plates. Each shelf and mirror backed cabinet is cluttered with any array of decorative porcelain in hundreds of different designs and patterns. Then the shop floor is cluttered with still more cabinets, tables, glass topped counters and pedestals with every surface put to full use to display Mr. de Vries’ wares: glass, pottery, fine porcelain, silverware, vases, urns, figurines, epergnes********** cottage orné pastille burners***********, dinner services, tureens, jugs, teapots and so much more. Yet in spite of it being so overly cluttered, the proprietor has an encyclopaedic knowledge of every last piece of his establishment’s inventory: where everything is, what its provenance************ is and what his cost for it is. And there, in its centre, surrounded by his beloved bric-à-brac, sat Mr. Lancelot de Vries himself.
“Ahh, Miss dear Chetwynd!” Mr. de Vries announces, his middle-aged face, not youthful but still handsome, beaming out at her as she steps into the centre of his showroom.
“How do you do, Mr. de Vries.” Lettice replies.
Mr. de Vries quickly picks himself up off his small stool and scuttles around the edge of his glass fronted and topped main counter stuffed with bits and pieces and envelops Lettice in a warm embrace. As he steps back at appraises Lettice, she does the same of him, noting his usual eccentric choice of garb of a Japanese kimono with fill ceremonial sleeves, this time a Naples yellow silk one embroidered with cobalt blue dragons, over the top of his suit, and his signature heavily embroidered deep red smoking cap************* with its dancing, dangling tassel, which is so old fashioned and out of vogue for gentlemen in the 1920s. Nevertheless Mr. de Vries eccentricities do not disturb Lettice or any of this other customers, and Lettice finds it an endearing quality.
“You’ll pardon me for expressing this,” he says with a frown that crumples his brow. “But you look tired my dear.” He raises his right hand and runs his thumb around Lettice’s left eye, pressing the skin beneath it. “You’ve got circles under your eyes.” He scolds. “I think I have some boric acid in my storeroom. I’ll send you home with some for a boric acid eyebath**************.”
“Oh no, Mr. de Vries…” Lettice protests, but he silences her by raising his long and elegant right hand with manicured fingernails*************** dressed with a few too many beautiful rings of winking precious stones and gold.
“Now, I won’t hear a word of excuse, Miss Chetwynd!” he insists in his beautifully cultured tones. “I saw Gerald at The Ham Bone*************** the other night with that lovely little oboist of his, and he told me, when I asked after your well being, that you’ve had a great deal on your mind at present.”
“Did he now!” Lettice exclaims indignantly. “I shall have to have words with him about that. I don’t like being gossiped about.”
“Now don’t be churlish, Miss Chetwynd,” Mr. de Vries chides with a wagging finger. “Of course you do. We all do. It’s what London’s society pages are for, and you are always in them.”
“Very well,” Lettice concedes. “I don’t like being the subject of gossip amongst my friends.”
“And you weren’t, Miss Chetwynd.” Mr. de Vries assures her. “The reasons behind what was on your mind were not entered into. Everyone knows how discreet dear Gerald is with your confidences and friendship. He’d never break that trust.”
Lettice sighs with relief. “Well one reason is why I have come to see you today, Mr. de Vries.” she explains as the proprietor turns his back on her and returns to his spot behind the counter, the silk of his kimono billowing behind him, wafting out traces of his musky and sweet eau de cologne.
“Moi?” Mr. de Vries asks, pressing his hand to his chest and posing like a melodramatic silent film actress. “Please, do tell me all about it, Miss Chetwynd.” he purrs. “I am nothing if not resourceful. Thinking of which, I’ll pour you a tea. Kettle’s not lomng boiled”
“Err… thank you, Mr. de Vries. Well,” Lettice wanders up to the counter and notices a small Primus stove***************** carefully discreeted in a corner, partially obscured by the edge of a built in shelf. “It’s my latest interior.”
“Yes, Miss Chetwynd?” Mr. de Vries probes as he pours tea from an ordinary and old Brown Betty****************** rather than a fine French or Russian porcelain teapot like she expected, into a fine china cup for her. “Who is your client?”
“It’s Dolly Hatchett.”
“What? The pretty wife of Charlie Hatchett, the MP for Tower Hamlets*******************?” he asks, a well-manicured eyebrow arching over his right eye as he looks at Lettice.
“The very same.” Lettice replies with a shallow nod. “She has commissioned me to redecorate several principle rooms on the first floor of the Hatchetts’ new Queen Anne’s Gate******************** townhouse to be used for entertaining.”
“She was a chorus girl, you know?” Mr. de Vries remarks as he hands Lettice her cup, saucer and teaspoon. “Help yourself to sucre,” he says using the French word for sugar as he indicates to where the sugar bowl sits, hidden amidst the dozens of interesting items clustered atop the counter. “And some lait.” He then goes on. “‘Chu Chin Chow was her last performance before she met dashing young Captain Hatchett during the War.”
“Yes, I did know, Mr. de Vries. The question is, how do you know so much about her?”
“Oh, a few friends and I took rather a fancy to her.” Mr. de Vries flaps his hand around flippantly through the air. “Besides, thank to you she is now one of Gerald’s most influential clients, so when he talks shop, things come out, don’t you know.” He coughs awkwardly. “You introduced them, I believe, didn’t you?”
“Yes, in early 1921. I did some interior designs for their house in Rotherfield and Mark Cross.”
“But now you’re designing for her London abode.”
“Indeed, and she has come a long way from being a chorus girl, Mr. de Vries, I assure you. The Mrs. Hatchett I know now is a far cry from the mousy and unsure little thing I met back then. She is self-assured, and she wants to be at the vanguard of fashion and hold salons, political for her husband and creative herself.”
“And thus, why she has re-engaged your services, Miss Chetwynd? To create a stylish interior that is modern, but not too modern, and stylish, so that she might impress her guests.”
“Exactly, Mr, de Vries. But I need that certain something… that… je ne sais quoi*********************, which only you can provide me with Mr. de Vries.”
“And what might that je ne sais quoi look like, Miss Chetwynd?”
“Well my décor is set. Walls papered in pale grey geometric patterns, soft furnishings in a greenish grey, accents of black japanned wood with a few carefully placed chinoiserie pieces. At Mrs. Hatchett’s request, a rater striking portrait of hers shall hang over the fireplace.”
“I imagine that would handsome indeed, Miss Chetwynd.”
“Indeed, it is, Mr, de Vries. I need a pair of something,” She glances around the shop looking as she lifts her teacup to her lips. “To stand alone on two plinths to either side of the fireplace, planking her portrait. Something striking, but not too striking to overpower the portrait. Nothing too fusty or frilly. Old, yet contemporary enough for my simplistic and modern interior.”
“My goodness Miss Chetwynd!” Mr. de Vries says, talking a sip of his own tea. “You do try and test even my skills as a purveyor of objet d’art.”
“And that is why I paid the six and six taxi fare to get here, Mr. de Vires.”
“Six and six!” the gentleman gasps, returning his delicate teacup to its equally dainty saucer.
“I know.”
“Took you the scenic route, evidently.”
“Yes, via the Grand Union Canal.”
“Goodness Miss Chetwynd!” Mr. de Vries opines. “He really did take you on the most circuitous route. How many times have I told you that the best way to visit my establishment is to travel along Hyde Park Place and the Bayswater Road to Notting Hill Gate.”
“I know, but the traffic along the Bayswater Road was impossible, Mr, de Vries!” Lettice defends. “You should have seen it! I felt I had no choice but to agree to the taxi driver.” Lettice pauses for a moment. “I still don’t understand why you aren’t somewhere more central, Mr. de Vries.” She waves her hands expansively around her at all the wonderful pieces fitted skilfully into the shop’s space. “You have so many treasures, and I’m sure that more people would visit you in Mayfair than here in Notting Hill.”
Mr. de Vries doesn’t answer Lettice immediately.
Behind his colourful, rather over the top and flamboyant façade, which he uses to charm, beguile and entertain the people of his acquaintance, the truth of Lancelot de Vries is a very well-guarded secret, known only by him, and he also uses the projection of his larger-than-life and rather eccentric personality to deflect unwanted questions or scrutiny. Not only is he a homosexual, an illegal offence punishable by imprisonment with hard labour**********************, which requires a great deal of careful discretion and subterfuge, his origins are also very different to what friends like Gerald and clients like Lettice think. Born Lapidot Landowska to Ashkenazi Orthodox Jewish*********************** parents recently arrived from Łódź in Poland in 1882 who had settled into a poky flat in Paddington, before moving to one of the former grand Victorian houses in Notting Hill that were slowly being converted at the time from luxury housing to boarding houses. Lapidot’s father was a clerk and his mother a housewife. Learning quickly as a young lad that his Orthodox Jewishness was not going to curry him any favours, he went to the library, to study the antiques he had discovered he liked after receiving some very basic tutoring from a local rag-and-bone man************************ who occasionally was given a nice piece of china or glassware. However, what he found of equal value as the knowledge he gained, was that thanks to his keen ear and ability for mimicry, he was able to start to speak like a real Englishman, rather than a Polish immigrant from Łódź. When he set up his antiques and collectables business in Notting Hill, he changed his name to Lancelot de Vries to rid himself of any last vestiges of his past. He took a lease on a shop that offered living quarters above it to allow him to live his own life and indulge in his proclivities he knew his parents nor any member of his Ashkenazi community would understand or accept, yet he still lived close enough to his parents to keep an eye on them and care for them in their dotage. Notting Hill also allowed him to remain in the Ashkenazi community he had grown up in. None of this friends from the world of antiques and art, or the underground world of homosexual clubs needed to know any of this, and he would have more credibility and clients as Lancelot de Vries, English gentleman, than as Lapidot Landowska the Jew.
“I promise, Miss Chetwynd that it will be worth the expense to Notting Hill, even a more costly and scenic one, to find you your perfect je ne sais quoi.”
Lettice sighs. “Thank you, Mr. de Vries.”
“Now, let me fetch you another cup of tea from the pot. Searching for that certain je ne sais quoi can take time. I’m sure I have some Kamishbrot************************ here too to sate any hunger whilst fossicking.”
“Kamishbrot?” Lettice queries. “That sounds like a German dish.”
Realising his faux pas as mentioning the name of the kosher biscuits baked by the local European Ashkenazi community in Notting Hill that he ate as a child and still does in adulthood, Mr. de Vries quickly covers it up, “Well there are some Eastern European people who live hereabouts in Notting Hill, and there is a rather lovely almond biscuit that a local baker supplies which apparently comes from a very old recipe of a local lady. I’m quite partial to them, and I’m sure you will enjoy them too, Miss Chetwynd.” He smiles at her. “Now why don’t you start looking, whilst I find the biscuit sachet*************************.”
And so, Lettice begins the pleasurable task of finding her certain je ne sais quoi as she begins to peruse the fine porcelain and objet d’art on Mr. de Vries’ shelves.
*Tyburnia is an affluent residential district in Paddington, London, located north of Hyde Park. Developed from 1824 based on a masterplan by Samuel Pepys Cockerell, it was designed to be an upper-class rival to Belgravia. The area is known for its elegant, cream-stuccoed, Georgian and Victorian townhouses, leafy squares, and prestigious, quiet streets, unlike neighbouring Paddington, which when from middle class aspirations to having some of the worst slims on London by the 1920s, Tyburnia retained its wealthy, respectable character through the 1920s. The area was populated by affluent merchants, professionals, and notable figures (Winston Churchill lived in Sussex Square in Tyburnia in the early 1920s).
**Westbourne Green (a housing subdivision in Paddington) not considered a wealthy suburb in the 1920s. While the wider Paddington and Bayswater areas contained wealthy pockets, Westbourne Green had transitioned from its earlier rural charm and then wealthy Victorian subdivision into a heavily populated, working-class district. By the 1920s, the area suffered from social decline, high-density overcrowding, and poverty. The large Victorian townhouses of Westbourne Greeb’s more affluent period were frequently subdivided into cheap, multi-occupancy rentals to house working-class families.
***In the 1920s, Notting Hill was a transitioning neighbourhood. With a sharp decline in domestic staff following the Great War, affluent servant-employing families abandoned their grand Victorian homes. These properties were carved up into smaller apartments and boarding houses, drawing a transient, working-class demographic. The physical decay of certain sections led to cheap rents, which attracted artists, bohemian thinkers, and writers who mixed with the local working-class residents, slowly transforming Notting Hill into a Bohemian area which would flourish in the coming decades. In spite of the changing demographic, Notting Hill Gate, the central thoroughfare was still viewed as one of London's fashionable shopping districts. It featured thriving department stores and easy connections via the Metropolitan Railway and Central Line. The famous Portobello Market, having started as a simple fruit and vegetable market in the Nineteenth Century, by the 1920s marked an era of aggressive expansion, with a growing number of antique vendors setting up stalls. It also began expanding rapidly to a six days a week market.
****In the 1920s, Portobello Road was a bustling, working-class hub in Notting Hill, London. Originally established to sell fresh food and daily essentials, the area featured legendary sites like the Electric Cinema—one of the UK's first cinemas—and famously provided inexpensive lodgings to the author George Orwell in 1927.b The antiques we know Portobello Road for today began its germination in the 1920s, becoming a mainstay and attraction by the 1930s.
*****The primary structure above a shop window where the main sign is attached is called a fascia (or fascia sign). If there is an awning, this same flat area on the front face of the awning is often called the awning fascia.
******The Grand Union Canal is a one-hundred-and-thirty-seven-mile waterway connecting London to Birmingham. In the capital, it features two primary routes: the historic mainline ending at Brentford (River Thames) and the Paddington Arm, which terminates near Paddington Station. A pretty and tranquil place to stroll in the day, the towpaths are highly popular today for walking, cycling, and leisure boating.
******In the 1920s, antique shops were commonly referred to as curiosity shops, antiquaries, or bric-à-brac shops. These spaces often served as a hybrid between a museum and a retail store, where dealers sold a mixed variety of historical relics, estate furniture, and decorative knick-knacks.
*******A worker's flat cap is a traditional, rounded cap with a small, stiff brim in front, historically worn by working-class men in the UK, Ireland, and North America from the Fourteenth Century onwards. In 1571, the English government mandated that all males over six (except nobility) wear a wool cap on Sundays and holidays to boost the wool industry, solidifying the flat cap's status as a working-class staple. Over time, it became a symbol of working-class culture, often associated with the phrase "flat cap and whippet," before also being adopted for leisure activities like golf. It was designed to be practical for manual labour—worn by farmers, miners, and factory workers — providing weather protection. It is known for its simple, rounded shape, which can be pulled forward for extra protection against the wind. Made typically of wool, tweed, or cotton, it was favoured for its durability, affordability, and warmth.
********“Gravestone teeth” is descriptive term used, unkindly, to describe an eerie, uneven, or menacing smile, where teeth are often crowded together like gravestones in a churchyard , and are often grey due to poor dental hygiene.
*********Goddard's Silver Polish was first invented in 1839. During the 1830s, electroplated silverware became highly popular. However, the standard polishes of the era contained harsh abrasives or mercury, which quickly stripped and ruined the delicate, thin silver plating. After numerous attempts, Joseph Goddard perfected a gentle formula in 1839 that safely removed tarnish without wearing away the silver. His invention became highly successful, earning six gold medals for excellence at the 1885 American Exposition. The brand expanded internationally and was even chosen to clean the British Royal Crown. Today, Goddard's continues to produce a wide variety of fine metal care, jewelry, and wood furniture polishes based on this tradition.
**********An epergne is a large, ornate dining table centrepiece, usually made of silver, glass, or porcelain. It features a large central bowl or vase with multiple branching arms that hold smaller dishes, baskets, or candleholders. They were very popular during the Victorian era when a lavish table display, including flowers, displayed your wealth and status.
***********A cottage orné pastille burner is an antique, decorative ceramic vessel designed to look like a rustic, highly stylized country cottage. Popular in the late 18th and 19th centuries, they were used as room deodorizers to burn "pastilles"—small cones of incense made from charcoal, essential oils, and gum arabic.
************Provenance refers to the origin, source, or the historical "chain of custody" of an item or record. It details where something came from, who created it, and its complete history of ownership or location over time.
*************The ornate, hand-embroidered indoor caps worn by Victorian men around the house were known as smoking caps or lounging caps. They were worn indoors to keep a gentleman's head warm and to protect his hair and everyday clothes from the pungent smell of tobacco ash and smoke. In the Victorian era, it was considered highly improper to smoke in front of women. Men would retire to a designated smoking room, changing into a comfortable smoking jacket and cap before indulging. Smoking caps were generally shaped like a squat, brimless cylinder (often resembling a pillbox or a soft version of an Eastern fez). They were typically made of luxurious fabrics like velvet or silk, heavily embroidered in bright or gaudy colours, and topped with a dangling tassel. They were rarely bought in stores. Often, they were lovingly made by wives or young ladies as gifts for their fiancés or husbands, allowing them to showcase their embroidery skills.
**************In the 1920s, a common remedy to soothe tired, strained eyes was the eye bath. People used small, specially shaped glass or porcelain cups filled with a mild medicated solution—often a diluted mixture of boric acid and water. Boric acid is a naturally occurring compound of boron, oxygen, and hydrogen. It typically appears as an odorless, white powder or colourless crystal. It is widely used in homes today as an insecticide, in medicine for vaginal health, and in various industrial and manufacturing processes.
***************Contrary to popular belief, men in the 1920s often got manicures, and it wasn’t seen as being unmanly. Well-groomed hands were an essential part of a refined, high-society image for men. Rather than being a strictly feminine indulgence, professional nail care and "visiting manicures" were incredibly popular among men in this era.
****************The Hambone Club (known by its patients more colloquially as The Ham Bone) was one of Soho's many discreetly hidden-away bohemian and gay-friendly clubs that catered to artists and outcasts of the era.
*****************A Primus stove is a highly popular, portable outdoor stove designed for camping, backpacking, and expeditions. Originating in Sweden in 1892, it was the first pressurized-burner kerosene stove. Today, the term refers to a wide range of modern, high-efficiency camping and backpacking stoves manufactured by the Swedish brand Primus.
******************A Brown Betty is a type of teapot, round and with a manganese brown glaze known as Rockingham glaze. In the Victorian era, when tea was at its peak of popularity, tea brewed in the Brown Betty was considered excellent. This was attributed to the design of the pot which allowed the tea leaves more freedom to swirl around as the water was poured into the pot, releasing more flavour with less bitterness.
*******************The London constituency of Tower Hamlets includes such areas and historic towns as (roughly from west to east) Spitalfields, Whitechapel, Bethnal Green, Wapping, Shadwell, Mile End, Stepney, Limehouse, Old Ford, Bow, Bromley, Poplar, and the Isle of Dogs (with Millwall, the West India Docks, and Cubitt Town), making it a majority working class constituency in 1925 when this story is set. Tower Hamlets included some of the worst slums and societal issues of inequality and poverty in England at that time.
********************Queen Anne’s Gate is a street in Westminster, London. Many of the buildings are Grade I listed, known for their Queen Anne architecture. Simon Bradley and Nikolaus Pevsner described the Gate’s early Eighteenth Century houses as “the best of their kind in London.” The street’s proximity to the Palace of Westminster made it a popular residential area for politicians.
********************‘Chu Chin Chow’ is a musical comedy written, produced and directed by Oscar Asche, with music by Frederic Norton, based on the story of Ali Baba and the Forty Thieves. It was the most popular show in London’s West End during the Great War. It premiered at His Majesty’s Theatre in London on the 3rd of August 1916 and ran for 2,238 performances, a record number that stood for nearly forty years!
*********************Je ne sais quoi is a French phrase used in English to describe a little, (indescribable) something which cannot be pinpointed. A little 'I don't know what'. “Je ne sais quoi” translates directly from the French as “I don't know what”.
**********************Prior to 1967 with the introduction of the Sexual Offences Act which decriminalised private homosexual acts between men aged over twenty-one, homosexuality in England was illegal, and in the 1920s when this story is set, carried heavy penalties including prison sentences with hard labour. The law was not changed for Scotland until 1980, or for Northern Ireland until 1982.
***********************An Ashkenazi Orthodox Jew is someone who strictly observes traditional Jewish law (Halakha) and adheres to the cultural and liturgical customs developed by Jews of Central and Eastern European (Ashkenazi) descent. This combines the religious adherence of Orthodoxy with a specific geographical and cultural heritage.
************************A "rag-and-bone man" (historically also called a totter) is a traditional British occupation. It refers to a person who travels door-to-door, typically on foot or with a horse and cart, collecting discarded household items—such as old clothing, rags, scrap metal, and bones—to sell for recycling or reuse.
************************One of the most authentic and enduring traditional kosher biscuits made in England in the 1920s is Mandelbrot (often called Mandel Bread or Kamishbrot). Deeply embedded in Anglo-Jewish baking culture, particularly among the Eastern European Ashkenazi communities who settled in London’s East End during that era, Mandelbrot is traditionally a crisp, twice-baked almond biscuit. As kosher dietary laws (kashrut) forbid mixing dairy and meat, these biscuits were specifically created using oil or margarine instead of butter. This allowed the Jewish community to enjoy them with afternoon tea, even after a meat-based Sabbath or holiday meal.
************************A biscuit sachet is an antique, hinged serving container—usually made of sterling silver or silver plate—designed to hold and display biscuits at the dining table. They were especially popular in Victorian and Edwardian England. During the Nineteenth Century, serving biscuits with tea or dessert was a mark of high social standing. Rather than keeping them in a traditional closed box, hosts used a biscuit sachet on the dining table or sideboard so guests could easily select a biscuit while keeping them elegantly arranged. They typically feature a hinged mechanism that allows the two halves of the sachet to open and lay flat. When opened, they fan out to reveal an internal fan, rack, or grill that holds biscuits upright. These pieces were highly decorative. Common designs feature embossed or chased scrollwork, floral motifs, or highly sought-after novelty shapes like scallop shells.
This cluttered antiques, curios and collectables shop may appear real to you, and you might even like to have a fossick in it as I would, but the fact is that it is entirely made up of pieces from my 1:12 miniatures collection, including items from my own childhood.
There are more than one hundred and fifty individual items of decorative porcelain and glassware in this scene, and it took hours to set it all up. It would be difficult to describe everything and identify where it all came from, but there are some very special pieces here which I will point out.
Fun things to look for in this tableau include:
The pair of statues standing on the counter: the Gentleman with the Butterfly and the lady with a Bird are made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces, The pair have been hand painted and gilded by me. There is a further gentleman statue inside the central glass fronted counter made by Warwick Miniatures and painted by me, as well as a pair of smaller statues on the edge of the sideboard at the right of the photo in the foreground, and a brightly painted Mandarin statue on the small black japanned occasional table to the left of the sideboard.
The dainty swan decorated with blue and yellow petunias on the counter and the small boot filled with purple petunias behind it have been hand made and painted by 1:12 miniature ceramicist Ann Dalton. A small ornamental vase decorated with purple petunias and two ornamental vases of blue, purple and yellow petunias can be seen on the round table to the far left of the picture in the foreground. Other pieces of hers can be seen on the central countertop, and on the second to top and bottom shelf in the back left hand of the photograph.
The Eighteen Century style cow statue surrounded by roses on the round table at the right in the foreground, and an Eighteenth Century gentleman standing on the right-hand stork pillar are made by British miniature ceramicist, Kay Lewis.
The tall jug decorated with a red poppy to the left Kay Lewis’ Eighteenth Century gentleman, standing on the countertop has been designed by the English miniature ceramic artist, Rachael Munday, whose work is always of high quality and highly sought after by miniature collectors around the world. The floral teapot to the far left of the counter, partially obscured by the left-hand stirk pillar is also made by her. In addition, these pieces there are also several more scattered across the shelves in the background and in the glass fronted central cabinet. The plates hanging on the wallpaper in the background are also decorated by Rachael Munday.
The dainty flower decorated ornamental candlestick next to the Rachael Munday jug and the ink well set near the centre of the glass topped counter were made by Warwick Miniatures in Ireland, but hand painted by British miniature artisan Victoria Fasken.
The tall cranberry glass vase with the barley twist decoration on the left hand swan plinth has been made by miniature glass artisan Philip Grenyer. He also made the two fluted cranberry glass vases seen in the bottom right hand corner of the glass fronted cabinet at the centre of the image.
The cottage orné pastille burner and the Staffordshire cows in the background on the third shelf from the top of the units to the left-hand side of the photograph have been hand made, painted and gilded by Welsh miniature ceramist Rachel Williams who has her own studio, V&R Miniatures, in Powys. Also made by Rachel Williams are the foxes on the sideboard in the foreground to the right of the photograph and the castle shaped pastille burner behind the two Warwick Miniature statues on the same sideboard, and the Prince of Wales vase in the bottom left-hand corner of the central glass fronted counter.
The green Wedgwood style vase on the floor to the left of the photograph and the two black Dragonware vases also on the floor I have had since I acquired them from an antique car boot sale when I was a child. These pieces are all old. The Wedgwood is likely Victorian and the two Dragonware vases are from around 1900 to 1905.
The jewellery casket behind the Wedgwood Jasperware look teapot on the countertop is in reality an Eighteenth Century miniature trinket made of gold and enamel. It is so dainty. The lid opens and one could store something incredibly small in it (like a handful of diamond chips), and there is a loop (hidden at the back) which allows it to be strung upon a chain. I picked this piece up from an antique dealer in London many years ago.
The four Limoges vases on the countertop to the right were all made by by M.W. Reutter Porzellanfabrik in Germany, who specialise in making high quality porcelain miniatures. Other pieces by them include the urn, the bowl and the vase on the table to the left of the photograph in the midground, the floral vase in the floor at the foot of the glass counter, the cake plate to the bottom right-hand corner of the photograph. Pieces by M.W. Reutter Porzellanfabrik are also littered along all the shelves in the background.
The planet was being destroyed by manufacturing processes, and what was being manufactured was lousy, by and large.
Kurt Vonnegut
Bowland Beer Hall, Holmes Mill, Clitheroe
I've been searching for some background history on this mill and the Engine Room in particular. For those that just like looking at images I'll save you the boredom and just tell you that the engine is called "Elizabeth" hence my title and it's the second one I've posted.
For the rest... read on!
Overview
Heritage Category: Listed Building
Grade: II
List Entry Number: 1413649
Date first listed: 12-Mar-2013
Statutory Address: Holmes Mill, Greenacre Street, Clitheroe, BB7 1EB
Reasons for Designation
Holmes Mill, a pre-1840 textile mill with later additions is listed at Grade II for the following principal reasons: * Architectural interest: Holmes Mill, with its three- and four-storey spinning blocks and warehouse, has architectural interest and makes a significant contribution to the local townscape; * Date threshold: much of the Holmes Mill complex is largely unaltered and is recognisably of pre-1840 date; * Intactness: despite the loss of the weaving shed roof Holmes Mill remains a relatively intact textile mill complex complete with an in-situ 1910-built engine; * Integrated site: the mill complex comprises a range of buildings relating to the textile manufacturing process. This includes spinning blocks and engine houses of differing dates that afford the opportunity to study the evolutionary development of these specific building types.
History
Holmes Mill was established in about 1823 when the first multi-storey spinning block and size house was built on the site by John Taylor. A second spinning block, known as New Mill, was erected in about 1830 by Edmund, John & James Mercer & David Murray, who purchased the original mill and incorporated the two spinning blocks into a single manufacturing complex. In 1848 a four-storey office and warehouse extension was added to the east end of the c.1823 spinning block and size house. A weaving shed was added to the north of the New Mill in 1853, by which time the mill complex housed 16,000 mule spindles and 707 looms and was powered by at least two beam engines. A gatehouse was added between 1847 and 1886. Clitheroe Manufacturing Company Limited took over production in 1884 and by 1887 577 looms, weaving printers and shirtings were in operation powered by a beam engine aided by a 24" x 3' stroke horizontal engine. Shortly after Clitheroe Manufacturing Company's takeover the original 1820s block was stripped of machinery and later used as Clitheroe Technical School up until 1916. In 1905 New Mill and its associated buildings was sold to Henry Parkinson who furnished it with 496 looms and leased it to James Thornber. New boiler and engine houses were erected in 1910/11. At this time the beam engine was replaced with a Clayton, Goodfellow & Company cross-compound horizontal engine which remains in situ. In 1939 the original 1820s block was reopened by Norman Roberts for yarn doubling. In recent years the 1905 boiler house has had its Lancashire boilers removed and the building converted into a warehouse, the 1853 weaving shed has been largely rebuilt, re-roofed and its north lights and early machinery removed, and the original 1820s block has gone out of use. Part of the complex remains in use as a weaving mill.
Details
PLAN: the mill is sub-rectangular in plan with a yard along the east side of the complex and most buildings lying to the west of the yard. From south to north these buildings consist of the 1820s spinning block and size house, a 1910 boiler house with an earlier single-storey building and the mill chimney to its rear, a 1910 engine house, an1830s beam engine house with the New Mill spinning block to its rear, and the partially rebuilt 1850s weaving shed. There is a single-storey gatehouse on the east side of the yard opposite the 1820s block.
MATERIALS: a cotton spinning mill built in the early 1820s and extended in the early 1830s, 1840s and again in the 1850s by the addition of a weaving shed. It is built predominantly of random limestone rubble with sandstone dressings beneath pitched slate roofs, architect unknown.
EXTERIOR: 1820s Spinning Block and Size House: a three-storey block of 16 bays with a latrine turret on the west gable. Windows have nine panes throughout the block and there are pedestrian entrances on both the north and south elevations. A three-storey two-bay outshot attached to the block's north elevation has loading doors and a winch on its east elevation and blocked upper-storey windows on its west elevation. Attached to the east end of the main block is a four-storey office and warehouse extension of 1848 one bay wide with four bays to its gable end. Windows are largely of nine panes and there are loading doors to all upper floors. Internally the building reportedly has columns of fluted late-Georgian design.
1910 Boiler House: a single-storey building with timber and glass doors to its east elevation above which is a narrow window. The south elevation is of coursed rock-faced limestone with windows of four panes. The rear gable is of snecked limestone and has a pedestrian door and flue connections. Attached to the rear of the boiler house is a lower single-storey range building with roof lights running its full length. There is a blocked pedestrian door from the street in its west gable end.
1910 Engine House: a single-storey building with timber doors beneath a fanlight to its east elevation and roof lights along its length. The building has been truncated at its west end by a brick wall within which is a blocked arched doorway. Internally the engine house is reported to retain the Clayton, Goodfellow & Company cross-compound horizontal engine of 1910/11.
1830s Spinning Block and Beam Engine House: a three-story plus attic block of 13 bays with windows largely of five panes to the long elevations. The west gable end has four-pane windows to each floor and one eight-pane window to the second floor and a metal fire escape between the second and first floors. Internally the spinning block reportedly incorporates later cylindrical designed columns without lineshaft bearing faces, but supporting beams with clear line shaft hanger positions and some shafting still survives in places. The mill chimney projects through the roof of the later boiler house. Now truncated slightly the circular chimney has a stone-built lower half and brick-built upper half with a number of metal strap bands.
The former beam engine house is attached to the east of this block, has a hipped roof, and stands slightly taller than the spinning block. It is one bay wide and has a wide recessed door beneath a tall round-arched window at its east end.
To the right of the former beam engine house there is a recessed doorway and loading bay. 1850s Weaving Shed: is a large single-storey building; while it retains its historic scale, it has been largely rebuilt and re-roofed in the latter quarter of the C20. Its west wall retains unusual triangular vents with gothic detailing externally.
The Gatehouse: is a single-storey range beneath a pitched roof. It is rendered throughout. There is a door in the west elevation and windows are of differing sizes and styles.
INTERIOR: although no internal inspection took place additional information provided by an interested party indicates that the 1820s spinning block contains fluted columns of late-Georgian design without provision for lineshafts, and beams without bolted hangers for drive shafting. The 1830s block is reported to have cylindrical designed columns without lineshaft bearing faces, but supporting beams with clear line shaft hanger positions and some shafting still in situ. The 1910 engine house reportedly retains its original wall stencilling above the dado. The engine is a Blackburn-built Clayton, Goodfellow & Co. Ltd horizontal cross-compound type Nos 544-5 built in 1910. Its specifications are:
Cylinders: 15ins/30ins x 36ins Corliss valves (Craig's valve gear-governor-controlled trip gear) (HP); slide valve (LP) Steam pressure: c.70psi (1971) 68 rpm, c.350IHP(max), Flywheel: 12ft 6in.
Two unusual features of the engine are a rope guide near the second motion wheel installed to prevent the driving ropes jumping grooves in the event of surging, and a feed pump on the LP slide valve rod. The engine retains much of its original paintwork and lining out.
All information courtesy of Historic England
And below is one taken in July 2016.
Elecampane is an herb. The root is used to make medicine;
Elecampane is used for lung diseases including asthma, bronchitis, and whooping cough.
It is also used to prevent coughing, especially coughing caused by tuberculosis; and as an expectorant to help loosen phlegm, so it can be coughed up more easily.
Other uses include improving stomach function; treating nausea and diahorrea; and killing worms that can live in the intestine. These worms include hookworm, roundworm, threadworm, and whipworm.
Some people use elecampane to promote sweating. As with all popular country medicines, the Elecampane carries an awful lot of folk names … see tags!
In foods and beverages, elecampane is used to provide flavour. In other manufacturing processes, elecampane is used as a fragrance in cosmetics and soaps. Elecampane contains chemicals that can kill worms that infest the gut.
The manufacturing process is very easy and simple, but requires a long time to get better results takes approximately 3-4 hours
Taken@Garut, West Java, Indonesia
Straight from the camera. No post editing, manipulation or digital effects (Photoshop etc.) are used. Big thanks to Kimmo Heikkinen who bravely stood still during the exposure! Well done!
Light flowers need darkness, chill air and loving to bloom. But the manufacturing process is quite long and it has many difficult parts where you can go wrong. In this picture we can see how the farmer carefully pours the nutrients to the flowerpot.
Order prints here!
Light painting photography
In this laboratory I spend a lot of time.. So why not try out some new camera lenses while waiting for the LED manufacturing process to finish.. :)
I just bought the Samyang 14 mm 3.1T for canon. seem to be a fun lens!
This former motor vehicle factory was built in 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, for Tilling-Stevens Ltd. It is an example of a factory designed using the Kahn Daylight System. The various sheds which adjoin the factory building to the south are not of special interest.
Reasons for Designation
The former Tilling-Stevens factory, 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, is designated at Grade II for the following principal reasons: * Historic interest: the building is the earliest surviving by the practice of Wallis, Gilbert and Partners, the foremost factory architects of the inter-war period; it is also one of few surviving examples of their early Daylight factories not to have undergone significant alteration; * Technical interest: the building is one of few surviving examples of a group of English factories built using the Kahn Daylight System, an adaptable, efficient and influential system of factory building, developed in America for the construction of automotive factories; * Architectural interest: the front elevation of this imposing building employs the compositional devices and decorative motifs which became synonymous with the work of Wallis, Gilbert and Partners; the powerful rationality of its other elevations expresses the modern approach to industrial architecture that its design, construction and layout embodies.
History
In 1916 Thomas Wallis (1872-1953) founded the architectural practice of Wallis, Gilbert and Partner (becoming Wallis, Gilbert and Partners the following year). In the early years of the practice it worked in close collaboration with Trussed Concrete Steel Limited (Truscon). Truscon's proprietary system of concrete reinforcement had been developed by the Kahn family, who had set up Truscon to exploit the system in America; an English branch of the company formed in 1907. In America the Kahn system had been applied to the creation of a particular model of factory design which was based on a regular grid of column, beam and slab, in which the concrete frame was fully exposed, and the external walls were glass-filled, it was called the 'Kahn Daylight System' of factory design. The best known and most influential American example is Henry Ford's Highland Park Ford Plant, Michigan, designed and built in 1908 by Albert Kahn. Truscon built several Daylight factories in Britian prior to the partnership with Wallis, Gilbert and Partners (including three in Scotland), but the only English one known to survive in anything like original condition is Enterprise House, Hayes, of 1912, listed Grade II.
Together, Wallis, Gilbert and Partners and Truscon designed and constructed of a number of Daylight factories in England, of which the Tilling-Stevens factory is the earliest surviving. Wallis Gilbert and Partners went on to great success as an architectural practice, designing many factories and commercial buildings in the interwar period. One of their best known works is the Grade II* listed former Hoover Factory (1932-35) in Ealing.
Tilling-Stevens Ltd was formed in 1915 after WA Stevens, inventor of the petrol-electric motor, met Richard Tilling of Thomas Tilling Ltd, London's oldest omnibus operator (established 1847). The men recognised the potential for petrol-electric transmission in motorised buses, and the companies went into partnership together, manufacturing their own vehicles. New premises were added to Stevens' Maidstone works (known as the Victoria Works) in 1912, and following the formation of Tilling-Stevens Limited the works were enlarged again with the construction of the Wallis Gilbert and Partners factory in 1917 to accommodate production for war requirements.
The original design for the factory was a five-storey hollow rectangle, with a central, glazed, single-storey space within the well, which would contain part of the assembly shop. It was designed to be built in stages, with the south and west sides of the rectangle shown on the plans as 'future extension' (J Skinner 1997, 50). It is thought likely that the decision only to build the north and east sides of the rectangle was taken at an early stage, as the attic storey is centred over the existing front elevation. The factory was designed so as to accommodate all the various manufacturing processes in a downward flow through the building, each level being linked by electric lifts. Power was supplied to work stations by shafted over-head motors suspended from the beams.
In the early 1950s Tilling-Stevens was taken over by the Rootes Group, which was itself taken over in the mid-1960s by Chrysler (UK) Ltd; the Tilling-Stevens factory closed in 1975.
Details
The factory is constructed of a regular reinforced concrete grid, expressed throughout the exterior of the building; the front elevation, also of concrete, is dressed to present a classically-styled composition to the street.
MATERIALS: the building is composed of a grid of exposed horizontal and vertical reinforced concrete members, which divide the building into 20' by 20' bays; on the outer faces of the building the bays are in-filled with panels of red brick and glazing. The original windows were multi-light steel casements however these have almost universally been replaced with uPVC casements.
PLAN: the building is five storeys high with a small attic storey. The factory floor is L-shaped in plan; the core is 3 bays wide by 16 bays deep, with a perpendicular wing to the rear, 3 bays wide by 3 deep, extending southwards. Another 3 bay by 3 bay wing projects to the north, which contains the main goods lift and stair; this was where the services and amenities for the building were housed. The front of the building is an additional two bays wide to the north, providing a vehicular access at street level. A roadway runs from this entrance, through the centre of the northerly service wing (where there is a weigh bridge), and down the side and rear of the building. To the rear there is a projecting stair and lift tower, and to the south there is a second projecting lift tower; this is later in date, but appears to use the same construction system. There is a third internal fire escape stair on the south side of the building which exits onto St Peter's Street at the front.
EXTERIOR: with the exception of the front, all elevations of the building are without architectural embellishment and form a regular pattern of concrete grid, brick, and glass. The concrete grid is also expressed on the front elevation, however here the concrete is also used decoratively to shape the elevation into a classical composition. There is a heavy cornice over the fourth storey, with recessed ribbing and nail-head corner stops; the fifth storey is treated as a classical attic, having smaller windows and a much plainer and shallower cornice above. The true attic storey is three bays wide, central to the elevation and set back from the front. The bays to the far left and right of the elevation are treated as towers, defined by slightly projecting pilaster-like verticals to either side. The 'capitals' of these pilasters take the form of a circular disk, flanked by triglyph-like elements. At ground floor there is a pedestrian and vehicular entrance/exit to either side of the elevation. These openings are framed by wide, flat, unmoulded architraves and above each of the vehicular openings is a framed panel (which once bore the name of the company) with a stylised tassel motif to either side. This panel with tassels motif is repeated within the parapet above the attic storey.
The exterior of the building is generally little altered, the most notable exception being the replacement of the windows. The largest windows to the front were originally 54-light windows, they are now 12-light windows, those to the sides and rear were mostly 45-light windows, these are now 8-light windows. On the front elevation a doorway has been inserted into the left-hand of the three central bays to give access into a site office from St Peter's Street.
INTERIOR: the interior is utilitarian; at each storey concrete pillars support beams and joists which support the floor above. The pillars get progressively smaller in cross-section at each storey up. Circular holes are cast into the joists, through which a conduit carrying electrical cable ran; in some places slots are cast into beams and joists to carry the motors which were suspended overhead, providing power to the factory machinery. The factory floors, which would have been completely open, are now divided into units with concrete block walls built between pillars. Fixtures and fittings which may have been associated with the service and amenity block (which included an office, boiler house, first-aid rooms, lavatories and rest rooms) do not survive.
Industrial Loco No 7 complete with loaded wagon on the High Level Railway, serving the mighty blast furnaces of Appleby Frodingham Steelworks Scunthorpe 2nd April 2011. More of the locomotive fleet can be seen in the far distance along this short piece of railway infrastructure. The huge blast furnaces are partially seen to the right of the picture. The photo was taken from one of the brakevans which had been pushed up the incline onto this railway by a steam locomotive operated by the Appleby Frodingham Railway Preservation Society who have a presence on the Steel Works site. The locos on this line continually load up the operating blast furnaces with raw materials for the manufacturing processes in steel making.
Located in a deciduous forest near Meech Lake, the ruins are the last remaining traces of a fertilizer plant constructed by little-known inventor Thomas Leopold Willson. The complex originally included three buildings: an acid condensation tower, a dam and a generating station. Unfortunately, the ruins were never preserved. The tower was destroyed by fire and, today, only its foundation remains. The dam and plant, its gaping windows still visible, stand near the cascading falls as a reminder of a rich and innovative company — and a glimpse of our scientific history.
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.
Gatineau Park, Gatineau PQ
If you like feta cheese, this is such a yummy snack. It’s block feta sliced 1/4”, red pepper flakes, dried parsley flakes, quartered cherry tomatoes, and a slight drizzle of EVOO. Try to use a Greek brand of feta, instead of an American brand....the texture and consistency is so different between the two manufacturing processes. Anyway, after you put it in a dish, BROIL in the oven until the feta just starts to brown in places. Take out of oven and serve warm with pieces of pita bread. Lin’s likes the pita, but I eat mine with sea salted thin baked wheat crackers.
Yummy Yummy!!
An entry in the Guinness Book of Records lists the Whitechapel Bell Foundry as Britain's oldest manufacturing company, having been established in 1570, during the reign of Queen Elizabeth I, and being in continuous business since that date. In 1970, therefore, the Foundry celebrated its quatercentenary
The company was founded by Robert Mot in 1570 and continued casting bells until May 2017.
Whitechapel's famous bells include the original Liberty Bell (1752), the Great Bell of Montreal and, probably best known of all, Big Ben at the Palace of Westminster. Cast in 1858, this is the largest bell ever cast at Whitechapel, weighing 13½ tons.
The foundry closed on 12th June 2017, after nearly 450 years of bell-making and 250 years at its Whitechapel site, with the final bell cast given to the Museum of London along with other artefacts used in the manufacturing process
240/365 Work with textures
In any manufacturing process there are bound to be mistakes made. Both human and mechanical errors occur on an irregular basis, resulting in defective products. In most industries these bad parts are caught by quality control inspectors or by the persons responsible for packaging the finished products. When spotted, these rejects are simply destroyed. If they succeed in eluding detection, the customer who receives the erroneous part will likely return it for a refund or exchange. But what happens when the defective item is an scenario?
I was so mad LOL when I discover that my image was nothing perfect but I tried to compare it as a defected coin and therefore has some value on it...
Textures with my gratitude to SkeletalMess Thank you very much my friend !!
..../
Escuela Agrotécnica Salesiana “Carlos M. Casares”
La Escuela Agrotécnica Salesiana “Carlos M. Casares” ubicada en Del Valle, perteneciente a la Región bonaerense de 25 de Mayo. La comunidad, distante a 5 Km. del centro urbano. Donada en 1925 por la señora Concepción U. de Casares.Institución privada a cargo de salesianos, actualmente, está incorporada como Instituto privado al Ministerio de Educación de la Provincia.
Los alumnos deben permanecer internados en el colegio de Lunes a Viernes. La escuela pertenece a la Obra de Don Bosco, por lo que destaca su carisma Salesiano. Además de las asignaturas correspondientes al ciclo secundario o Polimodal, los alumnos tienen formación profesional , que va desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. La Escuela Agrotécnica ofrece una propuesta educativa basada en la práctica de actividades rurales, en áreas de producción agrícola, ganadera e industrial, con acciones que van desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. Este proceso de fabricación y todas las actividades productivas tienen como resultado una gran cantidad de desechos que no son utilizados. Para lograr convertir los remanentes se fabricó el “biodigestor”.
Muchas personas de esta comunidad trabajan en dicha institución que es todo un orgullo local
TRASLATOR
Escuela Agrotécnica Salesiana “Carlos M. Casares”
The Salesian Agrotechnical School "Carlos M. Casares" located in Del Valle, belonging to the Buenos Aires Region of 25 de Mayo. The community, 5 km away from the urban center. Donated in 1925 by Mrs. Concepción U. de Casares. Private institution run by Salesians, currently, it is incorporated as a private Institute to the Ministry of Education of the Province.
Students must remain interned in the school from Monday to Friday. The school belongs to the Work of Don Bosco, for which its Salesian charism stands out. In addition to the subjects corresponding to the secondary cycle or Polimodal, the students have professional training, which goes from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. The Agrotécnica School offers an educational proposal based on the practice of rural activities, in areas of agricultural, livestock and industrial production, with actions ranging from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. This manufacturing process and all productive activities result in a large amount of waste that is not used. In order to convert the remnants, the "biodigester" was manufactured.
Many people of this community work in this institution that is a local pride
Summarised from www.terracotadoalgarve.com/en/short-history-of-ceramics - this was a different company to the one we have taken photos of.
The word ceramic is derived from the Greek “keramike” meaning clay, and is used to describe any activity that makes objects out of clay.
Clay can be easily easily moulded, and acquires hardness and strength by baking.
Pottery already existed in Portugal before the arrival of the Romans, but with the Romans and later with the Arabs, there was much progress. They were the ones that introduced many of the techniques used in the manufacturing process of ceramic, and which are still used today.
This example was brought back from Germany at the end of World War II and, after display at the Royal Aircraft Establishment, Farnborough, was transferred to the Imperial War Museum in 1946. This view shows it on display in 2010, prior to a major redesign of the museum in preparation for commemorating the 100th anniversary of World War I. It remains on display today in the modernised facility.
The alcohol and oxygen tanks can be seen, as can the rocket engine itself (note that one half of the outer skin has been fretted to reveal the tanks, and two of the fins have been removed, exposing the engine. A V-1 is also seen here.
The V-2 (German: Vergeltungswaffe 2, lit. 'Vengeance Weapon 2'), with the technical name Aggregat 4 (A-4), was the world's first long-range guided ballistic missile. Powered by a liquid-propellant rocket engine, the missile was developed during World War II and assigned to attack Allied cities. The rockets travelled at supersonic speeds, impacted without audible warning, and proved unstoppable, as no effective defence existed.
Total targets were:
Belgium, 1,664: Antwerp (1,610), Liège (27), Hasselt (13), Tournai (9), Mons (3), Diest (2)
UK, 1,402: London (1,358), Norwich (43), Ipswich (1)
France, 76: Lille (25), Paris (22), Tourcoing (19), Arras (6), Cambrai (4)
Netherlands, 19: Maastricht (19)
Germany, 11: Remagen (11)
The V-2 rocket also became the first artificial object to travel into space by crossing the Kármán line (edge of space) with the vertical launch of MW 18014 on 20 June 1944. Because much of the manufacturing process for the V-2 was in the hands of those using slave labour, more people died manufacturing the V-2 than were killed by its deployment.
Further details, plus links to extensive reference materials, are available on the relevant Wikipedia page.
“Gloria in excelsis Deo,” Glory to God in the Highest, often used by The Royal Order of Scotland is seen on both of the badges to the left. These two badges offer slightly differing designs. The relative position, or relationship between the Emblazoned Equal Armed Cross and the Continuos Nine Pointed Star are slightly different on the two badges. This difference is likely a result of manufacturing process. The top points and the bottom point of the Continuos Nine Pointed Star can be set around the Cross such as to create a more balanced reference between the two icons. The outer Blazing Star of each badge has seven fiery illuminating triangular points. The five points of the inner motif on the Equal Armed Cross is another slight difference as is the Star set after Deo and before Gloria in the rendering of, “Gloria in excelsis Deo.”
The Ancient and Accepted Scottish Rite are known to have the double-headed eagle as icon of duality embody in unity. The two eagles in union offer a token of the balance of Day and Night, of Good and Evil, of the embodiment of Light and of the embodiment of Dark, of the Spiritual and the Material all taken upon for the Checker Board to the highest pinnacle of Masonry. In 1758 the Council of Emperors of the East and West confirmed the double-headed eagle as the official emblem for the 33rd Degree. The double-headed eagle has been used for many centuries, it is now given as one of the motifs of 32nd Scottish Rite Freemasonry. From establishment of the Scottish Rite the double-headed eagle has been an official Emblem. Wings reaching below being 32nd Degree and Wings rising above being 33rd Degree. Active Emeritus Members of the Supreme Council are granted the accolade of wearing the all encompassing reach of the upward outstretched full embracing of the rising wings as seen on this Jewel.
These pictures range from 1/8000 of a Second, to 8 Seconds and then to 15 Seconds. There are two versions of the 15 Seconds exposure. One has been De-noised and the other has not. The titles mention the De-Noise 3 of 4 No De-Noise and 4 of 4 De-Noise.
These pictures are taken with a Full Spectrum Camera.
The wavelengths visible to other than human eyes can be explored with a Full Spectrum Camera. My friend who loaned me this camera and a set of lenses and filters describes the experience of dogs that cannot easily discern between a red ball and the green of the grass on which it sits.
A Full Spectrum Digital Camera is often a modified camera that can record light beyond the human visible spectrum. By capturing ultraviolet (UV) and infrared (IR) light the images reveal a now visible representation of the sight given in the wider wavelengths. This can be achieved by removing the built-in UV/IR cut filter found in standard cameras, this allows for a wider range of light to reach the sensor and to be recorded in a manner visible to the human eye. With the addition of either external filters to the lens, or clip in to the sensor, photographers can choose to block certain wavelengths. These additional filters can be used to isolate ultraviolet UV, infrared IR, or human visible light to achieve specific effects that include using the camera for lowlight photography.
© PHH Sykes 2025
phhsykes@gmail.com
This is a glass brick window at a defunct clothing outlet in Cokeville, Wyoming. I suppose they used scraps of cloth from their manufacturing process to block the drafts from the broken glass.
Escuela Agrotécnica Salesiana “Carlos M. Casares”
La Escuela Agrotécnica Salesiana “Carlos M. Casares” ubicada en Del Valle, perteneciente a la Región bonaerense de 25 de Mayo. La comunidad, distante a 5 Km. del centro urbano. Donada en 1925 por la señora Concepción U. de Casares.Institución privada a cargo de salesianos, actualmente, está incorporada como Instituto privado al Ministerio de Educación de la Provincia.
Los alumnos deben permanecer internados en el colegio de Lunes a Viernes. La escuela pertenece a la Obra de Don Bosco, por lo que destaca su carisma Salesiano. Además de las asignaturas correspondientes al ciclo secundario o Polimodal, los alumnos tienen formación profesional , que va desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. La Escuela Agrotécnica ofrece una propuesta educativa basada en la práctica de actividades rurales, en áreas de producción agrícola, ganadera e industrial, con acciones que van desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. Este proceso de fabricación y todas las actividades productivas tienen como resultado una gran cantidad de desechos que no son utilizados. Para lograr convertir los remanentes se fabricó el “biodigestor”.
Muchas personas de esta comunidad trabajan en dicha institución que es todo un orgullo local
TRASLATOR
Escuela Agrotécnica Salesiana “Carlos M. Casares”
The Salesian Agrotechnical School "Carlos M. Casares" located in Del Valle, belonging to the Buenos Aires Region of 25 de Mayo. The community, 5 km away from the urban center. Donated in 1925 by Mrs. Concepción U. de Casares. Private institution run by Salesians, currently, it is incorporated as a private Institute to the Ministry of Education of the Province.
Students must remain interned in the school from Monday to Friday. The school belongs to the Work of Don Bosco, for which its Salesian charism stands out. In addition to the subjects corresponding to the secondary cycle or Polimodal, the students have professional training, which goes from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. The Agrotécnica School offers an educational proposal based on the practice of rural activities, in areas of agricultural, livestock and industrial production, with actions ranging from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. This manufacturing process and all productive activities result in a large amount of waste that is not used. In order to convert the remnants, the "biodigester" was manufactured.
Many people of this community work in this institution that is a local pride
These shopping trolleys have just been electroplated, and are now awaiting shipment to the next stage of the manufacturing process.
Birefringence Series:
Heading back over the Thames Estuary, good old Blighty! View across Canvey Island towards St. Mary Hoo.
This colour was caused by the interference of the polarising filter on the lens and the coating on the aircraft windows (I think!?). Ah, the explanation...
Birefringence in Airplane Windows: Due to the manufacturing process, airplane windows are anisotropic - their physical properties depend on direction. The light passing through the window is split into different beams travelling at different speeds, resulting in interference. The inferference colours can be very interesting for the photographer.
Most often these patterns are rather faint, but if the incident light is already partially polarized, the colour effects can be easily detected without a polarising filter. If a polarising filter is used, these effects can be rather stunning.
There are more of these to come....
Rolling for take-off on runway 27 at Miami. The United 737 Max-9 is N37538, grounded pending further safety review of Boeing's manufacturing processes.
This former motor vehicle factory was built in 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, for Tilling-Stevens Ltd. It is an example of a factory designed using the Kahn Daylight System. The various sheds which adjoin the factory building to the south are not of special interest.
Reasons for Designation
The former Tilling-Stevens factory, 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, is designated at Grade II for the following principal reasons:
* Historic interest: the building is the earliest surviving by the practice of Wallis, Gilbert and Partners, the foremost factory architects of the inter-war period; it is also one of few surviving examples of their early Daylight factories not to have undergone significant alteration;
* Technical interest: the building is one of few surviving examples of a group of English factories built using the Kahn Daylight System, an adaptable, efficient and influential system of factory building, developed in America for the construction of automotive factories;
* Architectural interest: the front elevation of this imposing building employs the compositional devices and decorative motifs which became synonymous with the work of Wallis, Gilbert and Partners; the powerful rationality of its other elevations expresses the modern approach to industrial architecture that its design, construction and layout embodies.
History
In 1916 Thomas Wallis (1872-1953) founded the architectural practice of Wallis, Gilbert and Partner (becoming Wallis, Gilbert and Partners the following year). In the early years of the practice it worked in close collaboration with Trussed Concrete Steel Limited (Truscon). Truscon's proprietary system of concrete reinforcement had been developed by the Kahn family, who had set up Truscon to exploit the system in America; an English branch of the company formed in 1907. In America the Kahn system had been applied to the creation of a particular model of factory design which was based on a regular grid of column, beam and slab, in which the concrete frame was fully exposed, and the external walls were glass-filled, it was called the 'Kahn Daylight System' of factory design. The best known and most influential American example is Henry Ford's Highland Park Ford Plant, Michigan, designed and built in 1908 by Albert Kahn. Truscon built several Daylight factories in Britian prior to the partnership with Wallis, Gilbert and Partners (including three in Scotland), but the only English one known to survive in anything like original condition is Enterprise House, Hayes, of 1912, listed Grade II.
Together, Wallis, Gilbert and Partners and Truscon designed and constructed of a number of Daylight factories in England, of which the Tilling-Stevens factory is the earliest surviving. Wallis Gilbert and Partners went on to great success as an architectural practice, designing many factories and commercial buildings in the interwar period. One of their best known works is the Grade II* listed former Hoover Factory (1932-35) in Ealing.
Tilling-Stevens Ltd was formed in 1915 after WA Stevens, inventor of the petrol-electric motor, met Richard Tilling of Thomas Tilling Ltd, London's oldest omnibus operator (established 1847). The men recognised the potential for petrol-electric transmission in motorised buses, and the companies went into partnership together, manufacturing their own vehicles. New premises were added to Stevens' Maidstone works (known as the Victoria Works) in 1912, and following the formation of Tilling-Stevens Limited the works were enlarged again with the construction of the Wallis Gilbert and Partners factory in 1917 to accommodate production for war requirements.
The original design for the factory was a five-storey hollow rectangle, with a central, glazed, single-storey space within the well, which would contain part of the assembly shop. It was designed to be built in stages, with the south and west sides of the rectangle shown on the plans as 'future extension' (J Skinner 1997, 50). It is thought likely that the decision only to build the north and east sides of the rectangle was taken at an early stage, as the attic storey is centred over the existing front elevation. The factory was designed so as to accommodate all the various manufacturing processes in a downward flow through the building, each level being linked by electric lifts. Power was supplied to work stations by shafted over-head motors suspended from the beams.
In the early 1950s Tilling-Stevens was taken over by the Rootes Group, which was itself taken over in the mid-1960s by Chrysler (UK) Ltd; the Tilling-Stevens factory closed in 1975.
Details
The factory is constructed of a regular reinforced concrete grid, expressed throughout the exterior of the building; the front elevation, also of concrete, is dressed to present a classically-styled composition to the street.
MATERIALS: the building is composed of a grid of exposed horizontal and vertical reinforced concrete members, which divide the building into 20' by 20' bays; on the outer faces of the building the bays are in-filled with panels of red brick and glazing. The original windows were multi-light steel casements however these have almost universally been replaced with uPVC casements.
PLAN: the building is five storeys high with a small attic storey. The factory floor is L-shaped in plan; the core is 3 bays wide by 16 bays deep, with a perpendicular wing to the rear, 3 bays wide by 3 deep, extending southwards. Another 3 bay by 3 bay wing projects to the north, which contains the main goods lift and stair; this was where the services and amenities for the building were housed. The front of the building is an additional two bays wide to the north, providing a vehicular access at street level. A roadway runs from this entrance, through the centre of the northerly service wing (where there is a weigh bridge), and down the side and rear of the building. To the rear there is a projecting stair and lift tower, and to the south there is a second projecting lift tower; this is later in date, but appears to use the same construction system. There is a third internal fire escape stair on the south side of the building which exits onto St Peter's Street at the front.
EXTERIOR: with the exception of the front, all elevations of the building are without architectural embellishment and form a regular pattern of concrete grid, brick, and glass. The concrete grid is also expressed on the front elevation, however here the concrete is also used decoratively to shape the elevation into a classical composition. There is a heavy cornice over the fourth storey, with recessed ribbing and nail-head corner stops; the fifth storey is treated as a classical attic, having smaller windows and a much plainer and shallower cornice above. The true attic storey is three bays wide, central to the elevation and set back from the front. The bays to the far left and right of the elevation are treated as towers, defined by slightly projecting pilaster-like verticals to either side. The 'capitals' of these pilasters take the form of a circular disk, flanked by triglyph-like elements. At ground floor there is a pedestrian and vehicular entrance/exit to either side of the elevation. These openings are framed by wide, flat, unmoulded architraves and above each of the vehicular openings is a framed panel (which once bore the name of the company) with a stylised tassel motif to either side. This panel with tassels motif is repeated within the parapet above the attic storey.
The exterior of the building is generally little altered, the most notable exception being the replacement of the windows. The largest windows to the front were originally 54-light windows, they are now 12-light windows, those to the sides and rear were mostly 45-light windows, these are now 8-light windows. On the front elevation a doorway has been inserted into the left-hand of the three central bays to give access into a site office from St Peter's Street.
INTERIOR: the interior is utilitarian; at each storey concrete pillars support beams and joists which support the floor above. The pillars get progressively smaller in cross-section at each storey up. Circular holes are cast into the joists, through which a conduit carrying electrical cable ran; in some places slots are cast into beams and joists to carry the motors which were suspended overhead, providing power to the factory machinery. The factory floors, which would have been completely open, are now divided into units with concrete block walls built between pillars. Fixtures and fittings which may have been associated with the service and amenity block (which included an office, boiler house, first-aid rooms, lavatories and rest rooms) do not survive.
This former motor vehicle factory was built in 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, for Tilling-Stevens Ltd. It is an example of a factory designed using the Kahn Daylight System. The various sheds which adjoin the factory building to the south are not of special interest.
Reasons for Designation
The former Tilling-Stevens factory, 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, is designated at Grade II for the following principal reasons: * Historic interest: the building is the earliest surviving by the practice of Wallis, Gilbert and Partners, the foremost factory architects of the inter-war period; it is also one of few surviving examples of their early Daylight factories not to have undergone significant alteration; * Technical interest: the building is one of few surviving examples of a group of English factories built using the Kahn Daylight System, an adaptable, efficient and influential system of factory building, developed in America for the construction of automotive factories; * Architectural interest: the front elevation of this imposing building employs the compositional devices and decorative motifs which became synonymous with the work of Wallis, Gilbert and Partners; the powerful rationality of its other elevations expresses the modern approach to industrial architecture that its design, construction and layout embodies.
History
In 1916 Thomas Wallis (1872-1953) founded the architectural practice of Wallis, Gilbert and Partner (becoming Wallis, Gilbert and Partners the following year). In the early years of the practice it worked in close collaboration with Trussed Concrete Steel Limited (Truscon). Truscon's proprietary system of concrete reinforcement had been developed by the Kahn family, who had set up Truscon to exploit the system in America; an English branch of the company formed in 1907. In America the Kahn system had been applied to the creation of a particular model of factory design which was based on a regular grid of column, beam and slab, in which the concrete frame was fully exposed, and the external walls were glass-filled, it was called the 'Kahn Daylight System' of factory design. The best known and most influential American example is Henry Ford's Highland Park Ford Plant, Michigan, designed and built in 1908 by Albert Kahn. Truscon built several Daylight factories in Britian prior to the partnership with Wallis, Gilbert and Partners (including three in Scotland), but the only English one known to survive in anything like original condition is Enterprise House, Hayes, of 1912, listed Grade II.
Together, Wallis, Gilbert and Partners and Truscon designed and constructed of a number of Daylight factories in England, of which the Tilling-Stevens factory is the earliest surviving. Wallis Gilbert and Partners went on to great success as an architectural practice, designing many factories and commercial buildings in the interwar period. One of their best known works is the Grade II* listed former Hoover Factory (1932-35) in Ealing.
Tilling-Stevens Ltd was formed in 1915 after WA Stevens, inventor of the petrol-electric motor, met Richard Tilling of Thomas Tilling Ltd, London's oldest omnibus operator (established 1847). The men recognised the potential for petrol-electric transmission in motorised buses, and the companies went into partnership together, manufacturing their own vehicles. New premises were added to Stevens' Maidstone works (known as the Victoria Works) in 1912, and following the formation of Tilling-Stevens Limited the works were enlarged again with the construction of the Wallis Gilbert and Partners factory in 1917 to accommodate production for war requirements.
The original design for the factory was a five-storey hollow rectangle, with a central, glazed, single-storey space within the well, which would contain part of the assembly shop. It was designed to be built in stages, with the south and west sides of the rectangle shown on the plans as 'future extension' (J Skinner 1997, 50). It is thought likely that the decision only to build the north and east sides of the rectangle was taken at an early stage, as the attic storey is centred over the existing front elevation. The factory was designed so as to accommodate all the various manufacturing processes in a downward flow through the building, each level being linked by electric lifts. Power was supplied to work stations by shafted over-head motors suspended from the beams.
In the early 1950s Tilling-Stevens was taken over by the Rootes Group, which was itself taken over in the mid-1960s by Chrysler (UK) Ltd; the Tilling-Stevens factory closed in 1975.
Details
The factory is constructed of a regular reinforced concrete grid, expressed throughout the exterior of the building; the front elevation, also of concrete, is dressed to present a classically-styled composition to the street.
MATERIALS: the building is composed of a grid of exposed horizontal and vertical reinforced concrete members, which divide the building into 20' by 20' bays; on the outer faces of the building the bays are in-filled with panels of red brick and glazing. The original windows were multi-light steel casements however these have almost universally been replaced with uPVC casements.
PLAN: the building is five storeys high with a small attic storey. The factory floor is L-shaped in plan; the core is 3 bays wide by 16 bays deep, with a perpendicular wing to the rear, 3 bays wide by 3 deep, extending southwards. Another 3 bay by 3 bay wing projects to the north, which contains the main goods lift and stair; this was where the services and amenities for the building were housed. The front of the building is an additional two bays wide to the north, providing a vehicular access at street level. A roadway runs from this entrance, through the centre of the northerly service wing (where there is a weigh bridge), and down the side and rear of the building. To the rear there is a projecting stair and lift tower, and to the south there is a second projecting lift tower; this is later in date, but appears to use the same construction system. There is a third internal fire escape stair on the south side of the building which exits onto St Peter's Street at the front.
EXTERIOR: with the exception of the front, all elevations of the building are without architectural embellishment and form a regular pattern of concrete grid, brick, and glass. The concrete grid is also expressed on the front elevation, however here the concrete is also used decoratively to shape the elevation into a classical composition. There is a heavy cornice over the fourth storey, with recessed ribbing and nail-head corner stops; the fifth storey is treated as a classical attic, having smaller windows and a much plainer and shallower cornice above. The true attic storey is three bays wide, central to the elevation and set back from the front. The bays to the far left and right of the elevation are treated as towers, defined by slightly projecting pilaster-like verticals to either side. The 'capitals' of these pilasters take the form of a circular disk, flanked by triglyph-like elements. At ground floor there is a pedestrian and vehicular entrance/exit to either side of the elevation. These openings are framed by wide, flat, unmoulded architraves and above each of the vehicular openings is a framed panel (which once bore the name of the company) with a stylised tassel motif to either side. This panel with tassels motif is repeated within the parapet above the attic storey.
The exterior of the building is generally little altered, the most notable exception being the replacement of the windows. The largest windows to the front were originally 54-light windows, they are now 12-light windows, those to the sides and rear were mostly 45-light windows, these are now 8-light windows. On the front elevation a doorway has been inserted into the left-hand of the three central bays to give access into a site office from St Peter's Street.
INTERIOR: the interior is utilitarian; at each storey concrete pillars support beams and joists which support the floor above. The pillars get progressively smaller in cross-section at each storey up. Circular holes are cast into the joists, through which a conduit carrying electrical cable ran; in some places slots are cast into beams and joists to carry the motors which were suspended overhead, providing power to the factory machinery. The factory floors, which would have been completely open, are now divided into units with concrete block walls built between pillars. Fixtures and fittings which may have been associated with the service and amenity block (which included an office, boiler house, first-aid rooms, lavatories and rest rooms) do not survive.
Sources
The U.S. Air Force’s B-2 stealth bomber is a key component of the nation’s long-range strike arsenal, and one of the most survivable aircraft in the world. Its unique stealth characteristics allow it to penetrate the most sophisticated enemy defenses.
B-2 Technical Details
‧ Type: Strategic, long-range heavy bomber with low-observable technology and all-altitude capability to penetrate the most sophisticated air defenses in nuclear and conventional missions
‧ Power Plant: Four General Electric F118-GE-100 turbofans, each 17,300 lbs. thrust.
‧ Crew: Two (pilot and mission commander)
‧ Combat Ceiling: 50,000 feet
‧ Range: 6,000 nautical miles (unrefueled) 10,000 nautical miles with one refueling
‧ Maximum Gross Takeoff Weight: 336,500 lbs.
And...10 Cool Facts about the B-2
B-2 Technical Details
1 – It's an Engineering Marvel – To bring the B-2 to life, Northrop Grumman had to invent all components from scratch. That list included tools, a software laboratory, composite materials, special test equipment, and 3-D modeling and computer systems. Related manufacturing processes were also created.
2 – Why it’s No. #1 – When the U.S. must go to war, the B-2 is there on the first night. The B-2 went into enemy territory on Night One in support of Operation Allied Force (Serbia); Operation Enduring Freedom (Afghanistan); Operation Iraqi Freedom (Iraq) and twice in Libya in support of Operation Odyssey Dawn and Operation Odyssey Lightning. The B-2, one of the most survivable aircraft in the world, is the only aircraft to combine long-range, stealth and a heavy payload on a single platform.
3 – Legendary Combat Debut – The B-2 saw its first operational use during Operation Allied Force. Two B-2s flew more than 31 hours from Whiteman Air Force Base in Missouri to Kosovo. They attacked multiple targets, then flew directly back. The B-2s flew less than 1 percent of the total missions, yet destroyed 33 percent of the targets during the first eight weeks of conflict.
4 – Beast Mode: Longest Aerial Combat Mission in History – The B-2 holds the record for longest air combat mission in history. In 2001, the Spirit of America and five other B-2s were the first to enter Afghan airspace for a record setting 44-hour mission. The aircraft’s performance is even more impressive in that the B-2 made a quick pit stop for a 45-minute crew and service change with engines still running. It then flew back to Missouri for another 30-hour flight for a total of more than 70 consecutive hours.
5 – Red Carpet Realness – When Hollywood needs a “super bomber” to make a cameo and fight off a giant monster or an alien invasion, the red carpet is rolled out for the B-2. With an unmistakable silhouette and flying wing design, it’s easily one of the most recognized aircraft in the world. It has appeared in movies including “Independence Day,” “Armageddon,” “Iron Man 2,” “Cloverfield,” “Airplanes,” “Rampage” and, most recently, “Captain Marvel.”
6 – The Team Today – Northrop Grumman continues to upgrade and enhance the B-2’s capabilities, and service every B-2 aircraft. From the extensive programmed depot maintenance that ranges from the complete restoration of the jet’s exterior surfaces to software engineering, testing and development. Our employees also lead vehicle engineering, logistics and product support for the aircraft.
7 – Dimensions – The B-2 is 69 feet long, 17 feet high and has a wingspan of 172 feet, half the length of a football field.
8 – High Subsonic – The B-2 can reach a high subsonic speed and can also reach an altitude of more 50,000 feet.
9 – Intercontinental Range – The B-2 can travel 6,000 nautical miles without refueling and 10,000 nautical miles with only one refueling. It can reach any point in the world within hours.
10 – Payload – A B-2 can carry a payload of 20 tons.
Technical Information (or Nerdy Stuff):
Camera - Nikon D5200 (handheld)
Lens – Nikkor 18-300mm Zoom
ISO – 100
Aperture – f/5.6
Exposure – 1/400 second
Focal Length – 300mm
The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS6.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the link below:
Escuela Agrotécnica Salesiana “Carlos M. Casares”
La Escuela Agrotécnica Salesiana “Carlos M. Casares” ubicada en Del Valle, perteneciente a la Región bonaerense de 25 de Mayo. La comunidad, distante a 5 Km. del centro urbano. Donada en 1925 por la señora Concepción U. de Casares.Institución privada a cargo de salesianos, actualmente, está incorporada como Instituto privado al Ministerio de Educación de la Provincia.
Los alumnos deben permanecer internados en el colegio de Lunes a Viernes. La escuela pertenece a la Obra de Don Bosco, por lo que destaca su carisma Salesiano. Además de las asignaturas correspondientes al ciclo secundario o Polimodal, los alumnos tienen formación profesional , que va desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. La Escuela Agrotécnica ofrece una propuesta educativa basada en la práctica de actividades rurales, en áreas de producción agrícola, ganadera e industrial, con acciones que van desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. Este proceso de fabricación y todas las actividades productivas tienen como resultado una gran cantidad de desechos que no son utilizados. Para lograr convertir los remanentes se fabricó el “biodigestor”.
Muchas personas de esta comunidad trabajan en dicha institución que es todo un orgullo local
TRASLATOR
Escuela Agrotécnica Salesiana “Carlos M. Casares”
The Salesian Agrotechnical School "Carlos M. Casares" located in Del Valle, belonging to the Buenos Aires Region of 25 de Mayo. The community, 5 km away from the urban center. Donated in 1925 by Mrs. Concepción U. de Casares. Private institution run by Salesians, currently, it is incorporated as a private Institute to the Ministry of Education of the Province.
Students must remain interned in the school from Monday to Friday. The school belongs to the Work of Don Bosco, for which its Salesian charism stands out. In addition to the subjects corresponding to the secondary cycle or Polimodal, the students have professional training, which goes from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. The Agrotécnica School offers an educational proposal based on the practice of rural activities, in areas of agricultural, livestock and industrial production, with actions ranging from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. This manufacturing process and all productive activities result in a large amount of waste that is not used. In order to convert the remnants, the "biodigester" was manufactured.
Many people of this community work in this institution that is a local pride
This colorless synthetic diamond from Apollo Diamond may pose a bit of a challenge to the African warlords and the De Beers cartel.
This diamond has the same atomic structure as a mined diamond, and is therefore optically, chemically and physically identical. But Apollo plans to get the cost down to $10/carat with high volume manufacturing.
It is grown one carbon atom at a time in a customized CVD (chemical vapor deposition) process. A perfect seed crystal starts the process (over time, Apollo has enlarged the “seed” to wafer scale). The seed is placed in a microwave chamber with a hydrogen + methane plasma heated to 1300 degrees that rains reactive carbon down onto the seed, growing ~1 carat per 12 hours.
Although the manufacturing process should produce diamonds with fewer flaws than mined diamonds, this early diamond has some defects that I could only see with the macro lens (inclusions and a crown notch. I’m just happy to have a version with personality. =)
It is 8mm wide by 2mm deep. Right now the 2mm depth is the critical manufacturing limit, and it affects the ability to do a standard brilliant diamond cut. So this one is flat and wide. But they can make sheets of diamond with this thickness. Imagine a diamond window pane, or semiconductor wafers that can run at 81 Ghz without elaborate cooling.
Next Generation Air Dominance
For the US Navy's own distinct sixth-generation air superiority fighter program, also called Next Generation Air Dominance, see F/A-XX program.
The Next Generation Air Dominance (NGAD) is a United States Air Force (USAF) sixth-generation air superiority initiative with a goal of fielding a "family of systems" that is to replace the Lockheed Martin F-22 Raptor.[1][2] A manned fighter aircraft is the centerpiece program of NGAD and has been referred to as the Penetrating Counter-Air (PCA) and is to be supported by uncrewed collaborative combat aircraft (CCA), or loyal wingman platforms, through manned-unmanned teaming (MUM-T).[3]
Next Generation Air Dominance (NGAD)
Variations
Next Generation Adaptive Propulsion (NGAP), F/A-XX program (Navy)
The NGAD originates from DARPA's Air Dominance Initiative study in 2014, and is expected to field the new fighter aircraft in the 2030s. While having an identical name and sharing some technology developments, the program is distinct from the U.S. Navy's NGAD program, which has the F/A-XX as its fighter component and would have a similar fielding timeframe.
History
The NGAD originated from DARPA studies initiated in 2014 to explore concepts for air superiority systems of the 2030s for the U.S. Air Force and U.S. Navy. DARPA had completed its Air Dominance Initiative study in March 2014 and based on the results, the Department of Defense acquisition chief Frank Kendall launched the Aerospace Innovation Initiative (AII) in 2015 to develop X-plane prototypes to demonstrate technology for future aircraft.[4] In 2016, the USAF followed up the DARPA studies with the Air Superiority 2030 (AS 2030) flight plan, but while the plan stated the need for a family of systems, it was still focused on a specific member of the family called the Penetrating Counter-Air (PCA).[5][6] In 2018, AS 2030 evolved into the NGAD and expanded its focus from a single addition towards a suite of capabilities.[7]
The NGAD aims to develop several key technologies in areas such as propulsion, stealth, advanced weapons,[8] digital design (CAD-based engineering),[9][10] and thermal management of the aircraft signature.[11] The program changes traditional Air Force acquisition[12] by the separation of design, production, and support functions in the development process with a $9 billion budget through 2025.[13][14] More frequent industry competitions and simulations in the design and manufacturing process are characteristic of the development program.[15] NGAD is described as a "family of systems", with a fighter aircraft as the centerpiece of the system, and other parts of the system likely to be uncrewed collaborative combat aircraft to carry extra munitions and perform other missions.[16] In particular, NGAD aims to develop a system that addresses the operation needs of the Pacific theater of operations, where current USAF fighters lack sufficient range and payload. USAF commanders have noted that there may be two variants of NGAD: one with long range and payload for the Indo-Pacific and one more oriented to the relatively short ranges between possible battle areas in Europe.[16] The fighter is expected to leverage adaptive cycle engines being developed under the Adaptive Engine Transition Program (AETP) and Next Generation Adaptive Propulsion (NGAP) program, with flight ready engines expected by 2025.[17]
The crewed fighter component of the NGAD was briefly envisioned to follow the rapid development and procurement cycles of the "Century Series" fighter aircraft of the 1950s and 1960s; dubbed "Digital Century Series" by Assistant Secretary of the Air Force (SAF/AQ) Will Roper, fighter designs would be continually iterated to enable the rapid insertion of new technology and procured in small batches. In September 2020, Roper stated that a full-scale prototype of the NGAD fighter aircraft has been flown.[18] In May 2021, chief of staff of the USAF General Brown stated that the NGAD will start replacing the F-22 once it is operational in sufficient quantity, with the fielding goal in the 2030s.[19] The F-22 has also been used to test NGAD technology and some advances are expected to be applied to the F-22 as well.[20]
Due to the complexity and sophistication of modern aircraft design, however, the "Digital Century Series" concept was eventually abandoned in lieu of a more traditional development and procurement approach. In June 2022, the USAF determined that critical technologies were ready to support the program for Engineering and Manufacturing Development (EMD) and the formal solicitation was announced in May 2023, with the goal of source selection in 2024.[21][22][23]
Developments
The cost of each plane was not disclosed by Secretary of the Air Force Frank Kendall, but is expected to be in the hundreds of millions. "It's going to be an expensive airplane" said Frank Kendall. In 2023, the Air Force's force structure planning projects approximately 200 manned NGAD fighters, although this is a notional figure for rough planning assumptions.[24][25]
SMG Consulting shared an infographic on the program, showing dimensions, cost, and combat radius, based on the Lockheed Martin 6th generation fighter artist impressions.[26][27]
See also
Global Combat Air Programme
Mikoyan PAK DP
Future Combat Air System
BAE Systems Tempest
References
Last edited 3 days ago by Kehkou
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Monumental entrance into Queen Mary's Garden, once the home of the original Royal Botanic Society & greenhouse.
Between 1838 and 1932 the gardens within the Inner Circle were leased to the Royal Botanic Society and laid out to demonstrate the visual qualities of plants. The plants were grouped according to their uses in medicine, agriculture, or manufacturing processes.
In 1935 the gardens were re-opened as Queen Mary's Gardens.
The Jubilee Gates at the south entrance to Queen Mary's Gardens, Regents Park. The gates were officially opened by Queen Mary on 6th May 1935 after the remodelling of the gardens and were commissioned for the Silver Jubilee of King George V. Designed 1955 - 1965, by John Gay.
Source: Historic England - historicengland.org.uk/listing/the-list/list-entry/1000246
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.
"Although the monogram on the enamel plate shows this as a George VI box, the initials on the aperture casting have been modified. This was originally an Edward VIII box, that was adapted during the manufacturing process. As such, it's probably unique." Quoted from 'On the Trail of Edward VIII' by David Chandler.
Original examples are rare as Edward VIII only reigned for less than a year, from 20 January 1936 to 11 December 1936. After his abdication, most boxes bearing his cypher were modified or replaced. Quoted from Wikimedia.
Edward VIII Post Box, Crown Terrace, Glasgow- G12 173D
Edward VIII Wall Box, Forgandenny - PH2 120
Edward VIII Pillar Box, Glasgow - G44 204
Edward VIII Pillar Box, Glasgow - G12 263
Edward VIII Pillar Box, Glasgow - G41 187
Edward VIII Pillar Box, Balloch - G83 48
Edward VIII Pillar Box, Balloch (New Location) - G83 48
Edward VIII Pillar Box, Glasgow - G41 131
Presented at ESA’s Advanced Manufacturing workshop, this 1.5 m-long hard polymer bar was produced using a 3D printer that is much smaller than it is.
The printer is capable of printing parts of unlimited dimensions in a single direction. It is a ground demonstrator version of 3D printing technology which is ultimately intended for use aboard the International Space Station.
ESA advanced manufacturing engineer Advenit Makaya explains: “Developing out-of-Earth manufacturing solutions for large parts, in a human exploration context such as here and later on for spacecraft structural parts will be essential in enhancing the sustainability and robustness of future space missions.”
Known as Project IMPERIAL, the aim is to develop out-of-Earth manufacturing methods that overcome the build constraints of current 3D printers, enabling easy onboard building and maintenance to enhance the self-sufficiency of future space missions.
“With this activity we have overcome one of the main limitation of 3D printing – the build volume - while using a compact 3D printer capable to process high performance thermoplastics,” notes ESA materials specialist Ugo Lafont. “This is a great achievement that will extend the application field of this on-demand manufacturing process.”
The project is being undertaken for ESA by a consortium led by OHB in Germany, with Azimut Space in Germany, Athlone Institute of Technology in the Republic of Ireland and BEEVERYCREATIVE in Portugal developing the 3D printer.
“Innovating within a working group, – the consortium and ESA technical officers – that fully cooperates and creates synergies, has been a great pleasure,” says Aurora Baptista, CEO of BEEVERYCREATIVE. “It adds to the honor of contributing to an advance that enlarges the concept of being global.”
The company has shared video from a test printing here.
Credits:
BEEVERYCREATIVE
This former motor vehicle factory was built in 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, for Tilling-Stevens Ltd. It is an example of a factory designed using the Kahn Daylight System. The various sheds which adjoin the factory building to the south are not of special interest.
Reasons for Designation
The former Tilling-Stevens factory, 1917 by Wallis, Gilbert and Partners, in collaboration with Truscon, is designated at Grade II for the following principal reasons: * Historic interest: the building is the earliest surviving by the practice of Wallis, Gilbert and Partners, the foremost factory architects of the inter-war period; it is also one of few surviving examples of their early Daylight factories not to have undergone significant alteration; * Technical interest: the building is one of few surviving examples of a group of English factories built using the Kahn Daylight System, an adaptable, efficient and influential system of factory building, developed in America for the construction of automotive factories; * Architectural interest: the front elevation of this imposing building employs the compositional devices and decorative motifs which became synonymous with the work of Wallis, Gilbert and Partners; the powerful rationality of its other elevations expresses the modern approach to industrial architecture that its design, construction and layout embodies.
History
In 1916 Thomas Wallis (1872-1953) founded the architectural practice of Wallis, Gilbert and Partner (becoming Wallis, Gilbert and Partners the following year). In the early years of the practice it worked in close collaboration with Trussed Concrete Steel Limited (Truscon). Truscon's proprietary system of concrete reinforcement had been developed by the Kahn family, who had set up Truscon to exploit the system in America; an English branch of the company formed in 1907. In America the Kahn system had been applied to the creation of a particular model of factory design which was based on a regular grid of column, beam and slab, in which the concrete frame was fully exposed, and the external walls were glass-filled, it was called the 'Kahn Daylight System' of factory design. The best known and most influential American example is Henry Ford's Highland Park Ford Plant, Michigan, designed and built in 1908 by Albert Kahn. Truscon built several Daylight factories in Britian prior to the partnership with Wallis, Gilbert and Partners (including three in Scotland), but the only English one known to survive in anything like original condition is Enterprise House, Hayes, of 1912, listed Grade II.
Together, Wallis, Gilbert and Partners and Truscon designed and constructed of a number of Daylight factories in England, of which the Tilling-Stevens factory is the earliest surviving. Wallis Gilbert and Partners went on to great success as an architectural practice, designing many factories and commercial buildings in the interwar period. One of their best known works is the Grade II* listed former Hoover Factory (1932-35) in Ealing.
Tilling-Stevens Ltd was formed in 1915 after WA Stevens, inventor of the petrol-electric motor, met Richard Tilling of Thomas Tilling Ltd, London's oldest omnibus operator (established 1847). The men recognised the potential for petrol-electric transmission in motorised buses, and the companies went into partnership together, manufacturing their own vehicles. New premises were added to Stevens' Maidstone works (known as the Victoria Works) in 1912, and following the formation of Tilling-Stevens Limited the works were enlarged again with the construction of the Wallis Gilbert and Partners factory in 1917 to accommodate production for war requirements.
The original design for the factory was a five-storey hollow rectangle, with a central, glazed, single-storey space within the well, which would contain part of the assembly shop. It was designed to be built in stages, with the south and west sides of the rectangle shown on the plans as 'future extension' (J Skinner 1997, 50). It is thought likely that the decision only to build the north and east sides of the rectangle was taken at an early stage, as the attic storey is centred over the existing front elevation. The factory was designed so as to accommodate all the various manufacturing processes in a downward flow through the building, each level being linked by electric lifts. Power was supplied to work stations by shafted over-head motors suspended from the beams.
In the early 1950s Tilling-Stevens was taken over by the Rootes Group, which was itself taken over in the mid-1960s by Chrysler (UK) Ltd; the Tilling-Stevens factory closed in 1975.
Details
The factory is constructed of a regular reinforced concrete grid, expressed throughout the exterior of the building; the front elevation, also of concrete, is dressed to present a classically-styled composition to the street.
MATERIALS: the building is composed of a grid of exposed horizontal and vertical reinforced concrete members, which divide the building into 20' by 20' bays; on the outer faces of the building the bays are in-filled with panels of red brick and glazing. The original windows were multi-light steel casements however these have almost universally been replaced with uPVC casements.
PLAN: the building is five storeys high with a small attic storey. The factory floor is L-shaped in plan; the core is 3 bays wide by 16 bays deep, with a perpendicular wing to the rear, 3 bays wide by 3 deep, extending southwards. Another 3 bay by 3 bay wing projects to the north, which contains the main goods lift and stair; this was where the services and amenities for the building were housed. The front of the building is an additional two bays wide to the north, providing a vehicular access at street level. A roadway runs from this entrance, through the centre of the northerly service wing (where there is a weigh bridge), and down the side and rear of the building. To the rear there is a projecting stair and lift tower, and to the south there is a second projecting lift tower; this is later in date, but appears to use the same construction system. There is a third internal fire escape stair on the south side of the building which exits onto St Peter's Street at the front.
EXTERIOR: with the exception of the front, all elevations of the building are without architectural embellishment and form a regular pattern of concrete grid, brick, and glass. The concrete grid is also expressed on the front elevation, however here the concrete is also used decoratively to shape the elevation into a classical composition. There is a heavy cornice over the fourth storey, with recessed ribbing and nail-head corner stops; the fifth storey is treated as a classical attic, having smaller windows and a much plainer and shallower cornice above. The true attic storey is three bays wide, central to the elevation and set back from the front. The bays to the far left and right of the elevation are treated as towers, defined by slightly projecting pilaster-like verticals to either side. The 'capitals' of these pilasters take the form of a circular disk, flanked by triglyph-like elements. At ground floor there is a pedestrian and vehicular entrance/exit to either side of the elevation. These openings are framed by wide, flat, unmoulded architraves and above each of the vehicular openings is a framed panel (which once bore the name of the company) with a stylised tassel motif to either side. This panel with tassels motif is repeated within the parapet above the attic storey.
The exterior of the building is generally little altered, the most notable exception being the replacement of the windows. The largest windows to the front were originally 54-light windows, they are now 12-light windows, those to the sides and rear were mostly 45-light windows, these are now 8-light windows. On the front elevation a doorway has been inserted into the left-hand of the three central bays to give access into a site office from St Peter's Street.
INTERIOR: the interior is utilitarian; at each storey concrete pillars support beams and joists which support the floor above. The pillars get progressively smaller in cross-section at each storey up. Circular holes are cast into the joists, through which a conduit carrying electrical cable ran; in some places slots are cast into beams and joists to carry the motors which were suspended overhead, providing power to the factory machinery. The factory floors, which would have been completely open, are now divided into units with concrete block walls built between pillars. Fixtures and fittings which may have been associated with the service and amenity block (which included an office, boiler house, first-aid rooms, lavatories and rest rooms) do not survive.
Closeup of the handle from the of a bronze Etruscan cista, which is in the form of a female acrobat, bent over backwards. She's naked, saved clog-like shoes.
The decorative engravings on the cista represent figures, some of which are identified by engraved names suggesting a connection with the events of the Trojan War. Unfortunately, the names are obscured, so identification is not certain.
Praenestine cistae are sumptuous metal boxes mostly of cylindrical shape. They have a lid, figurative handles, and feet separately manufactured and attached. Cistae are covered with incised decoration on both body and lid. Little studs are placed at equal distance at a third of the cista’s height all around, regardless of the incised decoration. Small metal chains were attached to these studs and probably used to lift the cistae.
As funerary objects, cistae were placed in the tombs of the fourth-century BCE necropolis at Praeneste. This town, located 37 kilometers southeast of Rome in the region of Latium Vetus, was an Etruscan outpost in the seventh century B.C., as the wealth of its princely burials indicates. Excavations conducted at Praeneste in the nineteenth and beginning of the twentieth century were primarily aimed at the recovery of these precious-metal objects. The subsequent demand for cistae and mirrors caused the systematic plundering of the Praenestine necropolis. Cistae acquired value and importance in the antiquities market, which also encouraged the production of forgeries. Four Praenestine cistae, out of a total of 118 specimens so far recovered, are in New York City (three in the Metropolitan Museum and this one in the collection of the Morgan Library).
Cistae are a very heterogeneous group of objects, but vary in terms of quality, narrative, and size. Artistically, cistae are complex objects in which different techniques and styles coexist: engraved decoration and cast attachments seem to be the result of varying technical expertise and different traditions. Collaboration among craftsmen was required for their two-stage manufacturing process: the decoration (casting and engraving) and the assembly.
The most famous cista and the first to be discovered is the Ficoroni presently in the Museum of Villa Giulia in Rome, named after the well-known collector Francesco Ficoroni (1664–1747), who first owned it. Although the cista was found at Praeneste, its dedicatory inscription indicates Rome as the place of production: NOVIOS PLVTIUS MED ROMAI FECID/ DINDIA MACOLNIA FILEAI DEDIT (Novios Plutios made me in Rome/ Dindia Macolnia gave me to her daughter). These objects have often been taken as examples of middle Republican Roman art. However, the Ficoroni inscription remains the only evidence for this theory, while there is ample evidence for a local production at Praeneste.
The high-quality Praenestine cistae often adhere to the classical ideal. The proportions, composition, and style of the figures indeed present close connections and knowledge of Greek motifs and conventions. The engraving of the Ficoroni cista portrays the myth of the Argonauts, the conflict between Pollux and Amicus, in which Pollux is victorious. The engravings on the Ficoroni cista have been viewed as a reproduction of a lost fifth-century painting by Mikon. Difficulties remain, however, in finding precise correspondences between Pausanias’ description of such a painting and the cista.
The function and use of Praenestine cistae are still unresolved questions. We can safely say that they were used as funerary objects to accompany the deceased into the next world. It has also been suggested that they were used as containers for toiletries, like a beauty case. Indeed, some recovered examples contained small objects such as tweezers, cosmetic boxes, and sponges. The large size of the Ficoroni cista, however, excludes such a function and points toward a more ritualistic use.
Etruscan, ca. 4th-1st century BCE. Discovered in the excavation of Palestrina (the ancient Praeneste), near Rome, in 1864.
Height (with lid): 14 1/4 in. (358 mm)
Box diameter: 8 3/4 in. (222 mm)
Morgan Libray and Museum, New York (AZ046a-b)
Arnhem, the Netherlands
Re-post, I found this car parked near why I lived at that time. The shot is taken on May 27th 2010 but really loved the angle and background so I wanted to share it with you, again for some of you.
Truly great luxury sports cars are few and far between. In a world where innovation is all too often hampered by compromise, pure performance is a rarity available only to the genuinely discerning. Designed as the ultimate driving experience, the Aston Martin DBS bridges the gap between road and track – DB9 and DBR9. Equally at home on a twisting mountain circuit as on the open road, the DBS is a true thoroughbred.
The Aston Martin DBS is a 6.0-litre V12 powered, race-bred, two-seater shaped by the aerodynamic demands of high performance, with an exquisite interior that marries beautifully hand-finished materials with the very latest in performance technology. A combination of elegant design, innovative manufacturing processes, race-derived materials and components and Aston Martin’s unrivalled hand-build expertise makes the DBS a luxury sports car without equal.
When I walked to the supermarket this morning i stumbled on this gorgious Aston Martin. She stood on the sidewalk on a little bridge and was just screaming to get some shots taken of her.
The Aston Martin DBS is the most beautiful Aston in my opinion, I really love the combination of classic and atletic lines.
At the heart of future rocket engines lifting off to the Moon or Mars could be a 3D printed combustion chamber. Multiple NASA centers partnered with Virgin Orbit to develop and test a uniquely manufactured rocket part.
Virgin Orbit air launches rockets carrying small satellites to space. The company partnered with NASA experts in combustion and additive manufacturing, or 3D printing, at NASA’s Marshall Space Flight Center in Huntsville, Alabama; Glenn Research Center in Cleveland; and Armstrong Flight Research Center in Edwards, California. Their goal: to create a 3D printed combustion chamber that combines multiple materials and takes advantage of cutting-edge manufacturing processes.
Here, Engineers test-fire a 3D-printed rocket engine combustion chamber at NASA’s Marshall Space Flight Center in Huntsville, Alabama.
Image Credit: NASA/Virgin Orbit
Escuela Agrotécnica Salesiana “Carlos M. Casares”
La Escuela Agrotécnica Salesiana “Carlos M. Casares” ubicada en Del Valle, perteneciente a la Región bonaerense de 25 de Mayo. La comunidad, distante a 5 Km. del centro urbano. Donada en 1925 por la señora Concepción U. de Casares.Institución privada a cargo de salesianos, actualmente, está incorporada como Instituto privado al Ministerio de Educación de la Provincia.
Los alumnos deben permanecer internados en el colegio de Lunes a Viernes. La escuela pertenece a la Obra de Don Bosco, por lo que destaca su carisma Salesiano. Además de las asignaturas correspondientes al ciclo secundario o Polimodal, los alumnos tienen formación profesional , que va desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. La Escuela Agrotécnica ofrece una propuesta educativa basada en la práctica de actividades rurales, en áreas de producción agrícola, ganadera e industrial, con acciones que van desde la fabricación de quesos hasta la cría de cerdos y desde carpintería hasta inseminación artificial de ganado vacuno. Este proceso de fabricación y todas las actividades productivas tienen como resultado una gran cantidad de desechos que no son utilizados. Para lograr convertir los remanentes se fabricó el “biodigestor”.
Muchas personas de esta comunidad trabajan en dicha institución que es todo un orgullo local
TRASLATOR
Escuela Agrotécnica Salesiana “Carlos M. Casares”
The Salesian Agrotechnical School "Carlos M. Casares" located in Del Valle, belonging to the Buenos Aires Region of 25 de Mayo. The community, 5 km away from the urban center. Donated in 1925 by Mrs. Concepción U. de Casares. Private institution run by Salesians, currently, it is incorporated as a private Institute to the Ministry of Education of the Province.
Students must remain interned in the school from Monday to Friday. The school belongs to the Work of Don Bosco, for which its Salesian charism stands out. In addition to the subjects corresponding to the secondary cycle or Polimodal, the students have professional training, which goes from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. The Agrotécnica School offers an educational proposal based on the practice of rural activities, in areas of agricultural, livestock and industrial production, with actions ranging from the manufacture of cheeses to the raising of pigs and from carpentry to artificial insemination of cattle. This manufacturing process and all productive activities result in a large amount of waste that is not used. In order to convert the remnants, the "biodigester" was manufactured.
Many people of this community work in this institution that is a local pride
Ghirardelli Chocolate Company was incorporated in 1852, and is the second-oldest chocolate company in the United States], after Baker's Chocolate.
Ghirardelli is one of the few chocolate companies in the United States to control every aspect of its chocolate manufacturing process, rejecting up to 40% of the cocoa beans shipped in order to select what the company calls the"highest quality" beans. The company then roasts the cocoa beans in-house by removing the outer shell on the bean and roasting the inside of the bean, or the nibs. The chocolate is then ground and refined until the flakes are 19 micrometers in size.(wiki)
Lets forget about other things, i am so ready to eat Ghirardelli.You will even get a free piece of Ghirardelli when you visit Walt Disney World in Orlando.
Also to view more of my photos click below.
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.
Image copyright www.kevinobrian.co.uk/
Louisiana Museum og Modern Art: "Diego Rivera had been invited to Detroit to paint large-format frescoes portraying the industrial manufacturing process at the Ford Motor Company. Kahlo accompanied him, and in this early major work she describes the contrast between the countries, while standing om a pedestal in an elegant dress, a small Mexican flag and a cigarette in her hands. She has turned her head to the indigenous, nature-loving, lively Mexican side; she is quite obviously not interested in the technical American side. The generators on the American side are nonetheless supplied with energy by the roots of the Mexican plants, which in turn is delivered to the pedestal and thus to Frida Kahlo herself. The moon represents the female principle, the sun the male."
en.wikipedia.org/wiki/Frida_Kahlo
A green leaf is green because of the presence of a pigment known as chlorophyll, which is inside an organelle called a chloroplast. When they are abundant in the leaf's cells, as they are during the growing season, the chlorophylls' green color dominates and masks out the colors of any other pigments that may be present in the leaf. Thus the leaves of summer are characteristically green.[6]
In this leaf, the veins are still green while the other tissue is turning red. This produces a fractal-like pattern
Chlorophyll has a vital function: that of capturing solar rays and utilizing the resulting energy in the manufacture of the plant's food — simple sugars which are produced from water and carbon dioxide. These sugars are the basis of the plant's nourishment — the sole source of the carbohydrates needed for growth and development. In their food-manufacturing process, the chlorophylls themselves break down and thus are being continually "used up". During the growing season, however, the plant replenishes the chlorophyll so that the supply remains high and the leaves stay green.
In late summer, as daylight hours shorten and temperatures cool, the veins that carry fluids into and out of the leaf are gradually closed off as a layer of special cork cells forms at the base of each leaf. As this cork layer develops, water and mineral intake into the leaf is reduced, slowly at first, and then more rapidly. It is during this time that the chlorophyll begins to decrease.
Often the veins will still be green after the tissues between them have almost completely changed color.
I've been tagged. A big part of me is my work, so here are my 10 favorite papers I've published:
2009- The effects of repeat collaboration on creative abrasion
We developed a theory of why repeat collaboration in highly creative projects can lead to less creative outcomes, and suggested what teams can do about it.
2007- Dynamics of organizational emergence: Pace, punctuation, and timing in nascent entrepreneurship
We posited and empirically validated that successful entrepreneurial ventures have a certain “rhythm”; it’s all about momentum.
2006- An emergence event in new venture creation: Measuring the dynamics of nascent entrepreneurship
This was the first paper published in organizational theory that actually collected data and tested a complexity science model.
2003- Merger as marriage: Communication issues in post-merger integration
Not widely read, but I love how insightful the metaphor is.
2002- Studying complex discursive systems: Centering resonance analysis of organizational communication
This was the paper that explained the computerized text analysis method we invented, which then spun off into its own company.
2002- The dynamics of electronic media coverage
Our analysis of media coverage of 9-11.
2001- Supply networks and complex adaptive systems: Control versus emergence
This was the first paper published in supply chain management discussing the implications of complexity science. Most cited article.
1999- Explaining complex organizational dynamics
Here we laid out what randomness and chaos meant if you found them in organizational data.
1997- A complex adaptive systems model of organization change
My definition of a complex adaptive system in this paper is the one used in Wikipedia.
1986- An integrated quality systems approach to quality and productivity improvement in continuous manufacturing processes
My first published paper…
Once a common sight across the country the coal train is now firmly on the endangered list. Leaving Margam Knuckle Yard with empties for Cwmbargoed is 66128. These wagons will be loaded with Welsh 'black gold' before returning here to Margam, then onwards to Earles Sidings, Hope. The product being used in the cement manufacturing process.
KPM Berlin The Box, Hackesche Höfe, Berlin
"The Königliche Porzellan-Manufaktur Berlin (KPM) was founded on September 19, 1763 by Frederick the Great and has been based in Berlin since the year it was founded. Even today, KPM is still a manufactory that produces all porcelains, services and figurative porcelains, almost exclusively by hand, and executes decorations using free hand painting. [...]
On September 19, 1763, Frederick the Great acquired the [...] company for 225,000 Prussian Reichstalers. [...] The actual success story of the now Royal Porcelain Manufactory Berlin began with the takeover of the manufactory by Frederick the Great.
The king took over the entire staff of 146 employees and gave the manufactory its name and trademark: the royal scepter from the coat of arms of the Elector of Brandenburg. From then on it was called Königliche Porzellan-Manufaktur Berlin and became a model company: the employees had fixed, regular working hours, received an above-average income, were covered by their own company health insurance and acquired a secure pension entitlement. In addition, there was no child labor at the Königliche Porzellan-Manufaktur Berlin. Provisions have also been made to provide for surviving widows and orphans. In the years that followed, the manufacturing process was streamlined and the techniques perfected.
One of the manufactory's most important clients was Frederick the Great himself, who jokingly called himself his “best customer”. From 1763 until his death in 1786, the king ordered porcelain from KPM to the value of 200,000 Reichstalers. For his castles alone, he commissioned 21 dinner services. These services usually had 36 place settings and consisted of up to 500 individual parts as well as ornate figurative centerpieces. [...]
As the owner of the KPM, the king specifically used the white gold as a means of diplomacy. His state gifts often came from the factory and were found in the Russian Tsarist house as well as on the tables of the leading European royal houses. [...] "
(translated from German Wikipedia entry)
Gama plastic Ford Taunus 17m P2 estate car. Made in West Germany, this has 'GAMA 455' on the front registration plate which I take to be the range number. Length approx. 205mm which works out about 1:21 scale.
This is unusual in that the body is formed of a translucent plastic which is painted red on the outside, and also partly on the inside, notably the inside of the roof. The roof was then painted white on the outside. This all seems to be original. The window are a separate clear plastic part.
I had originally intended to restore this, but have decided against that, as in the current state it shows the manufacturing process very well.
Historic Harpers Ferry, West Virginia is one of those places that have deep roots in America's growth. Early in it's life it was the start point of explorers Lewis & Clark, charged by Jefferson to explore and map the newly acquired Louisiana Purchase territory, find a practical route across the Western half of the continent, and establish an American presence in this territory before Britain and other European powers tried to claim it. Sounds easy. Not! Anyway, it's a beautifully restored and maintained place, abounding in period buildings, stone walls and two rivers merging. It had been way too long since I last visited and jumped at the suggestion from my brothers about where we should go to shoot.
Some interesting, and possibly surprising, facts about Harpers Ferry :
- visited by George Washington on his very first surveying expedition at the age of 17.
- was cited by Thomas Jefferson, after a visit, as such a beautiful spot that it was worth a trip across the Atlantic.
- was the starting place of the Lewis and Clarke expedition.
- was the site of the first crossing of the Potomac by a railroad, on the first structural steel bridge in the world.
- was the industrial town where using interchangeable parts in a manufacturing process was first invented and proven practical.
- was the site of the John Brown raid which precipitated the Civil War.
- was the first command of Stonewall Jackson, who raised and trained his famed Brigade here.
- was the site of three Civil War battles, the major one involving over 30,000 troops on both sides which resulted in the largest surrender of US troops until Bataan in WWII.
- was a bastion of elevating African Americans, with the first real academic college (Storer College) to educate freed slaves in all aspects of higher learning, rather than sewing and other trades.
- was the site of the Founding in the US of the Niagara movement, which later evolved into the NAACP.
- was a town which, despite unfortunate racism by some, way before its time encouraged African-American entrepreneurs, one of whom built and managed the fabled Hilltop House Hotel.
- was a major retreat center in the late nineteenth and early twentieth century for many notables, including seven presidents, Mark Twain, and many others.
- was cited by art history experts as the most "painted town" in America, because of its spectacular scenery.
Single exposure, Nikon D700, Nikkor 24-85, f/11, 1/125s, ISO 200, polarizer.
All of my images are protected by United States and international copyright laws. They may be reproduced only with written permission. Copyright © 2013 Tom Lussier Photography. All rights reserved.
While the photos are listed as "public", they are not public domain, nor are they free stock images. Use without written consent by the author is illegal and punishable by law. If you want to use any of my images, for any reason, please send me an email first. Thank you.