View allAll Photos Tagged Manufacturing_process
The existing Freeport Community Center & a historic Edward B. Mallett house has been joined by a spacious addition to provide new social services offices, thrift store, teen center, coffee bar & multi-funtion community room. Not only was there a goal to preserve history landmarks....but to obtain serious energy savings!
Hunter XCI Foil product is used in the construction of the renovation & addition of the Freeport Community Center.. XCI Foil is a high thermal, rigid building insulation composed of a closed cell polyiso foam core bonded on-line during the manufacturing process to an impermeable foil facing material. It is designed for use in commercial cavity wall applications to provide continuous insulation within the building envelope.
Hunter Xci polyiso products:
- Have the highest R-Value per inch of any insulation
- NFPA 285 TEST - Passed
- Energy Star approved
- Contribute toward LEED certification credits
- HCFC, CFC, zero ODP, and negligable GWP.
Construction by: Warren Construction
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the grand scope of World War 2 fighter aircraft there is a little-remembered French design designated the Arsenal "VG-33". The aircraft was born from a rather lengthy line of prototype developments put forth by the company in the years leading up to World War 2 and the VG-33 and its derivatives represented the culmination of this work before the German invasion rendered all further work moot.
The Arsenal de l'Aeronautique company was formed by the French government in 1936 ahead of World War 2. It began operations with dedicated design and development of a fast fighter type until the German conquer of France in 1940 after which the company then focused on engine production after 1945. Then followed a period of design and construction of gliders and missiles before being privatized in 1952 (as SFECMAS). The company then fell under the SNCAN brand label and became "Nord Aviation" in 1955.
The VG-33 was the result of the company's research. Work on a new fast fighter began by Arsenal engineers in 1936 and the line began with the original VG-30 prototype achieving first flight on October 1st, 1938. Named for engineer Vernisse (V) and designer Jean Gaultier (G), the VG-30 showcased a sound design with good performance and speed during the tests, certainly suitable for progression as a military fighter and with future potential.
Development continued into what became the VG-31 which incorporated smaller wings. The VG-32 then followed which returned to the full-sized wings and installed the American Allison V-1710-C15 inline supercharged engine of 1,054 horsepower. The VG-32 then formed the basis of the VG-33 which reverted to a Hispano-Suiza 12Y-31 engine and first flight was in early 1939, months ahead of the German invasion of Poland. Flight testing then spanned into August and serial production of this model was ordered.
The VG-33 was one of the more impressive prewar fighter ventures by the French that included the Dewoitine D.520, understood to be on par with the lead German fighter aircraft of the period - the famous Messerschmitt Bf 109.
Only about forty or so French Arsenal VG-33 fighters were completed before the Fall of France in 1940, with 160 more on order and in different states of completion. Despite the production contract, Arsenal' engineers continued work on the basic design for improved and specialized sub-types. The VG-34 appeared in early 1940 outfitted with the Hispano-Suiza 12Y-45 engine of 935 horsepower, which improved performance at altitude. An uprated engine was installed in VG-35 and VG-36, too. They utilized a Hispano-Suiza 12Y-51 engine of 1,000 horsepower with a revised undercarriage and radiator system.
VG-37 was a long-range version that was not furthered beyond the drawing board, but the VG-38 with a Hispano-Suiza 12Y-77 engine that featured two exhaust turbochargers for improved performance at high altitude, achived pre-production status with a series of about 10 aircraft. These were transferred to GC 1/3 for field trials in early 1940 and actively used in the defence against the German invasion.
The VG-39 ended the line as the last viable prototype model with its drive emerging from a Hispano-Suiza 12Z engine of 1,280 horsepower. A new three-machine-gun wing was installed for a formidable six-gun armament array. This model was also ordered into production as the VG-39bis and was to carry a 1,600 horsepower Hispano-Suiza 12Z-17 engine into service. However, the German invasion eliminated any further progress, and eventually any work on the Arsenal VG fighter family was abandoned, even though more designs were planned, e .g. the VG-40, which mounted a Rolls-Royce Merlin III, and the VG-50, featuring the newer Allison V-1710-39. Neither was built.
Anyway, the finalized VG-38 was an all-modern looking fighter design with elegant lines and a streamlined appearance. Its power came from an inline engine fitted to the front of the fuselage and headed by a large propeller spinner at the center of a three-bladed unit. The cockpit was held over midships with the fuselage tapering to become the tail unit.
The tail featured a rounded vertical tail fin and low-set horizontal planes in a traditional arrangement - all surfaces enlarged for improved high altitude performance.
The monoplane wing assemblies were at the center of the design in the usual way. The pilot's field of view was hampered by the long nose ahead, the wings below and the raised fuselage spine aft, even though the pilot sat under a largely unobstructed canopy utilizing light framing. The canopy opened to starboard.
A large air scoop for the radiator and air intercooler was mounted under the fuselage. As an unusual feature its outlet was located in a dorsal position, behind the cockpit. The undercarriage was of the typical tail-dragger arrangement of the period, retracting inwards. The tail wheel was retractable, too.
Construction was largely of wood which led to a very lightweight design that aided performance and the manufacture process. Unlike other fighters of the 1930s, the VG-38 was well-armed with a 20mm Hispano-Suiza cannon, firing through the propeller hub, complemented by 4 x 7.5mm MAC 1934 series machine guns in the wings, just like the VG-33.
The aircraft never saw combat action in the Battle of France. Its arrival was simply too late to have any effect on the outcome of the German plans. Therefore, with limited production and very limited combat service during the defence of Paris in May 1940, it largely fell into the pages of history with all completed models lost.
Specifications:
Crew: 1
Length: 28.05 ft (8.55 m)
Width: 35.43 ft (10.80 m)
Height: 10.83ft (3.30 m)
Weight: Empty 4,519 lb (2,050 kg), MTOW 5,853 lb (2,655 kg)
Maximum Speed: 398 mph (641 kmh at 10.000m)
Maximum Range: 746 miles (1,200 km)
Service Ceiling: 39,305 ft (12.000 m; 7.458 miles)
Powerplant:
1x Hispano-Suiza 12Y-77 V-12 liquid-cooled inline piston engine
with two Brown-Boveri exhaust turbochargers, developing 1,100 hp (820 kW).
Armament:
1x 20mm Hispano-Suiza HS.404 cannon, firing through the propeller hub
4x 7.5mm MAC 1934 machine guns in the outer wings
The kit and its assembly:
I found the VG-33 fascinating - an obscure and sleek fighter with lots of potential that suffered mainly from bad timing. There are actually VG-33 kits from Azur and Pegasus, but how much more fun is it to create your own interpretation of the historic events, esp. as a submission to a Battle of Britain Group Build at whatifmodelers.com?
I had this project on the whif agenda for a long time, and kept my eyes open for potential models. One day I encountered Amodel's Su-1 and Su-3 kits and was stunned by this aircraft's overall similarity to the VG-33. When I found the real VG-38 description I decided to convert the Su-3 into this elusive French fighter!
The Su-3 was built mainly OOB, it is a nice kit with much detail, even though it needs some work as a short run offering. I kept the odd radiator installation of the Suchoj aircraft, but changed the landing gear from a P-40 style design (retracting backwards and rotating 90°) into a conservative, inward retracting system. I even found forked gear struts in the spares box, from a Fiat G.50. The covers come from a Hawker Hurricane, and the wells were cut out from this pattern, while the rest of the old wells was filled with putty.
Further mods include the cleaned cowling (the Su-3's fuselage-mounted machine guns had to go), while machine guns in the wings were added. The flaps were lowered, too, and the small cockpit canopy cut in two pieces in, for an opened position - a shame you can hardly see anything from the neat interior. Two large antenna masts complete the French style.
Painting and markings:
Again, a rather conservative choice: typical French Air Force colors, in Khaki/Dark Brown/Blue Gray with light blue-gray undersides.
One very inspiring fact about the French tricolor-paint scheme is that no aircraft looked like the other – except for a few types, every aircraft had an individual scheme with more or less complexity or even artistic approach. Even the colors were only vaguely unified: Field mixes were common, as well as mods with other colors that were mixed into the basic three tones!
I settled for a scheme I found on a 1940 Curtiss 75, with clearly defined edges between the paint fields. Anything goes! I used French Khaki, Dark Blue Grey and Light Blue Grey (for the undersides) from Modelmaster's Authentic Enamels range, and Humbrol 170 (Brown Bess) for the Chestnut Brown. Interior surfaces were painted in dark grey (Humbrol 32) while the landing gear well parts of the wings were painted in Aluminum Dope (Humbrol 56).
The decals mainly come from a Hobby Boss Dewoitine D.520, but also from a PrintScale aftermarket sheet and the scrap box.
The kit was slightly weathered with a black ink wash and some dry-painting, more for a dramatic effect than simulating wear and tear, since any aircraft from the VG-33 family would only have had a very short service career.
Well, a travesty whif - and who would expect an obscure Soviet experimental fighter to perform as a lookalike for an even more obscure French experimental fighter? IMHO, it works pretty fine - conservative sould might fair over the spinal radiator outlet and open the dorsal installation, overall both aircraft are very similar in shape, size and layout. :D
Xci Class A is an exterior wall insulation panel composed of a Class A rigid polyisocyanurate foam core laminated during the manufacturing process to embossed foil facers.
Hunter Xci polyiso products:
- Have the highest R-Value per inch of any insulation
- NFPA 285 TEST - Passed
- Energy Star approved
- Contribute toward LEED certification credits
- HCFC, CFC, zero ODP, and negligable GWP.
Project Contractor: Caslor Masonary
Sold Through: Thermal Foams
XCI Twitter: twitter.com/#!/HunterXCI
XCI Facebook: www.facebook.com/pages/Hunter-Xci-Exterior-Continuous-Ins...
View more: www.hunterxci.com/
austin, texas
1977
motorola semiconductor plant
(partial / end of roll)
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Nation : Czechoslovakia
Pavilion Name : Czechoslovakia Pavilion
Subject : Handicraft
Island : Ile Notre Dame
Description : Puppet show designed by artist Jiri Trnka. The puppets perform traditional stories by Grimm, Anderson and LaFontaine.
General Description:
The two storey Czechoslovakia Pavilion consisted of two buildings linked by an entrance hall. A simple, clear architectural strategy provided a harmonious backdrop for the exhibition's exciting displays. The first building featured two levels of exhibition space with a central courtyard which drew some of the largest crowds at Expo. Czechoslovakian art, technology and industry were presented to visitors through an attractive mixture of light, sound and video. The Hall of Centuries exhibit showcased texts and artifacts from ancient royalty. In the Hall of Tradition, visitors could find old and new glass and crystal and learn about their manufacturing processes. The World of Children enchanted the pavilion's younger visitors featuring puppet shows performing traditional tales. The second building featured four restaurants; Le Bistro served light snacks; the Bratislava Inn was a wine tavern; the Castle Restaurant featured fine Czechoslovakian cuisine; and the Prague was home to the famous pilsener Urquell beer. Offices, a gift shop and a theatre could also be found in this second Czechoslovakian building.
Watch cases under manufacture.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
JCC received a grant award through the Western New York Regional Economic Development Council’s Consolidated Funding Application to offer the Machinist Training Program which features classroom and hands-on training and consists of a mixture of college credit and non-credit classes spread over 12 months. Training for the manufacturing environment includes drafting, shop math, CNC machining, teamwork, and lean manufacturing processes.
Quality is a never-compromising factor for us that are achieved through rigorous quality measures, streamlined & scrutinized manufacturing process & thorough testing of finished curly fries, potato cutter products. We have a team of professional that check every fine detail & property of Ribbon fry Manufacturer prior to delivery.
We have advanced spring potato manufacturing factory fully equipped with the latest Spiral Potato machinery to facilitate our production. Our efficient workforce makes optimum use of the resources available in house as well as from our associates involved with us to achieve high quality Chip Twister maker products.
Repair & Maintenance/ After sales services: We also offer repair, maintenance & service of our potato tornado cutter products to enhance their productivity & increase their life. Our engineers are just a phone call away in case of any requirement arises regarding product performance. more details cal us 0091 - 9703202020
note the marbled touch to the two largest windows - definitely not a product of a clean manufacturing process :-)
JCC received a grant award through the Western New York Regional Economic Development Council’s Consolidated Funding Application to offer the Machinist Training Program which features classroom and hands-on training and consists of a mixture of college credit and non-credit classes spread over 12 months. Training for the manufacturing environment includes drafting, shop math, CNC machining, teamwork, and lean manufacturing processes.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the grand scope of World War 2 fighter aircraft there is a little-remembered French design designated the Arsenal "VG-33". The aircraft was born from a rather lengthy line of prototype developments put forth by the company in the years leading up to World War 2 and the VG-33 and its derivatives represented the culmination of this work before the German invasion rendered all further work moot.
The Arsenal de l'Aeronautique company was formed by the French government in 1936 ahead of World War 2. It began operations with dedicated design and development of a fast fighter type until the German conquer of France in 1940 after which the company then focused on engine production after 1945. Then followed a period of design and construction of gliders and missiles before being privatized in 1952 (as SFECMAS). The company then fell under the SNCAN brand label and became "Nord Aviation" in 1955.
The VG-33 was the result of the company's research. Work on a new fast fighter began by Arsenal engineers in 1936 and the line began with the original VG-30 prototype achieving first flight on October 1st, 1938. Named for engineer Vernisse (V) and designer Jean Gaultier (G), the VG-30 showcased a sound design with good performance and speed during the tests, certainly suitable for progression as a military fighter and with future potential.
Development continued into what became the VG-31 which incorporated smaller wings. The VG-32 then followed which returned to the full-sized wings and installed the American Allison V-1710-C15 inline supercharged engine of 1,054 horsepower. The VG-32 then formed the basis of the VG-33 which reverted to a Hispano-Suiza 12Y-31 engine and first flight was in early 1939, months ahead of the German invasion of Poland. Flight testing then spanned into August and serial production of this model was ordered.
The VG-33 was one of the more impressive prewar fighter ventures by the French that included the Dewoitine D.520, understood to be on par with the lead German fighter aircraft of the period - the famous Messerschmitt Bf 109.
Only about forty or so French Arsenal VG-33 fighters were completed before the Fall of France in 1940, with 160 more on order and in different states of completion. Despite the production contract, Arsenal' engineers continued work on the basic design for improved and specialized sub-types. The VG-34 appeared in early 1940 outfitted with the Hispano-Suiza 12Y-45 engine of 935 horsepower, which improved performance at altitude. An uprated engine was installed in VG-35 and VG-36, too. They utilized a Hispano-Suiza 12Y-51 engine of 1,000 horsepower with a revised undercarriage and radiator system.
VG-37 was a long-range version that was not furthered beyond the drawing board, but the VG-38 with a Hispano-Suiza 12Y-77 engine that featured two exhaust turbochargers for improved performance at high altitude, achived pre-production status with a series of about 10 aircraft. These were transferred to GC 1/3 for field trials in early 1940 and actively used in the defence against the German invasion.
The VG-39 ended the line as the last viable prototype model with its drive emerging from a Hispano-Suiza 12Z engine of 1,280 horsepower. A new three-machine-gun wing was installed for a formidable six-gun armament array. This model was also ordered into production as the VG-39bis and was to carry a 1,600 horsepower Hispano-Suiza 12Z-17 engine into service. However, the German invasion eliminated any further progress, and eventually any work on the Arsenal VG fighter family was abandoned, even though more designs were planned, e .g. the VG-40, which mounted a Rolls-Royce Merlin III, and the VG-50, featuring the newer Allison V-1710-39. Neither was built.
Anyway, the finalized VG-38 was an all-modern looking fighter design with elegant lines and a streamlined appearance. Its power came from an inline engine fitted to the front of the fuselage and headed by a large propeller spinner at the center of a three-bladed unit. The cockpit was held over midships with the fuselage tapering to become the tail unit.
The tail featured a rounded vertical tail fin and low-set horizontal planes in a traditional arrangement - all surfaces enlarged for improved high altitude performance.
The monoplane wing assemblies were at the center of the design in the usual way. The pilot's field of view was hampered by the long nose ahead, the wings below and the raised fuselage spine aft, even though the pilot sat under a largely unobstructed canopy utilizing light framing. The canopy opened to starboard.
A large air scoop for the radiator and air intercooler was mounted under the fuselage. As an unusual feature its outlet was located in a dorsal position, behind the cockpit. The undercarriage was of the typical tail-dragger arrangement of the period, retracting inwards. The tail wheel was retractable, too.
Construction was largely of wood which led to a very lightweight design that aided performance and the manufacture process. Unlike other fighters of the 1930s, the VG-38 was well-armed with a 20mm Hispano-Suiza cannon, firing through the propeller hub, complemented by 4 x 7.5mm MAC 1934 series machine guns in the wings, just like the VG-33.
The aircraft never saw combat action in the Battle of France. Its arrival was simply too late to have any effect on the outcome of the German plans. Therefore, with limited production and very limited combat service during the defence of Paris in May 1940, it largely fell into the pages of history with all completed models lost.
Specifications:
Crew: 1
Length: 28.05 ft (8.55 m)
Width: 35.43 ft (10.80 m)
Height: 10.83ft (3.30 m)
Weight: Empty 4,519 lb (2,050 kg), MTOW 5,853 lb (2,655 kg)
Maximum Speed: 398 mph (641 kmh at 10.000m)
Maximum Range: 746 miles (1,200 km)
Service Ceiling: 39,305 ft (12.000 m; 7.458 miles)
Powerplant:
1x Hispano-Suiza 12Y-77 V-12 liquid-cooled inline piston engine
with two Brown-Boveri exhaust turbochargers, developing 1,100 hp (820 kW).
Armament:
1x 20mm Hispano-Suiza HS.404 cannon, firing through the propeller hub
4x 7.5mm MAC 1934 machine guns in the outer wings
The kit and its assembly:
I found the VG-33 fascinating - an obscure and sleek fighter with lots of potential that suffered mainly from bad timing. There are actually VG-33 kits from Azur and Pegasus, but how much more fun is it to create your own interpretation of the historic events, esp. as a submission to a Battle of Britain Group Build at whatifmodelers.com?
I had this project on the whif agenda for a long time, and kept my eyes open for potential models. One day I encountered Amodel's Su-1 and Su-3 kits and was stunned by this aircraft's overall similarity to the VG-33. When I found the real VG-38 description I decided to convert the Su-3 into this elusive French fighter!
The Su-3 was built mainly OOB, it is a nice kit with much detail, even though it needs some work as a short run offering. I kept the odd radiator installation of the Suchoj aircraft, but changed the landing gear from a P-40 style design (retracting backwards and rotating 90°) into a conservative, inward retracting system. I even found forked gear struts in the spares box, from a Fiat G.50. The covers come from a Hawker Hurricane, and the wells were cut out from this pattern, while the rest of the old wells was filled with putty.
Further mods include the cleaned cowling (the Su-3's fuselage-mounted machine guns had to go), while machine guns in the wings were added. The flaps were lowered, too, and the small cockpit canopy cut in two pieces in, for an opened position - a shame you can hardly see anything from the neat interior. Two large antenna masts complete the French style.
Painting and markings:
Again, a rather conservative choice: typical French Air Force colors, in Khaki/Dark Brown/Blue Gray with light blue-gray undersides.
One very inspiring fact about the French tricolor-paint scheme is that no aircraft looked like the other – except for a few types, every aircraft had an individual scheme with more or less complexity or even artistic approach. Even the colors were only vaguely unified: Field mixes were common, as well as mods with other colors that were mixed into the basic three tones!
I settled for a scheme I found on a 1940 Curtiss 75, with clearly defined edges between the paint fields. Anything goes! I used French Khaki, Dark Blue Grey and Light Blue Grey (for the undersides) from Modelmaster's Authentic Enamels range, and Humbrol 170 (Brown Bess) for the Chestnut Brown. Interior surfaces were painted in dark grey (Humbrol 32) while the landing gear well parts of the wings were painted in Aluminum Dope (Humbrol 56).
The decals mainly come from a Hobby Boss Dewoitine D.520, but also from a PrintScale aftermarket sheet and the scrap box.
The kit was slightly weathered with a black ink wash and some dry-painting, more for a dramatic effect than simulating wear and tear, since any aircraft from the VG-33 family would only have had a very short service career.
Well, a travesty whif - and who would expect an obscure Soviet experimental fighter to perform as a lookalike for an even more obscure French experimental fighter? IMHO, it works pretty fine - conservative sould might fair over the spinal radiator outlet and open the dorsal installation, overall both aircraft are very similar in shape, size and layout. :D
Unlike other vertical blinds, our 28-30 Gauge vinyl vanes will not crimp, bend, tear or break. A special manufacturing process ensures that the vanes stay in perfect alignment.
-Curved PVC Vertical Blinds PVC Vertical Blinds are available with smooth vanes in an array of colors or textured vanes that beautifully replicate the look of fabric.
- Fabric Vertical Blinds Contemporary woven textures and classic, sophisticated patterns add richness, warmth and color to any room.
- S-Shaped Vanes This uniquely shaped vane closes tighter to block incoming light and provide greater privacy.
Call Al @ 916.799.4376
Email @ Al.Turk@3Day.com
Mr. Jan Prokop looking at dial dies.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
Novel and highly conductive metal paste material is constructed from liquid metals and optimized for the additive manufacturing process and multilayered stretchable electronics. Metal nano- and microparticles are sonicated into galinstan, a liquid metal whose rheological properties are transformed into pliable pastes that retain electrical, self-healing, and stretchable qualities of liquid metals that are ideal for soft sensors (Image courtesy Dogan Yirmibesoglu).
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the grand scope of World War 2 fighter aircraft there is a little-remembered French design designated the Arsenal "VG-33". The aircraft was born from a rather lengthy line of prototype developments put forth by the company in the years leading up to World War 2 and the VG-33 and its derivatives represented the culmination of this work before the German invasion rendered all further work moot.
The Arsenal de l'Aeronautique company was formed by the French government in 1936 ahead of World War 2. It began operations with dedicated design and development of a fast fighter type until the German conquer of France in 1940 after which the company then focused on engine production after 1945. Then followed a period of design and construction of gliders and missiles before being privatized in 1952 (as SFECMAS). The company then fell under the SNCAN brand label and became "Nord Aviation" in 1955.
The VG-33 was the result of the company's research. Work on a new fast fighter began by Arsenal engineers in 1936 and the line began with the original VG-30 prototype achieving first flight on October 1st, 1938. Named for engineer Vernisse (V) and designer Jean Gaultier (G), the VG-30 showcased a sound design with good performance and speed during the tests, certainly suitable for progression as a military fighter and with future potential.
Development continued into what became the VG-31 which incorporated smaller wings. The VG-32 then followed which returned to the full-sized wings and installed the American Allison V-1710-C15 inline supercharged engine of 1,054 horsepower. The VG-32 then formed the basis of the VG-33 which reverted to a Hispano-Suiza 12Y-31 engine and first flight was in early 1939, months ahead of the German invasion of Poland. Flight testing then spanned into August and serial production of this model was ordered.
The VG-33 was one of the more impressive prewar fighter ventures by the French that included the Dewoitine D.520, understood to be on par with the lead German fighter aircraft of the period - the famous Messerschmitt Bf 109.
Only about forty or so French Arsenal VG-33 fighters were completed before the Fall of France in 1940, with 160 more on order and in different states of completion. Despite the production contract, Arsenal' engineers continued work on the basic design for improved and specialized sub-types. The VG-34 appeared in early 1940 outfitted with the Hispano-Suiza 12Y-45 engine of 935 horsepower, which improved performance at altitude. An uprated engine was installed in VG-35 and VG-36, too. They utilized a Hispano-Suiza 12Y-51 engine of 1,000 horsepower with a revised undercarriage and radiator system.
VG-37 was a long-range version that was not furthered beyond the drawing board, but the VG-38 with a Hispano-Suiza 12Y-77 engine that featured two exhaust turbochargers for improved performance at high altitude, achived pre-production status with a series of about 10 aircraft. These were transferred to GC 1/3 for field trials in early 1940 and actively used in the defence against the German invasion.
The VG-39 ended the line as the last viable prototype model with its drive emerging from a Hispano-Suiza 12Z engine of 1,280 horsepower. A new three-machine-gun wing was installed for a formidable six-gun armament array. This model was also ordered into production as the VG-39bis and was to carry a 1,600 horsepower Hispano-Suiza 12Z-17 engine into service. However, the German invasion eliminated any further progress, and eventually any work on the Arsenal VG fighter family was abandoned, even though more designs were planned, e .g. the VG-40, which mounted a Rolls-Royce Merlin III, and the VG-50, featuring the newer Allison V-1710-39. Neither was built.
Anyway, the finalized VG-38 was an all-modern looking fighter design with elegant lines and a streamlined appearance. Its power came from an inline engine fitted to the front of the fuselage and headed by a large propeller spinner at the center of a three-bladed unit. The cockpit was held over midships with the fuselage tapering to become the tail unit.
The tail featured a rounded vertical tail fin and low-set horizontal planes in a traditional arrangement - all surfaces enlarged for improved high altitude performance.
The monoplane wing assemblies were at the center of the design in the usual way. The pilot's field of view was hampered by the long nose ahead, the wings below and the raised fuselage spine aft, even though the pilot sat under a largely unobstructed canopy utilizing light framing. The canopy opened to starboard.
A large air scoop for the radiator and air intercooler was mounted under the fuselage. As an unusual feature its outlet was located in a dorsal position, behind the cockpit. The undercarriage was of the typical tail-dragger arrangement of the period, retracting inwards. The tail wheel was retractable, too.
Construction was largely of wood which led to a very lightweight design that aided performance and the manufacture process. Unlike other fighters of the 1930s, the VG-38 was well-armed with a 20mm Hispano-Suiza cannon, firing through the propeller hub, complemented by 4 x 7.5mm MAC 1934 series machine guns in the wings, just like the VG-33.
The aircraft never saw combat action in the Battle of France. Its arrival was simply too late to have any effect on the outcome of the German plans. Therefore, with limited production and very limited combat service during the defence of Paris in May 1940, it largely fell into the pages of history with all completed models lost.
Specifications:
Crew: 1
Length: 28.05 ft (8.55 m)
Width: 35.43 ft (10.80 m)
Height: 10.83ft (3.30 m)
Weight: Empty 4,519 lb (2,050 kg), MTOW 5,853 lb (2,655 kg)
Maximum Speed: 398 mph (641 kmh at 10.000m)
Maximum Range: 746 miles (1,200 km)
Service Ceiling: 39,305 ft (12.000 m; 7.458 miles)
Powerplant:
1x Hispano-Suiza 12Y-77 V-12 liquid-cooled inline piston engine
with two Brown-Boveri exhaust turbochargers, developing 1,100 hp (820 kW).
Armament:
1x 20mm Hispano-Suiza HS.404 cannon, firing through the propeller hub
4x 7.5mm MAC 1934 machine guns in the outer wings
The kit and its assembly:
I found the VG-33 fascinating - an obscure and sleek fighter with lots of potential that suffered mainly from bad timing. There are actually VG-33 kits from Azur and Pegasus, but how much more fun is it to create your own interpretation of the historic events, esp. as a submission to a Battle of Britain Group Build at whatifmodelers.com?
I had this project on the whif agenda for a long time, and kept my eyes open for potential models. One day I encountered Amodel's Su-1 and Su-3 kits and was stunned by this aircraft's overall similarity to the VG-33. When I found the real VG-38 description I decided to convert the Su-3 into this elusive French fighter!
The Su-3 was built mainly OOB, it is a nice kit with much detail, even though it needs some work as a short run offering. I kept the odd radiator installation of the Suchoj aircraft, but changed the landing gear from a P-40 style design (retracting backwards and rotating 90°) into a conservative, inward retracting system. I even found forked gear struts in the spares box, from a Fiat G.50. The covers come from a Hawker Hurricane, and the wells were cut out from this pattern, while the rest of the old wells was filled with putty.
Further mods include the cleaned cowling (the Su-3's fuselage-mounted machine guns had to go), while machine guns in the wings were added. The flaps were lowered, too, and the small cockpit canopy cut in two pieces in, for an opened position - a shame you can hardly see anything from the neat interior. Two large antenna masts complete the French style.
Painting and markings:
Again, a rather conservative choice: typical French Air Force colors, in Khaki/Dark Brown/Blue Gray with light blue-gray undersides.
One very inspiring fact about the French tricolor-paint scheme is that no aircraft looked like the other – except for a few types, every aircraft had an individual scheme with more or less complexity or even artistic approach. Even the colors were only vaguely unified: Field mixes were common, as well as mods with other colors that were mixed into the basic three tones!
I settled for a scheme I found on a 1940 Curtiss 75, with clearly defined edges between the paint fields. Anything goes! I used French Khaki, Dark Blue Grey and Light Blue Grey (for the undersides) from Modelmaster's Authentic Enamels range, and Humbrol 170 (Brown Bess) for the Chestnut Brown. Interior surfaces were painted in dark grey (Humbrol 32) while the landing gear well parts of the wings were painted in Aluminum Dope (Humbrol 56).
The decals mainly come from a Hobby Boss Dewoitine D.520, but also from a PrintScale aftermarket sheet and the scrap box.
The kit was slightly weathered with a black ink wash and some dry-painting, more for a dramatic effect than simulating wear and tear, since any aircraft from the VG-33 family would only have had a very short service career.
Well, a travesty whif - and who would expect an obscure Soviet experimental fighter to perform as a lookalike for an even more obscure French experimental fighter? IMHO, it works pretty fine - conservative sould might fair over the spinal radiator outlet and open the dorsal installation, overall both aircraft are very similar in shape, size and layout. :D
Aquashield is a global leader in super-hydrophobic waterproofing technology that is based on non-toxic and environmentally friendly eco-safe products. We provide durable , UV resistant and long lasting products that can handle extremely harsh conditions, sand and dust abrasion, plus frost and ice and snow. #Aquashieldpro #nanocoatings
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All AquaShield products offer water repellent nano-coatings which can turn virtually any substrate from wood and concrete, to leather and wool into a super hydrophobic surface. The benefits of these innovative technologies are limitless… Imagine a rain coat made of wool, or an outdoor parking lot in a wet climate that requires 1/10th the maintenance. Super-Hydrophobic Ceramic & Waterproof Nano Coatings - Global Opportunities Available 866-285-105. Visit Us @www.aquashieldpro.com. #Aquashieldpro #nanocoatings
Manufacturing watch hands at Prim.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
St. Stevens Church, Birmingham, AL: Xci Class A is an exterior wall insulation panel composed of a Class A rigid polyisocyanurate foam core laminated during the manufacturing process to embossed foil facers.
Hunter Xci polyiso products:
- Have the highest R-Value per inch of any insulation
- NFPA 285 TEST - Passed
- Contribute toward LEED certification credits
- HCFC, CFC, zero ODP, and negligable GWP.
XCI Twitter: twitter.com/HunterXCI
XCI Facebook: www.facebook.com/pages/Hunter-Xci-Exterior-Continuous-Ins...
View more: www.hunterxci.com/
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Avalon Essentials (owner and distributor of the worlds only patent pending breast enhancement pill), is owned and operated by women.
Avalon Essentials invented natural breast enlargement pills in 1996. Our breast enlargement pills are unlike any other breast pills on the market in both ingredients and manufacturing process. One process we invented is called NutriPotentized. We believe this process makes our pills more effective than solely the ingredients and manufacturing processes alone. Our natural breast enlargement pill, Bountiful Breast®, is patent pending and is the only patent pending breast pill in the United States; we have no competition.
Mojri, or joothie, is traditional handmade camel leather footwear originating from Rajasthan but widely worn in Punjab and Gujarat as well. The mojri is boat shaped, with no distinction between the right and left shoes. After being worn a few times, the shoes mould to the right and left foot of the wearer, and then the right and left can be easily distinguished.
The manufacturing process takes up to two to three months. Silk, beads, sequins, gold/silver thread, and brass tacks in various combinations are utilized for the pattern work. Typically women's mojris are more colourful than men's, although they are both very visually striking.
Highlights
Makeup products are a part of everyday life for many. Ladies use an average of 12 personal care products every day and men about half that.
Not all cosmetic products that are labeled “green, ” “natural, ” or “organic” are in reality good for you, and there is no regulation for using such labels.
It’s important to be an up to date consumer to buy products that are healthy for you and the environment.
Cosmetics are a part of everyday life for both men and women. Many people want to look good and feel great, and they use cosmetics to accomplish this. The Environmental Working Group (EWG), a nonprofit organization committed to instructing consumers on the information of cosmetic products, states that ladies use an average of 12 personal care products a day, and men use about half that.
Because of the occurrance of cosmetics in contemporary society, it’s important to be an informed and well-informed consumer. Learn what’s in cosmetics and how they affect both you and the environment.
The FDA, Labeling, and Beauty Product Safety
A large number of people seek out beauty products that are produced from healthy, nontoxic materials. Unfortunately, it isn’t that simple for consumers to recognize which brands are actually healthy to them and the environment. Labels that claim products are “green, ” “natural, ” or “organic” are unreliable. There is absolutely no government agency in charge of understanding or regulating the make of cosmetics.
The Circumstance. S. Food and Medication Administration (FDA) does not have the power to monitor cosmetic makeup products as closely as it can food and drugs. The FDA has some legal authority over cosmetics. Nevertheless, cosmetic products and the ingredients (with the exclusion of color additives) aren’t subject to FDA premarket approval.
In other words, the FDA doesn’t check to see if a product that claims to be “100 percent organic” is actually 100 % organic and natural. Additionally, the FDA won’t be able to recall dangerous cosmetics.
Really important that you, the customer, are informed and purchase products that are healthy very safe for you and the environment. Know that some chemicals in certain cosmetics may be harmful.
Understanding the “Makeup” of Makeup
To help you make up to date decisions, here are four key categories of hazardous ingredients used in makeup and personal maintenance systems:
Surfactants
According to the Royal Society of Biochemistry, surfactants are normally found in products used for washing. They will break up oily solvents produced by skin to allow them to be washed away with water. Surfactants are coupled with additives like dyes, fragrances, and salts in products like foundation, shower solution, shampoo, and body cream. They thicken products, permitting them spread evenly and cleanse and foam.
Softening Polymers
These retain water on skin or in hair. Glycerin, a natural component of vegetable natural oils and animal fats, is produced synthetically in the cosmetics industry. It is the oldest, cheapest, and most popular conditioning plastic.
Conditioning polymers are being used in hair products to appeal to water and soften curly hair while swelling the brain of hair shaft. That they keep products from drying out out and stabilize perfumes to keep the fragrances from seeping through clear plastic bottles or tubes. That they also make products like shaving cream feel easy and slick, plus they prevent them from staying with your hand.
Preservatives
Preservatives are additives that particularly matter consumers. They’re used to slow bacterial growth and prolong a product’s life. This can keep a product from triggering attacks of your skin or sight. The cosmetics industry is experimenting with so-called self-preserving cosmetics, which use vegetable oils or extracts to behave as natural preservatives. Nevertheless , these can irritate the skin or cause sensitive reactions. Many have a strong odor that can be unpleasant.
Fragrance
Scent can be the most harmful part of a beauty product. Fragrance often contains chemicals that can cause an allergic response. You may want to consider avoiding any product that features the term “fragrance” in its set of substances.
Prohibited Substances
According to the FOOD AND DRUG ADMINISTRATION (FDA), the next ingredients are lawfully prohibited in cosmetics:
Bithionol
Chlorofluorocarbon propellants
Chloroform
Halogenated salicylanilides, di-, tri-, metabromsalan and tetrachlorosalicylanilide
Methylene chloride
Vinyl chloride
Zirconium-containing stadiums
Prohibited cattle materials
Restricted Ingredients
The FDA also these ingredients , which may be used, but are legitimately restricted
Hexachlorophene
Mercury chemical substances
Sunscreens used in makeup products
Other Limitations
The EWG also advises more ingredients to avoid, including
Benzalkonium chloride
BHA (Butylated hydroxyanisole)
Coal tar hair dyes and other coal tar ingredients, such asaminophenol, diaminobenzene, and phenylenediamine
DMDM hydantoin and bronopol
Formaldehyde
Ingredients outlined as “fragrance”
Hydroquinone
Methylisothiazolinone and methylchloroisothiazolinone
Oxybenzone
Parabens, propyl, isopropyl, butyl, and isobutylparabens
PEG/ceteareth/polyethylene compounds
Petroleum distillates
Phthalates
Resorcinol
Retinyl palmitate and retinol (vitamin A)
Toluene
Triclosan and triclocarban
Cosmetic presentation concerns
Choosing healthy cosmetic does mean opting for packaging that’s safe for you and healthy for the earth. Jars with open mouths can become contaminated with bacteria. Sweltering packaging, which doesn’t allow bacteria to reproduce, is preferred. Pumps with do follow valves will keep air from entering the opened package deal, making contamination more difficult. Careful manufacturing processes keep the product sterile as it enters the container or jar.
View
Cosmetics are a part of life for many people, and their marketing can be misleading. If perhaps you use cosmetics or personal care products, learn as to what exactly is in them. Simply by reading the labels and doing some research you can make educated, healthy decisions when purchasing and using cosmetic products.
The post Using Healthy Cosmetics appeared first on What's UP! Trendy.
via What's UP! Trendy ift.tt/2EOufT9
A team of Central Oregon high school students led by an Oregon State University – Cascades computer science junior Andras Mihaly are building sensors that Oregon firms can use to advance manufacturing processes and extend the life of their equipment. The project is a partnership of the OSU-Cascades Innovation Co-Lab, Oregon Manufacturing Extension Partnership, Central Oregon STEM Hub and Oregon Department of Education CTE program. Photos by Joe Kline.
The Luxe Competition hubs with the gold foil labels on the barrels preceeded those with the red labels. But, the distinctions run a little more deeply than that simple comparison.
Look at the dust covers of the two versions. You may notice in this photo that the ends of the hub shells appear to have the inner bearing cups completely sealed over by the smoothly finished aluminum "caps". I really do not know how they did this. There do not appear to be any seams at all. But the hubs obviously required steel bearing cups to be fitted inside at some point during the manufacturing process. On the later version of these hubs, there are clearly defined red plastic covers press fitted to the ends of the hub shells.
DSCF7869
The 275,000-square-foot school is built to serve up to 1,400 students.
Hunter XCI Foil product is used in the construction of the new Ankeny High school. XCI Foil is a high thermal, rigid building insulation composed of a closed cell polyiso foam core bonded on-line during the manufacturing process to an impermeable foil facing material. It is designed for use in commercial cavity wall applications to provide continuous insulation within the building envelope.
Hunter Xci polyiso products:
- Have the highest R-Value per inch of any insulation
- NFPA 285 TEST - Passed
- Energy Star approved
- Contribute toward LEED certification credits
- HCFC, CFC, zero ODP, and negligable GWP.
View more: www.hunterxci.com/
Architect: DLR Group
GC/Builder: Stahl Construction
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
Xci Class A is an exterior wall insulation panel composed of a Class A rigid polyisocyanurate foam core laminated during the manufacturing process to embossed foil facers.
Hunter Xci polyiso products:
- Have the highest R-Value per inch of any insulation
- NFPA 285 TEST - Passed
- Energy Star approved
- Contribute toward LEED certification credits
- HCFC, CFC, zero ODP, and negligable GWP.
Project Contractor: Caslor Masonary
Sold Through: Thermal Foams
XCI Twitter: twitter.com/#!/HunterXCI
XCI Facebook: www.facebook.com/pages/Hunter-Xci-Exterior-Continuous-Ins...
View more: www.hunterxci.com/
This is a fantastic set of 7 signed Fred Press tumblers from the 1950's. Their bold chartreuse colour with cursive black design will add impact to any table setting. These are truly a beautiful mid century set that have a modern design aesthetic.
Each glass stands 5.5 inches tall by 2.5 inches wide. They are chip free and in very good cosmetic (although not perfect) condition. The manufacturing process to make these glasses is to wrap the design on the glass so it is not etched or coloured glass - therefore over time some scratches and marks (caused by air bubbles) have surfaced. . These imperfections are found in all glasses from this period, made in this fashion.
Beautifully restored Panzer IV at the Deutches Panzermuseum in Munster, Germany.
The Panzerkampfwagen IV (Pz.Kpfw. IV), commonly known as the Panzer IV, is a German medium tank developed in the late 1930s and used extensively during the Second World War. Its ordnance inventory designation was Sd.Kfz. 161.
The Panzer IV was the most numerous German tank and the second-most numerous German fully tracked armored fighting vehicle of the Second World War; 8,553 Panzer IVs of all versions were built during World War II, only exceeded by the StuG III assault gun with 10,086 vehicles. Its chassis was also used as the base for many other fighting vehicles, including the Sturmgeschütz IV assault gun, the Jagdpanzer IV self-propelled anti-tank gun, the Wirbelwind and Ostwind self-propelled anti-aircraft gun, and the Brummbär self-propelled gun.
The Panzer IV saw service in all combat theatres involving Germany and was the only German tank to remain in continuous production throughout the war. It was originally designed for infantry support, while the similar Panzer III was to fight armored fighting vehicles. However, as the Germans faced the formidable T-34, the Panzer IV had more development potential, with a larger turret ring to mount more powerful guns, so it swapped roles with the Panzer III whose production wound down in 1943. The Panzer IV received various upgrades and design modifications, intended to counter new threats, extending its service life. Generally, these involved increasing the armor protection or upgrading the weapons, although during the last months of the war, with Germany's pressing need for rapid replacement of losses, design changes also included simplifications to speed up the manufacturing process.
The Panzer IV was partially succeeded by the Panther medium tank, which was introduced to counter the Soviet T-34, although it continued to be a significant component of German armored formations to the end of the war. It was the most widely exported tank in German service, with around 300 sold to Finland, Romania, Spain and Bulgaria. After the war, Syria procured Panzer IVs from France and Czechoslovakia, which saw combat in the 1967 Six-Day War.
Background: on left is a Tiger I E and on the right is a Panther A.
via
The injection molding machine is one of the most popular and efficient manufacturing processes in the world and can produce large quantities of the products you are using every day. Injection machines are capable of producing identical volumes of items in the fastest time while maintaining product quality. Do you know how does injection moulding machine work? Let’s learn the principle of injection machine operation with BNT Machinery in this article.
What is an injection molding machine?
An injection molding machine is production equipment capable of producing large volumes of products. It works by injecting molten material into the mold. Injection molding materials include metals, glasses, and elastomers, and are most commonly used to create thermoplastics and thermosetting polymers.
> > > Learn more: How does CO injection machine affect tuna color?
History of injection molding
The injection molding machine was first invented in the United States in 1872 by brothers John Wesley Hyatt and Isaiah. This machine is more primitive than modern equipment, it works like a large needle, under the action of a piston, the plastic through the cylinder is heated and injected into the mold.
German scientists Arthur Eichengrün and Theodore Becker discovered the first soluble forms of cellulose acetate in 1903, which are less flammable than cellulose nitrate and easy to extrude. Arthur Eichengrün developed the first injection molding machine in 1939 and patented the flexible cellulose acetate injection mold.
World War II opened up huge demand for cheap and mass-produced products. In 1946, American inventor James Watson Hendry built the first screw pump, which allowed more precise control of the injection rate and quality of the products manufactured. This machine can also mix raw materials before spraying, so that colored plastic or recycled plastics are mixed.
In 1970, Hendry developed the first air-assisted injection molding system for rapid cooling of complex products. This improves the design flexibility and rigidity of manufactured products while saving on costs, fuel, raw materials, and waste.
History of plastics injection molding
In 1990, aluminum molds were widely used. Nowadays, screw pumps make up the majority of plastic injection molding machines.
Plastic injection molding technology produces push buttons for use in automotive, medical, aerospace, consumer goods, toys, plumbing, packaging, and construction.
Application of injection molding technology
Injection molding technology is widely used in industry, especially in the plastics industry, as the ideal method for producing large objects of the same volume. In addition, injection molding technology is also applied in the manufacturing industry of packaging, bottle caps, auto parts, components, coils, musical instruments, tables and chairs, machine parts (including gears), …
> > > Read more: What is an overmold? What are the applications of overmolding?
How does injection moulding machine work?
How does injection moulding machine work? The injection molding process is carried out through 4 main steps, specifically as follows:
Step 1: Use the plastic injection machine to melt the material to a suitable temperature.
In this step, the raw materials that are still in a hard form such as recycled plastics and virgin plastic will be put into the raw material port of the plastic injection machine. Here, the materials will be mixed and pushed forward to melt by the heating system arranged around the cylinder of the machine.
Step 2: The screw system of the plastic injection molding machine will create a large pressure to inject the molten plastic into the mold in the closed state. The screw system of the plastic injection machine will act as a plunger pushing the melted plastic forward with great pressure. The plastic channel system will contain the liquid plastic part. At this time, the mold cavity is in a closed state to do the task of forming the product.
Step 3: Cool the mold part so that the molten plastic part turns into a solid state. In order to get the plastic out, the melted plastic must be solidified. In this step, the machine’s cooling system will work to cool the mold and solidify the molten plastic.
Step 4: Take the product out. This is the final step of the injection molding process. The injection molding machine’s needle system will slowly pull out half of the mold, leaving a certain amount of time to take the product out. Then close the mold again to continue the new process.
Suitable plastics
The types of plastic commonly used in injection molding are thermoplastics, thermosetting plastics, and some elastomers. Available materials are usually metals or a mixture of materials, so designers can select the material with the most suitable properties.
Material selection criteria are based on stiffness, modulus of elasticity, flexural resistance, heat resistance and water absorption, design requirements as well as manufacturing cost, each with different specifications. should be considered and considered. The thermoplastics are nylon, polyethylene, and polystyrene. Thermosetting resins are epoxy and phenolic.
Structure of plastic injection molding machine
Clamping system
It has the effect of opening and closing the mold while supporting the movement of the molding element and creating a force large enough to hold the mold during the filling process and push the product out of the mold. The motion of this assembly is reciprocating, so any mechanism that produces this movement is allowed.
Common types of mold clamp assemblies include:
– Mechanical clamp assembly
– Hydraulic clamp assembly
– Mechanical clamp assembly with hydraulic combination
Mold
Consists of 2 basic components: a fixed half and a movable mold. The movable mold half usually carries the mold core, and the fixed mold half usually carries the mold cavity. In the mold plates, a cooling system and plastic channel are arranged. In addition, there are connecting rods and other parts such as a heating system … will talk about plastic injection mold in detail.
Spray system
The injection system consists of 3 parts: the feed hopper, the thermal cylinder, the screw, and the nozzle.
Feed Hopper
Thermoplastic is fed in the form of pellets. The feed hopper serves to contain these particles. These small particles of material from the door of the feed hopper enter the thermal cylinder.
Thermal Cylinder
The heating cylinder for the material makes the material molten, it is heated by the thermocouples.
The screw consists of 3 segments:
Inlet section: Near the inlet hopper used to move the material forward, at the end of this zone, the material softens and begins to flow.
Compression zone: In the middle of the screw, used to compress liquid materials.
Dosing area: Mix and homogenize the material before injection into the mold.
Nozzle: The part that attaches between the cylinder head and the nozzle of the mold. The nozzle must have a shape suitable for the flow of the material and be firmly attached to the nozzle during injection molding. The nozzle hole should be smaller than the nozzle hole in the mold.
The nozzle is interchangeable and has its own heating ring. Because the types of plastic have different characteristics, the nozzles also have different textures to help the best plastic injection process into the mold.
Advantages and limitations of using an injection molding machine
Advantage:
Complex shapes: Plastic injection molded parts can hold very tight tolerances on extremely small parts that are not possible with other manufacturing methods and cost-effectively. This allows injection molding products to be more complex or more suitable for certain applications.
Speed and scale: Injection molding works best when it quickly produces a large number of parts. The mold can contain multiple cavities all producing identical products in one press.
Usually, the cooling time of thermoplastics is also short. Even large parts can be produced in a minute or two. This means that every minute you can produce hundreds of products from one machine and one operator.
Durability: Plastic is an extremely durable material, especially when molded. That’s why it’s often used to make the outer shell or outer shell of equipment, plastic containers, etc. In addition, it is practically possible to mix anti-UV agents, increasing the anti-corrosion properties. bacteria, making it antistatic, and other uses make it a very durable material choice for components.
Product control: It is much easier to control the bonded surface of plastic molded components than other components. The colors are melted directly into the resin allowing for a uniform color without the need for a second operation such as powder coating. In addition, the mold can give the product many different characteristics, from smooth and smooth to matte..
In addition, labels and logos can be engraved on the part by the mold, making it easier for users to read and easily found on the product.
Defect:
Design Limitations: Since the mold has to be partially opened and ejected, there are some designs that cannot be molded or would be extremely difficult to cast.
High upfront costs: Injection molding involves an investment in an injection mold that can cost anywhere from 20 million to 500 million depending on the complexity of the part and the size of the mold.
Longer design time: Before production can be made entirely of drawings, molds must be designed and engineered to be able to rapidly increase project time and deliver products to production.
These are all information about how does injection moulding machine work that BNT shares with you. Hopefully, through our article, you will have more useful knowledge to apply to your work.
Contact information to buy an injection molding machine:
Address: No. 233, 23/10 Phuong Son Ward, Nha Trang City, Khanh Hoa
Hotline: 0905 361 004
Email: bntbaonam@gmail.com
Website: bnt-machinery.com
Fanpage: BNT Machinery
From the planting of the seed to the end of the manufacturing process, Portuguese cork makes for authentic, high quality and eco-efficient cork products that are created with true craftsmanship and care.
The company was founded by John Dyson who began mining clay and making bricks in the early 1800s. From the very beginning the business was a success. The 1834 Sheffield trade directory lists - “John Dyson - Brick Maker, Stannington” which indicates that he ran the business on his own. However, by 1838 the business was listed as “John Dyson and Son - Black clay miners and firebrick manufacturers, Griffs House, Stannington.
Dyson's were manufacturers of Refractory material, ceramics for the steel industry, they also produce fire backs and other household ceramic bricks for the likes of Aga's etc. They have also been know to sell clay for use in Well Dressings.
Unfortunately Dyson's traditional manufacturing process relied heavily on gas fired kilns. With increased in energy costs the plants was no longer economically viable, despite the very best efforts of the management and staff alike the site closed around 2005.
The high performance niche products in Dyson's range are still available and are the cornerstone in Dyson's progression. The company have a wholly owned manufacturing facility in Tianjin, PRC which produces is high quality products.
Amazon.com Review
Architec is hopping on the green bandwagon by implementing eco-friendly elements in both its manufacturing process and end products. One of their new lines consists of products made from bamboo. A quick-growing grass, bamboo is renewable and tree-saving, with many of the same attributes as wood. The Gripper cutting board, for example, made of laminated strips of bamboo, is strong and durable, won't absorb moisture, and won't harm knives. The glue used in the lamination process is food-safe. Soft rubber pads, securely anchored beneath each corner without glue, grip the 11-by-14-inch board to the counter to prevent slipping during use. After use, simply wash The Gripper by hand.
Architec The Gripper Eco Friendly Bamboo Cutting Board
Look for other sizes of Architec bamboo cutting boards, as well as innovative cork cutting boards. Removal of cork bark doesn't hurt the tree, which keeps growing and producing more bark. All good news for the planet. --Ann Bieri
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
At the Real Canadian Superstore located at 7020 4 Street NW in Calgary (Huntington), they installed new Stanley doors. They open fairly quickly, but close very slowly. This store is approximately 10 years old and like Loblaw fashion, they installed additional weather stripping over the warning labels that were applied during the manufacturing process.
In the Midsomer Norton coach yard on 11/2/17 were R22 RED, Scania L94IB, Irizar Century and O006 HAZ, an Unvi Cimo bodied Mercedes-Benz 1018L.
From the Unvibus website.....
At UNVI we integrate cutting-edge design, artisanal techniques, a vision of the future and tradition. Our buses are fitted with their bodyworks by hand in a unique manufacturing process that makes each vehicle an exclusive model. We use long-lasting materials that are of visibly high quality.
100118-F-0782R-009 Kabul- U.S. Army Brig. Gen. Gary Patton, center, NATO Training Mission - Afghanistan (NTM-A), deputy commanding general (programs), samples material that will be used to make boots at the Kabul Milli factory, Kabul, Afghanistan, Jan. 18, 2010. Members of CSTC-A and the Afghan National Army visited the boot factory to observe the boot manufacturing process and to initiate a process improvement program..
(U.S. Air Force Photo/Staff Sgt. Larry E. Reid Jr., Released)
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
DUMBO, Brooklyn
Features: Nineteen bays on Bridge Street, nine bays on Water Street, and nine bays on Front Street; large segmental-arch openings separated by brick piers; end bays on Bridge Street narrower than other bays; building reflects slight slope of site, with the basement only partially above sidewalk level on Front Street rising to a full story on Water Street; multi-pane metal windows with operable awnings; iron tie rods; corbelled cornice; pedestrian entrance in westernmost bays on Front Street and Water Street; bluestone stairs at pedestrian entrance on Water Street; three fire escapes on Bridge Street.
Significant alterations: Two corner bays on Front Street partially filled in and converted into loading docks on first floor; eighth bay on Water Street partially filled in and converted into vehicular entrance.
History: The western portion of this block was home to the Union White Lead Works (later the National Lead Company) which began purchasing property on the block as early as 1837. The lead company’s property was sold to James and John H. Hanan in 1893. Although already occupied by a factory, James Hanan and his son John chose to demolish the existing buildings and replace it with a new factory for the manufacturing of shoes. Hanan initially announced construction of a seven-story structure; he actually built a five-story factory. Even before purchasing the DUMBO property, James Hanan was a resident of Brooklyn, living in a large mansion at 45 Eighth Avenue (demolished) in Park Slope. James Hanan (1819-1897) was born in Ireland and learned the shoe trade from his father. In 1849 he moved to America and in 1854 established a small shoemaking business in New York City. In about 1865, his son, John Henry Hanan (1849-1920), entered his father’s firm, and in 1882 the company became Hanan & Son.
The Hanan Company was among the first to stamp the firm’s name on every shoe, a daring idea at a time when most people still sought shoes handmade by the dealer. The firm was successful and in 1888 Hanan began opening retail stores to sell the factory’s product directly to consumers.
In 1894, the company had stores in New York, Brooklyn, Boston, Philadelphia, Cleveland, Milwaukee, New Haven, Buffalo, Chicago, and St. Paul. By 1914 the firm had thirteen retail stores in the United States and Europe (apparently in London and Paris).
Shoe manufacturing was a major industry in Brooklyn in the late nineteenth century, with 65 factories doing a combined business of $2,300,000 in 1894; one-third of that business was done at the Hanan factory. The manufacture of a pair of shoes began on the upper floor of the factory where thin leather uppers were cut from patterns; women then stitched the uppers together on sewing machines; boys then took the uppers and smoothed the seams. The uppers were then moved to the third floor where lasters worked. The uppers were tacked to lasts and leather attached to the last mold to create the form of the bottom of the shoe. The bottom and upper were sewn together and then the shoes proceed to men who inserted the insoles, largely by machine. Then glue was placed on the insole and another employee added the heavy sole, again by machine. The shoes now moved sown to the next floor where heels were nailed on by machine and where soles and heels were trimmed. Finally the shoes moved to the lower floor where they were washed, cleaned, and boxed. On this lower floor, machines also stamped out the soles. The company’s offices were on the first floor facing Front Street.
In 1894, when the description of the manufacturing process was written, there were between three and four hundred employees in the factory, although the article notes that there was capacity for 600 people. In 1913 the company employed 1,131 people in its Brooklyn factory (871 men,210 women, and 50 office workers). John Hanan also owned shoe companies in other cities and served as president of the National Boot and Shoe Manufacturers’ Association. He was also the founder of the United Shoe Machinery Corporation, which manufactured machines for use in show factories. After John Hanan’s death, the firm was taken over by his sons Herbert Wilmer Hanan (1872-1933) and Addison Garthwaite Hanan (1876-1923) and grandson Robert Wilmer Hanan (1903-1933). The company went bankrupt in 1935. Old signs extant on the building in 2000 recorded some of the complex’s later occupants: Starlite Lamp Shade Company, Fashion Decor Lamp Shade Company, Washington Garter Corporation, National Leather Manufacturing Company, Gotham Furniture Frame Company, Modern Box Company, Star Fastener Company, Embassy Archives Center, Melcon Design Company, Shaw Television Corporation, Deluxe Novelty Company (DLX Industries), and Latex Specialties.
The simple brick facade, articulated by large segmental openings, simple brick piers, and corbelled cornice, marks 54 Bridge Street as a significant example of transition from the American Round Arch style to the daylight factory. This, together with its slow-burning mill construction, makes it representative of American factory architecture of this period and contributes to the architectural and historical character of the DUMBO Historic District. Built in 1893, during a major period of development when manufacturers such as Hanan & Son were making DUMBO into one of the city’s most important industrial neighborhoods, the structure contributes to the district through its architecture, structure, and the fact that its owners played a significant role in the area’s history.
- From the 2007 NYCLPC Historic District Designation Report
The Gloucestershire Steam Extravaganza 2012 site water carrier hauled by a Ford County 754 Super Four.
The name County comes from County Commercial Cars Ltd of Fleet, Hants. This company used to purchase Ford four cylinder engines and add their own four wheel drive front axle with equal size front and rear wheels. The 754 was based on a Ford 5000 and used a Basildon made 4.2 litre diesel engine and was built from 1968 to 1975.
They were durable, reliable tractors, County, during the manufacturing process, would disassemble the transmissions and rear axles, and install bearings made to a higher specification than the original ball bearings. In some cases they would even install their own final ring and pinion gears.
On the down side, they had too large a turning circle and were heavy to manoeuver because of weak power steering. Most Countys ended up logging or in forestry service
David Mellor Visitor Centre
David Mellor was internationally famous for his cutlery.
His chic factory in Hathersage, designed by Sir Michael Hopkins, and purpose-built on the site of the old gasworks, is hailed as a minor masterpiece of modern architecture.
Built in local gritstone with a spectacular lead roof, it blends beautifully into the rural landscape.
The factory is open for viewing on Sundays, and visitors are welcome to take a look around and watch the various designs being made.
The manufacturing process is surprisingly low-tech and most of it is done by hand – this explains why the cutlery is so expensive and so collectable.
In addition to the factory, there is also a stylish shop, a classy café and a small but interesting design museum.
David Mellor died in 2009, and his talented son Corin continues the design tradition at Hathersage.
www.davidmellordesign.com/about
The Shop
Charles Taylor Lathe.
On display in the stylish shop.
follow me @sunnyholt www.twitter.com/sunnyholt for more news and photographs.
July 2014
Swedish born, but London based, interior designer Staffan Tollgard has a spacious showroom for products/brands he has sourced from all over the world. He is so passionate about what he does, and has visited all his suppliers in person, to understand their ethos, history and manufacturing processes, and to bring back the very best to London. Find furniture/furnishings/art from the US, Scandinavia (naturally!), Holland, Germany, Canada, and Israel, for example.
The space, in a brand new Chelsea development, with the river just a stone's throw away, has huge windows, and a double-height ceiling, from which hang spectacular lightfittings. There's a gallery of chairs, sofas, side tables, rugs and much more, with a fully-furnished "apartment" in a secret inner sanctum. This is a - as yet - lesser know design destination which is well worth a journey if you love interior design. Take the chance to explore the surroundings, with a mesmerising water feature that fills the air with its noise of a rushing torrent, and then a series of locks that lead directly into the river itself.
Grosvenor Waterside, Gatliff Road, SW1
(En) Founded in 1906, the Coking Plant of Anderlues was specialized in the production of coke for industrial use.
Coke was obtained by distillation of coal in furnaces and, thanks to its superior fuel coal properties, it was used afterwards to feed the blast furnaces in the steel manufacturing process.
Closed and abandoned since 2002, the site has since undergone many losses and damages, not including an important pollution. While some buildings have now been demolished, there are however still some important parts of the former coking plant.
Among them, the former coal tower, next to the imposing "battery" of 38 furnaces, where the coke was produced. Besides them, we still can see the administrative buildings, the power station with its cooling tower, and buildings for the by-products, which were obtained by recovering the tar and coal gas. There are also a gasometer north side, the coal tip east side and a settling basin south side.
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(Fr) Fondées en 1906, les Cokeries d'Anderlues étaient spécialisées dans la fabrication de coke à usage industriel.
Le coke était obtenu par distillation de la houille dans des fours et, grâce à ses propriétés combustibles supérieures au charbon, il servait par après à alimenter les hauts-fourneaux dans le processus de fabrication de l'acier.
Fermé et laissé à l'abandon depuis 2002, le site a depuis lors subi de nombreuses pertes et dégradations, sans compter la pollution qui y règne. Si certains bâtiments (comme l'ancien lavoir à charbon) ont aujourd'hui été démolis, on retrouve encore toutefois certaines parties importantes de cette ancienne cokerie.
Parmi celles-ci, l'ancienne tour à charbon suivie de près par l'imposante "batterie" de 38 fours, où était produit le coke. A côté d'eux, on découvre également les bâtiments administratifs, la centrale électrique avec sa tour de refroidissement, ainsi que les bâtiments des sous-produits, lesquels étaient obtenus par récupération du goudron et du gaz de houille. Et en périphérie, on retrouve un gazomètre côté nord, le terril à l'est et un bassin de décantation côté sud.
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
The ELTON hodinárská in Nové Mesto nad Metují, Czech Republic where Prim watches are manufactured.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
Noodles Bazaar
The menu for this food attraction features eight varieties of noodles that Momofuku Ando encountered during his travels in search of ramen's origins. Enjoy the noodle culture that has spread to every corner of the world in an ambience that is like an Asian night market.
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At the Cup Noodles Museum, you can learn the secret of cup noodle and even have the opportunity to make one-of-a-kind ramen yourself.
Japanese food company Nissin operates this unique museum for Ramen.
The museum shows the 40 year product history as well as the founder, Mr. Ando Momofuku's creativity, by exhibiting 3,000 kinds of cup noodle packages.
They also recreate Mr. Ando Momofuku's humble research facility.
At "My Cup Noodle Factory," you can make your own cup noodle out of 5,460 soup base / topping combinations.
There is also "Cup Noodles Park", a playground for kids where they can experience the manufacturing process of Cup Noodle.
There is a "Chicken Ramen Factory" where you can make Chicken Ramen by hand, starting with kneading, spreading, and steaming the wheat flour and then drying it with the hot oil drying method. After experiencing the process that led to the invention of the world's first instant ramen, you can take your freshly made ramen with you and enjoy its delicious taste at home.
And of course you can enjoy global varieties of noodles in the contemporarily designed museum restaurant!