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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.
Listed 12/26/2023
Reference Number: 100009680
“Flying saucers you can live in” - advertisement from the Futuro Corporation
The Vincelette Futuro House, located in the town of Houston, Delaware, was listed in the National Register of Historic Places in 2023.
Matti Suuronen, the renowned midtwentieth-century Finnish architect, achieved the house’s distinctive shape through a manufacturing process that molded plastic into the Futuro’s elegant curves. The structure’s shell consists of a central fiberglass and polyester resin layer that sandwiches a core of polyurethane foam between an outer and inner layer of polyester plastic. In the eastern United States, Futuros were manufactured in an Atlantic City, New Jersey factory, delivered by truck in sections, and assembled on-site. Concrete piers form a foundation for the metal frame that cradles the Futuro 24 inches above the ground. The building measures 26 feet in diameter and 13 feet high. The weight of the original prototype was 5511 lbs. At 500 square feet, the Futuro features a compact design that includes a central living area as well as a wedge-shaped bedroom, kitchen, and bathroom. The Vincelette Futuro has remained at this location since June 7, 1977.
National Register of Historic Places Homepage
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.
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TOMYTEC series. The rear spoiler had to be installed. The issue I have with these is various parts have to added to some of these cars. These parts are small and tedious and difficult to install. I don't understand why these "add-on" parts couldn't be installed during the manufacturing process.
Minton Tiles
The richly patterned and colored Minton tile floors are one of the most striking features of the extensions of the United States Capitol. They were first installed in 1856, when Thomas U. Walter was engaged in the design and construction of vast additions to the Capitol (1851-1865). For the floors in his extensions, Walter chose encaustic tile for its beauty, durability and sophistication.
•Artist: Minton, Hollins and Company
•Date: Installed in 1856
One striking example of the contrast between the interiors of the Old Capitol (finished in 1826) and the extensions (begun in 1851) may be seen in the differences in flooring materials. In the Old Capitol, stone pavers were used in corridors and other public spaces, such as the Rotunda and Crypt, while brick was used to floor committee rooms and offices. These materials, although durable and fireproof, would have looked plain and old-fashioned to the Victorian eye. In the mid-19th century, encaustic tile flooring was considered the most suitable and beautiful material for high-traffic areas. Unlike ordinary glazed tile, the pattern in encaustic tile is made of colored clays inlaid or imbedded in the clay ground. Because the color is part of the fabric of the encaustic tile, it will retain its beauty after years of wear. One observer noted:
“The indestructibility of tiles may be judged from the fact that the excavations at Pompeii have unearthed apartments where painted tiles are just as beautiful, the colors as fresh and bright as... when the fated city was in all its glory.”
Two types of tile were used at the U.S. Capitol: plain and inlaid encaustic tiles in a range of colors. Plain tiles were used as borders for the elaborate inlaid designs or to pave large corridor areas. They were available in seven colors: buff, red, black, drab, chocolate, light blue and white. Additional colors, such as cobalt blue, blue-gray, and light and dark green, appear in the inlaid encaustic tiles that form the elaborate centerpieces and architectural borders. They were made by “filling indentations in the unburnt tile with the desired colors and burning the whole together.”
The patterns and designs formed in the inlaid tiles were limited only by taste and imagination. They include geometric patterns such as the Greek key, guilloche, and basket weave; floral designs such as the fleur-de-lis; and figures such as dolphins and classical heads. Few of the patterns are repeated. Although most of the tiles are six-by-six-inch squares, some are round, triangular or pie-shaped. Approximately 1,000 different tile patterns are used in the corridors of the Capitol alone, and up to 100 different tiles may be needed to create a single design.
The original encaustic tiles in the Capitol extensions were manufactured at Stoke-upon-Trent in Staffordshire, England, by Minton, Hollins and Company. The firm’s patented tiles had won numerous gold medals at international exhibitions and were considered the best tiles made. In 1876, having seen Minton’s large display at the Centennial Exhibition in Philadelphia, one critic wrote, “Messr. Minton shone superior to all exhibits of the sort… and may be cited as showing the highest results in tile-pottery achieved by modern skill and research.”
Beginning in 1856, and continuing for five years, the tile was installed by the import firm of Miller and Coates of New York City. For the journey from New York to Washington, the tiles were packed in wooden casks weighing about 1100 pounds; each cask contained enough tiles to pave about 100 square feet. The cost of the tile ranged from $0.68 to $2.03 per square foot.
Thomas U. Walter had every reason to believe that the encaustic tile floors would last as long as his extensions stood. One visitor noted in 1859 that the tile floors vied with the beauty of marble and surpassed it in durability. While perhaps valid for other installations, however, this prediction proved overly optimistic for the Capitol Building. By 1924, the Minton tile was removed from the corridors in the first and second floors of the House Wing and replaced by “marble tile in patterns of a simple order.” In that day, marble was selected for its superior durability and because suitable replacement tile was difficult to find.
In the 1970s, however, a similar condition prompted a very different response. In 1972, a search was undertaken to determine a source of similar tiles in order to restore the original appearance of the building. Inquiries were made of all major American tile manufacturers, the American Ceramic Tile Manufacturers Association, and even Mexican and Spanish tile suppliers. Although the colors and designs could be reproduced relatively easily, the patterns would quickly wear because they would be applied to the surface. The “inlaid” feature of the encaustic tiles, i.e., the approximately 1/8-inch thickness of the pattern and color, is the characteristic that enables the Minton tiles to be walked upon for over 100 years without signs of wear. It was this technique that formed the basic difficulty of manufacture.
Finally, as a result of the Capitol’s needs becoming generally known, the Architect of the Capitol was placed in contact with H & R Johnson Tiles Ltd., located at Stoke-on-Trent, England. It was discovered that that firm was a successor company to the Minton Tile Co. and had even retained many of the original hand tools and forms in a private museum at the company’s manufacturing site.
Contact was then made with Mr. James Ellis, the Directing Architect of Ancient Monuments and Historic Buildings for the Crown. He had been trying for many years to establish a program for the replacement of the worn Minton tiles at the Houses of Parliament but had more or less given up the attempt because of H & R Johnson’s continued unwillingness to revive the encaustic tile process. However, the restoration work at the Arts and Industries Building of the Smithsonian Institution was in process at about the time the needs of the Capitol became known; it thus appeared that a market for such tiles was developing to the degree that the manufacturer began to reconsider its prior position. The company thus began the experiments that finally led to the present availability, after many decades, of the original Minton-type tiles.
Because the tiles in the Capitol are more decorative and have more complicated designs and color combinations than those in either the Houses of Parliament or the Smithsonian, those institutions were able to obtain replacement tiles sooner than the Capitol. The lessons learned in the manufacture of the simpler tiles served as a basis for filling the later needs.
Color photographs and full-sized drawings of the many required patterns were made and recorded, and many developmental submissions were made as the hand-made manufacturing process was re-developed. Finally, in 1986, the first acceptable tiles were delivered. The installation process was accomplished with modern cement adhesives and has yielded excellent results.
The program enabled the original tiles to be replaced with exact replicas. This project began on the first floor of the Senate wing, where the effects of 130 years of wear and tear were most noticeable. Replacement tile was closely scrutinized to ensure fidelity to the nineteenth-century originals. While difficult and slow, this process is the only fitting response to the history of the Capitol extensions, not only to restore the original beauty and elegance of these unique floors, but also to provide for their continuing attractiveness for the foreseeable future.
Much as a Bentley evokes that image of quality and lineage, our third generation manufacturing process lends it's pedigree to this stunning 21st century copper cookware. Though Falk Culinair is an industry leader with cutting edge technology built into every single piece of cookware, we’re also keenly proud that our family owned business emphasizes the personal and human touch that established our sterling reputation through the years. We still inspect each piece by hand today, just as we did in decades past.
Project: Embassy Suites, Portland ME
Product: Hunter XCi Foil
Xci Foil is a high thermal, rigid building insulation composed of a closed cell polyisocyanurate 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.
XCI Twitter: twitter.com/HunterXCI
XCI Facebook: www.facebook.com/pages/Hunter-Xci-Exterior-Continuous-Ins...
View more: www.hunterxci.com/
The remains of an old jetty at Keyhaven marshes. The area was used extensively for the production of salt from Roman times and possibly before, reaching a peak in the 1700s and finally ending in about 1846 due to the supply of rock salt which was cheaper to produce.The jetty was used to offload coal for the manufacturing process and to export the sea salt to the continent.
სამხედრო სამეცნიერო-ტექნიკური ცენტრი ,,დელტა’’ 2005 წელს პრეზიდენტის ბრძანებულების საფუძველზე შეიქმნა. დღესდღეობით, საწარმოში 6000 ადამიანია დასაქმებული, რომელთა საშუალო ხელფასი 1000 ლარზე მეტია. ,,დელტას’’ თანამშრომლები სხვადასხვა სოციალური ბენეფიტებით სარგებლობენ.
,,დელტაში’’ გაერთიანებულია რამდენიმე მსხვილი საწარმო, მათ შორის ,,თბილავიამშენი’’, რომელიც ქართულ იარაღსა და საბრძოლო ტექნიკას აწარმოებს. საწარმოში 15-მდე სახეობის იარაღი და სამხედრო აღჭურვილობა მზადდება.
,,დელტაში’’ იწარმოება საქართველოს შეიარაღებული ძალების სიამაყე მუხლუხებიანი ქვეითთა საბრძოლო მანქანა ,,ლაზიკა’’. მხოლოდ ,,ლაზიკას’’ წარმოებაზე ასამდე სპეციალისტია დასაქმებული. მთლიანობაში, ქართული იარაღისა და ტექნიკის წარმოებაზე 1500 ადამიანი მუშაობს.
,,დელტაშია’’ ასევე დამზადებული ჯავშანმანქანა ,,დიდგორი’’, ზალპური ცეცხლის რეაქტიული სისტემა და უპილოტო საჰაერო აპარატი.
იარაღისა და სამხედრო ტექნიკის წარმოების დაწყებამდე, ტარდება კვლევები და ნიმუშების მეცნიერულ დონეზე დამუშვება ხდება. ,,დელტაში’’ გაერთიანებულია 6 სამეცნიერო-კვლევითი ინსტიტუტი, სადაც სამოქალაქო და სამხედრო კვლევები მიმდინარეობს. ფიზიკის, მანქანათა მექანიკის, სამთო, მეტალურგიის, ოპტიკისა და ნანოტექნოლოგიების ინსტიტუტებში დასაქმებულ 400-ზე მეტ მეცნიერს საკუთარი წვლილი შეაქვს ქართული იარაღის წარმოების განვითარებაში.
როგორც ,,დელტაში’’ იარაღის წარმოებაზე დასაქმებული ადამიანები აცხადებენ, მათთვის დიდი პატივია საკუთარი წვლილი შეიტანონ ქვეყნის შეიარაღებული ძალების განვითარების პროცესში და ამავდროულად, საკუთარი საქმიანობით სარგებელი მოუტანონ ოჯახებს.
Military Scientific-Technical Centre “Delta” of Ministry of Defence was established in 2005 on the basis of the Decree of the Georgian president. Currently, the number of enterprise personnel is 6000, whose average salary amounts to over GEL 1000. “Delta” employees also enjoy different social benefits.
“Delta” incorporates several large enterprises, including “Tbilaviamsheni”, which manufactures Georgian armament and combat technique. The enterprise works on production of around 15 series of weaponry and military equipment.
“Delta” produces the tracked infantry fighting vehicle “Lazika”, which is the Georgian pride. 100 specialists are employed in “Lazika”`s manufacturing process. In total, 1500 personnel are involved in the production of the Georgian armament.
The other Georgian armament- multiple rocket launcher system, armored infantry vehicle “Didgori” and unmanned aerial system are also the products of “Delta”.
Before launching production of weaponry and military technique, scientific researches and processing of models are conducted in the enterprise. “Delta” incorporates 6 scientific-research institutes, which carry out civil-military research activities. More than 400 scientists working in the institutes of Physics, Auto Mechanic, Mines, Metallurgy, Optics and Nanotechnology provide their share of contribution in the national military industry development.
According to the “Delta” employees, it is a great honor for them to take part in the development of armed forces and to bring benefit to the Georgian families by their activities.
This is the hall carpet at the La Quinta in Boerne, Texas. It's a very nice, clean, updated hotel, as La Quinta upgrades itself, location by location. The theme here is kind of an updated western theme, as I remember it, and I assume this is supposed to resemble cowhide.
Maybe it's my recent and lifelong experience with damaged floors and ripped-out carpets, but to me, this looks like someone ripped the carpet up, leaving shreds of padding, paint, and adhesive down the length of the hall..
Anyway, I just thought it was interesting that someone thought this would look good, and was approved repeatedly throughout the design and manufacturing process. Taste, and design are fickle things!
One thing about it.. No matter what you spill on it - no problem! Coffee, paint, coke, whatever! Sure, it'll still stain, but no one will ever notice.
John Allison is William F. Hosford Professor of Materials Science and Engineering at the University of Michigan and a National Academy of Engineering member.
His major research interest is in understanding the inter-relationships between processing, alloying, microstructure and properties in metallic materials – and in incorporating this knowledge into computational tools for use in research, education and engineering. An important part of his research is development of Integrated Computational Materials Engineering (ICME) tools – and thus collaborations with other computational and experimental groups are an essential element of my work. Central to my research are investigations on the evolution of microstructures - current examples include precipitate evolution, recrystallization and grain growth and texture development in magnesium, aluminum and titanium alloys. He is also interested in mechanical behavior of these materials, with an emphasis on development of mechanistic and phenomenological understanding of the influence of microstructure on properties such as strength, ductility and fatigue resistance.
Allison comes to the University from Ford Motor Company, where he was a senior technical leader in the Research and Advanced Engineering organization. Over the twenty seven years of his tenure at Ford, he led teams developing integrated computational materials engineering, or ICME, methods. He helped develop advanced computer software that simulates manufacturing processes and predicts the influence of the manufacturing process on material properties. The output of these models is then coupled with product performance models to predict how manufactured components will behave during service.
July 11, 2023.
Photo by Marcin Szczepanski/Lead Multimedia Storyteller, Michigan Engineering
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
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.
At Aberdulais Tin Works and Falls "The chimney stack dominates the view as you walk up the riverbank path. It was used to carry away smoke and waste gases produced by the furnaces used in the tinplate manufacturing process".
At Healthy Steps we own and operate our own manufacturing facility on-site at our main clinic. To find out more about our distinct manufacturing process please visit our site at www.healthystepspedorthic.com
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!
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!
GREEN GRADS
“Our show is an inarguable double whammy: we deliver support for new designers and support for the environment at one and the same time…through engaging content created/exhibited by the cream of recent graduates from British universities.” Barbara Chandler, founder/curator of GREEN GRADS
Irene Roca Moracia won the Impact Award for her stunning assembly of Grid Furniture
The Inaugural GREEN GRADS Awards at GREEN GRADS 2021
were graciously presented by Lady Frances Sorrell OBE.
Lady Sorrell is co-founder of the Sorrell Foundation (1999) and of the Saturday Art Club, with her husband Sir John Sorrell CBE, co-founder/chair of the London Design Festival.
The Impact Award 2021, £350
For the best installation or project at the show to spotlight an environmental challenge.
Winner 2021: Irene Roca Moracia (Central Saint Martins, 2021) for Grid Furniture, made from materials rejected on building sites, simply because their packaging was damaged and they therefore no longer met strict quality controls. “Sustainability is about operations and behaviour as much as design and technology,” she observes.
@i.rocamrc
The Change Maker Award 2021, £350
For the best installation or project that will realistically make an environmental difference.
Winner 2021: Emma Appleton (Kingston University, 2020) for Green Pipes).
Plants thrive on Emma’s water collection and filtration panels, which attach to gutters. “Greenery can remove Co2 and other pollutants from the air,” said the designer.
@emmaappleton_design
The Earth Award 2021, £350
For the GREEN GRAD caring most for the planet.
Winner 2021: Sara Howard (Central Saint Martins, 2020) for Circular Ceramics which reclaims, industrial waste to replace the raw materials in ceramic production.
@sara__howard.
The Design-Nation Sustainability Innovator Awards
Offering membership and support to three new graduates.
@Design_NationUK
1. Oscar McNaughton (University of Plymouth, 2021) celebrating the beauty of repair.“Designers and makers have a huge potential to instigate change.”
@madebyosc
2. Ellie Perry (Kingston University, 2021) for slip-cast vessels glazed with industrial waste. “I demonstrate that waste can be beautiful.”
@ellieperrydesign
3. Harry Peck (University of Northumbria, 2021) for Wave Cycle furniture made from abandoned surf boards. “Even short-life materials can now be a part of a circular manufacturing process.”
@harrypeckstudio
GREEN GRADS is at GRAND DESIGNS LIVE 30 April-8 May 2022 at ExCel, Docklands where 20+ graduates are showing their work on a 15m run of stand. They will be there in person, with products, installations, and films - and demos of weaving from sustainable willow and discarded textiles.
GREEN GRADS has been invited exclusively to show a film of our project everyday in Salone Satellite at the Milan Furniture Fair 7-12 June 2022.
The second edition of GREEN GRADS is a standalone event within the Planted design show in King’s Cross, London N1C, during the London Design Festival over the weekend of 24/25 September 2022. As last year, it will be a platform for recent UK graduates engaging with the pressing eco-issues of our time.
GREEN GRADS IN THE NORTH at the Great Northern Contemporary Craft Fair at Victoria Baths in Manchester will take place 13-16 October 2022.
We also have an ongoing programme of GREEN GRAD salons, with intimate “pop-up” events including seminars and workshops at Studio Tuckite.
TRIM STEEL EXPERT is a completely integrated CATIA V5 solution to automate the design of trimming tools used in the sheet metal and plastics die trimming industry. The solution creates the stock material (casting) and the tool surfaces as separate elements to fully support the engineering and manufacturing process. It furthermore will take into account the specific parameters as known in the tool engineering industry. TRIM STEEL EXPERT was developed in close cooperation with iCapp.
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!
The Password JDM Dry Carbon Fiber Engine Pulley Cover NEW SUBARU BRZ SCION FR-S V1 will clean up the look of your engine bay! Like all of our Dry Carbon parts we manufacture, this engine cover has been precision crafted for a perfect fitment every time. We have used a fade resistant resin during the manufacturing process to ensure this pulley cover will always look & function as good as the day you bought it!
Includes all necessary mounting hardware.
Features include:
- Perfect dry carbon fitment with structural integrity
- high-heat, fade resistant resin fabrication process
- Extreme lightweight to strength ratio
- Made in the USA
- Badass looks for your BRZ or FR-S engine bay!
www.foodthinkers.com/2009/12/the-science-of-tea-making/
There are many factors that determine the quality of different types of tea. Soil conditions, climate, and harvesting all play a role in the ultimate taste of your brew. However, it’s the manufacturing process — particularly how tea leaves are fermented — that defines whether a tea becomes green, white, oolong, or black.
Photo Description: SEM image of tensile fracture surface of an Al-5wt% Mg matrix composite containing 1wt% NbB2
nanoparticles used in the study of a manufacturing process of this nanocomposite as filler for aluminum welding. This image
was taken with JEOL JSM-6360.
Image taken by: Andres Calle, University of Puerto Rico at Mayagüez
"When it was operating full time, Watkins Mill employed 40 workers -- 25 men, 10 women and five children. Most of the men were highly proficient workers called operatives. The women were weavers and the children were often apprentices who were learning the mill industry. The Mill's original work force included immigrant English, Irish, French, Canadian, German and Swedish employees, as well as individuals from the eastern United States. Because of the skill involved, mill workers were often well-paid.
The process was quite detailed. After a sheep was sheared, the wool was matted together to resemble a thin rug, then rolled into bundles. About two-thirds of the material was then sorted by grade and scoured by a willower, a machine that pulls the wool apart and removes dirt and natural oils. It could then be made into yarn or cloth, or dyed. From there, the scoured, unscoured and dyed wool went to the picker room, where the sorts were divided and placed into uniform layers, then fed into the picker, which prepared the wool for carding by pulling it apart into small, fluffy bits.
Carding machines untangled individual fibers and reduced sheets of wool to a continuous strand. The material was then ready to be spun into yarn. After this, it could be sold or continue within the manufacturing process to be woven into cloth, often with complex patterns.
Powering the Mill's looms and machines was a 60-horsepower slide-valve steam engine that Waltus Watkins purchased from a company in St. Louis, Mo. The engine had been salvaged from a river steamboat and its wood-fired boiler provided the 100 pounds of pressure needed to operate the Mill's equipment at the correct speed.
Although the milling process and its associated equipment and employees were expensive to coordinate, the business was profitable. Because of transport costs during the 1850s and '60s, goods produced on the East Coast were not always readily available throughout America. As a result, by 1870 there were about 880 woolen mills located in the Midwest alone."
Konpeito is a kind of Japanese candy. Made of sugar and flavorings, each tiny piece here is about 3 to 4 millimeters in diameter. They get their distinctive shapes through their manufacturing process, as they have been turned in large tumblers.
This was the main project for my Manufacturing Processes II course. This final product is polished cast lead. He was sculpted in Firm Super Sculpy and was molded using Tin-Sil 70-60 Mold Rubber from Polytek. He is my first stab at working in any kind of metal.
Ellistown Brick & Pipe Co., Ellistown, Coalville, Leics.
Ellistown colliery and brickworks were established by Joseph Joel Ellis in the mid 1870s. Joseph had previously owned the Nailstone Colliery Co.
In 1897 Joseph died, the colliery, brickworks and estate being carried on by trustees under Orders of the Court of Chancery until 1936 when the colliery and brickworks were separated into two separate companies. Ellistown Brick and Pipe Company closed before the Second World War.
Ellistown Pipe Works was taken over by Hepworth Iron and Steel Co. in the 1960’s and was operated as a Clay Pipe manufacturing unit 1986. The unit was then redeveloped by Hepworth Building
Products and reopened as a brick plant in 1988, the factory and associated stock ground covers 9 acres.
The Ellistown Brick Factory was sold to Ibstock Brick in September 1999 and operated as an extruded brick unit. The manufacturing process was changed to soft mud with the ability to change back to
produce wirecut extruded brick in spring 2002. To produce soft mud brick the unit uses local raw materials to produce up to 55 million bricks per year.
Nation : Czechoslovakia
Pavilion Name : Czechoslovakia Pavilion
Subject : People
Island : Ile Notre Dame
Description : Queues outside the popular Czechoslavkian building. Two to three hour wait times were common.
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.
In this work mussels are lashed into an electro-stimulated design apparatus to make a vase. They are allowed to relax up to a certain point, then shocked, prompting movement that scratches a design onto the object. The resulting form might be seen as a sobering memento mori, a reflection on manufacturing processes that exploit biology.
credit: Florian Voggeneder
bit.ly/1bsl9HT This machine is capable of handling bales that are 4'x4'x8' Tall. You can process compressed bales of peat moss and premixed soils. 10 H.P. Shredding Drums. 2 H.P. Variable speed conveyor to pull decompressed material out of the machine. Pallet lift plate on rear of the machine. Load a sky scraper bale no problem with a pallet jack. No need for a fork lift! We manufacture processors with capabilities of 45 Cubic Yards per hour up to 90 Cubic yards per hour.
I thought this was just a nice image of a father and his child playing by the water; it was only after I looked at the photo closeup that I noticed the very bizarre "English" on the back of the child's T-shirt...so bizarre in fact that I could not resist transcribing it word-for-word:
...if a are my god you ane my dog
...eat me dose dose love never last
...go a hippie you said coke off
...you hver ther s a real pank rek
...here pend kean of gold
...you spei tkigs goafve me and
...you real mager laving stram
...OK, by the fourth line it really stops being English altogether.
After nearly four years in China I will never fully understand this phenomenon. It's not like proper English is hard to come by these days; T-shirt manufacturers could just download a passage from Shakespeare if they wanted to. Instead, it seems like someone somewhere in the manufacturing process must actually sit down and write this nonsense. Well, maybe it isn't really nonsense...anyone who can have a crack at interpreting it for me is more than welcome!
Governor Kay Ivey participated in the Grand Opening of Winkelmann Flowform Technology, LP. Thursday October 3, 2019 in Auburn, Ala. Winkelmann Flowform Technology, LP. specializes in high-precision, high-strength, thin wall roto-symmetrical parts from metals such as titanium and steel. Through technical engineering and in-house manufacturing processes, the company seeks to provide high-quality, precise, near net shape designs for use in the Aerospace and defense industries. The project involves the creation of 50 new jobs and a $12 million investment in the Auburn metal forming operation. (Governor's Office/Hal Yeager)
(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.
Coconut candy refer to various candies made with coconut or coconut flavorings.
In Vietnamese cuisine, kẹo dừa coconut candy is most commonly produced in Bến Tre province, Vietnam with coconut milk and coconut cream.
In the United States, coconut candy was sometimes spelled as cocoanut candy. These included various traditional confections in the United States. Mason Pecan Cocoanut Candy was made in the 1950s in Milprint, Milwaukee. Squirrel Brand made Cocoanut Zippers. There was also a Mason Cherry Cocoanut candy produced in Mineola, New York. Welch's made Cocoanut Candy Bar from Hinde & Dauch. Welch's Cocoanut candy was also produced by the James O. Welch Company.
Sauerkraut candy is made with grated coconut. Grated coconut is often used in various chocolate confections.
VIETNAM
The Bến Tre Province is nicknamed by Vietnamese as the "Land of Coconut" (Xu Dua). The Vietnamese term for coconut candy is "kẹo dừa", with kẹo = candy and dừa = coconut. Coconut candy was originally associated with Mỏ Cày, a small township within the Bến Tre province.
MANUFACTURING PROCESS
The production of Vietnamese coconut candy starts with the grating of fresh coconut flesh. The grated flesh is then pressed to extract coconut milk and coconut cream. The next step is the addition of malt syrup and sugar to this mixture of coconut milk and cream. The ratio of the various ingredients is a closely guarded secret of individual coconut candy manufacturers. The mixing process is often entrusted only to family members of the factory owner. Slight variations in the ingredient ratios can lead to very different texture and taste in the final product.
The mixture is then heated to a very high temperature in large woks over fires generated by the burning of coconut shells. While being heated, the mixture is stirred continuously to ensure even heat distribution. Traditionally, this stirring process was done manually with large wooden paddles. In larger modern manufacturing facilities, these paddles have been replaced by electric motors. The mixture eventually caramelises to a thicker texture. Recognising when the mixture has been cooked to the right level is more of an art than an exact science. While it is still hot and soft, the thickened mixture is then stringed out into moulds and allowed to cool. The final step sees the candy strings cut into rectangular lozenges, then wrapped and packaged.
Traditionally, coconut candy is wrapped in two layers of wrappings. The inner layer is edible rice paper, and the outer layer is paper soaked in vegetable oil. These measures were necessary to stop the candy from sticking to the paper wrapping. Larger manufacturers now use heat-sealed foil paper, which does not stick to the candy.
ECONOMIC IMPORTANCE
Bến Tre currently has over one hundred coconut candy manufacturers, making up thirty percent of local enterprises. However, the market is dominated by a handful of well-known brands, with most manufacturers producing candy under licence for these brands. Coconut candy is sold throughout Vietnam. It is also exported to other Asian countries, Australia, Europe, and North America.
COCONUT CANDY TYPES
Bounty (chocolate bar) contains coconut (it is known as Bounty outside of the U.S.)
Coconut ice
Ferrero Raffaello
Perle de coco
Ounhmangu
WIKIPEDIA
The Foundation Stone for the Museum was laid on 23 October 1861 by Prince Albert in front of a large crowd.
It was not for another six years that the then Edinburgh Industrial Museum was opened by Prince Alfred in 1866.
Dr. George Wilson was first Director of the Industrial Museum of Scotland, from 1854 until his death in 1859. An enthusiastic chemist, he lectured in the Royal College of Physicians from 1840 and contributed to the literature on colour blindness. He was appointed to the Professorship of Technology in the University of Edinburgh in 1855.
As Director of the Industrial Museum of Scotland he built a collection which presented evidence of the rapid technological and scientific progress then taking place, including materials to illustrate a vast range of products and their manufacturing processes.
The Museum was founded as the Industrial Museum of Scotland in 1854. Renamed the Edinburgh Museum of Science and Art in 1864, it became the Royal Scottish Museum in 1904 and is now known as the National Museum of Scotland.
Have a look at the most recent images of the Museum from the re-opening on 29 July 2011and see what has changed.
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
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Machine cut cedar slats
Paused at 60%
"An object that we use everyday in our work; pencils have been made in the Lake District since 1832 and the fundamentals of production have changed very little. Stopped after the first cut this object illustrates the simple and ingenious process"
Edward & Jay
Part of ‘In The Making’ exhibition - more than twenty objects during the manufacturing stage of their construction...curated by Edward Barber and Jay Osgerby, the design duo who are perhaps best known for designing the 2012 London Olympic torch.
The pair commented on the exhibition “‘We have always been fascinated by the making process as it is an integral part of our work. We have curated an exhibition that will provide a platform to capture and reveal a frozen moment in the manufacturing process and unveils an everyday object in its unfinished state. Often the object is as beautiful, if not more so, than the finished product!”
SHAFTER, CA – Saturday August 30th 2008 at approximately 12:48 P.M., a call was received by the Kern County Fire Department for a structure fire in the 500 block of Shafter Ave, in Shafter. Approximately 40 Kern County Firefighters responded to the incident. As the first Battalion Chief arrived a third alarm was called for, this involved a total of 2 Ladder Trucks, 7 Engines, 3 Battalion Chiefs, 1 Deputy Chief. Also, Hazmat 66, Air Van 61 and Water Tender 51, along with various support and safety personnel.
As the first fire engine from Shafter left the station the crew reported a large column of black smoke and requested a full structure response. Upon arrival, crews were faced with liquid petroleum gas tanks (LPG) on fire, also a large amount of stored roofing and building paper materials were becoming involved, these products are used in the manufacturing process and are stored outside and at the rear of the property. The heat produced by the fire caused the adjacent steel clad warehouse building to become threatened. A second alarm was requested. Fire crews made an initial attack on the exterior fire. As more fire crews arrived an internal attack of the fire was made and to ensure that no body was inside the building. Fire crews are continuing to fight this fire. The cause of the fire is undetermined at this time.
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Custom Orthotics For Flat Feet
Flat Feet? No Problem with Custom Foot Orthotics
If you have flat feet, you know that this can contribute to problems. Because the entire sole of the foot comes into contact with the floor when standing, this can result in improper alignment of your legs. This can cause pain in your ankles as well as your knees. Flat feet are often caused when arches do not develop at an early age, typically during childhood. This can also be caused by an injury and is sometimes due to aging.
Is there a Solution for Flat Feet?
Foot orthotics for flat feet can be a relief for those who suffer from this condition. This can help relieve the aches that are experienced in the arches of the feet. Caused by the over-pronation or rolling of the ankle, this pain can be debilitating and it can also result in further injury to the feet over time.
Custom made orthotics that can be inserted into your shoes can help. They are custom fitted to your feet and have provided relief for many people. Choosing the type that is made by a method of molding cork, leather and ethylene vinyl acetate (EVA) will provide the shock absorption and the comfort needed to relieve pain. The othotics are made by implementing technology with research, education and a manufacturing process that provides the craftsmanship needed for successful design.
Custom Fit is a Better Option
Many people try to treat flat feet with arch supports that they purchase over the counter. They may help somewhat or not at all. The best solution is orthotics for flat feet that are designed for your individual needs. The materials used will last for several years while providing the support your feet need and proper alignment of the legs when standing. In addition, flat feet are often associated with problems in the hips, knees and back. Support on a full time basis is needed and will be very beneficial to relieve many of these symptoms and to prevent further problems.
Foot orthotcs for flat feet should be made from a material that is lightweight for the best comfort. In addition, they offer shock absorption, which is very important. When standing, walking or running, weight is transferred to your feet. When they come into contact with the ground, this can cause an impact that for people with flat feet allows their feet to roll over to the inner side. This can put a strain on the ligaments and muscles in the legs. Arches in the feet help to distribute body weight in the legs and feet when walking on the many surfaces we come into contact with daily.
Orthotics are Beneficial for Many
Foot orthotics for flat feet can help by providing this distribution of weight for those who do not have arches. They are often recommended by health care providers for people who are experiencing pain from fallen or weak arches or hereditary flat feet. Diabetes is also a cause of flat feet and it is very important that the feet be protected when this condition is present. Arthritis sufferers can also benefit from orthotics as well as people with nervous system or muscle diseases.
For more information about getting Custom Foot Orthotics for your Flat Feet
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Friday, December 8th, 2017
Fortune Global Forum 2017
Guangzhou, China
8:00 AM–9:20 AM
SMART MANUFACTURING AND THE INTERNET OF THINGS
Around the world, factory floors and assembly lines are becoming highly automated, combining human ingenuity with data and technology to revolutionize product and productivity outcomes. As the notion of a “factory of the future” continues to evolve, how are companies incorporating “smart” and connected products into their manufacturing process? From sensors and robots to 3D printing and green technology, global companies are experimenting with a variety of methods to streamline, scale, and sustain their business. Here in China, manufacturers have been asked to deliver on the nation’s “Made in China 2025” strategy and are aggressively pursuing their own strategies to become smarter, greener, and more efficient. As these changes take hold, what are the implications for those doing business in China and for supply chains worldwide? And how are companies redeploying and reeducating their workforces as traditional factory jobs become automated and the need for technically proficient talent increases?
Hosted by The City of Guangzhou
Börje Ekholm, President and CEO, Ericsson Group
Till Reuter, Chief Executive Officer, KUKA
Tony Tan, Partner, Shanghai Office, McKinsey & Company
Wang Wenyin, Chairman, Amer International Group
Shoei Yamana, President and CEO, Konica Minolta
Zhang Jing, Founder and Chairman, Cedar Holdings Group
Moderator: Adam Lashinsky, Fortune
Photograph by Vivek Prakash/Fortune