View allAll Photos Tagged Rigidity
1972 Citroen AK 400 van.
Registered in July 1981.
Last MoT test expired in June 2019 (now exempt, SORN).
It failed a test that month -
Nearside front tyre tread depth below requirements of 1.6mm (5.2.3 (e)) - Dangerous
Offside rear rear fog lamp tell-tale not working (4.9.1 (a) (ii)) - Major
Nearside front position lamp adversely affected by the operation of another lamp (4.2.3 (c)) - Major
Central rear integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced (6.1.1 (c) (i)) - Major
Offside rear integral body structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting jacking point out rigger (6.2.2 (d) (i)) - Major
Nearside rear integral body structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting floor to jacking point (6.2.2 (d) (i)) - Major
Offside front suspension component pin or bush excessively worn steering pivot lower (5.3.4 (a) (i)) - Major
Central front exhaust system insecure (6.1.2 (a)) - Major
Nearside front outer drive shaft joint constant velocity boot split or insecure, no longer prevents the ingress of dirt (6.1.7 (g) (ii)) - Major
Offside front outer drive shaft joint constant velocity boot split or insecure, no longer prevents the ingress of dirt (6.1.7 (g) (ii)) - Major
Rigidity of winter: brown leaf laying lifelessly on the frozen ground.
Date: January 29, 2019 08:41
Temperature: -1°C (31°F)
While I worked on this project, which at this point consists of glueing two flat sheets of corrugated cardboard together, I found myself wondering if it would make more sense to have simply purchased and used a sheet of foamcore board. The cardboard was from some parcels I'd received in the mail so the cost was "free," but I used glue to glue the sheets together and masking tape to seal the edges to hold the sheets in place. Masking tape isn't cheap anymore. School glue is still relatively inexpensive, particularly since I still have about half a gallon that I purchased a few years back. But foamcore board is inexpensive when it is in stock at the Dollar Tree store.
Then I thought about previous projects in which I had used Dollar Tree foamcore board which had warped or sagged, resulting in my glueing two or even three sheets together to get adequate rigidity for my purposes.
The cost comparisons for tape and glue and "free" cardboard relative to purchased craft boards led me to recall something I'd read a few weeks ago when I'd been researching the history of square-drive Robertson screws compared to slotted screws and Phillips-head screws. In the early years of the 20th century, Ford Motor Company discovered they could shave considerable time off the manufacture of an automobile by using square-drive Robertson screws. The savings in time and worker hours more than made up for the higher cost of square-drive screws relative to slotted screws. For the purposes of mass production it made sense to purchase the more expensive screws.
I am only making one item, so the mass production savings over time do not really apply to my situation. The screw conversation, however, arose on Flickr, which set me thinking about Flickr, and about some comments I had posted earlier in the day which I possibly could have worded more concisely for better clarity, so I took a break from my cardboard and glue project to revisit my Flickr comments from an hour previously and edit them.
And yet I wonder why I never finish anything I start. Now you know... and in theory, so do I.
Not that it'll make any difference in how I approach things.
2 November - A Doll A Day 2024
Barrack Street, Perth, Western Australia.
(Wikipedia)
The Swan Bells are a set of 18 bells hanging in a specially built 82.5-metre (271 ft) copper and glass campanile in Perth, Western Australia. The tower is commonly known as The Bell Tower or the Swan Bell Tower.
Taking their name from the Swan River, which their tower overlooks, and forming a sixteen-bell peal with two extra chromatic notes, they are the second largest set of change ringing bells in the world, the largest being Christ Church Cathedral, Dublin, which has 19 bells.
Twelve of the set are historic bells from St Martin-in-the-Fields church in Trafalgar Square in London; six others, cast in recent times by the Whitechapel Bell Foundry, round off the set. The St Martin-in-the-Fields bells were donated to the State of Western Australia as part of the 1988 Australian bicentenary celebrations; the additional bells were cast with a subsequent donation of metals mined in Western Australia. The six newer bells include five that were presented to the University of Western Australia, the City of Perth and to the people of Western Australia by the City of London, the City of Westminster and a consortium of British and Australian mining companies, and one bell commissioned by the Western Australian Government.
History of the St Martin-in-the-Fields bells
The St Martin-in-the-Fields bells can be traced to before the 14th century. They were recast in the 16th century by order of Queen Elizabeth I and again between 1725 and 1770 by members of the Rudhall family of bell founders from Gloucester. Due to be recast leading up to 1870 instead they were tuned and restored at London's Whitechapel Bell Foundry and donated to Western Australia, on the initiative of local bellringer and businessman Laith Reynolds. They are rare in that they are one of the few sets of royal bells, and more so since they are the only set known to have left England. The bells are also known to have rung as the explorer James Cook set sail on the voyage in which he reached Australia.
The tower was designed by the local architects Hames Sharley. The 18 bells have a combined weight of about 9 tonnes (20,000 lb) and, when rung, exert considerable forces on the support structure. To achieve the required rigidity, the six-story bell chamber was made with reinforced concrete cast in situ. The bell chamber was designed by the structural engineering firm Arup.
Soundproof louvres and doors are used to muffle the sound or direct the noise towards the city or the river as required. The glass-clad spire is designed using spokes that radiate horizontally from a centrally positioned axle, declining in width as it rises to a point. The solid-steel columns of the spire are rectangular and the concrete bell chamber is enveloped in 30-metre-tall (98 ft) copper sails and glass.
The redeveloped Barrack Square along Barrack Street precinct, which surrounds the tower, includes reflection pools as well as cafes, restaurants, shops and cycling and walking paths.
An inlaid path made of ceramic tiles initially surrounded the tower, with each tile consisting of a list of some of the youngest and oldest cohorts of students from nearly every school in Western Australia from 1999, arranged alphabetically by school name. As of March 2014, the tiles were removed as part of the Elizabeth Quay project, but have since been reinstalled in a new artwork to the east of the tower.
In 2018, to commemorate the centenary of the World War One armistice on 11 November, a large 6.5-tonne (14,000 lb) bell was cast by VEEM Limited, Canning Vale. Unlike the other bells in the tower, this is swung electronically using a motor, supplied by a Belgian firm. It is known as the Great ANZAC Bell.
Since 2013 the area around Barrack Street Jetty has undergone redevelopment; this included removal of part of the reflecting pool and creation of a boardwalk in front of the Bell Tower. The work is part of a larger foreshore project that also incorporates the Elizabeth Quay development.
---Has not yet frosted but the foliage is changing. I suppose even 8th graders in primitive Kansas knew why this happened:
---The author [Avis Carlson] talks of the evening in 1907 when she received the 8th-grade diploma from a small-town school in Kansas, USA. She was 11 years, 8 months of age...The piece speaks for itself.... please read. And this was in a one room 16/36 school representing 8-grades in one room taught by one teacher....!
---‘At that point in the history of Kansas education, the county superintendents had a rite known as County Eighth Grade Examinations... Recently I ran onto the questions which qualified me for my 8th grade diploma. The questions on that examination in that primitive, one-room school taught by a person who never attended high school positively daze me.
---‘The orthography quiz.. asked us to spell 20 words, including abbreviated, obscene, elucidation, assassination and animosity. We were also required to make a table showing the different sounds of all the vowels. Among the other 8 questions was one which asked us to divide into syllables and mark diacritically the words profuse, retrieve, rigidity, defiance, priority, remittance, and propagate.
---‘Two of arithmetic’s 10 questions asked us to find the interest on an 8% note for $900 running 2-years, 2-months, and six days and also to reduce 3 pecks, 5 quarts, and 1 pint to bushels.
---‘In reading, we were required to tell what we know of the writings of Thomas Jefferson, and for another of the 10 questions to indicate the pronunciation and give the meanings of the following words: zenith, deviated, Coliseum, misconception, panegyric, Spartan, talisman, eerie, triton, crypt...
---‘In grammar’s 10 were two directing us to analyze and diagram: There is a tide in the affairs of men, which, taken at the flood, leads on to fortune'. [from Shakespeare]
--> Source: excerpted from, Small World Long Gone, by Avis Carlson.
The European Service Module that will power NASA’s Orion spacecraft to the Moon and beyond is taking shape in the assembly hall at Airbus Defence and Space, Bremen, Germany. The spacecraft module will provide propulsion, electricity, water, oxygen and nitrogen and thermal control.
Seen here is the primary structure that provides rigidity to the European Service Module much like the chassis of a car. It absorbs the vibrations and energy from launch while a secondary structure protects the module from micrometeoroids and space debris.
Assembly of the thousands of components needed to build the advanced spacecraft started on 19 May with the arrival of the primary structure that was shipped from Turin, Italy, by Thales Alenia Space. In 2018 this structure will be an element of the European Service Module that will be launched into space, as part of the Orion spacecraft, on its first mission to fly more than 64 000 km beyond the Moon and back.
In the background is a poster of ESA’s Automated Transfer Vehicle (ATV) that was also assembled in this hall in Bremen. Five ATVs flew to the International Space Station to deliver supplies and raise its orbit. Developing ATV provided the experience necessary to develop the European Service Module in Europe.
Credit: Airbus DS
1931 Cord L-29 Cabriolet with Rumble seat, in sprightly colors and superbly restored, including it's art deco headlights, the impractical (for actual driving in the dark) but supremely gorgeous Woodslites.
The empire created by Errett Lobban Cord had the Auburn, Cord and Duesenberg marques at its core, and during their brief existence, each made a lasting and dramatic impression. The genesis of the story began with the turnaround of Auburn in the early 1920s by E.L. Cord through effective marketing. The company was struggling to get rid of stodgy-looking inventory when Cord arrived, replacing the somber colors with bright multi-tone paint schemes. By 1926, Cord was the President of the Auburn Automobile Company and soon enlisted one of the best designers in the trade, Al Leamy. Faster and more powerful engines were developed by Lycoming, another company owned by Cord.
Within the hierarchy, the Auburn marque offered nearly unprecedented value, and its moderately-priced eight-cylinder lines set a standard for performance, appearance, and value. E.L. Cord acquired the Duesenberg Automobile and Motors Company in 1925, having been impressed by the Duesenberg brothers, August and Fred, skill as master engineers and builders, and their ability to build cars that could surpass any others the world could deliver. Cord's idea was to bring that reputation to market and rival the likes of Bentley, Rolls-Royce, Mercedes-Benz, Hispano-Suiza, Bugatti and many more. E.L. Cord presented Fred Duesenberg with the task of designing and building an entirely new super automobile that could surpass the world's most magnificent automobiles and become 'The Mightiest American Motorcar.' That goal came to fruition on December 1, 1928, when the Model J was introduced to the public.
The Cord Corporation was founded by Errett Lobban Cord as a holding company for his numerous (over 150) companies he controlled, mostly in the field of transportation. It was formed on December 28th, 1929, and went defunct on December 23, 1937.
The Cord automobile was intended as a medium-priced car with innovative engineering and distinctive styling. Emulating the dynamic energy of the era, the Cord was a youthful automobile with roomy passenger accommodations, adequate headroom, and a low ride height. Positioned between Auburn and Duesenberg in Cord's product range, the Cord automobile was intended to go head-to-head with Cadillac, Packard, and Pierce-Arrow in the $3,000 - $4,000 price range.
Cord L-29
Production of the 'L-29' commenced at the Auburn, Indiana plant in April 1929, with a two-day press launch in June. The first L-29 prototype was completed in late 1928, and Cord was joined on its maiden voyage by chief engineer C.W. Van Ranst and Harry Miller. The competing front-drive Ruxton was announced about a month before Cord's L-29, but Cord beat them to production and to market by several months. The complexity of front-wheel drive and its successful application within a production vehicle that could challenge industry orthodoxy was monumental. Cord reputedly once stated, 'One of my first principles is to be different – not spectacular or contrary, but different.'
Front-drive experimentation had occurred much earlier in America through J. Walter Christie's racing cars as early as 1904 and by Harry Miller's highly competitive 1925 FWD Indianapolis 500' car. Cornelius Van Ranst and Tommy Milton further developed the Miller FWD design with their Miller-powered 1927 Indianapolis car. Tested and used in motorsports, the front-drive concept had yet to be applied to a production car.
Cord FWD Design and Development
E.L. Cord acquired the rights to Miller's front-wheel drive design to use as the basis for his front-drive production car. The development in road-going guise has been credited to engineer Cornelius Van Ranst, working using some of Indianapolis legend Harry Miller's front-drive patents, and Auburn Chief Engineer Herbert Snow.
The design was simplistic; essentially, it was a rear-wheel drive car with everything tuned around. An early prototype revealed a lack of chassis rigidity and vibrations on uphill turns. These were resolved by adding a central X-member to the 137.5-inch wheelbase chassis (an industry first), and double U-joints on the front axles. The suspension was designed by Van Ranst and based on de Dion ideas, and the brakes were moved inboard, as on the Miller Indy cars.
The Lycoming L-head inline 8-cylinder engine was sourced from the Auburn 120 and had a displacement size of 298 cubic inches. The engine was reversed within the engine bay so that the crankshaft exited the block at the front of the car and the flywheel mounted there, driving the three-speed transmission that rested between the front wheels. With the engine mounted backward, special gearing was needed to allow it to be cranked in the normal direction. Accordingly, the three-speed transmission supplied by Detroit Gear required a reversed shift quadrant.
The mechanical complexity of the L-29 was great, but so was the task of creating its coachwork. The long drivetrain package necessitated by the L-29's inline eight-cylinder and front-drive system required Al Leamy to sketch one of the longest hoods ever penned. Modern and youthful, the styling was inspired by European coachwork, similar to those that influenced the designs of General Motors's Harley Earl. Also, like many European top custom coachbuilders of the era, Leamy preferred lighter colors and pastels.
The L-29 was offered initially in Sedan, Brougham, Convertible Coupé and Phaeton versions, at prices ranging from $3,095 to $3,295. The design possibilities afforded by the low-slung L-29 chassis attracted several American and European custom coachbuilders, and 43 custom-bodied L-29s were ultimately created. Among the list of coachbuilders were Murphy & Co., Voll & Ruhrbeck, and d'Leteren Freres. Additionally, Brooks Stevens purchased a Speedster new and redesigned the body in the mid-1930s.
In total, 5,010 examples of the L-29 were built.
Manufacturer: Rolls-Royce Motor Cars Limited, Derby - UK
Type: 40/50 New Phantom (later called Phantom I) with Tony Robinson Boattail body
Production time: May 1925 - 1929
Production outlet: 3,512 (2,269 units Derby - UK [some sources: 2,212 units] and 1,243 units USA [some sourches: 1,240 units])
Engine: 7668cc straight-6 RR 468 pushrod-OHV I-head
Power: 94 bhp / 2.750 rpm
Torque: unknown
Drivetrain: rear wheels
Speed: 140 km/h
Curb weight: 1985 kg
Wheelbase: 143½ inch
Chassis: Body-on-Frame with Boattail steel body (by Tony Robinson)
Steering: worm & nut
Gearbox: four-speed slective sliding manual / all synchromesh / floor shift
Clutch: single dry plate disc
Carburettor: Rolls-Royce
Fuel tank: 105 liter
Ignition system: distributor and coil
Brakes front: mechanical Hispano-Suiza licensed servo-assisted drums
Brakes rear: mechanical Hispano-Suiza slicensed ervo-assisted drums
Suspension front: beam axle, longitudinal semi-elliptic crossbow leaf springs
Suspension rear: beam axle, Hotchkiss drive, longitudinal cantilever springs
Rear axle: live
Differential: hypoid bevel 4.25:1
Wheels: 6.75 x 21
Tires: 7.00 x 21
Options: two side-mounted spare tires, trunk rack, wooden running boards
Special:
- Rolls-Royce Company (officially registered as Rolls-Royce Limited Company in 1906) was founded by engineer Frederick Henry Royce and car trader Charles Stewart Rolls in 1904. Their pursuit of quality automobile production has earned Rolls-Royce the reputation of “the best car in the world”.
- The New Phantom (codenamed EAC, which stood for Easter Armored Car and later called Phantom I when the Phantom II was introduced in 1929) was designed / restyled by Ivan Evernden, based on the Silver Ghost.
- The chassis was still based on the Silver Ghost, old-fashioned and lack of rigidity in the application of front brakes. It was therefore after a brief career (for RR standards) already replaced with a new chassis in 1929, called Phantom II.
- Only the chassis and mechanical parts were produced by Rolls-Royce. The bodies were built (according to RR-standards) by famous coachbuilders like Barker - London, Hooper, Thrupp & Maberly, Park Ward and H.J. Millliner and some lesser knowns like James Young (at that time), Clark, Martin & King, Merrimack, Warwick, Windovers, Binder, Murphy, Jonckheere and Rippon.
- The Phantom I was also produced between 1926 and 1931 in North-America (by Rolls-Royce of America, Springfield, Massachusetts) with Brewster - New York bodies. US models used a 3-speed manual transmission and lacked front brakes.
- Even European RHD chassis were shipped to America and got Brewster bodies.
* Originally fitted with a Landaulette body by Rippon, this automobile carried a Hearse body shortly after WWII. During the 1970's it was fully restored and fitted with its current Boattail body by Tony Robinson near London.
Ambrogio da Fossano, known as Bergognone (1453 circa - 1523) - Madonna and Child (1500-1510) - tempera on wood 37 x 29.8 cm - Museo Poldi Pezzoli, Milan
L’opera è in ottimo stato di conservazione, grazie anche allo spesso strato di preparazione steso su entrambi i lati della tavola.La Madonna con il Bambino era un soggetto comune nel Quattrocento, poiché erano assai richieste sul mercato della devozione privata. L’abbinamento tra le due figure e le piccole vedute paesaggistiche sullo sfondo rappresenta una tipologia caratteristica del Bergognone. Tale invenzione risale in realtà al veneziano Giovanni Bellini, ma Bergognone si rivela maestro nell’adottare un tono e un’atmosfera tipicamente lombardi, anche se gli scorci non sembrano corrispondere a vedute reali. L’artista riserva infatti una grande attenzione ai piccoli paesaggi, dei quali riesce a rendere con pochi tocchi l’aria tersa e assolata, l’ambientazione quotidiana, tramandandoci l’immagine di una vita cittadina di provincia. I due scorci si equilibrano nella loro diversità: silenzioso quello di destra, con le case che si specchiano nel canale e le croci sui tetti, popolato e animato l’altro, con le figure a colloquio nella piazza, o nell’atto di salire le scale della chiesa. Propria del Bergognone è anche la fisionomia fanciullesca della Madonna e l’acconciatura, con il particolare raffinato del velo avvolto ai capelli fermati sulle tempie. Gli incarnati sono trattati con delicatezza, nei passaggi dal rosa delle gote alle ombre che si addensano attorno ai nasi, alle bocche, agli occhi. Le teste accostate di madre e figlio, i cui sguardi non si incontrrano, esprimono una certa malinconia, mentre contrastano la solennità del gesto benedicente del Bambino e la spontaneità con cui entrambi tengono la collana di corallo – simbolo, nel colore rosso, della futura Passione di Gesù. L’opera dovrebbe risalire al primo decennio del Cinquecento, come indica la mobilità di luci e ombre nei volti dei due protagonisti, probabile frutto dell’influenza leonardesca. La parte inferiore del dipinto non pare dello stesso livello qualitativo dei due paesaggi e delle teste dei personaggi. Data la frequenza delle repliche del soggetto, pur con variazioni, soprattutto nelle vedute, è possibile che l’esecuzione delle vesti e delle mani venisse affidata agli allievi, come potrebbe indicare la minore eleganza dei panneggi, privi dei passaggi chiaroscurali visibili nei volti, e una certa rigidità nel cuscino e nelle mani della Vergine
The work is in an excellent state of preservation, thanks also to the thick layer of preparation spread on both sides of the panel. The Madonna and Child was a common subject in the fifteenth century, as they were in great demand on the market of private devotion. The combination of the two figures and the small landscape views in the background represents a characteristic typology of Bergognone. This invention actually dates back to the Venetian Giovanni Bellini, but Bergognone is a master in adopting a typically Lombard tone and atmosphere, even if the views do not seem to correspond to real ones. In fact, the artist pays great attention to the small landscapes, of which he succeeds in rendering with a few touches the clear, sunny air and the daily setting, handing down to us the image of a provincial town life. The two views are balanced in their diversity: the one on the right is silent, with the houses reflected in the canal and the crosses on the roofs, while the other is populated and animated, with the figures talking in the square, or in the act of climbing the steps of the church. Also typical of Bergognone is the childlike physiognomy of the Madonna and the hairstyle, with the refined detail of the veil wrapped around the hair held at the temples. The flesh tones are treated with delicacy, in the transitions from the pink of the cheeks to the shadows that thicken around the noses, mouths and eyes. The juxtaposed heads of mother and son, whose gazes do not meet, express a certain melancholy, while the solemnity of the blessing gesture of the Child contrasts with the spontaneity with which both hold the coral necklace - a symbol, in red, of the future Passion of Jesus. The work should date back to the first decade of the sixteenth century, as indicated by the mobility of light and shadow in the faces of the two protagonists, probably the result of Leonardo's influence. The lower part of the painting does not seem to be of the same quality as the two landscapes and the heads of the characters. Given the frequency of the replications of the subject, albeit with variations, especially in the views, it is possible that the execution of the clothes and hands was entrusted to the pupils, as could indicate the lesser elegance of the drapery, lacking the chiaroscuro passages visible in the faces, and a certain rigidity in the cushion and in the hands of the Virgin.
Another variation on my 911 theme - thanks to all for 1000 follows, hugely appreciated!
The 911 was never engineered as a convertible, a few prototypes were made, but then Porsche's concern over rigidity, combined with a worry about new US safety regulations meant some lateral thinking was needed. The Targa, named after the Targa Florio road race, introduced the concept of the now familiar roll-over hoop. The naming was a great piece of marketing as Targa also means 'shield' in Italian.
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While out for our morning constitutional, we passed the equipment shed in Grimsby, Ontario’s Queen’s Lawn Cemetery. The Quonset hut is made from bolted-together ribs with a heavy pattern stamped into each rib, presumably to provide rigidity in an otherwise fairly light structural component. The sun shining on the ribs provided for an obvious B&W pattern shot. - JW
Date Taken: 2021-07-15
(c) Copyright 2021 JW Vraets
Tech Details:
Taken using a hand-held Nikon D7100 fitted with an AF-S DX Nikkor 18-105mm 1:3.5-5.6 set to 52mm, ISO100 (Auto ISO), Daylight WB, Matrix metering, Shutter Priority mode, f/9.0, 1/320 sec. PP in free Open Source RAWTherapee from Nikon RAW/NEF source file: set final image size to be 9000px wide, boost contrast and Chromaticity in L-A-B mode, slightly increase black level, sharpen (edges only), save. PP in free Open Source GIMP: convert to B&W/monochrome using desaturate > Mono Mixer and then use the green channel to darken the image and the red channel to brighten it to get a bit more contrast, use the Contrast/Brightness tool to further enhance/increase the contrast, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 3000 px wide for posting online, sharpen very slightly, save.
A near futuristic select fire shotgun chambered in 12 guage, recommended shells are 2.5 inch, the load does not matter, buck shot, slugs, bean bags etc. Features a skeletal titanium front end to decrease weight yet retain rigidity and strength. The hand guard incorporates keymod slots to fit various rails and attachments.
Credit: Shockwave for the charging handle and trigger.
Here is my 1/10 scale Lego P-51 D Mustang. It has been a very long (about 2 years) and sometimes frustrating road to completion but finally it is just about ready for public consumption...
It is 98cm long with a wingspan of 113cm. It has functioning control surfaces and a sliding canopy plus scale internal details like a Packard Merlin engine, fuel tank, oxygen tanks, radiator and detailed cockpit.
The model was designed to be as scale as possible both internally and externally including the internal fuselage structure itself. The fuselage strength is achieved through a combination of a technic frame and 8x16 tiles for the skin which provide the rigidity. The Technic frame was made out of lime green to replicate the zinc chromate primer often used for internal structures on US WW2 aircraft.
The use of a bespoke canopy and windshield will no doubt divide opinion but due to the construction and aesthetic issues posed by the bubble canopy I decided to use a vac formed one. I incorporated some Lego fittings to both parts so that they attach by stud joins.
For the chrome, all studded pieces were purchased from Bricklink sellers. All non studded bricks were chromed by me with sticky backed chrome vinyl material. Each Lego piece was individually covered. It took months and a lot of scalpel blades but was the only affordable way I could chrome the finished model entirely. There are a handful of painted pieces, the wheel hubs and the exhausts due to original part colour constraints.
I re-created the markings using vinyl and dry rub transfers (for the kill markings I swapped out swastikas for crosses). The paint scheme depicts one of the planes flown by Claiborne Kinnard Jr. whilst Officer Commander of the 355th Fighter Group in early 1945. The display base is supposed to look a bit like PSP, Pierced Steel Planking (or Marsden Matting), used heavily at UK airbases during WW2.
There are still a few small bits I’d like to do like detailing the engine bay so I will update photos as and when complete. I have also got some WIP shots that I will upload in the near future.
Thanks for looking!
Singapore Night Festival 2017
Jasmine Sokko is an electronic music project born out of a thirst for adventure. She desires to break away from the rigidity of Singapore, and to create music as a means of escaping a society that defines individuals as mere numbers.
Finding solidarity with non-conformists and their aesthetics, she thrives to encapsulate this spirit in her music by borrowing elements of deep house and blending them with ghostly vocal abstracts. Drawing inspiration from fashion, dystopian film cinematography and thriller novels, Jasmine Sokko conveys her music through different shades of darkness.*
*http://nightfestival.sg/programmes/detail/festival-village-stage#spacedays
The road, B-750 was paved poorly with very thin sprayed coal tar. Sky was clear, and sunbeam was strong even just before sunset.
Takahashi FSQ-130ED and Canon EOS 5Dmk3-sp4, modified by Seo-san were on Takahashi EM-200FG-Temma2Z-BL. Sigma 105mmF1.4 DG HSM Art with Canon EOS 6D-sp4, modified by Seo-san, Sigma 40mmF1.4 DG HSM Art with Canon EOS 6D-sp4, modified by Seo-san, and Sigma 14mmF1.8 DG HSM Art with Canon EOS 5Dmk2-sp2, modified by Seo-san were on the weight shaft via hiro-design bracket. --> www.flickr.com/photos/hiroc/46784046571
They were powered by 12v output of rental car via the black cable. They did not require dew heaters there. I must have covered four lights of the car with floor mats.
Tripod was of Skywatcher EQ6, modified to attach EM-200 by Takahashi Seisakusho. I took smaller pipes and brackets off and knocked standard stainless steel flanges, ISO KF40 into the thicker pipes. The pipes are standard for vacuum piping, 48.6mm in outer diameter. The mod made the tripod shorter and lighter remaining enough rigidity.
equipment: iPhone X, hand-held
site: 2,430m above sea level at lat. 24 39 52 South and long. 70 16 11 West near Cerro Armazones Chile
'In the Flow', by Marie-France Rose. NSW.
In this sculpture the window structure represents our self imposed limits, the rigidity of our beliefs. Like birds on the wing we are invited to be free in movement and expand these limitations.
Steel and ceramic
Swell Sculpture festival
Ferrari F12 Berlinetta (2012-17) Engine 6262cc V12
Registration Number 2 FJX (now tranferred to a Range Rover))
FERRARI SET
www.flickr.com/photos/45676495@N05/sets/72157623665054999...
Designed by the Ferrari Styling and Pininfarina, the F12 is a front mid-engine, rear-wheel-drive grand tourer, unveiled at the 2012 Geneva Motor Show as a replacement for the 599 series.
Powered by a naturally aspirated V12 engine of 6262cc of the Ferrari F140 engine range and is the most powerful Ferrari road car to date, producing 730bhp. Transmission is by the way of a seven speed dual clutch automated semi-automatic gearbox operated by the driver using paddle shifters behind the steering wheel.
The chassis is developed around an aluminium space frame co-developed with Scaglietti made up of 12 different aluminium alloys with a 20 per cent improvement in rigidity over the outgoing 599, with a 70kg reduction in weight.
Aerodynamics have also improved with the aid of input from the Ferrari 599XX and Formula One programmes and downforce improved by 70 per cent over the 599 GTB
Diolch am 92,522,335 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 92,522,335 amazing views, every one is greatly appreciated.
Shot 23.04.2022 at the Bicester Spring Scramble, Bicester, Oxfordshire 158-147
1997 Vauxhall Corsa 1.2 Vegas 3-door.
Last MoT test expired in October 2018 (1 week after this picture was taken).
It failed a test that month -
Exhaust emissions likely to be affected by an exhaust leak (8.2.1.1 (b)) - Major
Nearside front vehicle structure corroded to the extent that the rigidity of the assembly is significantly reduced (6.1.1 (c) (i)) - Major
Offside front vehicle structure corroded to the extent that the rigidity of the assembly is significantly reduced (6.1.1 (c) (i)) - Major
Offside rear shock absorbers has a serious fluid leak (5.3.2 (b)) - Major
Offside seat belt anchorage prescribed area strength or continuity significantly reduced (7.1.1 (a) (i)) - Major
Steering column has excessive movement up and down (2.2.2 (a)) - Major
It has since been scrapped.
James And The Giant Peach (2023)
Every year I read Roald Dahl’s story to my kindergarten class. I love the fantastical imagery, the sharp wit, and the moments of building friendships. I’ve often imagined what these creatures and environments would look like if they were made of LEGO.
Seven years ago I created a few characters and one section of the peach, but it became clear that this would be a massive project so I put it on the shelf to gather dust. This past December I decided to revisit it.
The first step was building the rest of the characters - small chunks would help build momentum so the 7 insects were quickly finished. Next I completed the other 5 sections of the giant Lowell sphere in light and dark bley plates. A light technic frame is used to hold the sphere together. The peach was “painted” with 1x1 plates in an exaggerated peach color palate. A hollow stem was added to accommodate the flex tube used for the seagulls. Each “string” is made up of 3 sections of flex tube connected with Apollo studs and then threaded with wire to add rigidity. The water was built with a layer on 1x2 trans tile atop two layers of 1x2 trans plate. This sheet of water allowed me to flex the water into an undular shape and then add lighting elements underneath. A cylinder was created to sit under and above the water and the peach gently rested upon this shape. I had to determine how many sharks were needed (20), and each one is unique. I left James for last. My 8 year old son suggested that James be relaxing in the leaf after accomplishing the task of lifting the peach out of the water.
This is the biggest build I have done since LEGO Masters and I put all of the skills I learned about color, composition, story-telling, and technical ability to work. I was thrilled to be one of five nominees for “best pop-culture” at Brickworld. The display was purposefully dropped off the table on a custom made 18” box so that kids at Brickworld would be at eye level with the characters.
Please let me know if you saw this at Brickworld, or if you have a favorite moment from the story.
1999 Vauxhall Corsa 1.2 16v Club 3-door.
Supplied by Thurlow Nunn (Vauxhall).
Last MoT test expired on 8th November 2021 (taxed to November 2022).
It failed a test on 9th November 2021 -
Nearside front inner tyre tread depth below requirements of 1.6mm (5.2.3 (e)) - Dangerous
Offside front inner tyre tread depth below requirements of 1.6mm (5.2.3 (e)) - Dangerous
Rear registration plate lamp does not illuminate simultaneously with the position lamps (4.7.2 (a)) - Major
Front windscreen washer provides insufficient washer liquid (3.5 (a)) - Major
Nearside rear suspension component mounting prescribed area excessively corroded significantly reducing structural strength (5.3.6 (a) (i)) - Major
Offside front seat belt anchorage prescribed area strength or continuity significantly reduced floor (7.1.1 (a) (i)) - Major
Exhaust has a major leak of exhaust gases middle (6.1.2 (a)) - Major
Nearside outer integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced sill (6.1.1 (c) (i)) - Major
Offside outer integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced sill (6.1.1 (c) (i)) - Major
Nearside rear wheel bearing has excessive play (5.1.3 (a) (i)) - Major
Nearside rear wheel bearing rough when rotated (5.1.3 (b) (i)) - Major
Emissions not tested due to exhaust (8.2.1.2 (d)) - Major
1989 Jaguar XJ-S 3.6.
Last MoT test expired in September 2020 (SORN).
It failed a test on 3rd September 2021 -
Nearside integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced centre chassis (6.1.1 (c) (i)) - Major
Offside integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced chassis rail various places front to rear (6.1.1 (c) (i)) - Major
Rear fog lamp not working (4.5.1 (a) (ii)) - Major
Nearside rear seat belt anchorage prescribed area is inadequately repaired upper wing corroded (7.1.1 (a) (i)) - Major
Nearside seat belt anchorage prescribed area strength or continuity significantly reduced floor pan and sill (7.1.1 (a) (i)) - Major
Offside seat belt anchorage prescribed area strength or continuity significantly reduced floor pan (7.1.1 (a) (i)) - Major
Suspension component mounting prescribed area excessively corroded significantly reducing structural strength floor pans as marked front and rear (5.3.6 (a) (i)) - Major
Offside front service brake excessively binding (1.2.1 (f)) - Major
Rear service brake excessively binding (1.2.1 (f)) - Major
Ambrogio da Fossano, known as Bergognone (1453 circa - 1523) - Madonna and Child (1500-1510) - tempera on wood 37 x 29.8 cm - Museo Poldi Pezzoli, Milan
L’opera è in ottimo stato di conservazione, grazie anche allo spesso strato di preparazione steso su entrambi i lati della tavola.La Madonna con il Bambino era un soggetto comune nel Quattrocento, poiché erano assai richieste sul mercato della devozione privata. L’abbinamento tra le due figure e le piccole vedute paesaggistiche sullo sfondo rappresenta una tipologia caratteristica del Bergognone. Tale invenzione risale in realtà al veneziano Giovanni Bellini, ma Bergognone si rivela maestro nell’adottare un tono e un’atmosfera tipicamente lombardi, anche se gli scorci non sembrano corrispondere a vedute reali. L’artista riserva infatti una grande attenzione ai piccoli paesaggi, dei quali riesce a rendere con pochi tocchi l’aria tersa e assolata, l’ambientazione quotidiana, tramandandoci l’immagine di una vita cittadina di provincia. I due scorci si equilibrano nella loro diversità: silenzioso quello di destra, con le case che si specchiano nel canale e le croci sui tetti, popolato e animato l’altro, con le figure a colloquio nella piazza, o nell’atto di salire le scale della chiesa. Propria del Bergognone è anche la fisionomia fanciullesca della Madonna e l’acconciatura, con il particolare raffinato del velo avvolto ai capelli fermati sulle tempie. Gli incarnati sono trattati con delicatezza, nei passaggi dal rosa delle gote alle ombre che si addensano attorno ai nasi, alle bocche, agli occhi. Le teste accostate di madre e figlio, i cui sguardi non si incontrrano, esprimono una certa malinconia, mentre contrastano la solennità del gesto benedicente del Bambino e la spontaneità con cui entrambi tengono la collana di corallo – simbolo, nel colore rosso, della futura Passione di Gesù. L’opera dovrebbe risalire al primo decennio del Cinquecento, come indica la mobilità di luci e ombre nei volti dei due protagonisti, probabile frutto dell’influenza leonardesca. La parte inferiore del dipinto non pare dello stesso livello qualitativo dei due paesaggi e delle teste dei personaggi. Data la frequenza delle repliche del soggetto, pur con variazioni, soprattutto nelle vedute, è possibile che l’esecuzione delle vesti e delle mani venisse affidata agli allievi, come potrebbe indicare la minore eleganza dei panneggi, privi dei passaggi chiaroscurali visibili nei volti, e una certa rigidità nel cuscino e nelle mani della Vergine
The work is in an excellent state of preservation, thanks also to the thick layer of preparation spread on both sides of the panel. The Madonna and Child was a common subject in the fifteenth century, as they were in great demand on the market of private devotion. The combination of the two figures and the small landscape views in the background represents a characteristic typology of Bergognone. This invention actually dates back to the Venetian Giovanni Bellini, but Bergognone is a master in adopting a typically Lombard tone and atmosphere, even if the views do not seem to correspond to real ones. In fact, the artist pays great attention to the small landscapes, of which he succeeds in rendering with a few touches the clear, sunny air and the daily setting, handing down to us the image of a provincial town life. The two views are balanced in their diversity: the one on the right is silent, with the houses reflected in the canal and the crosses on the roofs, while the other is populated and animated, with the figures talking in the square, or in the act of climbing the steps of the church. Also typical of Bergognone is the childlike physiognomy of the Madonna and the hairstyle, with the refined detail of the veil wrapped around the hair held at the temples. The flesh tones are treated with delicacy, in the transitions from the pink of the cheeks to the shadows that thicken around the noses, mouths and eyes. The juxtaposed heads of mother and son, whose gazes do not meet, express a certain melancholy, while the solemnity of the blessing gesture of the Child contrasts with the spontaneity with which both hold the coral necklace - a symbol, in red, of the future Passion of Jesus. The work should date back to the first decade of the sixteenth century, as indicated by the mobility of light and shadow in the faces of the two protagonists, probably the result of Leonardo's influence. The lower part of the painting does not seem to be of the same quality as the two landscapes and the heads of the characters. Given the frequency of the replications of the subject, albeit with variations, especially in the views, it is possible that the execution of the clothes and hands was entrusted to the pupils, as could indicate the lesser elegance of the drapery, lacking the chiaroscuro passages visible in the faces, and a certain rigidity in the cushion and in the hands of the Virgin.
Manufacturer: Rolls-Royce Motor Cars Limited, Derby - UK
Type: 40/50 New Phantom (Phantom I)
Engine: 7668cc straight-6
Power: 96 bhp / 2.750 rpm
Speed: 145 km/h
Production time: 1925 - 1929
Production outlet: 3,512 (2,269 in Derby - UK and 1,243 in America)
Curb weight: 2040 kg
Special:
- The New Phantom (codenamed EAC, which stood for Easter Armored Car and later called Phantom I when the Phantom II was introduced in 1929) was designed / restyled (Silver Ghost) by Ivan Evernden.
- The chassis was still based on the Silver Ghost, old-fashioned and lack of rigidity in the application of front brakes. It was therefore after a brief career (for RR standards) already replaced with a new chassis in 1929, called Phantom II.
- Only the chassis and mechanical parts were produced by Rolls-Royce. The bodies were built (according to RR-standards) by famous coachbuilders like Barker - London, Hooper, Thrupp & Maberly, Park Ward and H.J. Millliner and some lesser knowns like James Young (at that time), Clark, Martin & King, Merrimack, Warwick, Windovers, Binder, Murphy, Jonckheere and Rippon.
- The Phantom I was also produced since 1926 in North-America (by Rolls-Royce of America, Springfield, Massachusetts) with Brewster – New York bodies. US models used a 3-speed transmission.
- Even European RHD chassis were shipped to America and got Brewster bodies.
- This luxurious automobile has a selective sliding four-speed manual gearbox (all synchromesh), a Rolls-Royce carburettor, a single dry-plate clutch and rear wheel drive.
- The chassis with steel body has a 144 inch wheelbase, worm & nut steering, live front and rear axles, independent semi-elliptic leaf spring front suspension, cantilever springs rear suspension and mechanical Hispano-Suiza servo drum brakes all round.
Private citytrip in springtime
The Park Güell is a public park system composed of gardens and architectural elements located on Carmel Hill, in Barcelona, Catalonia, Spain. Carmel Hill belongs to the mountain range of Collserola – the Parc del Carmel is located on the northern face. Park Güell is located in La Salut, a neighborhood in the Gràcia district of Barcelona. With urbanization in mind, Eusebi Güell assigned the design of the park to Antoni Gaudí, a renowned architect and the face of Catalan modernism.
The park was built from 1900 to 1914 and was officially opened as a public park in 1926. In 1984, UNESCO declared the park a World Heritage Site under "Works of Antoni Gaudí".
Park Güell is the reflection of Gaudí's artistic plenitude, which belongs to his naturalist phase (first decade of the 20th century). During this period, the architect perfected his personal style through inspiration from organic shapes. He put into practice a series of new structural solutions rooted in the analysis of geometry. To that, the Catalan artist adds creative liberty and an imaginative, ornamental creation. Starting from a sort of baroquism, his works acquire a structural richness of forms and volumes, free of the rational rigidity or any sort of classic premises. In the design of Park Güell, Gaudí unleashed all his architectonic genius and put to practice much of his innovative structural solutions that would become the symbol of his organic style and that would culminate in the creation of the Basilica and Expiatory Church of the Holy Family (Catalan: Sagrada Familia).
Güell and Gaudí conceived this park, situated within a natural park. They imagined an organized grouping of high-quality homes, decked out with all the latest technological advancements to ensure maximum comfort, finished off with an artistic touch. They also envisioned a community strongly influenced by symbolism, since, in the common elements of the park, they were trying to synthesize many of the political and religious ideals shared by patron and architect: therefore there are noticeable concepts originating from political Catalanism – especially in the entrance stairway where the Catalan countries are represented – and from Catholicism – the Monumento al Calvario, originally designed to be a chapel. The mythological elements are so important: apparently Güell and Gaudí's conception of the park was also inspired by the Temple of Apollo of Delphi.[citation needed]
On the other hand, many experts[who?] have tried to link the park to various symbols because of the complex iconography that Gaudí applied to the urban project. Such references go from political vindication to religious exaltation, passing through mythology, history and philosophy. Specifically, many studies claim to see references to Freemasonry, despite the deep religious beliefs of both Gaudí and Count Güell. These references have not been proven in the historiography of the modern architect. The multiplicity of symbols found in the Park Güell is, as previously mentioned, associated to political and religious signs, with a touch of mystery according to the preferences of that time for enigmas and puzzles.
The Impala was introduced in 1958 positioned as top of the line Bel Air coupes and convertibles. From the windshield pillar rearward, the 1958 Chevrolet Bel Air Impala differed structurally from typical Chevrolets. Hardtops had a slightly shorter greenhouse and longer rear deck, giving the impression of an extended body. The wheelbase of the Impala was longer than the lower priced models, although the overall length was identical.
It was a change from the 1955–1957 shape, which, in turn, was a substantial move away from the conservative Chevrolets of past years — longer, lower, and wider than its predecessors.
The sharp tailfins of the 1957 gave way to deeply sculptured rear fenders. Three taillights each side would become an Impala hallmark whereas lesser models had two and wagons just one. Special crossed-flag insignias sat above the side moldings plus bright rocker moldings and dummy rear-fender scoops. 1958 was the first year of dual headlamps.
Underneath this new body was a new chassis. The standard perimeter-type frame was abandoned, replaced by a unit with rails laid out in the form of an elongated "X." Chevrolet claimed that the new frame offered increased torsional rigidity and allowed for a lower, yet still roomy passenger compartment. In this design, a transitional step between traditional construction and the later fully unitized body/chassis, the body structure was beefed up in a number of areas (most notably the rocker panels and firewall) to create a solid package. However, this frame was not as effective in protecting the interior structure in a side impact crash, as a traditional perimeter frame.
With a six-cylinder engine, a Chevrolet Bel Air Impala started at $2,586, while $2,693 bought a V8. In all, 55,989 convertibles and 125,480 Sport Coupes were built, 15 percent of production. Interiors held a two-spoke steering wheel and color-keyed door panels with brushed aluminum trim. No other series included a convertible. Impala signaled Chevrolet's entry into the mid-price field, even if the design was less radical than planned. In addition to style and vigorous performance, advertisements marketed its "quick, eager-to-please handling that lets you know you're the boss."
New for 1957, Ramjet fuel injection continued to be available as an option for the Turbo-Fire 283 V8. 1958 Impalas equipped with this option are rare and highly desirable as collector cars.
Longer, lower, and wider — a recurrent theme — all Chevrolets had either a full-coil or air ride suspension, displacing the old rear leaf springs. A new "Safety Girder" X-type frame reduced height without headroom loss. A 283 cu in (4,640 cc) engine was now the standard V8, with ratings that ranged from 185 to 290 horsepower. A big-block 348 cu in (5,700 cc) Turbo-Thrust V8 was a new engine option, descended from a truck engine, producing 250 hp (190 kW), 280 hp (210 kW), or 315 hp (235 kW). The 1958 Chevrolet Bel Air Impala helped Chevrolet regain the number one production spot in this recession year.
My camera has an in-camera focus stacking function which is only supported from a few lenses. I have one of those lenses so I thought I would give it a try. This photo is the result of the in-camera focus stacking. Although the photo turned out ok and I consider it a keeper, I'm a little disappointed. Looking closely, everything appears to be in focus but I can see parts where there is a loss of detail and introduction of artifacts. This was the best of three attempts. I currently don't have any programs that do focus stacking so I can't compare the in-camera focus stacking to how a 3rd party focus stacking program would do. I was surprised that the results were different in 3 attempts. I suspect that I may have had some slight movement due to inadequate tripod rigidity.
Hey everyone!
I made some great progress bringing this project to life and I can compare to experience to like building an official UCS set!
Assembling the chassis felt most satisfying with the many techniques to produce a solid design. The far-reaching extent I take to achieve a high level of rigidity does lead to disparities compared to the actual fictional vehicle, but also creative liberties.
Not everything went smoothy as designed though. Promptly, I realized the need to improve the connection of the leg to the hub joint, to further reduce the chance of the legs pivoting. This took quite some time to figure out, but I find it a delight to see the legs hang fixed at the desired angle when lifting up the walker.
Already, I redesigned the neck since the post I made about the critical flaws of the original design, the design based on LEGO's official AT-AT and M6 sets. However, I also found room to further improve the design; reinforcing the neck for when the moment arrives to bear 600+ parts of head. I did not implement this newer design yet, as it will require additional parts I currently do not own in abundance.
This recent body of textiles and sculptures continues Connet’s twenty-year fascination with the process of the dye-resist technique of mokume shibori. Connet's sculptures are motivated by the three-dimensional potential of the tension, density and compression inherent in the shibori process. Copper fabric is stitched and pulled into billowing volumes that are then electroplated, accumulating surface deposit and structural rigidity on the exposed edges. The sculptures exploit extremes — translucency and solidity, movement and stasis.
'Queens of the Night' (Epiphyllum oxypetalum) are blooming in profusion during this southeast Queensland summer at my place. There have been four or five waves of them with all plant displays synchronised. A few flowers on each plant form as buds directly from the succulent leaf edge and finally burst forth into flowers like these 200mm in diameter. Unfolding of each wave of flowers is complete by around 8pm and they stay open until about 2am emitting an exquisite perfume throughout. The flowers close slowly and the stems lose their rigidity. By morning the perfume lingers but the closed flowers hang limp before drying out in a day or so. The cycle continues next summer. My favourite individual flowers ...
"InnovationCampus" of the Chamber of Commerce (HKIC)
Adolphsplatz 6, 20457 Hamburg, Germany
Facing the square, the new building presents itself as an elegant treasure chest. Partially backlit pilasters of translucent glass rhythmise its façade. Only a central giant window breaks the row and, as a small feast of vanities, offers a view of the chamber of commerce opposite and the tower of the town hall behind. Otherwise, the strict timing of the pilasters creates a reference to the grid façade of the adjacent post-war modernist bank building. With Hanseatic understatement, the slender building pushes itself between its neighbours, pulling up the shoulder first on the left and then also on the right. This creates lateral terraces with a high quality of stay, which is not least due to the distance between the buildings. This is good for the building, which loses some of its pilaster rigidity. On the inside, the new additions reduce the already limited space available. In general, the "InnovationsCampus" has freed itself in a sympathetic way from the pressure of the otherwise prevailing maximum utilisation of space. With ample access space, rounded corners and a two-storey function room for up to 199 visitors, it is a modern representative building that fits in as the final point in Hamburg's axis of power consisting of the city hall and the chamber of commerce.
from: db deutsche bauzeitung
Viewpoints in architecture.
Project
New building Chamber of Commerce InnovationsCampus
Architect
Design deepening and object planning : Hörter + Trautmann Architekten, Hamburg
Design author: Johann von Mansberg Architekten, Hamburg
Building owner
Hamburg Chamber of Commerce
»InnovationsCampus« der Handelskammer (HKIC)
Zum Platz hin präsentiert sich der Neubau als elegantes Schatzkästlein. Teilweise hinterleuchtete Pilaster aus transluzentem Glas rhythmisieren seine Fassade. Nur ein zentrales Riesenfenster durchbricht die Reihung und bietet als kleines Fest der Eitelkeiten Ein- und Ausblick auf die Handelskammer vis-á-vis und den Turm des Rathauses dahinter. Ansonsten erzeugt die strenge Taktung der Pilaster eine Referenz zur Rasterfassade des angrenzenden Bankhauses der Nachkriegsmoderne. Mit hanseatischem Understatement schiebt sich der schlanke Bau zwischen seinen Nachbarn, zieht erst links und dann auch rechts die Schulter hoch. Dabei entstehen seitliche Terrassen mit hoher Aufenthaltsqualität, die nicht zuletzt den Abstandsflächen geschuldet sind. Dem Haus tut das gut, das so wieder etwas von seiner Pilasterstrenge verliert. Im Innern reduzieren die Einzüge das ohnehin schon knappe Raumangebot. Generell hat man sich beim »InnovationsCampus« in sympathischer Weise vom Druck der ansonsten vorherrschenden räumlichen Maximalausnutzung befreit. Mit reichlich Erschließungsfläche, abgerundeten Ecken und einem zweigeschossigen Veranstaltungsraum für bis zu 199 Besucher ist es ein modernes Repräsentationsgebäude, das sich als Schlusspunkt in die Hamburger Machtachse aus Rathaus und Handelskammer einfügt.
aus: db deutsche bauzeitung
Standpunkte in der Architektur.
Projekt
Neubau Handelskammer InnovationsCampus
Architekt
Entwurfsvertiefung und Objektplanung: Hörter + Trautmann Architekten, Hamburg
Entwurfsverfasser: Johann von Mansberg Architekten, Hamburg
Bauherr
Handelskammer Hamburg
The body rests, vulnerable, stretched upon a surface that seems both tangible and unreal. Yet this tranquility is disrupted by the emergence of a geometric structure—cold, sharp, slicing the space into fragments of reflections and shadows. These polished metal frames are not merely obstacles; they are remnants of a ghostly architecture, a barrier between flesh and world, between intimacy and mechanics.
The contrast between organic softness and artificial rigidity creates an almost palpable tension. The body does not struggle—it surrenders to this symbolic entrapment, or perhaps it is in the process of passing through these limits, mutating in contact with these structures. A spectral light grazes the scene, bathing it in a glow that oscillates between comfort and strangeness.
The fragmentation of reality, the intrusion of cold mechanics into intimate space. These straight, unyielding lines evoke the invisible constraints that imprison us, whether they be digital, societal, or psychological. The naked skin becomes a battleground, a porous boundary between humanity and abstraction, between memory and erasure.
In 2002 the boat lift of Strépy-Thieu was completed, almost 20 years after its construction started. Together with a deviation in the Central Canal it replaces 4 historical boat lifts. The Central Canal connects the Meuse and Schelde rivers. Two rivers important for water transportation in Belgium. Until a boat lift in China ( 3 gorges dam lift) will be completed, the Strépy-Thieu Boat Lift is the largest boat lift of the World.
The caissons have useful dimensions of 112 m by 12 m and a water depth of between 3.35 and 4.15 m. Each caisson is supported by 112 suspension cables (for counterbalance) and 32 control cables (for lifting/lowering), each of 85 mm diameter. The mass of the counterbalance was calculated to keep the tension in each of the control cables below 100 kN at all times. The suspension cables pass over idler pulleys with a diameter of 4.8 m. Four electric motors power eight winches per caisson via speed-reduction gearboxes and the 73.15-metre lift is completed in seven minutes. The structure is massively reinforced to provide rigidity against torsional forces during operation and has a mass of approximately 200,000 tonnes. The vertically moving watertight gates are designed to withstand a 5 km/h impact from a 2000 tonne vessel.
Source: Wikipedia.
PER CHI AMA IL MACABRO...
La locuzione latina rigor mortis (letteralmente: rigidità della morte) è uno dei segni riconoscibili della morte ed è identificata dalla rigidità muscolare del cadavere. È causato da una modifica chimica dei muscoli e si manifesta circa tre ore dopo la morte.
Oggi il nome del gruppo "Macro Mondays" potrebbe essere modificato in "Macabro Mondays". 😁😁😁
----------------------------------------------------------
FOR THOSE WHO LOVE THE MACABRE...
The Latin phrase rigor mortis (literally: rigidity of death) is one of the recognizable signs of death and is identified by the muscular rigidity of the corpse. It is caused by a chemical change in the muscles and occurs approximately three hours after death.
Today the group name "Macro Mondays" may be changed to "Macabro Mondays". 😁😁😁
Immagine realizzata con lo smartphone HUAWEI MATE 20 PRO
1957 Land Rover 88" Series 1 pick-up.
Last taxed for the road in January 1991.
Cheffins vintage and classic auction, Sutton -
"Serial No. 116700054. Launched at the Amsterdam Motor Show on the 30th of April 1948 the Land Rover was inspired by the US Army's wartime Jeep. Rover bosses the Wilks Bros saw a need for a rugged multi-use machine that would serve the UKs agricultural industry post Second World War. SEW 747 is an 88"" wheelbase unit fitted with the 2052cc diesel engine producing a heady 52bhp. Purchased new in July 1957 by a farming company near Alconbury, Huntingdonshire, this one owner Series 1 is consigned straight from its original farm home. Initially it was used for general farming duties and, at some point in the 1970s, the vehicle was converted from its pick up guise to tractor use. The owner decided that in order to conform to a legislation change regarding carrying rear passengers in that period, the buck should be cut through and the available seating area removed. This allowed the Land Rover to be used solely for drawbar work on the farm. The exhaust manifold was also altered to allow the exhaust to exit through the nearside wing snorkel style. The original buck has been re-attached in years gone by via a farm engineered strut and brace system providing suitable rigidity. Although SEW 747 has received some alterations during its long life, they only add to its charm and history as a practical multi-use agricultural vehicle. This 'one farm from new' Series 1 was laid up around 30 years ago in a dry barn and was only recently freed for photography. It retains a lot of the original paint and the interior appears largely complete with only 56,758 miles recorded. Although it has not been running for some years this is a very rare opportunity to acquire a genuine one owner Land Rover Series 1 requiring restoration. SEW 747 is offered for sale complete with its buff RF60 logbook and V5 registration document. Estimate: £10,000-£12,000."
Sold for £15,500.
I saw this on an internet selling site and bought it for £20. It had been fitted with led lights that scrolled through different day-glo colours.
After 3 months of intermittent work using various furniture scrapers, the paint is gone, the lights have been removed, the damaged edges of mahogany have been repaired, and the movement has been cleaned but needs to be dismantled, oiled and rebuilt. The woodworm holes have been filled using a melted shellac stick and the long pine board that forms the back has had a long split rejoined. This stops the case twisting when it is being moved - the twisting and lack of rigidity was causing the glue on the mahogany veneer pieces to fail.
It will need to be refinished too but I'm still deciding whether to French polish it or use an oil of some description.
I finally finished my Boeing 727-200 MOC. I decided to do it in the classic United Airlines tulip livery. It has always been one of my favorite liveries and I have a lot of fond memories of the United 727. My MOC features a detailed cockpit and cabin with functioning exits and cabin doors, including working airstairs from the aft cabin. There were several different cabin arrangements and placements of the cabin doors for the 727-200, so I picked one that I thought would maximize the detail I could put into it. Originally, I was going to do functioning spoilers, however, because of the location of the main landing gear and the different angles of the wing, I decided to leave them out. Putting them in would have compromised the strength and rigidity of the wing. Also included in the MOC are retractable landing gear and functioning cargo doors. Enjoy!
This structure is the frame and base for the European Service Module, part of NASA’s Orion spacecraft that will return humans to the Moon.
Built in Turin, Italy, at Thales Alenia Space, this is the third such structure to roll out of production. However, this one is extra special, as it will fly the first woman and next man to land on the Moon and return on the Artemis III mission by 2024.
The structure is nearly complete and acts as a backbone to the Orion spacecraft, providing rigidity during launch.
Much like a car chassis, this structure forms the basis for all further assembly of the spacecraft, including 11 km of wiring, 33 engines, four tanks to hold over 8000 litres of fuel, enough water and air to keep four astronauts alive for 20 days in space and the seven-metre ‘x-wing’ solar arrays that provide enough electricity to power two households.
Orion’s backbone will travel to the Airbus integration hall in Bremen, Germany, at the end of the month to integrate all the elements listed above and more. This third European Service Module will join the second in the series that is already in Bremen, and nearing completion, to be sent to NASA’s Kennedy Space Center next year.
The first service module is already finished and will be integrated with the Crew Module and rocket adapters to sit atop the Space Launch Systems rocket. The first completed Orion craft is scheduled for a launch and fly-by around the Moon, without astronauts, next year on the first Artemis mission.
The countdown to the Moon starts in Europe with 16 companies in ten countries supplying the components that make up humankind’s next generation spacecraft for exploration.
Read more about Orion and the Artemis missions.
Credits: Thales Alenia Space
Less than two weeks are left till the German Origami Convention, so I spent the last evening folding some larger-than-usual models that I will use during my workshops. Can you recognize the model I’m folding (there are hints in the picture)?
While not suitable for normal folding due to its thickness (200 gsm), I used Fabriano Colore paper for these large demonstration models. Folding at this size and from thick paper is even physically demanding, and for such situations I use the tougher bone folder made from bone rather than the teflon one I normally prefer. Unsurprisingly, this paper is pretty stiff, which makes the collapse relatively easy despite the model’s unpractical size. A downside is that at the same time is has poor memory, so arranging the precreased lines into the correct parity before collapsing was harder than with more standard papers. Overall, it’s a good approximation of rigid folding: stiff where it was not creased and moving loosely where creased. Despite the thickness, this paper doesn’t seem strong: even with a relatively simple precrease like this, some crease intersections felt like they could start tearing easily. Anyway, this is not a paper top use for normal models, but for folding a 12-grid-based model from a 50 cm sheet, it was just right, and gave the model the rigidity required to keep its shape at this size.
And if you haven’t had enough folding yet, remember that registration for Plener Origami, where I will be a special guest just as at the German Convention, is still open.
Link: origami.kosmulski.org/blog/2023-05-02-big-models-workshop
Folded several years ago, this tessellation is a hybrid of my SSST (Spread-Sunk Square Twist) and Propellers tessellations.
Folded from Ingres paper (90 gsm). It is soft and has little rigidity which makes the collapse harder than with papers I normally use, but on the other hand I like the texture, the fringed edges, and the relatively big color palette in which this paper is available.
Link: origami.kosmulski.org/models/ssst-propellers-hybrid-tesse...
Manufacturer: Citroën S.A., Groupe PSA Peugeot Citroën, Saint-Ouen - France
Type: Acadiane
Engine: 602cc, flat-twin boxer, air cooled (M28 / 1 Type AM2 /AM2A)
Power: 31 bhp / 5.750 rpm
Speed: 103 km/h
Production time: 1978 – 1984 in France, until 1987 in Portugal (Dyane 400) and Spain (Dyane 400)
Production outlet: 253,393
Curb weight: 665 kg
Load capacity: 490 kg
Special:
- The Dyane (1967-1983), in base designed by Louis Bionier (Bureau d'études de Panhard et Levassor) because there own design department was too busy, and re-designed it "in house" by Jacques Charreton (outside) and Henry Dargent (inside), is the base model of this Acadiane.
- This two-seater commercial vehicle was based on the 2CV with the more powerful Ami engine.
- The name comes from the archives of Panhard. That was in addition to the brand Dyna, and Dynamic Dynavia also deposited Dyane. And since Citroën owned Panhard, yet that was settled quickly ☺☺!
- The Dyane was included in the Citroën program as "the 2CV of the future", but hasn't been able to "perform" this. The 2CV survived its "beautiful" brother.
- It has a four-speed manual gearbox, a Solex carburettor, a 25 liter fuel tank, ashtray and front wheel drive.
- The chassis with steel body (the roof of the rear bodywork was corrugated to add extra rigidity) has a 100 inch wheelbase, rack & pinion steering, two-spoke steering wheel of the 2CV Spécial, dual mirrors, rear windows, coil spring front and rear suspension, spare wheel stowed under the hood on top of the motor, disc brakes at the front and drum brakes at the rear.
- The were also available as a "Mixte", with sliding rear windows, a passenger sun visor (not on the commercial model) and a removable rear bench seat.
- A retractable passenger seat was optional at the commercial version.
- They were built in Levallois-Perret, Rennes-La Janais (France), Vigo (Spain), Forest (Belgium) and Mangualde (Portugal).
Avante GT (1982-86) Engine 1500cc Alfa Romeo
Production under 50
Registration Never Registered
The Avante was a short lived Coupe (1982-86) it was an attempt at an exotic GT car based on a Volkswagen Beetle chassis, although a version with Golf GTi running gear was also tried. Designed in a simular style to the ageing Nova kit car, it is believed that fewer than 50 were sold. The Avante came with a quality fibreglass bodyshell, with integral spaceframe giving good rigidity and Volkswagen running gear though different engine fitments were possible such as the Alfa Romeo Boxer engine or Ford CVH
There was also a 2+2 version, which is physically bigger than the two seater GT, stylistically the two variants differ with the 2+2 having rear quarter light windows
Diolch am olygfa anhygoel, 65,043,131
oblogaeth y Lloegr honno dros y Mynyddoedd
Thanks for a stonking 65,043,131 views
Shot 06.05.2018 at Catton Hall Car Show, Catton Hall, Walton on Trent, Derbyshire Ref 133-424
Leopard Skin dZi
This dZi bead came to me from Dharamshala with a collection of my mentor
This is a small city in North India, Macleod Ganj - area near the city.
It is known as Little Lhasa or Dhasa due to the many Tibetans. The headquarters of the Tibetan government in exile and Dalai Lama's residence is located there from the 1950s till now.
In the 21st century, bead production was put on stream in China. You can find many identical beads, made on a conveyor. Symbols are applied using a printer, a long and complex temperature process is replaced by sulfuric acid treatment. And the base of the bead is not made from a living mineral but from melted glass or agate powder. Of course, most cast beads are cheap fakes that are cast in millions of copies. Such beads are sold in threads and it is not difficult to identify. However, replicas of a class above visually look like originals. Such beads are difficult to distinguish without a magnifying glass.
Therefore, I take macro photos.
The two-eyed Dzi bead embodies one of the most global foundations of this universe - the harmonious existence of the dual world around us or the Yin-Yang concept. Our world is dual or dual, the concept of Yin and Yang reflects all relationships in this world. Ideally, all these relationships should be balanced, harmonious and complement each other, and not counteract.
The Yang concept is represented by light or day, activity, movement, rigidity and strength. This is masculine energy.
The concept of Yin symbolizes darkness, softness, flexibility, stationary energy, silence. This is feminine energy.
Dzi bead 2 eyes serves to create a balance between these two energies. It balances them and increases stability. This is especially important for creating harmony in family relationships. Also, this bead helps to create a proper balance between the thought and action of a person, which provides the most favorable path in achieving his career goals. Moreover, this balance is expressed in wiser decisions and actions that lead to the goal.
Two-eyed Dzi bead
Popularity in Tibet
The 2-eyed Dzi is very popular in Tibet, as the Tibetans believe that this Dzi embodies the very essence of a bodhisattva (a being who consciously incarnates on Earth to help all those living on it get out of the chain of rebirth and achieve Enlightenment). Bodhisattvas help people get out of the suffering of this world and free themselves from all negative karma.
The meaning of the Tibetan Dzi bead 2 eyes reflects the very nature of the bodhisattva. It helps to get out of the contradictions of this dual world and achieve unity. This property is manifested not only in the harmonization of relations between a man and a woman, but also in other earthly affairs. Therefore, bead 2 of the Dzi eye will regulate the relationship between people and even between our own mind and its manifestations in life, expressed in our deeds. This is exactly the property of wisdom that this Dzi bead gives, creating an optimal balance between our aspirations, emotions and prudence.
Two words: Brute Power... There's no denying it. When you stand next to this beast of a locomotive, And smell the oil. And touch the amazing rigidity of its parts. Its width, its height and length. You can tell it was made for one thing only. And that was to conquer. To conquer any obstacle, hill, mountain, change in weather or fear...
1998 Nissan QX 3.0 V6 SEL auto.
Supplied by Glyn Hopkin (Nissan).
Scrapped (last MoT test expired in January 2023).
It failed a test in May 2023 -
Offside rear shock absorbers likely to become detached (5.3.2 (a) (ii)) - Dangerous
Anti-lock braking system warning lamp indicates an abs fault (1.6 (b)) - Major
Central front vehicle structure corroded to the extent that the rigidity of the assembly is significantly reduced (6.1.1 (c) (i)) - Major
Front headlamp aim too low (4.1.2 (a)) - Major
Front windscreen wiper does not clear the windscreen effectively (3.4 (b) (ii)) - Major
Nearside front anti-roll bar pin or bush excessively worn (5.3.4 (a) (i)) - Major
Nearside front outer vehicle structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting (6.2.2 (d) (i)) - Major
Nearside rear inner vehicle structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting (6.2.2 (d) (i)) - Major
Nearside rear outer vehicle structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting (6.2.2 (d) (i)) - Major
Offside front outer vehicle structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting (6.2.2 (d) (i)) - Major
Offside front suspension arm ball joint excessively worn (5.3.4 (a) (i)) - Major
Offside front suspension arm corroded and seriously weakened (5.3.3 (b) (i)) - Major
Offside rear inner vehicle structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting (6.2.2 (d) (i)) - Major
Offside rear outer vehicle structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting (6.2.2 (d) (i)) - Major
Oil leaking excessively from transmission gearbox (8.4.1 (a) (i)) - Major
Parking brake efficiency below requirements (1.4.2 (a) (i)) - Major
Ferrari Portofina (type F164) (2017-on) 3855cc Ferrari F154BE twin-turbocharged V8 600PS (592bhp)
Registration Number 4 SJS (Cherished number, first allocated for issue from Ross and Cromarty)
FERRARI SET
www.flickr.com/photos/45676495@N05/sets/72157623665054999...
Designed at Ferrari Styling Centre under the direction of Flavio Manzoni, the Portofina is a two door 2+2 retractable hardtop convertible introduced at the end of 2017 as a replacement for the Ferrari California T.
The Ferrari Portofino was unveiled on the Italian Riviera in the village of Portofino at two exclusive evenings on 7 and 8 September 2017, and at Marinello the two following days. Priced at launch in Japan start from JPY25,300,000. Prices in the U.S. start from $215,000.
The chassis is made of 12 different aluminium alloys with much of its components now being integrated. The A-pillar of its predecessor consisted of 21 separate components but it is now a single piece in the Portofino. Hollow castings allow for increased structural rigidity, increasing it by 35% over its predecessor, the Ferrari California T. Its weight was parred down during developement resulting in a weight of 1,664 kg, or 80kg lighter than the California T.
The car is powered by a 3,855 cc Ferrari F154BE twin-turbocharged V8, simular to the engine used in the Ferrari GTC4Lusso T, but yields a slightly de-tuned power output of 600PS (592bhp). Driving through a seven speed dual clutch transmission with new softwear designed to allow for faster gear shifts. The Portofino can accelerate from 0–100 km/h (0–62 mph) in 3.5 seconds, 0–200 km/h (0–124 mph) in 10.8 seconds and can attain a terminal speed of 199mph
Diolch am 74,140,066 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 74,140,066 amazing views, every one is greatly appreciated.
Shot 23.06.2019 at Donington Park, Castle Donington, Leicestershire 142-080
Terence Woodgate and John Barnard
Two Royal Designers for Industry, one from the world of furniture design, and one from the world of Formula 1 racing car design, collaborated to create the Surface Table, a super-slim composite table. A true engineering accomplishment, the incredible Surface Table uses state-of-the-art auto-sport technology to exploit the inherent rigidity and strength of carbon fibre. The 2mm thick edge and long span de es the eye with its improbable lightness and solidity. Radius corners, round legs, domed feet and rounded edges accentuate the slimness and seamlessness of the design.