View allAll Photos Tagged diameter
Time to do some math and figure out a fixturing solution on the Bridgeport mill with the dividing plate. 17T may be tricky. 16T might be more straightforward. The 9 splines inside should be easier.
Original Caption: Eddystone, Pennsylvania - Railroad parts. Baldwin Locomotive Works. Machinist machining wheel to fit driving pin on above wheels (80 inches in diameter) on newest type of locomotive, March 1937
U.S. National Archives’ Local Identifier: 69-RP-529
Photographer: Hine, Lewis
Subjects:
The New Deal
Tennessee Valley Authority
Works Progress Administration
Work Portraits
The Great Depression
Persistent URL: research.archives.gov/description/518716
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
**Good**
1. Aluminum rigidity, flexibility, strength at 19mm diameter. 25mm diameter might be better. Moderate Flexibility is good
2. One person operation
3. Thrust is good underwater
4. Faster setup
5. Stability is good
**Bad**
1. One engine did not go!
2. The camera needs to be deeper and blacked out
3. The camera and brain needs to be cooled
4. In reverse cables get wet(short circuit)
5. Better, faster attachments for tubes
6. Better attachments for tubes, rudders, to stay vertical
7. Set tubes further apart for more stability
# Credits
- Cesar Jung-Harada
- Michael O'Brien
- Brad O'Dell
- Mathis Buchbinder
- Sanjeew Kanagaraj
- Priank Sharma
- Aidina Tleugabyl
- Raman Adiputra
- Michael Tang
- Thanks to Duy Huynh, Emma Wong, Walter Dellisanti, Roberto Pirelli
github.com/MakerBay/Coral_Reef_Mapping_Drone
www.notion.so/cesarjungharada/Coral-Reef-Mapping-Robot-V-...
13" diameter x 8" tall drum shade
fabricated from NOS vintage laminate parchment
$65.00
available for immediate shipment
to order, call 415-255-6700,
or email store@meteorlights.com
This blossom is about 3/4" in diameter!
The dewdrops are natural, not sprayed on.
.
The photographs in my set, "Weed Flower Micros," may appear to be close-ups of regular-sized flowers – they are not!
These are micro (macro) photos of tiny little flowers which bloom on ordinary weeds.
How tiny? The largest weed flower in the set is only, when measured across its widest part from petal tip to petal tip, 3/4" in diameter!
Some of these miniscule flowers are so small that the entire blossom you are looking at is 1/4" in diameter…again that’s measuring from petal tip to petal tip across the widest part of the bloom!
The smallest part of a weed flower that I have managed to successfully shoot and achieve good detail in is a photo I made of a bud that measured LESS than 1/16" in diameter across its widest part! For a reference to its size I have also included a photo of that bud next to the head of an ordinary paper match, which dwarfs the bud.
I am delighting in discovering the beauty, complexity, and variety in something so small that it’s easily ignored or downright difficult to see with the naked eye.
And it’s an even greater delight to realize that this incredible beauty has been growing wild in my lawn, year after year, right under my un-seeing eyes as I’ve repeatedly mown them down with my lawn mower, never realizing the unseen beauty that I was trampling under my feet.
I hope you enjoy viewing these as much as I do. I have a lot of fun making them for us to look at!
.
See more of these incredible, tiny jewels in my set, "Weed Flower Micros:"
Grime's Graves or Grimes Graves is a large Neolithic flint mining complex in Norfolk, England, though Brandon, Suffolk is the nearest town. It was worked between c. 3000 and c. 1900 BC, although production may have continued well into the Bronze and Iron Ages (and later) owing to the low cost of flint compared with metals. Flint was much in demand for making polished stone axes in the Neolithic period. Much later, when flint had been replaced by metal tools, flint nodules were in demand for other uses, such as for building and as strikers for muskets.
The scheduled monument[1] extends over an area of some 37 ha (96 acres) and consists of at least 433 shafts dug into the natural chalk to reach seams of flint. The largest shafts are more than 14 metres (46 ft) deep and 12 metres (39 ft) in diameter at the surface. It has been calculated that more than 2,000 tonnes of chalk had to be removed from the larger shafts, taking 20 men around five months, before stone of sufficient quality was reached. An upper 'topstone' and middle 'wallstone' seam of flint was dug through on the way to the deeper third 'floorstone' seam which most interested the miners. The site is managed by English Heritage and can be visited.
In order to remove the chalk efficiently, the ancient miners built wooden platforms and ladders as they dug downwards and piled the spoil around the shaft opening using turf revetments to hold it in place for the season, when the shaft and all its galleries were thoroughly and fastidiously backfilled to promote stability. The landscape around Grime's Graves has a characteristic pockmarked appearance caused by the infilled shafts. This is probably what inspired the later Anglo-Saxon inhabitants of the area to name it after their god Grim (literally the masked, or hooded one, a euphemism for Woden). Although the pagan Anglo-Saxons seem to have had some idea of what the site was, as the name of the site means literally 'The masked one's quarries,' (or Grim's Graben,) it wasn't until Canon William Greenwell excavated one of the shafts from 1868- 1870 that their purpose was discovered in modern times. Other similar sites have been found in chalk or downland areas, such as at Cissbury, and Spiennes in Belgium.
Tools[edit]
Deer antler pick
The miners used picks fashioned from the antler of red deer. They probably used wooden shovels, although this is only inferred by analogy with other flint mines with better conditions for the preservation of artefacts. Analysis of the antlers (Clutton-Brock 1984: 25) has shown that the miners were mainly right-handed and favoured the left antlers out of those that were naturally shed seasonally by the deer. The 28 pits excavated up to 2008 yielded an average of 142.5 antler picks each, of which an average of 14.8 have been found to be left-handed.
Once they had reached the floorstone flint, the miners dug lateral galleries outwards from the bottom, following the flint seam. The medium-depth shafts yielded as much as 60 tons of flint nodules, which were brought to the surface and roughly worked into shape on site. The blank tools were then possibly traded elsewhere for final polishing. It is estimated that 60 tons of flint could have produced as many as 10,000 of the polished stone axes, which were the mines' main product. Extrapolation across the site suggests that Grime's Graves may have produced around 16-18,000 tonnes of flint across the 433 shafts recorded to date. However, there are large areas of the site covered by later activity which are believed to conceal many more mineshafts.
There were other hard stones used for axe manufacture, those of the Langdale axe industry and Penmaenmawr in North Wales being traded across Europe, as well as other less well-known igneous and metamorphic rocks. The axes were much in demand for forest clearance and settlement, development of farmland for arable crops and raising animals, which characterises the Neolithic period.
Customs and Beliefs[edit]
Neolithic flint axe, about 31 cm long
One unproductive shaft (pit 15) appears to have been turned into a shrine. An altar of flint lumps had been built with a chalk bowl at its base and antler picks piled around. In front of the altar had been placed a Venus figurine of chalk, a chalk phallus and some balls, also of chalk. It may have been an attempt to ensure that the mine remained productive or 'fertile' after this particular shaft turned out to have little flint in it. However, it is possible that the Venus figurine and the phallus are modern fakes – there is a lack of primary evidence surrounding their recovery in 1939, and rumours circulated at the time of the excavation that they were planted in order to deceive Leslie Armstrong, the archaeologist overseeing the dig.(Piggot 1986: 190, Longworth et al. 1991: 103-105).
Neolithic Infrastructure[edit]
Such a large industry may have required supporting infrastructure. Assuming no more than two shafts were open at any one time, around 120 red deer may have needed to be bred and managed nearby, in order to provide a steady supply of antler as well as skin, food and other products that the miners would require. Alternatively, the mines may have been worked intermittently by local farmers, as happened in many early metal mines during the Bronze Age and the later Iron Age.
Earlier flint mines in Britain such as Cissbury in Sussex were just as important as Grimes Graves, and there were many very local sources of flint which were exploited on the downlands. However, it is probably relevant that Grimes Graves were close to the very rich soils of the Fens, and forest clearance here would rely on local products.
There was also extensive farming settlement during the Bronze Age, known from middens that infill the mouths of many Neolithic mineshafts. Animal bones from these middens show that the Bronze Age people kept cattle, which they milked, sheep and a few pigs. They also grew barley, wheat and peas.
The Site Today[edit]
The remains of mineshafts, pits, and spoil heaps pockmark the surface of Grime's Graves
Grime's Graves is in the care of English Heritage. It is open to the public and it is possible to descend a 9-metre ladder and explore one of the shafts. There is a small exhibition area.[2] This is the only shaft of its kind open to the public in Britain.
Goodyear Corsair FG-1D (G-FGID)
When the Chance Vought FG-1D Corsair was introduced in 1940 it boasted the most powerful engine along with the largest diameter propeller of any fighter aircraft in history. The result of this engine and propeller combination was the first fighter to exceed 400mph. Corsairs were built right up to 1952, giving the type the honour of having the longest production run of any American piston-engined fighter.
The first service engagement for the Corsair was with the US Marine Corps operating from makeshift land bases across the Pacific, and it was not until later that she was operated from aircraft carriers initially with the British Fleet Air Arm. The Corsair proved to be a formidable air superiority fighter during World War II when she was the scourge of the skies across the Pacific, and continued to deliver sterling service in later years during the Korean War.
Our Corsair was built under licence by the Goodyear Aircraft Corporation at their facility in Akron, Ohio and allocated Bu No 88297. She was accepted by the US Navy on 9th April 1945 and delivered a mere two days later. She was initially dispatched to Guam in the Pacific, being allocated to the Aircraft Pool Airwing 2. The next piece of her known history has her at a Repair Depot in the Philippines, possibly Samar, for repairs in October 1945 and following this was returned ‘State-side’. Our Corsair then spent a number of years being allocated to various US Naval Air Reserve squadrons as well as varying periods of storage until she was eventually put up for disposal in March 1956 with a total of 1652 flying hours on the airframe. She was purchased by ALU-MET Smelters in January 1959 and languished in their yard until being rescued a year later by legendary stunt-pilot Frank Tallman. In his book The Great Planes, Frank Tallman calls her his all-time favourite aircraft.
Frank Tallman parted with the Corsair in 1966, and she passed through a number of other civilian owners until joining The Fighter Collection fleet in 1986.
The Fighter Collection’s Corsair is an extremely original example of the type as she has never been restored and has the distinction of being one of the few still flying with fabric wings.
Our Corsair is painted in the colours of a British Fleet Air Arm machine, KD345 of 1850 Squadron during December 1945, when they were embarked on HMS Vengeance of the British Pacific Fleet.
North American TF-51D Mustang 44-84847, Miss Velma, (N251RJ)
Built too late to see combat service in World War Two, P-51D 44-84847 was one of the last Mustangs constructed at North American Aviation’s Dallas, Texas, plant. Details of her post war service career are limited, but there is photographic evidence, from September 1951, of her serving with the 45th Tactical Reconnaissance Squadron at Kimpo, South Korea, during the Korean War.
By late 1951 the 45th TRS were replacing their aging Mustangs with RF-80 Shooting Star jets, and so 44-84847 was shipped back the US to serve with the Air National Guard until around 1956. Around this time she slips off the radar until January 1999 when she re-appears in North Dakota as a restoration project. The airframe joined The Fighter Collection fleet the following year and was moved to Chino, California for a full restoration with the decision made to modify her to two-seat TF-51D configuration.
The restoration culminated in a first flight in May 2007 with Steve Hinton at the controls. Following this our Mustang was painted in the 55th Fighter Group scheme of Capt Frank Birtciel’s P-51D 44-14561, Miss Velma. Following the successful completion of her flight testing, Miss Velma was fitted with external drop tanks and flew across the Atlantic to the UK, where she arrived at Duxford on the 4th July 2007
NAA P-51D “Ferocious Frankie”
The P-51 was the most successful long-range fighter escort of World War II, but it was not an instant success. Designed for the British in only 120 days to meet their requirement to purchase more fighters, the first Mustangs were built with Allison engines; while remarkable at low altitudes, these variants were considered under-powered and disappointing at higher altitudes. Happily, in late 1942 the aircraft was transformed when, in the UK, Rolls Royce Merlin engines were tested in place of the Allison. The Merlin, as used in the Spitfire, was then license-built by Packard in the USA and in 1943 was installed in the P-51B & C models. This near perfect marriage of engine and platform made the 1944 P-51D, with its bubble canopy and six-guns, one of the most iconic and potent fighters of all time.
The P-51D’s range was an incredible 2,055m (3,327km), thanks to its huge fuel capacity of 1,000 litres internally and 815 litres in drop tanks. Equally impressive was a level maximum speed of 437mph (703kph) at 25,000 feet, a max diving speed of 505mph (818kph) and a service ceiling of 41,900 feet (12,800m).
The OFMC Mustang was built at the North American Aviation Factory at Inglewood, California and accepted by the USAAF on 27/02/1945. One month later it was sent to the 8th Air Force, via Newark and Liverpool docks, serving at Leiston in Suffolk among other stations. The aircraft stayed in England for only 11 months before returning to Newark in January 1946. Briefly kept in storage, in January 1947 it was sent to the Royal Canadian Air Force, operating from Suffield, Alberta. In 1953 with only total 433 flying hours it was completely overhauled in Winnipeg and with only an additional 81 hours time thereafter, was put into outside storage in Carberry Manitoba. Happily, in 1957, it was sold into private hands and registered as N6340T. The aircraft was bought for $5,400 in 1962 with a total of 511 airframe hours. Flying in the Unlimited Race at Reno in 1974, the effectively stock (original) aircraft finished second with an average speed of 384mph.
In April 1980 the aircraft flew across the Atlantic to new owners, The Fighter Collection. Re-sprayed, it became known as Candyman / Moose, with the name on one side of the fuselage and the Moose’s head on the other. The Mustang was first displayed in the UK at Biggin Hill in 1981, flown by Ray Hanna, the OFMC’s founder.
In 1989, after filming in ‘Memphis Belle’, the aircraft was given a complete overhaul by The Fighter Collection at Duxford. The airframe was remarkably free of corrosion and damage, but a full strip down and component overhaul was undertaken. An overhauled original flying panel was installed. The rear fuel tank in the fuselage was removed and a wartime style modification made to fit a ‘dickey’ seat. This ‘mod’ in 1944 allowed Eisenhower to survey the D-day beaches from the back of a Mustang. A special 1760hp Merlin engine currently powers the aircraft.
Supermarine Spitfire Mk IXb G-ASJV
• Aircraft Type: Supermarine Spitfire Mk IXb
• Operator: The Old Flying Machine Company
• Year of Manufacture: 1943
• Powered by: Rolls-Royce Merlin
• Colour Scheme: 222 Sqn. RAF 1943
Air tested by the legendary Alex Henshaw in early August 1943, the illustrious history of this much loved aircraft then continued service with 222 Sqn. MH434 was was flown in combat by South African pilot Flt. Lt. Henry Lardner-Burke, DFC, with seven and a half kills, three damaged. On the 27th August 1943 in the St Omar area over France, Lardner-Burke shot down a Focke-Wulf FW-190 and damaged a second during a mission to escort USAAF B-17 bombers. On the 5th September 1943 Lardner-Burke and MH434 shot down another FW-190 in the Nieuport area, and on the 8th September 1943 claimed a half share in the downing of a Messerschmitt Bf-109G in Northern France. Later flown by Flt. Sgt. (later Wing Co) Bill Burge who declared it to be ‘the perfect Spitfire’. Post war service was seen with both the Dutch and Belgian air forces before finally returning home to civilian life. Ray Hanna began his outstanding partnership with MH434 in 1970 and it has been operated by his OFMCo since 1983. She remains the jewel in the company’s crown.
Travel Mug
Height, in
8
Diameter, in
2.36 - 3.14
Wondering what your valentine really wants? This mug is perfect for Valentine's Day, they show the recipient you care. Let them know they're special and deserve something unique, not just a traditional gift. Just like your husband or wife, boyfriend or girlfriend, these gifts are one-of-a-kind.
Irreplaceable item for a busy everyday life, this stainless steel mug will keep drinks at the right temperature for hours on the go. High quality sublimation printing makes it an appreciated gift to every true coffee or tea lover.
.: Stainless steel
.: 15 oz (0.44 l)
.: Rounded corners
.: Black plastic lid
The post There’s A Party In My Mouth And Your Penis Is Invited Stainless Steel Travel Mug appeared first on Westorey.com.
View more on: ift.tt/2zSCcqF
Aluminum Flexible Duct
◆Diameters 3” to 29” （75-736mm）
◆Bend Radius 1.5” x 1.D.
◆Lengths 10 M or as to request
◆Compression ratio 1: 0.05
◆Maximum Velocity: 5500 FPM
◆Static Pressure – positive:10 in. WC
◆Temperature Range: -20°F to 250°F
Our clients choose us for reasons
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2.Reasonable price,We are manufactory.
3.Convenient traffic , around 1.5 hours to Shanghai ,
60 km distance to the Ningbo port
Constructed of a heavy duty 3-ply, aluminum foil laminate, encapsulating a high density, corrosion resistant wire helix, forming an air tight, easy to use, quality air connector.
The product comes conveniently boxed in 25 foot lengths, compressed for easy shipping and handling.
It’s work perfect when in the High temperature environments for exhaust system.
Very flexible, ideal for difficult installs
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Qutub Minar, at 74 meters, is the tallest brick minaret in the world, and the second tallest minar in India after Fateh Burj at Mohali. Qutub Minar, along with the ancient and medieval monuments surrounding it, form the Qutb Complex, which is a UNESCO World Heritage Site. The tower is located in the Mehrauli area of Delhi, India. Made of red sandstone and marble, Qutub Minar is a 73 meter tall tapering tower with a diameter measuring 14.32 meters at the base and 2.75 meters at the peak. Inside the tower, a circular staircase with 379 steps leads to the top. Qutub Minar station is the closest station on the Delhi Metro.
In 1200 CE, Qutub-ud-Din Aibak, the founder of the Delhi Sultanate started construction of the Qutub Minar. In 1220, Aibak's successor and son-in-law Iltutmish added three storeys to the tower. In 1369, lightning struck the top storey, destroying it completely and Firoz Shah Tughlaq carried out restoration work replacing the damaged storey with two new storeys, made of red sandstone and white marble.
Qutub Minar is surrounded by several historically significant monuments, which are historically connected with the tower and are part of the Qutb Complex. These include the Iron Pillar of Delhi, Quwwat-ul-Islam Mosque, Alai Darwaza, the Tomb of Iltutmish, Alai Minar, Ala-ud-din's Madrasa and Tomb, and the Tomb of Imam Zamin. Other minor monuments include Major Smith's Cupola and Sanderson's Sundial.
HISTORY
The construction of Qutub Minar was commissioned by Qutub-ud-Din Aibak, the founder of the Delhi Sultanate in 1199 AD. The minar was built on the ruins of the Lal Kot, the Red Citadel in the city of Dhillika. Aibak's successor Iltutmish added three more storeys to complete the tower.
It has not been established with certainty whether Qutub Minar has been named after Qutbu l-Din Aibak, the emperor who commissioned its construction or Qutbuddin Bakhtiar kaki, the famous Sufi saint.
The culture of tower architecture was established in India before the arrival of the Turks. However, there is no evidence on record to confirm that the Qutb Minar was inspired or influenced by earlier Rajput towers. Numerous inscriptions in Parso-Arabic and Nagari characters in different sections of the Qutb Minar reveal the history of its construction. According to the inscriptions on its surface it was repaired by Firoz Shah Tughlaq (1351–89) and Sikandar Lodi (1489–1517).
The Quwwat-ul-Islam Mosque, located to the north of Qutb Minar, was built by Qutbu l-Din Aibak in 1192. It is one of the earliest surviving mosque in the Indian subcontinent. Later, an arched screen was erected and the mosque was enlarged by Iltutmish (1210–35) and Ala-ud-din Khilji.
The topmost storey was damaged by lightning in 1368 A.D. and was rebuilt by Firoz Shah Tughlaq. Firoz Shah Tughlaq built two floors one of which can be distinguished easily as it was built of white marble. In 1505, an earthquake damaged Qutb Minar and the damage was repaired by Sikandar Lodi. On 1 August 1803, a major earthquake again caused serious damage to Qutb Minar. Major Robert Smith of the British Indian Army renovated the tower in 1828 and installed a cupola to the top of Qutb Minar. The cupola was later taken down under instructions from Lord Hardinge, then Governor General of India and was installed to the east of Qutb Minar, where it rests now.
ARCHITECTURE
The Minar is made of red sandstone covered with intricate carvings and verses from the Qur'an. The Minar comprises several superposed flanged and cylindrical shafts, separated be balconies carried on Muqarnas corbels. The first three storeys are made of red sandstone; the fourth and fifth storeys are of marble and sandstone. At the foot of the tower is the Quwwat-ul-Islam Mosque. The minar tilts just over 60 cm from the vertical, which is considered to be within safe limits, although experts have stated that monitoring is needed in case rainwater seepage further weakens the foundation.
The nearby 7 meters high Iron Pillar from Gupta empire is a metallurgical curiosity. The pillar standing in the Qutb complex has Brahmic inscriptions on it and predates the Islamic minar.
ACCIDENT
Before 1974, the general public was allowed access to the top of the minar accessed through a narrow staircase. On 4 December 1981, 45 people were killed in the stampede that followed an electricity failure that plunged the tower's staircase into darkness. Most of the victims were children because, at the time school children were allowed free access to historical monuments on Fridays. Subsequently, public access to the inside of the tower has been banned.
IN POPULARE CULTURE
Bollywood actor and director Dev Anand wanted to shoot the song Dil Ka Bhanwar Kare Pukar from his movie Tere Ghar Ke Samne inside the minar. However, the cameras in that era were too big to fit inside the tower's narrow passage, and the song was shot inside a replica of the tower instead. The site served as the pitstop of the second leg of the second season of The Amazing Race Australia, the Australian version of the Emmy-winning series The Amazing Race. This is the first Indian monument to have an E-ticket facility.
A picture of the minaret is featured on the Travel Cards issued by the Delhi Metro Rail Corporation. A recently launched start-up in collaboration with Archaeological survey of India has made a 360 degree walkthrough of Qutub minar available.
WIKIPEDIA
On-line flying cut-off saw allows precise cutting of large diameter tubing or wide extruded profiles.
Overall Diameter 22.2 cm
Bottom Diameter 21.4 cm
Height 30 cm
This artefact was unearthed in 2004 at Jing De Zhen Zhushan North
11oz
15oz
Height, in
3.74
4.72
Diameter, in
3.14
3.14
Wondering what your valentine really wants? This mug is perfect for Valentine's Day, they show the recipient you care. Let them know they're special and deserve something unique, not just a traditional gift. Just like your husband or wife, boyfriend or girlfriend, these gifts are one-of-a-kind.
Perfect for coffee, tea and hot chocolate, this classic shape white, durable ceramic mug in the most popular sizes - 11 oz. and 15oz. High quality sublimation printing makes it an appreciated gift to every true hot beverage lover.
.: White ceramic
.: 11 oz. (0.33 l) and 15 oz. (0.44 l)
.: Rounded corners
.: C-handle
The post From The First Moment We Met I Just Knew We Should Be Fuck Buddies Forever White Ceramic Mug appeared first on Westorey.com.
View more on: ift.tt/2RNxilC
Dimension:60CM
Diameter: 16MM
Power Consumption: 5W
Lumens: 400±50
Operational Voltage: AC:85-245
Colour Temperature:3000/4500/6500K
Appearance: Frosted/Transparent/Wave
Luminire Efficiency:>85%
Colour Rendering Index: >80%
Power Supply Efficiency: 87
View Angel: 120o
Operation Temperature: -20oC~+50oC
Storage Temperature: 0oC~45oC
Working Humidity: 15%~70%
Storage Humidity: 10%~90%
Main Material: Aluminum base+PC Cover
Certifications: CE, RoHS and so on
Warranty: Two Years
Note: LED T5 tube without cover and switch is also available.
Product Feature:
1.Light source: The advance SMD 3528 or 3014 provide with low energy consumption, long life and environment friendly.
2.Housing: The primal Aluminum alloy and innovative design disperses heat more efficiently
3.Switch: The on-off switch makes the light more connivance
4.PC cover: The covers transmittance rate is more than 90%
5.Fixture: The fixture is made by high quality aluminum alloy and strong structure. It is design to replace to all the conventional fluorescent.
6.Length: It is easy to carry due to the short length.
Application:
LED T8 Fluorescent Tubes are available in production line, working desks, offices, family home, hospital lighting, some special or bad situations and some special occasions that require safety.
Note:
All the items are under factory standard warranty.
Keep the item from water
Indoor used are highly recommended.
The Postcard
A postally unused postcard published by the American Art Publishing Co. on behalf of F.W. Woolworth.
On the divided back is printed:
'The Woolworth Building,
New York City.
Occupies a plot 152x197 feet
at Broadway and Barclay Street.
It is the tallest building in the
world, rising to a height of
750 feet, 55 stories above the
ground.
The foundation consists of
caissons 19 feet in diameter
sunk to bedrock, 110 to 130
feet below the ground.
Total cost is estimated at
$15,000,000.
H. Finkelstein & Son'.
The Woolworth Building
The Woolworth Building is a residential building and early skyscraper at 233 Broadway in the Tribeca neighborhood of Lower Manhattan in NYC.
Designed by Cass Gilbert, it was the tallest building in the world from 1913 to 1930, with a height of 792 feet (241 m). More than a century after its construction, it remains one of the 100 tallest buildings in the U.S..
The Woolworth Building consists of a 30-story base topped by a 30-story tower. Its façade is mostly decorated with architectural terracotta, though the lower portions are limestone, and it features thousands of windows.
The ornate lobby contains various sculptures, mosaics, and architectural touches. The structure was designed with several amenities and attractions, including a now-closed observatory on the 57th. floor and a private swimming pool in the basement.
F. W. Woolworth, the founder of a brand of popular five-and-ten-cent stores, conceived the skyscraper as a headquarters for his company. Woolworth planned the skyscraper jointly with the Irving National Exchange Bank, which also agreed to use the structure as its headquarters.
The Woolworth Building had originally been planned as a 12- to 16-story commercial building, but it underwent several revisions during its planning process. Construction started in 1910, although the building's final height was not decided upon until January 1911. The building officially opened on the 24th. April 1913.
The Woolworth Building has undergone several changes throughout its history. The façade was cleaned in 1932, and the building received an extensive renovation between 1977 and 1981.
The Irving National Exchange Bank moved its headquarters to 1 Wall Street in 1931, but the Woolworth Company (later Venator Group) continued to own the Woolworth Building for most of the 20th. century.
The structure was sold to the Witkoff Group in 1998. The top 30 floors were sold to a developer in 2012 and converted into residences.
Office and commercial tenants use the rest of the building.
-- Architecture of the Woolworth Building
Cass Gilbert designed the Woolworth Building in the neo-Gothic style. The building resembles European Gothic cathedrals; Reverend S. Parkes Cadman dubbed it "The Cathedral of Commerce" in a booklet published in 1916.
F. W. Woolworth, who had devised the idea for the Woolworth Building, had proposed using the Victoria Tower as a model for the building; he reportedly also admired the design of Palace of Westminster.
Gilbert, by contrast, disliked the comparison to religious imagery. The architect ultimately used 15th.- and 16th.-century Gothic ornament on the Woolworth Building, along with a complementary color scheme.
The Woolworth Building was designed to be 420 feet (130 m) high, but was eventually raised to 792 feet (241 m).
The Woolworth Building was 60 stories tall when completed in 1913, though this consisted of 53 usable floors topped by several mechanical floors.
The building's ceiling heights, ranging from 11 to 20 feet (3.4 to 6.1 m), make it the equivalent of an 80-story building. It remained the tallest building in the world until the construction of 40 Wall Street and the Chrysler Building in 1930, both in New York City.
The building is assigned its own ZIP Code; it was one of 41 buildings in Manhattan that had their own ZIP Codes as of 2019.
-- The Form of the Woolworth Building
The building's tower, flush with the main frontage on Broadway, joins an office block base with a narrow interior court for light. The base occupies the entire lot between Park Place to the north, Broadway to the east, and Barclay Street to the south.
The site measures 155 feet (47 m) wide on Broadway and 200 feet (61 m) wide on both Park Place and Barclay Street. The base contains two "wings" extending westward, one each on the Park Place and Barclay Street frontages, which form a rough U-shape when combined with the Broadway frontage.
This ensured that all offices had outside views. The U-shaped base is approximately 30 stories tall. All four elevations of the base are decorated, since the building has frontage on all sides.
The tower rises an additional 30 stories above the eastern side of the base, abutting Broadway. Above the 30th. floor are setbacks on the north and south elevations. There are additional setbacks along the north, south, and west elevations on the 45th. and 50th. floors.
The 30th. through 45th. floors measure 84 by 86 feet (26 by 26 m); the 46th. through 50th. floors, 69 by 71 feet (21 by 22 m); and the 51st. through 53rd. floors, 69 by 61 feet (21 by 19 m).
The tower has a square plan below the 50th.-story setback and an octagonal plan above. Though the structure is physically 60 stories tall, the 53rd. floor is the top floor that can be occupied. Above the 53rd. floor, the tower tapers into a pyramidal roof.
-- The Façade of the Woolworth Building
The lowest four stories are clad in limestone. Above that, the exterior of the Woolworth Building was cast in limestone-colored, glazed architectural terracotta panels.
F. W. Woolworth initially wanted to clad the skyscraper in granite, while Gilbert wanted to use limestone. The decision to use terracotta for the façade was based on both aesthetic and functional concerns.
Terracotta was not only fireproof but also, in Gilbert's mind, a purely ornamental addition clarifying the Woolworth Building's steel construction. Each panel was of a slightly different color, creating a polychrome effect.
The façade appeared to have a uniform tone, but the upper floors were actually darker and more dense. Behind the terracotta panels were brick walls; the terracotta pieces are attached to the brick walls by metal rods and hangers.
The Atlantic Terra Cotta Company provided the original terracotta cladding. The panels were manufactured in shades of blue, green, sienna, and rose. The terracotta panels were partially vitrified, allowing them to bear large loads.
Gilbert also asked that John Donnelly and Eliseo V. Ricci create full-size designs based on Atlantic Terra Cotta's models.
In 1932, Atlantic Terra Cotta carried out a comprehensive cleaning campaign of the Woolworth's façade in order to remove blackening caused by the city's soot and pollution.
The Ehrenkrantz Group restored the building's façade between 1977 and 1981. During the renovation, much of the terracotta was replaced with concrete and Gothic ornament was removed.
The building has several thousand windows: the exact number is disputed, but various sources state that the Woolworth Building has 2,843, 4,400, or 5,000 windows.
Windows were included for lighting and comfort; because the Woolworth Building was built before air conditioning became common, every office is within 10 feet (3.0 m) of a window.
Some of the Woolworth Building's windows are set within arch-shaped openings. Most of the building's spandrels, or triangles between the top corners of the window and the top of the arch, have golden Gothic tracery against a bright blue backdrop.
On the 25th., 39th., and 40th. stories, the spandrels consist of iconography found in the royal coat of arms of the United Kingdom.
Gold-on-blue tracery is also found on the 26th., 27th., and 42nd. floors.
-- The Base of the Woolworth Building
The main entrance on Broadway is a three-story Tudor arch, surrounded on either side by two bays: one narrower than the main arch, the other wider. The five bays form a triumphal arch overhung by a balcony and stone motifs of Gothic design.
The intrados of the arch contains 23 niches. The topmost niche depicts an owl; the lowest niches on both sides depict tree trunks; and the other twenty niches depict animated figures.
The spandrel above the left side of the arch depicts Mercury, classical god of commerce, while that above the right side depicts Ceres, classical goddess of agriculture.
Above all of this is an ogee arch with more niches, as well as two carvings of owls hovering above a "W" monogram. There are salamanders within niches on either side of the main entrance.
Inside the triumphal arch, there is a smaller arch with a revolving door and a Tudor window; it is flanked by standard doors and framed with decorations. There is a pelican above this smaller arch.
-- The Tower Section of the Woolworth Building
At the 45th.- and 50th.-story setbacks, there are turrets at each corner of the tower. The northeast corner turret concealed a smokestack.
There is a pyramidal roof above the 53rd. floor, as well as four ornamental tourelles at the four corners of the tower. The roof was originally gilt but is now green. The pyramidal roof, as well as the smaller roofs below, used 40,000 square feet (3,700 m2) of gold leaf.
The main roof is interspersed with small dormers, which contain windows into the maintenance levels inside. The pyramidal roof is topped by another pyramid with an octagonal base and tall pointed-arch windows. In turn, the octagonal pyramid is capped by a spire.
The three layers of pyramids are about 62 feet (19 m), or five stories tall. An observation deck was located at the 55th. floor, about 730 feet (220 m) above ground level. The deck, which was octagonal in plan, measuring 65 feet (20 m) across, was accessed by a glass-walled elevator.
It was patronized by an estimated 300,000 visitors per year, but was closed as a security measure in 1941 after the Pearl Harbor attack.
Strongly articulated piers, which carry right to the pyramidal cap without intermediate cornices, give the building its upward thrust. This was influenced by Aus's belief that:
"From an engineering point of view,
no structure is beautiful where the
lines of strength are not apparent."
The copper roof is connected to the Woolworth Building's steel superstructure, which serves to ground the roof electrically. The Gothic detailing concentrated at the highly visible crown is over-scaled, and the building's silhouette could be made out from several miles away.
Gilbert's choice of the Gothic style was described as "an expression of the verticality of the tower form", and as Gilbert himself later wrote, the style was "light, graceful, delicate and flame-like".
Gilbert considered several proposals for exterior lighting, including four powerful searchlights atop nearby buildings and a constantly rotating lamp at the apex of the Woolworth Building's roof.
Ultimately, the builders decided to erect nitrogen lamps and reflectors above the 31st. floor, and have the intensity of the lighting increase with height.
-- Structural Features of the Woolworth Building
-- The Substructure
In contrast to other parts of Manhattan, the bedrock beneath the site is relatively deep, descending to between 110 and 115 feet (34 and 35 m) on average. The site also has a high water table, which is as shallow as 15 feet (4.6 m) below ground level.
Due to the geology of the area, the building is supported on 69 massive caissons that descend to the bedrock. The caissons range in depth from 100 to 120 feet (30 to 37 m).
To give the structure a sturdy foundation, the builders used metal tubes 19 feet (5.8 m) in diameter filled with concrete. These tubes were driven into the ground with a pneumatic caisson process to anchor the foundations to the bedrock.
Because the slope of the bedrock was so sharp, steps had to be carved into the rock before the caissons could be sunk into the ground. The caissons were both round and rectangular, with the rectangular caissons located mainly on the southern and western lot lines.
The caissons are irregularly distributed across the site, being more densely concentrated at the northeastern corner. This is because the building was originally planned to occupy a smaller site at the corner of Broadway and Park Place; when the site was enlarged, the caissons that had already been installed were left in place.
The two basement levels, descending 55 feet (17 m), are constructed of reinforced concrete.
-- The Superstructure
Whereas many earlier buildings had been constructed with load-bearing walls, which by necessity were extremely thick, the Woolworth Building's steel superstructure was relatively thin, which enabled Gilbert to maximize the building's interior area.
Engineers Gunvald Aus and Kort Berle designed the steel frame. Each column carries a load of 24 tons per square foot, supporting the building's overall weight of 233,000 tons.
Where the columns of the superstructure did not match up with the caissons, they were cantilevered above on plate girders between two adjoining caissons. These girders are extremely large; one such girder measures 8 feet (2.4 m) deep, 6.75 feet (2 m) wide, and 23 feet (7.0 m) long.
For the wind bracing, the entire Woolworth Building was considered as a vertical cantilever, and correspondingly large girders and columns were used in the construction.
-- Interior
Upon completion, the Woolworth Building contained seven water systems — one each for the power plant, the hot-water plant, the fire-protection system, the communal restrooms, the offices with restrooms, the basement swimming pool, and the basement restaurant.
Although the water is obtained from the New York City water supply system, much of it is filtered and reused. A dedicated water system, separate from the city's, was proposed during construction, but workers abandoned the plan after unsuccessfully digging 1,500 feet (460 m) into Manhattan's bedrock.
The Woolworth Building was the first structure to have its own power plant, with four Corliss steam engine generators totaling a capacity of 1,500 kilowatt-hours; the plant could support 50,000 people.
The building also had a dedicated heating plant with six boilers producing 2,500 horsepower. The boilers were fed from subterranean coal bunkers capable of holding over 2,000 tons of anthracite coal.
-- Lobby
The ornate, cruciform lobby, known as the "arcade", was characterized by the New York City Landmarks Preservation Commission as:
"One of the most spectacular of
the early 20th. century in New
York City".
It consists of two perpendicular, double-height passageways with barrel-vaulted ceilings. Where the passageways intersect, there is a domed ceiling. The dome contains pendentives that may have been patterned after those of the Mausoleum of Galla Placidia.
Veined marble from the island of Skyros in Greece covers the lobby. Patterned glass mosaics that contain blue, green, and gold tiling with red accents decorate the ceilings.
There are other Gothic-style decorations in the lobby, including on the cornice and the bronze fittings. Twelve plaster brackets, which carry grotesques depicting major figures in the building's construction, are placed where the arcade and the mezzanine intersect.
These ornaments include Gilbert with a model of the building, Aus taking a girder's measurements, and Woolworth holding nickels and dimes. Two ceiling murals by C. Paul Jennewein, titled Labor and Commerce, are located above the mezzanine where it crosses the south and north wings, respectively.
The staircase hall is a two-story room located to the west of the arcade. It consists of the ground level, which contains former storefronts, as well as a mezzanine level above it. The ground floor originally contained 18 storefronts.
A 15-foot-wide (4.6 m) marble staircase leads westward from the arcade to a mezzanine, where the entrance to the Irving National Exchange Bank office was formerly located. The mezzanine contains a stained-glass skylight surrounded by the names of several nations. The skylight contains the dates 1879 and 1913, which respectively signify the years of the Woolworth Company's founding and the building's opening.
The skylight is also surrounded by sculpted grotesques, which depict merchandising activities in the five-and-dime industry.
There is a smaller space west of the staircase hall with a one-story-high ceiling. This room contains a coffered ceiling with a blue-green background. The crossbeams contain Roman portrait heads, while the cornice contains generic sculpted grotesques.
-- Basement
The basement of the Woolworth Building contains an unused bank vault, restaurant, and barbershop. The bank vault was initially intended to be used for safe-deposit boxes, though it was used by the Irving National Exchange Bank in practice.
In 1931, Irving moved some $3 billion of deposits to a vault in its new headquarters at 1 Wall Street, and the Woolworth Building's vault was converted into a storage area for maintenance workers.
There is also a basement storage room, known as the "bone yard", which contains replacement terracotta decorations for the facade.
The basement also contains closed entrances to two New York City Subway stations. There was an entrance to the Park Place station directly adjacent to the building's north elevation, served by the 2 and 3 trains. This entrance was closed after the September 11 attacks in 2001.
Another entrance led to the City Hall station one block north, now served by the R and W trains, but this was closed in 1982 because of concerns over crime.
A private pool, originally intended for F. W. Woolworth, exists in the basement. Proposed as early as 1910, the pool measured 15 by 55 feet (4.6 by 16.8 m) and had a marble perimeter.
The pool was later drained, but was restored in the mid-2010's as part of the conversion of the Woolworth Building's upper floors into residential units.
-- Offices
At the time of construction, the Woolworth Building had over 2,000 offices. Each office had ceilings ranging from 11 to 20 feet (3.4 to 6.1 m) high. Gilbert had designed the interior to maximize the amount of usable office space, and correspondingly, minimize the amount of space taken up by the elevator shafts.
The usable-space consideration affected the placement of the columns in the wings, as the columns in the main tower were positioned around the elevator shafts and facade piers.
Each of the lowest 30 stories had 31 offices, of which ten faced the light court, eight faced Park Place, eight faced Barclay Street, and five faced Broadway. Above the 30th.-story setback, each story had 14 offices.
For reasons that are unknown, floor numbers 42, 48, and 52 are skipped.
Woolworth's private office on the 24th. floor, revetted in green marble in the French Empire style, is preserved in its original condition. His office included a mahogany desk with a leather top measuring 7.5 by 3.75 feet (2.29 by 1.14 m).
That desk contained a hidden console with four buttons to request various members of his staff.
The marble columns in the office are capped by gilded Corinthian capitals. Woolworth's reception room contained objects that were inspired by a visit to the Château de Compiègne shortly after the building opened.
These included a bronze bust of Napoleon, a set of French Empire-style lamps with gold figures, and an inkwell with a depiction of Napoleon on horseback.
The walls of the office contained portraits of Napoleon, and gold-and-scarlet chairs were arranged around the room. At some point, Woolworth replaced the portrait of Napoleon with a portrait of himself.
-- Elevators
The Woolworth Building contains a system of high-speed elevators capable of traveling 650 feet (200 m) or 700 feet (210 m) per minute. The Otis Elevator Company supplied the units, which were innovative in that there were "express" elevators, stopping only at certain floors, and "local" elevators, stopping at every floor between a certain range.
There were 26 Otis electric elevators with gearless traction, as well as an electric-drum shuttle elevator within the tower once construction was complete. Of these, 24 were passenger elevators. Two freight elevators and two emergency staircases were placed at the rear of the building.
The elevator doors in the lobby were designed by Tiffany Studios. The patterns on the doors are arabesque tracery patterns in etched steel set off against a gold-plated background.
-- History of the Woolworth Building
-- Planning
F. W. Woolworth, an entrepreneur who had become successful because of his "Five-and-Dime" (5- and 10-cent stores), began planning a new headquarters for the F. W. Woolworth Company in 1910.
Around the same time, Woolworth's friend Lewis Pierson was having difficulty getting shareholder approval for the merger of his Irving National Bank and the rival New York Exchange Bank.
Woolworth offered to acquire shares in New York Exchange Bank and vote in favor of the merger if Pierson agreed to move the combined banks' headquarters to a new building he was planning as the F. W. Woolworth Company's headquarters.
Having received a commitment from the banks, Woolworth acquired a corner site on Broadway and Park Place in Lower Manhattan, opposite City Hall.
Woolworth and the Irving National Exchange Bank then set up the Broadway-Park Place Company to construct and finance the proposed structure. Initially, the bank was supposed to purchase the company's stock gradually until it owned the entire company, and thus, the Woolworth Building.
Irving would be able to manage the 18 floors of rentable space on a 25-year lease. While negotiations to create the Broadway-Park Place Company were ongoing, Woolworth and his real estate agent Edward J. Hogan purchased several parcels from the Trenor Luther Park estate and other owners.
The entire footprint of the current building, a rectangular lot, had been acquired by the 15th. April 1910, at a total cost of $1.65 million (about $37.7 million in 2022).
-- Original designs
Woolworth commissioned Cass Gilbert to design the new building. Gilbert later mentioned that he had received the commission for the Woolworth Building after getting a phone call from Woolworth one day.
Woolworth wanted his new structure to be of similar design to the Palace of Westminster in London, which was designed in the Gothic style. At the time, Gilbert was well known for constructing modern skyscrapers with historicizing design elements.
Gilbert was originally retained to design a standard 12- to 16-story commercial building for Woolworth, who later said:
"I have no desire to erect a monument
that would cause posterity to remember
me".
However, Woolworth then wanted to surpass the nearby New York World Building, which sat on the other side of City Hall Park and stood 20 stories and 350 feet (110 m).
A drawing by Thomas R. Johnson, dated April 22 1910, shows a 30-story building rising from the site. Because of the change in plans, the organization of the Broadway-Park Place Company was rearranged.
Woolworth would now be the major partner, contributing $1 million of the planned $1.5 million cost. The Irving Bank would pay the balance, and it would take up a 25-year lease for the ground floor, fourth floor, and basement.
By September 1910, Gilbert had designed an even taller structure, with a 40-story tower on Park Place adjacent to a shorter 25-story annex, yielding a 550-foot (170 m)-tall building.
The next month, Gilbert's latest design had evolved into a 45-story tower roughly the height of the nearby Singer Building. After the latest design, Woolworth wrote to Gilbert in November 1910 and asked for the building's height to be increased to 620 feet (190 m), which was 8 feet (2.4 m) taller than the Singer Building, Lower Manhattan's tallest building.
Woolworth was inspired by his travels in Europe, where he would constantly be asked about the Singer Building. He decided that housing his company in an even taller building would provide invaluable advertising for the F. W. Woolworth Company and make it renowned worldwide.
This design, unveiled to the public the same month, was a 45-story tower rising 625 feet (191 m), sitting on a lot by 105 by 197 feet (32 by 60 m). Referring to the revised plans, Woolworth said:
"I do not want a mere building.
I want something that will be an
ornament to the city."
He later said that he wanted visitors to brag that they had visited the world's tallest building.
Louis J. Horowitz, president of the building's main contractor Thompson-Starrett Company, said of Woolworth:
"Beyond a doubt his ego was a thing
of extraordinary size; whoever tried to
find a reason for his tall building and
did not take that fact into account would
reach a false conclusion."
Even after the revised height was unveiled, Woolworth still yearned to make the building even taller, as it was now close to the 700-foot (210 m) height of the Metropolitan Life Insurance Company Tower, then the tallest building in New York City and the world.
On the 20th. December 1910, Woolworth sent a team of surveyors to measure the Metropolitan Life Tower's height and come up with a precise measurement, so that he could make his skyscraper 50 feet (15 m) taller.
He then ordered Gilbert to revise the building's design to reach 710 or 712 feet (216 or 217 m), despite ongoing worries over whether the additional height would be worth the increased cost.
In order to fit the larger base that a taller tower necessitated, Woolworth bought the remainder of the frontage on Broadway between Park Place and Barclay Street. He also purchased two lots to the west, one on Park Place and one on Barclay Street; these lots would not be developed, but would retain their low-rise buildings and preserve the proposed tower's views.
Such a tall building would produce the largest income of any building globally.
On the 1st. January 1911, the New York Times reported that Woolworth was planning a 625 feet (191 m) building at a cost of $5 million.
By the 18th. January 1911, Woolworth and Hogan had acquired the final site for the project at a total cost of $4.5 million; (about $103 million in 2022) the lot measured 152 feet (46 m) on Broadway, 192.5 feet (58.7 m) on Barclay Street, and 197.8 feet (60 m) on Park Place.
In a New York Times article two days later, Woolworth said that his building would rise 750 feet (230 m) to its tip. In order to fit the correct architectural proportions, Gilbert redesigned the building to its current 792-foot (241 m) height.
Renderings by the illustrator Hughson Hawley, completed in April 1911, are the first official materials that reflect this final height.
Gilbert had to reconcile both Woolworth's and Pierson's strict requirements for the design of the structure. The architect's notes describe late-night conversations that he had with both men. The current design of the lobby, with its arcade, reflected these conflicting pressures.
Sometimes Gilbert also faced practical conundrums, such as Woolworth's requirement that:
There must be many windows so divided
that all of the offices should be well lighted,
and so that tenants could erect partitions to
fit their needs."
Gilbert wrote that:
"This requirement naturally
prevented any broad wall
space".
Woolworth and Gilbert sometimes clashed during the design process, especially because of the constantly changing designs and the architect's fees. Nevertheless, Gilbert commended Woolworth's devotion to the details and beauty of the building's design, as well as the entrepreneur's enthusiasm for the project.
Such was the scale of the building that Gilbert noted:
"For several years my sense of scale was
destroyed because of the unprecedented
attuning of detail to, for these days, such
an excessive height".
-- Construction of the Woolworth Building
In September 1910, wrecking crews demolished the five and six-story structures which previously occupied the site. Construction officially began on the 4th. November 1910, with excavation by The Foundation Company, using a contract negotiated personally by Frank Woolworth.
The start of construction instantly raised the site's value from $2.25 million to $3.2 million. The contract of over $1 million was described as the largest contract for foundation construction ever awarded in the world.
It took months for Woolworth to decide upon the general construction company. George A. Fuller's Fuller Company was well experienced and had practically invented skyscraper construction.
However Louis Horowitz's Thompson-Starrett Company was local to New York, and despite being newer, Horowitz had worked for Fuller before, and thus had a similar knowledge base.
On the 20th. April 1911, Thompson-Starrett won the contract with a guaranteed construction price of $4,308,500 for the building's frame and structural elements.
The company was paid $300,000 for their oversight and management work, despite Woolworth's attempts to get the company to do the job for free due to the prestige of the project.
On the 12th. June 1911, the Atlantic Terra Cotta Company received a $250,000 contract to manufacture the terracotta.
The next month, Donnelly and Ricci received the $11,500 contract for the terracotta work and some of the interior design work. Gilbert requested Atlantic Terra Cotta use an office next to his while they drew several hundred designs.
The construction process involved hundreds of workers, and daily wages ranged from $1.50 for laborers (equivalent to $44 in 2022) to $4.50 for skilled workers (equivalent to $133 in 2022).
By August 1911, the building's foundations were completed ahead of the target date of the 15th. September; construction of the skyscraper's steel frame began on the 15th. August.
The steel beams and girders used in the framework weighed so much that, to prevent the streets from caving in, a group of surveyors examined them on the route along which the beams would be transported.
The American Bridge Company provided steel for the building from their foundries in Philadelphia and Pittsburgh; manufacturing took over 45 weeks.
The first above-ground steel had been erected by October 1911, and installation of the building's terracotta began on the 1st. February 1912.
The building rose at the rate of 1½ stories a week, and the steelworkers set a speed record for assembling 1,153 tons of steel in six consecutive eight-hour days.
By the 18th. February 1912, work on the steel frame had reached the building's 18th. floor. By the 6th. April 1912, the steel frame had reached the top of the base at the 30th. floor, and work then began on constructing the tower of the Woolworth Building.
Steel reached the 47th. floor by the 30th. May, and the official topping out ceremony took place two weeks ahead of schedule on the 1st. July 1912, as the last rivet was driven into the summit of the tower.
The skyscraper was substantially completed by the end of that year. The final estimated construction cost was US$13.5 million (equivalent to $400,000,000 in 2022), up from the initial estimates of US$5 million for the shorter versions of the skyscraper (equivalent to $148,000,000 in 2022).
Woolworth provided $5 million, while investors provided the remainder, and financing was completed by August 1911.
-- Opening and the 1910's
The building opened on the 24th. April 1913. Woolworth held a grand dinner on the building's 27th. floor for over 900 guests, and at exactly 7:30 p.m. EST, President Woodrow Wilson pushed a button in Washington, D.C., to turn on the building's lights. Additional congratulations were sent via letter from former President William Howard Taft, Governor of New Jersey James Fairman Fielder and United States Secretary of the Navy Josephus Daniels.
The building was declared ready for occupancy on the 1st. May 1913, and Woolworth began advertising the offices for rent beginning at $4.00 per square foot.
To attract tenants, Woolworth hired architecture critic Montgomery Schuyler to write a 56-page brochure outlining the building's features. Schuyler later described the Woolworth Building as the "noblest offspring" of buildings erected with steel skeletons.
On completion, the Woolworth Building topped the record set by the Metropolitan Life Insurance Company Tower as the world's tallest building, a distinction it held until 1930.
Woolworth had purchased all of the Broadway-Park Place Company's shares from the Irving National Exchange Bank by May 1914; his company held no ownership stake in the building.
The building contained offices for as many as 14,000 employees. By the end of 1914, the building was 70% occupied and generating over $1.3 million a year in rents for the F. W. Woolworth Company.
-- The Woolworth Building in the 1920's to 1960's
During the Great War, only one of the Woolworth Building's then-14 elevators was turned on, and many lighting fixtures in hallways and offices were turned off. This resulted in about a 70% energy reduction compared to peacetime requirements.
The building had more than a thousand tenants by the 1920's, who generally occupied suites of one or two rooms. These tenants reportedly collectively employed over 12,000 people in the building.
In 1920, after F. W. Woolworth died, his heirs obtained a $3 million mortgage loan on the Woolworth Building from Prudential Life Insurance Company in order to pay off $8 million in inheritance tax.
By this point, the building was worth $10 million and grossed $1.55 million per year in rental income. The Broadway-Park Place Corporation agreed to sell the building to Woolco Realty Co., a subsidiary of the F. W. Woolworth Company, in January 1924 at an assessed valuation of $11.25 million (about $153 million in 2022).
The company paid $4 million in cash and obtained a five-year, $11 million mortgage from Prudential Life Insurance Company at an annual interest rate of 5.5%. The sale was finalized in April 1924, after which F. W. Woolworth's heirs no longer had any stake in the building.
In 1927, the building's pinnacle was painted green, and the observation tower was re-gilded for over $25,000 (about $340,647 in 2022). The Atlantic Terra Cotta Company cleaned the Woolworth Building's façade in 1932.
Prudential extended its $3.7 million mortgage on the building by ten years in 1939, and the observation deck was closed after the bombing of Pearl Harbor in 1941.
Ten of the building's 24 elevators were temporarily disabled in 1944 because of a shortage of coal. The next year, the building's owners replaced the elevators and closed off the building above the 54th. story.
By 1953, a new chilled water air conditioning system had been installed, bringing individual room temperature control to a third of the building.
The old car-switch-control elevators had been replaced with a new automatic dispatching systems and new elevator cars. The structure was still profitable by then, although it was now only the sixth-tallest building, and tourists no longer frequented the Woolworth Building.
The building's terracotta façade deteriorated easily, and, by 1962, repairs to the terracotta tiles were occurring year-round.
The Woolworth Company had considered selling the building as early as the 1960's, though the planned sale never happened.
-- Restoration and Landmark Status
The National Park Service designated the Woolworth Building as a National Historic Landmark in 1966. The New York City Landmarks Preservation Commission (LPC) considered giving the Woolworth Building official city-landmark status in 1970. The F. W. Woolworth Company called the landmark law "onerous" since it would restrict the company from making modifications to many aspects of the building.
The commission ultimately declined to give the Woolworth Building a designated-landmark status because of the company's opposition to such a measure, as well as the increased costs and scrutiny.
The lobby was cleaned in 1974.
The F. W. Woolworth Company commissioned an appraisal of the building's façade in 1975 and found serious deterioration in the building's terracotta. Many of the blocks of terracotta had loosened or cracked from the constant thermal expansion and contraction caused by New York's climate.
The cracks in the façade had let rain in, which had caused the steel superstructure to rust. By 1976, the Woolworth Company had placed metal netting around the façade in order to prevent terracotta pieces from dislodging and hitting pedestrians.
The issues with the façade were exacerbated by the fact that very few terracotta manufacturers remained in business, making it difficult for the company to procure replacements.
The New York City Industrial and Commercial Incentives Board approved a $8.5 million tax abatement in September 1977, which was to fund a proposed renovation of the Woolworth Building.
The Woolworth Company still occupied half the building; its vice president for construction said:
"We think the building merits
the investment, in part because
F. W. Woolworth had used his
own wealth to fund the building's
construction."
Much of the remaining space was occupied by lawyers who paid rentals of between $7 to $12 per square foot ($75 to $129/m2).
The F. W. Woolworth Company began a five-year restoration of the building's terracotta and limestone façade, as well as replacement of all the building's windows, in 1977.
Initially, the company had considered replacing the entire terracotta façade with concrete; however this was canceled due to its high cost and potential backlash from preservationists.
The renovation, carried out by Turner Construction to plans by the New York architectural firm Ehrenkrantz Group, involved the replacement of roughly one-fifth of the building's terracotta.
Since there were so few remaining terracotta manufacturers, Woolworth's replaced 26,000 of the tiles with concrete lookalikes; many of those tiles had to be custom-cut. The concrete was coated with a surface that was meant to be replaced every five years, like the glazing on the terracotta blocks.
Similarly, the original copper windows were replaced with aluminum frames which allowed them to be opened, whereas the originals were sealed in place.
The company also removed some decorative flying buttresses near the tower's crown and refaced four tourelles in aluminum because of damage.
The building's renovation was completed without fanfare in 1982. The estimated cost of the project had risen from $8 million to over $22 million. Much of the renovation was financed through the city government's tax break, which had increased to $11.4 million.
The LPC again considered the Woolworth Building for landmark designation in early 1982, shortly after the renovation was completed. However upon the request of the building's lawyers, the LPC postponed a public hearing for the proposed landmark designation to April 1982.
That year, the building's entrance to the City Hall subway station was closed because of fears over crime. The LPC granted landmark protection to the building's façade and the interior of its lobby in April 1983.
The Woolworth Company (later Venator Group) continued to own the building for a decade and a half. After struggling financially for years, and with no need for a trophy office building, Venator Group began discussing a sale of the building in 1996.
To raise capital for its other operations, Venator formally placed the Woolworth Building for sale in April 1998.
-- Witkoff Group Ownership
Venator Group agreed to sell the building in June 1998 to Steve Witkoff's Witkoff Group and Lehman Brothers for $155 million (about $261 million in 2022). However before the sale was finalized in December 1998, Witkoff renegotiated the purchase price to $137.5 million (about $231 million in 2022), citing a declining debt market.
Venator shrunk its space in the building from eight floors to four; this was a sharp contrast to the 25 floors the company had occupied just before the sale.
Witkoff also agreed to license the Woolworth name and invest $30 million in renovating the exterior and interior of the building.
After purchasing the building, the Witkoff Group rebranded it in an attempt to attract entertainment and technology companies. In April 2000, the Venator Group officially moved their headquarters to 112 West 34th. Street, and Witkoff indicated that he would sell the upper half of the building as residential condominiums.
That October, the company proposed a two-story addition to the 29th.-floor setbacks on the north and south elevations of the tower, to be designed by Skidmore, Owings & Merrill, who were also leading the renovation of the building. The LPC denied the proposal.
The company unveiled an ambitious plan in November 2000 that would have converted the top 27 floors of the building into 75 condominiums, including a five-story penthouse. The plan would have included a new residential lobby on Park Place, a 100-space garage, a 75-seat underground screening room, and a spa in the basement.
The developers planned to spend $60 to $70 million on the conversion which would be ready for occupancy by August 2002. However the LPC opposed the plan because it would have required exterior changes to the roof.
The commission eventually approved a modified version of the plan. Following the September 11 attacks and the subsequent collapse of the nearby World Trade Center, the proposal was later canceled.
-- Security Increases and New Plan
Prior to the September 11 attacks, the World Trade Center was often photographed in such a way that the Woolworth Building could be seen between the complex's twin towers.
After the attacks occurred only a few blocks away, the Woolworth Building was without electricity, water and a telephone service for a few weeks; its windows were broken, and falling rubble damaged a top turret.
Increased post-attack security restricted access to most of the ornate lobby, previously a tourist attraction. New York Times reporter David W. Dunlap wrote in 2006 that a security guard had asked him to leave within twelve seconds of entering the Woolworth Building.
However, there was renewed interest in restoring public access to the Woolworth Building during planning for its centennial celebrations. The lobby reopened to public tours in 2014, when Woolworth Tours started accommodating groups for 30- to 90-minute tours.
The tours were part of a partnership between Cass Gilbert's great-granddaughter, Helen Post Curry, and Witkoff's vice president for development, Roy A. Suskin.
By 2007, the concrete blocks on the Woolworth Building's façade had deteriorated because of neglect. A lack of regular re-surfacing had led to water and dirt absorption, which had stained the concrete blocks.
Though terracotta's popularity had increased since the 1970's, Suskin had declined to say whether the façade would be modified, if at all.
Around the same time, Witkoff planned to partner with Rubin Schron to create an "office club" on the top 25 floors building to attract high-end tenants like hedge funds and private equity firms. The plan would have restored the 58th. floor observatory as a private amenity for "office club" tenants, in addition to amenities like a private dining room, meeting rooms, and a new dedicated lobby.
The partners planned to complete the project by the end of 2008, but the financial crisis of 2007–2008 derailed the plans, leaving the top floors gutted and vacant.
-- Residential Conversion
On the 31st. July 2012, an investment group led by New York developer Alchemy Properties which included Adam Neumann and Joel Schreiber, bought the top 30 floors of the skyscraper for $68 million (about $86.1 million in 2022) from the Witkoff Group and Cammeby's International.
The firm planned to renovate the space into 33 luxury apartments and convert the penthouse into a five-level living space. The lower 28 floors are still owned by the Witkoff Group and Cammeby's International, who planned to maintain them as office space.
The project was expected to cost approximately $150 million including the $68 million purchase price. The Landmarks Preservation Commission approved the changes to the building in October 2013.
When the sale was first announced in 2012, the developers expected the building's conversion to be complete by 2015. However, construction took longer than expected.
Workers could not attach a construction hoist to the building's façade without damaging it, and they were prohibited from using the elevators because of the active office tenants on the lower floors and the regular public tours of the landmarked lobby.
The renovation included many restorations and changes to the building's interior. Two of the elevator shafts only went to the 29th. floor, allowing extra floor space for the residents above.
A new private lobby was also built for residents, and the coffered ceiling from F. W. Woolworth's personal 40th. floor office was relocated to the entryway. Each unit received space in a wine cellar, along with access to the restored private pool in the basement.
The 29th. floor was converted to an amenity floor named the "Gilbert Lounge" after the structure's architect, while the 30th. floor hosts a fitness facility.
In August 2014, the New York Attorney General's office approved Alchemy's plan to sell 34 condos at the newly branded Woolworth Tower Residences for a combined total of $443.7 million. After a soft launch in late 2014, units at the building were officially listed for sale in mid-2015.
Alchemy initially intended to leverage an in-house sales staff, and hired a director from Corcoran Sunshine to lead the effort. However, the new sales director left at the end of 2015 amid rumors of slow sales. Following his departure, the company hired Sotheby's International Realty to market the units.
The building's penthouse unit, dubbed "The Pinnacle", was listed at $110 million, the highest asking price ever for an apartment in downtown Manhattan. If it had sold at that price, the unit would have surpassed the record $50.9 million penthouse at Ralph Thomas Walker's Walker Tower, and even the $100.5 million record price for a Manhattan penthouse set by Michael Dell at Extell's One57 in 2014.
Due to delays, the conversion was expected to be completed by February or March 2019, about six and a half years after Alchemy bought the property. However by February 2019, only three of the building's 31 condos had been sold, since the developers had refused to discount prices, despite a glut of new luxury apartments in NYC.
The still-vacant penthouse's asking price was reduced to $79 million. By 2021, Alchemy had sold 22 condominiums to tenants such as the entrepreneur Rudra Pandey.
-- Corporate Tenants
On the building's original completion, the F. W. Woolworth Company occupied only one and a half floors. However, as the owner, the Woolworth Company profited from renting space out to others.
The Woolworth Building was almost always fully occupied because of its central location in Lower Manhattan, as well as its direct connections to two subway stations.
The Irving Trust Company occupied the first four floors when the building opened. It had a large banking room on the second floor accessible directly from a grand staircase in the lobby, vaults in the basement, offices on the third-floor mezzanine, and a boardroom on the fourth floor.
In 1931, the company relocated their general, out-of-town, and foreign offices from the Woolworth Building after building their own headquarters at 1 Wall Street.
Columbia Records was one of the Woolworth Building's tenants on opening day and housed a recording studio in the skyscraper. In 1917, Columbia made what are considered the first jazz recordings, by the Original Dixieland Jass Band, in this studio.
Shortly after the building opened, several railroad companies rented space. The Union Pacific Railroad and Delaware, Lackawanna and Western Railroad occupied the ground floor retail space with ticket offices.
The inventor Nikola Tesla also occupied an office in the Woolworth Building beginning in 1914; he was evicted after a year because he could not pay his rent.
Scientific American moved into the building in 1915 before departing for Midtown Manhattan in 1926. The Marconi Wireless Telegraph Company of America was present at the building's opening, occupying the southern half of the 18th. floor.
By the 1920's, the building also hosted Newport News Shipbuilding and Nestlé.
In the 1930's, prosecutor Thomas E. Dewey maintained his offices in the building while investigating racketeering and organized crime in Manhattan. His office took up the entire fourteenth floor, and was heavily guarded.
During World War II, the Kellex Corporation, part of the Manhattan Project to develop nuclear weapons, was based here.
During the early 1960's, public relations expert Howard J. Rubenstein opened an office in the building. In 1975, the city signed a lease for state judge Jacob D. Fuchsberg's offices in the Woolworth Building.
-- Educational Tenants
The structure has a long association with higher education, housing a number of Fordham University schools in the early 20th. century. In 1916, Fordham created "Fordham Downtown" at the Woolworth Building by moving the School of Sociology and Social Service and the School of Law to the building.
The Fordham University Graduate School was founded on the building's 28th. floor in the same year, and a new Teachers' College quickly followed on the seventh floor.
In September 1920, the Business School was also established on the seventh floor, originally as the School of Accounting. By 1929, the school's combined programs at the Woolworth Building had over 3,000 enrolled students.
Between 1916 and 1943 the building was also home at various times to the Fordham College (Manhattan Division), a summer school, and the short-lived School of Irish Studies.
In 1943, the Graduate School relocated to Keating Hall at Fordham's Rose Hill campus in Fordham, Bronx, and the rest of the schools moved to nearby 302 Broadway because of reduced attendance due to World War II.
The New York University School of Professional Studies' Center for Global Affairs leased 94,000 square feet (8,700 m2) on the second, third, and fourth floors in 2002 from defunct dot-com startup FrontLine Capital Group.
The American Institute of Graphic Arts also moved its headquarters to the Woolworth Building.
-- 21st-Century Tenants
By the early 2000's, the Woolworth Building was home to numerous technology tenants. Digital advertising firm Xceed occupied 65,000 square feet (6,000 m2) across four floors as its headquarters. Organic, Inc. took 112,000 square feet (10,400 m2), and advertising agency Fallon Worldwide used two floors.
Xceed terminated its lease in April 2001 during the midst of the Dot-com bubble collapse in order to move to smaller offices in the Starrett–Lehigh Building.
One month after the U.S. Securities and Exchange Commission's (SEC's) Northeast Regional Office at 7 World Trade Center was destroyed in the September 11 attacks, the commission's 334 employees moved into 140,000 square feet (13,000 m2) across five floors of the Woolworth Building. The SEC left for a larger space in Brookfield Place in early 2005.
The General Services Administration took over the commission's space on the 1st. November 2005 and used it as offices for approximately 200 staff of the Administrative Office of the United States Courts and U.S. Probation and Pretrial Services System.
The New York City Police Department pension fund signed a lease for 56,000 square feet (5,200 m2) on the 19th. and 25th. floors in April 2002.
Starbucks opened a 1,500-square-foot (140 m2) location on the ground floor in the spring of 2003. In 2006, Levitz Furniture moved its headquarters to the 23rd. floor from Woodbury, Long Island, after declaring bankruptcy a second time.
In May 2013, SHoP Architects moved the company's headquarters to the entire 11th. floor, occupying 30,500 square feet (2,830 m2) of space. In February 2016, the New York City Law Department leased the entire 32,000 square feet (3,000 m2) fifth floor for the Department's tort office.
Joseph Altuzarra's namesake fashion brand, Altuzarra, signed on to occupy the 14th. floor in June 2016. In 2017, the New York Shipping Exchange moved into the 21st floor. In May 2018, architecture and design firm CallisonRTKL signed a lease for the entire 28,100 square feet (2,610 m2) 16th. floor.
-- Impact of the Woolworth Building
Before construction, Woolworth hired New York photographer Irving Underhill to document the building's construction. These photographs were distributed to Woolworth's stores nationwide to generate enthusiasm for the project.
During construction, Underhill, Wurts Brothers, and Tebbs-Hymans each took photographs to document the structure's progression. These photos were often taken from close-up views, or from far away to provide contrast against the surrounding structures.
They were part of a media promotion for the Woolworth Building. Both contemporary and modern figures criticized the photos as:
"Standard solutions at best and
architectural eye candy at worst".
Later critics praised the building. Amei Wallach of Newsday wrote in 1978 that the building resembled:
"A giant cathedral absurdly
stretched in a gigantic fun
mirror. The lobby certainly
looks like a farmboy's dream
of glory".
A writer for The Baltimore Sun wrote in 1984 that:
"The lobby's lighting, ceiling mosaic,
and gold-leaf decorations combine
for a church-like atmosphere, yet the
grotesques provide a touch of
irreverence".
Richard Berenholtz wrote in his 1988 book Manhattan Architecture that:
"At the Woolworth Building, Gilbert
succeeded in uniting the respected
traditions of architecture and
decoration with modern technology".
In a 2001 book about Cass Gilbert, Mary N. Woods wrote that:
"The rich and varied afterlife of
the Woolworth Building enhances
Gilbert's accomplishment".
Dirk Stichweh described the building in 2005 as being:
"The Mozart of skyscrapers".
In 2007, the building ranked 44th. among 150 buildings in the AIA's List of America's Favorite Architecture.
In recognition of Gilbert's role as the building's architect, the Society of Arts and Sciences gave Gilbert its gold medal in 1930, calling it:
"An epochal landmark in the
history of architecture".
On the 40th. anniversary of the building's opening in 1953, one news source called the building:
"A substantial middle-aged lady, with
a good income, unconcern over years—
and lots of friends".
A one-third-scale replica of the Woolworth Building, the Lincoln American Tower in Memphis, Tennessee, was also built in 1924.
-- The Woolworth Building in the Media
The Woolworth Building has had a large impact in architectural spheres, and has been featured in many works of popular culture, including photographs, prints, films, and literature.
One of the earliest films to feature the skyscraper was Manhatta (1921), a short documentary film directed by painter Charles Sheeler and photographer Paul Strand.
Since then, the building has made cameo appearances in several films, such as the 1929 film Applause. It was also the setting of several film climaxes, such as in Enchanted (2007), as well as the setting of major organizations, such as in Fantastic Beasts and Where to Find Them (2016).
The television show Ugly Betty used the Woolworth Building as the 'Meade Publications' building, a major location in the series, while one of the vacant condominiums was used in filming the TV series Succession in 2021.
The building has also appeared in literature, such as Langston Hughes's 1926 poem "Negro" and the 2007 novel Peak.
The 250 collectors diameter is larger than the 125 whic is a big help to fit over the bigger 38mm carburetor.
Here is the sequence to setup this machining operation.
The rotary table is placed on the mill bed, and the absolute X,Y of the mill DRO is set to the center of rotation. An edge finder is used with a central diameter to find the rotation center.
The X,Y table is mounted on the rotary table, and the rotation angle is adjusted to be true to the mill X,Y axes. An indicator is run along the table edge to find the true angle.
The former hold-down aluminum block is bolted to the X,Y table. An indicator is used while tightening the bolts to have the hold down true to the X,Y mill axes.
The dimensions of the aluminum block are known, along with the location of the former attachment holes. An edge finder is used to move the X,Y table so that the former mounting bolt coinciiding with the backhead diameter center is positioned at the center of rotation.
The wood former is bolted to the aluminum block. The straight former sides can be trued to the mill axes using an indicator if the straight sides are to be milled.
To true the diameter, the end mill is moved to Y=0, X=(R shape + r cutter). The rotary table can then be moved and the cutter will cut a true diameter.
The part cutting proceeds by moving the end mill cutter in towards the desired final radius, while allowing for tweak moves of the X,Y table, a few thousands in X,Y to make the cutting as even as possible on the sides of the curve.
**Good**
1. Aluminum rigidity, flexibility, strength at 19mm diameter. 25mm diameter might be better. Moderate Flexibility is good
2. One person operation
3. Thrust is good underwater
4. Faster setup
5. Stability is good
**Bad**
1. One engine did not go!
2. The camera needs to be deeper and blacked out
3. The camera and brain needs to be cooled
4. In reverse cables get wet(short circuit)
5. Better, faster attachments for tubes
6. Better attachments for tubes, rudders, to stay vertical
7. Set tubes further apart for more stability
# Credits
- Cesar Jung-Harada
- Michael O'Brien
- Brad O'Dell
- Mathis Buchbinder
- Sanjeew Kanagaraj
- Priank Sharma
- Aidina Tleugabyl
- Raman Adiputra
- Michael Tang
- Thanks to Duy Huynh, Emma Wong, Walter Dellisanti, Roberto Pirelli
github.com/MakerBay/Coral_Reef_Mapping_Drone
www.notion.so/cesarjungharada/Coral-Reef-Mapping-Robot-V-...
Model 2H101, 1954-1957. Fab 1950s "flying saucer" shaped wall clock, 10" in diameter. This model came in several variations: brushed copper with black or white numerals, brushed aluminum with black or white numerals, and in 1956 a black version with white numerals was added to the lineup.
Skechers Men’s Diameter Casual Slip On,Dark Brown,6.5 M
Take home the trophy for cool casual style in the SKECHERS Diameter-Heisman shoe. Smooth leather or oiled smooth leather upper in a sport casual slip on with stitching, overlay and perforation accents. Metal stud detail. Wide width...
vmississippi.com/womens-fashion/skechers-mens-diameter-ca...
Background
(as of 2015-07-09)
Object: (436724) 2011 UW158
Approximate Diameter: 330 m - 750 m (1082.68 feet to 2460.63 feet)( Absolute Magnitude: H= 19.5 )
Orbit Type: Amor [PHA] (JPL listed it as an Apollo, MPC list as an Amor)
On the Sentry Risk Table: NO ( Removed 2011-11-17 08:50 UTC )
On the NEODyS CLOMON2 risk page: NO
First Observed on: 2011-10-25.41860
First Observed By: Pan-STARRS 1 (MPC Code F51) (The Discovery M.P.E.C.: MPEC 2011-U90 : 2011 UW158 )
Last Observed: 2015-07-09.18879
Data-Arc Span: 1353 days (3.70 yr)
Number Oppositions : 4
Number of Observations Made: 213
Next Close-Approach: will safely pass Earth on 2015-Jul-19 at a Nominal Distance of 0.016440038277755 (AU), (6.398 Lunar Distance (LD)) or 1,528,197.03 miles (2,459,394.72 KM)
Near-Earth Object Human Space Flight Accessible Targets Study (NHATS): YES
On the Goldstone Asteroid Schedule: YES, Dates: 2015 July 13-26 ( Needs Astrometry: Yes Physical Observations: Yes)
On the Arecibo Asteroid Schedule: YES, Dates: 2015 July 12-17 (Request Optical Astrometry: No, Request Optical Lightcurve:Yes, Request Optical Characterization Yes) and 2015 August 29(Request Optical Astrometry: No, Request Optical Lightcurve:No, Request Optical Characterization No)
Observing Run of (436724) 2011 UW158 on 2015-07-01
On 2015-07-01 I ran a series of 60 -- 15 Second Luminance BIN2 Images on itelescope.net's (TEL T31
0.50-m f/6.8 astrograph + CCD + f/4.5 focal reducer) at Siding Spring Observatory, Coonabarabran, NSW, Australia. (MPC Q62) and did data reduction on four images.
Video Data: The Near-Earth Object (436724) 2011 UW158 on 2015-07-09 From from Siding Spring Observatory, Coonabarabran, NSW, Australia. (MPC Q62) 56 -- 15 Second Luminance BIN2 Images using iTelescope.net's (Telescope T31) from 2015-07-09 10:26 UTC to 10:58 UTC
Giant puffball - 10" diameter. Compare with apple for size. Lycoperdon. Fremont National Forest, Oregon.
Photo by: L.D. Bailey
Date: 1932
Image credit: National Archives and Records Administration
RG# 95-GP. Records of the Forest Service. General Subject Files.
Forest Service Negative Number: 270121
NARA local identifier: 95-GP-5017-270121
Image provided by USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth
USS Iowa (BB-61) launched in 1942, with First Lady Eleanor Roosevelt in attendance. To ferry President Roosevelt to the Cairo & Tehran Conferences, the Iowa was fitted w/ a bathtub for the President's (paralyzed in 1921) convenience. The Iowa transferred to the Pacific Fleet in 1944 & saw much action. She was Adm. Halsey's flagship at the Japanese surrender in Tokyo Bay. During the Korean War, the Iowa served in raids on the N. Korean coast. Reactivated in 1984, she operated in both Atlantic & Pacific Fleets. In 1989, an explosion wrecked her #2 gun turret, killing 47 sailors. The ship finally was decommissioned in 1990. On 7 July, 2012, she was opened to the public at the Port of Los Angeles, San Pedro, as battleship museum and memorial.
Iowa's 16-inch-diameter guns were the biggest ever sent to sea on a U.S. ship. It took at least 77 men to fire the three guns in a single turret. The Iowa has three of these turrets. Ship's length: 887'. Beam: 108'. Speed: 33 knots. Compliment: 151 officers, 2637 enlisted
Adult, 8 mm diameter. Grey furrows of juveniles lost from wall plates, and the profile is higher, but not columnar, when crowded. Four wall plates differentiate this species from other British species which have six wall plates. The tergoscutal flaps distinguish it from Balanus crenatus, but they are similar to those of Semibalanus balanoides.
1: carina. 2: tip of tergum. 3: cirri extended, concealing much of tergoscutal flaps.
Mersey Estuary. October 2010.
Full SPECIES DESCRIPTION at: flic.kr/p/by5qTT
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
With a diameter of 100 meters, the Radio Telescope Effelsberg is one of the largest fully steerable radio telescopes on earth. Since operations started in 1972, the technology has been continually improved (i.e. new surface for the antenna-dish, better reception of high-quality data, extremely low noise electronics) making it one of the most advanced modern telescopes worldwide.
The telescope is employed to observe pulsars, cold gas- and dust clusters, the sites of star formation, jets of matter emitted by black holes and the nuclei (centres) of distant far-off galaxies.
Effelsberg is an important part of the worldwide network of radio telescopes. The combination of different telescopes in interferometric mode makes possible to obtain the sharpest images of the universe.
Text (C) Max Planck Institute for Radio Astronomy
The telescope may receive radio signals from a distance of up to 12bn light years. Together with a redio telescope in the US (Green Bank, Virginia), it is the largest radio telescope in the world.
The photos show the telescope at different angles because it was turning quite a bit during our visit.
With a diameter of 100 meters, the Radio Telescope Effelsberg is one of the largest fully steerable radio telescopes on earth. Since operations started in 1972, the technology has been continually improved (i.e. new surface for the antenna-dish, better reception of high-quality data, extremely low noise electronics) making it one of the most advanced modern telescopes worldwide.
The telescope is employed to observe pulsars, cold gas- and dust clusters, the sites of star formation, jets of matter emitted by black holes and the nuclei (centres) of distant far-off galaxies.
Effelsberg is an important part of the worldwide network of radio telescopes. The combination of different telescopes in interferometric mode makes possible to obtain the sharpest images of the universe.
Text (C) Max Planck Institute for Radio Astronomy
The telescope may receive radio signals from a distance of up to 12bn light years. Together with a radio telescope in the US (Green Bank, Virginia), it is the largest radio telescope in the world.
The photos show the telescope at different angles because it was turning quite a bit during our visit.
These little beauties have grown tall and opened up nicely to about a 1/4" in diameter.
Their stalks, or stems, are about a foot tall; even though the flowers don't get any larger the stalks grow...I guess about a foot or so is as tall as they will get. I won't get to know, 'cause the old lady says we already look like an abandoned house for the weeds and I have to mow the lawn! ROFL
.
The photographs in my set, "Weed Flower Micros," may appear to be close-ups of regular-sized flowers – they are not!
These are micro (macro) photos of tiny little flowers which bloom on ordinary weeds.
How tiny? The largest weed flower in the set is only, when measured across its widest part from petal tip to petal tip, 3/4" in diameter!
Some of these miniscule flowers are so small that the entire blossom you are looking at is 1/4" in diameter…again that’s measuring from petal tip to petal tip across the widest part of the bloom!
The smallest part of a weed flower that I have managed to successfully shoot and achieve good detail in is a photo I made of a bud that measured LESS than 1/16" in diameter across its widest part! For a reference to its size I have also included a photo of that bud next to the head of an ordinary paper match, which dwarfs the bud.
I am delighting in discovering the beauty, complexity, and variety in something so small that it’s easily ignored or downright difficult to see with the naked eye.
And it’s an even greater delight to realize that this incredible beauty has been growing wild in my lawn, year after year, right under my un-seeing eyes as I’ve repeatedly mown them down with my lawn mower, never realizing the unseen beauty that I was trampling under my feet.
I hope you enjoy viewing these as much as I do. I have a lot of fun making them for us to look at!
.
See more of these incredible, tiny jewels in my set, "Weed Flower Micros:"
The Dome
Facts About the Dome
•Height, from base to weather vane: 121'
•Diameter at base: 40'
•Construction begun: 1785
•Interior work completed: 1797
•Wood used in dome construction: Timber from Maryland’s Eastern Shore, supplied by Dashiell family of Cypress Swamp, Somerset County.
•Architect of the dome: Joseph Clark
•Possible model for design of the dome: Schloßturm, the dome of the free-standing tower next to the palace of Karl-Wilhelm, Markgraf of Baden, in Karlsruhe, Germany
History of the State House Dome
When the Continental Congress came to Annapolis to meet in the Old Senate Chamber from November 1783 – August 1784, they found a State House which was still unfinished. Although the Old Senate Chamber was complete, the roof was not and it had leaked during the last few winters, damaging the upstairs rooms. The dome—or cupola—atop the State House was variously described as inadequate, unimpressive, and too small for the building and, it, too, leaked.
In order to rectify the situation, Joseph Clark, an Annapolis architect and builder, was asked to repair the roof and the dome. Clark first raised the pitch of the roof to facilitate the runoff of water and covered it with cypress shingles. The crowning achievement of Clark’s work on the State House was, of course, the extraordinary dome which he designed and built. It is not known where Clark’s inspiration for the unusual design of the dome came from, but it is very similar to one in Karlsruhe, Germany called the Schloßturm.
By the summer of 1788, the exterior of the new dome was complete. It was constructed of timber and no metal nails were used in its construction and, to this day, it is held together by wooden pegs reinforced by iron straps forged by an Annapolis ironmonger.
Although the exterior of the dome was completed by 1788, the interior was not completed until 1797. Tragedy struck the project in 1793 when a plasterer named Thomas Dance fell to his death from the inside of the dome. By 1794, Joseph Clark was completely disillusioned with the project and left it to John Shaw, the noted Annapolis cabinetmaker, to oversee completion. Over the years, John Shaw did much of the maintenance work on the State House, built various items for it and, in 1797, made the desks and chairs which furnished the Old Senate Chamber.
The First Dome: 1769-1774
Just as the Articles of Confederation did not effectively govern the country, the first dome of the State House at Annapolis did not survive more than a decade of Maryland weather. In 1769, the General Assembly of Maryland passed an act to erect a new state house, securely covered with slate tile or lead. The architect was Joseph Horatio Anderson, and the undertaker or builder of the project was Charles Wallace. According to William Eddis in 1773, the work was carried on with great dispatch and when completed would “be equal to any public edifice on the American continent.”
The exact date of the completion of the first dome or cupola is not known but evidence suggests that it was completed by the year 1774. In a 1773 Act of Assembly, Charles Wallace was instructed to fix an iron rod pointed with silver or gold at least six feet above the cupola. The General Assembly also recommended that the roof be covered with copper because the slate originally specified would require frequent repairs and cause other inconveniences. According to Charles E. Peterson’s “Notes on Copper Roofing in America to 1802”, it was more than likely that local copper was put on the roof to advertise the new industry of Maryland.
The Second Dome: 1785-1794
According to the Intendent of Revenue, Daniel St. Thomas Jenifer, the first dome of the State House was a contradiction of architectural design. A survey of the timbers in 1784 revealed that they were so decayed by water damage that a new dome would be required.
“It was originally constructed contrary to all rules of architecture; it ought to have been built double instead of single, and a staircase between the two domes, leading up to the lanthorn. The water should have been carried off by eaves, instead of being drawn to the center of the building, to two small conductors, which are liableto be choked by ice, and overflowed by rains. That it was next to impossible, under present construction, that it could have been made tight”.
On February 24, 1785 Jenifer placed a notice in the Maryland Gazette for carpenters work to be made to the dome and roof under the execution of Joseph Clark
“The work We are a Doing is to put a Roof on the Governor’s House and we are going to take the Roof of the State house and it is a going to Raise it one story higher and the Doom is to be Sixty foot higher then the old one”.
Clark raised the pitch of the dome to facilitate the runoff of excess water, the chief reason the timbers rotted in the original dome.
“The Annapolis dome is in its proportions like the original Karlsruhe tower. Possibly its more classical feeling is a result of the universal trend of architectural styles rather than the influence of the altered Schloßturm. Yet the arched windows below the architrave in Annapolis, one with the lower part closed, are like the windows below the Architrave in Karlsruhe in all of which the lower parts are closed. The horizontal oval windows below the main curving section of the dome in Annapolis resemble the vertical ovals in the equivalent part of the Karlsruhe tower. The small square windows above the balustrades and the architraves themselves in both buildings are similarly placed.”
Deterioration of fire-killed Douglas-fir. Cross-section 33 inches diameter inside bark (DIB) at 40 feet above base. Showing 4-5 inches penetration by Asemum and rot. T1S; R6W; Section 2. Tillamook Burn, Oregon.
Photo by: Robert L. Furniss
Date: May 18, 1943
Credit: USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection.
Collection: Portland Station Collection; La Grande, Oregon.
Image: PS-632
To learn more about this photo collection see:
Wickman, B.E., Torgersen, T.R. and Furniss, M.M. 2002. Photographic images and history of forest insect investigations on the Pacific Slope, 1903-1953. Part 2. Oregon and Washington. American Entomologist, 48(3), p. 178-185.
For additional historical forest entomology photos, stories, and resources see the Western Forest Insect Work Conference site: wfiwc.org/content/history-and-resources
Image provided by USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth
It was circular, of solid construction, about forty feet in diameter and the same in height. In 1796, with a garrison of 38 men and three not very large guns, it had withstood attack from two warships of the British Navy, one with 74 guns, and one with 32. The Board of Ordnance were so impressed by the tower's resistance to fire-power, that they adopted the design for their own towers. These too were round, or oval, and in their construction used up to a million bricks, most of which came from near London. The Aldeburgh Martello Tower is the exception, because instead of being round, it is quatrefoil in shape: in effect four towers fused into one. The reason for this is not recorded. It might have been a piece of lateral thinking resulting from the quatrefoil arrangement of a platform for four guns; or, as has been suggested by Sheila Sutcliffe in her book Martello Towers (1972), it might have been an earlier design proposed for the Dymchurch Wall in Kent in 1804 but never built.
The tower was designed for four guns, although in 1815 it was noted that there were only two 24-pounders there. These were fired over the parapet, off timber gun carriages shackled to ring mounts which still hang from their stone blocks. In the late nineteenth century, new guns were provided, with rifled barrels for more effective fire. The old guns, of which there were by then four, were sunk into the roof to act as pivots. The tower would have been garrisoned by the local Volunteer Artillery. On the main barrack room floor, there were double berths for eight soldiers, and single berths for five NCOs. The northern bay was partitioned off with a canvas screen, to provide a private room for the officer in charge. There were two fireplaces for cooking. The lower floor was used for storage - coal, water, food and ordnance. The powder magazine was reached by a separate stair, but lit by a window from the main store. It was placed on the landward side, for safety.
The tower did not originally stand on its own as it does today. It was once part of the village of Slaughden, of which the last houses survived into this century, but finally vanished due to erosion before the last War. The sea has also swept away part of the moat surrounding the tower itself, until stopped by the building of coastal defences of a different kind in the 1950s. In 1931 the tower, by then abandoned and derelict, was sold by the Ministry of Defence to a Mr Walter Wenham. Over the next few years it was occasionally used by the Mitford family for camping holidays. Then in 1936, it was sold to Miss Debenham, who commissioned the architect Justin Vulliamy to convert it into a studio. This was done very carefully by adding to its top an elegant penthouse, hardly affecting the interior or original structure of the tower at all.
By 1971, the Thirties penthouse had in turn become derelict, and the tower itself was badly in decay. This time it was acquired by the Landmark Trust. Extensive repairs were carried out, and the tower itself converted to provide holiday accommodation.
A low sprawling shrub found in eastern Australia, up to 40 cm high and one metre in diameter.
This species lacks leaves as such, which may be reduced to scales. The stems are triangular in cross section. The specific epithet alata refers to the winged edges of the branchlets.
Flowers are somewhat darker than most of the Australian yellow and red pea flowers. They form in clusters in spring and early summer. The pea pods are around 10 mm long and 7 mm wide.
The habitat is heathland or dry eucalyptus woodland on poor soils. Restricted to New South Wales, it ranges from the Budawang Range in the south to Nelson Bay on the central coast, and west to the Blue Mountains.
3D printed some caps that fit a vernier caliper, to measure a specific part's female groove diameter. Although the exact measurement is off,, measuring the offset results in simple math to get the correct measurement. Balls are glued in place.
The sheave is 80mm diameter by 19mm width, with an 8mm hole. (All in new money - I'm sure that the 31 year old originals were three and an eighth or what ever). does anyone have an inkling where I can get some Delrin or Tufnol replacements? I'm not sure that the s/s bearing in the middle is essential, given the use it will have.
Luscious pink lacquered wood fluted designer bangle by Pebble London. Outer diameter: 3.75 inches. Inner diameter is 2.5 inches. Width: 1.5 inches. Hypo. Lightweight. Goes with everything. Next day delivery. Also available in green, turquoise, purple.
diameter :: 1"
color :: piggy pink
durable & machine washable
...these hand cast resin buttons make every garment, gift, and craft project complete...
PERFECT FOR:
*sewn goods
*scrapbooking
*card making
*doll hats, and clothing
*embellish your fave bag, or piece of clothing
*button jewelry
The Norcon pillbox was made from a concrete pipe 6ft in diameter and 4ft high, the walls were 4in of non-reinforced concrete with several cut loopholes. The pipe would be sunk into the ground over a pit that would provide a total of 6ft headroom.
The standard model had a roof made of timber, corrugated iron, and earth. Some installations were fitted with a concrete roof, others had no roof at all. The walls were given extra protection by a layer of sandbags and the exit may be via an open roof, through a hatch in the roof or through a low entrance cut into the pipe to a slit trench.
Norcon was not the only company to design a defence made from pipes. A similar design was the Croft pillbox developed by the Croft Granite, Brick and Concrete Company. However, the Norcon was by far the most common and gave its name to the general type.
Norcon Ltd was a small company specialising in the manufacture of large spun concrete pipes. In 1938, they were looking for new ways to market their products, the company experimented with producing air raid shelters. Although this venture does not appear to have been very successful, at least one very small and cramped Norcon shelter has recently been found.
In July 1940, as Norcons were being installed, one officer raised concerns after one pipe section had broken while being rolled into position and an installed Norcon had not stood up well to a concentrated burst of machine gun fire. Concerns of these sorts have understandably led to the Norcon being regarded as ''possibly the most dangerous, cheap and nasty of all pillbox designs'' certainly, it cannot have offered the protection equivalent to a conventional reinforced concrete pillbox, but according to the Chief Engineer of Eastern Command ''it would appear to be considerably better than many sandbag emplacements under construction.''
The pipe was made from a high alumina fondue cement which set quickly, making it possible to turn out about 20 units a day. Also, the fondue cement cured quickly reaching a strength in 24hrs for which Portland cement required 28 days to set. Although relatively few were actually built, Norcons were found all over the United Kingdom, from southwest England to the Orkney Islands.
The holding company Bowmaker purchased a controlling interest in Norcon Limited in 1943 and Norcon managed to show a profit, the company prospered after the end of hostilities.
Strange angle? It's a lightweight 3TTT seatpost that fitted into the slightly smaller than 'usual' diameter seat tube of my Look KG76. You can see that it has had fluting milled out and painted black. It and the Look frame (with Mavic ensemble) were sold new to me by Steve Hogg in 1990, so it was about 17 years old when it finally snapped, although it wasn't used for maybe 5 or those years and was never my only bike.
BTW, I blog about my images, old and new, digital and analog here. I also maintain specific blogs about airliner images of the 70s and 80s, Sydney, Australia and its history, Alfa Romeo Tipo 116 GTVs and balancing mass consumption with sustainability. Oh, and bicycle racing. Do I sound confused, or suffering from severe cognitive dissonance? No, I'm just in denial.
Did it look like it was about to fail? Nope, not at all. I looked and looked again several times at this very component and saw nothing untoward. Did it make any sounds or strange sensations? Well that's harder to answer... maybe. For perhaps 3 or 4 years the bike made a strange creak that seemed to come from the saddle, and the "fix" was to lower the saddle slightly. However I swapped saddles somewhat later and raised the seat height without inducing the creak. So I thought it was indeed saddle-related. Nevertheless it made me nervous and I feared that the frame was getting "flexy". So I examined it very carefully and could find no cracks or even a creak.
However 50 metres before it broke I felt that the saddle had swung slightly to one side. I slowed to stop but had to get around a corner first... and it was in that corner (at about 25kmh) that 2 things happened. I leaned the bike at a small angle and I put weight on the saddle. (Bear in mind that 1km earlier I had descended at 50kmh and took a hard left hander at speed without drama.) Anyway, I think now that the crack was invisibly growing from the fluting and gradually circumnavigating the seat post. Only the merest connection remained when I entered that final corner, and I probably rose out of the saddle slightly and knocked the post out of alignment. When I sat down again the crack no longer aligned and simply collapsed under my weight. It took me by surprise and I ended up on the deck.
So the lesson is to expect the unexpected, look at everything and don't push aluminium to destruction.. and yes, I still use the KG76 today and the frame itself is fine. Touch wood (or carbon).
Do a quick Flickr search on my cycling pics: www.flickr.com/search/?w=42596487@N00&q=cycling
BTW, I blog about my images, old and new, digital and analog here. I also maintain specific blogs about airliner images of the 70s and 80s, Sydney, Australia and its history, Alfa Romeo Tipo 116 GTVs and balancing mass consumption with sustainability. Oh, and bicycle racing. Do I sound confused, or suffering from severe cognitive dissonance? No, I'm just in denial.
GITZO Dual Release Shutter Type 1200
Internal diameter 74mm, external diameter 154 mm
Shot with a Nikon D300 with a Nikkor 18-200 VR.—Vintage Gitzo shutter held against sky at arm's length._Post Processing in CS3: levels, ramping up saturation.
© Dirk HR Spennemann 2010, All Rights Reserved
Sold.
This extraordinary large Yogya silver bowl - diameter 26,5 cm, height 12,5 cm - is executed in a very peculiar design.
Clockwise, a big blooming flower emerges from behind a leaf, and left of the flower another very large and elaborately sculpted leaf emerges with flower buds erupting from underneath. The design is repeated 4 times: all flowers differ in shape as well as all the leaves.
The overall appearance of the design is organic, bold and sculpted; the ususal clear symmetry characterising Yogya silver is not really apparent here. I believe this could be a test made for Mrs. Van Gesseler-Verschuir. Though the bowl is technically not the most refined, the artistic design more than makes up for this. A slightly comparable bowl is in the collection of the Tropenmuseum in Amsterdam: collectie.tropenmuseum.nl/Default.aspx?ccid=451345
I want to thank antique dealer Kasper Tiggeloven for the opportunity to buy these 2 wonderful Yogya silver items. When in Amsterdam, do visit his stand B1A @ the Antiekcentrum Amsterdam: www.antiekcentrumamsterdam.nl
diameter: 21.55; problable frigidarium or natatio
www.flickr.com/groups/600884@N25/discuss/7215762895846967...
This latest version of my Sea Turtle Pasta Bowl measures 12 inches in diameter and is 2 ¾ inches deep. A sea turtle in shades of green, orange and blue is portrayed against a background of tropical sea blue. The bowl is lead-free (safe to eat from), made with fired ceramic glazes and is dishwasher safe and ovenproof.
You may find other pieces of interest amongst my collection of unique hand-painted trivets, plates, bowls, vases & urns, pitchers, mugs and tiles at my Etsy site www.etsy.com/shop/janisrileyceramics.
Thank you!