View allAll Photos Tagged engineers
JEREZ DE LA FRONTERA, SPAIN - FEB 03: Pirelli engineer on pits on training session on February 03, 2015 in Jerez de la Frontera , Spain
Top and Tail Colas 70803 and 817 at Hadnall with 6C21 East Usk Junc - Crewe Basford Hall engineers on 4-5-19.
The "Three Amigos" in engineer class. L to R: Mike Burbidge, Jeff Sessa (me), Jay Daravong. I believe Mike went to MBTA, I went to Amtrak in 2023, and Jay went to the Pan Am before leaving the industry entirely. We certainly had fun down in Atlanta.
iss064e005036 (Nov. 20, 2020) --- SpaceX Crew-1 Commander and Expedition 64 Flight Engineer Michael Hopkins of NASA sets up hardware for the Grip study that is researching how an astronaut's dexterous manipulation is affected by microgravity during his first week aboard the International Space Station. The experiment may influence the development of future space systems and interfaces as NASA plans missions to the Moon, Mars and beyond.
The view of a rural grade crossing near Mattoon, Illinois, on the former Illinois Central Railroad mainline. The view is from a southbound Illinois Central Gulf intermodal train. (Scanned from Kodak Tri-X negative film)
A view northwards taken from between the platforms at Oberoderwitz in July 1993. The original line to Löbau is visible at the extreme right, with the later route towards Ebersbach out of view behind the building to the left. The engineers’ vehicle is traversing the single line connection between the two routes.
GBRf class 66/7 no. 66729 'Derby County' heads a Civil Engineers' working, 6G40 from Cramlington to Doncaster Belmont, past Copmanthorpe on 30th September 2025.
Not for the first time this year, but still a rare sight these days - a Class 60 on an engineers' train as GB Railfreight's 60076 "Dunbar" pairs up with Class 66, 66771 on a rail drop train for an overnight possession in the Hazel Grove area.
The Brush Traction machine was leading for the return run, powering through Acton Bridge on a crisp and chilly Sunday morning as 6G49 07:38 Stockport Edgeley Junction No 1 to Crewe Basford Hall SSM.
(Knock! Knock!)
”Who’s there?”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Walter Newell, an oceanographer and engineer based in New York City. Yeah, New York, the home of every generic and clichéd superhero story. Well guess what? Buckle up as you’re in for the ride of… well… another one of those stories. Walter Newell, like many scientists that have come and pass has begun creating a device that promises to be a “step in the right direction” in his field of science. Have you heard that one before?
Thought so.
Here’s some generic backstory to get you caught up to speed:
All his life, Walter has been fascinated with the ocean. He was intrigued as a young boy by the movies that depicted the creatures that roamed the deep blue abyss. The thing that stood out the most was the fact that there was so much about the ocean that has yet to be discovered. When new findings would emerge he would be jealous of those men and women that were lucky enough to be there. So, he did everything he could to ensure his future as someone that would become famous making new discoveries about the ocean. He read, watched, and studied everything he could about the ocean.
With his head full of, figuratively, everything one could know about the ocean he applied to the best school that had the very program he knew would get him a job with a major company. His goal was a company that stood out to him. This company had shown interest in almost anyone that would show up at their doorstep with an idea to give to them. Well that was if you wanted to make an advancement in technology. Walter had poured over this for the years and years he spent in college.
Now before we get to that, we’ll need to visit a girl. This girl was anything but ordinary. Her name was Diane. She loved the ocean as much as, if not more than, Walter. The two rivaled each other with every assignment they were given. They always had identical test scores and were co-valedictorians as they graduated. In the following months after they’re graduation, they began to date. This moved quickly as Walter asked Diane if she would like to help him with his project. Without hesitation, she said yes. So, they began working on something that would be sure to set them apart from anyone else trying to get a job at…
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“Advanced Idea Mechanics?” Diane asked.
”Yeah, I’ve heard a lot of great things about them.”
“Alright. Let’s do this!”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
It took them a little over a year to fully develop a reasonable idea. They took their idea to Advanced Idea Mechanics and got enough funding for a prototype. During the building time, Walter proposed to Diane and they were set to marry the next summer. With everything coming up in spades, Walter felt like he was finally making a name for himself. His once rival was now his best friend and fiancé. His passion turned into his job and without his knowing, there was another surprise that Diane was hiding from him until they finished their prototype.
A few months after they had begun, Walter and Diane had a finished prototype of their idea. A suit that would allow divers to go even further than a submarine could. This suit, with modifications they had planned if they got funding to make a second version, would be able to aid the diver in swimming faster and breathing fresh air longer. All of this had the organization’s head, Mister Benton, very intrigued. So much so that he granted them a green light on the project. So with the necessary funding, material, and extra hands, the duo began planning the development of the…
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“’Project Stingray’.”
”Why Stingray?”
“I’ve always had a love of the creature. They’re very much so like humans. Each has their own personality and their own distinct features. Stingrays are remarkable beings.”
”Alright, let’s do this.”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The team focused on building one suit to showcase that they could indeed make this thing a reality. While this was going on, Diane let Walter in on a little secret she had kept from him for almost a month. This was the fact that she was pregnant. Walter became overjoyed and ran through the building’s corridors screaming and jumping for joy. He was happier than he had ever been… unfortunately, happier than he would ever be…
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“The Stingray suit, built to last in the depths of the ocean. The world record for the deepest human dive is just over a thousand feet, and with the aid of this suit you can go double or even triple that. The lightweight material this armor is made of can survive the extreme pressures of the deep blue.” Diane says as she unveils a red and black diving suit. She looks over at her boss and smiled as his mouth was wide open in shock.
“That’s impressive. We know that for sure?” Mister Benton replies with slight concern.
“Well…” Diane begins to speak but is cut off by Walter.
”Well we’ve yet to test it, but there’s a very slim chance that our calculations are off.”
“I want it tested before I pitch this to the board.” Mister Benton turns around and walks out of the lab.
“Alright, let's do... (cough! Cough!)” Diane walks over to a table while suffering a coughing fit.
”Are you okay?” Walter says as he places his hand on his fiancé’s back.
“Yeah, it’s just my... (cough!)”
”We’ve got to get you home.”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
”So that’s why I’m doing this.” Walter said to his boss with a muffled sigh.
“Doing what?” His boss quickly answered.
”Why I’m leaving.” Walter took a deep breath as he held back tears. ”I’m taking an early leave to be with my wife. She’s dying and I need to be with her.”
“Y’know you can still work here, right?” Benton says as he stands up from his chair and walks over to the side of the desk Walter sits at.
”I know.” Walter looks down at his shoes. ”I just want to be with her right now.”
“I understand. Listen, if… when you want to come back, you’ve got your job.” Mister Benton outreaches his hand and smiles as Walter takes his hand and shakes it firmly.
”Th-thanks.” Walter says as he gets up from his seat and makes his way to the door. He pauses just before the door and turns around as Mister Benson speaks.
“Good-bye, Mister Newell.”
”Good-bye.” Walter opens the door and leaves. He begins his drive back to his house to be with his newborn child and his ill wife. Just as everything began to feel right, it all went wrong…
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
”Take his wife. That’ll give him reason enough to continue his work.”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(NOTES:)
"Who the heck is Stingray?" You may be asking. Well, that's a fair question. I'll tell ya who he is.
He's a character that I think doesn't get as much love as he could. Sure he showed up in Deadpool's "heroes for money" run, but I wanted to show him some real good love. Perfect explanation, right? Thought so...
I actually planned to introduce him in Deadpool but since I dropped Deadpool I decided I would make him my new role (hopefully).
So I hope y'all enjoy this and I hope I get the role. :D
This is one of two photographs from 2002 showing Louis Sanderson motor engineers toward the end of it's time operating under the family name which dates back to the 1930's.
I'm assuming fuel sales ended at least five years prior to this photo being taken when there was still quite a high demand for four star petrol. I do believe the three pumps on show are Gilbarco highlines dating back from the 1970's which appear to all have panels for selecting different grades of petrol so I'm almost certain that 2/3/4 star petrol would have been available at one point.
There appears to be two older pumps one of the left of the forecourt and the other on the right under the floodlight which were probably diesel pumps but cannon confirm this.
I'm not sure if the garage was still trading around this time despite two cars on the forecourt.
Today this is Mellors Garage which has operated under this name since 2005/2006
Thanks to David Mellors (Mellors Garage) for permission to reproduce this photo.
With an empty rail train in tow, 66426 descends through Sutton Park with 6Q95 Bescot Up Engineers Sidings to Toton North Yard.
Trundling through the Birmingham suburb, 66723 Chinook leads 6G54 Lifford West Junction to Bescot Up Engineers Sidings.
Original plan to meet dan called off due to rain,so beer and a simple indoor faff the order of the night....blast of vape and laser ,then a torch for the shadow, lit the side of the figurine with a gelled green torch,followed by a couple splashes of the flash, and another dash of vape......Gasmark F16 for 54.2 seconds.
Sooc vapeg jpeg.
Built in 1916, following the sinking of The Titanic in 1912, to commemorate all the marine engineers who died in shipping disasters.
More info here ...
Click on the image to see a larger view.
Euro Cargo Rail adorned 66052 has got the road at Stenson working 6G45 Toton - Bescot.
The train is a typical consist for this working and features 19 x 4 wheeled engineers wagons of the MHA, MTA and Rudd types.
An amazing moment when the sunlight hit the deck at 6.00am and a way of tone mapping thats been evading me for months. Its still not right...after 8 hrs :)))
"makin' bacon!"
Ever since I saw those track pieces I wanted to recreate the engineer's rancho relaxo taunt.
66421 working 6k05 Carlisle yard - Crewe Basford Hall yard,passing Woodacre near Garstang on 03/03/2016
DB Cargo red 66137 rolls past Peffermill Playing Fields with a short Sunday morning 6K02 Haymarket West Junction - Millerhill engineers train.
Running to the Midlands first then back east, opposite to what normally occurs, 66779 Evening Star thunders past Kingsbury with 6X45 Toton North Yard to Bescot Up Engineers Sidings.
South Shore Engineer Paul Barnes has 33's controller on the post as we head to Chicago in April 1975.
Paul had quite a career with the South Shore. He started in 1939 in the B&B dept. then off to WWll in the Navy, came back in 1945 as a collector. He went off to Korea and came back in 1953 and entered Engine Service, and worked freight for 10 years straight. He ran everything the South Shore had, from Steeple Cabs to 700's, 800's Orange cars and made the transition to the new cars and retired in 1988. He passed away a few years ago. A real Railroader!
Man & God......
Father watches the son.....
-----------------------------------------
Homen e Deus....
O Pai assiste o filho.....
London headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young), 1992-1994. Structural engineers Ove Arup and Partners.
The mapping of the listed building does not reflect the full extent of its below-ground footprint.
Reasons for Designation
124-126 Horseferry Road, built as the headquarters of Channel Four Television to designs by Richard Rogers Partnership 1992-94, is listed at Grade II for the following principal reasons:
Architectural interest:
* as an elegant work of the High-tech movement, displaying many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services; * for its logical L-plan with a dynamic, highly articulated corner composition and entrance sequence, dominated by a curved, top-hung, structural glass wall; * for the sophistication of its design, in which intricate details, executed in a consistent palette of materials, are integrated into a rigorous modular framework; * for its sequence of three linked interior spaces, centring on the dramatic full-height entrance atrium, to which are connected the fan-shaped restaurant and the subterranean screening room and foyer; * as a late-C20 exemplar of both a prestigious, owner-occupied headquarters building and a television centre, equipped primarily for the commissioning, but not the production of television programming, as per Channel 4’s remit; * for its designed flexibility to allow for changing technologies and operational needs, combining set-piece interiors with adaptable office workspaces; * for its degree of survival, with little alteration externally or to its key interior spaces.
Historic interest:
* as the purpose-built headquarters of Channel 4, a key player in television broadcasting history, commercially funded but with a public-service remit to provide innovative and diverse programming; * as an important British work by Richard Rogers Partnership, a practice of international renown led by one of Britain’s most celebrated architects.
History
124-126 Horseferry Road was built in 1992-1994 as the headquarters for Channel 4, a publicly owned, commercially-funded public service broadcaster, established with a remit to make innovative, experimental and distinctive programmes. After launching on 2 November 1982, its audience share gradually increased and the station soon outgrew its collection of rented offices in the West End. The switch to digital broadcasting also loomed. The chief executive, Michael Grade, and the chairman, Sir Richard Attenborough, took the decision to build a new headquarters. A suitable site was found at the junction of Horseferry Road and Chadwick Street, and a limited competition held in late 1990.
The commission was won by the Richard Rogers Partnership (RRP), who then explored the organisation’s needs through a series of workshops. As Channel 4 was a commissioner and transmitter, but not a producer of programmes, their main requirements were for offices and prestigious spaces to receive clients. The office space was specified to institutional standards so that the building could be readily let or sold in the event of a future move. A 10m deep basement already existed from a previous stalled development, so production and transmission facilities and a minimal studio occupied two subterranean levels, with provision made in the design for adding windows to the lower ground floor in the future, and flooring over the double-height studio to make the space more flexible.
RRP proposed a perimeter plan that reinforced the street pattern. Office wings at right angles were hinged by a ‘knuckle’, containing an entrance atrium and restaurant, with offices above. Behind the building a public garden was created, framed to the south and east by a separate housing development which fulfilled a planning condition set by Westminster City Council. In 2007 ‘the big 4’, a metal sculpture designed by Nick Knight and based on the channel’s current on-air identity was erected in the small piazza at the front of the building.
Richard Rogers was one of a group of British architects responsible for the High-tech movement, which originated in the 1960s with in a series of loose-fit industrial structures. By the 1980s High-tech architecture was increasingly being translated into urban contexts and cultural commissions. 124-126 Horseferry Road demonstrates many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services. It was Rogers’ first central London job after the Lloyd’s Building (1978-1986, listed Grade I), a seminal work of High-tech architecture. The image of Lloyds’ seems to have loomed large. For John Young, partner in charge, 124-126 Horseferry Road is ‘a building in the Lloyds mould.’ (Powell, 2001, 173).
The building’s drama is focussed on the entrance front; its transparency revealing the principal interior spaces, giving views right through the building to the public garden, and glimpses of working life within. ‘The effect, especially at night, is televisual’, commented Jonathan Glancey, (The Independent, 1994). The office wings are conventional in their planning and the building was designed to meet the bespoke needs of the client, as well as to be sufficiently adaptable should those needs change, or the building be sold.
124-126 Horseferry Road was a BBC Design Awards Finalist 1996 and won a RIBA National Award 1995; Royal Fine Art Commission Award 1995 and Civic Trust Award 1996. Since its opening the building has undergone several phases of internal refurbishment, including, in about 2010, the flooring-over of the double-height basement studio and repurposing of the space for various other uses. Externally, the building is largely unaltered.
Television as a broadcasting phenomenon began in the 1930s, with the first regular television service in the world introduced on 2 November 1936 by the BBC. The BBC’s monopoly was broken by the Television Act 1954, which created commercially funded Independent Television (ITV), served by regional franchised networks. Channel 4 arrived in 1982, established under the provisions of the 1980 Broadcasting Act. The act provided for a new, fourth, channel with a remit to ‘encourage innovation and experiment in the form and content of programmes’; its output was to be distinctive, offering programming for tastes not catered for by the commercial broadcaster ITV.
Its organisational model was equally distinctive, funded by advertising but adhering to a public service remit, it didn’t produce its own programming, instead commissioning and purchasing material from independent production companies. It employed commissioning editors to nurture the various strands and genres of the channel’s output and made particular efforts to employ people outside the television industry who could bring new and non-traditional perspectives. This meant new voices and new talents, and a greater plurality of programming and representation, including minorities. Channel 4 still proclaims its role as a ‘disruptive, innovative force in UK Broadcasting’ (Channel4.com, accessed 3 December 2021). Channel 4 has been major contributor to the British cultural landscape of the last four decades.
Richard Rogers, later Lord Rogers of Riverside, (1933-2021) was born in Florence. He trained at the Architectural Association and Yale University before setting up the Team 4 practice with Norman Foster and others in 1962. Their house for his in-laws, Creekvean in Feock, Cornwall (1964-1967) was listed Grade II in 1998 and upgraded to Grade II* in 2002. Rogers subsequently formed an architectural practice with his then wife, Su Rogers, and from 1970-1977, worked with the Italian architect Renzo Piano. Their Pompidou Centre building in Paris, which opened in 1977, is a major landmark of the High-tech style. Richard Rogers Partnership was formed the same year, with John Young, a veteran team member from Team 4 days, as one of several partners. The Lloyd’s Building together with the Pompidou sealed an international reputation. Other major works by Rogers include: the European Court of Human Rights, Strasbourg (1989-1995), Terminal 4 at Barajas Airport in Madrid (2004), the National Assembly of Wales in Cardiff (2005) and Terminal 5 at Heathrow Airport (2008). Rogers won the RIBA Royal Gold Medal in 1985, was knighted in 1991 and was created Baron Rogers of Riverside in 1996. In 2007 the Richard Rogers Partnership was renamed Rogers Stirk Harbour and Partners to reflect the practice‘s succession plan.
Details
Once national, now regional, headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young),1992-1994. Structural engineers Ove Arup and Partners.
MATERIALS: the majority of the building has a reinforced concrete frame with metal and glass cladding. The conference rooms have a steel pin-jointed frame and the atrium frontage is of glass, suspended from above and held in tension by a steel cabling system devised by Arup.
PLAN: the building is L-shaped in plan, occupying the corner between Horseferry Road to the west and Chadwick Street to the north, with rectangular office wings fronting each road and a concave quadrant knuckle connecting the two and framing a small piazza facing the road junction. The building has four floors above a basement and lower-ground floor levels. To the rear are two terraces; one at ground-floor level, above the larger footprint of the two lower floors, and one at third floor, where the footprint of the central knuckle is set back from the floors below.
Each office wing has two internal service cores and externally-expressed stair towers at each end. There is a lift tower at the far end of the Chadwick Street wing and three wall-climber lifts facing Horseferry Road, adjacent to the piazza. The basement level is given over to plant, storage, staff well-being facilities and edit suites. The lower-ground floor is a mixture of open-plan office space, meeting rooms and staff facilities; the main area of interest is the fan-shaped screening room with its circular foyer beneath the piazza, and stair connecting it to the atrium above. The ground floor contains the atrium reception area and large curved restaurant on a slightly lower level behind, overlooking the garden; the office blocks are given over to open-plan work space and a loading bay. First, second and third floors are mainly open-plan work space, with some meeting rooms and private offices as well. Key aspects of the building’s layout are original, including the screening room and foyer, reception atrium and restaurant. There has been reconfiguration in other parts, in particular the flooring-over of the studio, reconfiguration of the editing-suites and the removal of rows of perimeter offices.
EXTERIOR: the building’s key aspect faces onto the Horseferry Road/ Chadwick Street junction. The ends of the office wings are pulled back from the corner and the piazza is framed by a High-tech composition of glass and graphite-coloured steel, aluminium and cladding panels, punctuated by vertical flashes of red-painted structural steelwork. The full-height, concave, structural glass wall of the atrium is at the centre, suspended from above by a steel frame. Flanking it to either side are radiused stair towers. The stair towers have bands of glazing following the line of the stair within, almost uninterrupted by vertical supports because the cladding is supported internally on rods hung from above. To the left is a stack of conference rooms with glazed end walls, elevated and supported by a red pin-jointed steel frame. To the right is a stack of glazed lift lobbies serving a bank of three external ‘wall-climber’ lifts running along red steelwork; above are boxed-out service elements and a quasi-Constructivist transmission tower, creating a strong vertical element in the composition. Boiler flues add further interest to the roofline.
The piazza has shallow steps and flanking ramps which lead to a circular space immediately in front of the building. The centre of this is occupied by a circular skylight lighting the foyer of the screening room below; a bridge sheltered by a glass canopy stretches across it to a pair of revolving entrance doors. The sculpture, ‘the big 4’* stands towards the front edge of the piazza.
The office wings are clad with glazed panels of powder-coated aluminium, at ground floor these are set back behind the exposed concrete posts of the building’s frame, and above they are jettied out slightly, meeting at the corners with narrow, vertical, fully-glazed units. The panels each have four rebated horizontal glazed units divided by a fin-like transom, the lowest unit also having a band of sunscreen steel mesh in front. The floor plates are faced with panelled steel units. The facing components meet with a narrow shadow gap and the overall effect is of a modelled grid with a horizontal emphasis. The rear elevations, both to the office wings and the convexly curved knuckle, follow this aesthetic.
INTERIOR: the atrium is the building’s key public-facing interior space. The curved, full-height glazed wall is held in tension by a complex network of steel cables and suspended from above by exposed red steelwork. Set back from the wall, and above the ground-floor reception area, are curved cantilevered walkways at each floor, open to the atrium and floored in concrete panels set with circular glass blocks; behind, offices are enclosed by glazed walls.
Behind the reception, at a slightly lower level, is the staff restaurant. This has been refurbished a number of times but retains its distinctive fan shape, exposed concrete ceiling and glazed walls looking out onto the terrace.
The screening room, beneath the piazza, has a fan-shaped auditorium and circular foyer. Both spaces have been refurbished but retain perforated steel acoustic panelling and exposed concrete structural elements. The walls of the anti-room are hung with a chain curtain and the space is lit from above by the circular skylight in the piazza pavement; the glazing is held in a steel, umbrella-like structure. A concrete stair with steel balustrade leads from the foyer up to the atrium above.
The stairs in the four towers are dog-legged, red with stainless steel tubular balustrades; the treads and risers are of folded steel, supported at the half landings by flanged I-beam newels.
The interior most relevant to the building’s special interest are addressed in the paragraphs above. Throughout the rest of the building, the smooth round concrete posts and other concrete structural elements are visible, but spaces have been reconfigured and refurbished to suit operational needs.
* Pursuant to s1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 (‘the Act’) it is declared that ‘the big 4’ sculpture on the building’s piazza is not of special architectural or historic interest, however any works which have the potential to affect the character of the listed building as a building of special architectural or historic interest may still require LBC and this is a matter for the LPA to determine.
I think the one in the window is named "Happy" and the one to his left is named "Grumpy." Not sure why. (Knott's Berry Farm.)
Cheaha Camp 1933 #Cheaha #Cheahastatepark #Talledaga #onearmdon #esknives #mcp #marshallcountyphotography #guntersville #alabama #albertville #boaz #arab #grant #douglas #lakecity #Landandlake #northalabama #huntsville #uhlir #amatuerphotography #huntsville #canon #guntersvillealabama #guntersvillelake #huntsville #gadsen #photoinsta #marshallcounty
More than two decades ago I was in Berea watching trains when an eastbound CSX manifest freight stopped to wait on traffic ahead. The locomotive engineer invited me to come up to the cab to get some photographs. The view is looking east on the engineer's side. (Scanned from color negative film)
1 Yongnuo 575 EX II with shoot through umbrella above and left if subject sett to TTL + 2/3. Triggered with Nikon CLS
Leela made these for birthday presents for a Train Themed B-day party!
The Chesterfield Canal in Clayworth in Nottinghamshire.
Known locally as Cuckoo Dyke, the Chesterfield Canal was opened in 1777 and ran 46 miles (74 km) from the River Trent at West Stockwith, Nottinghamshire to Chesterfield, Derbyshire. It is currently only navigable as far as Kiveton Park near Rotherham, South Yorkshire, plus an isolated section near Chesterfield. The canal was built to export coal, limestone, and lead from Derbyshire, iron from Chesterfield, and corn, deals, timber, groceries, etc. into Derbyshire. The stone for the Palace of Westminster was quarried in North Anston, Rotherham, and transported via the canal.
The route of the canal was surveyed by James Brindley and John Varley, who estimated the cost at £94,908 17s. Brindley presented his proposals to a meeting in Worksop on 24 August 1769. The investors asked John Grundy to carry out a second survey. He proposed a rather shorter course, from Stockwith in a straight line to Bawtry and then by Scrooby, Blyth and Carlton, to join Brindley's line at Shire Oaks. Grundy's line was 5 1⁄2 miles (8.9 km) shorter, and the cost estimated at £71,479, 6s. 9½d. Although Grundy's line was considerably cheaper, it achieved this by missing Worksop and Retford, and the investors decided in favour of Brindley's route.
The promoters consisted of one hundred and seventy-four persons, amongst whom were the Duke of Devonshire, the Duke of Newcastle, Lord Scarsdale, the Dean of York, and Sir Cecil Wray. They were incorporated by the name of The Company of Proprietors of the Canal Navigation from Chesterfield to the River Trent, and empowered to raise among themselves the sum of £100,000, in one thousand shares of £100 each, to fund the construction.
Immediately on the passing of the act, construction began under the direction of Brindley. Upon his death in September 1772, John Varley moved from Clerk of Works to Resident Engineer with Hugh Henshall, Brindley's brother-in-law, appointed Chief Engineer in 1773. The canal was to be built as a narrow canal, but in 1775, nine shareholders offered to fund the extra cost of making it a broad canal from Retford to Stockwith. Retford Corporation joined them, and each contributed £500. The additional cost exceeded £6000. The canal was opened throughout in 1777, but the only record of wide-beamed boats using it at Retford is prior to 1799.
There were 65 locks in all, with two tunnels: a short 154 yards (141 m) tunnel near Gringley Beacon, and the major 2,880 yard long Norwood Tunnel. At the time of construction, Norwood Tunnel was the joint longest canal tunnel in Britain, and it was sixth longest by the time it collapsed. The canal was a typical Brindley contour canal, following the contours to avoid costly cuttings and embankments, which resulted in a less than direct route in places.
The canal was initially fairly successful, with dividends being returned to the investors. However, the building of the Manchester, Sheffield and Lincolnshire Railway line parallel to the canal (1849) left much of the navigation redundant, and the Worksop to Chesterfield stretch ceased to serve commercial traffic in 1908, when problems with mining subsidence necessitated the closure of Norwood Tunnel. The stretch between the tunnel and Worksop subsequently fell into ruin and became un-navigable, while parts of the isolated section from the tunnel to Chesterfield were infilled and redeveloped.
Reverse has no message.
Embossed across the bottom - Medway Studios Ld
43 High Str Chatham.
Dates from the late 20s/30s. The cap badge seems to belong to the Royal Engineers.
The Golden Gate Bridge
(Written upon completion of the Bridge in 1937
by Joseph P. Strauss, Chief Engineer, Golden Gate Bridge and Highway District )
I am the thing that men denied,
The right to be, the urge to live;
And I am that which men defied,
Yet I ask naught for what I give.
My arms are flung across the deep,
Into the clouds my towers soar,
And where the waters never sleep,
I guard the California shore.
Above the fogs of scorn and doubt,
Triumphant gleams my web of steel;
Still shall I ride the wild storms out,
And still the thrill of conquest feel.
The passing world may never know
The epic of my grim travail;
It matters not, nor friend or foe –
My place to serve and none to fail.
My being cradled in despair,
Now grown so wondrous fair and strong,
And glorified beyond compare,
Rebukes the error and the wrong.
Vast shafts of steel, wave-battered pier,
And all the splendor meant to be;
Wind-swept and free, these, year on year,
Shall chant my hymm of Victory!
The Kampf Ingenieur Panzer-2 is a combat engineering vehicle built by Konigsblau Systems and derived from the SPZ-50 Samurai IFV Hull. The vehicle features a powerful excavator bucket, as well as internal and external stowage for tools. It carries 6 combat engineers, along with a driver and gunner who may also be used for extra hands if needed. The Kipz-2 are usually held in battalion engineer sections, or the brigade engineer battalion, in typical operations, the vehicles are often attached one per company from the battalion engineer section.