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On Feb. 20, 2018, crews fabricate formwork panels on the flyover work zone as part of ongoing construction for the I-405/SR 167 Interchange Direct Connector Project in Renton.
On March 5, 2018, crews fabricate formwork panels in the flyover work zone as part of ongoing construction for the I-405/SR 167 Interchange Direct Connector Project in Renton.
A series of shots taken during the 1970's and 1980's in the Highlands Fabricators yard at Nigg Bay, Scotland.
One of the early Sky Horse cranes. This could be CS 2 which was there when I left in June 2000.
Thanks to Billy Winton for allowing me to post these.
I honestly thought it was a real flower until I started editing it, But it is definitely fabric
Clearlake, Ca.
Construction crews fabricate rebar cages of flyover shafts on northbound SR 167 in Renton during August 2017. This work is part of construction for the I-405/SR 167 Interchange Direct Connector Project.
ATTACHMENT IS THE GREATEST FABRICATOR OF ILLUSIONS; REALITY CAN ONLY BE OBTAINED BY SOMEONE WHO IS DETACHED.
SIMONE WEIL
Porcelain tile, fabricated by Sarah Sze Studio, Alcalagres, and Estudio Cerámico.
Sarah Sze’s artwork at 96th Street profoundly impacts the station, as her imagery is applied directly on over 4,300 unique porcelain wall tiles, spanning approximately 14,000 square feet. The designs feature familiar objects –sheets of paper, scaffolding, birds, trees, and foliage –caught up in a whirlwind velocity that picks up speed and intensity as the composition unfolds throughout the station with references to energy fields and wind patterns. Each entrance features a different shade of blue and a blueprint-style vector line design, a visual theme that is integrated with the architecture, creating one of the most dynamic stations in the MTA system.
Sarah Sze represented the United States at the Venice Biennale in 2013, and was awarded a MacArthur Fellowship in 2003. She has exhibited her intricate sculptural installations in museums worldwide, and her works are held in the permanent collections of prominent institutions, including Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art. Sze has been featured in international Biennials and has created public works for MIT, Walker Art Center, the High Line and the Public Art Fund in New York. She was born in Boston and lives and works in New York.
Photo: Metropolitan Transportation Authority
Fabricated by The First Baron Armstrong, in his munitions factory in the 1870s, "The Iron Bridge" spans Debdon Burn as it flows through the grounds of Cragside, the former home of the munitions magnate.
This early 1930s BSA 3-wheeler on display at the Tampa Bay Automobile Museum shows the leather fabric bodywork patented by Weymann in France that was briefly popular. The British Weymann offshoot turned to alternative sources of business and from its factory in Addlestone, Surrey, it became a leading supplier of bus bodies. London Transport took several thousand examples.
A series of shots taken during the 1970's and 1980's in the Highlands Fabricators yard at Nigg Bay, Scotland.
Some of the crane hardware lined up, in this shot are from the left, Manitowoc 4000 x 2, Manitowoc 4100, American Sky Horse 11250, Manitowoc 4100, 4000 and 4600.
Thanks to Billy Winton for allowing me to post these.
Fabricating Networks: Notes on Biologically Inspired Design
MIT Media Lab "Understanding Networks" conference, Oct 12-13th, 2011.
Leica M9-P with 75mm Summicron ASPH
The clients request to keep in mind the off-centered firebox led to the design of the asymmetrical Surround.The clients keen sense of design led to the "fins" or frames of varying depth(s).
In Greenlandic Inuit (Kalaallit) traditions, a tupilaq (tupilak, tupilait, or ᑐᐱᓚᒃ) was an avenging monster fabricated by a practitioner of witchcraft or shamanism by using various objects such as animal parts (bone, skin, hair, sinew, etc.) and even parts taken from the corpses of children. The creature was given life by ritualistic chants. It was then placed into the sea to seek and destroy a specific enemy.
The use of a tupilaq was risky, however, because if it was sent to destroy someone who had greater magical powers than the one who had formed it, it could be sent back to kill its maker instead, although the maker of tupilaq could escape by public confession of her or his own deed.
Because tupilaqs were made in secret, in isolated places and from perishable materials, none have been preserved. Early European visitors to Greenland, fascinated by the native legend, were eager to see what tupilaqs looked like so the Inuit began to carve representations of them out of sperm whale teeth.
Today, tupilaqs of many different shapes and sizes are carved from various materials such as narwhal and walrus tusk, wood and caribou antler. They are an important part of Greenlandic Inuit art and are highly prized as collectibles.
Image taken at Greenland National Museum in Nuuk. The museum has exhibitions that cover all of Greenland’s history during 4.500 years. From the first Arctic Stone Age Cultures, the Norse settlements, the arrival of the Thule culture – the ancestors to the present Inuit to the gradual transition to modern Greenland.
Deborah II, at the Norfolk Tank Museum, is a reproduction of the original Mk. IV Deborah Tank which was knocked out of action at The Battle of Cambrai in 1917. Deborah was a Mk. IV Female of 12 Section, 12th Company, D Battalion. Deborah was in the second wave of the attack tasked with attacking the Hindenburg Support line west of Flesquieres. Commanded by 2/Lt Frank Heap, she entered the village firing into the ruins to suppress the defenders. As she left the shelter of the village she was hit by several enemy artillery rounds and five of her eight crew were killed. 2/Lt Frank Heap and the two remaining crew members were able to retire back to British lines. He was subsequently awarded the Military Cross for his gallant actions.
The Mk. IV was the third production tank in a series of World War One tanks. It was introduced in May 1917 after slight changes to the earlier Marks. Prior to the Mk. IV attrition rates had been enormous, the Mk. I had proved to be far from perfect on the battlefield. The first tanks were originally developed after intense trialing of different designs throughout 1915 and early 1916. The rhomboid design with the high climbing face of the track was designed to cross the wide and deep trenches prevalent on the battlefields of the Western Front.
Given the tank’s hull length of 26ft 5in and the height necessary for the shape, an armed turret would have made the vehicle too tall and unstable. Instead, the main armament was arranged in sponsons at the sides of the vehicle. The Mk. I was fitted with additional trailing wheels as an aid for steering, but were omitted on the Mk. II as they found to make no significant difference and were actually a hinderance. The Mk. II and Mk. III, both training machines, featured many modifications to the original Mk. I, these modification culminated with the production of the Mk. IV. The most significant changes being, an increase in armour thickness, moving of the fuel tank to the rear and a major redesign of the sponsons for ease of transportation, the sponsons were now able to be pushed inwards into the hull instead of being removed.
Originally there were plans to introduce a new engine for the Mk. IV, but a failure to develop it in time to start production of 200 tanks ready for the promised date of 1st April 1917, meant this did not happen. The Mk. IV went into production in May 1917 using the original 105hp Daimler in line, double sleeve valve, 6 cylinder, 13 litre water-cooled engine. This gave the vehicle a power to weight ration of 3.75hp per ton and a top speed of 4mph. The male tank was fitted with 2 Quick Fire 6pdr guns which were now short-barrel as compared to the previous Marks, and three compact, light and reliable Lewis machine guns which were favoured over the early Hotchkiss. The earlier Hotchkiss had been sturdier and more affordable, but was criticised for its lack of magazine capacity, 14 rounds compared to 96 for the Lewis. The female tank was fitted with five Lewis machine guns.
Another improvement to the Mk. IV was the carrying of an un-ditching beam, often made from oak and reinforced with sheet metal, which was stored at the rear of the tank, and also the fitting of two parallel rails running the entire length of the roof which enabled the deployment of the beam. The beam could be deployed by attaching its chains to the tracks, the tracks would then drag the beam over and then under the tank enabling the tank to pull itself out of boggy ground.
Conditions inside the tanks were certainly not crew-friendly, the smell, heat and fumes from the exhaust and the cordite from the guns firing would have made the early WWI tanks not a nice place to be. Rather than being in a separate compartment the engine was mid-mounted, meaning there was no separation between it and the crew. The men suffered from carbon monoxide poisoning from leaking exhaust fumes, heat exhaustion (there are reports of internal temperatures reaching an unbearable 50°c) and of course the noise itself from the massive engine resonating inside what is, ostensibly, a steel box. The only way the crew could communicate was to use hand signals.
Driving the vehicle was no simple task. Two drivers are positioned at the front of the vehicle, one in charge of the steering brakes the “Driver” and the “Commander” who was responsible for the clutch, brake and gear change controls, two forward and one reverse. There were also two “gears men”, one on either track, they were able to alter the track speeds selecting high, low or neutral. To make a turn the Commander had to bring the vehicle to a halt, one of the gears man would then engage ‘low’ on his side leaving the other gears men in ‘high’, this gave the tank a large turning circumference. Alternatively, putting one track in ‘low’ and the other in ‘neutral’ with the driver applying the correct steering brake lever, and not forgetting to also engage diff-lock, one could carry out a skid turn by locking one track. If diff-lock was forgotten the tank would not move at all. This was complicated teamwork made all the more intense when under enemy fire.
Communication with other tanks and HQ was achieved through different coloured flares or carrier pigeons. The crew were issued with the 0.455 Webley revolver in case they had to abandon the vehicle. Crew safety was an issue inside the tank, with each bullet impact on the tank mini-shrapnel or spall, which could be as small as a millimetre square, was produced inside the hull injuring the men inside. Following the first reports of spall thick leather jackets and helmets, or a combination of leather and chain-mail, were provided to the crews. Foam liners or padding inside the tanks to stop spall only appeared decades later.
SPECIFICATION -
▪︎Weight: 28 tons
▪︎Width: 11 ft 8 in
▪︎Height: 8 ft
▪︎Length: 26 ft 5 in
▪︎Maximum Speed: 4 mph
▪︎Power / Weight: 3.75 hp / tonne
▪︎Suspension: None
▪︎Range: 35 miles
▪︎Crew of Eight: Driver, Commander, Two gears man, Four Gunner’s.
INSPIRATION -
The inspiration for the documentary was to try and recreate a replica Mk. IV Tank, the first tank to see successful active duty in the Battle of Cambrai. The Battle took place in Northern France on the 20th November 1917; 100 years ago. The British Army amassed 475 tanks to attack the German Hindenburg Line, a huge feat of engineering at the time. The Museum decided to build the tank as close to the original as they possibly could, using the modern technology available. They wanted to recreate the original sounds and smells to get a real feel for the enclosed space within the tank, so a petrol engine and a mechanical gearbox with chains to the final drives was selected. They knew that given this mechanical and ''true-to-the-original setup'' it would need three people to drive it: a commander who controls the clutch, brake and accelerator; a driver who steers the vehicle; and a gears-man.
THE BUILD -
To achieve a replica of this magnitude NorthOne TV, with Project Manager Stephen MacHaye, approached JCB to fabricate the hull. To demonstrate modern technology it was decided that state of the art computerised welding techniques would be used, and the rivets of the original design, although not practical to replicate, would be welded in place to give the effect of the 1917 build.
Chasestead World Class joined the team and fabricated the tracks from steel plate, 90 each side as per the original, along with many other smaller components including the drivers’ hatches and pistol ports. RH Barrel made the Lewis Machine Gun mounts and the driver controls. The volunteers at the Norfolk Tank Museum constructed the engine and transmission, utilising a Rolls Royce B60 engine connected to an agricultural transmission, an engineering jigsaw puzzle which used all the ingenuity of the museum team. On top of this they assembled a multitude of components including the tracks, sponsons and detailing, including painting, to finally bring the Mk. IV to life.
THE C4 DOCUMENTARY ''GUY MARTIN'S WWI TANK'' -
Pre-production talks between NorthOne TV, the Norfolk Tank Museum, JCB and Chasestead World Class began in May 2017. With the date of the 11th November set to celebrate 100 years from the first successful use of the tank, they had very little time to make it. The tank was finally completed on 9th November, just six months later.
Guy Martin was to be the presenter of the documentary, with a personal interest in the tank and its construction due to his engineering background. Guy spent several days filming at JCB, Chasestead and the Museum. With the tank complete and the deadline for the commemoration of the Battle of Cambrai looming, preparations were made to take the tank to France.
On a cold, wet and windy day in November the tank paid a fitting tribute to the brave men of the British Army that lost their lives fighting for freedom from tyranny, a sight that Guy and everyone involved in the build was able to witness. It has been a project that they are all very proud of.
Information sourced from - norfolktankmuseum.co.uk/mk-iv-tank-deborah-ii/
Custom Fabricated KAFO (Knee Ankle Foot Orthosis). A brace commonly worn for patients with gait abnormality involving the Knee,lower leg and foot.
Another night faffing and fabricating. Still not finished - probably something do do with the fact that levers from a CASEIH 4240 were never intended for an IH B-275.
Again - just posting for the record - in case someone else is trying to do something similar - which I very much doubt!
I fabricated more animal figures this week, using the laser cutter at Tam High during open shop hours. We will use them for our Chinese New Year Wonderbox project, as part for the new maker art courses I am teaching to school students this semester. Children will be invited to add lights, sounds and motion to their animals, using these wood cutouts as a framework to build on. Many thanks to Geo Monley for giving me access to his fabulous maker space at Tam High.
Learn more about my first art maker course at the Lycée Français in Sausalito, where we are now creating Chinese New Year wonderboxes: bit.ly/maker-art-sausalito-2016
Learn more about our upcoming maker course at Tam High in Mill Valley, where Geo and I will invite students to build a City of the Future in April and May 2016: bit.ly/maker-course-tam-high-spring-2016
Learn more about Geo’s Tam High technical courses<a href="http://www.marinlearn.com/index.cfm?method=ClassListing.ClassListingDisplay&int_category_id=1&int_sub_category_id=28
View more maker art photos in this Flickr album: www.flickr.com/photos/fabola/albums/72157663074065150
A series of shots taken during the 1970's and 1980's in the Highlands Fabricators yard at Nigg Bay, Scotland.
I'm not sure which jacket this was, poss. B.P. Southeast Forties or Statoil S.P.1. In line for the roll up are 3 Sky Horse 11250's and the Lampson Transi-Lift.
Thanks to Billy Winton for allowing me to post these.
A series of shots taken during the 1970's and 1980's in the Highlands Fabricators yard at Nigg Bay, Scotland.
This is a late 70's ...? shot of the early B.P. Magnus jacket. in this shot the flotation tanks are being layed.
Thanks to Billy Winton for allowing me to post these.