View allAll Photos Tagged formwork
"Einer der bekanntesten Akustiker der Welt, der Japaner Yasuhisa Toyota, entwickelte eine besondere Verschalung für Wände und die Decken, die in dieser Form einzigartig ist: die „Weiße Haut“. Sie besteht aus 10.000 Gipsfaserplatten, jede individuell gefräst und mit einer einzigartigen Oberfläche aus Vertiefungen, Riefen und pyramidalen Kegeln versehen, um den Schall an jeder Stelle des Saals bestmöglich zu brechen.
Je nach Position an Wand oder Decke im Großen Saal sind die Gipspaneele unterschiedlich beschaffen; die Dicke reicht von 35 bis 200 Millimeter, das Flächengewicht bis rund 150 Kilogramm pro Quadratmeter."
"One of the world's best-known acousticians, the Japanese Yasuhisa Toyota, has developed a special formwork for walls and ceilings that is unique in this form: the" White Skin. "It consists of 10,000 gypsum fiber boards, each individually milled and with a unique surface made of indentations, grooves and pyramidal cones to break the sound at each point of the hall as best as possible.
Depending on the position on the wall or ceiling in the Great Hall, the gypsum panels have different characteristics; the thickness ranges from 35 to 200 millimeters, the basis weight to around 150 kilograms per square meter. "
www.faz.net/aktuell/technik-motor/akustik-in-der-elbphilh...
Piazza del Sale - The Square of salt in Grosseto
Piazza del Sale è all'interno delle Mure Medicee di Grosseto ed è delimitata sui lati meridionali e occidentali da Porta Vecchia, da un palazzo cittadino e dalle mura cittadine fino al bastione Cavallerizza, dove un passaggio pedonale permette di uscire dal centro storico. Il lato orientale è delimitato dai primi palazzi di strada Ricasoli che collega piazza del Sale a piazza Dante; il lato settentrionale è chiuso dall'antico Cassero del Sale, la cui facciata è situata tra il lato interno del baluardo e l'inizio del settore occidentale della storica strada del Giuoco del Cacio, corrispondente all'attuale via Mazzini.
La presenza della piazza è documentata sin dal 1291, quando l'area in questione era il centro del Terzo di San Giorgio. La contrada prendeva il nome dalla vicina chiesa di San Giorgio, documentata sin dall'803 quale possedimento della diocesi di Lucca e situata all'estremità di Porta Vecchia dove si apre l'attuale piazza Manescalchi. La piazza iniziò a prendere la propria fisionomia a partire dal XIII secolo, quando venne qui costruita la struttura del Cassero del Sale, importante magazzino del sale ricavato dalle saline del Querciolo e di Castiglione della Pescaia, fondamentali per l'economia cittadina. La quantità di sale immagazzinato a Grosseto era tale che è citata anche dal poeta Cecco Angiolieri in una delle sue Rime.
Con la conquista di Grosseto da parte di Siena, la piazza subì sostanziali modifiche con la costruzione del nuovo cassero per la Dogana del Sale, la magistratura senese che regolava la produzione, la distribuzione e l'esportazione del sale grossetano. Nel 1345 viene venduto al Comune di Siena il palazzo di Cecca di Petruccio Beringhieri, insieme all'orto ed il cortile. Nel 1430 è già documentata la presenza del nuovo cassero, che si ergeva addossato alle mura cittadine e rientrava verso il centro della piazza.
The Salt Square is inside the Medicean city Walls of Grosseto and is bordered on the southern and western sides by Porta Vecchia (Old Gate), by a city palace and the city walls up to the Cavallerizza bastion, where a pedestrian passage allows you to leave the historic center. The eastern side is delimited by the first buildings of the Ricasoli street that connects Salt Square to Dante Square; the northern side is closed by the ancient Salt Quarterdeck, whose facade is located between the inner side of the bulwark and the beginning of the western sector of the historic Giuoco del Cacio street, corresponding to the current Mazzini street
The presence of the square has been documented since 1291, when the area in question was the center of the Terzo di San Giorgio (St. George District). The district took its name from the nearby church of St. George, documented since 803 as a possession of the diocese of Lucca and located at the end of Old Gate where the current Manescalchi Square opens. The square began to take on its physiognomy from the thirteenth century, when the structure of the Cassero del Sale was built here, an important salt warehouse obtained from the salt pans of Querciolo and Castiglione della Pescaia, fundamental for the city economy. The quantity of salt stored in Grosseto was such that it is also mentioned by the poet Cecco Angiolieri in one of his Rhymes.
With the conquest of Grosseto by Siena, the square underwent substantial changes with the construction of the new formwork for the Salt Customs, the Sienese judiciary that regulated the production, distribution and export of Grosseto's salt. In 1345 the building of Cecca by Petruccio Beringhieri was sold to the Municipality of Siena, together with the vegetable garden and the courtyard. In 1430 the presence of the new formwork is already documented, which stood against the city walls and returned towards the center of the square.
© Riccardo Senis, All Rights Reserved
This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
Glenfinnan, Scotland
We left our Skyfall accommodation in mist and drizzle and no sooner had we crossed the Ballachulish Bridge did the rain cometh... all the way to Glenfinnan. What can you say about the place in a full-on downpour... there's a nice visitors' centre there with ample parking that's free if you're a member of the NT or NTS. Even at £3 a day it's a steal but the diddy wasteland car park on the other side of the river filled first... cheapskates!
We donned full waterproofs and boots, but wellies might have been the better choice in hindsight. I had so many shots planned for here, especially high up the hillside looking down on the viaduct and Loch Shiel, just like in the Harry Potter films... did I mention I like the Harry Potter films (I can sense the tumbleweed blowing across your minds at the thought). Moving on... unperturbed we headed up the hillside, way beyond the tourist trails but we only got as far as eye level with the top of the viaduct and everything was a washout behind so no point venturing any further and besides nothing worth posting from there.
I've only managed shots in and around the viaduct and these were only possible due to my good wife holding the golf brolly over every shot (don't play the game but she 'acquired' it from her works). I'm pleased to have got something out of the visit and besides it's a good reccy for a future visit... in about 20 years time!
Can't end it there without the science bit...
Construction
The West Highland Railway was built to Fort William by Lucas and Aird, but there were delays with the West Highland Railway Mallaig Extension (Guarantee) bill for the Mallaig Extension Railway in the House of Commons as the Tory and Liberal parties fought over the issue of subsidies for public transport. This Act did pass in 1896, by which time Lucas & Aird (and their workers) had moved south. New contractors were needed and Robert McAlpine & Sons were taken on with Simpson & Wilson as engineers. Robert McAlpine & Sons was headed by Robert McAlpine, nicknamed "Concrete Bob" for his innovative use of mass concrete. Concrete was used due to the difficulty of working the hard schist in the area. McAlpine's son Robert, then aged 28, and his nephew William Waddell, took charge of construction, with his younger son Malcolm appointed as assistant.
Construction of the extension from Fort William to Mallaig began in January 1897, and the line opened on 1 April 1901. The Glenfinnan Viaduct, however, was complete enough by October 1898 to be used to transport materials across the valley. It was built at a cost of GB£18,904.
Design
The viaduct is built from mass concrete, and has 21 semicircular spans of 50 ft (15m). It is the longest concrete railway bridge in Scotland at 416 yards (380m), and crosses the River Finnan at a height of 100 ft (30m). The West Highland Line it carries is single track, and the viaduct is 18 ft (5.5m) wide between the parapets. The viaduct is built on a curve of 792 ft (241m). The concrete used in the Glenfinnan Viaduct is mass concrete, which unlike reinforced concrete does not contain any metal reinforcement. It is formed by pouring concrete, typically using fine aggregate, into formwork, resulting in a material very strong in compression but weak in tension.
A long-established legend attached to the Glenfinnan Viaduct was that a horse had fallen into one of the piers during construction in 1898 or 1899. In 1987, Professor Roland Paxton failed to find evidence of a horse at Glenfinnan using a fisheye camera inserted into boreholes in the only two piers large enough to accommodate a horse. In 1997, on the basis of local hearsay, he investigated the Loch nan Uamh Viaduct by the same method but found the piers to be full of rubble. Using scanning technology in 2001, the remains of the horse and cart were found at Loch nan Uamh, within the large central pylon.
Sortelha Castle - In 1209 there were already some housing and military structures here, the latter with broad visual control of the valley. In the Middle Ages, the difficulties of repopulating the area promoted the royal attribution of charters, thus guaranteeing the defense of a frontier under pressure from the Kingdom of León, which held the extensive fortified village of Sabugal. The charter was granted to it in 1228, by D. Sancho II, when the castle, or citadel, was built. The latter corresponds to a rocky, Romanesque-Gothic castle, with occasional intervention from the Manueline period, while the walls, somewhat prior to the castle, were built based on two strong and parallel walls, in the form of formwork, between which the space with thick stone and gravel. The citadel, located on the southern limit of the walled perimeter, has a keep located in the center of the enclosure. Square in plan, it is massive up to the door and has three arrow slits. As a curious fact, there is a Mill Game board carved in the massif on which this tower stands. Also inside this castle is a cistern. Access to the interior of the castle is provided by a door with a low arch and partly excavated in the outcrop. Above it, and as a defensive reinforcement, a counter with dog killers and, next to it, the royal weapons of D. Manuel I with armillary spheres. Also worth mentioning are the troneiras that we can see there (an opening to support the tron, or bombarda, a piece of light artillery). This balcony is popularly called Pilate's Balcony. The walled perimeter of the town has an irregular oval shape. In several places the wall rests directly on the rocky outcrop and does not have merlons, contrary to what should have happened with the castle, with only those on the keep being preserved. It has four doors that made it possible to connect with the outside: Porta da Vila or Porta do Concelho, Porta Nova, Porta Falsa and the small Porta da Traição located in the castle. In addition to the Keep there is another tower, the Torre do Facho, with a square plan, devoid of openings. Among the particularities of the castle, we highlight the absence of merlons on the walls, and the “rod” and “cubit” (standard measurements) carved in the New Gate. These ancient medieval measurements, the cubit (67 cm/3 palms) and the rod (110 cm/5 palms) were placed here so that everyone who came to the fair would use the same standard measurement. In the Modern Period (17th-18th centuries) the outskirts outside the walled settlement began to develop, initially along the road to Sabugal. Subsequently, the population spread along the slopes and moved away from the walls. It developed relatively far from the walled core and retains some manors. Napoleonic troops passed through Sortelha and, following the fighting there, they dynamited a part of the castle wall. Thus, if we are located in Largo do Corro, facing Porta da Vila, it is possible to observe, to the left of it, a part of the recently rebuilt wall. The Castle has been classified as a National Monument since 1910 and this ancient village was recently valued within the scope of the Historical Villages of Portugal
Chengxingli, 253 Huanghe Rd., Shanghai
The fence around this block (flic.kr/p/2nuEDwJ) has finally been removed. However, the inner part of the block still has the formwork fence that was erected during the lockdown, like a great wall. The notice posted on the boards says, "According to the situation of epidemic prevention and control, we have suspended the removal of the wooden boards separating the north and south of the block, and have opened the doors on the boards for the convenience of the residents, so please do not remove the boards yourself!"
Stockwell Garage is a large bus garage in Stockwell, in the London Borough of Lambeth, which opened in April 1952.[1] At the time of construction it was Europe's largest unsupported roof span. The garage provides 73,350 sq ft (6,814 m2) of unobstructed parking space and could originally house 200 buses, required at a time when the last trams were being replaced by buses.[2]
Architecture
On a cursory view of the exterior, the bus garage is typical of much of the architecture built in the post war reconstruction period in London around the Festival of Britain. There was a steel shortage at the time, so concrete was used for the roof structure instead of the steel girder structure that had previously been the norm. At Stockwell, the opportunity was taken to create a bravura piece of reinforced concrete design, building on a formerly residential site cleared by the Blitz. It is a few hundred metres to the northwest of Stockwell Underground station.
The garage was designed by Adie, Button and Partners, with Thomas Bilbow, who was architect to the London Transport Executive, and the structural engineer from the firm of Alfred Edward Beer. The main contractor was Wilson Lovatt & Sons. The 393 ft (120 m) long roof structure is supported by ten very shallow "two-hinged" arched ribs. Each is 7 ft (2.1 m) deep at the centre of the arch, 10 ft 6 in (3.20 m) at the end, and spans 194 ft (59 m). The 42 ft (13 m) gap between each pair of ribs is spanned by a cantilevered barrel vault topped by large skylights. The vaults are crossed by smaller ribs to prevent torsion. Seen from the outside, the main arches are visible as outward-leaning buttresses, with a segmental curve to each bay forming a flowing roof line. The buttresses and ribs were cast in situ in sections, using the same reusable formwork. The bed of the subterranean River Effra was found to pass through the site during construction, which necessitated deeper foundations for the supporting concrete buttresses.
Three of the nine bays to Lansdowne Way to the north – the central bay and two end bays – have large double folding doors to permit access; other bays are glazed with twenty vertical lights. Each bay has segmental toplights with central louvres for ventilation. The gable ends are also glazed with vertical lights, with folding doors to Binfield Road to the west. The site also houses inspection pits, offices, and a canteen in one- and two-storey brick buildings filling the angle as Binfield Road turn past to the south...Wikipedia
Photo taken at 3.5 km
Nararí fortification from the 14th century.
The tower or watchtower of Deifontes has a circular floor plan and a cylindrical shape, it is made of masonry, with large stone blocks interspersed. The holes (mechinales) of the formwork can be seen and, on its south face, in the upper part, it presents a window-door whose threshold and jambs are built in carved stone.
"One Thousand Museum is a 62-storey residential skyscraper located on Biscayne Boulevard in Downtown Miami among a row of towers opposite Museum Park.
It rises 700 feet (210 metres) high and has glass facades encased by a curvaceous "exoskeleton" that comprises 5,000 pieces of lightweight glass-fibre-reinforced concrete.
The exterior formwork curves at the corners of the building to form balconies for residences on the lower levels, and then traces sinuous lines higher up that "tuck" in other terraces.
While the curvaceous forms are typical of Zaha Hadid's style, the exterior was devised to respond to the weather conditions of Miami which is prone to hurricanes.
At the base, these structures widen and splay out to form "rigid tubes" that are "highly resistant" to demanding wind loads, according to Zaha Hadid Architects.
"The design expresses a fluidity that is both structural and architectural," said the firm's project director Chris Lepine.
"What you see is literally structure getting thicker and thinner, as needed," he added. "There's a continuity between the disciplines, between the architecture and engineering.""
Source: de zeen
Chengxingli, 253 Huanghe Rd., Shanghai
The fence around this block (flic.kr/p/2nuEDwJ) has finally been removed. However, the inner part of the block still has the formwork fence that was erected during the lockdown, like a great wall. The notice posted on the boards says, "According to the situation of epidemic prevention and control, we have suspended the removal of the wooden boards separating the north and south of the block, and have opened the doors on the boards for the convenience of the residents, so please do not remove the boards yourself!"
HILLAS CREEK BRIDGE.
Can you believe it that oncoming semi-trailers used to pass each other on this bridge, particularly with northbound side coming off a sweeping bend! This was on the main highway (Hume) in Australia, between Melbourne and Sydney.
Near Tarcutta.
- "Only one of two reinforced concrete bowstring arches built on NSW roads (the other is near Maclean), this bridge was cast-in-place using elaborate formwork before the advent of precast units. The deck is supported from the arch ribs by steel hangers encased in concrete. Opened on 23 December 1938 as part of the Tumblong -Tarcutta deviation, it carried Hume Highway traffic until 1986 ... and has become widely known as "The Little Sydney Harbour Bridge".
Hillas Creek, New South Wales, Australia.
Chengxingli, 253 Huanghe Rd., Shanghai
The fence around this block (flic.kr/p/2nuEDwJ) has finally been removed. However, the inner part of the block still has the formwork fence that was erected during the lockdown, like a great wall. The notice posted on the boards says, "According to the situation of epidemic prevention and control, we have suspended the removal of the wooden boards separating the north and south of the block, and have opened the doors on the boards for the convenience of the residents, so please do not remove the boards yourself!"
Chengxingli, 253 Huanghe Rd., Shanghai
The fence around this block (flic.kr/p/2nuEDwJ) has finally been removed. However, the inner part of the block still has the formwork fence that was erected during the lockdown, like a great wall. The notice posted on the boards says, "According to the situation of epidemic prevention and control, we have suspended the removal of the wooden boards separating the north and south of the block, and have opened the doors on the boards for the convenience of the residents, so please do not remove the boards yourself!"
Newly poured concrete stairs on the extension of the Adelaide Convention Centre, with the formwork and scaffolding still in place.
The assembly would have been crane handled into position onto the 5no Adjustable Support Brackets visible underneath the panels. The All Steel panels arrive onto site flat and are then 'formed' on curved shaping tables.The 5 Vertical Cantilever Soldiers that extend down below the Panels, and touch the existing concrete with adjustable feet, provide a 'plumbing' capability. The Cantilever Access Brackets at the top of the panels provide a Working Platform for the concreting gang.
À l’intérieur, les couleurs sombres dominent, la lumière y est tamisée par la paroi alvéolaire qui offre une vision envoutante au milieu de colonnes irrégulières et tordues, que Rudy Riccioti compare à des os de poulet ! Les trois étages de l’édifice tiennent grâce à ce squelette, cet entrelacement de piliers, semblables à des branches et de troncs d’arbres à l’extérieur de cette boîte de verre. Le béton, matériau de prédilection de Ricciotti, est ici dans tous ses états : technologique ou brut de décoffrage, poli, moulé ou rugueux. Les planchers ont été fabriqués en premier, puis posés sur des échafaudages et ceinturés avec les colonnes. Résultat : les visiteurs du musée profitent de grands espaces sans poteaux pour admirer les œuvres.
Inside, the dark colors dominate, the light is sifted through the alveolar wall that offers a mesmerizing vision in the middle of irregular and twisted columns, that Rudy Riccioti compares to chicken bones! The three floors of the building are the result of this skeleton, the intertwining of pillars, similar to branches and tree trunks on the outside of this glass box. Concrete, Ricciotti's favorite material, is here in all its forms: technological or rough formwork, polished, molded or rough. The floors were made first, then laid on scaffolding and belted with the columns. As a result, visitors to the museum enjoy large spaces without poles to admire the works.
Priory - the first monumental earth-scraping construction in Russia - was an experimental building.
It was built during three months in 1798, from June 15 to September 12.
The mass for building the walls was prepared as follows. After removing the top layer of soil, the soil was excavated from the quarry, loosened and sieved through a sieve. The natural moisture content of the soil was considered sufficient. In the wooden planking formwork, the prepared mass was covered with a layer of 12-15 cm. The layer was compacted to a thickness of 5-6 cm. A calcareous solution was applied at the top of the layer and the next layer of soil was again laid. At the same time, the outer walls gradually widened downward from the inside, and the inner walls on both sides. When the walls were brought to the level of overlap between the first and second floors, the builders applied earth brick for laying walls; small earthen blocks, made in special forms. It is known that only 11,790 earth bricks were laid. Then the builders again switched to simple packing, after which the surface of the walls was ground with turpentine water to increase the viscosity of the soil and protect the wall from soaking.
At present, the Priory Palace remains the only surviving monument to earth-building construction at the end of the 18th century.
Приорат - первое в России монументальное землебитное сооружение - был, прежде всего, экспериментальным зданием.
Он был построен за три месяца 1798 года, с 15 июня а по 12 сентября.
Массу для возведения стен готовили следующим образом. Сняв верхний слой почвы, грунт выкапывали из карьера, разрыхляли и просеивали через сито. Естественная влажность грунта считалась достаточной. В деревянную переставную опалубку засыпали подготовленную массу слоем 12-15 см. Слой плотно утрамбовывали до толщины 5 - 6 см. По верху слоя наносился известковый раствор и вновь укладывался очередной слой грунта. При этом наружные стены постепенно расширялись книзу с внутренней стороны, а внутренние - с обеих сторон. Когда стены были доведены до уровня перекрытия между первым и вторым этажами, строители применили для кладки стен земляной кирпич, т.е. небольшие земляные блоки, изготовленные в специальных формах. Известно, что всего было уложено 11790 земляных кирпичей. Затем строители снова перешли к простой набивке, после чего поверхность стен растирали скипидарной водой для увеличения вязкости грунта и предохранения стены от размокания.
В настоящее время Приоратский дворец остается единственным сохранившимся до наших дней памятником землебитного строительства конца XVIII столетия.
Forgotten concrete formwork.
.
L'ile d'Yeu, November 2020
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Pentax MX
Pentax M 200mm f/5.6
Rollei RPX 100
Exposed for sunny 0
Developed in Bellini Duo Step
Bordering the lagoon on Buhaira Corniche, the Al Noor Mosque is another example of Sharjah’s rich tradition of Islamic architecture. The intricate formwork, sweeping curves and spires
Almere Stad
Netherlands
The Wave
"The Wave " was designed by Dutch architect René van Zuuk. It's design is based on an analysis of tunnel formwork construction; the basic principle being the simultaneous casting of floors and party walls. Variation in the length of adjacent tunnels breaks the monotonous structure. The result is a wavy facade surface providing the block with a dynamic quality and an expressive image.
The silver-coloured aluminium of the facade, combined with the continuously changing incidence of light, creates a varying identity of Block 16 and suggests a moving scaly creature.
DSC_0287 SOOC
a part of 'The Third Millennial Cross"
For maximum effect, click the image, to go into the Lightbox, to view at the largest size; or, perhaps, by clicking the expansion arrows at top right of the page for a Full Screen view.
Don't use or reproduce this image on Websites/Blog or any other media without my explicit permission.
© All Rights Reserved - Jim Goodyear 2018.
Just sobre el poble de Foradada (al Serrat de les Forques) es troba aquest bunquer de la guerra civil, part de la linea de defensa L1 situada just a la reraguarda del front del Segre. Aproximadament la L1 anava d'Artesa de Segre cap a Bellpuig i la Ribera d'Ebre.
Com molts bunquers republicans, fou construit emprant una paret de sacs de sorra com a encofrat, mètode facil i altament eficient, ja que el propi encofrat també incrementava la protecció del bunquer.
ca.wikipedia.org/wiki/Batalla_del_Segre
dreammaster6.blogspot.com.es/p/sectores-fortificados.html#07
==================
In a hill overlooking the quiet village of Foradada lays this bunker of the spanish civil war. Built in 1938, it was part of the L1 line of defence, just beyond the front on the river Segre from april to december of that year.
It was built by the simple yet efective technique of using a sandbag wall as a formwork for the concrete.
The gardener did their job of maintaining the greens well but the condition of the structure, fountain, waterworks and formworks were poor. Looks like they need to repaint the place and do a better maintenance job otherwise the millions spent on this structure will definitely be a sore point. The view shown here was the opposite side of the view as shown below.
This is a HDR panorama consisting of 3 sets of 3 frames.
Date & Time: 5-Nov-2010 @ 5:17pm
Lens: Canon EFS 18-135 IS
EXIF: f11, 1/200 +/- 1.33EV, ISO-100, 18mm, Pattern, no flash, Manual
HDR: Photomatix v3.2 using Details Enhancer
Panorama: PhotoShop PhotoMerge did a good job of stitching.
Editing: PS CS5E
Click picture to view large of press 'L' to enjoy the panorama.
Aquest bunquer republicà es troba just al costat de la carretera que puja d'Isona cap a Bóixols. Volia fer una foto d'aprop però el blat estava realment alt i no volia trepitjar el sembrat. Al fons de la imatge es troba la estratègica Serra de la Campaneta, en mans feixistes quan el front es fixà aquí al Pallars. A la esquerra es troba la part del Montsec i del Cucuc en mans republicanes. Fou allà, i no en aquest bunquer de la foto, on es donaren els combats que iniciaren la fí de la república a Catalunya, i l'inici de 40 anys de foscor feixista.
Al sud i oest d'Abella de la Conca i Isona s'alça un seguit de bunquers republicans de la guerra civil, molt notablement conservats entorn La Posa. Son fortins molt uniformes situats cada 500m des d'Abella de la Conca fins gairebé Llordà. Obviament protegien la vital carretera Isona - Coll de Nargó, unica via de fugida vers el Segre en cas d'atac feixista. De fet, un cop atacaren aquests el desembre del 38, aquesta via bé feu la seva funció, tot i que aparentment cap combat de relleu es donà en aquests bunquers.
En destaca la seva perfecta construcció amb un mur de sacs de sorra que feia d'encofrat i alhora protecció augmentada del ciment. Fa dècades que aquests sacs de sorra es van desintegrar, però estan preservats com imatges en relleu en el ciment.
ca.wikipedia.org/wiki/Batalla_del_Segre
www.frontdelpallars.com/content/la-posa
=============================================
A Spanish civil war bunker built by the republican army near Isona, in La Posa. But the real combat zone was not here but on the peaks on the horizon. La Campaneta is the mountain in the middle of the image. From arround there the fascists broke the republican front to the left, to the Cucuc and Montsec ranges. It was december 1938. In a couple of months all Catalonia fell to the fascist forces.
It was part of a defence line several km. long protecting the vital Isona -Coll de Nargó road. Still now this is the ONLY road going from Isona to the Segre valley to the east in a extremely abrupt countryside.
The road was indeed used as a safe retreat way for the republican army during the defeat of december 1938 (and the lost of all Catalonia to Franco's fascists); anyway it looks like there was no combat in these fortifications.
It's quite interesting how they used a sandbag wall as a formwork cum added protection to the concrete, but now these sandbags are lost. BUT their impressions remain perfectly shaped in the concrete, 70 years later!
en.wikipedia.org/wiki/Battle_of_the_Segre
www.pallarsjussa.net/en/cultural-heritage/itinerary-repub...
Two riggers, using a crowbar and muscles, struggle to rip down temporary formwork attached to this column. Another guy is preparing to swing over and assist. I watched and waited a few more minutes and my next snap caught it falling free. Luck and patience gave me time to get set up and capture the moment.
Workers of all nations,
We’re equal so let’s unite!
Establish a political movement,
That serves us right.
We have to convince others,
About the virtues of our idealistic road.
A heavy burden, a difficult task,
But we’re all able to carry such a load.
Yellow, white, black or red,
No matter if you are small or long,
If we truly stand as one,
Our combined force is mighty strong.
Poem: Jan Elemans
2011
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Industrial beauty.
Giant structure.
Concrete formwork
for a second bridge
over the river Waal.
Highway A50
Ewijk (Beuningen)
The Netherlands
Een ligger is een betonnen balk die over de lengte van een brug of viaduct loopt en op steunbalken rust. Het brugdek wordt op de liggers gelegd. In sommige gevallen worden liggers direct naast elkaar geplaatst, zodat het brugdek later niet hoeft te worden gestort, maar direct kan worden gebruikt. Balken zijn meestal geprefabriceerd materiaal. De langste liggers zijn in 2011 geplaatst in de A5 over de Ringvaart. Deze zijn 62 meter lang en wegen elk 160 ton.[1] Balken kunnen ook van staal of hout zijn. Gangbare profielen zijn een H-, I-, U-, L- of T-profiel.
English:
A girder is a concrete beam that runs the length of a bridge or viaduct and rests on support beams. The bridge deck is placed on the girders. In some cases, girders are placed directly next to each other, so that the bridge deck does not have to be poured later, but can be used immediately. Beams are usually prefabricated material. The longest girders were placed in 2011 in the A5 over the Ringvaart. These are 62 meters long and weigh 160 tons each.[1] Beams can also be made of steel or wood. Common profiles are an H, I, U, L or T profile.
At the beginning of December 2022 the girders of the second deck on Viaduct President Rooseveltweg will be hoisted into place.
Sunlight raking across a painted concrete column. The textures that are seen are from the formwork.
Have a super Saturday.
Getting rarer, the tandem drive triaxle with open trailer bed. All at the top of the rise at Boxers Creek on the Hume Highway, north of Goulburn.
(1/4) King Bros Transport from Batemans Bay NSW; WESTERN STAR.
(2/4) AFS Formwork of Goulburn NSW, KENWORTH.
(3/4) Not sure who the owner/operator of this WESTERN STAR is, but what a great livery.
(4/4) "Gambler II" of All Star Haulage from Canberra ACT; KENWORTH with what I think is fertiliser under the wraps.
Goulburn, New South Wales, Australia.