Replaces FG Falcon

Built in 1906-1917, this Beaux Arts-style Capitol Building was designed by George B. Post to house the state house of representatives, state senate, and offices for the Wisconsin State Government. The fourth state capitol to house the state government since the state’s establishment in 1848, the building is the third building to sit on the present site, and replaced the previous state capitol, built in 1857-1869 and expanded in 1882, which burned down in February of 1904. The capitol houses both the Wisconsin State Assembly and the Wisconsin State Senate, as well as the Wisconsin Supreme Court and the Office of the Governor of Wisconsin. The first capitol of Wisconsin upon the formation of Wisconsin Territory in 1836 was in the village of Belmont, Wisconsin, with the legislature meeting in a hastily constructed wood-frame building, before deciding to designate the future site of Madison as the state capitol, and holding further sessions of the legislature in the much better-developed Mississippi River port town of Burlington (now in Iowa) until a capitol building could be completed in Madison. Upon Burlington becoming part of the new Iowa Territory, the state legislature moved to a log and stone building on the present site of the state capitol, a relatively humble Greek Revival-style building constructed in 1837, which looked much like older capitol buildings in the eastern United States, with doric columns and a rusticated fieldstone exterior. It was most similar to the Old State House in North Carolina, built only four years prior, and the Old State Capitol in Springfield, Illinois, built in the same year, though these two similar buildings were built almost entirely of stone blocks rather than fieldstone. The small second capitol building was the first state capitol of Wisconsin upon its ascension to statehood in 1848, but had become inadequate for the growing population and government by the 1850s. The original building was demolished and replaced with a larger, Classical Revival-style structure with Romanesque Revival elements constructed in stages between 1857 and 1869, which featured a dome inspired by the United Capitol Building, semi-circular porticoes with corinthian columns, and two short side wings with octagonal towers at the corners, which were modified and extended in 1882 with new wings that increased the Classical Revival aspects of the building and helped to downplay the Romanesque Revival elements that originally were very prominent on the structure. This building was oriented with the semi-circular original porticoes aligned with State Street and King Street, with the wings being oriented towards both sections of Hamilton Street, though the building appeared rather small within the large parklike expanse of Capitol Square. By the turn of the 20th Century, the old Capitol had become inadequate for the growing needs of Wisconsin, which had become wealthy, industrialized, and heavily populated by that point, so study of a replacement capitol building began in 1903. In February 1904, the old State Capitol burned to the ground when a gas jet ignited a newly varnished ceiling inside the building, which spread quickly despite the building featuring a then-advanced sprinkler system, as the reservoir of the nearby University of Wisconsin was empty, which allowed the fire to spread out of control. The north wing of the building, built in 1882, was the only portion that survived, with many relics, records, and important historical items being lost in the fire, though the state law library was saved thanks to efforts by University of Wisconsin students. The fire also happened just after the state legislature had voted to cancel the fire insurance policy on the building, thinking it was a costly and unnecessary folly.

The present building was built on the site of the previous building, with the construction process focusing on completing each wing one at a time to provide space to the state government with as much fiscal efficiency as possible due to financial limitations. Due to this, the north wing was built last to allow the remaining portion of the previous capitol to serve as space for the state government during the construction period, with the central rotunda and dome also being built after the other three wings had been completed, as they serve a more symbolic and less utilitarian purpose than the rest of the building. The building stands 284 feet (86 meters) tall to the top of the statue on the dome, which was sculpted in 1920 by Daniel Chester French, and is a personification of the state of Wisconsin, with the outstretched arm of the statue representing the state motto, “Forward”. The exterior of the building is clad in Bethel white granite, sourced from Vermont, with an additional 42 types of stone from a total of eight states and six countries being utilized on the interior of the building. The dome is the largest in the world to be entirely clad in granite, and is the tallest building in Madison, with a state law passed in 1990 stipulating that any building within a one-mile radius of the capitol is limited in height to the base of the columns of the dome, which stand at 187 feet, which preserves the visibility of the building from the surrounding landscape. The building has a greek cross footprint with four five-story wings that are aligned with the compass directions and radial streets following the compass directions that slice through the surrounding street grid, which is at a 45-degree angle to compass directions, instead roughly paralleling the shorelines of nearby Lake Mendota and Lake Monona, with Downtown Madison sitting on an isthmus between the two lakes. This places the building at a unique 45-degree angle orientation relative to the edges of Capitol Square and most buildings on adjacent streets. The building was one of the last works of the prolific architect George B. Post, whom died before the building was completed. The building underwent a major renovation in the 1970s that added modern features to the interior and covered up many original features, with later projects between 1988 and 2002 restoring the building while updating the building’s systems and functions for the modern needs of the state government.

The exterior of the building’s wings feature porticoes on the ends with corinthian columns, arched windows on the third floor, rusticated bases with entrance doors and decorative keystones, decorative reliefs featuring festoons over the windows on the porticoes, cornices with modillions and dentils, and pediments with sculptural reliefs, which were created by several sculptors, and have different symbolism embodied by their design. On the east wing, which is home to the Wisconsin Supreme Court, the sculpture known as Law, created by Karl Bitter, is located on the portico pediment, on the west wing, which houses the chamber of the Wisconsin Assembly, is a sculpture known as Agriculture, also created by Karl Bitter, on the north wing, which is home to a hearing chamber, is the sculpture known as Virtues and Traits of Character, created by Adolph Alexander Weinman, and on the south wing, which houses the chamber of the Wisconsin Senate, is a sculpture known as Wisdom and Learning of the World, created by Attilio Piccirilli. The sides of the wings feature simpler cornices with dentils, pilasters and recessed window openings with arched openings at the ground floor, windows with decorative pedimented headers on the second floor, arched windows on the third floor, two small two-over-two windows on the fourth floor, and a recessed fifth floor features small paired windows, hidden behind a balustrade that runs around the entirety of the building minus the ends of the wings, concealing a low-slope roof at the setbacks on the sides of the wings and above the corner porticoes. The upper roofs of the wings are low-slope with front gabled portions in the middle punctured by skylights, with the roof being almost entirely enclosed by a parapet. At the center of the building in the inside corners of the greek cross are semi-circular portions of the facade with semi-circular two-story ionic porticos with large terraces and grand staircases featuring decorative copper lampposts, decorative stone balustrades, concealed entrances to the ground floor underneath the terraces, and three doorways on the upper level, with drums surrounded by buttresses featuring small windows and domed roofs above the balustrade on the fifth floor. In the center of the building is the rotunda, which is topped with a large dome that rises from a tall base that terminates in a balustrade, with a low-slope roof at the base of the drum of the dome, which features a level with small windows at the base, with projected pavilions at the corners above the semi-circular porticoes below, which were originally to support four smaller domes, but ended up supporting sculptures by Karl Bitter, symbolizing strength, faith, prosperity, and abundance and knowledge. The drum of the dome is surrounded by a corinthian colonnade with corinthian pilasters on the exterior wall of the dome behind the colonnade, arched windows, and recessed decorative panels at the top of the colonnade below the architrave. Above the architrave is a cornice with modillions and dentils, above which is another balustrade, accessed via doors from the interior space above the inner dome of the rotunda, and ringed by six-over-six windows, pilasters, and a cornice with egg and dart motif at the top. Above this last cornice is the dome, which is ribbed, with the ribs terminating in voluted upside down brackets at the base, and clad in granite, terminating at the top at a balustrade around the base of the lantern. The cylindrical landern features corinthian columns, arched windows, festoons, with a concavely sloped roof featuring rubs terminating in volutes, above which is the base of the Wisconsin statue, which is coated in gold leaf.

The interior of the building is richly decorated with Beaux Arts detailing, utilizing plaster, a diverse array of stone and woodwork, engaged columns and pilasters, murals, vaulted ceilings, decorative balustrades, grand staircases, and modern oak furniture. The interior dome features a mural by Edwin Howland Blashfield, known as Resources of Wisconsin, which sits in the middle of the dome’s coffered ceiling, above the upper balcony at the base of the drum. The rotunda features green and white marble corinthian columns with gold leaf on the capitals, vaulted alcoves on the sides with coffered ceilings, a stone floor, and features marble from Tennessee, Missouri, Vermont, Georgia, New York, and Maryland, granite from Wisconsin and Minnesota, limestone from Minnesota and Illinois, marble from France, Italy, Greece, Algeria and Germany, and syenite from Norway. A large circular opening in the floor of the center of the rotunda allows light into the lower level of the building, and is supported by a ring of square columns underneath. The light fixtures in the space are a combination of lampposts and sconces. The pendentives below the drum of the dome in the rotunda are decorated with glass mosaics by artist Kenyon Cox. The interior’s decoration denotes hierarchy of space, with the level of detail varying throughout the building’s interior from simple offices and service areas to the grand public spaces, such as the rotunda and government meeting chambers. The two-story senate chamber is circular with marble cladding, corinthian columns, and pilasters on the walls, a decorative ceiling with a central shallow domed decorative glass skylight, and coffers with rosettes, with murals above the main podium, and balconies inside the alcoves behind the columns for spectators and observers. The two-story assembly chamber features a similar shallow domed decorative glass skylight on the ceiling, but is square in shape with decorative pendentives and arches on the perimeter of the space opening into alcoves with vaulted ceilings, with wood paneling and a large mural behind the main podium, and balconies in the upper level of the alcoves. The supreme court chamber is square with a square decorative glass skylight in the room’s coffered ceiling, white marble pilasters, paneling, and murals on the walls, and arched niches housing candelabra-type lamppost light fixtures. The north wing hearing chamber features a massive cove ceiling with decorative trim and murals, with a large square decorative glass skylight in the middle, and walls lined with ionic pilasters and stone panels. The Governor’s Conference Room, located in the east wing, features a heavily decorated ceiling with multiple coffers housing murals, decorative stained woodwork, a fireplace with a decorative marble surround flanked by two corinthian columns, and gold leaf on some of the trim. The interior of the building is even more richly detailed than the exterior.

The building, which has been fully modernized and restored to some semblance of its original appearance, remains the seat of the government of Wisconsin, presently the 25th largest by land area and 20th largest by population in the United States. The building was listed on the National Register of Historic Places in 1970, owing to its historical and architectural significance, and was listed as a National Historic Landmark in 2001. The building visually dominates the isthmus that makes up Downtown Madison, and sits in the city’s central square, one of the most visually impressive and stunning sitings of any capitol building in the United States.

Replaced Acme Spring Water and Super Chill Spring Water at Acme, Acme/Acme Pharmacy, and Acme Sav-on

Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Acton, London*. Here are the details of the project

Brief: The plot for this design was a mid-size family garden, which had recently benefited from the addition of a large sunroom on the back of the property. It was a fairly blank canvas, with nothing of note to be retained in the re-design. The garden had side access and worn boundary fences which required replacing. There was no clear brief other than that the design include a seating area and some lawn, and that the transition from sunroom to garden be fairly seamless.

Solution: The focus of this design was to create an exterior space that serves as an extension to the interior, featuring several distinct and versatile areas that can be adapted to a variety of uses.

The garden's boundaries were replaced with new fencing to provide a uniform and attractive backdrop to the transformation within, while the long sideway down the right of the house was renovated with the addition of attractive 'bamboo' slate tile flooring in a random lay pattern.

The first section of the space comprises a large area of Western Red Cedar decking adjoining the house, and offers ample room for entertaining, with a long L-shaped fixed-bench seat stretching width-ways across the space from the left-hand side to the centre. This was backed with a rendered block raised bed, planted with fragrant lavender and capped with 'bamboo' slate tile, to provide a sense of enclosure and separation from the rest of the garden.

A decked walkway running down the right hand side of the space provides access to a 'spa' area, featuring a large square hot tub housed upon a reinforced paved hard-standing and nestled between existing and additional trees, shrubs and foliage to provide a secluded and intimate area for bathing throughout the seasons. Hidden behind mature and new planting in the bottom left corner, a large shed provides ample storage for the client's garden accessories. The middle of the space has been given over to a large lawn edges with slate.

A purple and yellow planting scheme of soft, cottage-style evergreen shrubs and flowering perennials will help to bring year round lightness and subtle colouring to the space.

After-dark hot tub bathing is enhanced by several strings of pea-lights woven through the existing shrubbery. Deck lights demark the main area of decking and guide one's journey along the decked walkway. Finally, spot lights in the beds highlight certain area while providing a gentle wash throughout the space.

Testimonial: "After months of planning and a full year of having builders everywhere, we had finally got the house into good shape but the garden was a nightmare. It had been somewhat overgrown before the builders moved in, but after a year of being used as a builders yard, it needed shock treatment.

We needed help fast so we searched the web. We were looking for garden designers with creative ideas for smaller London gardens. We didn't want anything too traditional but at the same time, nothing too extreme.

Earth Designs fitted the bill and after a design session with Katrina, we engaged them for the project. They had offered us a design service only, but as we only had a 4 week window in which to complete the job, we gave them the whole project.

We had built a new extension with wide glass doors that opened out into the garden, so the brief to Earth Designs was to "bring the outside, inside" and create a strong link between the new room and the garden beyond. The actual garden space was not large so we wanted to use the space as an extension of the living space - to be an "outside room".

Monday 18th April and three very charming men arrived on our doorstep at 8.0am sharp. Arlo was the project manager, ably aided and abetted by Paul and Phillip. They worked brilliantly as a team and always hit all the deadlines. In particular they did a great job in working with our neighbours to ensure the whole project ran smoothly.

The first week involved clearing the site - no mean feat with 30-year-old ivy stems that looked more like tree trunks.

The second week involved levelling the garden, putting up new fencing, building the corner seating base and planters, plus marking out the garden shape. It was good to be able to make minor changes to the design on the ground at this stage. The hot tub arrived too and was winched into place for connection later.

Week 3 saw the decking and seating built.

Then in week four the turf arrived, the lawn went down and on the last day, Katrina arrived with a truckload of wonderful specimens (and Matt) and we had a wonderful time planting. Ground Force Mk II - a complete garden from start to finish in just 4 weeks!

There were a few things that needed to be sorted out after the main work was complete. Earth Designs were great about coming back until all was complete and finished.

Our thanks to Katrina, Matt, Arlo, Paul and Phillip for a great job, completed on time and on budget with a great looking result."

If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.

Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.

Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.

Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you want and are looking for a landscaper London to come and visit your garden, please get in touch.

Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.

Earth Designs is located in East London, but has built gardens in Essex , gardens in Hertfordshire Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.

If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.

Replaced VU Meter Lamps by two Blue 5mm LED's (3,5V / 20mA) in series with one resistor of 240 Ohm.

Watch the polarity: on this device the + was on the left (black wire)

On the right VU meter you can see the factory installed green tube lamp.

As an addition to reopening DeVry College of Technology and Future Generation Daycare back in the DeVry/ Chamberlain building in North Brunswick, NJ, I will also have them open up an entirely new DeVry College of Technology Campus replacing Borden Cheese due to that Borden Cheese makes gross artificial processed cheese MUST BE BANNED and there were a lot of mean teachers from schools with a Bogen Multicom 2000 system forcing school cafeterias to have gross cheese toasts with gross artificial processed cheese which is gross and extremely unhealthy and this is why I am bringing back schools with green chalkboards and electric mechanical wall bells and Corbeil school buses and expanding Boston Market, Warehouse Clubs, Pepperidge Farm and other natural farms, and DeVry College of Technology. So in the future we will only have real cheese like Goldfish crackers in school cafeterias which is way healthier.

To release the memory you will need to push the metal handles that are located on the sides of the memory away from the memory.

The memory chip will pop up.

Take it out. Insert the new memory at a 45 degree angle (just like the old memory was when it poped up) and push it down until you hear a click.

Half a day in bird paradise Nemunas Delta RP 2015.

Replacing an earlier scanned photo with a better version.

Operating as a freighter.

Replacing an earlier scanned photo with a better version 03-Apr-22 (DeNoise AI).

Updating the 2010 Langster headset bearings when they wore out on my 2010 Langster. I discovered from this site www.bikeradar.com/forums/viewtopic.php?f=40004&t=1261... that they are kind of unique to Specialized bikes and kind of crummy. I managed to replace the originals with a Cane Creek IS2 bearing, and thought some people might benefit from info and pics so here they are. The instructions on the link worked for me, with the caveat that knocking out the cups was not easy. I managed it with a hammer and a screwdriver but it took a while, tapping a few times around their circumferences to gradually work them out. The result - steering went from notchy as hell to buttery-smooth!

Built in 1923, this Renaissance Revival-style twenty-story skyscraper was designed by George B. Post and Sons to house the Buffalo Statler Hotel, part of the Statler Hotel chain that was headquartered in Buffalo. The second permanent hotel that the Statler family built in Buffalo, the building replaced an earlier hotel that stood on the site, housed in the former Millard Fillmore mansion, known as the Castle Inn, and an earlier flagship Statler Hotel, which was built in 1907, and located at the southeast corner of Swan Street and Washington Street in a building that was heavily influenced by the nearby Guaranty Building. Ellsworth Milton Statler, whom owned the business, had started in the hospitality industry with a restaurant in the basement of the Ellicott Square building in 1896, expanding with a 2,000-room temporary hotel at the 1901 Pan-American Exposition in Buffalo, and a 2,200 room hotel at the 1904 Louisiana Purchase Exposition in St. Louis, which were so successful that Statler, a former bellhop, decided to re-enter the Hotel business permanently. The present building was the flagship hotel for the chain, which was based in Buffalo, but had hotels all around the United States, which featured amenities that are commonly expected today, including private bathrooms, telephones in each room, and free stationery and newspapers, and were priced at a moderate cost for more average travelers, rather than being targeted at wealthy clientele. Statler also wanted to attract the city’s elite to his establishment, and thus bought the nearby Iroquois Hotel, a longstanding center of social life for Buffalo’s elite and business class, in 1923, and closed it a day after his new hotel opened. Arguably, the original Hotel Statler was more architecturally significant, as it was one of the largest ever Art Nouveau buildings constructed in the United States, and featured a far more unique and distinctive interior and exterior, as well as being the first hotel to have all the innovative features that Statler became known for. Like the similarly significant Larkin Building, however, the original Statler Hotel Buffalo was demolished in 1968 to make way for a “shovel-ready” development site, with no regard for the non-monetary value of the building. Private development never materialized on the site, and it sat as a barren parking lot until a baseball stadium and plaza were built on the site in the late 20th Century.

The building features a tripartite composition, with a four-story base, which extends to the rear (east) of the tower along Genesee Street and Mohawk Street to Franklin Street, which contains many of the hotel’s major public spaces, including meeting rooms, ballrooms, lobbies, and retail spaces. Above the base rises a tower, twenty stories tall and E-shaped, with two light wells on the western side of the building that extend deep into the block to the east, with a largely unadorned red brick-clad section between the sill line of the windows on the sixth floor to the sill line of the windows on the eighteenth floor, forming the “shaft” of the composition. At the top is a more richly detailed three-story section of the building, forming the “capital” of the composition, drawing the eye upwards and emphasizing the verticality of the building. The first floor is clad in stone with rustication, with the second and third floors sharing large window bays with decorative surrounds, which include decorative keystones, broken pediments with cartouches, triple arched window openings flanked by doric pilasters and recessed niches on the western facade, paired arched windows facing Niagara Square, separated by doric pilasters, and smaller windows at the east end of the building along Franklin Street and Mohawk Street. Above the arched window bays are low-slope roofs enclosed by decorative balustrades, with smaller window openings on the fourth floor featuring decorative stone trim, with the window bays around the perimeter of the base of the tower portion of the building being flanked by doric pilasters, with an architrave with triglyphs and decorative reliefs above the pilasters, and a cornice featuring modillions running around the sill line of the fifth floor windows, marking the base of the transition from the base to the shaft. The fifth floor features windows with decorative surrounds and keystones with busts, and is topped with a cornice, which is the last strong horizontal datum before the building becomes an unadorned brick shaft for the next twelve floors. The building features double-hung and fixed windows, some of which are original, and others of which are replacements, with two-over-two windows being predominant between the sixth and eighteenth floors. On the eighteenth floor, the sill line of the windows is a line of stone belt coursing, with decorative window trim at the window openings, and a cornice with dentils above the windows, originally extending further out from the facade, but having been chiseled away due to structural issues in the late 20th Century. The nineteenth and twentieth floors feature decorative trim once again, with the outermost bays of the individual north and south facades, as well as the west facade, featuring single windows flanked by doric pilasters with decorative window trim, including busts on the keystones, and the middle bays being recessed, flanked by ionic pilasters, with copper spandrel panels. The top of the twentieth floor windows is a line of belt coursing, above which are a few courses of brick, with decorative reliefs above the doric pilasters on the east and west facades, which sits below the building’s cornice, which features brackets, and runs around the base of the brick parapet that encloses the building’s low-slope roof. Atop the parapet above the doric pilasters are decorative urns. The rear of the building also features a large circulation tower, housing the building’s main stairways and elevators, which features a largely unadorned facade with four oxeye openings with stone trim at the top, with this being the least detailed section of the building’s exterior.

Inside, the building features many original semi-public spaces that have been partially preserved from the original period of construction and function as a hotel. These include the “palm room”, the main lobby that is themed after a tropical garden, which sits just outside the hotel’s main dining room, a two-story space with a vaulted ceiling, decorative archways, paired arched second-story openings with balustrades and columns, arched windows above the dining room entrance, an entrance portico at the dining room with ionic columns, a decorative cornice, a broken pediment with a cartouche, and a decorative balustrade atop the portico, and a fountain surrounded by greco-roman statues. There is also the Terrace Room, which features a decorative beam ceiling, ionic columns, and a section of the ceiling that is vaulted, the golden ballroom, formerly the hotel’s main dining room, which features a cantilevered second-story balcony with ionic columns featuring capitals and accents clad in gold leaf, decorative trim and panels clad in gold leaf, a wooden parquet floor, and a vaulted ceiling, and a room in the mezzanine with well-preserved carved wood paneling and black marble fireplace surrounds. Other spaces, including the lounge, tea room, cafeteria, swimming pool, and turkish baths, have not been preserved in as intact of a condition.

The hotel began to see a decline in occupancy with the onset of the Great Depression, with several of its 1,100 rooms regularly sitting vacant. As a result, it began to see portions of its interior converted into office space, which accelerated after the opening of the WBEN TV studio in the building. The Statler hotel chain was bought out by Hilton in 1954, which continued to use the Statler brand on hotels that the chain had already built, but eventually phased it out. The hotel finally shuttered in 1984, with the building being renamed the Statler Towers. The building became largely vacant, with only the lower floors being occupied, with the highest occupancy being in the street-facing retail spaces. In the 2000s, the building was slated for conversion into a hotel and condominium, but this proved unsuccessful when the entity that owned the building went bankrupt, leading to a foreclosure and the building being threatened with demolition. Preservationists worked hard to save the building, leading to it being auctioned to a developer in 2010, whom started to stabilize the structure and address its deferred maintenance, reopening the event spaces on the lower floors in 2011, with plans to eventually renovate the rest of the building with an incremental, multi-phased approach. After that developer died, the building was sold to another developer, whom has announced plans to convert the base into a combination of parking, meeting and event space, amenity space, and retail space, with 600 apartments on the upper levels, with work being well underway in 2022.

After replacing DE22 058 at Sivas, DE22 002 calls at Kayseri in the early hours, working the 08.00 Kars-Ankara (terminating at Irmak for buses to the Capital). Note the overhead catenary now in position here, with wiring also seemingly complete almost to Sivas. When the line between Ankara and Irmak reopens, trains will surely be worked by E68 electric locos as far as Sivas and Adana.

The kit and its assembly:

This fictional Bronco update/conversion was simply spawned by the idea: could it be possible to replace the original cockpit section with one from an AH-1 Cobra, for a kind of gunship version?

The basis is the Academy OV-10D kit, mated with the cockpit section from a Fujimi AH-1S TOW Cobra (Revell re-boxing, though), chosen because of its “boxy” cockpit section with flat glass panels – I think that it conveys the idea of an armored cockpit section best. Combining these parts was not easy, though, even though the plan sound simple. Initially, the Bronco’s twin booms, wings and stabilizer were built separately, because this made PSR on these sections easier than trying the same on a completed airframe. One of the initial challenges: the different engines. I wanted something uprated, and a different look, and I had a pair of (excellent!) 1:144 resin engines from the Russian company Kompakt Zip for a Tu-95 bomber at hand, which come together with movable(!) eight-blade contraprops that were an almost perfect size match for the original three-blade props. Biggest problem: the Tu-95 nacelles have a perfectly circular diameter, while the OV-10’s booms are square and rectangular. Combining these parts and shapes was already a messy PST affair, but it worked out quite well – even though the result rather reminds of some Chinese upgrade measure (anyone know the Tu-4 copies with turboprops? This here looks similar!). But while not pretty, I think that the beafier look works well and adds to the idea of a “revived” aircraft. And you can hardly beat the menacing look of contraprops on anything...

The exotic, so-called “tip sails” on the wings, mounted on short booms, are a detail borrowed from the Shijiazhuang Y-5B-100, an updated Chinese variant/copy of the Antonov An-2 biplane transporter. The booms are simple pieces of sprue from the Bronco kit, the winglets were cut from 0.5mm styrene sheet.

For the cockpit donor, the AH-1’s front section was roughly built, including the engine section (which is a separate module, so that the basic kit can be sold with different engine sections), and then the helicopter hull was cut and trimmed down to match the original Bronco pod and to fit under the wing. This became more complicated than expected, because a) the AH-1 cockpit and the nose are considerably shorter than the OV-10s, b) the AH-1 fuselage is markedly taller than the Bronco’s and c) the engine section, which would end up in the area of the wing, features major recesses, making the surface very uneven – calling for massive PSR to even this out. PSR was also necessary to hide the openings for the Fujimi AH-1’s stub wings. Other issues: the front landing gear (and its well) had to be added, as well as the OV-10 wing stubs. Furthermore, the new cockpit pod’s rear section needed an aerodynamical end/fairing, but I found a leftover Academy OV-10 section from a build/kitbashing many moons ago. Perfect match!

All these challenges could be tackled, even though the AH-1 cockpit looks surprisingly stout and massive on the Bronco’s airframe - the result looks stockier than expected, but it wodks well for the "Gunship" theme. Lots of PSR went into the new central fuselage section, though, even before it was mated with the OV-10 wing and the rest of the model

Once cockpit and wing were finally mated, the seams had to disappear under even more PSR and a spinal extension of the canopy had to be sculpted across the upper wing surface, which would meld with the pod’s tail in a more or less harmonious shape. Not an easy task, and the fairing was eventually sculpted with 2C putty, plus even more PSR… Looks quite homogenous, though.

After this massive body work, other hardware challenges appeared like small distractions. The landing gear was another major issue, because the deeper AH-1 section lowered the ground clearance, also because of the chin turret. To counter this I tried to raise the OV-10 landing gear by ~2mm – not much, but it was enough to create a credible stance, together with the front landing gear transplant under the cockpit. The front wheel retracts backwards now, but this looks quite plausible, thanks to the additional space under the cockpit tub, which also made an ammuntion belt supply for the gun believable.

To enhance the menacing look I gave the model a fixed refuleing boom, made from 1mm steel wire and a receptor adapter sculpted with white glue. The latter stuff was also used add some antenna fairings around the hull. Some antennae, chaff dipenesers and an IR decoy were taken from the Academy kit.

The ordnance came from various sources. The Sidewinders under the wing tips were taken from a Hasegawa USAF weapon set, representing the state-of-the-art of aerial defence. The quadruple Hellfire launchers on the underwing hardpoints were left over from an Italeri AH-1W, and they are a perfect load for this aircraft and its role. The LAU-4 and -19 missile pods on the stub wings were taken from the OV-10 kit.

ME1518 behind may also be withdrawn from service

Replacing a temporary vehicle in the fleet of 36-branded vehicles is BF62UXZ, one of 6 brand new Volvo B9TL Wright Eclipse Gemini 2's that were delivered to Transdev in December 2012 - though personally I think this registraton should have been applied to a Coastliner vehicle and BF62 UYL gone on this one, as it's out of sequence with the rest... though eventually 3613 here will be re-registered X13 VTD.

3613 is the only B9 in the Transdev Harrogate and District fleet, and cost £200,000. This can be told apart from the heavily-refurbished B7's because of the Wrights logo at the front (instead of a blank panel with the 36 logo painted on), a Volvo badge, and a straight upper deck grabrail in front of the windscreen, as opposed to a curved one. This extra vehicle has been required due to a frequency increase for the 36 to make up for each bus losing just over a dozen seats to improve passenger comfort.

guimello.com

*Replaced this image with a new one on 2.10.2011*

Navy, Purple, Green and Red. An AM1 with nice colors and awesome materials. Where else are you going to get a AM1 with Denim, Corduroy, Nubuck, Laces with Red matching lace tips and the Thailand mold. It doesn't get any better than this in these modern Nike times.

New and old!

Dec 2009: New rear nearside wheelarch fitted and painted. The original one, with rusty hole can be seen here: www.flickr.com/photos/piersmason/3966142711/in/set-721576...

Silver-replaced fossiliferous limestone from Colorado, USA. (DMNH 138, Denver Museum of Nature & Science, Denver, Colorado, USA)

This remarkable rock is fossiliferous limestone that has been replaced by native silver (Ag). The large, whitish fossil near the center is a gastropod (snail) - it appears to have been truncated by a fault. This specimen comes from a famous silver mining area in Colorado - the Aspen Mining District. Barite, various sulfides and sulfosalt minerals, plus native silver occur principally in breccia zones in the Aspen District. The breccia zones occur within and at the top of the Leadville Limestone, a Lower Mississippian unit that includes dolostone and limestone. Silver and sulfide mineralization in the area occurred during the Late Cretaceous and Paleocene, between approximately 70 and 55 million years ago. This mineralization accompanied the Laramide Orogeny, a mountain building event that formed the true Rocky Mountains of New Mexico, Colorado, Wyoming, and Montana.

Locality: Smuggler Mine, Smuggler Mountain, Aspen Mining District, central Pitkin County, west-central Colorado, USA

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Example references on Smuggler Mine area geology:

Bryant (1979) - Geology of the Aspen 15-minute quadrangle, Pitkin and Gunnison Counties, Colorado. United States Geological Survey Professional Paper 1073. 146 pp.

Stegen et al. (1990) - The origin of the Ag-Pb-Zn-Ba deposits at Aspen, Colorado, based on geologic and geochemical studies of the Smuggler Orebody. Economic Geology Monograph 7: 266-300.

Replaced broken micro-USB + MHL connector

Using a bit of wire like that is not strictly ideal, but as an expedient sometimes brute force is elegant.

The proof of the pudding is in the eating: it charges now

Built to replace NBC's original 'NewsNook' (which was within the 3rd floor West's NBC News offices), this new NewsNook located in the Studio Building and named 'Studio 3E', is in what was formerly a conference room/office that was squeezed between the Studio 3A control room and a prop storage room. This is the view from the Studio Building hallway. When privacy is needed, two sound-absorptive panels can be placed over the window from the inside.

The current Armatwhaite signalbox was built to replace an earlier signal box that was destroyed by fire. It is a standard timber-built "Midland type 2b. It was built in the Midland Railway Company's signalling workshops in Derby, then erected on its current site at a cost of £260. It opened on the 16th of July 1899 and closed on the 15th of January 1983. The signal box is still owned by Network Rail, but it is classed as a 'non-operational heritage asset'. It is leased to the Friends of the Settle Carlisle Line (FoSCL) and has since been fully restored to its Midland Railway appearance (the yellow-and-red paint scheme is authentic). It is now maintained by a small but dedicated group of FoSCL volunteers.

ODC - replace. His smile was replaced by a look of sadness when he realized that baseball was cancelled because of the thunderstorm.

To replace the crude mid section I settled on a simple flex joint. The system from the engine has no flex in it at all and all the movement of the engine places strain on the turbo exhaust flange so I was keen to add a flex so why not here. This will allow movement in the down pipe without causing stress. Plus saves me a tonne of work.

Left front corner. You can see where the plastic sheet stuff is dropping down, and sunlight on the other side. Again, no sealant or anything to keep water from getting on top of this plastic from the outer edge.

Replace an old Ceccato Master in 2013

1997 Spartan/W.S. Darley heavy rescue. Series 60 Detroit Diesel 470hp, Allison HD4060 automatic, On Spot automatic tire chains. 8 man cab, Panasonic Toughbook w/GPS, FireCom Wireless Intercom system. All rescue/extrication/EMS equipment is on this unit. PTO driven generator, Genesis mach 3 hydraulic power units on each side in rear compartments, (2) 150' reel mounted hydraulic hoses on each side with jaws and cutter pre-connected. 150' reel mounted electrical cord and air hose on each side. (7) ISI Viking 4500psi air packs. Bank of (8) 4500 psi air cylinders with Sierra air amplifier and gauges/filling station in #7 compartment. (3) quartz lights on each side, (2) quartz light in back, (6) quartz lights on 25' retractable tower. Front and rear mounted winches. Bus style mirrors vibrated badly at idle and have since been replaced with door mounted "west coast" style mirrors.

Truck is due to be replaced in 2019.

Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.

The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.

On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.

The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.

Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.

To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.

The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.

To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.

The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.

In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.

Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.

The Emeryville Amtrak station is an Amtrak station in Emeryville, California that replaced the older Amtrak 16th Street Station in Oakland. The original Beaux-Arts Oakland 16th Street Station was declared unsafe due to unreinforced masonry after sustaining damage in the Loma Prieta Earthquake of 1989.

The Emeryville station is served by Amtrak California's Capitol Corridor and San Joaquins and Amtrak's Coast Starlight. It is also the western terminus of Amtrak's California Zephyr, as there is no wye at Amtrak's new Oakland station near Jack London Square, and it would be dangerous to back a long train along Oakland's Embarcadero to the Union Pacific yards. Amtrak Thruway buses transport California Zephyr passengers between Emeryville and Oakland and San Francisco. The bus services Emery-Go-Round and AC Transit also stop at or near the station.

Of the 73 California stations served by Amtrak, Emeryville was the fifth busiest in FY2010, boarding or detraining an average of approximately 1450 passengers daily. en.wikipedia.org/wiki/Emeryville_(Amtrak_station)

To replace various helicopters in service at the time, namely the SH-34 Seahorse, the US Navy awarded Sikorsky a contract to develop a helicopter that would combine several roles into one airframe: hunter/killer antisubmarine warfare, cargo transport, and search and rescue. It would also have to be capable of amphibious operations and had to be able to operate from smaller ships as well as aircraft carriers. Sikorsky’s HSS-2 Sea King was the response, and it first flew in March 1959. The HSS-2 had a distinctive “boat” hull for water landings, including flotation bags in the sponsons, good visibility from the cockpit, and a folding tail section for stowage. In the antisubmarine role, the HSS-2 was equipped with a dipping sonar unreeled from the forward hull, 21 sonobuoys, and a MAD “bird” capable of being deployed from the port sponson. In 1962, the type’s designation was changed to SH-3A.

The SH-3 would remain in US Navy service for the next 50 years. During Vietnam, it operated in plane guard duties for carriers, the first aircraft to launch and the last to recover; it also served in SAR duties from the carriers and smaller ships, flying over water and often over land to rescue downed pilots. In this role, the SH-3 is probably responsible for the rescue of more people than any other aircraft type. Dedicated SAR helicopters often were equipped with heavy or light machine guns. Other versions were converted to UH-3 utility helicopters (for vertical replenishment and light cargo duties) and VH-3 VIP transports. The latter were the last Sea Kings in US service.

The US Navy began replacing the aging SH-3 following the First Gulf War, with ASW/SAR SH-3s mostly gone from fleet service by 1997. Cargo and utility variants remained in service until 2006. Besides its service in the US armed forces, Sea Kings were heavily exported to 17 air forces, including license-built versions made by Westland (Sea Kings), United Aircraft of Canada (CH-124), Agusta (AS-61), and Mitsubishi (HSS-2); foreign variants are used both in traditional roles for the Sea King, as well as antishipping duties, troop transports, minesweeping, and even airborne early warning. It remains in service worldwide.

When I noticed the side number of this SH-3 and the squadron--66 and HS-4--I got pretty excited: HS-4 (now HSC-4, "Black Knights") was assigned to my dad's carrier, USS Yorktown (CVS-10) from 1960 to 1968, and "Fetch 66," as it was known, was part of the recovery team for Apollo 8. Dad rode briefly in Fetch 66 while being transferred temporarily to a destroyer. If this was the same helicopter, it would be an amazing coincidence to photograph it 50 years after Dad rode in it.

However, this is not the "real" Fetch 66, which handled recovery duties for all the Apollo missions, and HS-4 was assigned to USS Hornet when the Yorktown transferred to the East Coast. The real helicopter, Bureau Number 152711, crashed in the Pacific Ocean in 1975 with the loss of the pilot, though the rest of the crew was rescued. This "SH-3" is actually 149006, a UH-3H utility helicopter repainted to look like a SH-3D.

Whatever its origin, it has been particularly well restored as Fetch 66, and is shown recovering a mockup Apollo capsule. It carries the standard US Navy Vietnam-era color scheme for SH-3s, with white over light gray (a reverse of combat aircraft). The "Abandon Chute" legend on the bottom is an instruction for downed pilots to cut away their parachutes, so they would not fill with water or be dragged by the downwash from the rotors.

NEW DELHI : West Indies fast bowler Jerome Taylor on Wednesday signed for the Mumbai Indians, replacing Lasith Malinga who was ruled out of this season’s Indian Premier League (IPL) with a knee injury, reports BSS.

The 31-year-old Taylor will join the Ricky Ponting-coached side for the...

thebangladeshtoday.com/2016/04/taylor-replaces-malinga-mu...

Named after Sir Walter Scott’s first novel, Paddle Steamer PS Waverley was built on the Clyde in 1947 - to replace the original Waverley that sunk off Dunkirk during active war service in 1940.

Waverley’s keel was laid on December 27, 1945 but due to material shortages after the war, she was not ready for launch until October 2, 1946.

It wasn’t until the following year on January 20, 1947 that she was towed to Greenock for the installation of her boiler and engines. Finally she made her maiden voyage on June 16, 1947 and started what was to become a very long career.

Since 2003 Waverley has been listed in the National Historic Fleet by National Historic Ships UK as "a vessel of pre-eminent national importance". She appeared in the 2011 film 'Sherlock Holmes: A Game of Shadows'. She is claimed to be "the most photographed ship in the world."

Waverley has had several colour schemes in her life. Early photographs show paddle boxes painted sometimes white and sometimes black. The gold stripe along the hull is in some photos and not others. Today Waverley has the LNER 1947 livery of red, white and black funnels, traditional brown-grained (or "scumbled") superstructure and black paddle-wheel boxes, decorated with gold lettering on each side.

Waverley was originally intended to sail only between Craigendoran & Arrochar in West Scotland. She now sails right round Britain offering regular trips on the Clyde, the Thames, South Coast of England and the Bristol Channel with calls at Liverpool & Llandudno.

Waverley is the world’s last sea-going paddle steamer. In 1975, at the end of her working life, she was famously bought for £1 by the Paddle Steamer Preservation Society. Waverley Steam Navigation Co. Ltd, a charity registered in Scotland, was set up.

Tonnage:693 grt;

Length:239 ft 11 in (73.13 m);

Beam: 57 ft 3 in (17.45 m);

Draught:6 ft 3 in (1.91 m).

Installed power:2,100 ihp (1,566kW)

Waverley is powered by a three-crank diagonal triple-expansion marine steam engine built by Rankin & Blackmore, Engineers, Eagle Foundry, Greenock, Scotland. It is rated at 2,100 IHP and achieved a trial speed of 18.37 knots (34.02 km/h; 21.14 mph) at 57.8 rpm. Passengers can watch these engines from passageways on either side of the engine room.

The main crank is solidly attached to both paddle wheels so they cannot turn independently of each other. The Waverley therefore has a much larger turning circle than modern ferries.

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Replace mechanism in the gear train.

See the full series here: www.flickr.com/photos/zzpza/sets/72157627089382019/with/5...

Made and manufactured by Sting International of UK in 2012.

Credit to Andrew Nguyen for filming it at Westfield Galleria at Roseville in 1151 Galleria Blvd, Roseville, CA.

I think this and IX Simulator got replaced into 1950s Bronco kiddie ride "Bucky the Bucking Bronco" (Dark gray).

This mall recently used CTM Group's kiddie rides. Then in 2024, they had switched to those from a company that repaints, restores and refurbishes horse and bull kiddie rides, but I don't know what's the name of the company, and I don't know what city is it in, but if you know, please comment.

Replacing an earlier scanned photo with a better version, plus DeNoise AI 25-Jan-23.

This aircraft was line No: 446 and the last DC-10, built in Dec-88. It was originally ordered as a freighter by FedEx (N318FE not used) but the order was cancelled before completion.

It was changed to a passenger aircraft was was due for delivery to Nigerian Airways as 5N-AUI. However, the order was taken over by the Japan Leasing Corporation and it was leased to Nigerian Airways as N3024W in Jul-89.

It was repossessed by the lessor in Dec-93 and sold to Equator Leasing Inc the following day. It was repainted all white at Amsterdam, Netherlands in Dec-93 and stored at Amsterdam until May-94 when it was ferried to Zurich, Switzerland for further storage.

The aircraft was leased to World Airways in Apr-95. It was wet-leased to Malaysia Airlines for a Haj Pilgrimage operation in early May-95 and returned to World Airways at the end of Jun-95. It was re-registered N117WA in Sep-95.

In Mar-96 the aircraft was wet-leased to Garuda Indonesia Airlines for another Haj Pilgrimage and returned to World Airways in May-96. It was returned to the lessor as N117GB in Oct-01 and stored at Manchester, UK. It ferried to Tel Aviv, Israel in Jan-02 (above) for further storage.

The aircraft was leased to World Airways again as N353WL in Nov-02 and returned to the lessor in Oct-04. It was sold Omni DC-10 Leasing LLC and leased to Omni Air International in Nov-04.

It was re-registered N270AX in Feb-05 and continued in service until it was permanently retired at Tulsa, OK, USA in Aug-11. It was broken up there in Apr-12.

The 80's called - they had some extra switches.

Corbeil School Buses will replace all of the nasty annoying Six Flags buses from the 2000s because Corbeil School Buses are friendly with a friendly smile face symbol especially I am making schools be all friendly and happy with Disney Snow White and Pinocchio stuff, kind and respectful and caring teachers, green chalkboards, electric mechanical wall bells, yellow classroom walls, Corduroy the Bear with two buttons on his overalls, and Blue's Clues Steve notebooks and Blue's Clues and You Josh notebooks etc whereas the nasty annoying Six Flags bus from the 2000s are extremely annoying and also played that extremely annoying song we all hate which was titled "We like to Party by the Vengaboys" and the Vengaboys song "We Like to Party" MUST BE BANNED and never ever get revived because it annoyed everybody and reminds everybody of T.R. Chula's white saliva and I never ever want anything to go on T.R. Chula's white saliva. The Vengaboys song "We Like to Party" even annoyed Justin Timberlake too not just me and the McDonaldland kids singers. Mr. Six the mascot of Six Flags of 2004 MUST BE BANNED and NEVER EVER get revived in the future because Mr. Six is so bald, annoying, and freaky and freaks people out and have killed the happiness of the late 1990s which is getting restored forever. And Mr. Six have danced to the worst annoying song we all hate which is called "We Like to Party" and also have restored the worst Tom and Jerry cartoon "Tom and Jerry: The Movie" with some bratts were getting bad advice from this movie with convience taking over good old fashioned traditional stuff is the exaggerated house demolition in 1992's Tom and Jerry the movie with a pear-shaped wrecking ball destroying the beautiful old fashioned living house and replacing it with a garage full of ice cream trucks with the bad old outdated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely mean-spirited and is a yield sign that says stop which is extremely wrong and confusing to people who are deaf, color blind, can't read, or don't speak English. Also old fashined traditional stuff are extremely important not just conviences. Good thing I am making safety collaborations by updating all ice cream trucks to all have the current updated yellow trapezoid children slow crossing warning blades that word children slow crossing and or school bus swing arm stop signs which are octagon shaped especially I know for a fact in all traffic signs the shape is the most important not just the word and color especially in all stop signs the octagon shape is the most important not just the word and color in the 2000s when McDonald's had super-size which made our economy gone bad. So when Mr. Six gets Banned we will all tear apart the Six Flags buses used in the Six Flags commercial when Mr. Six was the masscot as new playplace play equipments for McDonald's restaurants and we will also smash the music box inside of these Six Flags buses into pieces so we will never ever hear that annoying song "We like to Party" ever again. So T.R. Chula the evil Tarantula from Fievel Goes West MUST BE BURNED INTO ASHES IN A FIRE and extinguish his white saliva for good. Tom and Jerry: The Movie (1992) MUST BE BANNED never ever get revived in the future because Tom and Jerry: The Movie (1992) does have an upsetting unrealistic house demolition with an old fashioned pear-shaped wrecking ball destroying a beautiful old fashioned living house because of it being decades old ruining nostalgia and ruining my golden toddlerhood and abused many Blue's Clues Steve fans making them think the wrecking ball destroyed the handy dandy notebooks which we all love because the destroyed house at the beginning of Tom and Jerry: The Movie (1992) does look slightly identical to the Blue's Clues House and now even the destroyed Handy Dandy Notebooks are getting mended back together. So I hereby Tom and Jerry: The Movie (1992) to BE BANNED FOREVER due to abusing Blue's Clues Steve Fans like me. Tom and Jerry: The Movie MUST BE BANNED because it has an unrealistic house demolition with a very bad old fashioned wrecking ball that upsets people so bad and abused many Blue's Clues Steve Fans and some bratts were getting bad advice from this movie with convience taking over good old fashioned traditional stuff is the exaggerated house demolition in 1992's Tom and Jerry the movie with a pear-shaped wrecking ball destroying the beautiful old fashioned living house and replacing it with a garage full of ice cream trucks with the bad old outdated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely mean-spirited and is a yield sign that says stop which is extremely wrong and confusing to people who are deaf, color blind, can't read, or don't speak English. Also old fashined traditional stuff are extremely important not just conviences. Good thing I am making safety collaborations by updating all ice cream trucks to all have the current updated yellow trapezoid children slow crossing warning blades that word children slow crossing and or school bus swing arm stop signs which are octagon shaped especially I know for a fact in all traffic signs the shape is the most important not just the word and color especially in all stop signs the octagon shape is the most important not just the word and color.

. Similar to modern Simpsons (seasons 19 and Later) 1992's Tom and Jerry the movie is another bad media showing convience taking over good important traditional stuff with a pear-shaped wrecking ball destroying a beautiful old fashioned living house and replace the house with convient high rise appartment building with a garage full of ice cream trucks with the bad old oudated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which was mean-spirited and ruining my golden toddlerhood. In the 2000s, Warner Bros reviving 1992's Tom and Jerry the movie and and selling too many DVD copies of that movie surpassing Corduroy the Bear and his buttons was all McDonald's corporation and Bogen Communication's fault because the super size at McDonald's was brainwashing many people by reviving the bad old 1992 Tom and Jerry movie and popularizing Bogen Multicom 2000 and their mean spirited bell tones that are haunted chimes that don't sound like a bell at all scaring off kids especially kids with autism and making them not want to go to school and abandoning my golden toddler stuff like Corduroy the Bear with two buttons on his green corduroy overalls but good thing I am undoing all of the bad influence the super size gave us by restoring my golden toddlerhood, safety improvements, kindness improvements, reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that corduroy the bear does have two buttons on his green corduroy overalls forever and bringing back all nostalgic inducing stuff like green chalkboards and electric mechanical wall bells etc and create a nostalgic inducing future. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation. The reality is that demolition are based on how bad the building is damaged not on how old the building is like in 1992's Tom and Jerry the movie. The Vengaboys song, We like to Party MUST BE BANNED and never ever get revived in the future because this song annoys people very bad and reminds them of T.R. Chula's white saliva and I never ever want anything on T.R. Chula's white saliva and especially in 2004, they introduced the worst and most creepy mascot to Six Flags who was called Mr. Six who will also be banned too because he danced to this annoying song we all hate and this is one of the reasons why Six Flags MUST SHUT DOWN forever and get replaced by Corbeil School Bus Manufacturing Plants and we want the world to be a friendlier place too not with this annoying song by the Vengaboys. This song doesn't only annoy me this song also annoys Justin Timberlake and Jimmy Buffett. Mr. Six the mascot of Six Flags of 2004 MUST BE BANNED and NEVER EVER get revived in the future because Mr. Six is so bald, annoying, and freaky and freaks people out and have killed the happiness of the late 1990s which is getting restored forever. And Mr. Six have danced to the worst annoying song we all hate which is called "We Like to Party" and also have restored the worst Tom and Jerry cartoon "Tom and Jerry: The Movie" with some bratts were getting bad advice from this movie with convience taking over good old fashioned traditional stuff is the exaggerated house demolition in 1992's Tom and Jerry the movie with a pear-shaped wrecking ball destroying the beautiful old fashioned living house and replacing it with a garage full of ice cream trucks with the bad old outdated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely mean-spirited and is a yield sign that says stop which is extremely wrong and confusing to people who are deaf, color blind, can't read, or don't speak English. Also old fashined traditional stuff are extremely important not just conviences. Good thing I am making safety collaborations by updating all ice cream trucks to all have the current updated yellow trapezoid children slow crossing warning blades that word children slow crossing and or school bus swing arm stop signs which are octagon shaped especially I know for a fact in all traffic signs the shape is the most important not just the word and color especially in all stop signs the octagon shape is the most important not just the word and color in the 2000s when McDonald's had super-size which made our economy gone bad. So when Mr. Six gets Banned we will all tear apart the Six Flags buses used in the Six Flags commercial when Mr. Six was the masscot as new playplace play equipments for McDonald's restaurants and we will also smash the music box inside of these Six Flags buses into pieces so we will never ever hear that annoying song "We like to Party" ever again. So T.R. Chula the evil tarantula from Fievel Goes West MUST BE BURNED INTO ASHES IN A FIRE and extinguish his white saliva for good. Tom and Jerry: The Movie (1992) MUST BE BANNED never ever get revived in the future because Tom and Jerry: The Movie (1992) does have an upsetting unrealistic house demolition with an old fashioned pear-shaped wrecking ball destroying a beautiful old fashioned living house because of it being decades old ruining nostalgia and ruining my golden toddlerhood and abused many Blue's Clues Steve fans making them think the wrecking ball destroyed the handy dandy notebooks which we all love because the destroyed house at the beginning of Tom and Jerry: The Movie (1992) does look slightly identical to the Blue's Clues House and now even the destroyed Handy Dandy Notebooks are getting mended back together. So I hereby Tom and Jerry: The Movie (1992) to BE BANNED FOREVER due to abusing Blue's Clues Steve Fans like me. Tom and Jerry: The Movie MUST BE BANNED because it has an unrealistic house demolition with a very bad old fashioned wrecking ball that upsets people so bad and abused many Blue's Clues Steve Fans and some bratts were getting bad advice from this movie with convience taking over good old fashioned traditional stuff is the exaggerated house demolition in 1992's Tom and Jerry the movie with a pear-shaped wrecking ball destroying the beautiful old fashioned living house and replacing it with a garage full of ice cream trucks with the bad old outdated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely mean-spirited and is a yield sign that says stop which is extremely wrong and confusing to people who are deaf, color blind, can't read, or don't speak English and polluting the environment and putting Eastern cottontail rabbits extinct. Also old fashined traditional stuff are extremely important not just conviences. Good thing I am making safety collaborations by updating all ice cream trucks to all have the current updated yellow trapezoid children slow crossing warning blades that word children slow crossing and or school bus swing arm stop signs which are octagon shaped especially I know for a fact in all traffic signs the shape is the most important not just the word and color especially in all stop signs the octagon shape is the most important not just the word and color.

. Similar to modern Simpsons (seasons 19 and Later) 1992's Tom and Jerry the movie is another bad media showing convience taking over good important traditional stuff with a pear-shaped wrecking ball destroying a beautiful old fashioned living house and replace the house with convient high rise appartment building with a garage full of ice cream trucks with the bad old oudated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which was mean-spirited and ruining my golden toddlerhood. In the 2000s, Warner Bros reviving 1992's Tom and Jerry the movie and and selling too many DVD copies of that movie surpassing Corduroy the Bear and his buttons was all McDonald's corporation and Bogen Communication's fault because the super size at McDonald's was brainwashing many people by reviving the bad old 1992 Tom and Jerry movie and popularizing Bogen Multicom 2000 and their mean spirited bell tones that are haunted chimes that don't sound like a bell at all scaring off kids especially kids with autism and making them not want to go to school and abandoning my golden toddler stuff like Corduroy the Bear with two buttons on his green corduroy overalls but good thing I am undoing all of the bad influence the super size gave us by restoring my golden toddlerhood, safety improvements, kindness improvements, reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that corduroy the bear does have two buttons on his green corduroy overalls forever and bringing back all nostalgic inducing stuff like green chalkboards and electric mechanical wall bells etc and create a nostalgic inducing future. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation. The reality is that demolition are based on how bad the building is damaged not on how old the building is like in 1992's Tom and Jerry the movie. And Mr. Six the Vengaboys song We Like to Party are references to the bad dangerous glass walls and high dangerous crawl tubes McDonald's PlayPlaces used to had in the early 1990s before Blue's Clues was ever created.

In 1899 George L. Heins replaced Issac G. Perry as state architect; he held the office until 1907. Heins designed armories in the castellated/Richardsonian Romanesque style. During his tenure he designed numerous armories, but to date, seven are known to survive. Heins’ armories incorporate features of castle-like fortresses, including: soaring towers, crenellated parapets, massive sally ports, and iron portcullises. Hein’s armories; however, tend to reflect a more modern and stylized interpretation of medieval forms and details.

The Main Street Armory is by far the largest and grandest armory designed by Heins and is among the most sophisticated early 20th century armories in upstate New York. Reflecting Rochester’s prominent position in the state at the turn of the century, the East Main Street Armory is worthy of comparison to some of New York’s finest pre-World War II armories.

The Main Street Armory, built in 1905 as headquarters for western New York’s 3rd Battalion, is also historically significant for its association with American military history. The volunteer militia (ie: the National Guard) has been and to an extent still is the backbone of the American military system since the colonial era. The Main Street Armory, like virtually all other National Guard armories, remains a prominent visual reminder and monument of the pivotal role played by the volunteer militia in American military history.

The Main Street Armory was commissioned by the state at the turn of the century and constructed by the Army Corps of Engineers. A castle was chosen to represent the Main Street Armory to historically commemorate the original design used by the Corps. Soldiers on their way overseas to fight in World War I and World War II passed through the armory for final training and processing. The East Main Street Armory was used by various divisions of the National Guard and other reserve forces in the Rochester area over the years. The last personnel to inhabit the armory were personnel from the 209th battalion and the 2nd division of the 174th Infantry Battalion of the National Guard. In 1990 the military decided that renovations to the building would be too costly and built another armory in Scottsville to continue military operations.

In the early 20th century, the 35,000-square-foot main arena (designed originally for drill exercises) hosted circuses, concerts, balls, and auto shows. It was the home arena for the Rochester Iroquois indoor lacrosse team in the 1930s. The Iroquois’ most famous player was Jay Silverheels who played Tonto in the Lone Ranger television series from 1949-57. Silverheels played lacrosse under his real name of Harry (Harold) Smith.

The building was also the home of the Rochester Centrals, the city’s first professional basketball team from 1925-31. The Centrals played in the American Basketball League for six seasons. The ABL was the country’s first professional basketball league. In addition to professional basketball the Armory also hosted many high school games and served as the home court for Rochester East High School. Two future National Basketball Association players came out of East High School in the late 1940s and early 1950s. Walter Dukes (Seton Hall, Detroit Pistons) and Al Butler (Niagara University, New York Knicks, Boston Celtics) played their home games for East High at the Armory.

When the Rochester Community War Memorial Arena (now the Blue Cross Arena) opened in 1955 most of the Armory’s signature events shifted venues. The Damascus Temple Shrine Circus left after their 1960 performance. The Main Street Armory remained for mostly military use up until 1990.

It was later auctioned off to Jeff Brongo who for a brief time hosted events in the armory, but was later shutdown for not having a sprinkler system. At this time the armory sat mostly unused for over ten years, until it was reclaimed by the state for non-payment of back taxes.

Adapted from wholenewmom.com/recipes/energ-egg-substitute-egg-replacer..., this is a cheap, accessible and easy to make version of the Ener-G Egg Replacer Powder. Gluten, corn, soy and dairy free!

yummysmells.blogspot.ca/2013/05/homemade-egg-replacer.html

Rusty Rolls Royce with unusual radiator mascot

Replacing an earlier scanned photo with a better version 09-Sep-21 (DeNoise AI).

Taken from YVR South Terminal.

First flown with the Airbus test registration F-WWJZ, this aircraft was delivered to Singapore Airlines as 9V-SJC in Jun-96. Singapore Airlines A340-300 fleet was traded in to Boeing between 2001/2003 in part-exchange for new Boeing 777-300ER's.

This one was registered to the Boeing Aircraft Holding Company in Dec-01 and immediately leased to Cathay Pacific Airways as B-HXO. It was sold to a lessor in Mar-02 while the lease to Cathay Pacific continued.

The aircraft was withdrawn from service and stored at Victorville, CA, USA in Sep-09. It was returned to the lessor in Feb-12 and leased to Aerolineas Argentinas as LV-CSF later the same month. It was returned to the lessor and permanently retired at San Bernadino, CA, USA in Mar-18. It was sold to Unical Aviation as N128XX in May-18 for parting out.

Replacing the top cover wind side.

This aircraft was developed to replace the Martin B-10 and was based on the Douglas DC-2 commercial transport. It competed with an early version of the Boeing B-17 and won out. By 1939 it was considered to be underpowered, to inadequate defensive armament and carried too small a bomb load. Some were destroyed at Pearl Harbor and in 1942 were relegated to anti-submarine or transport duty. A B-18 was the first American aircraft to sink a U-Boat. This is the oldest aircraft in the museum collection, built in 1938.

Replacing burnt wiring from the lightning strike.

Istobal M'Nex22 in silver with black and navy blue stripped carlite brushes installed in 2013, possibly replacing a WashTec SoftCare Pro

Video - youtu.be/KFwIoLaKc-0

• Operator •

SGN Retail

• Supplier •

Istobal UK

• Address •

Texaco Petrol Station

London Road

Hemingford Grey

PE27 5EU

England

Car Wash replaced in 2026 with a new Kärcher CW5