Structural Steel Quotes

But I don’t understand. Why do you want me to think that this is great architecture? He pointed to the picture of the Parthenon. That, said the Dean, is the Parthenon. - So it is. - I haven’t the time to waste on silly questions. - All right, then. - Roark got up, he took a long ruler from the desk, he walked to the picture. - Shall I tell you what’s rotten about it? - It’s the Parthenon! - said the Dean. - Yes, God damn it, the Parthenon! The ruler struck the glass over the picture. - Look,- said Roark. - The famous flutings on the famous columns – what are they there for? To hide the joints in wood – when columns were made of wood, only these aren’t, they’re marble. The triglyphs, what are they? Wood. Wooden beams, the way they had to be laid when people began to build wooden shacks. Your Greeks took marble and they made copies of their wooden structures out of it, because others had done it that way. Then your masters of the Renaissance came along and made copies in plaster of copies in marble of copies in wood. Now here we are, making copies in steel and concrete of copies in plaster of copies in marble of copies in wood. Why?

I am imbued with the notion that a Muse is necessarily a dead woman, inaccessible or absent; that a poetic structure - like the canon, which is only a hole surrounded by steel - can be based only on what one does not have; and that ultimately one can write only to fill a void or at the least to situate, in relation to the most lucid part of ourselves, the place where this incommensurable abyss yawns within us.

was it man's love to screw the sky with monuments span the bay with orange and silver bridges shuttling structure into structure incorruptible in this endless tie each age impassions be it in stone or steel either in echo or halfheard ruin

At last my liaison pulled up before a squat structure of poured concrete buttressed with steel, bleak and featureless, like a sepulcher for people who didn't believe in an afterlife.

Once, modestly enough, Doremus had assumed that he had a decent knowledge of finance, taxation, the gold standard, agricultural exports, and he had smilingly pontificated everywhere that Liberal Capitalism would pastorally lead into State Socialism, with governmental ownership of mines and railroads and water-power so settling all inequalities of income that every lion of a structural steel worker would be willing to lie down with any lamb of a contractor, and all the jails and tuberculosis sanatoria would be clean empty.

Seth and I used to like to picture how our world would look to visitors someday, maybe a thousand years in the future, after all the humans are gone and all the asphalt has crumbled and peeled away. We wondered what thise visitors would find here. We liked to guess at what would last. Here the indentations suggesting a vast network of roads. Here the deposits of iron where giant steel structures once stood, shoulder to shoulder in rows, a city. Here the remnants of clothing and dishware, here the burial grounds, here the mounds of earth that were once people's homes. But among the artifacts that will never be found - among the objects that will disintegrate long before anyone from elsewhere arrives - is a certain patch of sidewalk on a Californian street where once, on a dark afternoon in summer at the waning end of the year of the slowing, two kids knelt down together on the cold ground. We dipped our fingers in the wet cement, and we wrote the truest, simplest things we knew - our names, the date, and these words: We were here.

When steel is tempered, heat and pressure are used to strengthen the metal. When a butterfly first begins to emerge from its cocoon, it must struggle in order to strengthen its wings. If someone frees the butterfly from its cocoon prematurely, it will not be able to fly because its crucial tempering stage will not have occurred. In one experiment where an entire ecosystem was created within a protected bubble, the healthy trees fell unexpectedly. Researchers later realized that these trees needed wind in order build their structural strength to stay upright.

It is, of course, extremely toxic, but that’s the least of the problem. It is hypergolic with every known fuel, and so rapidly hypergolic that no ignition delay has ever been measured. It is also hypergolic with such things as cloth, wood, and test engineers, not to mention asbestos, sand, and water-with which it reacts explosively. It can be kept in some of the ordinary structural metals-steel, copper, aluminium, etc.-because of the formation of a thin film of insoluble metal fluoride which protects the bulk of the metal, just as the invisible coat of oxide on aluminium keeps it from burning up in the atmosphere. If, however, this coat is melted or scrubbed off, and has no chance to reform, the operator is confronted with the problem of coping with a metal-fluorine fire. For dealing with this situation, I have always recommended a good pair of running shoes.

I looked enviously at the over-head bead Popov had been laying in the bleeder pipe. It was as nearly perfect as I ever saw. Popov was a crackerjack structural steel welder, as good as or better than any of the men I had learned from in the General Electric plant in Schenectady.

I looked at her, then back at him. “If you really loved me, you’d do it.” Jealousy is the rust that eats away at morality’s hard steel. It’s cancerous, and once it starts it spreads, and spreads. At first it lets small concessions through. He watched me drink, do drugs. He looked the other way when we stole things. He was in love. He never realized all these lapses were weakening him, that a moment would come when I’d push harder than before and the entire structure would crumble into red powder. Armin gave me the gun. Took the bat. Closed his eyes and inhaled. Opened them and swung and exhaled. He’d gone for the head.

Science 101,” Bolt said. “Nothing helps electricity move faster than metal, and you just sent your entire entourage into a steel structure.

On the other hand, EPs experience these traumatic memories far too intensely, as “too real” (Heim & Buhler, 2003; Janet, 1928a, 1932a; Van der Hart & Steele, 1997). This is certainly not normal memory.

The "apparently normal personality" - the alter you view as "the client" You should not assume that the adult who function in the world, or who presents to you, week after week, is the "real" person, and the other personalities are less real. The client who comes to therapy is not "the" person; there are other personalities to meet and work with. When DID was still officially called MPD, the "person" who lived life on the outside was known as the "host" personality, and the other parts were known as alters. These terms, unfortunately, implied that all the parts other than the host were guests, and therefore of less importance than the host. They were somehow secondary. The currently favored theory of structural dissociation (Nijenhuis & Den Boer, 2009; van der Hart, Nijenhuis, & Steele, 2006), which more accurately describes the way personality systems operate, instead distinguishes between two kinds of states: the apparently normal personality, or ANP, and the emotional personality, or EP, both of which could include a number of parts. p21

One Disney “urban myth” is that in the event of a hurricane, the castle can be dismantled. That is untrue. The main building has an internal grid of steel framing, secured to a concrete foundation. The turrets and towers also have internal steel framing and were lifted by crane, then bolted permanently to the main structure.

They made a sweeping turn into Park Avenue and Herzog clutched the broken window handle. It wouldn’t open. But if it opened dust would pour in. They were demolishing and raising buildings. The avenue was filled with concrete-mixing trucks, smells of wet sand and powdery gray [sic] cement. Crashing, stamping pile-driving below, and, higher, structural steel, interminably and hungrily going up into the cooler, more delicate blue. Orange beams hung from the cranes like straws. But down in the street where the buses were spurting the poisonous exhaust of cheap fuel, and the cars were crammed together, it was stifling, grinding, the racket of machinery and the desperately purposeful crowds - horrible!

and thread, and even bandages, because he knew those at the clinic would not be sterile. The hospital was one of those communist-built structures of steel and glass, slapped up in the fifties, that could have been designed by a four-year-old. The workmanship was so shoddy that the cement abutments and window ledges were already crumbling. Probably not

Superstition, as indigenous to Louisiana as gators and Tabasco, holds that the spirits of the dead avenge any disruption of their bodies, which makes one wonder at the rancor released on the 1957 day when fifty-five white families re-interred their beloved in Hope Mausoleum after the Rt. Rev. Girault M. Jones, Bishop of Louisiana, deconsecrated the Girod Street Cemetery, condemning every last African American bone to anonymity in a mass grave in Providence Memorial Park. From that pogrom grew the Superdome. Thirteen acres of structural steel framing stretch up to 273 feet from the unholy ground, a towering testament to the American propensity to cheer black men into the end zones and desert them entirely six points later.

I am Itzapoca. Long ago the Mayans worshiped me as a god. Today I am forgotten, a stone head half-buried in the jungle. Yet I have endured for ages, far longer than any puny modern structure built from steel and concrete. Long before the era of hydraulic cranes, my followers lifted me to the top of this lush green slope where I sit looking down on the shining blue waters of the bay.

Complex structural dissociation involves an extensive range of phobias that exacerbate and maintain dissociation and impede functional adaptation. They include the phobia of (1) mental actions (i.e., an individual's inner experience of emotions, thoughts body sensations, needs, wishes); (2) dissociative parts of the personality; (3) attachment and attachment loss; (4) traumatic memory; and (5) change and healthy risk taking (van der Hart et al., 2006).

The city: grime, glamor, geometries of glass, steel, and concrete. Intractable, it rises from nature, like proud Babel, only to lie arthwart our will, astride our being. Or so it often seems. Yet immanent in that gritty structure is another: invisible, imaginary, made of dreams and desire, agent of all our transformations. It is that other city I want here to invoke…Immaterial, that city in-formed history from the start, molding human space and time ever since time and space molded them selves to the wagging tongue. IHAB HASSAN, Cities of Mind, Urban Words

With everything in place, engineers have begun working towards dismantling the Sarcophagus - estimated to take five years. Assuming that’s completed before 2023, when the Designed Steel Stabilisation Structure holding up the western wall is no longer guaranteed to take the weight, work can begin on removing fuel-containing material from within Unit 4. They’ll have 100 years, which sounds like a lot, but nuclear decommissioning is a notoriously laborious process. Despite the fire at England’s Windscale nuclear plant happening all the way back in 1957, clean-up work isn’t expected to finish until 2041.

Modern economies will always be tied to massive material flows, whether those of ammonia-based fertilizers to feed the still-growing global population; plastics, steel, and cement needed for new tools, machines, structures, and infrastructures; or new inputs required to produce solar cells, wind turbines, electric cars, and storage batteries. And until all energies used to extract and process these materials come from renewable conversions, modern civilization will remain fundamentally dependent on the fossil fuels used in the production of these indispensable materials. No AI, no apps, and no electronic messages will change that.

Optimal Tower is a skyscraper unlike its predecessors, rising skyward as an artistic endeavor, spirited and soulful, with a steel and glass manifestation reminiscent of Claude Monet's water lilies, and instantly dismissive of the gray, steel and mortar structures of the past. The architects and builders have pilfered Monet's color pallet and painted this vertical stretch of the Cavanaugh skyline with the delicate greens and blues and grays and yellows of Giverny. Somehow, in the structure, the sensibility of an impressionist painting emerges as the muted colors are faded in splotches and sunlit in others, with gradual transitions as subtle as the delicate brush strokes of the master himself. Steel beams crisscross haphazardly throughout the towering facade, which only reinforces its intrinsic impressionistic essence by emulating the natural randomness of the lily pond. Atop the structure, a simple fifty foot spire seems to rein in the freeform work beneath it as it merges the natural splendor into one straight pinnacle skyward. This one hundred and fifteen story building reaches twenty-five stories above its surroundings, creating a gloriously artful and peaked skyline not unlike the Alps in France that will be instantly recognizable the world over and cause onlookers to gasp and utter, "C'est Magnifique.

We drove north to Kramer’s motel and turned east through the cloverleaf and then north on I-95 itself. We covered fifteen miles and passed a rest area and started looking for the right State Police building. We found it twelve miles farther on. It was a long low one-story brick structure with a forest of tall radio masts bolted to its roof. It was maybe forty years old. The brick was dull tan. It was impossible to say whether it had started out yellow and then faded in the sun or whether it had started out white and gotten dirty from the traffic fumes. There were stainless-steel letters in an art deco style spelling out North Carolina State Police all along its length.

The river is rising. All over the planet the floods come often and the structures we build to contain them prove more ineffectual. It does not matter what kind of dikes we build. We can throw up massive security forces and still the drugs move at will. We can build big steel walls and still the people cross and move and mock the walls. We can create quarantines and still the plagues migrate to new ground and flesh. The world we think we believe in is ending before our eyes and no amount of meetings or discussions will come up with enough sandbags to stop the flow. Our fathers and mothers placed their faith in the new high dams. We sense the rivers cannot really be tamed.

The industrial towns of the North are ugly because they happen to have been built at a time when modern methods of steel-construction and smoke-abatement were unknown, and when everyone was too busy making money to think about anything else. ...But since the war, industry has tended to shift southward and in doing so has grown almost comely. The typical post-war factory is not a gaunt barrack or an awful chaos of blackness and belching chimneys; it is a glittering white structure of concrete, glass and steel, surrounded by green lawns and beds of tulips. ...As Mr Aldous Huxley has truly remarked, a dark Satanic mill ought to look like a dark Satanic mill and not like the temple of mysterious and splendid gods.

Quickly, reality set in. It was obvious that we had suffered heavy casualties, but I still did not know exactly what caused the attack. Shortly thereafter, someone reported to me that a large truck had penetrated our perimeter south of the BLT’s headquarters from the direction of the airport’s main terminal. The driver had rammed through the sergeant of the guard’s post in front of the BLT building’s entrance and detonated the truck’s payload in the lobby. The explosive force of the blast caused the concrete, steel-reinforced four-story structure, which was considered one of the strongest buildings in Lebanon, to completely collapse. Its total devastation was astounding. I took in this carnage as cries for help pierced the air.

In the fuel’s diluted state, and without the possibility of contact with water, the scientists concluded there was limited risk of another explosion. By 1996, however, things had changed. Condensation and water had entered the Sarcophagus via its many holes and seeped down into the solidified fuel-lava. It reacted with the uranium within, causing a surge in radioactivity. The Sarcophagus was ten years old at that stage, and an estimated 70% probability of collapse within the subsequent decade meant money was redirected away from research and towards engineering. This dangerous situation ultimately resulted in the Designed Stabilisation Steel Structure mentioned in Chapter 5. Research conducted into the corium has since been insubstantial.

To avoid corrosion of the steel structure, the designers have implemented a clever air-conditioning system that circles 45,000m³ of warm air per-hour within the vicinity of the shelter’s cladding. “There are steel structures that have lasted 100 years, such as the Eiffel Tower, but they last because they’re continually repainted,” said Dr Eric Schmieman, a senior technical advisor from Pacific Northwest National Laboratory in the US, to Wired magazine in 2013. “We’re not able to do that once we slide this into place - the radiation levels are so high we can’t send people in. So what are we going to do? We are going to condition the air that goes into that space. We’re going to keep the relative humidity in there at less than 40 percent.”278

literary studies share with Moravec a major blind spot when it comes to the significance of embodiment.3 This blind spot is most evident, perhaps, when literary and cultural critics confront the fields of evolutionary biology. From an evolutionary biologist’s point of view, modern humans, for all their technological prowess, represent an eye blink in the history of life, a species far too recent to have significant evolutionary impact on human biological behaviors and structures. In my view, arguments like those that Jared Diamond advances in Guns, Germs, and Steel: The Fates of Human Societies and Why Sex Is Fun : The Evolution of Human Sexuality should be taken seriously.4 The body is the net result of thousands of years of sedimented evolutionary history, and it is naive to think that this history does not affect human behaviors at every level of thought and action.

Gomi. Thirty-five percent of the landmass of Tokyo was built on gomi, on level tracts reclaimed from the Bay through a century's systematic dumping. Gomi, there, was a resource to be managed, to be collected, carefully plowed under. London's relationship to gomi was more subtle, more oblique. To Kumiko's eyes, the bulk of the city consisted of gomi, of structures the Japanese economy would long ago have devoured in its relentless hunger for space in which to build. Yet these structures revealed, even to Kumiko, the fabric of time, each wall patched by generation of hands in an ongoing task of restoration. The English valued their gomi in its own right, in a way she had only begun to understand; they inhabited it. Gomi in the Sprawl was something else: a rich humus, a decay that sprouted prodigies in steel and polymer. The apparent lack of planning alone was enough to dizzy her, running so entirely opposite the value her own culture placed on efficient land use. Her tax ride from the airport had already shown her decay, whole blocks in ruins, unglazed windows gaping above sidewalks heaped with trash. And faces staring as the armoed hover made its way through the streets.

People had always been told that the house at Skuytercliff was an Italian villa. Those who had never been to Italy believed it; so did some who had. The house had been built by Mr. van der Luyden in his youth, on his return from the "grand tour," and in anticipation of his approaching marriage with Miss Louisa Dagonet. It was a large square wooden structure, with tongued and grooved walls painted pale green and white, a Corinthian portico, and fluted pilasters between the windows. From the high ground on which it stood a series of terraces bordered by balustrades and urns descended in the steel–engraving style to a small irregular lake with an asphalt edge overhung by rare weeping conifers. To the right and left, the famous weedless lawns studded with "specimen" trees (each of a different variety) rolled away to long ranges of grass crested with elaborate cast–iron ornaments; and below, in a hollow, lay the four–roomed stone house which the first Patroon had built on the land granted him in 1612. Against the uniform sheet of snow and the greyish winter sky the Italian villa loomed up rather grimly; even in summer it kept its distance, and the boldest coleus bed had never ventured nearer than thirty feet from its awful front.

But the crown jewel was the columned Greek Revival mansion, which dated from the mid-1800s, along with the manicured boxwood gardens that would serve as the backdrop for the couple's ceremony. Of course, everything was not only very traditional but also a standard to what one might imagine an over-the-top Southern wedding to be. As I said, "Steel Magnolias on steroids." The ceremony would take place outdoors in the garden, but large custom peach-and-white scalloped umbrellas were placed throughout the rows of bamboo folding chairs to shade the guests. Magnolia blossoms and vintage lace adorned the ends of the aisles. White, trellis-covered bars flanked the entrance to the gardens where guests could select from a cucumber cooler or spiked sweet tea to keep cool during the thirty-minute nuptials. It was still considered spring, but like Dallas, Nashville could heat up early in the year, and we were glad to be prepared. By the time we arrived the tent was well on its way to completion, and rental deliveries were rolling in. The reception structure was located past the gardens near the enormous whitewashed former stable, and inside the ceiling was draped in countless yards of peach fabric with crystal chandeliers hanging above every dining table. Custom napkins with embroidered magnolias on them complemented the centerpieces' peach garden roses, lush greenery, and dried cotton stems. Cedric's carpentry department created floor-to-ceiling lattice walls covered in faux greenery and white wisteria blooms, a dreamy backdrop for the band.

The Mississippi is surrounded by a vast network of concealed plumbing that underlies the whole of the American Midwest. As for the great river at the heart of this maze, it is now for all intents and purposes a man-made artifact. Every inch of its course from its headwaters to its delta is regulated by synthetic means—by locks and dams and artificial lakes, revetments and spillways and control structures, chevrons and wing dams and bendway weirs. The resulting edifice can barely be called a river at all, in any traditional sense. The Mississippi has been dredged, and walled in, and reshaped, and fixed; it has been turned into a gigantic navigation canal, or the world’s largest industrial sewer. It hasn’t run wild as a river does in nature for more than a hundred years. Its waters are notoriously foul. In the nineteenth century, the Mississippi was well known for its murkiness and filth, but today it swirls with all the effluvia of the modern age. There’s the storm runoff, thick with the glistening sheen of automotive waste. The drainage from the enormous mechanized farms of the heartland, and from millions of suburban lawns, is rich with pesticides and fertilizers like atrazine, alachlor, cyanazine, and metolachlor. A ceaseless drizzle comes from the chemical plants along the riverbanks that manufacture neoprene, polychloroprene, and an assortment of other refrigerants and performance elastomers. And then there are the waste products of steel mills, of sulfuric acid regeneration facilities, and of the refineries that produce gasoline, fuel oil, asphalt, propane, propylene, isobutane, kerosene, and coke. The Mississippi is one of the busiest industrial corridors in the world.

As the rhetoric and power structures of old dissolve, from monarchy to capitalism to the space between a vocalized phrase and its indefinable mental inclination, this urge becomes heightened. And eventually, this conflict absorbs and finds its home within that foundation from whence it is borne, and from where its impact will fractal into every other component of power and being; the place where this dysphoria and this exchange occurs, now that we have unloosed the stop from our pressured throats, of the place it occurs, of the place it will be fought, of the place where it matters most- the mind. Because Mind as we know it and matter itself are no longer so perceptually separate. You are reading these words right now, but how? The voice is no longer an element confined in expression to the physical body. I press buttons with letters on them, just as my tongue presses the palate of my mouth as my diaphragm rises and I have told you something by the sound of my voice, I tell you something now, and you hear me, as we both engage with a device rooted in external reality- a computer screen, or the fluorescent face of a silicon phone- and you cannot tell me that Mind and this device through which we Know the things and engage with things and express things of the nature which the Mind is crafted by and through- are separate. Tell me you are not already integrated with this device you hold in your hands. Now this- this nexus- will be the stage where the battles of yore, which were fought upon dirt and in the sand and in lush, wild forests with sticks and spears and gunpowder, will now meet and address each other by name, and where they will wreak change with their fury as war is waged for territory of a different kind. And because of this, congratulations- you will be the stage, you will be the weapon, you will stand in the crossfire of wars that are not your own, as men always have through history and time, and “war” will be a different kind of thing. And, staying true to another law of humankind, like bronze, like iron, like steel, the same things that forge our tools will also craft our weapons. We don’t need nukes. We have the internet.

30 · First Party And even the very skies that framed New York, the texture of the night itself, seemed to have the architecture and the weather of the city’s special quality. It was, he saw, a Northern city: the bases of its form were vertical. Even the night here, the quality of darkness, had a structural framework, an architecture of its own. Here, compared with the qualities of night in London or in Paris, which were rounder, softer, of more drowsy hue, the night was vertical, lean, immensely clifflike, steep and clear. Here everything was sharp. It burned so brightly, yet it burned sweetly, too. For what was so incredible and so lovely about this high, cool night was that it could be so harsh and clear, so arrogantly formidable, and yet so tender, too. There were always in these nights, somehow, even in nights of clear and bitter cold, not only the structure of lean steel, but a touch of April, too: they could be insolent and cruel, and yet there was always in them the suggestion of light feet, of lilac darkness, of something swift and fleeting, almost captured, ever gone, a maiden virginal as April. 30. Първият прием стр. 519 Дори самото небе, надвиснало над Ню Йорк, дори тъканта на нощта като че ли бяха придобили специфичната структура и настроението на града. Това беше северен тип град - линиите му бяха предимно вертикални. Тук дори нощта и тъмнината притежаваха собствен строеж и архитектура. В сравнение с нощите на Париж и Лондон, които бяха по-овални, по-меки и по-сънливи, нощта на Ню Йорк беше вертикална, източена, наподобяваща безкрайно стръмна и гладка стена. Тук всичко беше остро и ръбато, и блясъкът му беше остър, но и така приятен. Невероятното и очарователното в тази блестяща студена нощ беше, че тя можеше да бъде неприветлива и сурова, арогантно страховита и в същото време толкова мека и нежна. Винаги в такива нощи, дори когато бяха сурови и леденостудени, се долавяше дъхът не само на стоманените конструкции, но и на април: те можеха да бъдат нагли и жестоки и все пак в тях долитаха леки стъпки. Обгръщаше ги теменужна тъма, имаше нещо бързо и преходно, почти уловимо и вечно изплъзващо се, моминско и девствено като април.

FASCIA: THE TIES THAT BIND Imagine a collagen-rich, stretchy slipcover for every organ, nerve, bone, and muscle in our bodies, and you start to get a sense of how fundamental connective tissue—specifically fascia—is to the entire body. Suspending our organs inside our torso, connecting our head to our back to our feet, fascia protects, supports, and literally binds our body together. Fascia can be gossamer-thin and translucent, like a spider web, or thick and tough like rope. Ounce for ounce, fascia is stronger than steel. Other specialized types of connective tissue include bones, ligaments, tendons, cartilage, and fat (adipose) tissue. Even blood, strictly speaking, is considered connective tissue. But to me, the most exciting aspect of the latest research on connective tissue relates to fascia. Fascia is the stretchy tissue that forms an uninterrupted, three-dimensional web within our body. Our body has sheets, bags, and strings of fascia of varying thickness and size, some superficial and some deep. Fascia envelops both individual microscopic muscle filaments as well as whole muscle groups, such as the trapezius, pectorals, and quadriceps. For example, one of the largest fascia configurations in the body is known as the “trousers,” a massive sheet of fascia that crosses over the knees and ends near the waist, giving the appearance of short leggings. This fascia trouser is thicker around the knees and thinner as it continues up the legs and over the hips, thickening again near the waist. When the fascia trouser is healthy, supple, and resilient, it acts like a girdle, giving the body a firm shape. Fascia helps muscles transmit their force so we can convert that force into movement. The system of fascia is bound by tensile links (think of the structure of a geodesic dome, like the one at Epcot in Disney World), with space and fluid between the links that can help absorb external pressure and more evenly distribute force across the fascial structure. This allows our bodies to withstand tremendous force instead of absorbing it in one local area, which would lead to increased pain and injury. Fascia is also a second nervous system in and of itself, with almost 10 times the number of sensory nerve endings as muscle. Helene Langevin, director of the Osher Center for Integrative Medicine at Harvard Medical School, has done landmark studies on the function and importance of connective tissue and its impact on pain. One of the leading researchers in the field today, Langevin describes fascia as a “living matrix” whose health is essential to our well-being.

In 1853, Haussmann began the incredible transformation of Paris, reconfiguring the city into 20 manageable arrondissements, all linked with grand, gas-lit boulevards and new arteries of running water to feed large public parks and beautiful gardens influenced greatly by London’s Kew Gardens. In every quarter, the indefatigable prefect, in concert with engineer Jean-Charles Alphand, refurbished neglected estates such as Parc Monceau and the Jardin du Luxembourg, and transformed royal hunting enclaves into new parks such as enormous Bois de Boulogne and Bois de Vincennes. They added romantic Parc des Buttes Chaumont and Parc Montsouris in areas that were formerly inhospitable quarries, as well as dozens of smaller neighborhood gardens that Alphand described as "green and flowering salons." Thanks to hothouses that sprang up in Paris, inspired by England’s prefabricated cast iron and glass factory buildings and huge exhibition halls such as the Crystal Palace, exotic blooms became readily available for small Parisian gardens. For example, nineteenth-century metal and glass conservatories added by Charles Rohault de Fleury to the Jardin des Plantes, Louis XIII’s 1626 royal botanical garden for medicinal plants, provided ideal conditions for orchids, tulips, and other plant species from around the globe. Other steel structures, such as Victor Baltard’s 12 metal and glass market stalls at Les Halles in the 1850s, also heralded the coming of Paris’s most enduring symbol, Gustave Eiffel’s 1889 Universal Exposition tower, and the installation of steel viaducts for trains to all parts of France. Word of this new Paris brought about emulative City Beautiful movements in most European capitals, and in the United States, Bois de Boulogne and Parc des Buttes Chaumont became models for Frederick Law Olmsted’s Central Park in New York. Meanwhile, for Parisians fascinated by the lakes, cascades, grottoes, lawns, flowerbeds, and trees that transformed their city from just another ancient capital into a lyrical, magical garden city, the new Paris became a textbook for cross-pollinating garden ideas at any scale. Royal gardens and exotic public pleasure grounds of the Second Empire became springboards for gardens such as Bernard Tschumi’s vast, conceptual Parc de La Villette, with its modern follies, and “wild” jardins en mouvement at the Fondation Cartier and the Musée du Quai Branly. In turn, allées of trees in some classic formal gardens were allowed to grow freely or were interleaved with wildflower meadows and wild grasses for their unsung beauty. Private gardens hidden behind hôtel particulier walls, gardens in spacious suburbs, city courtyards, and minuscule rooftop terraces, became expressions of old and very new gardens that synthesized nature, art, and outdoors living.

In opting for large scale, Korean state planners got much of what they bargained for. Korean companies today compete globally with the Americans and Japanese in highly capital-intensive sectors like semiconductors, aerospace, consumer electronics, and automobiles, where they are far ahead of most Taiwanese or Hong Kong companies. Unlike Southeast Asia, the Koreans have moved into these sectors not primarily through joint ventures where the foreign partner has provided a turnkey assembly plant but through their own indigenous organizations. So successful have the Koreans been that many Japanese companies feel relentlessly dogged by Korean competitors in areas like semiconductors and steel. The chief advantage that large-scale chaebol organizations would appear to provide is the ability of the group to enter new industries and to ramp up to efficient production quickly through the exploitation of economies of scope.70 Does this mean, then, that cultural factors like social capital and spontaneous sociability are not, in the end, all that important, since a state can intervene to fill the gap left by culture? The answer is no, for several reasons. In the first place, not every state is culturally competent to run as effective an industrial policy as Korea is. The massive subsidies and benefits handed out to Korean corporations over the years could instead have led to enormous abuse, corruption, and misallocation of investment funds. Had President Park and his economic bureaucrats been subject to political pressures to do what was expedient rather than what they believed was economically beneficial, if they had not been as export oriented, or if they had simply been more consumption oriented and corrupt, Korea today would probably look much more like the Philippines. The Korean economic and political scene was in fact closer to that of the Philippines under Syngman Rhee in the 1950s. Park Chung Hee, for all his faults, led a disciplined and spartan personal lifestyle and had a clear vision of where he wanted the country to go economically. He played favorites and tolerated a considerable degree of corruption, but all within reasonable bounds by the standards of other developing countries. He did not waste money personally and kept the business elite from putting their resources into Swiss villas and long vacations on the Riviera.71 Park was a dictator who established a nasty authoritarian political system, but as an economic leader he did much better. The same power over the economy in different hands could have led to disaster. There are other economic drawbacks to state promotion of large-scale industry. The most common critique made by market-oriented economists is that because the investment was government rather than market driven, South Korea has acquired a series of white elephant industries such as shipbuilding, petrochemicals, and heavy manufacturing. In an age that rewards downsizing and nimbleness, the Koreans have created a series of centralized and inflexible corporations that will gradually lose their low-wage competitive edge. Some cite Taiwan’s somewhat higher overall rate of economic growth in the postwar period as evidence of the superior efficiency of a smaller, more competitive industrial structure.

A democracy is understandably boisterous and subject to the prevailing social and economic whims of the nation’s bulging populous. Politics based upon mass appeal reveals an unseemly side, and a degree of pronounced vulgarity permeates American social and political culture. Make no mistake, Americans are loud, brash, and biased. The constitutional right to free speech and the established right to assemble enable pornography shops to do business wherever they please and allow virtually any organization to parade downtown. Part of what makes America beautiful – the right for people to do and say anything they please – also contributes to that distinctly Americana crust of crudeness. American cities reflect American’s propensity for vulgarity. Most of the cities built to satisfy America’s capitalistic needs are either boring or an outright eyesore. America’s cities contain oversized high-rises, sprinkled liberally with drab shopping malls, and dotted with ugly concrete edifices that stifle nature’s beauty. A nation’s functional architecture reflects the populations’ intrinsic values. Corporate conglomerates undertook most of the expensive new construction in America, and its boxy steel and glass structures are utilitarian in nature. Recent attempts at city planning and urban renewal cannot erase the tackiness and blockiness that accompanies so much of America’s tedious urban sprawl.

Patience Barbary thought the out-of-doors a treacherous bridge meant to convey her from one civilised structure to another.

She turned away from Falco as they approached the Rialto Bridge. Burning steel cressets illuminated both ends of the structure, its middle glistening faintly under the night sky. “It’s so pretty in the moonlight,” she said. She had rarely seen it this way. “Yes, pretty in the moonlight,” Falco echoed. Cass felt his eyes burning into her back, as if he were looking only at her when he spoke.

we use twice as much concrete every year as steel, aluminum, plastic, and wood combined. An estimated 70 percent of the world’s population live in structures made at least partly out of concrete.

I like to see a man standing at the foot of a skyscraper,' he said. 'It makes him no bigger than an ant - isn't that the correct bromide for the occasion? The God-damn fools! It's man who made it - the whole incredible mass of stone and steel. It doesn't dwarf him, it makes him greater than the structure. It reveals his true dimensions to the world. What we love about these buildings, Dominique, is the creative faculty, the heroic in man.

although those who exhibit structural division of the personality commonly exhibit altered states of consciousness, only relatively few individuals who experience altered states of consciousness also exhibit structural divisions of the personality. To clarify the distinction, Steele and colleagues preferred to reserve the terms dissociation and dissociative for instances of structural division of the personality, with altered states of consciousness instead referred to simply as such (see also Nijenhuis & van der Hart, 2011). Steel and colleagues called for further investigation of the psychological and neurobiological underpinnings of both pathological alterations in consciousness and structural division of the personality. Trauma-Related

Polly parked the van and peered through the windshield at the house. Well, good thing it was isolated here on the cliff because she was pretty sure there were zoning laws against this sort of eyesore. It was a massive, blocky structure, all white concrete, steel, and glass walls everywhere. She’d been expecting something more traditional, like an English-style brick building or a beachfront villa. Not a modern architect’s wet dream.

A piano builder or restorer, then, has to be part master carpenter and part structural engineer, fitting a mechanism as intricate as the finest timepiece into a wooden cabinet that is strengthened with a massive steel frame. A musical historian I once met commented that the mechanism was as complicated as a clock. ‘But the big difference’, he pointed out, ‘is that you don’t pound on a clock.’ This combination of delicacy and sturdiness, of finesse and vigor, makes the piano unique, and the skills to build or repair it are not often found in one person.

know that building’s been empty for a year,” Daisy said uneasily, “but how—?” “Sh! Watch! Now!” The looming building seemed to blur or fuzz for a moment. Then it was as if the lake’s bright ripples had invaded the old glass a hundred yards away. Wavelets chased themselves up and down the gleaming walls, became higher, higher … and then suddenly the glass cracked all over to tiny fragments and fell away, to be followed quickly by fragmented concrete and plastic and plastic piping, until all that was left was the nude steel framework, vibrating so rapidly as to be almost invisible against the gleaming lake. Daisy covered her ears, but there was no explosion, only a long-drawn-out low crash as the fragments hit twenty floors below and dust whooshed out sideways. “Spectacular!” Fay summed up. “Knew you’d enjoy it. That little trick was first conceived by the great Tesla during his last fruity years. Research discovered it in his biog—we just made the dream come true. A tiny resonance device you could carry in your belt-bag attunes itself to the natural harmonic of a structure and then increases amplitude by tiny pushes exactly in time. Just like soldiers marching in step can break down a bridge, only this is as if it were being done by one marching ant.” He

Ivar had faced a difficult question: How could he raise capital from investors who wanted a share of his company’s upside without giving them too much power over how the company was to be governed? Ivar didn’t want foreigners intruding on his Swedish companies, but he wanted their money. How could he get more cash from investors without giving them control? Historically, companies had tried various responses to this quandary, with little success. During the late nineteenth century, many companies had been resigned to the fact that they would have to give votes to all of their investors. Even the preferred shares of major industrial trusts (Steel Corporation, the American Woolen Company, and the American Shipbuilding Company, for example) had voting rights.17 Nearly every corporation gave votes to all of its shareholders, including both common and preferred shares. Years earlier, Coca-Cola had devised one awkward solution. It was a publicly listed and widely owned corporation, but 251,000 of its 500,000 shares were held by the Coca-Cola International Company, which was owned by a knot of insiders who held control.18 A few companies had followed CocaCola’s two-company approach: Associated Gas and Electric Securities Corporation held a controlling stake in Associated Gas and Electric Company; Armour and Company of Delaware was controlled by Armour and Company of Illinois.19 But that structure was clumsy and raised legal uncertainties about the relationships between parent and subsidiary.

It’s the Parthenon!” said the Dean. “Yes, God damn it, the Parthenon!” The ruler struck the glass over the picture. “Look,” said Roark. “The famous flutings on the famous columns—what are they there for? To hide the joints in wood—when columns were made of wood, only these aren’t, they’re marble. The triglyphs, what are they? Wood. Wooden beams, the way they had to be laid when people began to build wooden shacks. Your Greeks took marble and they made copies of their wooden structures out of it, because others had done it that way. Then your masters of the Renaissance came along and made copies in plaster of copies in marble of copies in wood. Now here we are, making copies in steel and concrete of copies in plaster of copies in marble of copies in wood. Why?

Three blocks east of the Frink National Bank stood the Dana Building. It was some stories lower and without any prestige whatever. Its lines were hard and simple, revealing, emphasizing the harmony of the steel skeleton within, as a body reveals the perfection of its bones. It had no other ornament to offer. It displayed nothing but the precision of its sharp angles, the modeling of its planes, the long streaks of its windows like streams of ice running down from the roof to the pavements. New Yorkers seldom looked at the Dana Building. Sometimes, a rare country visitor would come upon it unexpectedly in the moonlight and stop and wonder from what dream that vision had come. But such visitors were rare. The tenants of the Dana Building said that they would not exchange it for any structure on earth; they appreciated the light, the air, the beautiful logic of the plan in their halls and offices. But the tenants of the Dana Building were not numerous; no prominent man wished his business to be located in a building that looked “like a warehouse.

The explosion came with the birth of the skyscraper. When structures began to rise not in tier on ponderous tier of masonry, but as arrows of steel shooting upward without weight or limit, Henry Cameron was among the first to understand this new miracle and to give it form. He was among the first and the few who accepted the truth that a tall building must look tall. While architects cursed, wondering how to make a twenty-story building look like an old brick mansion, while they used every horizontal device available in order to cheat it of its height, shrink it down to tradition, hide the shame of its steel, make it small, safe and ancient—Henry Cameron designed skyscrapers in straight, vertical lines, flaunting their steel and height. While architects drew friezes and pediments, Henry Cameron decided that the skyscraper must not copy the Greeks. Henry Cameron decided that no building must copy any other.

told Murray that Albert Speer wanted to build structures that would decay gloriously, impressively, like Roman ruins. No rusty hulks or gnarled steel slums. He knew that Hitler would be in favor of anything that might astonish posterity. He did a drawing of a Reich structure that was to be built of special materials, allowing it to crumble romantically—a drawing of fallen walls, half columns furled in wisteria. The ruin is built into the creation, I said, which shows a certain nostalgia behind the power principle, or a tendency to organize the longings of future generations.

But as Indigenous and other scholars of settler colonialism have shown, colonial education systems are structurally sustained by the scholars who work within them. Inhabiting the settler university, Suriamurthee Moonsamy Maistry argues, is a “state of complicity by default.

Based on theoretical analysis, clinical observations, and some research findings (e.g., Kluft & Fine, 1993; Nijenhuis, Van der Hart, & Steele, 2002; Putnam, 1997; Reinders et al., 2003, submitted; Steinberg, 1995), as well as on 19th and early 20th century literature on dissociation (cf., Van der Hart & Dorahy, in press), we propose that traumatization essentially involves a degree of dissociative division of the personality that likely occurs along the lines of innate action systems of daily life and defense— what has been called structural dissociation of the personality (e.g., Nijenhuis et al., 2002; Van der Hart, Nijenhuis, Steele, & Brown, 2004). Dissociation of the personality develops when children or adults are exposed to potentially traumatizing events, and when their integrative capacity is insufficient to (fully) integrate these experiences within the confines of a relatively coherent personality.

Probably the most important development in materials during the last few years has been that made by the plant geneticists who have been breeding fast-growing varieties of commercial timbers. Thus varieties of Pinus radiata (Weymouth pine) are now being planted which, in favourable conditions, will increase in diameter by up to 12 centimetres per year and may be fit for felling, as mature timber, in six years. So there is a good prospect of timber becoming a crop which can be grown on a short time-cycle. Nearly all the energy which is needed to make it grow is provided, free, by the sun. Presumably, when one has finished with a timber structure, it could be burnt to yield up most of the energy which it has collected while it was growing. This is, of course, in no way true of steel or concrete. Again, timber used to need lengthy and expensive seasoning in heated kilns, which used up a good deal of energy. As a result of recent research it is now possible to season sizeable soft-wood scantlings in twenty-four hours, at a very low cost. These are very important developments in relation to structures and to the world energy situation,

Window frames were rotting, paint peeling like leprous scabs. Concrete had crumbled like meringue, the steel wires that lent support to the structure poking out like the ribs of a decaying carcass. Milton looked around.

Unhorsing capitalism was never the New Deal’s intent anyway. Especially since the outset of the war, the regime had largely come to agreeable terms with big business interests. It shed most programmatic overtures to universalize the welfare state and extend it into areas like health and housing. Structural reconfigurations of power relations in the economy, long-term economic planning, and state ownership or management of capital investments (commonplace during the war) were all offensive to the new centers of the postwar policy making, what soon enough would be widely referred to as the Establishment. Moreover, the “welfare state,” for all the tears now shed over its near death, was in its origins in late-nineteenth-century Europe a creature of conservative elitists like Bismarck or David Lloyd George, and had been opposed by the left as a means of defusing working-class power and independence, a program installed without altering the basic configurations of wealth and political control. As the center of gravity shifted away from the Keynesian commonwealth toward what one historian has called “commercial Keynesianism” and another “the corporate commonwealth,” labor and its many allies among middle-class progressives and minorities found themselves fighting on less friendly terrain. If they could no longer hope to win in the political arena measures that would benefit all working people—like universal health insurance, for example—trade unions could pursue those objectives for their own members where they were most muscular, especially in core American industries like auto and steel. So the labor movement increasingly chose to create mini private welfare states.

Before considering a geodesic sphere, different design structures were considered for Spaceship Earth including the Roman Parthenon, the dome of Saint Peter’s Cathedral in the Vatican (150 feet high and 107 feet in diameter), and the 125-foot-diameter steel frame supporting a map of the world, like the one at the 1964–65 New York World’s Fair. A golden geodesic dome was also seriously considered, inspired by the Expo ’67 dome in Montreal.

Across the freeway stands another structure from the other side of the mirror it destroys the logical processes of the mind, a man's thoughts become completely disorganized, madness streaming from every throat frustrated sounds from the bars, metallic sounds from the walls the steel trays, iron beds bolted to the wall, thr smells, the human waste. To determine how men will behave once they enter prison it is of first importance to know that prison.

Aluminum Hulls In 1931 England, aluminum was used in the construction of the Diana II, a 55 foot express cruiser, which is still in use. Aluminum is non-magnetic and is almost never found in the elemental state. As a ductile metal it is malleable and has about one-third the density and stiffness of steel. Aluminum is a corrosion resistant, easily machined, cast, drawn and extruded, however the procedure to weld it is more difficult and different from other metals. In 1935 the Bath Iron Works in Maine, built an experimental hull for Alcoa. Named the Alumette, it was floated to the James River in Newport News, Virginia for the purpose of testing its structural properties. The MV Sacal Borincano was an all-aluminum constructed Roll on Roll off, or Ro-Ro ship, designed to carry 40 highway trailers between Miami, FL and San Juan. PR. The relatively small ship was 226 feet in length and has a displacement of 2000 tons. The South Atlantic and Caribbean Line Inc. operated the vessel which was constructed by American Marine in 1967, with help from the Reynolds Metal Company. The vessel was constructed completely of heli-arced aluminum plates to achieve a working speed of 14 knots with a diesel electric power plant of 3000 hp generating 2240kW.

nerves. This structure is surrounded in both the root and crown by the dentine or tooth bone which is nourished from within. The dentine of the root is covered by cementum which receives nourishment from the membrane which attaches the root to the jaw bone. The dentine of the crown or exposed part of the tooth is covered with enamel. Tooth decay proceeds slowly through the enamel and often rapidly in the dentine, always following the minute channels toward the pulp, which may become infected before the decay actually reaches the pulp to expose it; nearly always the decay infects the pulp when it destroys the dentine covering it. When a tooth has a deep cavity of decay, the decalcified dentine has about the density of rotten wood. With an adequate improvement in nutrition, tooth decay will generally be checked provided two conditions are present: in the first place, there must be enough improvement in the quality of the saliva; and in the second, the saliva must have free access to the cavity. Of course, if the decay is removed and a filling placed in the cavity, the bacteria will be mechanically shut out. One of the most severe tests of a nutritional program, accordingly, is the test of its power to check tooth decay completely, even without fillings. There are, however, two further tests of the sufficiency of improvement of the chemical content of the saliva. If it has been sufficiently improved, bacterial growth will not only be inhibited, but the leathery decayed dentine will become mineralized from the saliva by a process similar to petrification. Note that this mineralized dentine is not vital, nor does it increase in volume and fill the cavity. When scraped with a steel instrument it frequently takes on a density like very hard wood and occasionally takes even a glassy surface. When such a tooth is placed in silver nitrate, the chemical does not penetrate this demineralized dentine, though it does rapidly penetrate the decayed dentine of a tooth extracted when decay is active

meaningless networks of trunks and branches and sticks and twigs of iron. But as you glide nearer still you see that the forest is not lifeless, nor its branches deserted. From the bottom to the topmost boughs it is crowded with a life that at first seems like that of mites in the interstices of some rotting fabric, and then like birds crowding the branches of the leafless forest, and finally appears as a multitude of pigmy men swarming and toiling amid the skeleton iron structures that are as vast as cathedrals and seem as frail as gossamer. It is from them that the clamour arises, the clamour that seemed so gentle and musical a mile away, and that now, as you come closer, grows strident and deafening. Of all the sounds produced by man’s labour in the world this sound of a great shipbuilding yard is the most painful. Only the harshest materials and the harshest actions are engaged in producing it: iron struck upon iron, or steel smitten upon steel, or steel upon iron,

Following van der Hart, Nijenhuis, and Steele’s (2006) structural theory of dissociation, a model that considers the spectrum of dissociative disorders in terms of increasing division and multiplicity within an individual’s first-person experience of agency and selfhood,

They pointed out that, although frequently co-occurring and confounded within any specific moment, “in theory it is simple to distinguish between the symptoms of structural dissociation and pathological fields and levels of conscious awareness: the former involves a division of the personality and the latter does not” (Steele et al., 2009, p. 160). Furthermore,

What is Directed Energy Deposition in 3D Printing Directed Energy Deposition (DED) is a term that encompasses technologies involving semi-automated powder spraying and wire welding for manufacturing. When applied to 3D shapes, DED is considered an additive manufacturing process. It typically results in a rougher surface compared to Powder Bed Fusion, due to the larger bead sizes and coarser powder used, which often necessitates additional machining. DED systems generally fall into two categories: deposition systems and hybrid systems that combine a DED head with traditional machining equipment. The main advantages of DED include faster deposition compared to powder bed fusion 3D printing and the ability to create functionally graded material structures, especially when using powder. Additionally, since the feedstock and energy source move together, DED systems can manufacture very large structures, unrestricted by the size limitations of a build box. In some cases, DED can be more effective than traditional manufacturing methods or powder bed fusion. Most DED systems consist of a deposition head that uses either wire or powder and is mounted on a robot or CNC system. Common energy sources include Arc, Laser, or Electron Beam, with lasers being the most frequently used for powder feedstock. The process involves offline programming to generate a tool path from a sliced CAD file. The motion system then follows this path, depositing material in layers to build the desired shape. DED is compatible with a variety of weldable alloys, such as aluminum, steel, nickel, and titanium. Depending on the chosen alloy and process, shielding gas may be applied locally or within an enclosed environment.

Elevating Architectural Elegance: A Deep Dive into Louvers Design with 3SGroups In the realm of modern architecture, the design and functionality of a building's facade are as crucial as its structural integrity. Among the myriad elements that contribute to both aesthetics and performance, louvers stand out as a sophisticated choice. At 3SGroups, we specialize in offering innovative louver designs that not only enhance the visual appeal of structures but also improve their efficiency. Here’s an in-depth look at the versatile world of louvers and how 3S Groups is shaping its future.

Roof Ventilator Design: Shree Sivabalaaji Steels In modern architecture and construction, effective ventilation is a key factor in ensuring both comfort and structural longevity. Among various ventilation systems, roof ventilators play a crucial role in enhancing airflow within buildings. Shree Sivabalaaji Steels, a prominent name in the steel manufacturing industry, offers specialized roof ventilator designs that combine functionality with durability. We will have explored the design considerations, benefits, and unique features of roof ventilators offered by Shree Sivabalaaji Steels.

What is PPC Cement? PPC (Pozzolana Portland Cement) is a widely recognized type of cement known for its durability and strength. It is made by blending ordinary Portland cement with pozzolanic materials such as fly ash, volcanic ash, or natural pozzolans. This combination enhances its properties, making it a popular choice in construction projects, especially in regions with extreme weather conditions. The use of PPC cement not only improves the longevity of structures but also contributes to sustainability by utilizing industrial by-products. Shree Sivabalaaji Steels Pvt Ltd: Overview Shree Sivabalaaji Steels Pvt Ltd, commonly referred to as 3S Groups, has established itself as a significant player in the construction materials industry. With a commitment to quality and innovation, 3S Groups focuses on providing top-grade products that meet the diverse needs of the construction sector. Founded with the vision of delivering superior building materials, 3S Groups has expanded its portfolio to include PPC cement among other steel products. The company prides itself on its state-of-the-art manufacturing processes, ensuring that every product adheres to the highest standards.

From the perspective of the objective world with its opaque qualities, or from the objective body with its isolated organs, the phenomenon of synesthesia is paradoxical...For the subject does not tell us merely that he has a sound and a color at the same time: it is the sound itself that he sees, at the place where colors form. This formula is literally rendered meaningless if vision is defined by the visual quale, or sound by the sonorous quale. But...the vision of sounds or the hearing of colors exist as phenomena. And they are hardly exceptional phenomena. Synesthetic perception is the rule and, if we do not notice it, this is because scientific knowledge displaces experience and we have unlearned seeing, hearing, and sensing in general in order to deduce what we ought to see, hear, or sense from our bodily organization and from the world as it is conceived by the physicist...In fact...by opening itself up to the structure of the thing, the senses communicate among themselves. We see the rigidity and the fragility of the glass, and, when it breaks with a crystal-clear sound, this sound is borne by the visible glass. We see the elasticity of steel, the ductility of molten steel, the hardness of the blade in a plane, and the softness of its shaving...The form of a fold in a fabric of linen or of cotton shows us the softness or the dryness of the fiber, and the coolness or the warmth of the fabric...In the movement of the branch from which a bird has just left, we read its flexibility and its elasticity, and this is how the branch of an apple tree and the branch of a birch are immediately distinguished. We see the weight of a block of cast iron that sinks into the sand, the fluidity of the water, and the viscosity of the syrup. Likewise, I hear the hardness and the unevenness if the cobblestones in the sound of a car, and we are right to speak of a 'soft,' 'dull' or 'dry' sound.

I’d begun to figure out that my system should focus on the three things every player needs: structure, discipline, and accountability

It made me think of the Law of Ruins. I told Murray that Albert Speer wanted to build structures that would decay gloriously, impressively, like Roman ruins. No rusty junks or gnarled steel slums. He knew that Hitler would be in favor of anything that might astonish posterity. He did a drawing of a Reich structure that was to be built of special materials, allowing it to crumble romantically - a drawing of fallen walls, half columns furled in wisteria. The ruin in built into the creation, I said, which shows a certain nostalgia behind the power principle, or a tendency to organize the longings of future generations.

Standing out from the (New York City) map's delicate tracery of gridirons representing streets are heavy lines, lines girdling the city or slashing across its expanses. These lines denote the major roads on which automobiles and trucks move, roads whose very location, moreover, does as much as any single factor to determine where and how a city's people live and work. With a single exception, the East River Drive, Robert Moses built every one of those roads. (...) Only one borough of New York City—the Bronx—is on the mainland of the United States, and bridges link the island boroughs that form metropolis. Since 1931, seven such bridges were built, immense structures, some of them anchored by towers as tall as seventy-story buildings, supported by cables made up of enough wire to drop a noose around the earth. (...) Robert Moses built every one of those bridges. (He also built) Lincoln Center, the world's most famous, costly and imposing cultural complex. Alongside another stands the New York Coliseum, the glowering exhibition tower whose name reveals Moses' preoccupation with achieving an immortality like that conferred on the Caesars of Rome. The eastern edge of Manhattan Island, heart of metropolis, was completely altered between 1945 and 1958. (...) Robert Moses was never a member of the Housing Authority and his relationship with it was only hinted at in the press. But between 1945 and 1958 no site for public housing was selected and no brick of a public housing project laid without his approval. And still further north along the East River stand the buildings of the United Nations headquarters. Moses cleared aside the obstacles to bringing to New York the closest thing to a world capitol the planet possesses, and he supervised its construction. When Robert Moses began building playgrounds in New York City, there were 119. When he stopped, there were 777. Under his direction, an army of men that at times during the Depression included 84,000 laborers. (...) For the seven years between 1946 and 1953, no public improvement of any type—not school or sewer, library or pier, hospital or catch basin—was built by any city agency, even those which Robert Moses did not directly control, unless Moses approved its design and location. To clear the land for these improvements, he evicted the city's people, not thousands of them or tens of thousands but hundreds of thousands, from their homes and tore the homes down. Neighborhoods were obliterated by his edict to make room for new neighborhoods reared at his command. “Out from the heart of New York, reaching beyond the limits of the city into its vast suburbs and thereby shaping them as well as the city, stretch long ribbons of concrete, closed, unlike the expressways, to trucks and all commercial traffic, and, unlike the expressways, bordered by lawns and trees. These are the parkways. There are 416 miles of them. Robert Moses built every mile. (He also built the St. Lawrence Dam,) one of the most colossal single works of man, a structure of steel and concrete as tall as a ten-story apartment house, an apartment house as long as eleven football fields, a structure vaster by far than any of the pyramids, or, in terms of bulk, of any six pyramids together. And at Niagara, Robert Moses built a series of dams, parks and parkways that make the St. Lawrence development look small. His power was measured in decades. On April 18, 1924, ten years after he had entered government, it was formally handed to him. For forty-four years thereafter (until 1968), he held power, a power so substantial that in the field s in which he chose to exercise it, it was not challenged seriously by any (of 6) Governors of New York State or by any Mayor of New York City.

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revolutionised the steel-​making process, facilitating the development of railways across the world and allowing

When a structure fails or seems in danger of failing the natural instinct of the engineer may be to specify the use of a ‘stronger’ material: in the case of steel, what is known as a ‘higher tensile’ steel. With large structures this is generally a mistake, for it is clear that most of the strength, even of mild steel, is not really being used. This is because, as we have seen, the failure of a structure may be controlled, not by the strength, but by the brittleness of the material. [...] the toughness of most metals is undoubtedly reduced very greatly as the tensile strength increases.

In "The Devil's Presence," Goldsborough brilliantly captures the Zeitgeist of our troubled times, writing with an honesty and passion that will stir your soul and rekindle your belief that a better world is within our grasp. Richard Feinberg, former White House and State Department official, official book reviewer for "Foreign Affairs." Put "Blood and Oranges" on the L.A. shelf next to Mike Davis' "City of Quartz," a Raymond Chandler or two and a DVD of "Chinatown." Just dive in. And hold on. Arthur Salm, former book editor, "San Diego Union Tribune." The Paris Herald'" is a witty, tender and evocative portrait of Americans in Paris that vividly brings to life the city they loved and made their own. Ronald Steel, author of "Walter Lippmann and the American Century." "Waiting for Uncle John" is a wonderful story that should be read and reread, told and retold. The Cuban people will never support an invader." Alejandro Orfila, former Secretary General of the Organization of American States. "Misfortunes of Wealth" is wonderfully structured and written, a gripping work of social history. I was utterly absorbed while reading it and have been haunted by it ever since. Beth Gutcheon, author of eleven novels including "Still Missing" and "Leeway Cottage." "Rebel Europe" is the most important book I have read in years. Charles Champlain, "The Los Angeles Times.

A two-hundred-foot structure of spiraling steel from which we can broadcast the latest news and intelligence—and, yes, the sentimental strains of your Tchaikovsky—into the home of every citizen within a hundred miles.

Crimp Roofing Sheets – 3sgroups Crimp roofing sheets have emerged as a versatile and stylish roofing solution that seamlessly combines functionality with aesthetic appeal. These sheets, characterized by their distinctive wavy pattern, offer a unique architectural element to any structure while providing essential protection from the elements. The crimping process not only enhances the sheet's strength and durability but also adds a visually captivating texture, making them a popular choice for both residential and commercial roofing applications. Durability Redefined: Crimp roofing sheets are engineered to withstand the harshest weather conditions, making them a reliable and long-lasting roofing solution. The crimping process enhances the structural integrity of the sheets, enabling them to resist impacts, heavy rainfall, and even extreme winds. This durability translates into reduced maintenance requirements and long-term cost savings, making crimp roofing sheets an economically sound investment for any construction project. Aesthetic Elegance: Beyond their impressive performance, crimp roofing sheets contribute significantly to the aesthetic appeal of a building. The unique wavy pattern adds depth and dimension to the roofline, creating an eye-catching visual effect. Whether used on contemporary structures or to add a touch of sophistication to traditional architecture, crimp roofing sheets effortlessly enhance the overall curb appeal of a property. Available in a range of colors and finishes, these sheets allow for creative design possibilities, enabling architects and homeowners to achieve their desired look with ease. In conclusion, crimp roofing sheets offer a harmonious blend of durability, style, and practicality. Their ability to provide superior protection while elevating the aesthetics of a structure makes them a favored choice for roofing solutions. With crimp roofing sheets, you're not just investing in a functional covering for your building; you're making a statement that merges architectural finesse with rugged reliability. Whether for a residential home or a commercial complex, crimp roofing sheets stand as a testament to the perfect synergy between form and function. In conclusion, crimp roofing sheets offer a harmonious blend of durability, style, and practicality. Their ability to provide superior protection while elevating the aesthetics of a structure makes them a favored choice for roofing solutions. With crimp roofing sheets, you're not just investing in a functional covering for your building; you're making a statement that merges architectural finesse with rugged reliability. Whether for a residential home or a commercial complex, crimp roofing sheets stand as a testament to the perfect synergy between form and function.

It made me think of the Law of Ruins. I told Murray that Albert Speer wanted to build structures that would decay gloriously, impressively, like Roman ruins. No rusty hulks or gnarled steel slums. He knew that Hitler would be in favor of anything that might astonish posterity. He did a drawing of a Reich structure that was to be built of special materials, allowing it to crumble romantically—a drawing of fallen walls, half columns furled in wisteria. The ruin is built into the creation, I said, which shows a certain nostalgia behind the power principle, or a tendency to organize the longings of future generations.

Readily available stones and wood can be turned into only a limited range of tools, machines, and structures. That is why the third category of inventions, new materials, has been an obvious marker of civilization’s progress, from the age of stone and wood to the era of metals, mixtures, and compounds. Inventions in the third category began with bronze, proceeded to iron and steel (iron’s largely decarbonized alloy), and now include aluminum and a dozen other common metals, as well as glass, cement (an aggregate of materials), and, starting in the late nineteenth century, a still-expanding variety of plastics and—the most recent addition—carbon-based composites, light yet stronger than steel.

Big buildings were always the main targets of his megapolisomancy—he claimed they were the chief concentration-points for city-stuff that poisoned great metropolises or weighed them down intolerably. Ten years earlier, according to one story, he had joined other Parisians in opposing the erection of the Eiffel Tower. A professor of mathematics had calculated that the structure would collapse when it reached the height of seven hundred feet, but Thibaut had simply claimed that all that naked steel looking down upon the city from the sky would drive Paris mad.

The stone plays against the steel; the heavy granite in compression, the spidery steel in tension. In this structure, the architecture of the past, massive and protective, meets the architecture of the future, light, aerial, open to sunlight, an architecture of voids rather than solids.

Though necessary to the work of uncovering the past, archives are nevertheless limited and misleading storehouses of information. While at times imposing and formal enough as to seem all-encompassing in their brick, glass, and steel structures, archives only include records that survived accident, were viewed as important in their time or in some subsequent period, and were deemed worthy of preservation. These records were originally created by fallible people like you and me, who could err in their jottings, hold vexed feelings they sometimes transmitted onto the page, or consciously or unconsciously misconstrue events they witnessed. Even in their most organized form, archived records are mere scraps of accounts of previous happenings, "rags of realities" that we painstakingly stick together in order to picture past societies.

Much has also been written about a reverse manifestation of exponential change, about the impressively declining cost of solar photovoltaic cells leading to near-miraculous breakthroughs in solar electricity generation. The latter claim has been particularly popular: I encourage you to check those breathless reports of constantly and rapidly falling photovoltaic (PV) cell prices, and you will see how, if they were the only determinant of the actual cost of PV generation, we would soon be arriving at almost the same place where nuclear generation claims began in the mid-1950s, with solar generation being too cheap to meter, indeed, being absolutely a free give-away. In reality, detailed US data for residential PV systems (twenty-two panels) show that the module cost is now only about 15 percent of the total investment. The rest is needed to cover structural and electrical components (panels must be mounted on supports on roofs or on prepared ground), inverters (to change the direct current to alternating current), labor costs, and other soft costs. Obviously, none of these components, from steel and aluminum to transmission lines, permitting, inspection, and sales taxes, is tending to zero, and hence the overall costs of installation (dollars per watt of direct current delivered by the panels) show a distinctly declining rate of improvement: between 2010 and 2015 they fell by 55 percent, between 2015 and 2020 by 20 percent. And these costs do not include the additional outlays that will have to be made with the increasing share of intermittent sources (solar and wind) in overall electricity generation.

Most airports, train stations, and municipal buildings are featureless monoliths, vast echoing caverns that agitate rather than engage the senses. For this we can thank modernism, a movement that arose in Europe early in the twentieth century, determined to shed flourishes and traditions and build a new kind of architecture grounded in simple materials and geometric forms. Modernists embraced machine-made structures and hard materials like glass, steel, and concrete.

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It’s a well-known statistic that there are 800 burial sites around Chernobyl. He was expecting some sort of amazing engineering structures, but they were just ordinary pits. They were filled with trees from the ‘red forest’ that was cut down in a 150 hectare area around the reactor. In the first two days after the accident, pine trees turned red and then russet. There were thousands of tonnes of iron and steel, pipes, work clothes, concrete structures. He showed me an illustration from an English magazine, panoramic, from the air. Thousands of tractors, aircraft, fire engines and ambulances. The largest burial site was said to be next to the reactor. He wanted to photograph it now, ten years on, and had been promised a lot of money for the image. So there we were, being sent from one senior official to another. One said they needed a location from us, another that we needed a permit. We were just getting the run-around, until it dawned on me that this burial site did not exist. There no longer was a site in reality, only in reports. The machinery had long ago been looted and taken off to markets, to collective farms or people’s homes for spare parts. It was all gone. The Englishman could not understand that. He could not believe it. When I told him the truth, he simply could not believe it!

The Romans built houses, shops, public buildings, and baths from concrete. The breakwaters, towers, and other structures that made up the colossal man-made harbor of Caesarea,8 in what is now Israel, were built with concrete, as was the foundation of the Colosseum, along with countless bridges and aqueducts9 across the empire. Most famously, Rome’s Pantheon, built nearly 2,000 years ago, is roofed with a spectacular concrete dome—still the biggest concrete structure without reinforcing steel in the world. Like so much other knowledge the Romans had accumulated, though, the science and technology of concrete faded from memory as the empire slowly crumbled over the centuries that followed. “Perhaps the material was lost because it was industrial in nature and needed an industrial empire to support it,” writes scientist and engineer Mark Miodownik in Stuff Matters. “Perhaps it was lost because it was not associated with a particular skill or craft, such as ironmongery, stonemasonry, or carpentry, and so was not handed down as a family trade.”10 Whatever the reasons, the result was striking: “There were no concrete structures built for more than a thousand years after the Romans stopped making it,” notes Miodownik.

And at once he saw: deep under the earth, in darkness impenetrable, an immense dynamo was humming. Above the dynamo was an underground hive of shops, with electric lights and steam heat, and above the shops an underground park or garden with what seemed to be a theater of some kind. Above the ground a great lobby stretched away: elevator doors opened and closed, people strode in and out, bells rang, the squeak of valises mingled with the rattle of many keys and the ringing of many telephones, alcove opened into alcove as far as the eye could see. Above the lobby rose two floors of public rooms and then the private rooms began, floor after floor of rooms, higher and higher, a vertical city, a white tower, a steel flower—and always elevators rising and falling, from the cloud-piercing top to the darkness where the great dynamo hummed. Martin had less the sense of observing the building than of inhabiting it at every point: he rose and fell in the many elevators, he strolled through the parlor of an upper room and walked in the underground park or garden—and then it was as if the structure were his own body, his head piercing the clouds, his feet buried deep in the earth, and in his blood the plunge and rise of elevators.

That thrust was now being expressed in new forms, based on steel-frame construction, which allowed newspaper offices and insurance buildings to rise above the towering spire of Trinity Church; and Martin imagined great structures hundreds of stories high, each a city in itself, rising across the land.

The department store and the hotel were little cities within the city, but they were also experimental cities, cities in advance of the city, for they represented in different forms the thrust toward vertical community that seemed to Martin the great fact of the modern city. That thrust was now being expressed in new forms, based on steel-frame construction, which allowed newspaper offices and insurance buildings to rise above the towering spire of Trinity Church; and Martin imagined great structures hundreds of stories high, each a city in itself, rising across the land.

The second extra thing that The Brain Audit gave was not just success elements and explanations, but a STRUCTURE. A checklist for the necessary ingredients, a blueprint for your copy. My copywriting before The Brain Audit was good, but it was like a tree house. After The Brain Audit your copywriting will be like a glass and steel superstructure your customers just can’t take their eyes off.

Her muscles flexed as she cinched the rope and dragged the end over to a wide steel post in the center of the prow, which had two bars jutting from either side and a large loop in the center. “How else did you think we were going to get a structure this massive to sail upriver?” she asked as she tied the end of the rope through the loop with an incredibly complicated knot.

THE SUN IS warm upon my arms as I push the bright red lawn cutter that started with one pull of its rope and I smell benzine and that American scent of green grass that is cut in the heat. The engine is loud but still I hear the work of the najars upon the bungalow. The afternoon remains in their first workday, but already they have completed building the frame of the widow’s walk into the roof and I push the cutter from one end of the property to the next and I see them lay new boards of lumber across the structure and drive nails with their steel hammers in the sun. The tall grass falls away beneath my machine like dead soldiers, and I am grateful for the silly blue hat upon my head, for it keeps the skin there in the shade, and even my forehead and eyes are protected.

It’s not safe for you out here. Get back inside.” Her throat clenched as she watched Jack heading for a steel structure with a barrel roof. “He’s in danger,” she whispered as he disappeared from sight. “He’ll be okay.” She gave Shane a fierce look. “You don’t know that. Give me a gun, and let me go with him.” “Not a chance.” Shane’s expression was just as fierce as hers. “If something happens to you, Jack…” He stopped and started again, a pleading look in his eyes. “He risked everything to come back here for you. Don’t let it be for nothing.

The architecture texts, when I could access them, showed beautiful and inspiring buildings, completely impossible because we didn't have pre-stressed concrete or structural steel, in fact hardly any iron because the satellite hadn't found any ore deposits. We had only bricks and lumber but I'd tried to learn what was practical and apply it and now my first building was falling apart on top of me because people who hadn't studied architecture were sure they knew better.

If geography and time are the warp and weft structuring (art) history, perceptual culture is like the pile of a velvet cloth that, without altering the warp or weft of the fabric, reenchants its texture and depth. It treats Islam as the Simurgh, and objects as its feathers. Like the galleries in China full of representations futilely and obsessively trying to reconstruct the bird from its feathers, the museum is a monument to our inability to feel what we are trying to represent. And yet like the three princes seeking the hand of the Chinese princess in the gallery of creation, we can also discover through objects the spirit we can never expect to pin down in our hands. With these hopes tucked in between the warp of evidence and the weft of interpretation, this book would like to quote a certain textile from a very long time ago: I exist for pleasure; Welcome! For pleasure am I; he who beholds me sees joy and well-being. This book offers complex more than simple pleasures: its many questions diverge and converge, offering iridescence to our certainties. It puts forth the pleasure of using thought as steel wool polishing our mental acumen, enabling perception beyond predetermined realities. It may be that a barzakh exists somewhere between the secular and the sacred, a peninsula of understanding in which we enter the cave of our ghurba and become in the world but not of it. If we tread lightly with a pure heart cleansed in the mirror of curiosity and wonder, it may just open its doors a bit and let us explore the glory it holds inside.

Time and time again the mast has been struck by flashes with a potential of 10 million volts, only to be dissipated by the intricate steel structure into the ground.

The logistics and assembly of the parts, as directed by Eken, were a testament to the way Starrett Bros. & Eken got things done. The components that made up the building came from factories, foundries, and quarries from far and wide—the limestone from Indiana, steel girders from Pittsburgh, cement and mortar from upper New York State, marble from Italy, France, and England, wood from northern and Pacific Coast forests, hardware from New England. Hundreds of other things from equally distant points of manufacture or origin were delivered to the building site and assembled into one great structure, each fitting into its proper place as detailed in the architect’s plans.