iron foundry

ASKS - Weird shit you’ve told me about

Asks sent to my main, posted here - theme: your schools are really fucking weird, holy shit. This is my jam.

mxnotawakeyet said: At my university there is this one lecture hall that is always cold. No matter if you enter in summer or winter, at 8 am or 6 pm, it is just always freezing cold in there. No other room at the campus has this temperatures! There were kids sitting witch blankets and stuff. One time I went to the toilet and when I came back I literally ran into a wall of cold. They call this hall “the ninth circle of hell”.

spellbert said: Right outside my dorm room was a staircase that led directly down INTO the ground and ended at a locked door. I used to practice the fiddle there at night.

captain-ghoulfucker said: Ok! I moved to this small town a couple years ago. This entire place if weird. There’s this giant iron foundry that’s closing down pretty soon. Its right on the edge of this huge creepy forest. The school I go to was built on a junk yard so if you go behind the football field there’s tons of rusted out cars. All covered in moss and there’s trees growing around the cars. The entire town is in this strange edge of industrial and wild.

Anon said: The law library at my school is haunted, specifically in one of the stairwells. Apparently, it got so bad last year they hung up a sign on the doorway to it not to use those stairs? Still have yet to investigate. Also, in a locker in the Anthropology department is a skeleton named elvis, who is in fact, real. I cleansed him with crystals and left salt, holly leaves and lavender with him, so he wouldn’t haunt us.

kiiteor said: I’ve been thinking about this one building on campus that it’s really easy to get lost in (iirc it was designed as a maze). my department (linguistics) is in there and we may in fact be cryptids. if there a scheduling conflict our room reservations are never on the official schedule. even though the offices are just two turns into the hallway if you aren’t paying careful attention you can get lost. I hear there’s a secretary somewhere with maps but in my 2 years here I’ve never met anyone with a map. I’ve known since high school that I wanted to study linguistics here and the building seems to like me. I’ve never gotten lost even once. even if I’ve never been to a classroom before I can usually find it on the first try. my friends are not so lucky. sometimes they’ll turn up 3 hours late to a meeting, not really sure how long been wandering the halls. sometimes classes will show up in rooms when and where the linguistics club meets, insistent that they’ve always been there and (2) and we’re the ones who don’t belong. (3)

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Rayne Iron Foundry

Located in Essex. Another UK place, man they like to leave a lot of their buildings empty. It was really difficult to find articles and pictures and what not for this place, but I found an awesome Flickr (linked) that has ample photos.

It was abandoned in early 2000. It was used in the World Wars to make grenades and such. I believe it is going to be, or has been, torn down with possible plans to build homes.

flickr w/ many photos: http://www.flickr.com/photos/pyroisaspy/sets/72157622387835786/

The unbelievable size of SpaceX’s Interplanetary Transport System 

Last week (27. Sept), Elon Musk outlined SpaceX’s plan to colonize Mars. In the core of it lies the HUGE Interplanetary Transport System (ITS). It consists of a 254 feet tall (77.4 meters) booster featuring 42 Raptor engines, and a 162 ft (49.4 m) tall spaceship to ultimately carry humans in the future. Standing over 400 feet (122 m) high would make ITS the largest spaceflight system ever built.

Musk later explains that it needs to be this size in order to fit 100 people (to reduce the cost per person) in the pressurised section, and all the unpressurized cargo, which there is a lot - e.g. luggage, fuel tanks and an iron foundry for building stuff on Mars. He envisions a self-sustaining colony on the red planet within the next 50 to 100 years.

The key component of ITS is reusability, which is beautifully visualized in the 4-minute Mars travel animation. See Musk’s whole presentation here.

Northeastern Gothic

Because Southern Gothic is a thing. And Midwestern Gothic is becoming a thing. And New England Gothic is a thing. But not much treating the Northeast as a region. Not much with the groaning highways of the Boston-Washington corridor, the constant rush, the constant flow of human life between the teeming sea and the old old hills that just seem a little too tangled and a little too inviting.

Moving, always moving. Portland, Boston, Providence, New York, Philadelphia, Baltimore.

Trying to move away, but only moving between, always between.

You will only tread a circle, and all roads will lead you back to the mountains or the sea.

They meet. They encroach. They wed, they meet beneath and above and around and through your cities.

And the sun passes down not over the open water like it does in California, but through the broken trees, through the twisted black treelines, passing down like the bloodied skull of a Indian, smashed in in King Philip’s War, or like the red red copper of a Dutchman’s trinket.

And there are the patches of wilderness, your Pine Barrens, your Eastern Shores, your Katahdins, maybe less extensive than those further west and south but darker and deeper, but always with the endless teeming oppressive highways on and between and around and through them, as a prayer, as a force, as a hope. That it really, truly stays hemmed in.

Because there’s something ineluctably toothy about the shorelines of Maine, about the islands whose profiles seem to reflect those of the conifers that shroud the mountains, that protect the mountains from the harsh nor’easter winds (or that make sure the mountains can make the winds their own). The winds from Canada, also, barrel down the Connecticut Valley, and the livestock on that warm string of farms wail to meet them. There might be lumberjacks rolling logs in the river, but you’re not sure. You are in any case from MetroWest or the suburbs of Providence or Hartford, only here on vacation, before you can go back to your normal life and its cheer that covers up the nagging questions: Why here, Lovecraft? Why then, Ives? What is it about Providence, about Danbury? The music clashes and wheels–so much creativity approaching madness to be teeming within the mind of an insurance executive…

It’s Hallowe’en. Of course it’s Hallowe’en.

You’re not from around here.

The angels decay and burn as they plunge into the steaming Hudson. They dance in the orange reflections at dusk. The locks of the canal creak and moan and tremble. Further down the river, in the streets or in the subways, something grazes against your foot, and hope and regret pour down from the Catskills and down through Westchester like a waterfall. Down the Hudson rolls the silence, up the Hudson roll the tears.

The neon lights caress the skin in the dead of night with the hint of music, and whisper, All is not lost, All is not lost, All is not lost, We are not dead, We are not dead, We are not dead.

We’ve already discussed the Pine Barrens. We’ve already been through the Pine Barrens. I could swear we’ve passed that diner, that lake beach, that old glassworks or iron foundry or whatever it is twice already. We laughed at devils, laughed at what might lurk between the river and the shore, bitter naiads of too much or the wrong kind of water, sand like sugar shot through with water like cedar and iron. But we don’t know where the cranberry bogs begin and end any more. (Any more than we did on Cape Cod.) Considering how hard we laughed and how very lost we are, that’s something that we’re going to have to get realistic about real fucking fast. If we’re lucky, we might be able to make it back to the old industrial cities, where gates into an underground world might lurk behind every chain link fence, but at least people have senses of humour about it.

Trenton Makes. The World Takes.

Resentment, hard words, stern claws, a decade or two after it was gone, after it upped sticks at last, the industrial conglomerate that they had named for the birthplace of the Messiah. And you don’t know since when the battlefield at Gettysburg has been so teeming with…something, or since when the suburbs curled out like mushrooms and at last surrounded the Amish and reduced them like an amoeba.

There is nothing of importance in Delaware. There is nothing of importance in Delaware. There is nothing of importance in Delaware. There is nothing of importance in Delaware. There is nothing of importance in Delaware. There is nothing of importance in Delaware. There is nothing of importance in Delaware. Keep saying that or…

The shore calls to us. Camden Yards yawns and hollers. From the District on the borders of the unknown South that we once put down but that now in some ways rules us come the whispers and insinuations of Revelation.

vmorq  asked:

Hey, i'm looking for some inspiration in lighting design, to be more specific in houses or apartments, hope you can help me with some examples. Ps. Big fan and one of my favorite blogs! 🙏🏽

Thanks!

It’s tough to find examples of houses or apartments that I really like. They typically centered around exterior lights for the facade and a plethora of downlights in the interior.

Here are some recent interesting lighting projects where artificial lights create space.

Art Collector’s Loft by Renfro Design Group Image by Iwan Baan

Keep reading

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And now we wait. If we had gone a few more miles our wheel might have fallen off. Happily the mechanic is really nice and we should be on the road again in an hour or two. Also, we can break down the rotors (one of which was ruined by the hub assembly breaking so both need replacement) for iron and use it in the next pour.

freakinjailbird  asked:

So I've noticed from glancing at your page that you use silicon molds? I'm familiar with the process a little from working in Iron Foundries, but what are some major components to think about when beginning to use silicone for molding? What types of materials can you pour (product wise) into the molds. How expensive is start up? Are there preferred methods/companies/products you use that are superior in different ways? Thanks in advance for any help on the subject!

I’ve only recently got into casting and molding, and silicone is even more recent. If you’re looking for experts, I’d suggest checking out people like Punished Props and Volpin Props who detail their processes or asking on the RPF forums.

but what are some major components to think about when beginning to use silicone for molding?
Is molding the best method and do you need silicone?
This is getting into expensive costume territory, so it might not be the best option for some people. If it’s a one-off, you might find it easier/cheaper to work with a thermoplastic or foam to produce your piece. If it’s for gem casting, you might find better luck with hard-plastic chocolate molds or paint trays

You will also want to think about your base material and casting material and how it will chemically react. Some clays have sulfur which reacts with the silicone and won’t let it cure properly, so you need to use sulfur-free clay. Silicone sticks to itself, so if you plan to cast a silicone piece in a silicone mold then you need to use a release agent to prevent this. Also liquid latex doesn’t cast in silicone because it’s non-porous. 

Aside from that, you need to look at your piece and decide how you’ll make the mold. One piece/ flatback , two part, multi-piece, matrix? This takes some research on your part, understanding the benefits of different molds and how they work with your piece. Flatback or one-piece molds are super easy and a great way to learn how to work with the material without getting into complex construction:

The flat back mold refers to the piece having a flat back. It is also called a one piece mold because it’s one piece. Commonly used for gems or other embellishments. The image above if from Volpin’s moldmaking guide which is worth reading if you plan to get into this stuff.

A two-part or multi piece mold is made of multiple parts that fit together, it gets more complicated in terms of making the mold but it gives you three dimensional pieces! This is a two-part brush on mold I made (my first attempt at a two-part), on the left you can see I started making the mold jacket with plaster.  



What types of materials can you pour (product wise) into the molds.
Depends on the silicone. Casting resins/liquid plastics, waxes, low-temperature metal, hot glue, silicone and other prosthetic-making materials (usually with a release),  if it’s food-grade then you can cast chocolate :P

How expensive is start up?
Depends what you’re making and how much you need.

I mainly work on small projects as I’m trying to get to know the material, and it’s about $30-50 for the trial size/pint kits (or $30US from smooth-on + shipping). You may need to make a mold jacket or a mold box, depending on what you are making, which will add to the cost. I’ve done mold boxes with cardboard (free) and mold jackets with plaster bandages ($6 at Curry’s) rather than fiberglass  because I’m on a budget, but it works well for the small projects I’ve used it for.

You’ll also want gloves,stir sticks and measuring cups. Bigger projects get more complex and may involve more supplies like a degassing chamber.

Are there preferred methods/companies/products you use that are superior in different ways?
I’ve mainly been working with Smooth-On’s products. Specifically Rebound brush-on silicone and I think the other one was Mold Max. Sculpture Supply Canada is close to me, so I usually purchase from them because in-store is so much cheaper than trying to ship liquids.

Pretty much you need to read the properties of the silicone you are buying. Some are stronger than others, cast faster/have shorter pot lifes, are made for pouring or brushing, or can handle different casting materials.

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Ironton Iron Incorporated (Pt I)

Ironton Iron Inc. was an iron casting company that manufactured iron ductile castings primarily for the transportation industry. Originally built in 1908 as the Ironton Malleable Iron Company. The plant covered an area of 25 acres and an annual production of 70,000 tons of castings were made. In 1916 it was
acquired by the Dayton Malleable Iron Company and then by the Amcast
Industrial Corporation after that. Over the years Amcast faced several EPA violations for the toxic waste disposal site that it shared in Ironton with Allied Chemical known as the Goldcamp Disposal Area. Amcast used the disposal site along with Allied from 1945 until Allied closed the site in 1977. In 1983 the EPA added Goldcamp to the National Priorities List for Superfund cleanups. Many years later Allied sued Amcast to recover half the cost of an estimated $20 million-plus cleanup of the former Goldcamp Disposal Area, which according to court documents, Amcast never paid it’s share. Lengthy court battles followed for years. The Goldcamp disposal site was not the only environmental litigation Amcast has faced. 

In April of 1984 Amcast decided to close the Ironton plant putting over
600 employees out of work. Two months later the former employees  
met with a consultant about the possibility of reopening the plant with it
being operated under an employee stock ownership plan (ESOP). As part of
that plan the former workers would have to buy at least $2,000 worth of
stock in the new company, now to be known as Ironton Iron Inc. The plant
operated for about four years after that but it simply could not turn a profit.
In 1988 the shareholders agreed to let the company be acquired by another
iron company, Intermet. Part of that agreement was that the
employee-stockholders would get their initial investment of $2,000 back once the plant turned a profit, but it never did. In December of 1999 Intermet announced plans to close the Ironton plant the following year due to consistent financial losses. In addition, the Ironton plant was one of Intermet’s oldest facilities and the cost of modernization would have further impacted weak operating results. “The decision to close the Ironton Iron foundry was an extremely difficult one for us,” said James F. Mason, group vice president for Intermet. “Intermet has been working for years to make this plant efficient. We invested over $100 million in the plant and lost every penny of it, and more. We feel that all avenues were explored, but unfortunately, the loss of business dictated the eventual outcome of our efforts." 

In the later part of 2000 Intermet leveled most of the Ironton site. As common with most old plant sites, issues with environmental contamination has prevented the site from being redeveloped. In 2007 the property was set for a year long $2.5 million cleanup project funded by the Ohio Department of Development that would make the property viable for the city of Ironton. Intermet was to turn over ownership of the property to the city once the property was cleaned up. A couple of companies expressed interest in the property once cleanup was to be completed but now eight years later the site still sits empty with only a few reminders of it’s previous occupants.

UNITY, RIGHT, FREEDOM » a mix for ludwig beilschmidt through the ages

i. dum pater familias - sequentia {holy roman empire, 962 - 1618} | ii. kyrie - ensemble organum {thirty years’ war} | iii. long slow goodbye - queens of the stone age {holy roman empire, 1648 - 1805} | iv. icarus - bastille {holy roman empire, 1806} | v. arrival of the birds - the cinematic orchestra {confederation of the rhine} | vi. waltz of the flowers - pyotr ilyich tchaikovsky {german confederation} | vii. op. 45 ein deutsches requiem iii. herr, lehre doch mich - johannes brahms {north german confederation} | viii. reconstructing more science - aperture science psychoacoustics laboratory {german empire, 1870s} | ix. op. 19, the iron foundry - alexander mosolov {german empire, 1880-1900} | x. brotsjór - ólafur arnalds {german empire, 1900-1914} | xi. barton hollow - the civil wars {first world war} | xii. beat the devil’s tattoo - black rebel motorcycle club {weimar republic} | xiii. oh no! - marina and the diamonds {third reich/second world war} | xiv. the cave - mumford and sons {1946-1950} | xv. lonely soldier - damien rice {1950s} | xvi. a change is gonna come - sam cooke {1960s} | xvii. lover of the light - mumford and sons {1970s} | xviii. 9 to 5 - dolly parton {1980s} | xix. oh how the years go by - amy grant {reunification} | xx. them that do nothing - field music {present day}

{listen // image credit}

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Went to an iron foundry here in Edinburgh today which I live next door to, it’s apparently the last in Britain to still use the same processes that will have been used hundreds of years ago for making casts.  Now they do a lot of restoration work as well as some interesting stuff like making the BAFTA trophies and selling chairs for thousands of pounds each in China.