#deck design structural engineer

[cesny1]

Deck Design Structural Engineer: Crafting Safe, Functional Decks

A deck design structural engineer is essential for ensuring the safety and durability of outdoor structures. At Consultant Engineering Services PLLC (CES), we specialize in designing decks that are both aesthetically pleasing and structurally sound. Our team carefully considers factors like load-bearing capacity, material choices, and environmental conditions to create decks that stand the test of time. Whether it's a simple backyard deck or a more complex multi-level design, our structural engineers provide detailed plans that meet all necessary safety codes and regulations. We also offer expert guidance on selecting materials, ensuring that your deck will be safe, functional, and easy to maintain for years to come.

[hiqdesigninc]

Structural Engineering ConsultanthiQdesigninc provides expert Structural Engineering Consultant services, ensuring safe, efficient, and innovative design solutions. We support residential, commercial, and industrial projects with precise analysis, detailed planning, and code-compliant structures. Our consultants collaborate closely with clients to deliver durable and cost-effective results tailored to each project's unique requirements and challenges.For more details visit here:- https://hiqdesigninc.com/index.php

[maxroof111]

[typosandtea]

The Prydwen would be hell for anyone with auditory processing issues..

the in game prydwen layout we see doesn't make much sense to me; its lacking key areas such as bathrooms, nothing is bolted down, people are just sleeping in the open, Danse and Maxon have comparatively massive rooms, things are spaced out in a way that wouldn't work on a restricted space vessel, and the upper levels seems to have no purpose other than access to the gas tanks.. but barring all of that if we take the design of the prydwen at face value, there are still other issues, one that really stands out to me is how chaotic it would sound inside at all times!

no soundproofing visible anywhere on the exposed interior hull or structure leading to reflections and echoing, as well as increased outside noise infiltration

open plan with the center containing a large workshop where people are presumably welding and hammering among other noisy metalwork tasks,

the lack of living spaces to retreat too

its engines are always running adding to the noise by fuselage vibrations and a constant hum

multiple power armour users stomping about both patrolling the ship and going too / from missions, and non of the gantries appear to be insulated either so each persons stomping would echo quite badly too

multiple turboprop? vertibirds right outside the non soundproofed hull at any time, likely with engine power level above idle to rise to meet / leave the docking mechanism. even at idle a turboprop engine is dangerously loud.

the safe noise threshold is well and truly passed on the flight deck from the engines and the vertibirds, are the scribes wearing hearing protection or are they just all going deaf from continuous noise exposure..

are more senior brotherhood members more deaf? does that also apply to predominately field officers? lots of older tradespeople I've met irl have very poor hearing from a lifetime of small exposures to slightly too loud noise..

the shape of the prydwens hull would make the echoing worse I think

[kcg69]

The SS Edmund Fitzgerald was a Great Lakes freighter built by Great Lakes Engineering Works of Ecorse, Michigan, and launched on June 7, 1958. Here are the detailed specifications and description of the ship:

length overall: 729 feet

length between perpendiculars: 711 feet

breadth molded: 75 feet

depth molded to spar deck amidship: 39 feet

draft (designed summer draft): 26 feet, 6.5 inches

gross tonnage: 13,632 tons

deadweight capacity: 25,891 gross tons

service speed: 16 mph

power: 7,500 shaft horsepower

engine manufacturer: Westinghouse Electric Corporation

registry number: US 277437

hull number: 301

The Edmund Fitzgerald was designed to carry taconite iron ore pellets from mines near Duluth, Minnesota, to steel mills in the Great Lakes region. The ship was noted for its luxurious interior, including deep pile carpeting, tiled bathrooms, leather swivel chairs in the guest lounge, and two guest staterooms for passengers. It featured advanced nautical equipment for its time, including a large galley and a fully stocked pantry.

On November 10, 1975, the ship sank in a severe storm on Lake Superior, approximately 17 miles north-northwest of Whitefish Point, Michigan. All 29 crew members perished, and the exact cause of the sinking remains unknown, though it is speculated that the ship may have suffered from structural failure, topside damage, or grounding on a shoal.

The wreck was located in deep water, split into two large pieces. The sinking of the Edmund Fitzgerald led to changes in Great Lakes shipping regulations, including mandatory survival suits, depth finders, positioning systems, increased freeboard, and more frequent inspections of vessels.

[zedecksiew]

How To Play The Revolution

So: I do not like the idea of TTRPGs making formal mechanics designed to incentivise ethical play.

But, to be honest, I do not like the idea of any single game pushing any particular formal mechanics about ethical play at all.

So here I am, trying to think through the reasons why, and proposing a solution. (Sort of. A procedure, really.)

+

Assumptions:

1.

Some genres of game resist ethical play. A grand strategy game dehumanises people into census data. The fun of a shooter is violence. This is truest in videogames, but applies to tabletop games also.

Games can question their own ethics, to an extent. Terra Nil is an anti-city-builder. But it is a management game at heart, so may elide critiques of "efficiency = virtue".

Not all games should try to design for ethical play. I believe games that incentivise "bad" behaviour have a lot to teach us about those behaviours, if you approach them with eyes open.

2.

The systems that currently govern our real lives are terrible: oligarchy, profit motive; patriarchy, nation-states, ethno-centrisms. They fuel our problems: class and sectarian strife, destruction of climate and people, spiritual desertification.

They are so total that the aspiration to ethical behaviour is subsumed by their logics. See: social enterprise; corpos and occupying forces flying rainbow flags; etc.

Nowadays, when I hear "ethical", I don't hear "we remember to be decent". I hear "we must work to be better". Good ethics is radical transformation.

3.

If a videogame shooter crosses a line for you, your only real response is to stop playing. This is true for other mechanically-bounded games, like CCGs or boardgames.

In TTRPGs, players have the innate capability to act as their own referees. (even in GM-ed games adjudications are / should be by consensus.) If you don't like certain aspects of a game, you could avoid it---but also you could change it.

Only in TTRPGs can you ditch basic rules of the game and keep playing.

+

So:

D&D's rules are an engine for accumulation: more levels, more power, more stuff, more numbers going up.

If you build a subsystem in D&D for egalitarian action, but have to quantify it in ways legible to the game's other mechanical parts---what does that mean? Is your radical aspiration feeding into / providing cover for the game's underlying logics of accumulation?

At the very least it feels unsatisfactory---"non-representative of what critique / revolution entails as a rupture," to quote Marcia, in conversations we've been having around this subject, over on Discord.

How do we imagine and represent rupture, to the extent that the word "revolution" evokes?

My proposal: we rupture the game.

+++

How To Play The Revolution

Over the course of play, your player-characters have decided to begin a revolution:

An armed struggle against an invader; overturning a feudal hierarchy; a community-wide decision to abandon the silver standard.

So:

Toss out your rule book and sheets.

And then:

Keep playing.

You already know who your characters are: how they prefer to act; what they are capable of; how well they might do at certain tasks; what their context is. You and your group are quite capable of improv-ing what happens next.

Of course, this might be unsatisfactory; you are here to play a TTRPG, after all. Structures are fun. Therefore:

Decide what the rules of your game will be, going forward.

Which rules you want to keep. Which you want to discard. Jury-rig different bits from different games. Shoe-horn a tarot deck into a map-making game---play that. Be as comprehensive or as freeform as you like. Patchwork and house-rule the mechanics of your new reality.

The god designer will not lead you to the revolution. You broke the tyranny of their design. You will lead yourself. You, as a group, together. The revolution is DIY.

+++

Notes:

This is mostly a thought experiment into a personal obsession. I am genuinely tempted to write a ruleset just so I can stick the above bit into it as a codified procedure.

I am tickled to imagine how the way this works may mirror the ways revolutions have played out in history.

A group might already have alternative ruleset in mind, that they want to replace the old ruleset with wholesale. A vanguard for their preferred system.

Things could happen piecemeal, progressively. Abandon fiat currency and a game's equipment price list. Adopt pacifism and replace the combat system with an alternative resolution mechanic. As contradictions pile up, do you continue, or revert?

Discover that the shift is too uncomfortable, too unpredictable, and default back to more familiar rules. The old order reacting, reasserting itself.

+

I keep returning to this damn idea, of players crossing thresholds between rulesets through the course of play. The Revolution is a rupture of ethical reality like Faerie or the Zone is a rupture in geography.

But writing all this down is primarily spurred by this post from Sofinho talking about his game PARIAH and the idea that "switching games/systems mid-session" is an opportunity to explore different lives and ethics:

Granted this is not an original conceit (I'm not claiming to have done anything not already explored by Plato or Zhuangzi) but I think it's a fun possibility to present to your players: dropping into a parallel nightmare realm where their characters can lead different lives and chase different goals.

+

Jay Dragon tells me she is already exploring this idea in a new game, Seven Part Pact:

"the game mechanics are downright oppressive but also present the capacity to sunder them utterly, so the only way to behave ethically is to reject the rules of the game and build something new."

VINDICATION! If other designers are also thinking along these lines this means the idea isn't dumb and I'm not alone!

+++

( Images:

https://forum.paradoxplaza.com/forum/developer-diary/victoria-3-dev-diary-23-fronts-and-generals.1497106/

https://www.thestranger.com/race/2017/04/05/25059127/if-you-give-a-cop-a-pepsi

https://en.wikipedia.org/wiki/WarGames

https://nobonzo.com/

https://pangroksulap.com/about/ )

[floridaboiler]

The SS Edmund Fitzgerald was a Great Lakes freighter built by Great Lakes Engineering Works of Ecorse, Michigan, and launched on June 7, 1958. Here are the detailed specifications and description of the ship: length overall: 729 feet length between perpendiculars: 711 feet breadth molded: 75 feet depth molded to spar deck amidship: 39 feet draft (designed summer draft): 26 feet, 6.5 inches gross tonnage: 13,632 tons deadweight capacity: 25,891 gross tons service speed: 16 mph power: 7,500 shaft horsepower engine manufacturer: Westinghouse Electric Corporation registry number: US 277437 hull number: 301 The Edmund Fitzgerald was designed to carry taconite iron ore pellets from mines near Duluth, Minnesota, to steel mills in the Great Lakes region. The ship was noted for its luxurious interior, including deep pile carpeting, tiled bathrooms, leather swivel chairs in the guest lounge, and two guest staterooms for passengers. It featured advanced nautical equipment for its time, including a large galley and a fully stocked pantry. On November 10, 1975, the ship sank in a severe storm on Lake Superior, approximately 17 miles north-northwest of Whitefish Point, Michigan. All 29 crew members perished, and the exact cause of the sinking remains unknown, though it is speculated that the ship may have suffered from structural failure, topside damage, or grounding on a shoal. The wreck was located in deep water, split into two large pieces. The sinking of the Edmund Fitzgerald led to changes in Great Lakes shipping regulations, including mandatory survival suits, depth finders, positioning systems, increased freeboard, and more frequent inspections of vessels.

[tinkrtailrsldrspy]

Gravity Falls Fanfic Ideas That I Will Not Finish But Encourage You To

= Island!Bill - Part 1

(if you want, please steal these ideas, no credit needed - just send me a link once it's done cause I wanna read!)

Twin brothers Stanford and Stanley Pines were quite famous by the age of 30. They’d been sailing through every sea and ocean in their research trawler, the ‘Stan’o’War’, since age 26, finding and documenting anomalies all across the globe. They were known as the ‘Adventure Twins’, and people around the world waited eagerly for news of their latest finds.

Students and researchers alike flocked to the Gravity Falls Anomalous Research Center, where the twins’ fellow researcher and brilliant engineer, Fiddleford McGucket, received specimens and various odds and ends they discovered in their travels. McGucket was well-known to be the one who designed and build the various tools and weapons the Adventure Twins used in their travels.

This all stopped on a cold day in January of 1983. Crowds were gathered at the docks to greet the twins when they caught sight of it: the Stan’o’War. Gasps and murmurs rippled through the throngs of people, all quickly pushed aside by a frantic McGucket as he rushed to the end of the dock. The boat… had seen better days. In fact, she was almost unrecognizable. The cabin atop her deck was ripped almost entirely off, and she was dangerously listing to one side. It wasn’t until the vessel got closer that a single figure, leaning heavily on the steering wheel, could be made out.

The boat did manage to slow, but not nearly enough to keep it from ramming heavily into the dock, sending a shockwave through the crowd. McGucket immediately leaped aboard, a small group of dockhands working quickly to secure the boat as a few student-researchers leapt onto it to help the twins.

McGucket appeared soon after, Stanley Pines leaning heavily against him as they staggered onto the dock. The crowd parted to let the two through, a car already ready and waiting to speed the young man to the hospital.

Witnesses would later claim to hear the sole surviving twin mutter, “Still out there… Ford’s still out there… island… triangle…”

That was the last day Stanley Pines ever sailed on the water.

And the first day the hunt for the Adventure Twins’ mysterious triangle island began.

-

“Morning.”

Ford noted that the voice was soft, soothing. It was like a balm against his aching head, an ice-cube pressed to flush skin. It was a bit difficult, getting his eyes to open - dried salt water had glued his lids together.

“Shh, don’t move, it’s okay.”

The voice was closer this time, accompanied by a gentle hand brushing against his forehead. He strained towards it, the touch a welcome relief upon his tormented skin. His lips parted, as if to say something, but all he was able to get out was a pathetic whine. The voice chuckled warmly, the hand returning to lay against his cheek.

“Don’t worry. Rest. I’ll take care of everything.”

Such a tempting offer… and really, who was Ford to refuse?

-

When he woke this time, his body ached far less than it had. Yes, it still hurt, but it felt less like his body had been battered through a raging sea and more like he’d merely overworked his muscles the day before. Ford also found his eyelids no longer stuck against, allowing him to blink his eyes open. He sat up slowly, a low grunt forced passed his lips while a blanket slid down his body as he did so.

Glancing down at himself, he realized the blanket was made of some sort of leafy material, warm and cozy yet light as a feather. It matched well with the covers of the bed, made from the same material in a darker shade of green. Looking around where he lay, he realized it was some sort of hut. Well, not really a hut, not really any kind of structure. Trees soared into the sky all around him, branches curving inwards to make a dense, water-proof canopy above him, translucent vines and leaves hanging down in a gauzy curtain.

There were no walls, as such, but the trees worked well in their stead, protecting the occupant from prying eyes. Though… it didn’t seem like there would be many prying eyes around here.

The room itself had rather nice furnishings, though all made from the same leaf-like material, though the colors varied greatly. A couch was made up of midnight black and scarlet red leaves, while a blanket of vibrant yellow lay thrown across it. There was a desk, though Ford had to do a double-take when he realized it was made of living roots. It looked to have been meticulously shaped by a practiced hand over many, many years. Atop it stood a beautiful mirror, glittering gems encrusting the frame, though the visual was ruined by the large crack that ran through the center of it.

“Oh!”

The startled noise had Ford trying to stand from the bed, and failing miserably when he did so. He barely caught himself on the mattress behind him, groaning as pain shot through his body like a lightning bolt. The sound of feet approaching him forced him to look up to see the, presumably, owner of the hut, hurrying to his side.

“You’re in no shape to be getting up!” the young man scolded, placing a clay basin filled with water on the living desk before turning to help Ford back into the warm confines of the bed. “I’ve only barely managed to wrangle your fever, I’ll not have you undoing all my work!” Ford couldn’t help the chuckle that escaped him as he leaned back against the pillows his host piled behind him. Once he was deemed settled, the young man turned back to retrieve the water he had brought with him.

Now able to get a good look at the other, Ford allowed his eyes to roam slowly over the man. Lusciously long blond hair (tipped black at the ends, how unusual) cascaded down his back, contrasting artfully against his tanned-olive complexion. Pale freckles dappled his skin, looking almost like constellations in the night sky. When the man turned, Ford was surprised to find he seemed to have only one eye, a taunting amber-yellow, the other lid shut tightly closed. His features were angular, but not overly so, his nose pin-straight and his pink lips plush, while long lashes brushed against his cheek with every blink.

His chest was entirely bare and unblemished, while a belt of maroon satin sat around his waist. A skirt made of a combination of black leaves and yellow fabric flowed like water across his legs, becoming more sheer as it went further down. His feet were bare, too, but for the single bangle he wore on his left ankle, pattern reminiscent of a bow-tie.

He was perfection incarnate.

“My name’s William,” the man introduced himself as he sat down at the edge of the bed, angling himself towards Ford. “But I much prefer Bill. And you should drink some water before you introduce yourself.” Bill held out the clay vessel, which Ford took with only a moment’s hesitation. Lifting it to his lips, it was only the moment that the cool, sweet water his hit tongue that he realized just how thirsty he was.

He drank deeply from the heavenly liquid, some of it dribbling down his chin and dripping onto him. Ford cared very little for this, too caught up in his animalistic need to quench his thirst. The vessel was nearly drained by the time Ford lowered it, panting softly as he did so. A soft giggle brought him back to the present world as a soft material was pressed against his chin and mouth.

Bill had reached out with small patch of those leaves to dab at his mouth. Ford flushed a dark red at the realization of how messy he’d been, though he didn’t push his savior away. Once Bill had pulled back and tucked the leaves away, he reached out for the vessel and plucked it from Ford’s grasp.

“I’m Stanford. But I much prefer Ford,” he smiled awkwardly, words matching Bill’s own. This seemed to take the stranger by delighted surprise, as he grinned brightly.

“Well, it’s very nice to meet you, Ford! For me, that is. I doubt it’s so very nice for yourself,” Bill hesitantly looked away, as though Ford could ever possibly regret meeting the angelic being before him.

“I believe I get to decide if it’s nice to meet you,” Ford claimed with more confidence than he felt. “And it is. Nice. To meet you.” The shy smile Bill gave him was entirely worth the embarrassing way Ford had managed to get his thoughts out.

“I only say that because meeting me means that something horrible must have happened to you at sea,” Bill explained, though his smile didn’t wane this time. “People don’t wash up on my beach all that often, and it’s mostly from shipwrecks.”

Ford’s eyes widened at that, memories crashing like a tidal wave over him. “Stan!” he gasped, making as if to leap from the bed before both pain and Bill stopped him from doing so. “No, it’s my brother! I-I was with him! If I’m here and he’s not-!”

“Your brother is fine!” Bill hurriedly assured him. “So long as he was the one on the boat that was attacking Levi, he got away safely!” Ford felt himself relax at that, slumping back into the comfortable bed. “You were both lucky,” Bill muttered, shaking his head as he brushed hair back from Ford’s moist forehead. “Levi doesn’t usually let people get away from him, especially ones bent on hurting him. I’ll ask Levi to make sure your brother has gotten back to his shore safely on his next outing.”

“Levi?” Ford asked, mind suddenly foggy.

“Drat,” Bill hissed as he pushed Ford to lie fully back against the bed. “I knew it was too soon for the fever to be fully gone. Just- just-” Bill left his line of sight for a brief moment, or what Ford thought was a brief moment, before reappearing with a small cup. “You need to drink this, Ford, before you fall asleep!” Ford nodded dumbly, reaching shaky hands up to cover Bill’s as he drank the pleasantly sour contents.

As the world swam before his eyes, he could have sworn he saw an odd dog-like creature bound into the room and… talk… with Bill. But that was ridiculous! Just his fevered mind, basking in delusions… right?

[scotianostra]

On July 2nd 1971 The Erskine bridge was officially opened.

Construction on the project began in April 1967 at a cost of £10.5m, which is the equivalent of almost £150m today.

The bridge was designed by Freeman Fox & Partners for the Erskine Bridge Joint Committee. Dr Oleg Kerensky was the partner in charge and the chief design engineer was Dr William Brown under the supervision of Sir Gilbert Roberts. The piers and foundations were designed by W. A. Fairhurst & Partners. The consultant architect was R. E. Slater.

The central span is 305m (1000ft) flanked by anchor spans of 110m each. The total length including approach spans is 1322m. The aerofoil box-girder deck is supported by fourteen diamond-plan, single-shaft concrete piers at a maximum height of 45m above the river. Two central pylons extend 38m above the level of the deck. A 6x4 cluster of galvanized steel cables passes over the saddle of each pylon in a centralised, single plane.

The dual carriageway has cycle lanes and footpaths with metal safety barriers, renewed in 2012. The underside of the deck carries four water mains pipes and two gas pipes. In 2017 the cables were painted and aluminium lighting columns were installed.

The Bridge was a state-of-the-art infrastructure landmark in Scotland for its time and remains one of the country's most architecturally and technically distinguished bridges of the post-war period and beyond its date of construction. It is the first example of a large-scale cable-stayed bridge in Scotland and is recognised for its structural simplicity, economy of materials and slender appearance.

It was designed and built during a period of substantial development in civil engineering and road infrastructure. It illustrates the aspirations for economic and social progress in Scottish society and is directly associated with the period of ambitious transformation of Scotland's modern infrastructure during the 1960s.

The Erskine Bridge is one of only three road bridges in Scotland with a main span exceeding 300 metres. Its minimalistic single-cable design remains exceptionally rare for large-scale road bridges. On completion, the Erskine Bridge is understood to have had the longest span of this type in the world. The appearance of many bridges on this scale have been altered by later alteration and engineering works. The largely unchanged appearance of the Erskine Bridge contributes to its special interest.

Some of these pics I unearthed are brilliant, my faves are, probably the first person to cross the bridge, no health and safety back then, and the photo with the PS Waverley passing by during construction.

[screenmobile]

Does a screened-in porch need a foundation?

A screened-in porch serves as a delightful extension of your living space, offering a harmonious blend of indoor comfort and outdoor ambiance. However, a common question arises: Does a screened-in porch require a foundation? The answer largely depends on the design and structural requirements of your porch. While some screened-in porches can be built on existing decks or patios, others may necessitate a dedicated foundation to ensure stability and longevity. It's essential to consult local building codes and a structural engineer to determine the appropriate foundation for your specific project.

Exploring Different Types of Patio Enclosures

When considering enhancing your outdoor space, it's beneficial to understand the various types of patio enclosures available. Each type offers unique advantages tailored to different needs and preferences.

Screened-In Porches

These enclosures feature mesh screens attached to a frame, allowing fresh air to circulate while keeping insects and debris at bay.

Benefits:

Excellent ventilation

Protection from pests

Cost-effective solution

Considerations:

Limited protection against harsh weather

May require additional maintenance to keep screens intact

Glass Enclosures (Sunrooms)

Constructed with large glass panels, these enclosures provide unobstructed views of the outdoors while offering protection from the elements.

Benefits:

Year-round usability

Enhanced natural light

Increased property value

Considerations:

Higher installation costs

Potential need for climate control systems

Retractable Enclosures

These versatile systems feature sliding panels or roofs that can be adjusted based on weather conditions, offering flexibility between open and enclosed spaces.

Benefits:

Adaptability to changing weather

Modern aesthetic appeal

Considerations:

Complex installation process

Regular maintenance of mechanical components

Lattice Patio Enclosures

Featuring a crisscross pattern of strips, usually made from wood or vinyl, lattice enclosures provide partial shade and privacy while allowing airflow and light to pass through.

Benefits:

Aesthetic appeal

Partial sun protection

Flexible design options

Considerations:

Limited protection from rain

May not keep out small insects

Key Considerations When Choosing a Patio Enclosure

Selecting the right patio enclosure involves evaluating several factors to ensure it aligns with your lifestyle and home architecture.

Climate and Weather Patterns: In regions with extreme weather conditions, durable materials and sturdy construction are paramount to withstand environmental stresses.

Intended Use: Determine how you plan to utilize the space—be it for dining, relaxation, or entertainment—to choose an enclosure that complements these activities.

Budget Constraints: Establish a clear budget that accounts for both initial construction and ongoing maintenance costs.

Aesthetic Integration: Ensure the chosen enclosure harmonizes with your home's existing design elements, enhancing overall curb appeal.

Balancing Cost, Materials, Functionality, and Aesthetics

Achieving the ideal patio enclosure requires a thoughtful balance of various factors:

Cost: While screened-in porches are generally more affordable, sunrooms and glass enclosures represent a higher investment but offer additional benefits.

Materials: Opt for materials that offer durability and low maintenance, such as aluminum or vinyl, without compromising on aesthetic appeal.

Functionality: Consider features like insulation, ventilation, and ease of access to ensure the space meets your practical needs.

Aesthetics: Select design elements and finishes that reflect your personal style while complementing your home's architecture.

Conclusion

Investing in a patio enclosure is a significant decision that enhances your home's functionality and aesthetic appeal. By understanding the various types of enclosures and carefully considering factors such as climate, intended use, budget, and design harmony, you can make an informed choice that brings lasting satisfaction.Ready to transform your outdoor space into a versatile and inviting haven? If you're in South Bend, consult with a reputable home improvement specialist to explore the best patio enclosure options tailored to your needs. Make a decision today that will enrich your living experience for years to come.

[lonestarbattleship]

December 3, 2023 Update from the Battleship Texas Foundation

Battleship Texas!

"DRY DOCK TOURS

Dry Dock Tours are scheduled until the end of January 2024. Discount available for those who return. For more information please visit: battleshiptexas.org/drydock

A Texas high school takes a Dry Dock Tour! We offer major discounts to any school group interested in a tour.

SHIP REPAIRS

The 1925 teak has been removed from the base of all 5”/51 cal. Guns. New wood will go down.

TORPEDO BLISTERS (COMPLETE) - The new torpedo blisters are a slightly different design and square off at the bottom below the waterline. This design change will make the new blisters easier to maintain increasing their longevity.

SANDBLASTING - The ship’s hull is now being sandblasted at night and inspected for holes and damage during the day. The necessary repairs are made before the final coating is applied.

Keel blocks have been fleeted to paint the ship.

PAINT - The black coating used is PPG SIGMA SHIELD 880 GF.

New primer on the ship’s hull.

Doublers being placed on the hull of Battleship Texas.

Primer has been painted on about 50% of Battleship Texas.

Primer has been painted on about 50% of Battleship Texas. Note the epoxy that has been added to some areas.

Doublers being placed on the hull of Battleship Texas.

HULL NUMBER - The new hull numbers have been extensively researched so each number is not only the correct font, but applied in the appropriate position it was in 1945. Welders have created an outline where that will be painted on in the future.

SHIP’S NAME APPLIED - The lettering for the ship’s name has been cut from steel plate and has been attached to both sides of the stern. A ton of work and research went into getting the correct font and positioning.

COATING - The inside of the blisters, and the ship’s hull will be coated to protect against possible corrosion.

TANK CLEANING - Tanks inside the ship are being inspected, cleaned, and repaired if need be. Some will be coated with a marine coating to help prevent future corrosion.

AFT FIRE CONTROL - New steel deck has been added to the levels of the tower. The doors on on both sides have also been added back. The space is being prepped for the windows and more to return the structure to how it looked in 1945.

Scaffolding covers the aft fire control on Battleship Texas.

A panoramic view looking aft from the aft fire control tower.

Trent and Collin show off the first prototype window for the tower. There are some changes that will be made before production starts.

The doors on each side of aft fire control are now on.

Dock hands explore the ship’s engine room.

Viewing the 240mm shell that hit Battleship Texas in 1944.

Live, Laugh, And Flood your Torpedo Blisters.

Visit our website at: battleshiptexas.org"

Posted on the Battleship Texas Foundation Group Facebook: link

[cesny1]

Deck Design Structural Engineer for Custom Projects

Consultant Engineering Services PLLC provides tailored engineering solutions to address residential needs, including deck design structural engineer expertise. Our team specializes in crafting safe, innovative deck designs to enhance outdoor spaces. Each design is stamped by a licensed engineer, ensuring compliance with local regulations and optimal structural integrity. Our experts work closely with clients to customize designs that align with their vision while ensuring safety and longevity. By collaborating with you from concept through completion, we deliver high-quality, timely solutions for every project. Our commitment to exceeding client expectations makes us a trusted choice for residential engineering services.

[hiqdesigninc]

The Role of a Structural Engineering Consultant A Structural Engineering Consultant serves as a trusted partner throughout a construction project, from concept to completion. At hiQdesigninc, this role is treated with the utmost responsibility and care. The firm doesn’t just deliver drawings—it delivers insight, foresight, and collaboration.For more details visit here:- https://hiqdesignincblog.wordpress.com/2025/05/16/miscellaneous-steel-industry/

[is-the-battlemech-cool-or-not]

Ryūga - THE LAST DRAGON'S ASCENT

DCS Tenryū

Approaching SLS Ulithi

Zenith Jump Point, Luthien System

Pesht Military District, Draconis Combine

Late September, 3153

The SLS Ulithi hung in the void like a silver monolith, a monument of the reborn Star League’s might, its silvery hull a stark contrast against the cold light of the stars. Though the Potemkin-class WarShip was a construct of pure function, there was an undeniable grandeur to it—a fortress of war, a bastion of discipline and control.

Aboard the DCS Tenryū, Gunji-no-Kanrei Ryūga Kurita stood at the primary docking corridor, waiting for the final connection to complete. His emerald eyes traced the docking collar’s structure, noting the flawless precision of the SLDF engineering, a quiet hum of mechanical synchrony marking the vessel’s every movement. Beside him, Tai-sa Reika Jurobei and Chu-sa Dahiya Ult Salah-Miyamoto stood in perfectly poised silence, mirroring his stillness. Behind the trio were the commanders of the 10 other regiments assigned to the Dragon's expeditionary force, shuttled over to the Tenryū, to be received as one group.

The hatch cycled open, revealing a contingent of SLDF personnel, their uniforms immaculate in black and gray, their posture flawless in its discipline. At their head stood Captain Eliza Tagore, the commanding officer of the Ulithi, her iron-gray hair immaculately tied back, her bearing proud yet perfectly respectful.

And then, as one, the assembled officers and crew bowed.

It was a deep, precise motion, a gesture that spoke of absolute decorum, absolute understanding of protocol. For Ryūga, they bent almost to the deck, an honor reserved for one who stood as the left hand of the Coordinator herself. And though he was not one to demand such displays, he understood the weight of the moment—and so, magnanimously, he returned the gesture, not as deeply, but enough that none could mistake the respect he held for the Star League Defense Force.

For Reika, the bow was less extreme, but still deeply formal, befitting her high station as a senior officer of the Combine’s elite. Dahiya’s was slightly less pronounced, but still one of great honor, acknowledging her as a commander of warriors, a leader of shadows.

The moment stretched, silent save for the gentle hum of the WarShip’s systems, until at last, Tagore straightened, her expression composed.

“Gunji-no-Kanrei Kurita-denka, Tai-sa Jurobei-sama, Chu-sa Salah-Miyamoto-sama, welcome aboard the SLS Ulithi.” Her voice was measured, warm yet disciplined, her Japanese flawless, spoken with the precise intonation of one who had studied not merely the language, but the culture itself.

“Tagore-san, your welcome is most gracious,” Ryūga replied, his voice smooth, deliberate, his tone bearing the weight of centuries of Kuritan refinement. He gestured lightly to the assembled personnel. “The precision of your crew does great honor to the Star League.”

There was no flicker of arrogance in his words, only genuine respect, and it was received as such.

Tagore inclined her head, acknowledging the statement before stepping aside. “If you will accompany me, we have prepared the bridge for your arrival.”

Ryūga gave a single, elegant nod. “Lead on.”

---

The bridge was a masterpiece of control and efficiency, vast and immaculately ordered, its steel-gray surfaces reflecting the cold luminescence of holotables and control stations. As with the bridges of all WarShips, there was no flourish to its design, only pure, uncompromising function—but even Ryūga, who favored the aesthetics of the Dragon’s domain, could not deny the immense presence of the command center.

As they entered, the SLDF bridge officers straightened, executing a crisp, synchronized bow, their movements perfectly measured, precisely aware of the honor due to each guest. It was a performance of discipline, of respect, of a military that understood both its power and its place within the great order of things.

Tagore led them to the primary holotank, its display shimmering to life, showing the navigation parameters for their journey.

“As you are aware,” she began, “our destination is Islington, a journey of nearly 850 light-years. Standard calculations would require over a dozen jumps and multiple recharge stops, not to mention months of time—but the Ulithi is a special WarShip.”

She tapped a control, and the schematics of the K-F drive flickered into view, alongside historical notes referencing an myriad of topics.

“We are equipped with Super-Jump technology, originally theorized and realized by Interconnectedness Unlimited, later refined with Blakist advancements, and perfected using systems recovered from the SLS Manassas. This allows us to execute jumps of up to 240 light-years per charge—and with our Lithium-Fusion Battery system, we can chain two jumps in succession before recharging. As such, our trip to Islington will be completed in four jumps, with a single 48-hour recharge stop mid-way.”

Reika absorbed the information without reaction, but inwardly, her mind turned over the implications. Such efficiency… If the SLDF could move fleets with this kind of speed…

Dahiya’s ears twitched slightly, but she remained silent. A three-day journey across a distance that should take months? The possibilities, the strategic advantages, were staggering.

Ryūga gave a slow nod, his emerald gaze unreadable. He understood what this meant—not just for the SLDF, but for the balance of power itself.

Tagore folded her hands behind her back. “I understand that your quarters will remain aboard the Tenryū—a most practical decision, given the limitations of our accommodations compared to those befitting the Kanrei.”

Ryūga inclined his head. “A necessary choice, but one that does not diminish my appreciation of your hospitality.”

A flicker of something—approval, perhaps—crossed Tagore’s expression before she continued.

“In that spirit,” she said, “I would be honored if you, along with the commanders of your regiments, would join me for a formal dinner prior to our first jump.”

There was no hesitation in the reply.

“We accept, Tagore-san,” Ryūga said, his voice carrying the weight of both station and sincerity.

Tagore nodded. “Then it will be my pleasure to host you, Kurita-denka."

As the Captain and her guests exited the bridge, turning control over to Tagore's executive officer, the crew of the Ulithi continued their preparations.

[spinningbuster98]

Sonic Adventure (Dreamcast) Sonic Part 1: Oh yes it is indeed occurring

Yep. We’re here. At last

God I love that opening cgi, still probably my favorite intro in the series

So. Sonic Adventure. The Dreamcast version, obviously. The gentlemen’s way of playing this game, whether Sega wants to aknowledge it or not. There are only a few million things to say about this game, but I want to start with the most burning question of all I think:

How does it translate Sonic’s gameplay into 3D?

I’m sure that most people’s answers would be negative and go on the usual litany of how Sonic had a rocky transition into 3D yadda yadda

Look: maybe they’re right. I too have some issues with this game. But when it comes to translating Sonic’s gameplay, SPECIFICALLY Sonic’s, as in the blue guy who runs fans, that Sonic? I’d honestly say that Sonic Team did a pretty commendable job, probably the best they could’ve done back then.

To be clear: this isn’t a pure, 100% transition of all the elements from the Classic games. Some diversions are obvious: no 2 Act structure and no Special Stages. But even regarding basic gameplay, Sonic’s gameplay is actually...much less physics based than in the Classics. In the Mega Drive games momentum was key, every loop de loop, every ramp, was like a miniature obstacle designed to be overhauled by using the physics engine to your advantage, while also knowing that you could just as easily ram into an obstacle if you weren’t careful

SA1 does have physics, sure...but they’re nowhere near as relevant as in the classics. You don’t gain as much speed from rolling downhill, and simply rolling in general is kinda useless because the Spin Dash is absolutely busted to the point of almost feeling like a precursor to the boost. SA1 also marks the beginning of the series’ usage of automated sequences. Loop de loops and the like were physics obstacles in the classics, here? Just touch the dash panel, hold forward and watch the hedgehog run on his own.

Basically the gameplay is somewhat simplefied in some ways and hey: I can understand why some would take issue with this, I myself tend to prefer the physics based approach of the classics.

However, when you factor in that this is a 1999 game, from an era where 3D was still new and developers were still figuring things out...I find these semplifications to be acceptable, maybe even necessary. I’m pretty sure there isn’t a single videogame franchise that didn’t have to redefine some stuff when jumping to 3D. Mario had to switch from linear point A to point B levels to a hubworld-esque structure, which required the absence of liberally useable power ups and even Yoshi, exchanged for new movement abilities which fundamentally changed how you play Mario. Ocarina of Time had to both simplify dungeon layout, likely because achieving the level of sheer complexity of AlTTP’s dungeons wasn’t feasable in 3D. Metroid Prime (later generation, but still relevant) had to either nerf or remove half of Samus’ power ups because they simply could not work properly in a 3D environment at the time, especially due to the 1st person gameplay. Within that context I find SA1′s sacrifices to be reasonable: they simplify the formula to make way for the inherent complexities of a 3D space while still maintaining the core fundamentals

Of course another thing that’s often said is that Sonic Adventure is clunky and glitchy

And I know that many fans will likely point at the DX port, saying that it’s that thing’s fault if people make meme videos of Sonic clipping through stuff

Guys? That’s...not completely true?

Sure DX is buggi-ER, but even vanilla SA1 has its moments. Every time I play Emerald Coast I make it a point not to spin dash to the very last loop de loop because sometimes Sonic just ignores the automated section and flies off. Sometimes characters react weirdly and get a bit jittery when interacting with some level geometry (the last parts of Sky Deck are probably the best example). The Homing attack sometimes doesn’t make you bounce from an enemy or item box but rather it sends you through it which has caused me to fall into bottomless pits numerous times in the past on both the DX and Dreamcast versions. The camera stinks a bit and gets stuck a whole lot

But again: 1999. That’s not to say that every single 3D game had these issues back then...but at least from my experience they were not uncommon either, even among critically acclaimed titles

Lately I’ve been playing Half Life, the original from 1998. Great game. Janky as shit, just trying to climb ladders is an exercise in falling down bottomless pits, jump pads sometimes refuse to work properly and the last few levels feature some rather interesting physics. Mario 64′s camera is abysmal and Mario’s 360 degree turns aren’t really snappy unless you come to a complete stop before turning. Megaman Legends features a deadly combination of tank controls and no manual lock on when fighting enemies, meaning that the camera does what it wants. I’ve never played Tomb Raider but I’ve heard horror stories about its controls. Devil May Cry 1 (again, later generation but the point stands) features a camera that can make grown men weep as well as some janky underwater controls and questionable platforming to say the least. Point is: it was the wild west of 3D gaming and some levels of jank were expected. I can’t say for certain if SA1′s jank is “acceptable” even by those metrics (for example I can’t think of any big kinds of jank in Crash Bandicoot or Ocarina of Time), but at the very least from my perspective it really isn’t that much worse. Hell when it comes to just the controls they feel pretty great, with decent precision and snappy turning, they run circles around the controls for the likes of Mario 64 and Legends

I’ve always loved how Tails just casually tells Sonic to take the train to reach the Mystic Ruins

Sonic

Taking a train ride

I know why they do this, loading times and whatnot, but it’s hilarious, especially when Amy gets kidnapped and Sonic just uses the train to catch up to Zero

Anyway Emerald Coast is one of the most iconic levels in the series and I have nothing much to add. Windy Valley is certainly simple (especially when compared to the prototype), but it’s good, simple fun, it’s like the Ice Cap of this game (y’know...excluding the actual Ice Cap in this game) in that it’s simple in structure but fast and full of energy and charm

[degen-gamer]

The Creative Assembly assembles a machine for living

The primordial harshness of space is on horrifying display in the 1979 film Alien. The crew of the spaceship Nostromo - featuring Sigourney Weaver as Ellen Ripley - was stalked by the xenomorph, a fearsome lifeform conceived by Swiss designer and architecture graduate H.R. Giger.

The utilitarian human architecture, gestated by concept artist Ron Cobb and realized by production designer Michael Seymour's art department, is equally memorable, with corridors that have proven especially influential. Director Ridley Scott sought a tangible reality that captured 'the beauty of something absolutely about function'.

In Alien: Isolation, British developer The Creative Assembly lets us inhabit this world, caught in a deadly game of hide and seek. Following the discovery of Nostromo's recorder, the player takes on the role of Ellen Ripley's daughter Amanda and arrives at Sevastopol: a space station undergoing decommission on the outer rim, in the orbit of a gas giant.

Lead artist Jude Bond and concept artist Bradley Wright based Sevastopol's design on the ore refinery towed by the Nostromo in the film; its cathedral-like spires were initially conceived in an illustration by Ridley Scott. Sevastopol features three, not four towers, and extends the decks below the platform that serves as an artificial ground. Massive thrusters - 'gravity anchors' - are retrofitted to domes underneath. In The Art of Alien: Isolation (2014), Wright notes: 'I [initially] explored ideas of this large machine structure that formed the center of each tower's hub - a mini-brain of sorts.' Each tower serves an 'archetypal function - habitation, technical and science' with 'engineering on the lower decks', somewhat reminiscent of Paolo Soleri's arcology, Novanoah I.

For the internal spaces, Wright 'took cues from Cobb's simplified utilitarian color choices to make a clean and readable design'. The spaces emulate the film sets with exacting verisimilitude - from the distinctive padded corridors to the turret rail-mounted chairs - but also sees them evolve into a cohesively complete and functional environment that considers circulation, light, even introductory impact and interior to exterior sight lines. The film's art director Roger Christian clad the sets in old aircraft parts and bond adds: 'We've limited ourselves to things which could have been or were available in 1979.'

The architecture is treated as a machine, with its utilitarian aspects and exoskeleton exposed, like the xenomorph itself. One of the early Nostromo designs by concept artist Chris Foss suggested a 'Mississippi river boat' or steamship - which coincidentally also served as inspiration in Le Corbousier's machine for living, the Villa Savoye.

Alien: Isolation exemplifies architecture in the context of a machine and finds aesthetic beauty in its lo-fi functionalism.

Oliver Zeller

Mark Magazine 55: April/May 2015