#rectangular hollow section

[hardingsteel]

Efficiency and Functionality: Maximizing Space with Rectangular Hollow Sections

Discover the efficiency and versatility of rectangular hollow sections in optimizing space utilization. These hollow steel profiles are perfect for creating storage systems, mezzanine floors, and partitions, allowing you to make the most of your available space. With their lightweight yet durable structure, rectangular hollow sections offer a cost-effective solution for maximizing storage capacities and creating versatile spaces tailored to your specific needs.

[tatastructura]

Durable Rectangular Hollow Sections from Tata Structura

Tata Structura offers premium-quality rectangular hollow section built to last. Engineered for superior strength and durability, our sections deliver unbeatable performance in construction, infrastructure, and industrial applications. Choose Tata Structura for reliable, high-quality steel solutions. For more details visit, https://www.tatastructura.com

[hollowsection]

Ranflex Metals Is One Of The Best Manufacturers, Suppliers, And Exporters Of Hollow sections in Mumbai, India and all over world. We have various range and Size of Hollow Sections. We offer premium quality of Hollow Sections at best price. Please Contact and Book Now.

[qatarsteel]

Attention everyone! If you're looking for reliable, high-quality structural steel for your construction projects, look no further than Qatar Steel Factory. Our MS ERW RHS (Rectangular Hollow Section) is the perfect choice for a wide range of construction projects.

To learn more, visit us at https://qatarsteelfactory.com/product/ms-erw-rectangular-hollow-structural-steel or contact us directly at +974 4460 3365 or info@qatarsteelfactory.com

[ratnasteeltech]

Rectangular Hollow Sections Pipes

Rectangular hollow sections (RHS) are a popular choice for mechanical, structural, and construction applications. This is due to the flat surface resulting in a structural solution that is more economical for joining and various other types of fabrication work. Due to the rectangular shape of this type of hollow section, when joining to other flat surfaces, the sections only need to be straight cut. RHS requires minimal edge preparation for welding or joining. RHS can also be used for architectural aesthetics because it possesses clean lines alongside structural strength. Explore the characteristics and uses of rectangular hollow sections Pipes in Structural Engineering. Learn about their benefits and applications

[kamdhenulimited]

Kamdhenu Hollow Sections - Circular, Square & Rectangular

Strength in every structure, safety in every Home. Structural sections for uniform strength and high resistance to torsion. Our hollow sections offer uniform strength characteristics, providing excellent resistance to torsion and improved fire rating, making them ideal for columns.

[yesterdays-xkcd]

Well, for some value of 'actually work'.

The Glass Necklace [Explained]

Transcript

[There is only one large panel in this comic, but it is still divided up into 19 individual scenes, one following the other, but of very different size and details. In every scene, there is at least one word noted, mainly just stating what Cueball does. The first row has four scenes (1-4), the second row only two (5-6), the third row has three (7-9), the fourth four (10-13), the fifth five (14-18), and then the last scene takes up the middle of the sixth row (19).]

[Scene 1: Cueball is seen sitting behind a table facing out of the panel drawing on a paper with a cup next to him on the table. An arrow points down to the paper from above where the sketch he is drawing is shown on a zoom in on the paper. He has drawn a cylinder shown in the top left, next to it is a detailed diagram of the cylinder in a cross section down its length, showing that it is hollow, with electrical terminals on either end. The dimensions of the cylinders length, both inner and outer, are indicated on each side of this diagram. Below right is a cross section through circular section indicating the diameter. At the bottom left, there is an instruction showing that the cylinder can be opened in one end, and and an arrow with a label points into the open cylinder. The label can be read, but the dimensions are unreadable.] Draw Label: Sand

[Scene 2: Cueball is at a workbench making the device in a workshop. The main part of the cylinder can already be seen lying on the table, as Cueball works on another part. His sketch is also resting on the table leaning up against the rear part of the workbench where four rows with three small drawers in each row are closed, except the second row from the top, where there are only two drawers, the left of those two drawers standing open. On the edge of the table, two tools looking like hammers hang down. On the floor lie three small rectangular items.] Make Make

[Scene 3: Cueball kneels down on a beach and scoops up sand in a beaker. To the left, a fairly large wave (the surf) can be seen far down along the beach. Above the sea, there are a large cloud and a smaller one. To the right of the beach is a dense forest growing close to the surf. The tree trunks are visible, as are the leaves, but most trees and trunks are not possible to single out, except one large tree standing a little further out than the rest just behind Cueball. The trunk of this tree looks a little like a palm tree trunk, but it has a regular crown of normal leaves.] Scoop

[Scene 4: Cueball, sitting behind a table, pours the sand from the beaker into the cylinder. The lid of the cylinder lies on the table next to a full glass. It is not clear if it is full of water or just more sand. The beaker used to pour sand is not transparent like the glass on the table is.] Pour

[Scene 5: Cueball ties a spool of string to one end of the cylinder and ties a deflated weather balloon, lying on the ground to the right, to the other end. The spool lies on the ground to the left.] Tie

[Scene 6: The weather balloon is inflated, and Cueball raises it up into the clouds as thunder rumbles in the huge dark clouds to the right. The cylinder is clearly visible just below the balloon. To the left towards the horizon, there is something that may be a distant city, but there are some lines going away from it away from the horizon, the meaning of which is unclear, could be electrical wires in the air for transporting electricity.] Rumble

[Scene 7: Cueball has left after having tied the end of the string to a stake in the ground. The sky is completely covered with clouds, and the first lightning is flashing in the background, thunder following. The balloon hangs close to the clouds, the cylinder barely visible at this distance.] Boom

[Scene 8: Lightning hits the balloon and travels all the way down to the rod, which can just be seen at the bottom. There is a loud crack, and the incandescent balloon inside the lightning hisses.] Crack TSSS

[Scene 9: A slim image with a zoom-in just of the cylinder as the lightning hits, showing it attached to the wires going up and down from each of the two terminals. The lightning travels along the wire through the cylinder and out the other wire, fusing the sand contents within.] Fuse

[Scene 10: The clouds are disappearing to the left, and the sun is out again to the left. Two birds fly in the distance near the sun, and below them there is a hill in the horizon. Cueball, holding onto the string with one hand, follows the string to the cylinder lying on the ground. Above this scene, there is a frame with a caption:] Later Follow

[Scene 11: Cueball detaches the cylinder from the wire that goes to the remains of the burned out balloon lying on the ground to the right. The other part of the wire still hangs down from the cylinder's other end.] Detach

[Scene 12: Zoom in on Cueball as he opens the cylinder, letting a wisp of smoke out. The cylinder has clearly been exposed to some rough condition, its surface flaking off. Cueball's hands are clearly visible, which is an unusual style in xkcd.] Open

[Scene 13: Cueball puts his hands into the cylinder and removes a piece of glass with a zigzag shape. Leftover sand pouts out as he draws it out of the open cylinder.] Remove

[Scene 14: Back at his table (with only the surface shown), Cueball admires the piece of glass, holding it between both of his hands. The broken and open cylinder lies on the table, sand pouring out, while the lid lies to the left.] Admire

[Scene 15: Cueball is looking at White Hat (a jeweler) standing behind his desk under a large sign hanging from a string put over a peck in the wall above the desk. White Hat examines the glass, holding it up in his hand and looking at it with a magnifying glass he is holding up to his eye. A lamp is standing on the table.] Sign: Jeweler Examine

[Scene 16: White Hat, only, grinds the glass on a grindstone he has put on his desk, pieces of glass seeming to fly away from the stone. There are four indeterminate tools lying on the table.] Grind

[Scene 17: White Hat, only, sets the now-shining glass in a necklace, having cleared the table from any other items.] Set

[Scene 18: Cueball holds the glass necklace in both hands, looks at it, and approves the final result, while White Hat stands behind his desk with something small and rectangular in his hand, probably the money Cueball paid for his service.] Approve

[Scene 19: Cueball gives the glass necklace to Megan, almost touching it and her hands with an outstretched hand. Megan admires the shining piece of glass she now holds in her hands, the string hanging down from her hands.] Give

[indigosabyss]

Hollow Spirit (Nanbaka x JJK) Crossover: First Intersection

(so I know what I want to happen once we get to the goodwill arc, but have been going crazy over how to get to start. And I think I got it)

Megumi forced himself to stay calm as he walked the others away from the corpses of the delinquents.

One was a verifiable murderer. The rest were probably just as bad. They were sealed into a Domain, likely belonging to a Special Grade. Living sorcerers had to prioritize themselves over dead scum.

"Hey." A new voice said suddenly, "We should get out of here. I think they've begun killing inmates."

The three first years turned around to look at a boy leaning against a wall. He had a dead-eyed expression that was hard to focus on, since his face was obscured with a giant brand of the number 15 on it.

His jumpsuit was torn and ragged, and he didn't have any shoes, but all it did was highlight the thick bands of pitch black metal wrapped around his wrists, ankles, and - horrifyingly - neck.

Megumi hadn't seen this one's files, but he knew a collar was inhumane.

The delinquent took their lack of response as shock from his statement, as he nodded, "That happened before in a few places I've been. Never on this scale, though. Everyone else I've seen is dead, so we should get out." His voice trembled as he looked away, "We're not gonna get far, but at least we'll buy time, right?"

"I don't know if you've noticed, but there isn't a way out." Kugisaki said, voice a mixture of sharp and worried.

The delinquent blinked, "Uh, yeah, there is?" and he did a strange thing with his elbow, hitting it against the wall, which made the entire section fall apart into a perfectly rectangular hole, through which the Real World was visible.

"I'm not really meant to be showing people that. They beat me if I do." He admitted candidly, "But we can get out, like this."

A cursed technique?! But no, it didn't feel like that at all. What was with this guy?

Megumi cleared his throat, "You get out. We've got a Cursed Womb to exorcise."

He'd been fighting curses since before he hit double digits. He wasn't going to run to Gojo over a potential Special Grade.

"Oi, why the hell are you following us?" Nobara groused from behind him, "We told you to scram."

"Seems like you're doing something interesting." The guy replied simply, "Been extra bored stuck in solitary all these days."

Stuck in solitary because he was an unrealized sorcerer, or because he was just a shithead?

"You know you don't have a nametag, right?" Itadori checked.

"Am I supposed to?" The guy asked blankly.

"I'm gonna call you Fifteen." Kugisaki decided, gesturing to her cheek, "Because of the, you know."

Megumi hadn't made his mind up about Fifteen until the fully realized Special Grade curse showed up out of nowhere, going to attack his Demon Dog.

Only to be blocked by a sharp blast of cutting wind, coming from a five foot long blade emerging from Fifteen's... arm?!

The inmate was giving off some insane cursed energy, even though just a few minutes ago he had felt like a below average non-sorcerer. His eyes were glowing red - Megumi didn't remember his eye colour before that, but it definitely wasn't red.

"I said. Get away from them!" He bellowed.

That cursed energy. Megumi really wasn't mistaking it. Cursed energy and reverse cursed energy, colliding together in a manner only one other person had done before.

Until now, as this random-ass inmate tore a Special Grade bearer of Sukuna's ffingers to shreds.

He was going to have to ask Gojo for a another personal favor.

[mybeingthere]

Alexander Calder, Black Sun, 1953 (top picture).

Black Sun is a rectangular, horizontally oriented work on paper that is over a metre wide. It features a bold, abstract image of the sun and its emanating rays of light, all rendered in a deep black tone. A ball at the top right corner of the composition signifies the body of the sun, from which large black zig-zags extend, starting with narrow points near the sun and broadening out to thick mid-sections in the lower-middle of the paper before tailing off in faint brushstrokes in the left of the work. There is another black circle beneath the sun, positioned between two of the zig-zagged light rays, and a thick hollow triangle hovers in the white space below it.

This work was created by the American artist Alexander Calder in 1953. To make it Calder applied two to three layers of black gouache on top of one other using a brush, resulting in a slightly shiny appearance. The artist made the work in sun-drenched Aix-en-Provence in southern France, where Calder and his family spent much of the summer of 1953. It is one of a large number of gouaches that he created between June and September of that year and is among the first group of large-scale works that the artist made outdoors (see Alley 1981, p.93; and Calder Foundation, undated, accessed 26 January 2017). Aix had been the home of French post-impressionist painter Paul Cézanne and of Calder’s great friend, the surrealist artist André Masson. Both painted the local landscape obsessively, and although Calder did not produce landscapes, Black Sun may have been a response to the intense heat and light in the region.

Calder’s mobile sculpture Antennae with Red and Blue Dots c.1953 (Tate T00541) was made at a similar time to this work and also features solid black forms that distend in the middle and radiate from small circles – in the sculpture’s case the circles are yellow, white, blue and red. The shape of this suspended sculpture resembles an orrery – a mechanical model of the solar system – and taken together the two works suggest Calder’s interest in the heliotropic movement of the solar system.

The artist favoured astronomical motifs throughout his career and Black Sun is recalled in Calder’s paintings as well as his sculptures: for instance, in the thunderous waves emanating from a yellow and red sphere in Lightning 1955 and in the small black circle surrounded by sinuous rays in Santos 1956 (both Calder Foundation, New York). In 1962 Calder repeated the black sun motif in the tapestry Black Head (artist’s collection), made for his wife Louisa Calder.

Although Calder often worked with planes of pure black, they were commonly augmented with dashes of primary colour (see, for instance, Mobile c.1932, Tate L01686). The purely monochrome nature of Black Sun not only runs counter to this trend, but also to the common association of the sun with light and colour. This indicates that the artist may have been thinking about the effect of shadow created by the large-scale outdoor mobiles he was making in the hot, bright climate of southern France.

[hardingsteel]

Versatile Rectangular Hollow Sections for Modern Construction

Discover the strength and adaptability of Rectangular Hollow Sections (RHS) at Harding Steel. Our high-quality RHS are perfect for a variety of applications, including structural frameworks, architectural designs, and industrial projects. Engineered for durability and precision, our RHS ensures optimal performance and longevity. Explore our range of sizes and specifications to find the ideal solution for your construction needs.

[tatastructura]

Buy rectangular hollow section from tata structura

Elevate your construction projects with precision and strength by choosing Tata Structura's Rectangular Hollow Section. Crafted with cutting-edge technology and superior materials, our RHS offerings guarantee structural integrity, durability, and optimal performance. Explore a diverse range of sizes and specifications to meet your project requirements seamlessly. With Tata Structura, you're investing in the assurance of quality and innovation, ensuring that your construction stands the test of time. Purchase Rectangular Hollow Section today and build with confidence.

For more details,Visit: https://www.tatastructura.com

[bluenpinkcastle]

20240510: the History of LEGO Castle day 131. 8780 Citadel of Orlan (2004, 483 pieces, 158 different parts) Citadel of Orlan is a fairly large light bluish gray tower, pieced together from three different sections. The first section is a bridge with reddish brown stairs up to a black trap bridge controlled by two reddish brown rocks attached with dark bluish gray chains. The second section is a four-story, basically hollow light bluish gray tower with green technic poles to allow a minifigure to use a dark bluish gray bar to ascend the tower, where the Guardian has a small magic fire. The third section is a light bluish gray wall with a green brick built serpent hidden under a variety of traps. This set has four minifigures. -This set introduces Rascus, with a green helmet with a full face shield visor, a green torso with dark bluish gray hands and a yellow geometric print, and plain green legs. Rascus carries a white rectangular shield with a brown and yellow monkey head on a green background and a yellow angular sword. -This set also introduces the Guardian, who is unique to this set. The Guardian has a yellow minifigure head with a light bluish gray forehead "v", sideburns, and a goatee, a brown fabric cape, a reddish brown torso with dark bluish gray arms and reddish brown hands, a white circle amulet, a printed dark bluish gray scale mail print, and reddish brown legs with dark bluish gray belt. The Guardian has the only trans neon green spear out of the entire LEGO Castle theme (the others were found in six other Alpha Team sets). -Santis has a red helmet with a full red face visor, a yellow minifigure head with full, thick, black beard, mustache, and bangs, red geometric print armor, a plain red torso with dark bluish gray hands, red pants with a dark bluish gray belt, a red rectangular shield with a medium brown bears head on each end, and a pearl sand blue sword. -The shadow knight has a black angled cheek protection helmet, a yellow minifigure head with thick black "v" forehead print with space between the beard and sideburns, a black torso with a black scorpion on a dark red background, and black legs with a dark red belt. New and unique parts for this set include: -The green 2x3 axle connector with tooth, the green two pin connector joint, the light bluish gray 4x6 brick with two fixed point connector pins, the light bluish gray 4x1x2.66 technic slopes, the medium blue 6x12 plate, the reddish brown 12x12 modified base brick are all unique to this set. -The green 2L axle with reverser handle axle connector is only found in one other set, 8241 Battle Cars. -The dark bluish gray 7L pole was only found in one other set, 10252 Volkswagon Beetle. -The dark bluish gray 12x12 modified base brick is only found in one other set (4860 Cafe Attack) and the black 12x12 modified base brick is only found in three other sets. -The reddish brown 3x8x7 Large Ugly Rock Panel (LURP) were only found in two other sets 8637 Mission 8 Volcano Base and 8877 Vladek's Dark Fortress, and the reddish brown halberd was also only found in two other sets, 7079 Drawbridge Defense and 8781 Castle of Morcia. -The dark bluish gray 6x6 double train roof was only found in four other sets, 7898 Cargo Train Deluxe, 7905 Tower Crane, 9467 Ghost Train, and 10183 Hobby Trains. The green 2L ridged axle connector was also only found in four other sets, 4557 Freight Loading System, 4762 Rescue from the Merpeople, 8446 Crane Truck, and 8479 Barcode Multi-Set. -The 3x8x6 castle panel wall with window cutout was found in six sets in light bluish gray, three sets in black, and one set in bright pink. -This is the first LEGO castle set with a frog :) -Royal blue / blue violet pieces for this set include: round 1x1 bricks, a 4x1 left wave flag, and 2x1 triple convex slopes. Parts inventory for this set can be found on either BrickLink or Rebrickable and a free download of the instructions can be found under the "Instructions" tab on Rebrickable.

[ratnasteeltech]

PIPES AND TUBES

Rectangular hollow sections (RHS) is a popular choice for mechanical, structural and construction applications. This is due to the flat surface resulting in a structural solution that is more economical for joining and various other types of fabrication works. 

Due to the rectangular shape of this type of hollow section, when joining to other flat surfaces sections only need to be straight cut. RHS requires minimal edge preparation for welding or joining. RHS can also be used for architectural aesthetics due to possessing clean lines alongside structural strength.

#RectangularHollowSections #Ratnasteeltech #pipes

[kultofathena]

Albion Museum Collection – The Sankt Annen

The blade of the Sankt Annen sword is a classic example of a sword of war that was very popular by the end of the 13th Century and throughout most of the 14th Century. These powerful weapons were optimized for devastating cuts in swift and exact maneuvers. Their outline may suggest a heavy and pondersous heft, but the balance can be both lively and agile. The Sankt Annen sword is a great example of the character and quality you find in the finest examples of the type.

The blade of the Sankt Annen sword is shaped to combine a lively feel with surprising rigidity that together provide superior cutting capabilities. Like many other swords of this type the blade has an octagonal cross section. This design allows the edge bevels to meet at an angle that is an optimal combination of sharpness and resilience. The shallow fuller stops halfway down the blade followed by a low midrib that runs to the point. We have worked hard to emulate the subtly curved profile and the slightly softened but precise grind of the original.

The pommel is a deep type J that is made partially hollow just like the original. It is not circular but slightly squashed in outline with a flat base towards the grip. On the top is a high pyramid-shaped rivet block that is decorated with filed lines. On each face of the pommel is stamped a small cross. It is evident that the original pommel was forged by a masterful craftsman who could work at speed and yet produce an object of seemingly simple but subtle beauty.

The guard is of style 2 forged into a slight curve. The arms have an octagonal section that gradually blends into a rectangular section in the middle. At first glance the guard may look simple, but it takes considerate skill to make such a guard with the correct form and proportions.

The overall proportions of the sword and all major elements of its design can be defined by a simple geometric layout and it seems it was originally designed by a master of the craft who had a deep insight into the the high medieval design traditions that were shared among architects, engineers and artists of the period. The proportion between hilt and blade is exactly 1:4 and can be defined by a series of 9 interlocked circles, placing the guard at the periphery of the first circle. The proportions of the hilt components and the width of the blade are all defined by a small number of geometric constructions following the principle of the golden section.

[kamdhenulimited]

Supreme Strength. Supreme Quality

Kamdhenu hollow structural sections (HSS) are designed with precision for high robustness. They ensure uniform strength making them the ideal for any structural construction.