#CFS Floor Framing Design

[isephierreo]

3H's UI Design

The title screen shows Sothis throne, in the game, Byleth sees Sothis throne between their dream of the War of the Heroes and their awakening by Jeralt. Which may symbolize that the scene of a throne is the first thing you will see before and after entering the game. The throne is also the place where the most important things happen, such as meeting Sothis, merging with her, and the events of Chapter 11.

After beating the game, Sothis is shown sleeping on a throne, this is similar to Final Fantasy XV, so spoilers for FFXV.

In FFXV, after beating the game, Noctis is shown sleeping with Luna/Oracle in a logo, mirroring the end of the game. It was the end of the game where Noctis sacrifices himself to save his world, and then sleeps in peace on his throne in the afterlife. This is similar to how we know in end of the game about Sothis sacrifices herself to save Fodlan and then went to rest on her throne in the holy tomb.

Player menus is a notebook Byleth carries with charms on it. Pages feature the country logo of chosen house, with the Church of Seiros logo on a page before choosing a house.

Besides a feather pen as a cursor, many ui are in the form of a set of papers; A plain papers, a papers with a Church of Seiros pattern and Sothis tiara, and a papers with a heart pattern in a corners cover.

The design of the options box is similar to a bookmark cards and the ribbon at the top left as a bookmark ribbon that is placed between pages.

With many ui somewhat similar to the sticky notes.

Roster's design is like a campus card, where characters stand on the ground outside a classroom when see roster.

Although the background varies depending on the floor it is on.

The cards and MVP also feature a unique frame for each house or story chapter you are in.

The lower and upper design of a banner that appears upon raising a professor level or passing a certification exam may look similar to a mosaic above a door, which may symbolize the opening of a door to new knowledge and experience gained.

The same theme is present in the banner when begin exploring or lesson plan, symbolizing the beginning of your journey of exploration and teaching others. However, there is no single for Battle, and this may symbolize that there is no benefit to be gained from battles and conflict, and this fits with the FE franchise's message that war is bad. Besides, each one has a color that distinguishes it.

The design of the Crest of Seiros and its various styles is present in most of the UI with the same, if not more, than the Crest of Flames, which is a constant reminder that Officers Academy is the same as the Church of Seiros.

There are many plant patterns that decorate the UI, which is a reference to the passing of the seasons, the meaning of the game's Japanese title. And you can see a branch of leaves on the right of the notebook, which indicates that the notebook has become more like your diary of your life in a monastery.

During a tea party, a screen is decorated with plant patterns with blue roses, giving the ambiance of a garden in which you are sitting. Along with a dialog box in the color of natural hot tea.

The date circle at the top left features four shapes for each season, rose for spring, morning glory for summer, grape vines for fall, and poinsettia for winter. However, during a period of war, the circles loses its colors and becomes grey.

In the background of the chapter title of within White Clouds, the same plants are present, with the background design as a white paper with the Church of Seiros logo. However, like the date circle, during a period of war the background becomes dark with sparks of war flames, plants change to holly and thistle, the Church of Seiros logo to the country logo of the chosen house.

The CF's background differs from the SS's in a red double-headed eagle with two additional black stripes.

And this brings me to the background title before the start of each battle. Unlike the background title in each new chapter, which looks like a new page being turned to record daily events, the background title of a battle is literally the cover of notebook, and this may symbolize something similar to the Battle theme above. Like the chapter title background, it features the Church of Seiros logo during White Clouds and changes to the country logo for the chosen house, with SS and CF sharing the same background.

Speaking of battle, before any start, Fodlan map will appear on a plank of wood. This is similar to what Claude did in cutscene The Academy, where he placed a map on a table and started discussing it.

Battle Prep looks like a clock + glass mosaic, and if you notice, it is surrounded by a magic circle that appears between roles of units. It looks somewhat similar to Mila's Turnwheel, and I know Divine Pulse sounds like shattering glass, but it can be interpreted as follows; A clock is set before the start of a battle, and the magic circle is used to set units' movement points, and when the time comes to use Divine Pulse, the clock glass is shattered, which appears as a portal to an almost parallel world to return to a specific point. Furthermore, the design where the Crest of Flames is located in the middle and surrounded by the rest of the crests is very similar to the Goddess mural. There is also a crescent inside which looks like a star chart, and this corresponds to the cutscene At Death's Door, where the use of Divine Pulse shows what looks like space.

Because we don't use a battle notebook, we use a key ring memo pad instead.

Despite all the praise I gave for the game's UI design, there were some things that disappointed me. Most notable is the Adrestian empire logo for Silver Snow.

I know that the developers called Silver Snow the empire route, but they had to design the UI to fit the Crest of Flames flag, which represents the route as a whole. They don't even reuse the MVP frame from prologue, even though it's very convenient for the route. Why do they design loungewear in line with the Crest of Flames flag but not with the UI?

again they using the Adrestian empire logo for the unique classes poster. Why didn't they design a unique poster for each route? Or make it neutral?

I wish they would change the plant patterns during the tea party in Byleth's room to match the ambiance like a garden.

After all, 3H's UI design is not as perfect or innovative and iconic as Persona 5. However, in this post I wanted to share what I found fun about designing it, and you can summarize it as follows: 3H's UI design represents Sothis, the goddess of the Fodlan world, and the core foundation of the Church of Seiros, which in turn built the Officers Academy where you begin your new life as a instructor to your students through the passing seasons of the year.

Of course, I did not include all the UI designs, perhaps because I forgot them or failed to know its meaning, such as magic circle when raising the level. So, feel free to add to this post if you have any ideas.

[steelsmartsystem1]

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[steelnetwork99]

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[sweetlittlemessenger]

So I made a story based on MBTI's INFP cognitive functions.

---

This story takes place in a girl's human mind, which is more known in this universe as the Psyche Realm. It tells about the Infsman(inferior function), Terratora of the INFP Squad and her encounter of the four additional CFs who mysteriously appeared in their Realm.

---

♡ Sirene's POV

◇ Terratora's POV

The legends displayed above will tell you who's currently telling the story. If a "♡" is displayed, the story is told in Sirene's perspective and if it's a "◇", then it's in Terratora's perspective

Now with that said let's get on with the story!

♡♡♡

Ever since I saw that door I've been wondering what lies behind it, what shadows hide inside...

I was just doing my daily rounds in the Archives of Snow, finishing overviews of my Host's past memories that I hope she would find relief in. I was carrying a stack load of them when my foot bumped into something that would seem to have felt to be some kind of glass object. I looked down to confirm that it was indeed glass, a glass bottle; full of stars.

"Uuuuuugh, Netaaa!!" I groaned in frustration, I swear our Auxman has no sense of organizing whatsoever, not to mention scatter-brained. She has a habit of taking her so-called projects with her while she works and leaves them behind almost everywhere. I attempted to pick it up when I forgot that I was carrying a stack of memories, making me lost my balance and the pages and books of memories flew and scattered everywhere. One of the memory books glided towards the bottle, making it roll away.

"Hey, come back!" I shouted, not bothering to clean up the scattered memories and proceeded to chase the runaway joke-of-a-craft down the long ass aisle. The bottle's straight-line escape came to a close when it reached the very back of the entire Archives. Finally, I picked up the bottle and looked up. After a quick observation I realized that I have found a door. It was a purplish black color with jet black elegant iron frames. Strange... I have walked the Archives' floors several times and never have I seen a door like this. Filled with curiosity, my hand reached for the door's handle only to be halted by a shout.

"My Tertsman!" a voice called, I turned around to see my Infsman, Terratora running towards me.

"Terra?" I asked, "what are you doing here?"

"I was suppose to inform you about the recently finished tasks, but it seems you have found... their door. You musn't go in there my Tertsman. "

Terratora caught my attention on her emphasis on the word 'their'

"What do you mean 'their?'" I asked

"Behind this door..." she paused for a long second, as if she hesitated to answer, "lies four unannounced Neuronites, if they are even considered one"

This left me pondering and confused, "Four more Neuronites... how? There are already four members in our squad, how could there be four more?"

Terratora didn't answer, but rather, she looked down stayed silent

I continued to ask here more questions "And more importantly, when and how was there a door here?"

She sighed, "I think it's time... that I told to you about the Shadow Squad."

◇◇◇

It was just like any other day. The Domsman guiding the host, the Auxman constantly inventing new inventions (honestly at this point I wonder if her brain ever goes empty), my Tertsman collecting memories, and me, the Infsman, organizing, checking and crossing out finished tasks, that is...if there were. I was currently in the Mental Notes section of the Archives of Snow, doing my daily task when I heard something, or rather... someone.

"Um, excuse me miss." it called, the voice awfully sounding just like the Domsman

'Lady Fi?' I thought, turning around to see if my assumption was correct, it was not. Instead of the pink brown-haired lady in a golden crown-like headband standing before me, was a strawberry blonde woman with bright green eyes wearing a sleeveless dark magenta top with a grecian neckline, dark forest green capri pants embroidered with a pink roses design towards the pant's cuffs, dark purple ankle strap pumps and a translucent pink blazer. What caught my attention were her bright purple Neuro Transmitters.

"Hello there," she waved, " I couldn't help but notice that you're in a little pickle right there, do you need any help?" she said with a smile, though it didn't seem to meet her eyes.

I decided to play along

"Oh, uh... thank you." I answered

The lady then went beside me and spread her arms out, to which I responded by giving her some of the papers I was currently carrying. "Oh how rude of me, I forgot to introduce myself!" she said, "I'm Fenessa, and you are?"

"Terratora." I responded, but didn't bother to make eye contact and continued with my current work, "Infsman of the INFP Squad, I am responsible for organizing the Host's concepts and tasks and as well as checking and marking tasks that are finished."

"Wow, sounds like a tough job!" Fenessa said in amazement, "and you're doing this all by yourself? Where are your other members of your squad, surely there's like a lot you."

"They're..." I hesitated to give her an answer,"in their respective places, doing their respective jobs. There are only four of us, myself included, most of the time we are too preoccupied with our current tasks to help another member."

Why did I hesitate?

"Seriously? Wow that sucks." she commented.

A long moment of silence passed as the two of us continued organizing. I began to ponder on what just happened...

Firryn said that the squad was already at a maximum capacity of four members, and therefore no additional Neuronite was expected to appear.

But why was there another Neuronite?

Where did Fenessa come from?

And why are her Neuro Transmitters purple?

"Soooooo..." Fenessa spoke up, breaking my train of thought, "mind telling me about your Squad, you know, the members, what they do here, what they're like?"

"The squad?" I looked at her for a second then back to the shelves, "Well, there's Firryn the Domsman, she is the leader of the squad and guides our Host in judgement and decision making based on their inner values. Then there's the Auxman, Netalia, she assists the Domsman in her job by helping her stay open minded on certain view points when making judgement. Third is my Tertsman, Sirene, she is in charge of the memory department, mainly to provide relief to the Host, using the memories that the Host hold dear, and lastly is me, the Infsman."

"I see," Fenessa said, as she placed one of the papers to their respective shelves "Judging by how she lets you work all alone here, does she ever acknowledges the efforts you've put into organizing all of these tasks?"

I looked down and thought deeply on what Fenessa said. Lady Fi actually never did once give a glance on how I managed the tasks I was asked to organize.

"No?" Fenessa questioned, "Well that's a shame...Hey! How about I help you by joining your squad?"

My head perked up from the offer, "What?"

"Think of it, us working together in organizing these tasks. It will double the work speed and cut down half the time, oh, and I can also help in contributing on how you guys as a team can work more efficiently and in harmony. So, whaddaya say?" Fenessa reached out her hand with a smile, waiting for me to accept her deal.

The way she looked at me... the way she smiled sent a chill down my axon. Something didn't felt right, it was as if she was trying to manipulate me.

"Thank you, but I have to decline. You see, the squad only allows four members and we have already reached the maximum capacity." I said with a firm tone.

"Aww that's too bad," She said sadly, still smiling

it looked forced

"Oh well, I' ll still be here whenever you need me," she said, putting the last stack of papers on to the shelves, "it was nice meeting you, Terratora. See you around!" she waved and turned around, walking away.

See you around? Wait... is she implying on staying here in the Archives?!

"Wait, you can't just--" and before I knew it, she was out of sight. This was bad, a new Neuronite appeared and was now roaming inside the Archives. It was at that moment, I knew had to report of this event.

The following day, I planned to report this to Sirene, but she was currently preoccupied in digging up "lost" memories that was was found deep in the Archives, so I had no choice but to report to the Auxman. I approached the door of the Auxman's room and knocked a few times.

"Who is it?" a tired voice called from inside the room.

"Terratora, ma'am" I answered.

The door opened to reveal a tired-looking Netalia, and sweet saya she looked like shit, her hair was a mess and she had bags under her eyes. "Ey, Terra! What can I do for you?" she asked

Looking at her current state I asked her with concern "Ma'am, if i may ask, how long have you been wake?"

"Uuuuuuuuh..." the Auxman scratched her head, "36 hours?"

...what do the humans call this significant short period of event again? Ah yes, a "bruh moment." This was definitely a "bruh moment."

"Uh I see..." I muttered as I fixed my posture and went back to the matter at hand, "Well I have something that I must report to you, privately." I firmly informed.

"Oh, sure come in." Netalia said, stepping aside and letting me in her room. Her room was steam-punk themed, giving off a nice afterthought of the 1800's European Industrial Revolution. The walls had real functioning turning copper and gold gears and for the floor was a glossy gold iron-parquet flooring, but there was just one problem. Like her messy appearance, Netalia's room was an absolute mess. Different inventions and papers stacked carelessly in every corner, some papers were scattered across the floor, crumpled. Her work desk was no different. "So," Netalia said, yawning as she sat on her wooden antique chair, leaning forward "what did you want to talk about?"

"There is a new Neuronite that is roaming around the Archives of Snow."

Netalia's expression turned serious, "What?" she asked, her eyes widened a little.

I explained to her of my encounter with Fenessa, explained her appearance and behavior. Netalia began to be in deep thought, trying to process the information she had received. That's when I heard her mutter, "I can't be... Shadow Functions...here?"

"Shadow Functions?" I asked

"Nah, I'm sure you just saw it through a memory book" she said waving her hand, denying my claim of seeing a new Neuronite.

"Ma'am, you are aware of what the Shadow Functions are, right?"

"Yeah, the rumored Neuronites who linger inside a host's pysche realm and cause chaos, but you don't have to worry, it's just a rumor."

"Ma'am, I saw that Neuronite yesterday and interacted with me. If what I saw yesterday was a Shadow Function, there is no doubt that there could be other Shadow Functions roaming around the Psyche Realm as well--"

"First of all, you don't know that," Netalia interrupted, "second, there is no evidence to confirm the existance of the Shadow Functions."

"Ma'am, does my eyewitness testimony not count as an evidence?"

The Auxman thought hard for a moment, "Hm, good point, it does have some credibility, however, because you were the only witness, it does not have enough reliability."

"But ma'am--"

"That's enough Terra," Netalia said in a serious and authoritative voice and stood up from her chair, "this conversation is over."

"Netalia--"

"Terratora, I am warning you--"

"Could you, for once, please listen--"

"ENOUGH WITH THE BULLSHIT TERRA, SHADOW FUNCTIONS DON'T. FUCKING. EXIST!"

I stepped back, staying silent. Netalia gasped, realizing what she had done, she rubbed her temples with her fingers and let out a heavy, tired sigh "I'm sorry...I shouldn't have lashed out on you like that."

"It's ok...I understand" I truly did, Netalia was sleep deprived so it wasn't a surprise she would snap

"Just...don't bring up that topic again ok?"

"Yes ma'am..."

"Good, now if you have nothing else to report, you are dismissed." Netalia said as I walked out of the room.

Great, looks like I'll have to take care of this roaming Neuronite myself.

Not long after that incident, a new Neuronite appeared while I was in the Archives. A redheaded lady with bright green eyes wearing a sun hat, dark bluegreen off shoulder dress decorated with glitter at the hem, and some sandals. She called herself Niema, her choice of words are beyond my understanding, not to mention her unsettling insights of the future. What was most disturbing was how her presence is still felt in Archives from time to time despite not being present in sight.

Fast forward to several days later and another Neuronite appeared. this time by the same of Selly, and just like Niema, she was a redhead with bright green eyes. Her hair was styled into a ponytail, she wore a hazel wood yellow shirt that was tied into a knot, a black wristband on her right wrist, dark mute teal ripped denim shorts, and maroon high-top sneakers with bluish white accents. My encounter with this Neuronite can be summarized into one word: Impulsive. Chasing her across the entire archives, Selly was so fast and hyper that could barely keep up with her. Her curiosity in trying to open certain books of memories without permission gave me a headache.

...

Nothing could have prepared me for the fourth Neuronite. Unlike the previous three, she did nothing but stare at the distance, she was a strawberry blonde with green eyes like Fenessa. Her hair styled into a braid resting on her left shoulder, she wore round glasses with upper half rims framed with icy blue frames, a dark purple hooded shawl with a navy blue short-sleeve sweater underneath, mute blue ripped jeans and maroon sneakers. I did not see her make any movement other than her adjusting her glasses every once in a while. I could sense strong negative energy radiating off of her, the essence very similar to Ti essence.

I had to find out their place of origin, there was no way they just appeared out of thin air. I decided to start with the Archives of Snow, since that's where I found the first Neuronite. I searched every section and corner and found nothing, until I went to the very back of the entire archives. There I saw a door of purplish black color with jet black elegant iron frames. I didn't hesitate to think twice that this was the door they came from, I know this because me and Sirene frequently come to the Archives and never was there a door here.

Following day I requested Netalia to make me a lock. I had to lie to her saying Sirene requested me to get a lock from her, to which Netalia shrugged and gave me the item with two set of keys to go along with it. I rushed back to the Archives to install the lock, but when it came in contact with the handle, it disintegrated...

♡♡♡

"And ever since that day, I've been guarding this door in secret." Terra concluded

"Shadow Functions..." I said shivering at the thought, "I never I'd see the day these Neuronites merging into our Host's Psyche Realm." I looked up at the door and back to Terra, "do you know what lies behind this door?"

Terra shook her head "No, my Tertsman, I have not set foot in whatever is behind the door, not even once."

"I see...why didn't you tell me about this?" I asked her

"I feared that you would give me the same conclusion, since the existance of Shadow Functions is just a rumor." Terra explained, making me remember that Neta snapped at her.

"Terra," I looked at her in the eye, "you know very well that I would never raise my voice at you, so don't ever hesitate to come to me if something is not right, clear?"

"Yes ma'am."

"Good." I nodded

"My Tertsman, if I may ask," Terra spoke up

"Yes?" I replied, giving her permission to speak

"Will you promise me to keep this door a secret?"

This put me in my train of thought, should I really keep this a secret? Not sharing this information with the Domsman or Auxman could get me in trouble, but then again, Firryn is too closeminded to confirm this info and Neta is too preoccupied already with her millions of garbage ideas and concepts, and with that, I nodded my head, "You have my word."

"Thank you," Terra said, relieved "Now, I saw several memories scattered across the floor of aisle 8-20."

"Oh, that. I was carrying a stack of memories, when I ran into this thing." I said showing her the bottle of stars.

"Ah" was all she had to say, understanding what happened while showing a hint of annoyance on her face.

"Since you're here now, mind helping clean up?" I asked

"Of course." Terra complied as we both turned around to walk to the messy aisle

As we walked I turned my head around to look at the door one last time, the door's mysterious appearance led me to so many questions yet to be answered.

Ever since I saw that door I've been wondering what lies behind it, what shadows hide inside...

[idolizerp]

LOADING INFORMATION ON CHERRY BOMB!’S MAIN DANCE GUN MONA...

IDOL DETAILS

STAGENAME: N/A CURRENT AGE: 25 DEBUT AGE: 19 TRAINEE SINCE AGE: 14 COMPANY: MSG SECONDARY SKILL: Modeling (cf)

IDOL PROFILE

NICKNAME(S): Momo, Moe, Mong (몽), 징징 INSPIRATION: As a child, she’d perform for her father, her brother, and eventually her small town community and found a lot of joy in entertaining them and making them laugh. She’s always loved performing and singing, but hadn’t really thought about doing it for a profession, despite being musically inclined. A young fan of the first-generation K-pop groups like S.E.S and Fin.K.L., she was persuaded to perform on K-pop Star just to see if she liked performing, and found it exhilarating. Hasn’t looked back since. SPECIAL TALENTS:

No-laughing challenge master

Notoriously bad at tongue twisters

Has a whistle register

NOTABLE FACTS:

Very active on her personal and the groups’ SNS and interacts a lot with fans of both the group and herself personally

When she was a K-pop Star contestant, she notably performed ‘U Go Girl’ and impressed the judges with her energy (and cuteness)

Is “jokingly” known to be a huge party girl, idol friends and celebrities she’s familiar with say she has an “iron stomach” when it comes to soju

Known for her funny expressions that can’t hide how she feels - most often it’s her resting bitch face or an unamused one, but also some wacky ones

Crochets little stuffed animals as a hobby

IDOL GOALS

SHORT-TERM GOALS:

Right now, she’s looking to solidify her position as a “CF queen” — wants brands to look at her as someone that’s popular with general public and that, frankly, they’ll shell out big bucks to exclusively sign as their brand model. She also wants to venture into another field or two to supplement the wave of popularity she’s been lucky to experience thus far: an acting stint, perhaps, or maybe variety where historically she’s been a little bit more successful and more comfortable with. More for herself than for her career, she’s been keen on becoming serious as a performing artist, and is looking into music production in her spare time.

LONG-TERM GOALS:

As her relevance (also known as: time frame) as an idol fades, Mona would want to try to go solo, since her love for her craft is a life-long one, but is more than ready to complement a solo career with recognition for the other talent she’s currently deciding between. She’d like to transition her “image” as that charming, relatable girl-next-door look into someone more womanly and self-assured. Someone authentic. In a more career-oriented sense, she wants to achieve the ability to pick and choose the brands that she models for and still receive hefty contracts, in the vein of Won Bin’s star power. Overall, she’d like to shed the ‘idol’ image and turn into that of an ‘artist’ - someone well-respected in the public eye that carries life-long relevance.

IDOL IMAGE

It’s an undeniable truth to say that there is a first impression of her, and that it is always, without fail, this: she’s pretty. Remarkably pretty, in a plain, malleable sort of way. Not too sharp that she cuts, alienates — just soft enough to mould into whatever you want her to be. Most people don’t care for much else besides the first look, so it’s perfectly fine that she’ll be the pretty one, memorable if only fleetingly. It works, anyway — the relatability of her features, parts of it (of her) desirable and the other parts identifiable, make her an easy pick-up for brands to plaster on their products. Girl-next-door with wisps of maturity, of a sex appeal her members don’t quite possess. The kind of soft girl that the public loves to rest between their teeth. Palatable — just so.

You don’t have to be much more than a pretty face and a good dancer, they’ve told her in the past. Don’t stray from your design, is what they mean.

Don’t be you. There’s nothing appealing about it.

She tries. Walks the tightrope between the image of her and the girl inside — tries to dull a blunt tongue, smooth a passionate expression, tame the soft cruelty that makes up her marrow. Spends years running back and forth between wanting and having. Should haves and could haves. There’s the artist she wants to be, the truth that wants to will itself into existence; then there’s the girl that’ll actually succeed — merely pretty, with hidden laughs and closed smiles, speaking well but not too much, both seductive and restrained. So consumed by the thought of others that she tries to smooth herself out until there’s nothing left of her, manufactured out of her system.

She’s told, time and again, that her beauty is the only thing that matters — and, to be frank, she’s tired of it. Tired of being told. So she resolves to take it — their power, her weakness — into her own hands, tilt the scales in her favor. Manifest destiny, or some bullshit like that.

The public eats it up.

The newfound authenticity to her — the poignant way she expresses a confidence she’s found that she’s had, how she isn’t afraid to be desirable, how she pushes the boundary of acceptably self-loving is not so off-putting as it is intriguing. Everybody loves to hate on a woman in control, except with the way she carries herself, haughty but not in-your-face, there’s less to hate and more to admire. It helps that she’s older now, less tied to a youthful, innocent image and settling into the confident niche of her group like she was always meant to be there. Girl-next-door that’s matured into a woman — still pretty, still relatable, but with a voice that’s truly her own. Fears nothing: not the hurtful comments, lustful gazes — doesn’t mind being the sophisticated ‘sex bomb’ she’s grown to be one minute, all-natural the next, an everyday adult woman.

It’s appealing, she supposes, to see a girl grow up. Become more assertive, fill into her skin (or shed the layers that were well past due). Not trying to appease, not blinded by the limelight. At a time when she’s finally happy with herself, everyone seems to be happy with her too. With a tacit blessing, she’s let herself be unafraid to be her, for now.

Just don’t stray out of line, they whisper.

(I don’t care, she wants to say back.)

IDOL HISTORY

In the summer of 1999, she leaves.

.

It doesn’t take Mona very long to realize that her mother isn’t coming back. What with the way her father sits on the side of the bed that used to be hers, head in his palms, back poised for a knife that isn’t there, but it feels like he’s bleeding anyway. She stops questioning him soon after that — too scared, perhaps, of the consequences. One parent’s gone, no need for another to disappear too.

Home isn’t ever the same afterwards. Going from four to barely three leaves a big gaping hole in the fabric, seams loose and aching. Dinners, for example, are sombre affairs, heavy with the knowledge of the empty chair at the table. Weekends, too, are quiet — where her mother used to sing, silence makes itself heard, a loud ringing in the ears. The sound of loss is deafening, they all find out in time.

She tries to pretend that it’s fine, it’s fine, it’s fine.

(It’s not, of course. Six year old fingers aren’t meant to hold up the spines of men — their wilting, their hollowness. No wonder she doesn’t grow up proper; no wonder that there ends up being something wrong.)

There are days when her father cannot look at her. She has her mother’s eyes.

.

Sunday in July. S.E.S. and sunlight waft through old speakers and cracks in the curtains respectively. Like calm before a storm.

Mona can’t help but sing along when the chorus comes on, all light tone and childish chipper. She realizes — there’s been no singing since she left. Since she took the singing with her. Stops short when father’s wiry figure hovers at the doorway, quiet as always. Time won’t heal his wounds, but it has allowed him to forget as a reprieve. Until now.

“I didn’t —“

“Keep singing, Mona,” he says. She doesn’t think she’s ever seen such a smile — so sad, but so happy at once. “It’s beautiful.”

So she does.

.

The moment she steps onto the shining, fluorescent-washed stage is the time she realizes: it’s different. Not at all like sinking her feet into the sofa of her living room, moving like clockwork to her father’s favorite songs, singing along. Nor is it like standing on the rickety wooden floor of her local community center, performing for the people she’s grown up around, who would love her no matter what she’d do.

This is Seoul, with all of its steel and its glamour and a cruelty that leaves fourteen year old her starstruck. This is the tipping point.

After all is said and done, she doesn’t get very far. Pretty, and a vibrant performer, but too rough, too unpolished to win a competition of the best. She’s not even sure the praise they’d given her was real — everything about it had seemed so manufactured. Machinery running through their motions. Leaves her feeling like she had less than she had started with; and she wants more.

Someone slips her a small white card before she leaves the building. You’ve got potential, they’d said. Audition.

Weeks pass and the details imprints themselves into the back of her brain: rudimentary black symbols that bely the possibility of fame, of fortune, of a life greater than her small town all in the sharp cuts of their lines. Curiosity has always been her vice, thorns strangling tighter until she has to find out what’s on the other side.

The tension, her wanting: both palpable. Her little town on the outskirts of Daegu cannot contain it. Everything’s tasteless, everything’s sober. It’s painfully obvious that she wants this. Wants more. Her mother, she recalls, had felt the same way. The parallels scare her. Her mother’s eyes. Her mother’s voice. Her mother’s self-regard. Hers, now, too.

She hates the look in her father’s eyes when she says she’s going to Seoul. Hates it even more when she forgets how he looked when she gets accepted by MSG entertainment, to begin her training as soon as possible.

When she packs her bags and says goodbye, she leaves him slumped in the dining chair she’d made her own for years.

Three becomes two. Feels like there’s nothing left of family anymore.

.

Trainee life is cyclical. Breathe in, breathe out: dance, sing, weigh, repeat. She wonders: why did they let her through when all they seem to want is to strip her gone? They lash her tongue to strip the satoori from her vocabulary; starve away the parts of her that make her her — her bold tongue, her small-town naivety, her childish innocence. Scrub the poverty from her until she’s wiped clean. You’re not here to be you, they tell her in between lines. You’re here to be a god.

Giving her best becomes harder when there’s nothing left to give, so she starts giving pieces of herself in its place. She wants this, she wants this, she wants this. Guilt propels her — her father, all the way back in Daegu, sitting with his head in his palms like she’d left him, just like her mother had before her. All the way here and she hears his howling (or maybe now it’s coming from her).

Torn between this choice: the her of before, and the her that could be.

She chooses the latter. Too many bridges burnt now to go back, she thinks. See the selfish through.

.

Idol life is an open door leading straight into hell.

She’s always so tired. Always so lost. She’d thought wrong: had been mistaken that they’d finally let her be when she debuted. Their hands go deeper now — not ghosting along the lines of her, but into her, become her ribcage and her spine and her mouth. Dissonance, it’s termed: her between closed doors, witching hour in her bedroom, and her in front of the camera. Does her father recognize her? Does she?

Pretty, they tack onto her shoulders. Pretty and docile. Perhaps it’s because she’s become awkward — lost her confidence as she’s risen to the top — but when they tell her keep quiet, she listens. Strange, feeling faceless when the only thing she’s known for is her face. It frustrates her, going through the motions, known foremost for the outside of her, a part of her that’s been an afterthought; then, just barely, how well she dances, how her body moves. Nothing about her — her love for music, her craft, or how funny she can be, or how much she wants to just be.

When she left her family, when she chose herself over others, she didn’t think she’d lose them both.

One day, her father calls. Asks why she sounds so sad. Because I left you, she says. Because I was selfish. And all for nothing — now I can’t even sing how I want, or act how I want, or be how I want. Are you proud of me? Do you hate me for leaving you behind?

Keep singing, Mona, he says. It’s beautiful.

(Be you, Mona. You’re beautiful.)

So she does.

.

Maybe her wounds will heal — maybe, quite possibly, they won’t. But inevitably, she’ll forget them once in a while. Slowly, she learns to let herself go — that is, the idea she has of herself go. It’s no good trying to be someone she’s not; she’s no actress, not at all suited to playing a part. They’d told her it would be her downfall, being herself,  being real. She intends to make it her strength.

It starts off slow, the slippage. A strut down the walkway, a haughty gaze at the camera, a flash of skin here and there. Candid in her interviews, still reserved, but more at ease than ever. Yeah, she’s watched adult films; yeah, she can hold her soju; yeah, she’ll talk about how she had loved a boy and lost him. The more she lets loose, the more comfort she feels — the most comfortable she’s felt in her own skin in years.

In the end, they’re intrigued by this new girl in front of them — the rawness, the realness, the subtle haughtiness. Who is this new Mona? They ask.

She’s always been this Mona, she says, smile on her face — open-mouth, teeth shining and everything.

For the first time, she feels centred. Feels alive.

[commercialvansolutions]

Bullifaktur's rustic modules fit together to create your ultimate VW camper van

Taking a light, modular approach to the classic VW camper van, German shop Bullifaktur uses standalone furniture boxes to build up versatile, fully customizable camping rigs. Its individual modules each contain some smart, multifunctional solutions, piecing together like a puzzle to create your perfect van, whether it's for full-time van life, weekend camping or adventure-chasing. Wood paneling and light colors create bright, modern cabins that campers and van dwellers should enjoy spending time in.

Like many other camper brands, Bullifaktur wasn't originally conceived as a business, but as a single project. In 2016, founder and engineer Dennis Sawadsky purchased a VW T5 with the intention of converting it to a camper with just the right mix of overnight comfort and outdoor gear-hauling utility to support everything from laid-back camping to dirt-riding, wave-seeking adventure.

With nothing on the market seeming to fit those precise needs, Sawadsky and crew got to work building light, quick-install camper furniture, and the original Bullifaktur van was born. As is often the case with a one-off camper van or garage-built teardrop trailer, Sawadsky's rig attracted a crowd virtually every time he put it in "drive," so he and a few business partners figured they had something special enough to compete in the crowded German VW camper van conversion market. They founded the company in 2017.

We certainly think Bullifaktur has something special, as several of its modules and layouts are quite different from the average Transporter conversions we've seen in and beyond Germany. Bullifaktur sells individual modules sort of "build-your-own" style, providing flexibility in how the interior is laid out, how much storage is available, etc.

The largest, most expensive building block in the Bulli lineup is the L-shaped kit that's essentially a full camper van conversion, complete with kitchen, bed, dining area and sofa. What's interesting is that rather than incorporate the front seats, like so many Volkswagen converters do by putting them on swivels, Bullifaktur goes the opposite way by splitting them off with a front kitchen that stretches the width of the van to create something of a divider wall with a sizable cutout over the kitchen counter. While this set-up eliminates any ability to move freely between driver cab and camper, or use the driver-area seats as part of the RV space, it also creates a neater, more defined living area, a natural division between "drive" and "camp" spaces.

The kitchen unit includes independent cooking and storage areas. The stainless steel sink is integrated in the worktop, while the portable cartridge stove is stored below the worktop and extends just outside the van door via a slide-out. Bullifaktur also offers a fold-up counter over top the stove to allow for indoor cooking. Down below the worktop, a refrigerator drawer holds the compact Dometic CF 26 compressor fridge. The adjacent shelving unit, meanwhile, includes indirect LED lighting and bungee cords for securing contents.

The multifunctional sofa that runs along the driver-side wall slides out into a bed, sleeping two happy van-lifers on a 79 x 50-in (200 x 128-cm) mattress. The end of the sofa can also slide out independently, creating an integrated chaise lounge with footrest, perfect for reading or taking in the views through the open tailgate.

Beyond just a bed and lounge, the convertible sidewall module is also a storage chest and dining area. Bullifaktur shows several dining table options, and our favorite is the central sofa-base face panel that lifts and folds into a dining table for two — a multifunctional design that keeps things neat and tidy. Other photos show a simpler table that mounts to the sofa base when in use. The space below the seating unit is hollow and open for storage, and Bullifaktur offers several slides for easily accessing stored items by pulling them out the back of the van.

Just bolting in camper furniture doesn't necessarily make a fully comfortable home on wheels, so the aforementioned package also includes closed cell foam wall and ceiling insulation, wood ceiling paneling with integrated LED lighting, PVC flooring and white fiberboard wall panels.

That's a nice, little ready-to-travel VW camper van, starting at €9,599 (approx. US$10,725) for the conversion package. Bullifaktur assembles the modules independently and can ship them out for owner install or install them itself at its Hamburg headquarters.

Beyond that main package, buyers can customize their van interiors by adding in additional modules or swapping in alternative modules (the aforementioned front kitchen and side sofa-bed are available for purchase individually, as well as in the package). Options include more compact kitchen blocks without the shelving, a sliding rear outdoor kitchen, and a motorcycle ramp/carrier for loading a bike next to the sofa.

Structurally, Bullifaktur's modules are a mix of aluminum framing and plywood panels, keeping things light and simple. They're designed to screw down in roughly 15 minutes.

Bullifaktur offers its main components and kits for Volkswagen T4 through T6 vans, and it also does custom work. Rather than list all the specific modules and prices, we'll just direct you to Bullifaktur's shop, where you can access that info immediately. The website is German-only, so if you want all the details, you'll want to hit the translate option on your browser, unless you happen to speak Deutsch.

Beyond its primary work with newer VW Transporters, Bullifaktur has also done some work with larger VW Crafter and Mercedes Sprinter vans, smaller VW Caddies, older Transporter models like the T2, and even a Mini Cooper. It seems like it's constantly experimenting with new materials, designs and layouts, and we've included some photos of those different layouts in the gallery, along with more photos of the standard kit.

Do you wan to know more details about the cargo van rubber floor mat and van floor mats me then please contact us and send your queries

[steelsmartsystem]

Top Benefits of Using Structural Framing Software for Design

When tackling the complexities of light steel and cold-formed steel floor framing, using specialized software can revolutionize your design approach. Managing design tasks manually can be both time-consuming and error-prone. With Light Steel Framing Software, many tasks are automated, making the design process more streamlined. This software enables quick model generation and effortless adjustments, which reduces the need for extensive manual calculations and updates. As a result, you can complete projects faster and with greater efficiency.

Designing floor systems using Floor Framing Design software offers precise and detailed design capabilities. This software helps ensure that each component is accurately sized and positioned, adhering to all necessary specifications. Accuracy is crucial in structural design significantly enhances this aspect by automating many of the calculations and design checks. Structural framing software design often involves intricate calculations that can be challenging to perform manually. Advanced software handles these calculations quickly and accurately, allowing you to focus on other aspects of the project. This not only speeds up the design process but also provides a solid foundation for making well-informed decisions.

Incorporating framing software into your design process can greatly benefit your approach to light steel and CFS floor framing. Steel Smart System provides innovative software solutions designed to streamline structural framing tasks. Their tools are designed to optimize light steel and CFS floor framing design, improving both efficiency and precision in your designs. To learn more and enhance your design capabilities, read the full blog:

[lancecarr]

NAB Wrap Up, Part 3

While it’s great to see trends in production and display, as an editor I’m driven to several things at NAB. One of them is storage. As cameras capture more and more pixels, where are we going to put them?

For storage on location, I saw displays of camera cards. CFast, an evolutionary step from the original Compact Flash card, is being used by more and more camera manufacturers. And now the cards are storing half a terabyte.

SanDisk is delivering even more storage than this: CFast cards—now at 512 GB.

A more recent update in the CF family is CF Express. While CFast is designed to operate like a drive, CF Express works more like RAM so it can achieve faster speeds. Faster speeds are important: As cameras increase in resolution, they have to write more pixels per frame. And the frame rates aren’t slowing down! A card that used to handle writing 2,000 pixels per 1/24 of a second might not be able to reliably handle 4,000 or 8,000 pixels in the same amount of time.

Lexar showed a prototype CFAST card with 1000 MB/s write speed.

Beyond camera cards, getting the footage from production to post requires storage with different requirements. One essential element is ruggedness. At NAB, G-technology showed off their ArmorATD.

As I work on projects, I’m surprised how often I receive drives delivered by people who aren’t part of the production team. Couriers, etc., may not see the need to treat delivery of a drive any differently than a box of staples. The ArmorATD can survive the crushing weight of half a ton.

Up to 4 TB of rugged storage.

Next time, drives for the edit suite on the NAB floor.

The post NAB Wrap Up, Part 3 appeared first on HD Video Pro.

https://www.hdvideopro.com/blog/nab-wrap-up-part-3/

[steelnetwork99]

Accurate Cold Formed Steel Studs Framing Designs with Professional Software Program

There is a great demand for cold-formed steel in building construction projects. That is why experts belonging to this field prefer to use the software program in order to design and plan projects that require structures of cold-formed steel (also known as CFS in short, and in general). Let us understand how experts can take advantage of using a software program for Cold Formed Steel Studs Framing.

With the use of such utility software, experts can design and plan projects with more accuracy which consequently helps them in saving their time and energy. When they use CFS software, they can ensure to get designs of steel framing that are entirely accurate and they can avoid over-engineering. This helps them to keep their customers/clients happy. Also, experts can be rest assured to keep the perfect balance when it comes to safety measurements along with cost savings. As this type of software to design cold formed steel studs and framing comes with utility features, drawing engineers can have designed according to the current IBC code for their state. This software also helps in creating drawings by exporting design details such as stud sections, connector types, and screw patterns that are required for curtain walls, x-brace shear walls, knee walls, load-bearing walls, for roof framing, roof trusses, and floor framing.

If you are looking forward to using any type of CFS software (that is available in different versions along with complete suite) you must consider The Steel Network which is a structural design suite that provides construction professionals with the structural design software tool designed and engineered for both fast and accurate design. It helps to raise the bar for the design and analysis of Cold Formed Steel Framing with additional functionality and accessibility. 

For more details, visit https://steelnetwork.com/

[itsworn]

Hot Rod Fever: The Brunk Family 1952 Chevy Pickup

It’s one thing when you do this thing we do to make a living—it’s often a struggle, but a passion-filled one nonetheless. But for the average blue-collar American who chooses to do this thing we do as a hobby, it can downright be impossible when times are tough. Family always comes first, but when the tight-budget purse strings allow, the ability for a family to partake as a whole—from the building of to enjoying the finished product—it’s nothing short of an amazing experience. Bruce Brunk’s tale of Hot Rod Fever is proof positive, as you’re about to read.

“I’ve been crazy about cars and hot rods since I was in junior high school. I guess it all started when my dad, Nick, bought a 1967 Chevelle that he started drag racing at the local quarter-mile dragstrip located north of my hometown of Ardmore, Oklahoma. I had ‘hot rod fever,’ even to the point of wallpapering my bedroom floor to ceiling (without my parents’ permission) with clippings from my dad’s hot rod magazines (also without permission). To say the least, he was NOT happy.

“During his years of racing, I worked with him every chance I had trying to learn everything that I could. While supporting three children and working a fulltime job, he did what he could working from a one-car garage on a shoestring budget.

“With my dad no longer drag racing and me getting my driver’s license, he handed the Chevelle down to me, which consisted of just a body and frame. Any money I earned working after school went into buying wheels, tires, interior, running gear, and so on. With the help of my older brother, Larry, and my dad, we got the car running and back on the road. After a while, I ended up returning the Chevelle to my dad and bought a motorcycle that I rode during my final year of high school.

“After high school, my car craze continued when I found a 1961 Chevy shortbed truck with a six-cylinder engine and three-on-the-tree transmission that I bought. It needed some TLC, so my friend painted it and I bought wheels and tires for it. This sealed my love for old Chevy trucks.

“This truck was eventually sold, and then in the early ’80s I bought a 1970 Chevrolet truck. This was what I was driving when I reconnected with a girl from junior high school, whom I would later marry. After we married, we sold the 1970. Because a coworker offered me decent price for the truck, I let her go.

“Within a few short years of being married, we had two daughters, Sarah and Rachel, which slowed my pursuit of my hot rod truck dreams. Even when the girls were just toddlers, I had my eye on a coworker’s 1962 Chevy shortbed truck. The day I saw it I told him them that if he ever decided to sell it I wanted first shot at buying it. Sometime later, my coworker stopped me and told me it was for sale. Without hesitation, I jumped at the opportunity and bought the truck. It was a clean, straight body truck with very little rust that ran very well. After getting it painted and then upholstered it became my daily driver.

“During this time when I was driving the 1962, I was working full time at the utility company and taking college courses in the evenings. I was commuting to attend these night classes. Sadly, at this point, the truck’s six-cylinder and three-speed meant it was just not practical. So, I had to sell the truck. Then, in 1992, I decided to pursue a pharmacy degree, so my wife and I sold our home, most of our belongings, and moved from Dallas, Texas, to Norman, Oklahoma.

“During these years, our transportation was limited to what we could afford and keep running, so buying and working on an old truck as a hobby was impossible. A friend in Norman knew how much I loved old cars and trucks, so he took me to see the cars that his father-in-law had in a shop. I’ll never forget walking into his shop and seeing two street rods that he had built: a 1933 Dodge coupe and a 1933 Dodge sedan. I knew then that after graduation from pharmacy school, I would again pursue this hobby of street rodding.

“After graduating from pharmacy school in 1997 and eventually settling back in our hometown of Ardmore, Oklahoma, I began looking for a home for my family. My wife always laughs when she tells people that I went looking for a shop that had a house that my wife might like, which is exactly what I did. After purchasing a home in 1999, I slowly began acquiring what I would need to start this hobby. I was starting from scratch; I had nothing except a small toolbox stocked with a few wrenches, ratchets, and screwdrivers. In addition to my fulltime pharmacy job, I also took on a part-time pharmacy job just to fund my hobby.

“At a Goodguys show swap meet in 1999, I spotted an original and complete 1939 Chevy coupe. A deal was made and the car was trailered home. With my dad’s knowledge and experience with old cars, we took her from a rusty, non-drivable relic to a beautiful street rod. This labor of love took us nine years, all of which were riddled with everything from our laughter to strong disagreements about the build. As soon as we finished the coupe, we started taking it to local car shows; this further fueled my hot rod fever and I knew that I still wanted to buy and build another old Chevy truck.

“In spring 2009 my wife and I went to a Pate Swap Meet in Ft. Worth, Texas. While we were there, I spotted a 1952 Chevrolet five-window truck. The truck looked sound, although not running, so we made a deal and hauled it home. Once we got the truck home and started disassembly, we uncovered more rust than we had expected. Very quickly we realized which original parts could be salvaged and reused along with which parts were too damaged to repair. Ultimately, we saved the cab, doors, hood, and frame—everything else had to be replaced.

“Whenever our schedules allowed us, Dad and I worked to disassemble the truck, label and inventory every usable part, and a made list of parts that we needed to order. After disassembling the truck we had the frame sandblasted and powdercoated. We installed a Heidts frontend, a rebuilt small-block 350 that we pulled from my dad’s 1991 Chevy Suburban, a 700-R4 transmission from Phoenix Transmissions, and a Ford 9-inch rearend from Currie mounted with a four-link from Total Cost Involved. With the rolling chassis finished, we assembled the truck using the surviving parts, new front and rear fenders, plus a new truck bed. Then, our attention turned to the truck’s body. First, Dad and I removed the original firewall and replaced it with a Bitchin’ Products firewall with a 4-inch recess, allowing us more room in the engine bay. After assembling the old and new body parts together, we began to get an idea of the truck’s stance and were able to better imagine what it would look like finished. With everything fitted, we then disassembled the truck in preparation for bodywork. Shortly after this, my dad developed health issues that curtailed his visits to the shop to work on the truck. Fortunately, he was always a phone call away when I had a question or a problem, but his absence slowed progress.

“While the truck was getting reading for bodywork, my wife and I discussed the paint color. I envisioned it being orange but she kept insisting that the truck had to be green. So, we looked at every car show we attended, in every car magazine, and even new cars on car lots in search for the perfect color. Bouncing between orange and green we finally settled on PPG Snake Skin Green. Now the truck is ready for a trip to the body shop—which turned into not one but four different shops.

“An acquaintance gave me the name of the Custom Colors body shop in Choctaw, Oklahoma, which became what was to be the truck’s first body shop stop. After a couple of months, minimal bodywork was completed when we learned that the owner had unexpectedly retired. So, we went to Choctaw, got the cab and other parts, and took them to a local Ardmore body shop owned by Kim Spiering who was willing to complete the bodywork. During this body shop stay Spiering completed the majority of the bodywork, installed door latches, primered the parts, and applied undercoating to the essential areas. It was during this time that I contacted Chris Frasher, a local painter who agreed to paint the truck. Frasher was owner of CF Designs, which was a one-man operation specializing in motorcycle painting but he agreed to paint the truck between motorcycle jobs. After leaving Spiering’s body shop, the truck went to Frasher’s shop to begin final preparation and then paint. However, the truck hood still wasn’t fitting well and needed to be fit to the cab. One day one of Frasher’s friends and a fellow automotive shop owner, Micah Newell, of Newell’s Customs in Healdton, Oklahoma, stopped by Frasher’s shop and inquired about the 1952 truck in his shop. Frasher shared that the truck was there for paint but more work was needed on the hood. Aware of Frasher’s heavy motorcycle jobs, Newell offered to tackle the truck’s hood. The Chevy was headed to her fourth body shop stop, Newell’s Customs, where Newell finished the remaining work on and mounting of the hood—then the truck was returned to Frasher’s shop for paint.

“As body and mechanical parts were painted and ready, I began assembly. This was a slow process that took the help of my family and several friends to complete. My brother, Larry, and I installed the front and rear glass. Then my son-in-law Kane Bass and daughter Sarah installed the corner cab glass. My daughter Rachel helped me connect the front fenders to the cab. After this, I tackled the wiring of the truck and finishing on the bedwood. With the wiring complete and ready for interior, my wife, Denise, and Larry helped me take the truck for upholstery to Shawn Cook, owner of Cook’s Auto Top and Trim. Before we arrived, my wife had already decided that she wanted the seats and carpet to be a rich brown color and she knew what she wanted the stitching pattern to be. In just a few weeks, Cook had installed the sound system and upholstered the truck’s interior.

“When it was time for the bed to be set on the frame, Larry, Kane, Frasher, and myself got the bed squared and mounted to the frame; then we added the rear fenders. At this point, the truck was mostly complete with minor finishing details remaining; and this put us just one week before the Goodguys show in Ft. Worth where the truck was scheduled to make its debut. Frasher and I (and my wife when we needed an extra set of hands) had a few marathon sessions finishing those last few details. (Her extra set of hands was always there throughout the nine-year build. In fact, my wife was there from start to finish all nine years, always willing to lend her hands, and she never minded crawling under the truck and getting dirty!)

“The day the 1952 Chevy truck rolled through the tunnels at Texas Motor Speedway and onto the infield there was a sense of accomplishment and fulfillment of a long nine-year process. Remember the 1967 Chevelle that started my love affair with Chevy hot rods? Well, my dad gave me the Chevelle he raced in the ’70s and it is sitting in my garage—it’s my next Chevy hot rod project!”

Facts & Figures

CHASSIS Frame: Modified stock Rearend / Ratio: Currie 9-inch / 3.70:1 Rear Suspension: TCI four-link Rear Brakes: Drum Front Suspension: Heidts IFS Front Brakes: Disc Steering Box: Power rack Wheels: 15-inch Wheel Vintiques Tires: BFGoodrich Radial T/A Gas Tank: CPP 19-gallon

DRIVETRAIN Engine: Chevy 350 Valve Covers: Cal Custom Manifold / Induction: Edelbrock AirGap / Holley 670 Street Avenger Ignition: MSD Headers: Sanderson Mufflers: MagnaFlow Transmission: Phoenix Transmissions 700-R4

BODY Style: Advance Design 1/2-ton five-window Fenders Front / Rear: Stock Hood: Stock Grille: Stock Bodywork by: CF Designs, Custom Colors, Kim’s Body Shop, Newell’s Customs Painted by: CF Designs Paint type / Color: PPG / Snake Skin Green Headlights / Taillights: Classic Parts of America Bumpers: Classic Parts of America

INTERIOR Dashboard: Stock, smoothed Gauges: Classic Instruments Air Conditioning: Vintage Air Wiring: American Autowire Stereo: Memphis Audio Steering Wheel: 1960 Impala repop Seats: Snowden Custom Upholstery by: Shawn Cook Upholstery Material / Color: UltraLeather / Brown Carpet: Brown square-weave

The post Hot Rod Fever: The Brunk Family 1952 Chevy Pickup appeared first on Hot Rod Network.

from Hot Rod Network https://www.hotrod.com/articles/brunk-family-1952-chevy-pickup/ via IFTTT

[tinmsn]

Barn là gì

Barn

About Hatnote [[Image:Zalmon Read Barn back view.jpg|thumb|Timber framed with siding of vertical boards was typical in early New England. Red is a traditional color for paint. [[Connecticut]].]] [[Image:TTCdairybarn.jpg|thumb|The [[Texas Technological College Dairy Barn]] in [[Lubbock, Texas]], U.S., was used as a teaching facility until 1967.]] [[File:Лебедев Гумно 1894.jpg|thumb|Russian women using a hand powered [[winnowing]] machine in a threshing barn. Note the board across the doorway to prevent grain from spilling out of the barn, this is the origin of the term threshold.Oxford English Dictionary Second Edition on CD-ROM (v. 4.0) © Oxford University Press 2009. Threshold. Painting from 1894 by [[Klavdy Lebedev]] titled the floor or the threshing floor (Гумно).]] [[File:GrangeBarn-interior.jpg|thumb|[[Grange Barn, Coggeshall|Grange Barn]], [[Coggeshall]], England, originally part of the Cistercian monastery of Coggeshall. Dendrochronologically dated from 1237–1269, it was restored in the 1980s by the Coggeshall Grange Barn Trust, Braintree District Council and Essex County Council.]] [[File:Barn Barberêche Mar 2011.jpg|thumb|A bridge barn in Switzerland. The bridge (rather than a ramp) in this case also shelters animals.]] A ”’barn”’ is an agricultural building usually on [[farm]]s and used for various purposes. In the [[North America]]n area, a barn refers to structures that house [[livestock]], including [[cattle]] and [[horse]]s, as well as equipment and fodder, and often grain.Allen G. Noble, ”Traditional Buildings: A Global Survey of Structural Forms and Cultural Functions” (New York: Tauris, 2007), 30. As a result, the term barn is often qualified e.g. tobacco barn, dairy barn, sheep barn, potato barn. In the [[British Isles]], the term barn is restricted mainly to storage structures for unthreshed cereals and [[fodder]], the terms ”’byre”’ or ”’shippon”’ being applied to [[cow]] shelters, whereas horses are kept in buildings known as [[stables]].archiveurl=https://web.archive.org/web/20121102204240/http://dictionary.reference.com/browse/byre On the Continent, however, barns were often part of integrated structures known as [[byre-dwelling]]s (or [[housebarn]]s in US literature). In addition, barns may be used for equipment storage, as a covered workplace, and for activities such as [[threshing]]. ==Etymology== The word ”barn” comes from the [[Old English]] ”bere”, for barley (or grain in general), and ”aern”, for a storage place—thus, a storehouse for barley.Oxford English Dictionary Second Edition on CD-ROM (v. 4.0) © Oxford University Press 2009. Barn, n. “Another word for ‘barn’ in Old English was ”beretun,” “barley enclosure” (from ”tun”: ‘enclosure,’ ‘house’,archivedate=2013-10-29 referenced 4/19/2013 or ”beretun” (barton), also meaning a threshing floor.Bosworth, J.. ”A Dictionary of the Anglo-Saxon Language”…. London: Longman, Rees, Orme, Brown, Green, and Longman, 1838. 50. Print. In historical times, the barn was to be distinguished from the [[granary]], which was used to store threshed grain or cut off ears. Now, however, the common English name for a grain storage building is [[granary]]. Modern barns may include a [[stable]], from Latin ”stabulum” ‘stall, fold, aviary’ (literally “a standing place,”),http://www.etymonline.com date=2007-07-13 Stable ”byre” (‘cow shed’, from ”bower” which is from Old English ”bur”— “room, hut, dwelling, chamber,” from Proto-Germanic *”buraz” (cf. Old Norse ”bur” “chamber,” Swedish ”bur” “cage,” Old High German ”bur” “dwelling, chamber,” German Bauer “birdcage”)…”,http://etymonline.com url=https://web.archive.org/web/20130420044417/http://etymonline.com/ Byre or [[animal stall|stall]], “…place in a stable for animals,” from Old English ”steall” “place where cattle are kept, place, position,” and Proto-Germanic *”stallaz” (cf. Old Norse ”stallr” “pedestal for idols, altar,” Old Frisian ”stal”, Old High German ”stall” “stand, place, stable, stall,” German ”Stall” “stable,” Stelle “place”.http://etymonline.com url=https://web.archive.org/web/20130420044417/http://etymonline.com/ Stall ==History== The modern barn largely developed from the three [[aisle]]d medieval barn, commonly known as [[tithe barn]] or monastic barn. This, in turn, originated in a 12th-century building tradition, also applied in [[hall]]s and ecclesiastical buildings. In the 15th century several thousands of these huge barns were to be found in Western-Europe. In the course of time, its construction method was adopted by normal farms and it gradually spread to simpler buildings and other rural areas. As a rule, the aisled barn had large entrance doors and a passage corridor for loaded wagons. The storage floors between the central posts or in the aisles were known as [[bay (architecture)|bays]] or mows (from Middle French ”moye”).Malcolm Kirk, ”The Barn. Silent Spaces”, London 1994; Graham Hughes, ”Barns of Rural Britain”, London 1985; Walter Horn, ‘On the Origins of the Medieval Bay System’, in: ”Journal of the Society of Architectural Historians” 17 (1958), nr. 2, p. 2-23. The main types were large barns with sideway passages, compact barns with a central entrance and smaller barns with a transverse passage. The latter also spread to Eastern Europe. Whenever stone walls were applied, the aisled [[bent (structural)|timber frame]] often gave way to single-naved buildings. A special type were [[byre-dwelling]]s, which included living quarters, byres and stables, such as the [[Frisian farmhouse]] or [[Gulf house]] and the [[Black Forest house]]. Not all, however, evolved from the medieval barn. Other types descended from the prehistoric [[longhouse]] or other building traditions. One of the latter was the [[Low German house|Low German (hall) house]], in which the harvest was stored in the attic.Jeremy Lake, ”Historic Farm Buildings. An Introduction and Guide”, London 1989; Eric Sloane, ”An Age of Barns. An Illustrated Review of Classic Barn Styles and Construction”, New York 1967, 4th ed. 2005; Jean-René Trochet, ”Maisons paysannes en France et leur environnement, XVe-XXe siècles”, Paris 2007. In many cases, the New World colonial barn evolved from the Low German house, which was transformed to a real barn by first generation colonists from the Netherlands and Germany.John Fitchen, ”The New World Dutch Barn. A Study of its Characteristics, its Structural System, and its Probable Erectional Procedures”, Syracuse N.Y. 1968. ==Construction== [[Image:Beautiful Post and Beam Horse Barn.JPG|thumb|The skeleton of a post and beam horse barn just after raising]] [[Image:Round barn Indiana.jpg|thumb|px|right|[[Thomas Ranck Round Barn]] in [[Fayette County, Indiana]], U.S.]] In the U.S., older barns were built from [[timbers]] hewn from trees on the farm and built as a [[Crib barn|log crib barn]] or [[Timber framing|timber frame]], although stone barns were sometimes built in areas where stone was a cheaper building material. In the mid to late 19th century in the U.S. barn framing methods began to shift away from traditional timber framing to “truss framed” or “plank framed” buildings. Truss or plank framed barns reduced the number of timbers instead using dimensional lumber for the rafters, joists, and sometimes the trusses.url= https://books.google.com/books?id=M7swAQAAMAAJ The joints began to become bolted or nailed instead of being mortised and tenoned. The inventor and patentee of the Jennings Barn claimed his design used less lumber, less work, less time, and less cost to build and were durable and provided more room for hay storage.Fink, Daniel. Barns of the Genesee country, 1790–1915: including an account of settlement and changes in agricultural practices. Geneseo, N.Y.: J. Brunner, 1987. Print. 416. Mechanization on the farm, better transportation infrastructure, and new technology like a hay fork mounted on a track contributed to a need for larger, more open barns, sawmills using steam power could produce smaller pieces of lumber affordably, and machine cut nails were much less expensive than hand-made (wrought) nails. Concrete block began to be used for barns in the early 20th century in the U.S.Fink, Daniel. Barns of the Genesee country, 1790–1915: including an account of settlement and changes in agricultural practices. Geneseo, N.Y.: J. Brunner, 1987. Print. Modern barns are more typically steel buildings. From about 1900 to 1940, many large [[dairy]] barns were built in northern USA. These commonly have [[gambrel]] or hip roofs to maximize the size of the hay [[loft]] above the dairy roof, and have become associated in the popular image of a [[dairy farm]]. The barns that were common to the [[Wheat belt (United States)|wheatbelt]] held large numbers of pulling horses such as [[Clydesdale (breed)|Clydesdales]] or [[Percheron]]s. These large wooden barns, especially when filled with [[hay]], could make spectacular fires that were usually total losses for the farmers. With the advent of balers it became possible to store hay and [[straw]] outdoors in stacks surrounded by a plowed fireguard. Many barns in the northern United States are painted [[Variations of red#Barn red|barn red]] with a white trim. One possible reason for this is that [[ferric oxide]], which is used to create red paint, was the cheapest and most readily available chemical for farmers in [[New England]] and nearby areas. Another possible reason is that ferric oxide acts a preservativearchivedate=27 March 2010 and so painting a barn with it would help to protect the structure. With the popularity of tractors following [[World War II]] many barns were taken down or replaced with modern [[Quonset hut]]s made of plywood or [[Galvanization|galvanized]] steel. Beef ranches and dairies began building smaller loftless barns often of Quonset huts or of steel walls on a treated wood frame (old telephone or power poles). By the 1960s it was found that cattle receive sufficient shelter from trees or wind fences (usually wooden slabs 20% open). ==Gallery of barns with different wall building materials== File:Scheune Langes Mühle.jpg|Half-timbered barn with brick infill. [[Uetersen]], Germany. This barn’s proportions resemble a [[Low German house]]. File:Ysgubor Stryd Lydan, Sain Ffagan.jpg|Half-timbered with wattle-work walls for ventilation. Stryd Lydan Barn, originally at Llannerch Banna, Flintshire, North Wales. Re-erected at the St Fagans National History Museum, [[Cardiff]], Wales in 1951. File:Exterieur OVERZICHT – Ruurlo – 20264854 – RCE.jpg|Wattle work walls in a sheep barn in [[Ruurlo]], Netherlands File:2011-10-27 Baudenkmal Rödinghausen 98.jpg|Half-timbered barn walls with stone infill. [[Rödinghausen]], Germany. File:Surikow;s_barn.JPG|A barn (ovin) in the museum-estate of Surikov. [[Krasnoyarsk]], Russia. File:2011-10-27 Rödinghausen. Baudenkmal. Hansastraße (4).jpg|Half-timbered wall with [[wattle and daub]] infill. Some of the plaster coating survives. [[Rödinghausen]], Germany. File:25104100067 Syke Fuldenriede 4 Scheune.jpg|A rare half-timbered barn with board infill in Syke, [[Lower Saxony]], Germany. File:GrangeBarn.jpg|Grange barn, Coggeshall, England. This is a ”studded barn” so the wall sheathing must be applied horizontally and covered with a siding material in this case clapboards (weatherboards). File:Metylovice, Na kopci, stodola 01.jpg|A type of barn in [[Metylovice]], Czech Republic with stone piers and an infill of horizontal timbers. File:Wooden barn in Bartoszówka, Poland.jpg|Board-on-board siding and a thatch roof on this three bay barn in [[Bartoszówka, Masovian Voivodeship]], Poland. File:HennikerNH BennettFarmBarn.jpg|Timber framed with the sheathing covered in clapboards. [[New Hampshire]], U.S.A. File:Zicht op doorgang van de schuur – Schoonebeek – 20411613 – RCE.jpg|Rare walls of boards and thatch. [[Drenthe]], Netherlands File:Barn end – geograph.org.uk – 1628962.jpg|Gable end of a brick barn with ventilation holes built into the brickwork. File:Oak Hall Historic District – Irvin Barn.JPG|LImestone walls in the [[Oak Hall Historic District]], Pennsylvania, U.S.A. File:Gable end – geograph.org.uk – 202611.jpg|Stone barns are common in parts of the United Kingdom, United States, France, and some Mediterranean countries. The projecting stones are a style in part of England. File:Abiah Taylor Barn ChesCo PA.jpg|Abidiah Taylor Barn Chester County, Pennsylvania. Part of the Taylor-Cope Historic District. Built in either 1724 (date stone) or 1744 (wooden beam investigation), it is one of the oldest extant barns in the United States. Field stone walls. File:Farm buildings, Ewelme Park – geograph.org.uk – 677140.jpg|The combination of brick quoins with flint walls is common in (mostly older) buildings in this area of the Chilterns, Oxfordshire, England. File:Rudge Farm 3 – geograph.org.uk – 1303923.jpg|A rare wall material is [[Cob (material)|Cob]] which is similar to adobe. [[Devon]], England. File:SMBL stodola Jaszczew 1870 p.jpg|Round log barn in the skansen (open-air museum) in Sanok, Poland File:Hda gammelgård 20101010 (15).jpg|Hewn log barn painted red in [[Hedemora]], Sweden. File:Dutch barn – geograph.org.uk – 458981.jpg|No walls are a characteristic of what in the United Kingdom is called a Dutch barn. File:Barn opposite Sampson’s Hall – geograph.org.uk – 1474507.jpg|Corrugated metal siding File:Barn-227557.jpg|Rustic barn made out of wood. ==Uses== [[File:DETAIL OF ROOF TRUSS STRUCTURE AND HAY HOOK CABLE AND PULLEY SYSTEM LOCATED ON WEST END OF BARN. CAMERA POINTED EAST. – James H. Lane Ranch, Barn, One Mile South of Richfield on HABS ID,32-RICHF,1A-14.tif|thumb|The ”hay track” developed in the early 19th century, here showing how the ”hay hood” (roof extension) covers the track. The gable wall of this barn is missing.]] In older style North American barns, the upper area was used to store [[hay]] and sometimes grain. This is called the mow (rhymes with cow) or the [[hayloft]]. A large door at the top of the ends of the barn could be opened up so that hay could be put in the loft. The hay was hoisted into the barn by a system containing [[pulley]]s and a trolley that ran along a track attached to the top ridge of the barn. [[Trap door]]s in the floor allowed animal feed to be dropped into the [[manger]]s for the animals. In [[New England]] it is common to find barns attached to the main farmhouse ([[Connected farm|connected farm architecture]]), allowing for chores to be done while sheltering the worker from the weather. In the middle of the twentieth century the large broad roof of barns were sometimes painted with slogans in the United States. Most common of these were the 900 barns painted with ads for [[Rock City (roadside attraction)|Rock City]]. In the past barns were often used for communal gatherings, such as [[barn dance]]s. ==Features== [[Image:Barn-southern-ontario.jpg|thumb|A barn in southern [[Ontario]], [[Canada]]]] [[File:Uster – Schloss – Nebengebäude (NW) IMG 3515.JPG|thumb|A barn of the Uster castle in the city of [[Uster]], [[Switzerland]]]] [[File:WAK Föhlritz 02.jpg|thumb|This barn in [[Thuringia]], Germany has two ”outshots” forming the recess to the middle barn doors.]] A farm may have buildings of varying shapes and sizes used to shelter large and small animals and other uses. The enclosed pens used to shelter large animals are called [[stall (animal)|stall]]s and may be located in the cellar or on the main level depending in the type of barn. Other common areas, or features, of an American barn include: *a [[horse tack|tack]] room (where [[bridle]]s, [[saddle]]s, etc. are kept), often set up as a [[lunchroom|breakroom]] *a feed room, where [[compound feed|animal feed]] is stored – not typically part of a modern barn where feed bales are piled in a stackyard *a drive bay, a wide corridor for animals or machinery *a [[silo]] where fermented grain or hay (called [[ensilage]] or [[haylage]]) is stored. *a milkhouse for dairy barns; an attached structure where the milk is collected and stored prior to shipment *a grain (soy, corn, etc.) bin for dairy barns, found in the mow and usually made of wood with a chute to the ground floor providing access to the grain, making it easier to feed the cows. *modern barns often contain an indoor corral with a squeeze chute for providing [[Veterinarian|veterinary]] treatment to sick animals. ==Derivatives== The physics term “[[barn (unit)|barn]]”, which is a subatomic unit of area, 10−28 m2, came from experiments with uranium nuclei during World War II, wherein they were described colloquially as “big as a barn”, with the measurement officially adopted to maintain security around nuclear weapons research. ==Barn idioms== *”He couldn’t hit the broad side of a barn” is a popular expression for a person having poor aim when throwing an object or when shooting at something. *To “lock the barn door after the horse has bolted” implies that one has solved a [[problem]] too late to prevent it. * “Were you born/raised in a barn?” is an accusation used differently in various parts of the English-speaking world, but most commonly as a reprimand when someone exhibits poor manners by either using ill-mannered language (particularly if related to [[manure]]), or leaving doors open. *”Your barn door is open” is used as a [[euphemism]] to remind someone to zip the fly of their [[trousers]]. *To “barnstorm” is to travel quickly around a large area making frequent public appearances. ==Types== Barns have been classified by their [[Functionally classified barn|function]], structure, location, or other features. Sometimes the same building falls into multiple categories. * Apple barn or fruit barn – for the storage of fruit crops *[[Bank barn]] – A multilevel building built into a banking so the upper floor is accessible to a wagon, sometimes accessed by a bridge or ramp. * Bridge barn or covered bridge barn – general terms for barns accessed by a bridge rather than a ramp. *[[Boô]] – A sheep-barn and dwelling in the Netherlands, seasonal or sometimes year round. *[[Pennsylvania barn]] (U.S.) of which there are sub-categories such as ”standard” and ”sweitzer” types. Also known as ”forebay” or ”porch barns”. *Cantilever barn – a type of log [[crib barn]] with cantilevered upper floor(s) which developed in Appalachia (U.S.A.) *Combination barn — found throughout England, especially in areas of [[pastoral]] farming and the standard barn type in America. This general term means the barns were used for both crop storage and as a byre to house animals.Marshall, Jeffrey L., and Willis M. Rivinus. ”Barns of bucks county”. S.l.: Heritage Conservancy & The Bucks County Audubin Society, 2007. Print. *[[Crib barn]] – Horizontal log structures with up to four cribs (assemblies of crossing timbers) found primarily in the southern U.S.A. *Drying barns for drying crops in Finland and Sweden are called ”riihi” and ”ria”, respectively. *[[Dutch barn|New World Dutch Barn]] – An ancient barn type in the U.S. Also see ”Dutch barn (U.K.)” in Other farm buildings section below. *[[New England barn]] – a common style of barn found in rural New England and in the U.S. *[[English barn]] (U.S.), also called a Yankee or Connecticut barn – An ancient and widespread barn type in the U.S. *[[Granary]] — to store grain after it is threshed, some barns contain a room called a granary, some barns like a [[rice barn]] blur the line between a barn and granary. *[[Gothic arch barn]], has profile shaped as a Gothic arch, which became feasible to be formed by laminated members *[[Housebarn]], also called a [[byre-dwelling]] – A combined living space and barn, relatively common in old Europe but rare in North America. Also, [[longhouse]]s were housebarns. *[[Pole barn]] — a simple structure that consists of poles embedded in the ground to support a roof, with or without exterior walls. The pole barn lacks a conventional foundation, thus greatly reducing construction costs. Traditionally used to house livestock, hay or equipment. *Potato barn or [[potato house]]– A semi-subterranean or two story building for storage of potatoes or sweet potatoes. *[[Prairie barn]] – A general term for barns in the Western U.S. *[[Rice barn]] and the related [[winnowing barn]] *[[Round barn]], built in a round shape the term often is generalized to the include [[Polygonal Barn (disambiguation)|polygonal barn]] and [[Octagon barn (disambiguation)|octagonal barn]] *[[Swing beam barn]] – A rare barn type in part of the U.S. designed for threshing with animals walking around a pole held by a ”swing beam” inside the barn. *[[Tobacco barn]] – for drying of tobacco leaves *[[Tithe barn]] — a type of barn used in much of northern Europe in the Middle Ages for storing the tithes — a tenth of the farm’s produce which had to be given to the church *[[Threshing]] barn — built with a [[threshing floor]] for the processing and storage of [[cereals]], to keep them in dry conditions. Characterised by large double [[door]]s in the centre of one side, a smaller one on the other, and storage for cereal [[harvest]] or unprocessed on either side. In England the grain was beaten from the crop by flails and then separated from the husks by winnowing between these doors. The design of these typically remained unchanged between the 12th and 19th centuries. The large doors allow for a horse wagon to be driven through; the smaller ones allow for the sorting of sheep and other stock in the spring and summer.[http://www.southhams.gov.uk/CHttpHandler.ashx?id=3975&p=0 Barn Guide:Traditional Farm Buildings in South Hams: Their Adaption and Reuse] date=2014-07-14 ==Other farm buildings often associated with barns== *[[Carriage house]] — cart shed * Dutch barn (U.K.) — an open sided structure for hay storage. The type with a movable roof is called a [[hay barrack]] in the U.S or a ”hooiberg” (”kapberg”) in the Netherlands. * A [[corn crib]] —a well ventilated storage space for dried ears of [[maize]] (corn). * A [[granary]] or [[hórreo]] — a storage space for [[threshing|threshed]] grains, sometimes within a barn or as a separate building. * [[Linhay]] (linny, linney, linnies) — A shed, often with a lean-to roof but may be a [[circular linhay]] to store hay on the first floor with either cattle on the ground floor (cattle linhay), or farm machinery (cart linhay). Characterised by an open front with regularly spaced posts or pillars. * Milk room or milk house — to store milk. *[[Oast house]]s — an outbuilding used for drying [[hops]] as part of the brewing process. * Shelter sheds — open-fronted structures for stock * Shippon — a shed which houses [[oxen]] and [[cattle]]. Has [[fodder]] storage above, regularly spaced doors on the yard side, a pitching door or window on the first floor. * [[Stable]] — Usually for housing horses. ==Historic farm buildings== [[File:Barn Pano(9467)-Relic38.jpg|thumb|right|300px|alt=A short silo in the centre of the photograph is slanted slightly to the right, topped by a conical red roof. Three barns form a V shape behind the silo. To its right is a large barn, with slanted red roof and open doors. Perpendicular to it are two similar but smaller barns in series, visible to the left of the silo.|Barns and silo in [[Newmarket, Ontario|Newmarket]], [[Ontario]], [[Canada]]. These structures were torn down in March 2009.]] [[File:Traditional Sasak Village Sade rice barn.JPG|thumb|Traditional [[Sasak people|Sasak]] rice barn in village of Sade, [[Lombok]], Indonesia.]] [[File:Steinhude Scheunenviertel Panorama.jpg|thumb|In Germany some hay barns were kept away from urban areas due to the risk of fire. These areas are called a Scheunenviertel from the German name for a barn, Scheune, which translates as “barn quarter”.Cattelan, Maurizio. ”Von Mäusen und Menschen: 4. Berlin Biennale für zeitgenössische Kunst = Of mice and men : 4th Berlin Biennial for Contemporary Art”. Ostfildern-Ruit: Hatje Cantz, 2006. 89. Print. This barn quarter is in [[Steinhude]], Germany]] [[File:NMA.0064816 Bjärka-Säby. Ladugården.jpg|thumb|The barn at [[Bjärka-Säby Castle]], [[Sweden]], around 1909.]] Old farm buildings of the countryside contribute to the landscape, and help define the history of the location, i.e. how farming took place in the past, and how the area has been settled throughout the ages. They also can show the agricultural methods, building materials, and skills that were used. Most were built with materials reflecting the local geology of the area. Building methods include earth walling and [[thatching]]. Buildings in stone and brick, roofed with tile or slate, increasingly replaced buildings in clay, timber and thatch from the later 18th century. Metal roofs started to be used from the 1850s. The arrival of canals and railways brought about transportation of building materials over greater distances. Clues determining their age and historical use can be found from old maps, sale documents, estate plans, and from a visual inspection of the building itself,noting (for example) reused timbers, former floors, partitions, doors and windows. The arrangement of the buildings within the farmstead can also yield valuable information on the historical farm usage and landscape value. Linear farmsteads were typical of small farms, where there was an advantage to having cattle and fodder within one building, due to the colder climate. Dispersed clusters of unplanned groups were more widespread. Loose courtyard plans built around a yard were associated with bigger farms, whereas carefully laid out courtyard plans designed to minimize waste and labour were built in the latter part of the 18th century.last=EnglandThe Conversion of Traditional Farm Buildings: A guide to good practice, by [[English Heritage]]. The barns are typically the oldest and biggest buildings to be found on the farm. Many barns were converted into cow houses and fodder processing and storage buildings after the 1880s. Many barns had [[owl holes]] to allow for access by barn owls, encouraged to aid vermin control. The [[stable]] is typically the second-oldest building type on the farm. They were well built and placed near the house due to the value that the [[horse]]s had as [[draught animal]]s Modern granaries were built from the 18th century. Complete granary interiors, with plastered walls and wooden partitioning to grain bins, are very rare. [[Longhouses]] are an ancient building where people and animals used the same entrance. These can still be seen, for example, in North Germany, where the [[Low Saxon house]] occurs. Few interiors of the 19th century cow houses have survived unaltered due to dairy-hygiene regulations in many countries. Old farm buildings may show the following signs of deterioration: rotting in timber-framed constructions due to damp, cracks in the masonry from movement of the walls, e.g. ground movement, roofing problems (e.g. outward thrust of it, deterioration of [[purlin]]s and [[gable]] ends), [[Foundation (engineering)|foundation]] problems, penetration of tree roots; [[lime mortar]] being washed away due to inadequate weather-protection. Walls made of [[cob (material)|cob]], earth mortars or walls with rubble cores are all highly vulnerable to water penetration, and replacement or covering of breathable materials with cement or damp-proofing materials may trap moisture within the walls. First Aid Repair to Traditional Farm Buildings produced by the [[Society for the Protection of Ancient Buildings]] gives useful guidance How to deal with damp produced by the [[Society for the Protection of Ancient Buildings]] gives useful guidance In England and [[Wales]] some of these historical buildings have been given “[[listed building]]” status, which provides them some degree of [[archaeological]] protection. Some grant schemes are available to restore Historic Farmland buildings, for example [[Natural England]]’s [[Environmental Stewardship]], [[Countryside Stewardship]] and [[Environmentally Sensitive Areas Scheme]]s. ==See also== *[[Barn Church, Kew]] *[[Conversion (barn)|Barn conversion]] *[[Barn raising]] *[[Barnyard]] *[[Farmhouse]] *[[Functionally classified barn]] *[[Gambrel roof]] *[[Gin gang]] or round house — an extension to a [[threshing]] barn. It contained a [[horse]] driven engine, used to power a [[threshing machine]]. Sometimes called a wheel house. Water power and wind power were also used to drive the machine, and by the 1850s portable steam engine machines were used. Horse-engines, original threshing or winnowing machines are exceptionally rare. *[[Hayrack]] *[[Historic Barns of Connecticut]] *[[National Barn Dance]] *[[Dairy]] *[[Dovecote]] — built to house pigeons, which provided variety to the diets of high-status households and a rich source of manure. Examples survive from the medieval period. *[[Scaffold (barn)]] *[[Shed]] *[[The Wonderful Barn]] *[[Treppenspeicher]] *[[Barn dance]] *[[Ovinnik]] ==References== 30em ==External links== Barns Architectural drawings from the Netherlands of farms *[https://web.archive.org/web/20070823110338/http://www.antiquefarming.com/barn/dairy.html Dairy Barn History] *[http://www.thebarnjournal.org/stories/story006/ www.thebarnjournal.org] *[http://barnalliance.org/ National Barn Alliance] *[http://www.iowabarnfoundation.org/books.htm Books about barns] *[http://www.preservationnation.org/information-center/saving-a-place/rural-heritage/barn-again/ Barn Again! program] *[http://www.tfguild.org/ Timber Framers Guild] *[http://mek.oszk.hu/02700/02790/html/45.html Paper on barns in Hungry] *[[:es:Borda (edificio)|The Spanish borda (borde) is a type of barn or housebarn]] *[https://web.archive.org/web/20150922000248/http://www.planexus.com/focus/rudy/barn_symbol_of_ohio.pdf Excellent paper on historic barns, focus on Ohio, USA] *[http://www.portal.state.pa.us/portal/server.pt/community/barn_types/21170 Barn types and information from the Pennsylvania Historical and Museum Commission] [[Category:Barns| ]] [[Category:Agricultural buildings]] [[Category:Vernacular architecture]]

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New Cisco CCNP Wireless 300-360 Dumps Exam Questions And Answers (1-20)

QUESTION 1 A downstream packet that contains a DSCP value arrives at the WLC Ethernet interface from the wired source network. The WLC is configured for QoS WLAN 802.1p mapping. How does the WLC treat the CAPWAP QoS marking when leaving the controller interface for the respective AP and final wireless client destination? A. No outer CAPWAP or inner QoS tagging is applied. B. The outer CAPWAP CoS is marked and capped and the inner DSCP maintains the original marking. C. No outer CAPWAP QoS tag is applied, but the original DSCP is maintained inside CAPWAP. D. The outer CAPWAP DHCP is marked and capped without any inner DSCP value. Correct Answer: B

QUESTION 2 A network engineer wants the DSCP marking to align with the 802.11e access category video. What will this marking be? A. 34 B. AF31 C. 40 D. 56 Correct Answer: A

QUESTION 3 An engineer receives a digital image scanned from the floor plans of a facility to be surveyed for wireless survey and imported it into Air Magnet Pro. However, the document contains no scale. Which action can the engineer take to most accurately calibrate the size of the floor plan in Air Magnet? A. Mark the length of a hallway, then count the ceiling tiles, multiply that number by 2 and enter that value. B. Zoom in and mark across a hallway, then count the floor tiles across that hallway and enter that value. C. Zoom in and mark a doorway, then size it at 3 feet because most doorways are 36 inches. D. Mark the entire longest dimension of the floorplan, then use Google Earth to measure the correspondingoutside dimension and enter that value. Correct Answer: D

QUESTION 4 While performing a Layer 1 passive wireless site survey of a location an engineer detects several instances of low power frequency hopping interference, but cannot physically locate the interfering device or devices. Why is the engineer unable to locate the offending device or devices? A. The sources are nearby narrow-beam radar and are sweeping through the facility. B. The sources are PAN and are mobile. C. The sources are above the ceiling file and transmit intermittently. D. The sources are actually high-powered devices and transmit from off the site. Correct Answer: B

QUESTION 5 An engineer is assigned to assist a customer by estimating the number of access points needed to provide voice-grade wireless coverage in a carpeted office space. How many access points should be estimated to cover this space of roughly 38,000 square feet? A. 17 B. 10 C. 6 D. 13 Correct Answer: D

QUESTION 6 Which two types of information must be included in the installation inventory portion of the post-installation report?  300-360 dumps (Choose two.) A. all AP, controller, and MSE administrator credentials B. the names, locations, IP addresses, MAC addresses, etc. for every AP, controller, and MSE in the WLAN C. a layout of the rack that the equipment is installed D. results of the coverage audit performed with the site survey mapping tool E. the number and type of all WLAN clients and tags Correct Answer: AB

QUESTION 7 An engineer is configuring an autonomous AP for RADIUS authentication. What two pieces of information must be known to configure the AP? (Choose two.) A. BVI IP address B. group name C. RADIUS IP address D. PAC encryption key E. username and password F. shared secret Correct Answer: CF

QUESTION 8 An engineer is preparing for an outdoor wireless survey to mesh connect a distant remote building to a connected building. Which two types of antennas are appropriate for this application? (Choose two.) A. circular polarized B. patch C. dish D. Yagi E. omni Correct Answer: CD

QUESTION 9 A cabling contractor is working at a customer facility. The contractor is asking what rating of cable should be installed in return-air areas. Which information can be referenced to provide the contractor the requested information? A. OSHA Codes B. BICSI TDDM C. NEC Ratings D. IEEE Standards Correct Answer: B

QUESTION 10 An engineer plugs in a Cisco Aironet 2700 Series Access Point and it is running in low power. Which three power requirements should be verified? (Choose three.) A. 802.3ac compliant B. 802.3at compliant C. AP requires 43 VDC to function in full power. D. AIR-PWRINJ3 power injector should be used. E. AP requires 57 VDC to function in full power. F. AIR-PWRINJ4 power injector should be used. Correct Answer: BEF

QUESTION 11 Which three recommendations must be taken into consideration when an engineer is installing a new Voice WLAN? (Choose three.) A. Use the Cisco wireless phone site survey client utility. B. Use a separate Cisco Wireless Lan Controller. C. Enable load balance on voice WLANs. D. Maintain -67dBM as a minimal RSSI. E. Set data for 2.4 GHz and voice for 5 GHz using separate SSIDs. F. Enable lower data rates for 2.4-GHz data WLAN. Correct Answer: ADE

QUESTION 12 A customer wants to implement a wireless network in a historic location, but is concerned about the structural and aesthetic impact to the facility. Which benefit of using wireless mesh addresses these concerns? A. Power is required only at the installation location. B. The APs do not have LED lights. C. More wireless channels can be supported. D. APs do not need network connections. Correct Answer: D

QUESTION 13 Which three things do you need to consider prior to performing a wireless site survey? (Choose three.) A. The time required to acquire any additional infrastructure components. B. The time required to survey each potential AP location. C. The time required to assess application server locations at the customer facility. D. The type of wireless survey tools required to perform the site survey. E. The time required to assess customer WLAN density and throughput requirements. F. The time required to utilize the design mode in Cisco WCS to prepare a preliminary WLAN design to reduce on-site survey time. Correct Answer: BDE

QUESTION 14 Which infrastructure issue needs to be verified and potentially resolved before deploying a centralized 802.11n WLAN? A. That all the access layer switches that the 802.11n APs will connect to support 802.3af power. B. That all the access layer switches that the 802.11n APs will connect to contain 10/100/1000 Ethernet ports. C. The location of application and authentication servers. D. The proposed location for the WDS server. E. The proposed location for the WCS. Correct Answer: B

QUESTION 15 A customer has restricted the AP and antenna combinations for a design to be limited to one model integrated antenna AP for carpeted spaces and one model external antenna AP, with high gain antennas for industrial, maintenance, or storage areas.  300-360 dumps When moving between a carpeted area to an industrial area, the engineer forgets to change survey devices and surveys several APs. Which option is the best to reduce the negative impact of the design? A. Deploy the specified access points per area type. B. Resurvey and adjust the design. C. Increase the Tx power on incorrectly surveyed access points. D. Deploy unsurveyed access points to the design. Correct Answer: B

QUESTION 16 Which three options are benefits of U-APSD? (Choose three.) A. optimized power-save mode periods B. increased call capacity C. bandwidth reservation D. synchronization of the transmission and reception of voice frames E. efficient roaming F. priority bandwidth and polling Correct Answer: ABD

Explanation: Unscheduled automatic power-save delivery (U-APSD) is a feature that has two key benefits: The primary benefit of U-APSD is that it allows the voice client to synchronize the transmission and reception of voice frames with the AP, thereby allowing the client to go into power-save mode between the transmission/reception of each voice frame tuple. The WLAN client frame transmission in the access categories supporting U-APSD triggers the AP to send any data frames queued for that WLAN client in that AC. A U-APSD client remains listening to the AP until it receives a frame from the AP with an end-of-service period (EOSP) bit set. This tells the client that it can now go back into its power-save mode. This triggering mechanism is considered a more efficient use of client power than the regular listening for beacons method, at a period controlled by the delivery traffic indication map (DTIM) interval, because the latency and jitter requirements of voice are such that a WVoIP client would either not be in power-save mode during a call, resulting in reduced talk times, or would use a short DTIM interval, resulting in reduced standby times. The use of U-APSD allows the use of long DTIM intervals to maximizestandby time without sacrificing call quality. The U-APSD feature can be applied individually across access categories, allowing U-APSD can be applied to the voice ACs in the AP, but the other ACs still use the standard power save feature. The secondary benefit of this feature is increased call capacity. The coupling of transmission buffered data frames from the AP with the triggering data frame from the WLAN client allows the frames from the AP to be sent without the accompanying interframe spacing and random backoff, thereby reducing the contention experience by call.

QUESTION 17 An engineer is determining the signal levels for the wireless cells. Which signal-to-noise ratio is an optimal configuration to achieve? A. minimum SNR of -33 dBm B. minimum SNR of -25 dBm C. minimum SNR of 25 dB D. minimum SNR of 33 dB Correct Answer: C

Explanation: The minimum recommended wireless signal strength for voice applications is -67 dBm and the minimum SNR is 25 dB.

QUESTION 18 A hospital environment was designed to guarantee RF coverage at or better than -67 dBm in the 5 GHz spectrum. The customer mandates that RRM be used for DCA and TPC in both bands. After deployment, why do many of the legacy 802.11b/g devices have difficulty maintaining connectivity? A. Excessive co-channel interference in the 2.4 GHz band exists. B. Excessive overlapping channels in the 2.4 GHz band exists. C. TPC drastically reduces Tx power in the 2.4 GHz band. D. TCP drastically increases Tx power in the 2.4 GHz band. Correct Answer: C

QUESTION 19 An engineer installed a 3702 AP and is getting power from the switch. What is the reason for getting 3x3 MIMO instead of 4x4? A. 802.1p B. 802.3af C. 802.11e D. 802.3at Correct Answer: B

QUESTION 20 An engineer is preparing for an indoor wireless LAN survey and is provisioning a survey kit. Which three pieces of equipment should be included? (Choose three.) A. external connector access point B. integrated antenna access point C. coax low-loss cable D. battery operated power supply E. range finder F. Yagi antennas Correct Answer: BDE

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Charlie Ford’s (MFA 2017) performative actions both allude to everyday life—the objects, costumes, and bodily movements—and disrupt their familiarity through pacing, gesture, and tone. Within this choreography, the stage is set to reconsider the world around us through the space between: stillness and action, object and body, seriousness and humor, control and failure.

This artist conversation frames Ford’s practice through his visual and performative background and his experiences in SFAI’s MFA program—and through the changing notion of “gesture.” Originally from Greater Manchester in the UK, dance, choreography, and visual arts were intertwined in Ford’s life: a required subject in high school led to a bachelor’s degree from London’s Middlesex University in Dance Studies—read on below.

Stephanie Smith (SS): Tell me about that leap from dance to visual in your practice.

Charlie Ford (CF): After university I was performing quite intensely with some choreographers—both dance and physical theater I would say. Although I loved it, I lost interest in being someone else’s performer, I think I was probably tired as well. I wanted to make my own solo work, and somehow bring in visual art. I wanted to look at choreography around visual artists, which was kind of always the plan, and to not think about movement in a dance environment or context anymore. I wanted to perform choreography as performance art, not dance.

Another shift was working in the furniture design business with my dad and brother for a couple years. It really made me pay attention to the designing of space. I would be visualizing spaces from a bird’s-eye view, even empty space became extremely visual...and that’s when something changed for me.

SS: Furniture also actively shapes and constructs space, and I see that the way you construct your performances too.

CF: Yeah. I think that clearly informed the first year of my MFA—I was making performance work that tracked and measured space with the body. I remember measuring my house in my hand’s width and making floor plans from that exercise. As I said I was looking at space from above and then seeing how my body could fit into it architecturally and mathematically, and how this process can make performance. I think that's how I got where I am.

SS: What are some overall ideas that you explore in your work?

CF: I always think of my work exploring tension. The positive and negative tension of things like intimacy, failure, control and precision, which we can all experience on a daily basis. My work’s not necessarily a personal narrative, I don’t think it's anybody else's narrative either. I just think we all have feelings of tension that we don’t like to talk about, especially failure. But we do all feel them, sometimes for no reason at all, they’re hard to control.

SS: I think your approach is open enough that different parallels can be drawn—and felt.

CF: Yeah. There’s a funny balance in my recent work between precision and the risks of failing. I like that line where it's kind of serious, but humor can be felt as well.

SS: Does that precision come from your choreographic background?

CF: Yeah, I suppose it does, and from fitting furniture as well. In the dance training that I had, you're taught how to move in a certain technique or a certain way, so you learn about different types of precision. The choreographers I like to watch the most work site-specifically and away from the stage. They base their movement on the architecture of a space, so it seems reactionary, quite neat and rigid. That precision within space is important to me: an awareness of width, height, and depth.

SS: Can you walk through your process of approaching a new space?

CF: So often I look at the components of a room—the sound, texture, light, and the overall architecture—to dictate not just the choreography, but also the duration of the work. For example, with sometimes, that piece only exists because the length of wall exists. I like to think of it like that anyway. And wherever I go and do it again, the piece will have a specific duration that is specific to the room, and that's it.

I’ve performed the shelf piece four times—I don't know why it's not called the shelf piece because every time I speak about the work, I call it the shelf piece. It always starts with an assessment of the length of a room to achieve the longest time frame possible.

Another video work, like experiments in the resonance of control or TWO, THREE, FOUR, started with the process of looking at a room’s sonic properties. It was made in the graduate studios, which have cold concrete floors, high ceilings, and you can hear the traffic outside. So there was potential in the sound I could make with each object I worked with.

SS: Another striking thing I find—both as a viewer watching your performances live or on video—is the amount of effort that comes through. It’s very vulnerable, I think. How does your work relate to the history of dance and performance, such as Yvonne Rainer?

CF: The Judson Dance Theater is the area of dance history I’m most interested in. They were a collective of choreographers, such as Trisha Brown, Steve Paxton, and Yvonne Rainer, who really took the expressiveness out of dance but injected it back through simpler gestures. Suddenly we were questioning if walking was dance, if breathing was dance. And if these pedestrian like gestures are dance, and are they enough of a performance?

You're right though that there’s so much vulnerability in those simple gestures and in our pedestrian or almost mundane activity. There is so much risk. I’m interested in how much effort can possibly be put into an activity—like the real, physical effort of moving a shelf on the wall. I often think about what it looks like to an audience to see this simple, slow gesture over a long period of time. I suppose I'm interested in that daring tension: what the audience is feeling towards me and the whole space.

SS: Yeah, and then the viewer experiences these objects—shelves, clothing, and bricks—and actions in a new way that’s simultaneously objective and personal, relatable and foreign. Speaking of objects, you work often with the brick, why?

CF: I have a love affair with bricks. It started when I was feeling tense during the MFA program, confused and almost lonely. I took a screen printing class and started to work with what I call one-word poetry - using words like heavy, still or extent. The word “heavy” took on a new meaning because that's exactly how I was feeling—and I saw a brick. It's made its way into every one of my works since. I'm interested in its weight: how it looks, what it feels like, if it can be thrown, if it can be balanced.

But also I’m glad you picked up on the clothing actually. I realized that I was working within a certain color palette when choosing costume, green top and with khaki trousers, and started seeing my performances as colorful for the first time. My aesthetic is usually quite muted, so the clothes bring something interesting from a color point-of-view, and from a durational one. As I wear the same costume in different works, they survive and live through different things.

SS: They probably wear too…

CF: Yeah, totally. They get dirty. Sometimes they hang in the space after the performance to show that there was some sort of action left behind. They are an object, just like the brick, the stone, the paper, and the jar. And now I’m excited about exploring how those objects live as sculpture—rather than just remnants or artifacts from a performance.

SS: On a related topic to performances “living on,” how do you use documentation and video editing to mirror your performances? There’s a similar kind of presence in your videos and performances, especially how you use pacing and sound in an almost sculptural way.

CF: I like to think of my video work as performed documentation, it’s very intentional. Editing has become something that I never thought it would. I can build tension, silence, stillness and pacing with the cut of the camera - all without performing live. Live performance and video are equally important, to me anyway. I don't necessarily perform live all the time, but I also realize when performances need more than just video. But there’s a gray area in between that, there's always a gray area, which I like.

I want the documentation to look a bit makeshift as well, less than this perfectly filmed, cinematic thing. It sits in between the both. There's effort put into but not enough effort to make it perfect. Sometimes I just use myself, a camera, and a tripod; other times I have two people just document me with really simple camera movements.

SS: How else have your experiences and critiques at SFAI changed your work?

CF: There was a sudden shift of work halfway through the program, my third semester, when I took a sound class with Laetitia Sonami. We had to come into class with a sound piece prepared almost every week, whether it was recorded or to be performed live. There was just this emphasis on making, making, making, on trying, and on being in a safe space to critique. I felt this emphasis in a New Genres class I took with Tony Labat as well, it was a like a laboratory.

I took that into choreography—just trying, actively making, and showing. That might sound simple, but the first half of my MFA experience was very much, "How do I make perfect work? How do I make MFA-worthy work?" When actually I have no fucking clue how to do that in general, like I don't know if anybody does or if that even means anything. Once I got rid of that pressure it really helped me out with my confidence, and so my attitude changed. I was suddenly performing work in critiques that was half finished. Sometimes I'd make a performance the night before. That’s what it was all about to me.

SS: Can you talk about the progression of what gesture has meant in your work in the past to present?

CF: In my previous body of work a gesture was a mark. I was mostly making durational drawings - I would move on large sheets of paper with graphite attached to my hands and toes. A gesture was a movement that was drawn and captured.

In my time at SFAI, I started to work with gestures as dialogue between the body and objects: how a brick or microphone can dictate or almost perform the choreography. "How do I move with the brick in my hand? How do I move with a piece of paper on the head? Or with a microphone wrapped around my leg?"

Interestingly enough, sometimes there are these drawn marks left in the space after a performance—marks unintentionally drawn in the space. A faculty member actually pointed this out to me: that my action of dragging a brick across the floor created a line that somehow then makes all the objects as a collective, or as one.

SS: The body becomes a conduit for the objects.

CF: Right. It's like what's controlling what? Is the body controlling objects? Objects controlling body? Personally I think the objects are controlling me, and I am just a body that they're almost passing through. What was the word you used? Conduit. I am. I don't just feel that though, there are moments where I think I regain control, but very, very few. In a way I think about it like letting those objects do the work for me, and I'm just moving them around. Giving them a new life, you know?

SS: Absolutely. You felt this in your installation at the SFAI MFA/MA Exhibition at the San Francisco Mint: the spatial layout, placement of the video monitors, and your performance within and around. And you won best in show, congratulations!

CF: Thank you. Yeah The Mint had a lot of restrictions to work around, but that actually guided the composition of the space. With much help I built two pedestals that housed video screens, playing experiments in the resonance of control and a version of sometimes made specifically for the camera. The pedestals were built at a height where the viewer had to almost look in and have a more intimate experience with the videos. I wanted them to have a similar kind of objecthood to the objects that were situated in the space around them.

On the public opening, I performed five still positions that are echoed in the videos and I wore the same costume. I performed throughout the building—pushing the plank on my head through the crowded main corridor and laying with my face in the gravel in the doorway. Stillness is a huge part of my work—not just how long you can hold stillness for, but how tense that is, how calm it is, how peaceful it can be. The gesture of stillness when there are people moving around you.

The still positions I held were an ode to the video works, which move at a pace and keep an act going until there’s a kind of climax. But those moments of stillness after are my favorite because it cuts the tension right down again to the point that it’s funny.

SS: I think there is a little bit of humor in your work too that people can pick up. It's kind of seriously funny.

CF: No I agree. I only figured it out when I've been watching it back. But actually there is ... It's not sarcasm, is it?

SS: Maybe dry humor? In the mundanity of the movements and the objects, it's not overt by any means, but you can find humor in it.

CF: Yeah, finding humor in objects that have a lot of seriousness to them, like those that construct our life—a glass of water, wood, or pipes. A lot of my work is having fun with those things, to get the full potential out. I'm so obsessed with the brick. I don't think I've reached any sort of boredom with it yet. That's just something that's going to be ongoing.  

Explore more of Charlie Ford’s work »

Image credits: 1. GIF of performance stills from Body Language, 2016; 2. Gesture, 2016; Performance for video, duration variable; 3. THREE, 2016; 4. GIF of performance stills from sometimes, 2017; Photos by Marco David; 5-6. Courtesy of the artist; 7.  experiments in the resonance of control, 2017; 8-11. Installation view of the 2017 MFA/MA Exhibition; Photos by Dana Morrison; 12-14. Performance stills from the 2017 MFA/MA Exhibition; 15-16. Installation view of the 2017 MFA/MA Exhibition; Photos by Claudine Gossett; 17. Remain, 2016.  All images and videos courtesy of the artist.

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