#omaha steel buildings

[laceyconstructionus]

Smart Spaces: Modern Commercial Metal Building Solutions

Smart Spaces offers cutting-edge commercial metal building solutions designed for modern business needs. Our structures emphasize strength, flexibility, and sleek design. From industrial facilities to retail spaces, we ensure quality and efficiency for every project. Build smarter and stronger with us.

[tomorrowusa]

Postcards from Ukraine to members of Congress – a suggestion 💡 🇺🇦 🇺🇸 📮

It's clear that House Speaker Mike Johnson is acting on orders from Donald Trump to prevent a Senate bill which includes aid to Ukraine from getting a vote in the House of Representatives. Johnson is a craven careerist who would sell his mother into slavery to please Trump.

The Senate bill ("Emergency National Security Supplemental Appropriations Act") could still be taken up – and would almost certainly pass – if just a handful of Republicans from moderate districts decided to support a parliamentary procedure called a "discharge petition" in order to bypass Speaker Johnson.

There are 17 Republicans in the House of Representatives in 2022 who won in congressional districts where Joe Biden had beaten Donald Trump in 2020. These Republicans from moderate districts would be a good grouping to entreat to support the discharge petition. A number of them have already expressed support for Ukraine in the past. It's a matter of getting them to put conscience ahead of their fear of Trump.

Below is a list of addresses of the district offices of those 17 Republican Representatives. If you are in Ukraine, buy a postcard and clearly write a short message which tells how you love freedom and how Putin's illegal war has affected you. It can be in English or Ukrainian. Use a Ukrainian stamp for postage and mail it as soon as possible.

Individuals need pick just 1 of the 17. But schools, businesses, clubs, and military units with at least 17 people can arrange to send one to each of the listed Representatives.

Be polite but urgent. Perhaps remind them that Ronald Reagan understood the dangers of Russian imperialism.

Rep. David Schweikert 14500 N. Northsight Blvd., Suite 221 Scottsdale, AZ 85260 USA

Rep. Juan Ciscomani 1636 N. Swan Road, Suite 200 Tucson, AZ 85712 USA

Rep. John Duarte 90 S. First Street Turlock, CA 95380 USA

Rep. David Valadeo 2700 M Street, Suite 250B Bakersfield, CA 93301 USA

Rep. Mike Garcia 27200 Tourney Rd., Suite 300 Santa Clarita, CA 91355 USA

Rep. Young Kim 180 N. Riverview Dr., Suite 150 Anaheim, CA 92808 USA

Rep. Michelle Steel 10805 Holder St., Suite 225 Cypress, CA 90630 USA

Rep. Don Bacon 13906 Gold Circle, Suite 101 Omaha, NE 68144 USA

Rep. Tom Kean Hopatcong Borough Municipal Building 111 River Styx Road Hopatcong, NJ 07843 USA

Rep. Nick Lalota 515 Hauppauge Road, Suite 3B Hauppauge, NY 11788 USA

Rep. Anthony D'Esposito 229 7th Street, Suite 102 Garden City, NY 11530 USA

Rep. Mike Lawler 60 McAlpin Ave Mahopac, NY 10541 USA

Rep. Marc Molinaro 49 Court Street, Suite 210 Binghamton, NY 13901 USA

Rep. Brandon Williams 421 Broad Street, Suite 7 Utica, NY 13501 USA

Rep. Lori Chavez-DeRemer 621 High Street Oregon City, OR 97045 USA

Rep. Brian Fitzpatrick 1717 Langhorne Newtown Rd., Suite 225 Langhorne, PA 19047 USA

Rep. Jen Kiggans 283 Constitution Drive Virginia Beach, VA 23462 USA

FAQ

Why physical mail instead of email or phone calls? There's an enormous chance that your email would end up in a spam folder. Also, the Congressional email system tends to prioritize email originating from the districts of each individual House member. Phone calls from outside the US are likely to be filtered out. Unlike email or phone calls, a physical piece of mail has a real world presence. The recipient has to do something with it. You can't simply press DELETE to get rid of it.

Why postcards and not letters? For security reasons. It takes less time and effort to inspect a postcard than a letter or parcel. Your mail will arrive sooner.

Why use postage stamps instead of a postage meter? You want the recipient to know that you are REALLY from Ukraine. Using official Ukrainian stamps is a simple way to do that. When people see Україна or Ukraina on the stamp then they will know it originated in Free Ukraine. FYI: the letter Ї does not exist in Russian, recipients should look for this on the stamp. Also, your stamp automatically turns the postcard into a collector's item. It is more likely to be saved and to serve as a continuing reminder of your urgent request.

Why send the postcards to district offices instead of offices in Washington? Postcards from Ukraine will get more attention locally by local staff; if a sizable number arrive, it might even get mentioned in local media. In Washington, people tend to be more blasé about such things.

What is the proper form of address for House members? Rep. or Representative before the surname – no distinction based on gender.

FOR REFERENCE: Here are electoral stats for the districts. The column marked R margin indicates the size of each Representative's winning margin in 2022. Rep. Duarte, for example, beat his Democratic opponent by a very narrow 0.4%

[nataliehegert]

When Choey Eun Young Cho was in grad school at Ohio State University, she started collecting bananas. She bought bunch after bunch, day after day, and let the bananas pile up in her apartment, until she was eventually surrounded by them and their sickly sweet stench. 

Doing so was a way of sitting with the discomfort of what the banana signified, in a derogatory sense. She had recently returned to the United States from Korea (she got her undergrad degrees from the University of Nebraska Omaha), and was feeling freshly stung with culture shock.

In the group exhibition Notes from Another Place at the Louise Hopkins Underwood Center for the Arts, Cho’s bananas appear as bright LED icons, simplified contour line drawings of light, collapsing sign and the signified.

Nothing in this exhibition, however, is an easy read. Curated by Boryana Rusenova-Ina and Sam van Strien, the show is as slippery and abstract as language itself. 

Rusenova-Ina’s two paintings here recall the formation of language through the body as the locus of both utterance and scrawl. In the center of each canvas, she paints a mouth in the process of pronouncing a certain sound, indicated by its letters: “h” in one, “y” in the other. Even for someone accustomed to reading lips, it would be hard to “see” what the mouths are “saying.” Around them is evidence of another form of language learning, which is equally indiscernible: early-childhood pre-writing scribbles that have been faithfully copied by Rusenova-Ina in charcoal and acrylic.

The curatorial conceit of the exhibition considers ideas of dislocation and alienation, of feeling “out of place.” For the Dutch-born van Strien, that feeling comes from the disorienting experience of the city of London, with its imposing steel and glass architecture projecting the power of unknowable systems held within — finance, government, capital. In his works, the facades of such buildings are, too, faithfully copied — as collages of the individual panes of glass on a skyscraper, or photo-engraved plates of corporate plazas — yet in the process they become mutable and warped. 

The “feeling” of dislocation comes to the fore in Joonhong Min’s work, where an overwrought architecture takes over bodies situated in dizzying panels of overly patterned Escher-like checkerboard forms in monochromatic sets of reds, teals, and greens. These panels, for the artist, recall the isolation of pandemic-time online space — an experience of social and physical disconnection that all of us, even those who have never found themselves in “another place,” can relate to.

Hannah Parrett’s work, in cyan, turquoise, and mint hues that never veer fully toward blue or green, pops against LHUCA’s architecturally mandated firehouse-red main gallery wall. Here the color positively vibrates. Parrett’s paintings, like their colors, defy easy categorization or identification: they are paintings and assemblages and also carvings and soft sculpture. Their unnamable shapes flap and double over; with dowels stuck in them, they’re piercing yet homely, almost inviting you to hang your coat on them in a kind of slapstick moment of confusion.

Unnamable forms and ineffable structures, like moments of anomia, recur and stutter throughout the show. Paintings by Cho contain illegible insignia that appear to have been half erased, like a moment of déjà vu just about to vanish into an uneasy feeling. The buildings in Van Strien’s photoengraved plates seem filmy and gauzelike, as behind a veil of incomprehension. Their prints appear like ghosts on the other side of the gallery.

Notes from Another Place is an unusually international, well-traveled show to find in Lubbock, Texas. Both born in Korea, Cho is based in Seoul and Min is in London. Van Strien was born in Delft, lived in the UK, and is now based in Durham, North Carolina. Parrett was born and raised in rural South Dakota and now lives in Cincinnati. Rusenova-Ina is from Bulgaria, attended university in Scotland and Ohio, and is now a professor of painting at Texas Tech, here in Lubbock. 

The exhibition brings together these five artists to reflect “on the politics, aesthetics, and experience of belonging.” Right now, the question of who belongs where is a loaded gun. The movements of these artists from city to city come mostly unhindered — matters of choice or opportunity — but for many people around the world, moving to “another place” is a matter of survival. 

Matters of language, of power, of culture, of learning new ways while holding on to what’s gone — these are what diasporic populations everywhere must contend with. In Notes from Another Place, these are attempts to give form to such ineffable experiences of dislocation, of finding oneself, somewhere else. 

So, ask yourself, where are you right now? And what right do you have to be here, now?

Notes from Another Place is on view at LHUCA, Lubbock through November 25, 2023. 

Review posted 11/15/23

[railwayhistorical]

Contemporary Views Along the First Transcontinental Railroad

While construction of the Pacific Railroad ostensibly began during the Civil War, it was not until that great conflict was over that it really got rolling. In a race for government subsidies and land grants, the Central Pacific built eastward from Sacramento, California, while the Union Pacific built westward from Omaha, Nebraska. The two railroads met at Promontory Summit, just north of Great Salt Lake, Utah Territory, on May 10th 1869. It was a watershed moment. I follow in the footsteps of photographers Alfred A. Hart and A. J. Russell who expertly recorded the construction of the road. But this is not a re-photography project—it is, rather, photography as archaeology. In making a comprehensive series of photographs along the original route, my goal is to give the viewer as strong of a connection as possible to this 19th century engineering marvel through the remaining visual evidence of the human-altered landscape. And while not visible, I also hope to evoke the various peoples involved with the railroad, as well as those affected by it.                                                           ~ ~ ~ I have always been drawn to western landscape photographs, particularly the work of Carleton Watkins and Timothy O’Sullivan. I tend to see their imagery as existing on opposite sides of an aesthetic coin—with the former rendering the beautiful and the latter portraying the sublime. These two 18th century linguistic terms, beautiful and sublime (usually considered in relation to one another), were used to categorize one’s emotional response when viewing artwork. Imagery that promoted pleasurable and familiar feelings was referred to as beautiful, while pictures that evoked feelings of awe or terror, often brought on by the immense scale of nature, were referred to as sublime. The story of the first transcontinental railroad is one of contradictions and oppositional forces not unlike the conceptual interrelatedness of those two aesthetic terms. The surveyors explored an Eden, but initiated its destruction. The road was a crown jewel of the industrial age, but the actual building, the grading and tunneling, was done almost completely without machines. The railroad conquered time and space, but this led quickly to the decimation of the American bison which pushed the people who depended upon them to the brink. This was the first transcontinental railroad in North America, or anywhere for that matter. The pounding of the Golden Spike signaled the completion of a great human achievement, but it must have sounded like a death knell to Native Americans. It put a bow on Manifest Destiny and served as a primer for the questionable business practices that would follow in the Gilded Age.                                                         ~ ~ ~ In the end, I want these images to be a pictorial accompaniment to well-established textual histories of the building of the railroad, the foremost being David Haward Bain’s Empire Express. His book tells the complete tale, but when I’m in the field I most often think of the people who built the line with their hands and their backs—primarily the Chinese, who performed so well for the Central Pacific, and the Irish, who toiled proudly for the Union Pacific. The railroad is still active over much of the route—which was preceded by pioneer trails, joined by the Lincoln Highway, and eventually succeeded by Interstate 80 and air travel. While I have photographed along much of the line, I tend to linger where the steel has been pulled up, those portions of the line that has been abandoned for a less steep or curvy alignment. I enjoy the calm of those deserted areas most—through modern absence, I find it most easy to imagine a 19th century presence. Richard Koenig, Genevieve U. Gilmore Professor of Art, Kalamazoo College—see forty web-based images here from across the route—from west to east.

[nwbeerguide]

Brewed in collaboration with Steel Toe Brewing and Pelican alum, Jason Schoneman, Pelican announces Bird Day Vol. III.

image courtesy Pelican Brewing Company

Press Release

Pacific City, Oregon … Pelican Brewing Company continues its 25th birthday celebration with the debut of an innovative new beer style for Bird-Day Volume III.  From the creative minds of Pelican brewmaster Darron Welch and Pelican alum Jason Schoneman of Steel Toe Brewing Pelican introduces Hopwine Ale. This triple dry-hopped sparkling ale delivers the ABV strength of wine with aromas of berries and pear coupled with vibrant, intense hop characters from three different hop varieties. 

“From the moment he came to work at Pelican, Jason had an insatiable desire to learn everything he could about brewing” said Welch.  “That passion for everything that is great about brewing is what has transformed a pipe dream into the reality of Steel Toe Brewing today.  Jason and his team make fabulous beer and I’m so proud to count him as one of our alums!” 

Like many of Pelican’s alumni, for Jason, Pelican was the beginning of his brewing career, where he learned the simple but essential steps to brewing great beer. “After graduating from the World Brewing Academy in 2005, I lived in Omaha, Nebraska, and came across a role at Pelican Brewing in a tiny coastal town in Oregon. I flew out, fell in love with the coast and the brewery, and moved out to Pacific City for the next four years,” says Jason Schoneman. “Pelican is where my career started where I learned how to create beer the right way and learn from a small, dedicated, and innovative team of brewers.”  

ABV: 10% | IBU: 45 | PLATO: 21º 

The primary idea behind Bird-Day Volume III was to create an entirely new style of beer that married the strength of a Barleywine with fruity hop character, a low bitterness level and a crisp finish for maximum drinkability.   Like a dry white wine, Hopwine is lighter in body and focuses on a refreshing character in spite of the substantial alcohol level. Darron and Jason accomplished this feat by designing a triple dry hop process that introduces the three different hop varieties into the fermenter at three different intervals, creating a flavorful, aromatic beer without the driving bitterness.  Bird Day Volume III is perfect to savor while watching the fleeting moments of a glowing sunset on the coastal horizon.  

Bird-Day Volume III is now available in 500 mL bottles at your local bottle shop, on draft at Pelican brewpubs, and through Pelican’s beer subscription service called the Bird-Day Box.   

About Pelican Brewing Company 

Pelican Brewing Company was born at the beach in 1996. Here, in front of a rundown old building at the water’s edge, stood three enthusiastic young folks whose thirst for great beer overshadowed their understanding of what it would take to build a brewery. They did it anyway. Thanks to the vision of founding owners Jeff Schons, Mary Jones and brewmaster Darron Welch, Oregon’s only beachfront brewpub became one of the state’s most popular destinations. And now, 25 years later, Pelican Brewing Company is an iconic beach brand and one of the most decorated craft breweries in Oregon. Pelican has been honored with more than 450 awards, including the prestigious 2015, 2016, 2017 Australian International Beer Awards Champion Medium International Brewery; 2014 World Beer Cup Champion Small Brewery; 2013 Great American Beer Festival Large Brewpub of the Year. Why? Pelican brews are playful, but not frivolous. Brewed with purpose, passion and a deep respect for the craft. Pelican operates brewing and brewpub facilities in Pacific City, Cannon Beach, and its state-of-the-craft brewery in Tillamook, Oregon where it brews 40,000 barrels of award-winning beer annually and distributes to six states. Pelican’s vision, its beer and values were born at the beach, where the team wakes up each day in a place that reminds them that amazing is possible. Cheers, Fellow Fanatics!   

Bird-Day Volume III blog & video: https://pelicanbrewing.com/bird-day/bird-day-volume-iii/    

For more information, visit Pelican Brewing Company 

from Northwest Beer Guide - News - The Northwest Beer Guide https://bit.ly/3lqEIwS

[onceuponatown]

Various motor cars from the McKeen Motor Car Company. C.1910.

The McKeen Motor Cars were the first example of an all steel, self propelled train car design in the world.  They were also the first known use of purposeful aerodynamic design in North America, and the first successful use of a motive power other than electric or steam, and in being so, they were the lead into the Diesel/Internal Combustion engine era.  Mr. McKeen implemented designs like the single steel sill which (reportedly) held better than two wood sills. (A sill is the Main Center Frame)

The year was 1903, (the same year that the Wright Brothers’ first successful plane flew at Kitty Hawk,) and the Germans had started research in the field of Aerodynamic design, which proved important in the design of high speed vehicles.  This information was displayed in the 1904 World’s Fair in St. Louis, where Mr. McKeen saw the design and noticed it’s similarity to ship hull construction.  The same year (1904,) at a dinner in New York, Mr. Harriman, President of the Union Pacific R.R. and Mr. McKeen, of the Motive Power of the U.P., discussed the loses of profit when it came to running steam engines on interurban routes.  Mr. McKeen talked about his idea for an aerodynamic train car, and Mr. Harriman about a gasoline engines, of which he saw a gasoline automobile the year before in France.  (It is said that Mr. Harriman was more interested in the gasoline automobile than his wife.)

Mr. Harriman sent Mr. McKeen off with $385,000 to build 4 motor cars, of the discussed design, each one better than the last, and the first being of the best known design.  (Adjusted for inflation, $385,000 equates to about $10,400,000 today.)

The first McKeen Car was built in 1904-5, and was reported complete in March of 1905.  This car was built with a steel frame and wood body, was 31′ feet long, and sat 25 passengers.  It had a Riotti 50 H.P. Gasoline engine, which, when tested in the Omaha Yards, proved too weak for a train car of that size, and in two months, a 100 H.P. Riotti engine was fitted before it was sent off to Grand Island, Neb. for further testing.

McKeen Car #2 was finished in September of 1905, was 56′ long, of all steel design, and sat 38 passengers.  This car was the first to have a four axles on two trucks.  Later on, cars of the short design were 55′ long, and of the long design 70′ long.

The company soon boasted about these designs in advertisements in newspapers, articles, science and railroad magazines.  They talked about the knife-edge nose/semi-circle rear, the round windows, the drop-center door, the air ventilation system, the self contained engine inside the vehicle, the water-proof floor (for easy cleaning,) and the 96% mechanical efficiency from the engine to the wheel.

The knife-edge nose and semi-circle back was part of the aerodynamic design.  That shape, with a pointed nose and rounded end,was tested by the Germans and showed great reductions in drag.  It wasn’t until years afterward that the the round shape was moved to the front, and the point to the back, which, ironically, proved more efficient than McKeen’s design.  McKeen boasted in one article that, with a flat front train car, 87.5 H.P. is spent on the air resistance, while on a McKeen car only 21.9 H.P. is spent on the air resistance. That’s a reduction to 1/4 of the amount of force needed.

The round windows were a key feature of the McKeen Motor Cars, and few other car manufacturers used the idea.  Mr. McKeen and Mr. Harriman together patented the porthole window design for land use (Note: porthole windows existed on ships before they appeared on land.  The windows had a water catch built into the frame, so as it rained, hailed, snowed, etc., the water would pour into the bottom of the frame of the window and drip out thought a hole in the outside of the frame.  They were advertised as “Water-Proof, Dust-Proof, and Wind-Proof.” and they were also advertised as a better window than square windows, not only does it not warp over time, like a square window could, but the round window also lifts up, so all of the glass is out of sight, above your head.  This was an improvement on the two pane square windows whereas there is always some glass obstructing your view. 

The drop-center door invented by McKeen is still used in many trolley cars and buses today.  The idea allows the best flow of traffic through two doors.  The steps for getting up inside were recessed inside the body of the car, preventing snow, rain, hail, ice, dust, and other things from getting inside like the permanently open Pullman coaches.  The Pullman coaches also had the doors on the ends of the car.  This meant that in a collision with another train, the doorway would get crushed, and passengers were stuck inside until a hole was opened.  McKeen put the door in the center where minimal collapsing would occur.  The low steps also allowed people to step on board whether or not you were at a raised platform.

The air ventilation system utilized 2 different ventilators, one for normal all flow, and one to carry the heat from the cooling pipes from inside the coach.  The gasoline powered engine created a lot of heat, which could be used to circulate through the car to warm it during cold weather.  Some claims reported that the ventilation system didn’t work well, but at least one railroad in New York claimed it worked satisfactorily during the winter.

Source

[oldpilewebsite]

Back from/leaving for tour.

photo by Miranda Serra G.

We've returned stateside and we're getting ready to leave for tour again in a week or so.

We had a great time in Europe. We were able to do a good deal of walking and see some old buildings (one pictured above), I was able to indulge in all of my favorite Dutch and Belgian snacks, we all learned how to drive on the left side of the road, and we performed in the same room that in which the endive was discovered. Thank you to everyone who supported us throughout the trip, hopefully we'll be back in the spring. Going to work on a few new sets for these upcoming dates, still sorting out the details but maybe play some new songs if we can pull it off but we'll definitely be playing some old ones. Gonna have some new merch and all that as well. Here's the next string of dates: 10/30 - Santa Cruz, CA @ The Catalyst* 10/31- Sacramento, CA @ Harlow’s Upstairs* 11/01 - Oakland, CA @ The New Parish* 11/02 - Arcata, CA @ Outer Space* 11/03 - Eugene, OR @ Sessions Music Lounge* 11/04 - Seattle, WA @ Chop Suey^! 11/05 - Bellingham, WA @ The Shakedown^ 11/06 - Spokane, WA @ The Bartlett^ 11/08 - Boise, ID @ Neurolux^ 11/09 - Salt Lake City, UT @ Kilby Court^ 11/10 - Boulder, CO @ Fox Theatre - Boulder^ 11/12 - Omaha, NE @ Slowdown+ 11/13 - Des Moines, IA @ Vaudeville Mews+ 11/14 - Milwaukee, WI @ The Back Room at Colectivo Coffee+ 11/16 - Chicago IL @ The Empty Bottle+~ * w/ Sea Moss ^ w/ Slow Code ! w/ Bethlehem Steel + w/ Stuck ~ w/ Furbie Then after a brief intermission we'll go back out and do some shows in the eastern half of the country. 12/04 - Louisville, KY @ Zanzabar# 12/05 - Pittsburgh, PA @ The Mr. Roboto Project# 12/06 - Rochester, NY @ Bug Jar# 12/07 - Hamden, CT @ Space Ballroom# 12/10 - Cambridge, MA @ The Sinclair 12/11 - Portland, ME @ Space Gallery 12/12 - Greenfield,  MA @ Hawks & Reed Performing Arts Center 12/13 - New York, NY @ (Le) Poisson Rouge 12/14 - Baltimore, MD @ Metro Gallery 12/15 - Richmond, VA @ Richmond Music Hall 12/17 - Asheville, NC @ The Mothlight" 12/18 - Athens, GA @ Caledonia" 12/19 - Birmingham, AL @ Saturn" 12/20 - New Orleans, LA @ Gasa Gasa" 12/21 - Nashville, TN @ Exit / In" # w/ Calyx " w/ Treadles Tickets for all shows are available at pilemusic.com/tour In regards to online merchandise, I'm leaving for this tour on October 18th, so anything ordered the 17th and after will not be shipped until we get back from tour (it'll probably ship around November 20th). Also, we brought back some of the t-shirts from our tour in Europe, I'll be making those available on our bandcamp once we get back as well as some extra copies of the First Other Tape. 

[2theburgs]

Day 7: Canadian Tour Day

This morning we got up at a decent time so we could get to a number of sites today. It’s been really nice here, we’ve been fortunate not to have any rain, but it certainly is chilly in the morning and evening. There is so much wind! I usually have a bit of a chill every day we come back even though the afternoons are usually sunny it is still around 18 degrees. Our place in the Dolomites has a bathtub (yay!) and a sauna and hot tub (for the building) so I am looking forward to that particularly if the temperatures will be like here (or cooler).

Anyway, we cycled out East to Juno Beach and decided to go on the organized tour of the two bunkers there and the beach. Juno beach center was actually funded by war veterans and wasn’t open until 2003. Sort of sad that our government hasn’t funded this project. Part of the vision was to have young Canadians come over for 6 month terms to provide tours. Our tour guide was a young guy (maybe 20-25) from Sudbury.

We visited the first bunker which was one of the earlier style bunkers the Germans had built. It was built out of bricks and cement blocks that had steel rebar reinforcements. It was built by the French actually, under forced labour, but they were smart! They brought “gifts” of liquor to the German’s overseeing the project to lessen the supervision. They then constructed the brick so the hollow part was facing out then hid the rebar in the sand. They would also pour salt or sugar into the walls so that the concrete wouldn’t dry properly. The made the walls of the bunker much weaker. Brilliant! The second bunker was built closer to the end of the war and was made out of pure concrete with 2 m thick walls. Our guide contrasted the differences: the first made from an offensive mindset, the second from a defensive mindset.

We walked out to the beach with our guide (and with 15 other Canadians and a few Brits) where he described the landing on Juno. 85% of the soldiers were Canadian with the other 15% being British. Juno is considered the 2nd bloodiest beach next to Omaha. It’s a little embarrassing I didn’t know that- I suppose because Omaha and Utah are so present in today’s movies. Of the first wave that went in, ~130 men, only 26 made it up the beach and survived D Day. Unfortunately, due to the conditions in the channel, only half of the tanks made it, and they were late. This left the soldiers sitting ducks on the beach. More than 45 000 Canadians were killed in WWII, they had a running scroll of the names, which would take 13.5 hrs to watch in it’s entirety.

We spent about 3 hours at Juno and headed South to visit a Canadian Cemetery. Of all the cemeteries we’ve seen, this one, I think understandably, got me to the most. I overheard a tour guide say to his group, “You’re home now. I am now your guest, on your soil”. Ironically, it was the most beautiful, well kept cemeteries we had seen. Every row had little flowers and plants in between each grave. There were these big, beautiful Maple trees. Each grave had the name, age, and either a cross, Star of David, or blank. Most has inscriptions from the family. All at once in a slurry of emotions, I was overwhelmed with gratitude, grief, and patriotism.

We had one last stop on the list of Canadian sites, The Ardenne Abbey. This was the of the execution of 20 Canadian soldiers under the command of Kurt Meyer, an SS officer leading a troop of Hitler Youth. They were interrogated, then either bludgeoned or shot in the head. There were over 150 soldiers who are believed to have been executed in different parts of the area. Meyer was tried in Canada as a war criminal for the blatant violation of the Geneva Convention. Initially he received the sentence of death penalty, but he appealed and it was reduced to life imprisonment. There was question as to how much an officer should be held accountable for the actions of his men. He served some time in Canada then was sent back to a prison in Germany where he was released only 10 years later. He died only a few years after that from a heart attack. I won’t begin to go into my feelings on this, I’m sure you can guess as I’m fairly clear on my viewpoint of what should happen to people like him; however, after some research, I discovered that he started in the Hitler Youth at age 14...one can only imagine what that would do to your mind..to an adolescent mind. His actions are inexcusable, but imagine the brainwashing.

Okay, so we ran into the same tour group now for the 3rd time at the Abbey! Blue Fox was the operator and he actually invited us to join them at a local cidery for a drink. So we did, why not. We mingled with these folks (who were 30+ years our senior) and shared our different generation perspectives. It was a cheerful way to the end the day- there is an immediate connection, and shared sense of pride of our heritage and what our country did for the world.

We grabbed a bottle of cider and headed back home (after stopping for baguette-apparently the 1st place Normandy winner of baguettes). Since it was on the way...we stopped at Creulett Castle, which was where Montgomery set up his CP. Also...Churchill visited him here so you know...necessary to stop! We couldn’t get in, but I took a few pictures. The ride home was hilly and windy, ahhh the wind, but totally worth it.

Tomorrow is our last full day in France! It has gone so quickly. We’re going to head to Sword beach to hit 5/5 then maybe go into Bayeux for a few cultural food experiences.

Xo

[bertram50jamison-blog]

Battlefield V Deluxe Edition ( Immediate Delivery )

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[laceyconstructionus]

Top Benefits of Choosing Metal Buildings in Omaha

For commercial and residential construction projects in Omaha, metal buildings offer unrivaled durability, energy efficiency, and cost-effectiveness. Here are some of the top benefits of choosing metal buildings tailored to Omaha's climate:

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With their exceptional structural integrity, energy efficiency, design flexibility, and fast installation, metal buildings are the ideal construction choice in Omaha. Cost-effective pre-engineered steel kits from reputable local suppliers like Lacey Construction Inc. provide lasting performance and value for commercial and residential builds.

[littlehastings0-blog]

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[railwayhistorical]

Contemporary Views Along the First Transcontinental Railroad

Between now and the beginning of May or so, I will be putting up some images from a project I’ve been working on since the summer of 2010. I will alternate daily between images taken along the Central Pacific and that of the Union Pacific. We’ll begin in Sacramento for the former, and Council Bluffs, Iowa, for the latter. The final post will be from, of course, Promontory Summit.

Here are where my most important images were taken...

Artist Statement

While construction of the Pacific Railroad ostensibly began during the Civil War, it was not until that great conflict was over that it really got rolling. In a race for government subsidies and land grants, the Central Pacific built eastward from Sacramento, California, while the Union Pacific built westward from Omaha, Nebraska. The two railroads met at Promontory Summit, just north of Great Salt Lake, Utah Territory, on May 10th 1869. It was a watershed moment.

I follow in the footsteps of photographers Alfred A. Hart and A. J. Russell who expertly recorded the construction of the road. But this is not a re-photography project—it is, rather, photography as archaeology. In making a comprehensive series of photographs along the original route, my goal is to give the viewer as strong of a connection as possible to this 19th century engineering marvel through the remaining visual evidence of the human-altered landscape. And while not visible, I also hope to evoke the various peoples involved with the railroad, as well as those affected by it.

                                                   ~          ~          ~

I have always been drawn to western landscape photographs, particularly the work of Carleton Watkins and Timothy O’Sullivan. I tend to see their imagery as existing on opposite sides of an aesthetic coin—with the former rendering the beautiful and the latter portraying the sublime. These two 18th century linguistic terms, beautiful and sublime (usually considered in relation to one another), were used to categorize one’s emotional response when viewing artwork. Imagery that promoted pleasurable and familiar feelings was referred to as beautiful, while pictures that evoked feelings of awe or terror, often brought on by the immense scale of nature, were referred to as sublime.

The story of the first transcontinental railroad is one of contradictions and oppositional forces not unlike the conceptual inter-relatedness of those two aesthetic terms. The surveyors explored an Eden, but initiated its destruction. The road was a crown jewel of the industrial age, but the actual building, the grading and tunneling, was done almost completely without machines. The railroad conquered time and space, but this led quickly to the decimation of the American bison which pushed the people who depended upon them to the brink. This was the first transcontinental railroad in North America, or anywhere for that matter. The pounding of the Golden Spike signaled the completion of a great human achievement, but it must have sounded like a death knell to Native Americans. It put a bow on Manifest Destiny and served as a primer for the questionable business practices that would follow in the Gilded Age.

                                                  ~          ~          ~

In the end, I want these images to be a pictorial accompaniment to well-established textual histories of the building of the railroad, the foremost being David Haward Bain’s Empire Express. His book tells the complete tale, but when I’m in the field I most often think of the people who built the line with their hands and their backs—primarily the Chinese, who performed so well for the Central Pacific, and the Irish, who toiled proudly for the Union Pacific.

The railroad is still active over much of the route—which was preceded by pioneer trails, joined by the Lincoln Highway, and eventually succeeded by Interstate 80 and air travel. While I have photographed along much of the line, I tend to linger where the steel has been pulled up, those portions of the line that has been abandoned for a less steep or curvy alignment. I enjoy the calm of those deserted areas most—through modern absence, I find it most easy to imagine a 19th century presence.

Richard Koenig

[alicescripts]

Live show: Los Angeles, California

On October 30, we are releasing the Alice Isn’t Dead novel, a complete reimagining of the story from the ground up. It is a standalone thriller novel for anyone looking for a scary page-turner, whether they’ve heard this podcast or not. Available for preorder now. And preordering helps authors out tremendously, so please consider it. Thanks so much!

Hi, this is Joseph Fink. What you’re about to hear is the live Alice Isn’t Dead performance at the Largo in Los Angeles on April 5, 2018. This live episode was not any material from the podcast, but instead was a standalone show focused on the weird and interesting sites and places of LA. It was an incredible night, and thank you to those who came out to see it. Enjoy the show.

--

Oh. I’m sorry, I uh, I didn’t expect um, I-I didn’t know that anybody would be listening. [clears throat] OK. Um, when you tell a story, you should expect an audience but sometimes I don’t think about that. I just tell the story the same way I breathe, just move life in an out of my body.  I suppose you could listen if you want.

My name is Keisha. I’m a truck driver. It’s weird isn’t it the-the way say our jobs as though they were an identity rather than a thing we do for money. I mean do you think that outside of capitalism we’d confuse our self image with what pays the bills? [chuckles] Sorry. I-I got away from myself. Story not polemic, right.

I became a truck driver because, well, that-that’s a long one. I thought my wife alice was dead. But she isn’t dead. And she’s out there somewhere on the highways and back roads, and I’m trying to find her. Just driving my truck around and around looking for her. That’s who I am really. I am the one that looks for Alice. And Alice is the one who isn’t dead, but isn’t here.

I was in Los Angeles. All downtowns are the same downtown, they are landscapes built for the facilitation of money and business without thought to he human experience. And we are tiny to these monuments and that we are allowed to pass among them is a privilege, not a right. Still each downtown bears some mark of its city. The LA downtown, despite surface similarities, could not be mistaken for New York or Chicago, it’s too eclectic. It’s too strange in its architecture. LA is, is much more than movies but – movies infuse everything because movies are the only history the city will acknowledge. The history of the indigenous people, the history of the Latino people, these are set aside. The city looked at all the people that had already come and thought, ah! A blank slate! And so they did not draw from the Gabrielino or the Chumash or even the Spanish in their missions, they drew from the movies. From the foundational idea that LA could and should be anywhere in the world. So the style of LA is every style, each house and each neighborhood built in wildly different ways. It’s art deco and Spanish stucco and mid-century modern.

In Brand Park, out in Glendale, there’s this enormous house turned public library that is less actual Middle Eastern and more movie Middle Eastern, built by the wealthy white man whose garden that park once was. There’s nowhere in LA that feels stylistically of one piece, and it is that incoherence that provides the coherence of the city.

You see, I’ve come to town on your word, Alice. Only it wasn’t your word direct of course just – whispers through a network of safe houses and gatekeepers, those living on the fringe of society who can be trusted with the kinds of messages we send back and forth. But who knows how the messages mutate mouth to mouth? But still, even through this mutilation of intent, I can hear your voice, like a heartbeat, your skin and bone.

It’s Tanya in Omaha, a friend of the cause, who reaches out to me on my radio to finally lay your words to rest. There’s a meeting in Los Angeles, you’ve heard. You don’t know the exact nature and purpose of this meeting, no one seems to, but the word is that it’s a meeting of those at the heart of it, the ones that are making the real choices, that shape every decision that we think we freely make. So I’ve come to town to find that meeting. I will find this meeting and then… shit, I don’t know. And then I will decide what to do next.

I’m faced with a mystery that’s so much bigger than myself that it sits like an uneven weight in my chest. I feel off balance, so I take comfort in smaller mysteries, ones that don’t matter at all. In Pico-Robertson, a five minute walk from six different synagogues, and a celebrity chef kosher Mexican restaurant called Mexikosher, is a strange synagogue with no windows. The architecture is unmistakable. Modern LA Jewish has a certain look and this place has it, right down to the arches designed to look like the two tablets of the Commandments. Except this synagogue is several stories tall, and with no visible entrance.

What does it mean to blend in? What-what does it mean to, to disguise, what does it mean to stick out? These are intrinsically Jewish questions. A people that has, throughout over a thousand years of oppression, variously done all three. And this way too the building is very Jewish. Of course it is not a synagogue. It is, in fact, 40 oil wells hidden inside a soundproofed structure designed to look like a synagogue. And it is not the only one, just five minutes down the road is an office building with no doors and no windows, that one is 50 wells.

The machinery of our system is not hidden below us, it is disguised among us. Rocks that are actually utility boxes, trees that are cell towers. That vacant house that we walk by day after day, the one with the opaque windows? Actually a maintenance entrance for the metro.

Which buildings are real and which ones are disguises? It doesn’t matter, I suppose. But that’s what makes me enjoy considering it.

Sylvia’s here too. She’s really come a long way from the teenage runaway I first discovered on the side of a highway. Did you tell her about the secret meeting, Alice? She is both more vulnerable and far braver than either of us, did you send her to this place? [sighs] We reunited on one of the vacant cul-de-sacs near LAX, where neighborhoods that had once been an airport’s buffer zone were now demolished.

“Heya,” Sylvia said, as though we were meeting at the continental breakfast at a hotel, not on a dark empty street after months of not seeing each other. “Hey yourself,” I said. “Why did you come?” She shrugged, performed nonchalance. “Same reason as you, I guess.”

Well then I guess neither of us knew. Because I had no idea why I was there, I didn’t even knew who was meeting in this town, let’s start with that. OK what what organization, what secret brotherhood, what ancient cabal that influences world events is now sitting around the table in some sterile backroom in this sunny, thirsty city?

I could have asked Sylvia what she knew about it, but I didn’t. I felt like I would be following a script you gave to me, Alice, and I am not interested in your dictating my actions. So instead I asked her: “How you been?” And she took a long slow breath that was more answer than words could ever be. “[sighs] I’ve been good,” she said. “You know, trying my best, finding places to sleep, finding a friendly face on the other side of a meal.” She shrugged. “I guess it’s the same struggle for everyone. But those of us who live on the road, everything is amplified, you know?” I do know. Goddammit, I know.

I wasn’t even sure where in the region this meeting might be held. So I drove out east to the desert where the mountains looked like set backdrops, unreal and perfect, taking up half the sky. Palm Springs, the town killed by cheap plane tickets. Why drive two hours from the city for the weekend, when it’s possible to weekend in Honolulu or Costa Rica instead? Then, having died, Palm Springs hung on just long enough for everything dated about it to become vintage cool. Now it’s back, a mid-century modern paradise of steel beams and rock walls and that style of beautiful, but featureless wooden security fence that only exists in Southern California. Old motels not updated since the heyday of the 50’s now are converted to hip resorts with (farmed) table food and upscale tiki bars. The city is an Instagram feed. Which is both snark and compliment, because it is a genuinely beautiful place.

I wondered the town, feeling that there was something worth finding there, but unsure where it would be hidden. I visited Elvis’ Honeymoon Hideaway, a garish airplane of a house with giant wings of a roof looming at the end of a cul-de-sac, providing kitsch to the dwindling population of Elvis enthusiasts.

That house was built on sale for 9 million a few years back and is now reduced to an easy 4, so make those owners an offer and you too could own a house that is listed as a historical site. A place where Elvis had sex a few times. It probably doesn’t have a dishwasher, though, so… Just south of Cathedral City, I saw a sign that looked familiar. It’s this huge neon pink elephant, mouth wide in mid-laugh, splashing herself. A pink elephant carwash. The sign has a twin sister in Seattle, that one is famous. It was weird running into her in the desert too. It was like driving through the suburbs and suddenly finding out that 150 years ago, they also built an Eiffel tower in Pomona.

I stopped the car and I just gawked up at her. It made me so happy. And then, looking down from the sign, the horror came to me. I saw someone walking towards me with a shuffle that I recognized. Like their legs had no muscle or bone but were heavy sacks of meat attached to their body. One dead leg thrust forward after another, and as the man came close, he looked up and I went from dread suspicion to horrible certainty.

He’s one of those creatures that I call Thistle men. Sagging human faces hung limply on skulls that are the wrong shape. Yellow teeth, yellow eyes. They are serial murderers hunting the back roads of our highway systems, and one of them was here.

He made eye contact with me. He laughed, a sound like hanging knives clattering together. And then he was gone. The neon elephant’s face no longer seemed friendly. I mean it, too, seemed to be laughing.

Sylvia and I, we split up for the day. We just watched the traffic and people, looking for suspicious crowds, folks that don’t fit in with the tourists and the beautiful people working as baristas just for now. Of course we don’t know what those suspicious crowds would even look like. Grey men in grey suits going greyly about the tedious business of running the world? Or, like the Thistle men, monsters of hideous aspect?

I reached out to my friend Lynn who works as a dispatcher at my trucking company. She and I became friends soon after I started. She doesn’t take shit, I don’t give shit, we get along that way. “Any unusual moments in Los Angeles?” I said. “Strange shipments, unsual routings, anything?” “You know I can’t tell you that,” she said. “What if I said please?” I said. She snorted into the phone. [chuckles] “In that case, sure,” she said. “I always like you when I’m polite, let me see what I can find.”

Sylvia and I saw nothing of note that day. We ate together at a Korean barbeque place built into the dome of what had once been a restaurant shaped like a hat. “This is nice,” she said towards the end of the dinner. It was, it really was.

You know, a city is defined by its people but it’s haunted by its ruins. There are no cities without vacant lots, the skeletons of buildings, ample evidence of disaster and failure. Our eyes slide past them because they tell a different story about our city than the one we wanna hear. A story in which all of this could slip away in a moment. Even though we know this fact is true, even more for Los Angeles than most cities. This city will some day be shaken to the ground, or burned, or covered over with mud, or drowned by the rising sea or strangled by draught. The question is, as it is for each of us in our personal lives, not if it will die but how.

I like to go and look at these broken places where the refuse of recent history shows. It allows me to look at a region differently, maybe see what I was missing. And if a secret meeting was gonna be hidden here, where but in the cracks? So I peer in. I search.

Above the Pacific Coast highway in the hills of Malibu that are so beautiful when they aren’t falling or burning, is what remains of a house. That house was a mansion built in the 50’s and burned in the 80’s when its location finally caught up to it. There’s now a popular hike that goes right into the ruins, so any walker can go see this place where people lived as recently as 30 years ago. A ruin shouldn’t be so new. A Roman home destroyed by a volcano, well OK you know. A medieval castle, sure. Even an old stone settler’s hut, 100 years old, alright, OK that make sense. But a house that once held a television and a shower? It feels wrong to walk on the foundation, stepping over the bases of walls and around the chimney. It was a home not so long ago, and now it is transformed. Transformation is uncomfortable, and easily mistaken for an ending.

In Griffith Park, I met with Sylvia in the old zoo. All the animal enclosures are still there, and you can sit in them and look at where once caged animals lived, and now wild animals are free to come and go.

Sylvia and I sat in the artificial caves, trying to imagine what the purpose of this secret meeting was. Sure, generally the word was out that it was a meeting of those in control in order to further control us, but specifics were, as they often are, lacking. Sylvia asked me: “Do you feel like this story is too convenient?” And I had no way to respond but nodding. “But we still have to look for it, right?” she said. And I nodded again.

As the sun moved behind the hills, it got very cold. She said, “Yeah”. And I said, “Yeah.” And neither one of us meant it.

Gentrification comes for us all. Let’s leave aside for a moment the many issues of endangered communities and rocketing prices, and consider just two cases of what people will look past to get access to LA property. December 6, 1959, in the hills just below Griffith Park, a doctor lived with his wife in a mansion with an incredible view. The Christmas tree was up for the season, wrapped gifts underneath. At 4:30 in the morning, the doctor got out of bed, retrieved a ball-peen hammer and murdered his wife with it. Then he attacked his daughter, though she survived. And then he took a handful of pills and was dead by the time police arrived.

That house stood empty ever since, still filled with the family’s things: the furniture, the tree, wrapped gifts underneath. A prime house in a prime LA area, but who would live in a house where such horror had happened? For 60 years, no one. Well, the house sold for 2.2 million last year. A view of the city, just above those (-) [0:21:06]. Well at this point, who wouldn’t take some hauntings and a terrible bloody past for that?

Meanwhile the Cecil Hotel in Hollywood, site of an inordinate number of murders and suicides, where the Night Stalker lived in the 80’s while causing terror across the region, where just a few years back, a body floated in the water tank for days before being discovered, is now the boutique Stay on Main. A rebranding for this rebranded city. Even our murders are getting gentrified.

Maybe it’s me. I don’t know, maybe I just don’t like change. Change is often wonderful. But we should definitely think hard about what we are changing into, and what that change might mean. We should just spend a little time thinking about that.

[long break]

Still searching for this meeting. I went up the coast, over the Grade and down toward Axnard, not as cool as Ventura or as rich as Camarillo. Oxnard gets by. As I waited to hear from Lynn, I walked on Silver Strand, just watching the surfers. Many, even now in the winter. Nothing will keep them out of those frigid Alaskan currents. I headed south to Channel Island harbor. It was absolutely peaceful on its shore. The ocean is chattering and restless, the harbor sleeps. It does not stir except to send crumbling waves in the wake of the few boats in and out.

During my walk, I saw a rowboat. Old, practically falling apart. Something about the occupants of the rowboat made me look closer. Stooped figures in awkward postures that looked painful. One of them turned to face me, though the boat was 60 feet offshore, and even at that distance, I could see. Two Thistle men, floating in a rowboat in the (Sound).

“Ooooooooooooooooo,” one of them shouted at me in a gentle high-pitched voice. “Ffffffffffffffffffffffffffff.” There was something that looked a lot like a human arm poking out over the rim of the rowboat.

I returned to my truck. Not everything is my problem.

Worship is a feeling so all-encompassing that it can be easy to misunderstand from outside. Take the worship of Santa Muerte, a Mexican (folk) saint of death, likely a legacy of pre-Colombian devotion, dressed in the clothes of the colonizing religion. The church has spent a long time trying to suppress her worship, but of course the church has never been good at actually suppressing much, and devotion to Santa Muerte has only spread in recent times.

Like many figures of death, she represents healing and well-being. Religion often lies in embracing contradiction. Those on the outside, they see this as a weakness but those on the inside recognize it as strength. The temple of Santa Muerte in Los Angeles is just down on Melrose Avenue, sharing a building, as everything in LA does now, with a weed store. It is a one-room shrine established by a husband and wife, full of life-sized skeletons bearing (-) [0:25:04]. It would be easy as an outsider to default to one’s own associations with skeletons and come to one’s own emotional conclusions, but it is healthier to embrace the contradiction of these symbols of death. That, after all, physically hold us up for as long as we live. To deny Santa Muerte is to deny our own bodies.

Meanwhile on the other end of the spectrum, the Bob Baker Marionette Theater carries a different kind of worship: devotion to a performance style that time has left behind. And the outside of the building is – let’s face it, it’s creepy. Because, like skeletons, puppets have taken on a certain cultural connotation in the wider world. But we should try to see it from the inside, as the earnest expression of performance and joy.

Mm mm. No I can’t. Mm mm, I ju- not with puppets. Skeletons, fine. Loose-skinned monsters from whatever world, well I’ve deal with them, but puppets? Mm mm.

Lynn got back to me. “You didn’t hear this from me,” she said. “That goes without saying,” I said. “No it doesn’t,” she responded, “because I just told you that. Now, there have been some shipments that don’t belong to any company. Or the company info is missing from them, I can’t understand what I’m looking that. They certainly don’t hold up to any scrutiny at all, so I don’t think that they were expecting scrutiny. These things stand out so bad that they might as well be big red arrows pointing at a location in Los Angeles.”

It was late afternoon. Sylvia was asleep in the back of the truck’s cab. I lowered my voice. “Where?” She told me. I looked at Sylvia, knowing she would want me to wake her up, to take her with me. But I didn’t. I let her sleep. I went alone. Better that one of us survive.

I went where Lynn told me: up La Cienega, past a mall and a hospital. I came to the address she gave me. An unassuming place. If it weren’t for the brightly lit shine, I might not have even spotted it from the street. I went through the gates. There was a courtyard there, deserted. The air was still and there was no sound, but the stillness felt temporary, like the pause after an act of violence before anyone can get over their shock and react. I continued through the doors to a dark room. Not the grand hall I might have expected for a meeting like this, but a cozy place. Rows of theater seats. A stage draped in red curtains, from which a speaker stood addressing the crowd. There was music. Was that music? Or was it the shifting and squirming of inhuman bodies? Because there was something inhuman in this place, I could feel it. Not the people in the seats, they seemed completely human. Looking up at the person speaking, following the narrative, and slowly having information dawn on them.

In fact, the people in the seats did not at all seem like the kind of people I would expect at a meeting like this. Were these the powerful, the wicked? Were these the unseen hands ushering us to disaster? Looks can be deceiving. Everything can be deceiving, up to and including the truth, but no. I did not think that these were monsters, I thought they were people like me. People lured to the spot for the same reason I had been, because the story of the meeting had been a very good story. It played exactly into how I had thought the world works. It fed my suspicions and it led me to this place. And I think the same is true for every person in that room. They were there, like I was there, looking for a good story. But why were they led there? Hmm? If the meeting itself was a decoy, then what was the true purpose of this moment?

And that’s when I saw them. Lingering in the shadows at the edges of the crowd. Men with faces that sagged. Flesh that peeled. Yellow teeth, yellow eyes. Thistle men ringed the crowd. (Wools to sheep, parks to bunnies). Hunters. Prey. Did the people in their seats notice? Did they look into the shadows and see the inhuman eyes peering back at them, did they smell the breath of the Thistle men, like mildew, like soil? A smell of rot from deep within, cold lungs, did they hear the occasional laugh coming from a gurgling broken throat? Did they look beside them at seats that were empty and think, wasn’t someone here just moments ago? Or was there? But surely there wasn’t, because where could they have gone? And then the shadows at the edges of the crowd, the people that had once sat in those seats, were led into a place from which they could never return.

I understood. A simple plan: tell an irresistible story. A story that is exactly what all of us fighting Thistle might want to hear. That we were right all along. That the world really is against us in so simple and easy a way that the culprits could all meet in one room. And we would come to hear that story, and then Thistle would take us. Why hunt when instead they could lure?

Standing in the door to that hall of horrors, I saw the faces of the Thistle men as they turned and noticed. One gave a yelp and started to lope towards me and I fled. Where the courtyard had been empty, it was now packed shoulder to shoulder full of men with loose faces and eyes that went yellow at the edges and wet lips hiding sharp teeth. They were waiting for the crowd inside. Hungry creatures preparing to feed on any person that stepped out of that theater. I pushed into and past them, using their momentary surprise to escape, and I ran until my throat was dry and ragged, through that courtyard and out to where the lights of the strip club across the way flashed back and forth, back and forth, and then into my car and then onto the maze of freeways where it is so easy to disappear.

I kept my eye glued on the mirrors, but no one was chasing me. Somewhere behind me, an audience of innocents remained in Thistle’s trap, and I wouldn’t help them. I couldn’t.

Instead, I went back to the truck. Sylvia was still asleep in the cot. I sat in the driver’s seat. I was exhausted. The sun had fully set, and I allowed my eyelids to drift downwards. “Hi,” said Sylvia. She was in the passenger’s seat turned sideways towards me. It was light again. I don’t know how long I’d slept, I know I didn’t dream. There are small mercies in life, I guess. “Did you find out anything?” Sylvia said. I looked in her eyes. She’s so young. It wasn’t right and it wasn’t fair that she was out here like me on this labyrinth of roads and rest stops. But that’s just what it was. For her and for me and for so many others.

And she looked at me with trust. And I looked right back and I said, “I didn’t find anything. I don’t think the meeting is even real. Let’s get out of here.” Sylvia yawned, she stretched, she nodded. “Yeah OK,” she said. “Might as well. Too bad this turned out to be nothin’.” “Too bad,” I said.

So now here I am telling the story from just outside of Ashland, Oregon. Los Angeles is hundreds of miles behind me now. It isn’t far enough.

I love you, Alice. I stayed alive another day. You do the same, OK? OK.

[applause]

Joseph Fink: Thank you to everyone who came out for our Largo show. We will be back in two weeks with chapter 1 of our third and final season. This show would not be possible without our Patreon supporters. Such as the incredible Ethel Morgan, the indomitable Lilith Newman, the victorious Chris Jensen, and the electrifying Melissa (Lumm).

If you would like to join these folks in helping us make this show, please check out patreon.com/aliceisntdead, where you can get rewards like director’s commentary on every episode, live video streams with the cast and crew, bonus episodes, and more.

Thanks for listening, and see you soon.

[architectnews]

House on Omaha Beach, New Zealand

House On Omaha Beach, New Zealand North Island Real Estate, Architecture Photos, NZ Modern Home

House On Omaha Beach, NZ

16 February 2022

Design: Strom Architects

Location: Omaha Bay, Rodney District, north island of New Zealand

Visuals by NuMa

New House On Omaha Beach, New Zealand

Omaha Beach is one of New Zealand’s best white sand beaches. It is located on the north island, circa 70km north of Auckland.

The design is for a family home on one of the last remaining front-line plots, enjoying extraordinary views of Omaha Bay and the Hauraki Gulf. Strict planning guidelines with area and volume restrictions, along with the sun-path for the site, saw the architects develop a design that made the most of the site and the weather patterns.

Because of the extraordinary views, Strom Architects decided to place the main living accommodation and the master bedroom in a volume closest to the sea. This has an entirely glazed façade with a large balcony with overhangs.

This volume is dual aspect, to maximise the sea view, but also to make the most of the afternoon and evening sun on the more sheltered western side, where a large outdoor living area with kitchen is placed, with views through the house.

Underneath the first-floor volume is a sculptural elliptical staircase, in a minimal glass enclosure, which serves the first floor. There is also a rumpus room, that encourages outdoor living with easy access to the pool.

Strom Architects deliberately didn’t want to enclose the entire area underneath the first floor, in order to enjoy views through the site and to the sea from the rear of the house, where there is a generous garage with additional storage for surfboards and other kit for outdoor activities. On the first floor there are guest bedrooms and a home office.

Along the south boundary there is a 30m long lap pool that joins up with the large pool at the front of the property.

Interiors are minimal in white and grey with timber accents and timber furniture in a warm colour.

House On Omaha Beach – Building Information

Project Name: House on Omaha Beach Location: North Island, New Zealand Location Type: Suburban Project Size: 400m2 Construction Cost: Confidential Cost per sq.m.: Confidential Completion Date: –

CONSULTANTS

Main Contractor: – Structural Engineer: – Sustainability Consultant/ M+E Engineer: – Interior Design: Strom Architects

CGI: NuMa

MATERIALS / PRODUCTS

Construction Type: Steel frame with lightweight cladding Cladding Materials: Micro concrete on ventilated boards. GRC Concrete Panels Glazing: – Flooring: Limestone and pale oak Kitchen: –

Social media:

Facebook: @StromArchitects Instagram:@stromarchitects Twitter:@stromarchitects Website: www.stromarchitects.com

House On Omaha Beach images / information received 101221 from Strom Architects

Another recent house design by Strom Architects on e-architect:

Meadow House in Essex

Location: Omaha Bay, Rodney District, north of New Zealand

New Zealand House Designs

New Zealand Houses – recent selection below:

End of the Road, Orakei Basin, North Island Architects: Wendy Shacklock Architects Ltd photo : Patrick Reynolds End of the Road House, Orakei Basin

Green Walls & Gables Residence, Auckland, North Island Architects: Matter photo : Simon Devitt Green Walls & Gables Residence

New Zealand Architecture

Contemporary New Zealand Buildings

New Zealand Architecture Designs – chronological list

New Zealand Architecture News

Christchurch Justice and Emergency Services Precinct, South Island Design: Cox Architecture photograph : Dennis Radermacher Christchurch Justice and Emergency Services Precinct, NZ

The Blyth Performing Arts Centre, Havelock North, Hastings, Hawkes Bay Design: Stevens Lawson Architects photograph © Mark Smith Blyth Performing Arts Centre in Havelock North

Ruby Ridge House, Wanaka, Otago region, South Island Design: Condon Scott Architects photo © Simon Larkin Ruby Ridge House, Wanaka

Christchurch Airport Terminal

New Zealand Architecture Studios

New Zealand Architecture

New Zealand Buildings

Len Lye Centre, New Plymouth Patterson Associates Len Lye Centre

The Michael Hill Clubhouse, Otago, South Island Patterson Associates Southern New Zealand Building

This is a family home in New Zealand, right on the beach. The clients have two children, and the whole family love outdoor activities such as surfing, boating, hiking and other sports. As such, the house needs to reflect their outdoor lifestyle and general philosophy of family activities together. They want the house to feel timeless, and be flexible to accommodate extended family and friends, allow for frequent entertaining, as well as be a welcome sanctuary that the children can return to even once they’ve grown-up and left home.

To make the most of the sea views, the house is arranged with living spaces at first floor, with the dining room, living room and master suite occupying the beach-front areas of the house. Children’s bedrooms and a snug sit to the rear of the property, with an external courtyard in the centre of the plan. At ground floor level, guest suites sit alongside the courtyard, with an additional living space at the front and the garage and ancillary spaces to the rear. The swimming pool sits at the front of the property between the beach and the house; the pool has been raised up to act as a subtle visual barrier to provide more privacy to the house.

By spreading the accommodation across the site, with break-out spaces in the form of courtyards and terraces, it ensures that all spaces benefit from either morning or evening sun, dependent upon their function. The need for privacy is balanced with the desire to maximise the views, and different spaces are created to allow the whole family to spend time together or to find quiet retreat away from one another as needed.

As the family dynamic evolves, the house should be more than capable of accommodating their needs and growing with them.

Comments / photos for Home for a Winemaker in Arrowtown design by Strom Architects page welcome

The post House on Omaha Beach, New Zealand appeared first on e-architect.

[a1cleaningofomaha]

Commercial Restaurant Kitchen Cleaning Services in Omaha NE| A1 Cleaning Of Omaha More information is at:  https://cleaningcompanyomahane.com/commercial-restaurant-kitchen-cleaning-services-near-me/

Professional kitchen cleaning services in Omaha NE and the nearby cities and towns. We specialize in restaurant kitchen cleaning services, deep cleaning, commercial cleaning. Professional Cleaners of Restaurants.

BEST COMMERCIAL RESTAURANT KITCHEN CLEANING SERVICES

Delivering a Clean Unlike Any Other A1 CLEANING OF OMAHA is prepared to tackle every room in your home, and the kitchen may be one of the toughest of them all. This space gets plenty of use, and that frequent use can certainly shows. Cooking, eating, foot traffic—they all lead to dirt and buildup. Our professional team has the proven processes to deliver exceptional results you can both see and feel. We are experts in commercial kitchen cleaning services. A1 CLEANING OF OMAHA can provide specialist kitchen extract and supply duct-work cleaning for large restaurant chains as well as smaller local diners, restaurants, pubs, schools, care homes, hotels and other commercial food preparation areas nationwide. Additionally, our team of experts can provide kitchen extract cleaning throughout hospitals, nursing homes, schools and academies, issuing hygiene certificates for all completed kitchen cleans. Our specialist kitchen cleaning teams have worked in all types of catering environments from pop-up food stalls to fast food outlets, independent restaurants, high street brands, hotels, hospitals, care homes, schools and universities. A1 CLEANING OF OMAHA are contracted to carry out commercial kitchen cleans and extraction cleans for a number of high-profile clients, to whom we are most proud to be of service to, year after year. Our customer retention is high because we offer value for money with a reliable and honest service, achieving top results every time. When we tackle your kitchen, you'll benefit from a space that’s clean from top to bottom.

Our kitchen cleaning team will: • Dust and wipe your countertops and eliminate crumbs • Clean cooktops • Clean inside and outside your microwave • Polish the exterior of your appliances • Wipe away any fingerprints or smudges • Shine faucets and cabinet hardware Reclaim Your Time & Leave the Cleaning to Us Busy schedules and hectic lives can get in the way of maintaining a regular cleaning schedule in your home. The kitchen requires regular cleaning that you simply might not have the time for. While you might be able to tackle the dirty dishes after dinner, you might struggle to accomplish more intensive kitchen cleaning tasks. For example, you might not have time to thoroughly clean your cooktop and oven, eliminating stains and buildup of food particles. Perhaps your stainless-steel appliances lack the shine they once had and are smudged with fingerprints. Your cabinets might even have a thin layer of grime on them and you just can't keep up with regular dusting. Rather than simply accepting that a spotless kitchen isn't achievable, you can enlist A1 CLEANING OF OMAHA to help create that sparkling clean kitchen of your dreams. Our professional team understands that you simply might not have the time to deep clean your kitchen every week—or even every month. By having A1 CLEANING OF OMAHA take over kitchen cleaning duties, you'll free up some time and enjoy serious relief knowing that you will come home from work to a freshly cleaned kitchen.

A1 CLEANING OF OMAHA SERVICES: Customizable Kitchen Cleans The kitchen attracts a crowd, and, with it, crumbs, dirt, and other buildup. Regularly cleaning your kitchen is essential to keep it looking its best. A1 CLEANING OF OMAHA kitchen-cleaning services are perfect for busy families who desire a well-cared-for home but struggle with regular cleaning. Enlist our help by signing up for our routine cleaning. We'll put you on a regular schedule so that your kitchen is always freshly cleaned. We can come weekly, bi-weekly, or monthly—just choose the option that works best for your household.

Comprehensive Restaurant & Bar Touchpoint Lists

• Restaurants • Entryways • Waiting area (benches) • Hostess stand • Menus • Chairs/seating area (Chair backs in particular) • Tables • Restroom doors (inside and outside) • Restrooms ~ incl. flush handles/buttons, toilet paper dispenser, sanitary disposal bins, grab bars, toilet seats, sink handles, paper towel dispenser • Shared condiment baskets (if available) • T.V. Remotes • Any cleaning equipment: Bus tubs, broom/vacuum handles, wet floor signs • Soda guns • Equipment handles • Kitchen horizontal surfaces and splash guards • Emergency exit doors • Switch plates • Key pads • Phone headsets and keypad • Cooler/freezer doors • Any cleaning equipment: Bus tubs, broom/vacuum handles, wet floor signs • Hat racks/coat hangers • Bars • Entryway • Bar top and shelves • Purse hooks under bar • Tables • Bar stools/chairs • Gaming devices ~ Arcade Games, video poker, trivia devices etc. • Pool tables, incl. sticks, racks, balls • Ashtrays (If available) • Menus • Table Top literature or decorations • Shared condiment baskets (if available) • Restroom doors (inside and outside) • Restrooms ~ incl. flush handles/buttons, toilet paper dispenser, sanitary disposal bins, grab bars, toilet seats, sink handles, paper towel dispenser • TV Remotes • Any cleaning equipment: Bus tubs, broom/vacuum handles, wet floor signs • Soda guns • Equipment handles • Kitchen horizontal surfaces and splash guards • Emergency exit doors • Switch plates • Key pads • Phone headsets and keypad • Cooler/freezer doors

Keeping your kitchen clean is one of the most important things you can do as a kitchen manager. It not only maintains the safety of the workspace and keeps your chef and staff happy but improves the quality of your food as well! A1 CLEANING OF OMAHA has the experience and expertise to clean your entire hood exhaust system, and all your equipment, appliances and surfaces.

Kitchen Equipment and Appliance Cleaning A1 CLEANING OF OMAHA knows it’s hard for kitchen staff to maintain your equipment and appliances!  Let us put together a maintenance program for cleaning!  A1 CLEANING OF OMAHA will take the time to thoroughly scrape, degrease, rinse and wipe to remove grease and grime that accumulates every day. Hood Cleaning A1 CLEANING OF OMAHA cleans the entire kitchen exhaust system including the hood, filters, fan and associated horizontal and vertical duct.  We adhere to NFPA-96 Standards for complete cleaning of your entire system. Grease and particulate buildup in your exhaust system is a fire hazard, and greatly impacts on the efficiency and lifetime of mechanical equipment.  Our clear and timely Certificate of Completion reports provide our customers an immediate assurance that their system is free of any grease buildup. A1 CLEANING OF OMAHA can provide your Kitchen with a cleaning maintenance schedule based on a monthly, quarterly, semi-annual, or annual program that will keep your system from becoming a hazard to your staff and occupants. A1 CLEANING OF OMAHA provides maintenance programs for facilities and institutions that expect exceptional service. Our customers include hospitals, schools, government facilities and fine restaurants that recognize the importance of keeping their systems properly cleaned, and their occupants safe from fire hazards.

Importance of Keeping Your Restaurant Clean As you consider whether or not an outside service is right for you, keep in mind why it’s so important to keep your restaurant clean:

• Prevent the spread of infectious disease: Maintaining a regular cleaning and sanitizing schedule can help keep infectious diseases like coronavirus, norovirus, and influenza from spreading to your staff and customers. • First impressions: If the front-of-house areas in your restaurant appear to be dirty, customers are likely to assume the rest of your restaurant is dirty or unsanitary as well. A bad first impression of an unclean area can make customers leave your restaurant without even trying your food. • Health inspections: Unsanitary preparation and service areas can quickly lead to hazardous bacteria growth, which is something no health inspector wants to see. Keeping your restaurant cleaned and sanitized can prevent your business from losing points on your next health inspection. • Respect from employees: If you don’t offer your employees a clean, comfortable working environment, it can quickly breed complacency, hostility, and a lack of respect for you and your business. • Cross-contamination: If your hoods aren’t degreased or surfaces swept for food particles, contaminants can easily get into the food you’re preparing and serving to customers.

Appliances and equipment

Hobs and ovens: Any spillages should be wiped up after each shift to prevent a build-up of grease and grime, and the interior of the oven should be cleaned using a specialist oven cleaning product once a week. Commercial catering ovens should be deep cleaned by a professional service at least once every six months, too.

Coffee machines: Espresso machines should be cleaned and flushed with hot water and a specialist cleaning fluid once a week.

Kettles: Kettles and water boilers should be cleaned and descaled once a month, or once a week if you serve a lot of hot drinks every day.

Microwaves: The interior of your microwave should be cleaned at least once a week, and any spills should be cleaned as soon as they occur during shifts. Microwaving a bowl of water for one minute can help to loosen any dried-on dirt or grime before wiping down the interior with a cloth and some antibacterial cleaner.

Refrigeration: The interiors of your fridges should be wiped and sanitized between every shift, and given a deep clean once a week. Fridge hygiene can have a big impact on the quality and safety of your food, so there’s quite a lot to remember — take a look at our complete guide to fridge hygiene and safe storage to learn everything you need to know.

Hoods, vents, and exhausts: A clogged ventilation system or cooker hood can have a knock-on effect the rest of your kitchen, as it won’t filter out vapor and condensation as effectively, which leads to unhygienic build-ups of grease and grime on other surfaces. So, it’s recommended that restaurants that do not use a deep fat fryer every day clean their vents and hoods a minimum of once every 90 days. For fast food restaurants or those that frequently use a deep fat fryer, deep cleaning should take place once every 30 days.

Drains: They’re often out of sight and out of mind but, if they aren’t cleaned regularly, they can quickly become blocked, which could put your sinks and plumbing out of action. So, you should be sure to clean your kitchen’s drains once every couple of weeks with a professional grade drain cleaner, and then flushing them out with hot water. This will remove any blockages and ensure a hygienic sink area.

Dishwashers, and cutlery and glassware cleaners: It may seem counter-intuitive to wash a cleaning appliance, but weekly cleaning will ensure that your dishwasher is getting the best results. Wipe the inside down with an antibacterial cleaner, and then run the appliance on a sanitizing self-clean cycle.

Frequently Asked Questions

1. Can You Work Around My Schedule? Absolutely!

Yes, we can work to your operational time frame as much as possible. There will be exceptions, yet we will always work with you for a solution and we will always leave your kitchen clean, ready to use before we leave.

2. Does Someone Have To Visit My Business Before I Can Schedule Your Services? Absolutely not!  We wouldn’t want to interrupt your normal business operation.  We have been cleaning Commercial Kitchens for years, so the only thing we need is a quick tour of the facility to get the layout of the area, establish cleaning requirements, expectations and safety requirements.

3. WHAT NEEDS TO BE CLEANED? Three areas of specific concern are:

Exhaust Hood – An exhaust hood removes fumes, mists, vapors, grease, particles and hazardous substances from kitchens and bathrooms. Exhaust hoods must be vented outdoors and regularly cleaned. Duct Fan – Inline fans increase circulation to a specific location and are often used in commercial settings such as restaurants. An inline fan can provide additional fresh air to keep kitchen temperatures down. The Plenum – This is a specific area between the ceiling and the roof or floor above the where the vent of a restaurant hood is located. The plenum space should also be cleaned along with the duct and hood.

4. WHY IS IT IMPORTANT TO CLEAN THE KITCHEN EXHAUST HOOD DUCT? The preparation foods that involving the use of ovens and stoves releases steam or grease into the air. Restaurants required to have a hood or duct installed above their cooking range.

These vent hoods require regular cleaning to remove collected dirt and grease for reasons of both health and safety. Vent hood cleaning should completed by experienced professionals.

5. What are indicators that my system may be due for a thorough cleaning?

Most standards require that a commercial kitchen have their hood, ducts and exhaust fan systems cleaned and maintained on a regular basis.  However, each commercial kitchen is different in size, configuration, cooking volume and cooking frequency.  If you’re wondering whether your kitchen needs a cleaning or not, we’ve got some tips to help you make an informed decision. • Visible grease residue that cannot be scrubbed off during the daily cleaning process • A noticeably strong grease odor is coming from the hood or ductwork • There is a rattling of the exhaust fan like it is unbalanced • You can’t remember the last time it was professionally cleaned • If you are up there and see that the roof has grease stains • You just know it’s time

Commercial Restaurant Cleaning Service Cost • The average restaurant cleaning service costs $90 per hour but rates span from $20 to $150 per hour.

• Light cleaning, which usually includes dusting and bathrooms averages $20-$40 per hour. • Heavier cleaning or cleaning large commercial kitchens ranges from $50-$150 per hour. Restaurant Hood Cleaning Cost Hiring professional cleaners to take care of the hood above an oven costs $140 to $180 per hour. Exhaust hood specialists might charge a flat-rate fee which averages $400 to $430. However add-ons such as cleaning filters or access panels will increase the cost. Expect to pay more if your hood is really dirty. When you hire a professional cleaning service, you determine the frequency of the cleaning. You can choose from daily, weekly or even monthly visits. You can be sure the professional and experienced staff at A1 CLEANING OF OMAHA will do all of the cleanings to the highest standards and can be a supplement to the routine cleaning chores handled by your staff.

How Much Does Restaurant Cleaning Cost? Many restaurant owners opt not to hire employees to clean the kitchen space every night and instead hire an outside company to handle the task. In general, the cost of a restaurant cleaning service can vary, based on the size of the space and the complexity of the job. These jobs are billed either by the square foot or by the hour. You can expect to pay between .12 and .40 cents per square foot or $20 to $75 per hour to have your restaurant professionally cleaned. What are Restaurant Cleaning Services? Restaurant cleaning services provide a very important task – they keep restaurants, both the dining room and kitchen areas – clean and sanitary. Since restaurants handle many different types of food, the possibility of cross-contamination can increase when spaces aren’t cleaned properly. In addition, germs like E.coli and salmonella can grow in the kitchens. So, it’s important to keep these spaces as clean as possible. Why Choose Restaurant Cleaning Services? Restaurant owners know that every square inch of their business needs to be kept very clean, so they hire cleaning services to complete the task. These experts know how to clean restaurants and their related spaces effectively. Spaces frequented by customers need to be dust and grime free, while kitchens and other food preparation areas must be thoroughly disinfected.

Determining The Best Restaurant Cleaning Service for Your Needs There are many different aspects of restaurant cleaning services. Depending on what areas of your restaurant need to be cleaned, the rate may vary. In order to make it easy to determine the price of a cleaning service, we’ve broken it down into categories. Some, or all of these, may apply to your restaurant.

Floor Cleaning There are many different types of flooring in restaurants. Dining areas may be carpeted, while kitchen spaces have tile and floor mats.

Depending on the size of the floors and the exact types that need to be cleaned, you can expect to pay between .12 to .20 cents per square foot or $20 to $25 per hour.

Kitchen Cleaning Kitchens are the most complicated jobs. All of the equipment must be wiped down, along with food preparation surfaces and the pass where the plated food is placed after it’s cooked. Kitchen cleaning is the most expensive, due to the disinfecting work involved. General prices vary from .30 to .40 centers per square foot or $50 to $75 per hour.

Bathroom Cleaning Bathrooms are small, but restaurants often have several of them. There might an employee-only bathroom at the back of the restaurant, as well as separate men’s and ladies’ rooms for customers. Due to their size, bathrooms tend to cost a bit less overall, but rates still vary between .12 to .20 cents per square foot or $20 to $25 per hour.

Walk-In Refrigerator Cleaning The walk-in refrigerator, known in restaurant parlance as “walk-in” is where uncooked food, as well as leftovers, are stored. Most restaurants have their kitchen staff handle cleaning the floor and other spaces in the walk-in, although if an outside service is used, it will cost .30 to .40 centers per square foot or $50 to $75 per hour.

Cleaning Outdoor Spaces In most cases, the outdoor spaces, like those nearest the dumpsters – exterior exits used by employees and similar spaces – are very small and inexpensive to clean.

You can expect to pay a restaurant cleaning service .12 to .20 cents per square foot or $20 to $25 per hour for these areas.

Cleaning Waiting Areas and Entrances Both the waiting areas and entrances to a restaurant must be cleaned, as they are the first things customers see upon entering your establishment. These spaces see a lot of foot traffic and have floors and walls that must be cleaned. The cost for street entrances and other spaces is .12 to .20 cents per square foot or $20 to $25 per hour.

COMMERCIAL RESTAURANT KITCHEN CLEANING SERVICES IN OMAHA NE A1 CLEANING OF OMAHA REQUEST MORE INFORMATION. CONTACT US NOW.

CONTACT DETAILS A1 CLEANING OF OMAHA Call us at: (402) 810-6320 Website: https://cleaningcompanyomahane.com/ Location: Omaha NE Business Hours: 7AM- 11 PM

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Top 5 Advantages of Building with Steel Frames in Omaha

Hey, Omaha folks! If you're considering building a new structure, have you thought about using steel frames? They come with some fantastic advantages that you won't want to miss out on. Check out these top 5 reasons why steel frames buildings are a game-changer for construction in Omaha.

1. Durability:

Steel frames are incredibly durable and can withstand extreme weather conditions, including heavy snow and wind. This durability ensures that your building will stand strong for years to come, even in the harshest Nebraska weather.

2. Cost-Effective:

Opting for steel frames can be cost-effective in the long run. They require minimal maintenance and are less susceptible to damage, saving you money on repairs and replacements down the line.

3. Eco-Friendly:

Using steel frames in construction is an environmentally friendly choice. Steel is one of the most recycled materials on the planet, making it a sustainable option for eco-conscious builders in Omaha.

4. Design Flexibility:

Steel frames offer incredible design flexibility, allowing for spacious and open interiors without the need for cumbersome support walls. This flexibility opens up a world of architectural possibilities for your project.

5. Construction Speed:

Building with steel frames can significantly expedite the construction process. With pre-fabricated steel components, construction time is reduced, getting you into your new building faster than traditional construction methods.

When it comes to building in Omaha, steel frames offer durability, cost-effectiveness, sustainability, design flexibility, and quicker construction. . If you're embarking on a construction project, get in touch with Lacey Construction Inc. now.