#sinking foundation

[nirvanabuilders]

How to Identify Foundation Issues in Basements and Crawl Spaces

Basements and crawl spaces are often the first areas where foundation problems become noticeable. Detecting these issues early can save homeowners from costly foundation repair and protect the integrity of the entire home. Understanding the signs of trouble in these spaces allows for timely action. Here’s how you can recognize potential foundation problems in your basement or crawl space.

1. Cracks in Basement Walls and Floors

Cracks in the walls or floors of your basement are common signs of foundation damage. While small, hairline cracks may result from natural settling, larger horizontal cracks often indicate pressure against the foundation walls. These larger cracks may signal serious structural issues that require professional foundation repair services. Be mindful of widening cracks or those that allow water to seep into the basement, as they often point to more severe problems.

2. Bowing or Bulging Walls in Crawl Spaces

In crawl spaces, walls that bow or bulge are a clear indicator of foundation stress. This often happens when soil pressure builds up against the exterior of the foundation, causing the walls to push inward. If left unaddressed, this issue can worsen, leading to the need for more extensive foundation repair. It’s crucial to consult a professional to assess the extent of the problem and find an effective solution.

3. Moisture and Water Damage

Excess moisture or standing water in basements and crawl spaces is a common sign of foundation issues. Water can enter through cracks or poorly sealed areas, leading to mold, mildew, and wood rot. These conditions not only weaken the foundation but can also affect indoor air quality. Before seeking foundation repair services, it’s important to address moisture problems with proper drainage and sealing to prevent recurring damage.

4. Uneven or Sagging Floors Above the Crawl Space

Uneven or sagging floors above a crawl space can indicate foundation issues. This problem typically occurs when the supports in the crawl space shift or settle unevenly, causing the floor above to become unstable. A professional assessment might reveal the need for slab foundation repair or reinforcement of support beams to correct the issue.

5. Musty Odors or Mold Growth

A musty smell or visible mold in your basement or crawl space is often a sign of excess moisture due to foundation problems. When water enters through cracks or poorly sealed areas, it creates an environment where mold can thrive. Addressing this issue with timely foundation repair can prevent further damage and improve the overall air quality in your home.

The Importance of Timely Foundation Repair

Addressing foundation problems in basements and crawl spaces early is crucial for maintaining your home’s stability and value. Delaying repairs can lead to more extensive damage, such as structural instability and higher repair costs. Consulting a foundation repair company at the first sign of trouble ensures that the issues are resolved before they escalate, keeping your home safe and secure.

Conclusion:

If you notice any of these warning signs in your basement or crawl space, it’s important to schedule a professional inspection. A trusted foundation repair company can identify the root cause of the issues and recommend the best solutions to keep your home stable and protected. Taking action early can prevent small problems from turning into major concerns, ensuring peace of mind for you and your family.

[charlesreedscoolhat]

Charles: and how do I contact you in the future?

Johannes: you don't 🌟 bye you soggy bitch ✨️🕺✨️🕺🟨🟨🟨

[cookinguptales]

love how I get mildly tipsy and suddenly I'm like "what if I wrote job 38 fic about sleep no more, that sounds like something that literally anyoen but me would get something out of"

[tentakilly]

Until I can make more art for y’all. Credit for the ship name goes to dino--draws.

[outeremissary]

Y'know, on the one hand I don't regret burning bridges over matters of conscience and my greatest regret is just not having lived my principles better before then, but on the other hand there is something kinda surreal about it. Like man, just gone huh. Well. I guess there's nothing to do except try to be different in the future.

[largishcat]

the biggest sense of betrayal i ever experienced was one time when i, like, really deep cleaned my sink. got into all the grody little nooks and crannies got all the grime out until the whole thing was spotless. anyway, turns out that layer of grit and grease was the only thing keeping the SUGAR ANTS from staging an unprovoked land assault on my fucking dishes

[sheyshen]

haircut today, can't wait for it to be short. it's also unfortunately over 100 out already and i am not looking forward to getting in the car in that T-T

[meirimerens]

haven't drawn yulia and eva ****** *** in what feels like 10 centuries the wallpaper of my skin is peeling the hinges of my doors are falling off me and rolling in the cracks of my floorboards... WAITER... I NEED YURI...!!

[morrithal]

Crimson Peak brainworms. Fucking again

[wewontbesleeping]

stay beautiful and gold rush are the same songs fourteen years apart. both about a near-miss with just the idea of something. but stay beautiful is optimistic and youthful and gold rush is by someone old enough to know better.

[sateurn]

😵‍💫😵‍💫😵‍💫

These sobs really limited my tags?????

I have so many more thoughts this is so so much less than 1/2. Broski. Big dislike

[doolallymagpie]

decided to beef up my annette mini and, while i was there, ditch the bulky and unnecessary belt and change up her pose a bit to be more "we can rule humanity together (and if you say no, i'm gonna crush every bone in your neck, slowly)"

[unproduciblesmackdown]

also to go "wow this is just like in pentiment" about absolutely anything and/or "wow this is just like iphigenia crash land falls on the neon shell that was once her heart (a rave fable)" about absolutely anything further:

the Narratives within crash land falls where like, in the end iphigenia being Given the story of both "this is going to happen anyways" and "so why don't you see it as a noble sacrifice to accept." the situation happening to Create a story that she was killed, so her father must be tragic, and sympathetic. that iphigenia does take on that Narrative of taking on the Noble Willing Sacrifice, and it kills her, but she also would have been killed anyways, as everyone also knows. that we even get a bit of pentimentesque [other characters observe & assess things] like, the fresa girls as a chorus, and one at the end like yeah She Was No Saint, i saw everything, but being cut off by The News that's like yeah looks like iphigenia was killed, that seguing into her father saying yeah she was killed, god's will was done, She's A Saint now. seguing to the emcee who introduced the play, but that superceded by achilles, and that superceded with iphigenia's extasis monologue as the end of the play. that whether iphigenia's a saint or not, she dies. that [the whole play] tells us as much, like, this isn't a What If kind of retelling where she escapes her fate, this is a retelling examining itself like, she Will die because the story's preset, so what to do with this as the story that has to take her there, what to do with this as iphigenia who has to go there

that iphigenia takes on another narrative in addition to the one offered by like, violeta as guide and oracle telling her she has to die (As A Noble Sacrifice), that again (as per iphigenia in aulis being like uh hey daughter. let's go to aulis so you can uh marry achilles (it is to be sacrificed)) achilles is this bait, but it's only in the ending that there's any Story about being with achilles, and when iphigenia goes to the mercenary soldier who she knows will kill her, she's the one telling him what to tell her about where she's going and why, i want you to tell me achilles is waiting for me....and she still dies, because This Is The Story. as also applied to the reality, iphigenia as another dead and missing girl following & preceding many; any disappeared deaths when consumed as disposable & replaceable, not given part of any narrative about it. while also iphigenia only gets a chorus of fresa girls from there being crosses put on the factory wall with their names, with one girl even remarking like hey they spelled my name right for once. but at the same time they're also like, both mere Apparitions but also like standins for people who are simply alive. real [shades]esque kind of, i suppose, but like they're not Sanctified for dying either, they'll comment on iphigenia but not with any like, divine knowledge, just as this out of place rich girl. whether iphigenia's A Saint or Not A Saint, she's still dead either way. she wants to be a fresa girl, they maybe want to be her, but everyone's doomed anyways thanks to way larger forces and the Stories that have been told and will be told again

but there's also the moment right before the final section wherein, before she's having to say what she wants within the bounds of [she has to die], there's achilles asking "you still want me" and iphigenia answering with "i want everything" and her vision for, like, getting to be alive actually, i'm on the gulf where the sea is gray, and no one wants a piece of me....the whole inciting event here where iphigenia wants to evade her fate however she can, exiting the bounds of her life, the physical bounds and the family unit and walking away from the rank of status / class / wealth, trying for [have her body for herself] and what the body wants, the sensuous indulgences of (a rave fable), let's hear some more about the roman state like "we don't like the examination and challenge and upending of class and convention in a bacchanalia, so only do the official versions we permit;" the Threat of people's desires for themselves, when that's going to be counter to those in power who'd want these people to be resources at their disposal; the burden on the disempowered to suffer [the only way out is through] with the Additional pain & loss that has to be taken on in pursuit of their autonomy, while also of course suffering for the autonomy they lack, that restricted and controlled and mitigated versions of what you might want are deigned to be provided or permitted so that you have Something, but that everyone's actual undeniable personhood will always be spilling past those bounds, the potential power of transgressive pleasure when one's wellbeing and autonomous choices are counter to the power structures that have to constantly try to suppress and preclude this. achilles just as bait, doomed to die like iphigenia is also still doomed, sex was never going to save everyone and the [recognizing connection as these two parallel people / We're The Same] with your lover here is not going to save everyone but it still makes more things possible for them both; iphigenia does know what she wants, and gets some of it because she wants it, same with achilles in turn, while it can't save anyone from their fates still. but it can mean something even if it doesn't transcend, like even a fleeting night of insignificant dancing that doesn't change anything can mean something, and we all die, but that doesn't mean it's Nothing to be killed any more than it's Nothing to have your desires or choices one way or another to be wrung out of your life before you are

anyways, the stories. the Looking and Presenting here. achilles and iphigenia first encountering each other as images put together and presented by someone else for their own purposes. the presence of what's seen through film/camera/recording versus in person; the potential power relations and even violence in framing, presenting, and the intended looking and assessing. repeated language about eyes/looks that burn, while also that connection between iphigenia and achilles, and their finding the least room in what they do have of their lives for more of their own wants and selves and something genuine and not predetermined, is also connected to eyes and looking and being seen and light and burning. while they're also connected to the protection and possibility of night and darkness, getting to exist and be Without being lit up or seen; that with the power that's still in play, it's never like, well then you should have nothing / no reason to hide; the penultimate moment in the play with achilles being one that's in person and fades into darkness, rather than coming in from the light of a projection / video onscreen as the introduction....iphigenia needing to be guided through a crossroads to even get to achilles in person; violeta giving the Advice and Story and Tradition to pray to eleggua, as iphigenia does before getting to encounter achilles for real, who also doesn't get to break out of a role or a fate in full in any way, but their tragedies are like, pointing towards [autonomy, imagine it] in both the ways they manage to find a little bit of it for themselves, in no small part for simply recognizing each other as in the same boat here, and in the ways they still don't have it and still can't get it

and anyways it's also inevitably saying like, telling a story?? this Play is a told story!! looking? assessing? interpreting? you're doing that in the course of experiencing it! and it's really so fucking true.

[wisdomfish]

On a foundational level, God always provides what is truly needed to live a life of dependence. Let that sink in for a moment. . . . How often do our ideas of provision have more to do with living in such a way that we are independent and self-sufficient as opposed to vulnerable or dependent upon God?

Ted Wueste

[feralfens]

[speed runs thickening the top soil layer in one spot]