#stirrups in construction

[shreetmtbars]

Discover the essential role of stirrups in construction. Learn about their benefits and the different types available, ensuring structural stability in various projects. Dive into this detailed guide by Shree TMT for expert insights.

[tata-tiscon]

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[sonaconstruction01]

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[theprissythumbelina]

So you want to write about horses.

Part 2 now out!

Or you're writing and horses show up. Or its a pre-industrial fantasy and your characters have to get somewhere. Or you have a faint idea of your MC's love interest showing up on a white stallion.

Whatever the cause, you're writing, and a horse appears. But you know nothing about horses. I can help.

This is a horse. Horses come in many sizes.

^ Big Jake, a Belgian Draft horse, and a roughly 5 foot woman for scale.

1 hand = 4 inches = 10.16 cm

Once a horse is smaller than about 14.2hh, it is generally considered a pony. In the modern day, ponies are not considered suitable for adult riders due to weight and height issues. Some pony breeds, such as Welsh, Fjords, ect. are known for being sturdy, and can more easily carry adult sized humans. Miniature horses should never be ridden by adults.

^The only suitable 'riding' a miniature horse should do

The above graphic mentions that horses are measured from the top of the withers, not the top of the head. But, what are withers?

The withers are where the horse's shoulders meet the spine, and the neck becomes the back. Withers are incredibly important for saddle placement, as a badly placed saddle in this area can prevent a horse from moving its legs properly, cause a large amount of pain, and even damage a horse's spine. Speaking of spines, this is a horse skeleton, with the withers pointed out.

Horses have four legs. Horses cannot have any fewer than four legs. They are obligate quadrupeds. This is, in part, due to their weight, as well as the construction of their legs and hooves. This is to say, that while cats, dogs, and other animals can be amputees, a horse, short of some incredible magic solution, cannot. Even a broken leg bone will cause a huge amount of problems, as all of the weight that leg would usually hold must be shifted to the other feet, and this causes a condition called laminitis, where the tissue that holds together the hoof and the toe bone becomes inflamed, and begins to separate. Once this happens, the hoof tissue dies from lack of blood, and the bone begins to rotate. This is extremely painful for the horse, and so often the best solution for a horse with a broken leg is to be spared that pain. Famous American racehorse Barbaro experienced a complex broken bone, which began to heal fine, but complications from laminitis in two of his other legs caused him to be put down. This is why media will almost always show a horse with a broken or injured leg being 'taken care of'.

^Barbaro, in his prime. Even the best veterinary medicine couldn't save him.

Now, racehorses like Barbaro are moving at the fastest speed and the fastest gait of the horse, the gallop. The patterns that horses move their feet are referred to as gaits, with most horses having four, with some breeds having five or more.

The first gait and the slowest is the walk. In the walk, all four feet move independently, which leads it to be called a four-beat gait, as the footfalls make a sort of drumbeat on the ground.

The next gait is the trot, a two beat gait with diagonal pairs of legs moving together.

^Diagonal pairs marked in red and blue

The trot is a very bouncy experience for the rider, and can be uncomfortable. Some riders will rise and fall with a pair of diagonal legs, called a posting trot, some will stand in their stirrups, called a two-point or jump position, and some will sit the trot, which requires a lot of core strength (seriously, if you want a strong core, screw the gym)

The third gait is the canter, a three-beat gait with a single diagonal pair. This gait is ridden sitting, and feels a lot like going over waves on a jetski. There is a rise, a scoop, and a fall feeling. The canter is also called a lope in Western riding, they are the same gait.

^diagonal pair marked in red

A gallop is sometimes considered a variation on canter, as it is similar save for the legs actually moving in a four-beat pattern. As you can see with the image of Barbaro, all four of his feet are moving in different patterns, at different times, even though the gallop is really a four beat version of the canter. Riders in the gallop rise off the horse's back into a raised position, which allows the horse to use the full length of its spine and musculature to get as much reach and speed as possible. It feels like riding on top of a train barreling down the tracks, at least until your horse takes an unexpected turn and the ground is suddenly the only thing you're riding.

^ I've been there. The trick is to push away and hit the ground rolling, it hurts less that way. And don't land on your head.

That's all for this post. I'll have more when I feel like it, and send me questions if you want to know more about specific things or need a writing question answered

Reblogs welcome and encouraged

@jacqueswriteblrlibrary for wider reach

[hanzajesthanza]

sapkowski asserting that a definitive feature of the fantasy genre, rooted in arthurian legend, is when the characters go on a quest.

geralt's company makes him a fantasy hero—not just within the internal context of the story (their shared loyalty drives him to the leadership he once shunned, he must grow as a character to embrace it)—but also within the external context of his construction as a character.

could he even be a hero of the genre, without his company? they are just as much of a convention of it as he is.

by the genre convention, they are as critical to geralt's character as his love interest and maiden-to-rescue (in geralt's case, his daughter). what is king arthur, after all, without his knights of the round table!

furthermore... the member's of geralt's company are often regarded separately, as individuals, for their unique stories and characters, but it should be more acknowledged that in their friendship, in their fellowship, they also come to exist as a kind of singular entity.

and to me, this is also why they die together, all sacrificed at the same time.

they became inseparable, because it was their fate. not only in-universe, but how they must be, as characters, as a united company. it was only their destiny, as they are defined by the journey they go on. as would make them:

... companion[s] with whom one travels stirrup by stirrup, day in day out, and who [sleep] under the same blanket at night.

[jasper-dracona]

I went to a summer camp that was focused on horseback riding through the mountains of kananaskis when I was younger.

And what a beautiful experience that was. Gorgeous mountains and calming lakes, splashing around the base of a small waterfall with new friends. Sitting by that lake and having my mind go quiet all on it’s own for the first time in my life as I focus on the sound of the birds around me.

Clear skies and trail songs and simple but satisfying meals after long days in the sun. Even in the cold rain it’s incredible.

And the horses, incredible animals. So full of personality, and many of them so sweetly patient with us kids. Patient as we learned to get them to lift their hooves for picking, as we struggled to get their buckets of grain feed hooked up for them to eat before a ride. Patient as we learned how to hoist their big heavy saddles onto their backs, blankets and pads and all, when their shoulders lied above our own. I always revelled in that feeling of sheer strength and competence, to get that big construction of leather and metal all the way up there.

And I loved the smell of the barn, with all the saddles on their posts, the blankets placed on top to air out between rides. It smelled like effort and wood and leather and I loved it. When I couldn’t go take out the hay to the feeders with the others because I started to get hives from it, I volunteered to sweep the barn. I was in there for what felt like eternity, practically meditating. Quietly getting to know every odd nook and crevice of this rugged place, surrounded by that handsome air.

And the next day I went back into that barn with satisfaction, proudly hoisted up my horse’s saddle and marched over to his post, ready for another day on trail. But instead we did some movement exercises before we left, to work on control and critique the way we hold our reins.

They had us walk our horse forward into a small circle of pylons, turn them around in a tight circle and then walk back out and stop. This was harder than it sounds based on the other campers’ attempts, though all of them did really well on their second go around. But I calmly got up in the saddle, took the reins, and guided my horse in a tight circle without bumping a single pylon or having him step outside them. We nailed it. I kept it cool, but I was soooo… I was so proud of myself and my horse. I felt so skilled and confident in a way I never had before.

And the rugged jeans I wore and all the plaid I brought along. I was not the only one in plaid by far, but I did not wear as many tights as everyone else. And I loved to put on my boots, the ones with just enough heel for the stirrups. And I loved doing up the straps of the saddle as carefully but efficiently as I could.

I loved the mountain views and the beauty and joy of the freshwater, I loved feeling rugged, I loved feeling competent and worked, I loved the smell of the summer air and the sweat and leather and wood of the barn. I loved to get the dust out of my horse’s coat in the morning with that big thick brush with hard smooth strokes and a flick.

That camp made me feel more like a man than I knew. I wish I could’ve revelled in it the way I would now. I wish I had volunteered to chop the wood like I had wanted. But I did always carry the most logs back to our campfire, and filled with pride when I looked at the light red marks on my forearms from the scraping bark.

Now, if only I liked hats.

[ariquar]

“Keep the turns gentle, and no aerial maneuvers,” Ariquar says for what feels like the seventeenth time since he's called the dragon before him into the temple gardens. Belqoriik’s white wings shuffle as he keeps his neck low to the ground so Ariquar can reach around him. He turns one large, sky-blue eye to Ariquar and the human apprentice beside him. He's young, red-haired and freckled, hair pulled back with a strap of cloth around his forehead. He's obviously nervous, but hiding it with the way he's clenching his fists at his sides.

“I will not drop the hatchling, Dovahkiin. I have not dropped you, geh?” The dragon’s lips curl upward, almost as though he's smiling.

“You have not,” Ariquar agrees, pulling one of the saddle straps tighter. Belqoriik only shifts to aid in the adjustment, pulling his neck slightly away. Once the strap is tightened, Ariquar shows the human man to the stirrup, continuing his conversation from before. “But I have more experience riding on your kind, saddled and unsaddled.”

“Hm.” Belqoriik turns now, making sure his neck is straight and even so the human can find his place. Ariquar helps in that, showing him where to latch himself in.

“Think you're ready, Orrin?” Ariquar asks. Orrin — that's the human’s name, Belqoriik remembers — nods once, his hands gripping the handle of the saddle.

The design was the result of Ariquar and the dragons working together to find something comfortable for both the rider and the dragon — long leather straps wrap around the neck and chest, secured over the shoulder of the wings. The seat rests at the base of the neck, rather than near the head, and only the dragons who either bear short spines or were willing to have them modified have been fitted for saddles.

Orrin settles in lower. Belqoriik thinks about jokingly shaking him just to see his reaction, but decides not to once he feels just how nervous the poor boy is. His legs are anxiously tapping his sides, and Belqoriik hums low in his chest to calm him.

“Drem, youngling. I will not drop you. Your kinbok would have my head if I did.”

“It is something truly unprecedented, to fly. For humans.” Orrin says. His voice is low, and Belqoriik thinks that he may be controlling his volume so Ariquar doesn't hear.

“Humans are not built for flight. But neither are elves, and your kinbok handles it quite well.” Belqoriik says. He takes a step forward. Orrin grips the saddle tighter.

“He's got the soul of one of you, though.” Orrin says. Belqoriik laughs, a rumbling, crackling noise like ice breaking near the Windhelm docks.

“That does nothing for his body. He is as fragile as you, when it comes to this.”

Orrin seems to relax at that. But still his grip is strong, holding on while Belqoriik begins to move forward in earnest toward the newly-constructed flight platform of the temple gardens. It juts out to serve as a place for dragons to pick up speed before taking off — nearby there are also newly built perches of sorts, hewn from metal and stone. Orrin gets one good look at one of the dragons perched, watching — and then he's shaken from the view as Belqoriik jumps, wings spread to glide downward. The dive is faster than Orrin expected, whipping his hair back and pressing his heavy coat to his body, and then —

Belqoriik flaps his wings, and it feels as though Orrin is being tossed for a moment before he gets his bearings. After several more flaps of his wings, Orrin seems to catch the rhythm of it and braces for each movement. Belqoriik arcs his neck just so to get a glance in Orrin’s direction, then he tilts his wings to turn in the air.

Down below, the sprawling camp of the reachfolk looks miniscule. Orrin looks over the other side of Belqoriik’s body, taking in the long, winding rivers and open wildlands.

He's seen so much of Skyrim, but it’s never been put in this sort of perspective. It looks small in a strange way, yet vast in another that he can't quite comprehend.

“Settled?” Belqoriik asks. The wind is loud enough that Orrin isn't sure his voice will be heard over it, but he tries to reply, shouting in the affirmative.

Belqoriik tilts a wing again, turning into a slow descending circle. A slow and easy way to get the human on his back more accustomed to flight, rather than taking him up into the clouds and the chilling, biting air there. Perhaps he will convince Ariquar to allow him to fly this human further out, into the hills and valleys across Skyrim.

(It is a strange thing to want company. Even stranger to want it in the form of mortals — though, Belqoriik, like all of the dragons staying under Ariquar’s banner, have found that mortals make such interesting conversation despite their short lives. Or, perhaps, because of that very reason.)

Their flight lasts only as long as it takes for the sky to become clouded. Before the weather can turn wet and cold, Belqoriik flies them back to the temple, where he lands in the gentlest way he can muster. Humans and mortals are all so fragile.

Orrin undoes the saddle straps, climbing down onto the solid ground once more. Ariquar is there to greet him, steadying him with both hands.

“How did it go?” Ariquar asks.

Orrin runs his fingers through his own hair. It's gotten tangled from the wind — he'll braid it before the next time.

Next time?

“It went well.” Belqoriik says. “Your youngling-apprentice settled into flight quite easily.”

“Is that so,” Ariquar says, rubbing his bearded chin with one hand. Something in his eyes tells Orrin that he's planning something. Orrin says nothing in response, only holding onto the hope that he'll be chosen for the next flight.

Belqoriik reaches out with his long snout — white-scaled, nearly pearlescent on sunny days — and taps Orrin in the back just as he and Ariquar turn to head back into the temple walls.

“You have bravery, to fly such heights.” He says, and Orrin seems taken aback.

“Thank you?” He says sheepishly, and Belqoriik grins at him, all of his dagger-sized teeth on full display.

“When the weather is warmer and you will not freeze to death, I will take you into the skies once more. Higher, then, so you can truly see what you mortals have never been able to.” He nudges Orrin again, who now reaches out and puts a hand on the end of his snout.

“I will look forward to it. And I will be less terrified.”

[bijoumikhawal]

Another difference in Hebitian vs Cardassian clothes that I didn't mention while answering the ask @nebulouscoffee sent me is their shoes!

We don't see much of the shoes on Trek characters really, but we do see Dukat and Garak’s a few times. Dukat infamously has "Polly Pocket boots", and Garak's are more shapely, but still look to be simple boots (for detail shots, look at the final scene in Improbable Cause and one of Garak’s infirmary scenes with the gold suit- I don't remember which but you see his shoes and the stirrups on the ends of his pants). In all three cases, their shoes color coordinate to their pants- if you think Cardassians like height in men, this makes sense, color matching your shoes and pants is a visual illusion that lengthens the leg and makes you look taller.

Overall canonically, Cardassian shoes seem to be very practical. An arguable exception would be the shoes I recall Garak making for Kira while she was pregnant, which are ankle boots but had a big block heel (which, forgive me if I'm wrong, sounds terrible), but those are based on her normal uniform shoes, which are a Bajoran design, so how much Cardassian influence in those depends on how much you think Cardassian aesthetics have influenced Bajoran uniforms.

(The Doylist explanation of course, is that the costume budget is limited and they just picked simple shoes for the most part)

For my world building, which is based in nothing but my thoughts (we know Hebitians have distinctive clothing because it's mentioned once, but it's never described), I think Hebitians actually favored fairly elaborate shoe designs. Leather or straw slippers (often covered in cloth), painted, gilded, beaded, with cutwork, dye, embroidery, etc. I also think there are a lot more Pre-Union Hebitian shoes floating around in museums and private collections than clothes, as the way a lot of clothes were constructed especially lent itself to being cut and remade or used again in quilts or rags.

[happy-chappy-miniatures]

Mounted Irish Earl

Hi again!

Another Irish update! This time I wanted to attempt some figures to represent some Irish commanders on horseback, particularly with Never Mind the Billhooks' Deluxe edition giving rules for Irish cavalry!

Unfortunately finding miniatures to represent late-medieval/renaissance Irish cavalry and having them scale properly with the Perry Irish range is pretty difficult! Which meant going in to this would need some thought about converting existing figures to look the part of an Irish Earl and a mailed standard bearer to accompany him Choosing figures as bases to start the conversions was a bit of a task! I'm not hugely confident in my sculpting abilities, so I wanted to try to focus on a few key points to have the figures at least be visually recognisable without necessarily needing me to sculpt on large areas of mail or detailed clothes.

For the Earl, I visually based his appearance on the "Irish Chieftain" depicted in a few of the woodcuts in The Image of Irelande. It is worth pointing out that the book is very much a piece of Tudor English propaganda, intending to demonise the Irish and promote the English forces in Ireland, so it should be taken with a grain of salt! But in the absence of many other sources, it made for a good start

In the woodcuts, the noble ( has an interesting segmented helmet (with a plume), so that was something I definitely wanted to include. He's also wearing an interesting outfit, initially I thought it was some sort of brigandine or studded jack, but it seems to be more consistent with civilian doublets in other 16th century portraits rather than any kind of armour. Finally, as shown in the first image, the chief has a very impressive cloak (or brat), with a thick fur-like fringe, which was another definite requirement for me to include!

For the Brat, the Gaelic Attire Website (http://gaelicattire.com/brat.htm) provides a very useful explanation of its construction, and some great reproductions (which have made great reference images!). The fringes themselves appear to have been made of wool (occasionally styled to look like fur), and for the wealthy this would have been dyed in a variety of colours

With that in mind as a design direction, I decided to use one of the Perry Sudanese commanders as a base figure, given his pose, and his excellent cloak to make a base for the brat:

And from there, I gave him a head-swap for one of the Gallowglass figures to try and match the interesting helmet shown in the woodcuts, and added a plume to it. Then, with some filing down of the body and legs, I sculpted on a Tudor doublet and boots, and then added a fringe to the cloak to convert it into an Irish Brat

In terms of colours, I went with a copy of the Brat in Dürer's depiction of Gallowglass in the early 16th century, with the cloak itself being a deep red/maroon/pink, and the fringe being a bright yellow

The standard bearer was a bit of a simpler conversion, seeing as my design philosophy for him was more straightforward. I wanted him to essentially look like a mounted Gallowglass, so the rider was based on a Victrix Norman, with his head swapped for one of the Perry Gallowglass, and a The Assault Group targe added in place of the Norman shield.

The horse was a little more involved, seeing as the Irish cavalry of the 16th century notably did not use stirrups or saddles, instead opting for what appears to be more of a cushion strapped to the horse. Given that information, I trimmed the saddle off of the horse, and used green stuff to sculpt on the quilted cushion (which helped mask the width difference between the Victrix legs and the Perry horse too!)

And finally to round off the whole base, I added an Irish wolfhound from Footsore Miniatures

Currently I only have flags for Kildare and Desmond put together, but the standard bearer's flags are detachable, so they can be easily swapped out for any other Gaelic or Anglo-Irish lords (once I get the flags made!)

And here's the Earl of Kildare riding alongside a band of kern

[theclaravoyant]

ineffables + jousting?

A/N- ooh medieval?! nice . Although I have to say this is more fuelled by BBC Merlin and a horsegirl childhood than like . actual jousting probably

a little bit angstier than I usually go with these ficlets , but in a precursor-to-1941 way

prompt me: ineffables + historical settings . (I’m also taking gentlebeard / ed x stede prompts bc the ofmd obsession is Setting In)

Read on AO3

A grandstand has been constructed on the large green. Noble spectators watch as their champions mounted on the fiercest, showiest mounts charge each other and do their darndest to render their opponents helpless in the dust.

It’s not Aziraphale’s preferred method of entertainment, but he’s gone and got himself wrapped up with the knights’ order and so here he is. Better than actual war, he supposes. It’s just a spot of show, and afterward the meat and mead will flow aplenty. Jolly good then. So he straps up his armour plating to his waist and his arms and his legs and gosh there is a lot of this isn’t there? He can see why so many of them have -

“Aziraphale.”

The strapping of his pauldron is suddenly no longer a priority. He hasn’t heard that name in quite some time. He spins toward the entrance of the tent to see a young angel he doesn’t recognise- except of course as an angel, who is extremely conspicuous in garb whiter than snow even though they are clearly attempting to dress as some level of servant.

“Uh, I mean, Lord Fell. Sir,” they hurriedly correct themselves as they enter the tent and attempt to busy themselves with the armour. Aziraphale provides heavy hinting as to what needs to go where and they continue -

“Heaven sends word that the demon Crowley is close. We believe he is at this very gathering.”

Aziraphale does his level best not to smile. It’s been so long!

“That makes sense,” he says instead. “By their rankings there are several powerful humans in attendance. No doubt Hell is going to attempt to make their mark among them. Have no fear ah-“

“Simiel, sir.”

“Have no fear, Simiel. I shall be sure to thwart any such wiles. The demon Crowley has not bested me yet.”

“That’s why I’m here, sir. You see, Heaven feels this will be a fine opportunity for you to best the demon. Once and for all.”

Oh.

Aziraphale’s heart seizes.

Simiel holds out their hands and there appears in them a long, sharp lance. The head of it gleams with metal coating and miracle and Aziraphale winces.

“Blessed silver? Isn’t that a little… drastic?” He swallows down his worry and patches it up as best he can - “I mean what if a human is out there? It would hardly be fair.”

Simiel’s face is unmoved. “Have no fear,” they assure Aziraphale. “It has been arranged.”

The trumpet sounds beckoning Aziraphale to the ring. He marches out and mounts, distinctly unassured. Simiel hands him his lance. A lance designed for the endcap to crack, and for the blade inside to pierce and discorporate and burn and kill.

As promised, a Black Knight with a serpent for a crest rides opposite him. The horse is a massive hulking creature that seems itself to be out for blood. Aziraphale’s mount itches for the challenge. They have precious few seconds. What to do what to do what to do -

A flag waves.

The horses charge.

He has only a few thundering hoofbeats to decide. With Heaven’s eyes on him the only things to do are to stab Crowley, stab that thundering hellbeast - or possibly perfectly innocent mortal horse - he’s mounted on - , or- or-

He lets his feet slip to the very edge of the stirrups, and prays.

His body crunches into the dirt, his head slamming back as his helmet spins away. The hoofbeats come to a halt and with a jingle, his nemesis dismounts.

A hand clasps his and helps him to his feet. He’s dizzy, but uninjured, and Crowley has raised his visor. If Aziraphale is reading him right he might even be smiling.

“A good day for it, Angel,” he says, sportsmanlike.

Aziraphale glances to the side, where the lance lies uselessly in the dirt. By some miracle the cap remains unpunctured, blessed silver hidden safely below. In the distance, Simiel scowls behind their polite applause, and disappears.

Only then does Aziraphale take Crowley’s hand, and allow himself to be lifted to his feet.

[destroydme]

pollination

it enters me my thoughts come one word at a time being blessed with the paint of love god's divine calling my purpose aphrodite would be envious of me i lie as if my legs draped on stirrups your words never had this potency never this loving like bells echoing in the cathedral we become an impossible construction i am held hostage by germination it all comes to an end soon your weight slumps on me you turn away and i am alone again

[civilguidelines]

When it comes to reinforced concrete structures, the role of stirrups is essential for maintaining strength, stability, and safety. Stirrups, also known as shear reinforcements, are critical in reinforced concrete beams, columns, and other structural components. These elements resist shear forces and prevent diagonal cracking, ensuring that the structure withstands high loads and stress without failure.

What Are Stirrups in Construction?

Stirrups are closed loops of reinforcement bars that are used to hold the main reinforcement bars (also called longitudinal bars) in place in reinforced concrete beams and columns. They are usually placed at regular intervals along the length of the structure to provide shear resistance. Their primary role is to resist shear forces and keep the reinforcement in position, preventing buckling and bending of the structure.

The proper use of stirrups helps prevent the collapse of structures under load, ensuring that they can withstand tensile and compressive forces. Stirrups are also necessary for ensuring durability, preventing concrete from cracking due to excessive tensile stresses, and maintaining the structural integrity over time.

Types of Stirrups Used in Construction

There are several types of stirrups used in construction, each designed for specific structural needs. Understanding these different types will help in selecting the right type for a particular concrete structure.

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[tata-tiscon]

Buy Tata Tiscon's super link stirrups bar online with unrivalled quality and interlocking technology. Tata Tiscon supplies customised stirrups for your dream home.

[ganeshsuper]

In Bihar's highly humid climate, corrosion-resistant TMT bars will help reduce the depreciation of your buildings and bridges. Connect with the best TMT bar suppliers in Bihar to obtain highly ductile construction materials to support multiple stirrups.

[retropolitanllc]

Check out this listing I just added to my Poshmark closet: NWT Womens Size Large 1.STATE Black Ponte Stirrup Elastic Waist Stretch Pants.

[raogbl]

This construction video is recorded to provide you some useful tips for estimating the cutting length of the circular column stirrups.

Here the radius of the column is taken as 400 mm.

Dia of stirrup is taken as 8 mm

Concrete Cover is taken as 40 mm

Stirrups are also known as Links or Rings or Transverse Reinforcement. Stirrups are applied in Beams and Columns. The stirrups remain vertical in a beam and horizontal in a column.

Benefits of column stirrups : To settle and withstand the longitudinal (main) steel bars in columns to bulging below the vertical forces (compression force) particularly in the middle of the column prior to get to the concrete.

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