 sample at different times of the day.
6- You may or may not be aware of this but designers are usually available on a consultative basis for paint selections. Just make it clear to him or her that you only want paint consultation so they can plan their calendar accordingly.
I think your list is all good advice. Love that turquoise bathroom.where he should put his clothes when he was in the bathroom..
The nurse answered: "Paul you're a carpenter, you know that wood rots in this environment."
This strated Paul thnking and has led to a business with a potential £50 million turnover.
Here's the full story https://www.pensionledfunding.com/the-hidden-struggle-behind-the-kitchen-cabinet-makers-opening-the-door-to-a-global-business/.Jetting condition: the collision has to be subsonic compared to the local material's speed of sound to generate a jet.
High pressure regime: the impact velocity has to be sufficient to obtain a hydrodynamic regime, otherwise the parts will only be crimped or formed.
No fusion during the collision: If the pressure is too high, the materials can locally melt and re-solidify. This can cause a weak weld.
The main difference between magnetic pulse welding and explosive welding is that the collision angle and the velocity are almost constant during the explosive welding process, while in magnetic pulse welding they continuously vary.
Allows welding of designs which with other processes are challenging or not possible.
High-speed pulse lasts from 10 to 100 µs, the only time limitation is loading and unloading and capacitor charge time.
Suited to mass-production: typically 1-5 million welds per year.
Dissimilar metals welding is possible.
Weld with no heat-affected zone.
No need for filler materials.
Green process: no smoke, no radiation and no extraction equipment required.
High quality clean interface.
Mechanical strength of the joint is stronger than that of the parent material.
High precision obtainable by adjustment of magnetic field.
Almost zero residual stresses.
No corrosion development in the welding area.
Weman, Klas (2003), Welding processes handbook, CRC Press, pp. 91–92, ISBN 978-0-8493-1773-6.
A. Stern, V. Shribman, A. Ben-Artzy, and M. Aizenshtein, Interface Phenomena and Bonding Mechanism in Magnetic Pulse Welding, Journal of Materials Engineering and Performance, 2014.
Magnetic Pulse Welding: J.P. Cuq-Lelandais, S. Ferreira, G. Avrillaud, G. Mazars, B. Rauffet: Welding windows and high velocity impact simulations.
Sapanathan, T.; Raoelison, R.N.; Buiron, N.; Rachik, M. (2016). "Magnetic Pulse Welding: An Innovative Joining Technology for Similar and Dissimilar Metal Pairs". Joining Technologies. doi:10.5772/63525. ISBN 978-953-51-2596-9.
Raoelison, R.N.; Sapanathan, T.; Padayodi, E.; Buiron, N.; Rachik, M. (2016). "Interfacial kinematics and governing mechanisms under the influence of high strain rate impact conditions: Numerical computations of experimental observations". Journal of the Mechanics and Physics of Solids. 96: 147. Bibcode:2016JMPSo..96..147R. doi:10.1016/j.jmps.2016.07.014.
L'Eplattenier, Pierre; Cook, Grant; Ashcraft, Cleve; Burger, Mike; Imbert, Jose; Worswick, Michael (May 2009). "Introduction of an Electromagnetism Module in LS-DYNA for Coupled Mechanical-Thermal-Electromagnetic Simulations". Steel Research International. 80 (5): 351–8.
I. Çaldichoury and P. L’Eplattenier, EM Theory Manual, Livermore Software Technology Corporation, California, USA, 2012.
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Perhaps its most spectacular and stirring incarnation appears in the French shrine to the Lafayette Escadrille, a squadron of American aviators who served with the Allies prior to the American declaration of war. Located near Paris, the shrine features a series of enormous stained-glass windows that depict an American eagle, outlined in biplanes, crossing the Atlantic, soaring above Mont-Saint-Michel, and driving eastward toward the enemy in the skies above Chateau-Thierry and Hartmannswillerkopf.
The motif was also embraced by an organization whose memorializing efforts were of particular significance to the Cather family, namely the Society of the First Division, the regular army division with which G. Cather served until his death at the battle of Cantigny.
Founded in by former field officers, the society sponsored reunions, supervised the construction of divisional monuments in France, and ultimately recorded the exploits of the "Big Red One" in an elegantly formatted book, the History of the First Division during the World War Here, as in the Lafayette Escadrille shrine, images of eastward movement abound: we see troopships resolutely pitted against the stormy Atlantic and, in one particularly evocative pen-and-ink drawing, a Gallic rooster encircled by the sunrise with an American flag waving in the background.
Another illustration, entitled the "The Chosen Corp," depicts an army of phantoms like the Angels of Mons marching ever onward in the clouds above a French cemetery figure 1. Even the dead, it would seem, moved east—despite the fact that American soldiers quickly adopted the British expression "gone west" as a euphemism for phrases like "blown up" or "machine-gunned.
In addition to this relentless emphasis on eastward movement, One of Ours shares with the commemorative gestures of its day a distinct variety of medievalism. Given the belief, widely held in the s, that America had "come to the rescue" of civilized Europe and defeated a nation of barbarians who disregarded the rules of limited warfare, it is not surprising that chivalric motifs pervade the iconography of remembrance.
For example, the United States Victory Medal, awarded to every American participant in the Great War, displays on its face the image of Civilization, a winged, Valkyrie-like Amazon armed with a sword. Likewise, the official certificate given to veterans wounded overseas depicts the robed figure of Columbia knighting a kneeling soldier whose steel helmet adopted, ironically, to deflect such thoroughly modern projectiles as high-power bullets and shrapnel gives him a conveniently medieval appearance.
The rhetoric of the document matches the flamboyance of its visual image. In One of Ours Claude Wheeler first imbibes the romance of the Middle Ages and receives his first impressions of the country for which he will give his life through the legend of Joan of Arc. As a child Claude discovers an old picture of the Maid of Orleans dressed in her armor and learns the "essential facts" of her story, appropriately enough, from his mother, who subsequently parallels the medieval heroine by combining militancy with saintly faith when the Germans invade Belgium.
Later, after momentarily escaping from Temple College to study European history at the University of Nebraska, Claude writes a thesis examining the Maid's testimony during her trial. Significantly, the project becomes "for a time. Throughout Claude's adolescence and early adulthood Joan of Arc stands literally at the center of his conception of France, a deeply romantic vision that Cather renders through a string of phrases linked by ellipses: "about [Joan of Arc's] figure there gathered a luminous cloud, like dust, with soldiers in it.
Joan of Arc's story also demonstrates, at least to Cather's protagonist, that "ideals were not archaic things, beautiful and impotent; they were real sources of power among men" As he prepares his thesis, Claude suddenly marvels at the way in which "a character could perpetuate itself. Yet Joan of Arc is an icon whose significance extends far beyond Claude's individual history and the parameters of Cather's text.
In fact, the Maid of Orleans played a significant role in the way grieving Americans looked back on the Great