The Bridge: Artist Render and explanation

The render.

Our bridge is based on a previous winner, the design being a “Queen post truss bridge” (many upward supports, a few slanted supports). However, as a group, we went very much against the grain in terms of design. Rather than having a long and flat track go from one end to another, our track is in the form of a ramp, to distribute the tension at an angle throughout the structure. This reduces the force on the center of where the weight will be placed.

We designed with the intention of having the best efficiency. As a tradeoff, we didn’t put as many supports as we could have; rather we placed supports at strategic locations to make the bridge hold as much as possible with the low bridge weight (approx. 192g). To keep weight low, our height and length were kept at a minimum. Keeping the height short benefits us, since the shorter the vertical members are, the smaller the chance is that it will spontaneously snap (shorter length results in better compression strength). By keeping the length short, the structure is less likely to cave in on itself when it’s on the crossing.

Inside the bridge, there are hidden diagonal beams to distribute tension found on our roadbed to areas with little tension.

The vertical bars act as compression for the bridge, the diagonal pieces at the end are compression as well, and the roadbed itself acts as one long tension force. The vertical bars are used to support the specific type of roadbed in use. If we had used a flat roadbed, the vertical supports would be less crucial. Spaghetti works better for compression than tension.

Best of luck to competitors!

Tension and compression forces on the side of our bridge

Background image source:

http://www.dreamstime.com/royalty-free-stock-photo-cartoon-river-landscape-image20604615

The Gallery

The trip to the Ottawa art gallery was not something I was initially expecting when I heard about it, yet I was thrilled to hear that we were to go on a field trip to a large art gallery. Unlike most people, I actually am into art; and enjoy viewing and appreciating art from different eras, particularly the modern arts. As soon as I walked off the bus, I was greeted by a rather interesting building that itself could qualify for a work of art based on the architect’s choice of design, such as the outer walls being built out of large slabs of glass, held together by relatively thin steel beams and the very high ceilings featuring once, again, glass. This, in my opinion is far more eye-catching than the typical brutalist block that tends to be the design choice of many museums. From outside and in, it was breathtaking to behold, and even the simplest, typically uninspiring elements, such as stairs were creatively designed.

As for the actual experience of the art gallery itself, I liked how the museum chose to have a wide array of genres and eras in terms of art, including more abstract and physical (as opposed to painted) works on display. Being able to see different works of art from a linear timeline (from modern to classic, in my case) showcased very well how far we have come in the span of only 100 years. Prior to then, art was fact based, almost like photography. Afterward, the abstract became the standard in the art world. Unlike old designs, the modern content left a lot to the viewer’s imagination which I personally like, since it allows myself to relate to a photo/design in a different manner than would my peers.

One particular work that left quite the mark on me was the “Condensation Cube” by Hans Haacke. One of the reasons that this work of art struck me was because of how Jailson keeps stressing about how art and science are much closer than they appear; this is an existing embodiment of that view. The art is in the minimalist, angular design of the cube itself; along with the texture that is formed underneath the top of the box. Another idea that struck me about this crate was how if the cube were to be moved into a different environment with a different temperature, the equilibrium would then be broken and changed; resulting in a change in the texture of the condensation on the top of the box.  This box may be symbolic of how as one’s surrounding remain constant, they won’t change.  If the surrounding conditions are to change, the person too will change.

Static photo Challenge

This image is of my younger brother (dressed in blue) walking across a bench about 9 feet off the ground. This image is significant, because this event is a rite of passage for kids going from a lower scout group to a scout group for older teenagers. This challenge is to walk across without falling over and once at the end of the plank, turn around carefully and fall backwards; trusting that he will be caught by other scouts waiting to catch him. It is more challenging than it appears, due to how the bench holders are often shaking. This photo was chosen, since it is something I once did and got to see my brother undertake. Furthermore, it is an annual event and known to be rather nerve-racking for the person walking in the air.

The bench is the focus. The forces in this image are the weight of “nervous scout” acting on bench from gravity (red arrow), the force of bench acting on “nervous scout” from normal (blue arrow), the weight of bench acting on arms from gravity (orange arrow), the force of arm #1 acting on bench from body, the force of arm #2 acting on bench from body, the force of arm #3 acting on bench from body, the force of arm #4 acting on bench from body, and finally, the force of arm #5 acting on bench from body. Arms in yellow. Pivots would be the furthest arms.

Torque would be Tau = Force (N) * Distance from Pivot (m)

Lascaux Caves

In my eyes, what compelled ancient societies and mankind to make such forms of art is a mix of many factors that can even be applied in modern culture.

Firstly, man’s desire to remember past events to be recounted later on is likely a reason why. These designs have survived for many thousands of years, and that was likely shown off by individuals, handed down from generation to generation. It may have been used in a similar way to a DIY guide, for hunting down animals and how to spot them. It could have been used to recount stories with supernatural twists. It could just be someone immortalizing the best events of their lives, only to be shown off by future descendants as a badge of honor for their ancestors.

Secondly, it could have a spiritual twist. It could very well be an ancient form of animism, and those drawings are ones that people would look at while they pray to the gods or beings they believe in. This is likely akin to drawings and such of Jesus in a Christian church. The designs were rather complex, showcasing perhaps a great devotion to their beliefs.

Thirdly, it could simply be a past time for those who were often dealing with boredom after a day of hunting. Cave people as would any other era of humanity, had to deal with boredom. Thus, to keep themselves occupied, they would draw what came to their minds. After a day of hunting, they would think of what they caught. This may explain the constant references to what was considered part of their diet.

The Story of Female Power: Imprisoned Woman Freed From Dictatorial Oppressor by a Higher Power

Louise’s actions in the iconic narrative “The Story of an Hour” by Kate Chopin as a result of her husband’s supposed fatality are justified.

Mrs. Mallard wasn’t familiar with the idea of being free from domination by her spouse. At the start of the story, when she found out that her husband was on “the list of “killed.”” (Chopin Paragraph 2), she knew her life was about to change drastically. At first, she was depressed, but shortly after “she went …to her room alone” (Paragraph 2), she realized that she was reborn as a free woman. This concept was new to Louise, and many other women circa 1894. She radically transformed, no longer a slave to anyone else’s selfish desires. She became her own master. One may argue that her reaction to the passing of her husband is rather dark and evil. However, after being metaphorically handcuffed to her partner who likely treated her as though she was a lesser being (similarly to many couples during that era), one cannot blame her. Animals that are caged react violently and happily upon being freed from captivity, even when attached to their owners. Her man was basically a cage for her; although he likely cared for her and may have been compassionate, there is no escaping the fact that he was likely a dictator to Louise. Controlling and always getting what he fancied. Another consequence of the rail disaster that allegedly killed Mrs. Mallard’s spouse was her explosive reaction to what she heard. One cannot blame her for reacting with “wild abandonment” (paragraph 3), as that is the one person she was closest to. When negative events happen to loved ones, it affects everyone. Especially those who were extremely close to the individual (in this instance, married). This was not what she had thought would happen to him, and was likely her first major loss in her short, sheltered life. Furthermore, since she was overprotected throughout her life, she likely doesn’t know how to deal with major changes, as she wasn’t the one to see change. This possibly means that despair in this context was unfamiliar to her.

To conclude, one can see that her views on the supposed mortality of her husband were reasonable.

Allegorial Alleyway

The struggles of an exceptional man, the strains of an exemplary motherland;

United in this scene as one, divided in this snapshot by none.

“Edgar Allan Poe”-Ian?