The Creality Ender 5 has been one of my favorite printers since I started 3D printing. But they've been just sitting on my shelves for the last couple years because newer and better things have come along. It's time to change that. I'm going to turn one of my Creality Ender 5s into a Core XY beast. My name's Jim, and this is the Edge of Tech. So I recently got the Ender 5 Core XY kit from 3D Fused. This thing is a all aluminum machined beast of a kit. All you have to do is basically take off everything off the top of the printer and bolt the kit on. So in this video, that's what we're going to do. Just a quick heads up though. This will only be the mechanical part of this assembly. I'm going to walk step by step into how to take everything off or what to take off and then how to put it all back together with the brand new Ender 5 Core XY kit. Again, from 3D Fused. It is actually not that bad to do. Maybe like an hour of time if you're not filming. And I'm pretty sure just about any of us who have an Ender 5 could actually make it happen. This will be the first video in a couple video series. In the next video, I'll focus on the firmware to get this thing rocking rolling. But I figured that the assembly video is going to be long enough for now. So let's start there. So in the kit you see an extrusion, all of the mounts you need right here, the belts you need, three linear rails as you can see right here. I didn't unpackage them yet. Looks like some oil for our linear rails I'm guessing. And also all of the bolts and screws and everything else you'll need all right here. That looks like pulleys, everything you need. It all comes in this kit to make this happen. So the first step in this process is to get rid of everything that's on the top extrusions here, except your corner brackets here. You don't want to get rid of your corner brackets, but the end stops, the belts, the gantry here, all of that stuff's got to go. And it's not too bad. I have my T-handles, my trusty T-handle set here. I'm going to spin this around so you can see. We do need to take off this cable right here. Just pull it out carefully. That needs to go down. This one in the back here needs to drop down. These two need to come out. So those can drop down. I need to cut this zip tie. Clearly I forgot to cut the end of it anyway. I'm going to take out my Bowden tube, but I'm going to take it out from this side so it can go with the hot end there. Now what we have is a completely clean top area. All we have is the corner brackets in the four corners, and of course your Z sitting right here. If I turn it sideways, you can see it a little better. So your Z is still sitting here. Everything else is clean up here, and now we can start the assembly. So step number two is installing our motor mount lower brackets in the rear of the machine. So this is the rear of the machine. I got the two motor brackets here, along with the M5 by 12 millimeter bolts and M5 t-nuts right here. So I have both motor mounts the way they're going to be sitting on the back frame right here, and I have six M5 by 12 bolts and six M5 t-nuts. So what we need to do is identify that we need to put in a bolt in three, one, two, three of the plates here. We're going to skip this one because there's a frame bolt there, and it's not going to allow us to put one there. So we're going to do one, two, three.  If you flip that over, you can put your t-nuts on, and then line them up the way they're going to be in the extrusion. So let me get this last one on here. So they go on much easier than this normally. I just keep dropping everything today. Pretty much I drop everything all the time. Okay, so they're going to sit straight here in one sideways, and then the next thing we're going to do is just, we're going to set them on the rail like that. So once they're on the rail, you want to make sure they're nice and flush. Make sure all your angles here are good, and I'm going to spin around and give you a good view of that. So when you're putting these rebrackets on, you want to make sure everything is flush in the back here and in the side. Just make sure they're sitting on there really nicely. Take your M3 Allen wrench or T-handle, whatever you're using, and just spin those t-nuts in so you feel them catch. Once they have caught, we just want to make sure we're not moving anything because they will move when you start tightening these in. So make sure everything is still flush. It's nice and tight against there, and in this case, mine shifted a little bit, and just tighten them down like that, and go ahead and jump to the other side and do the same thing. So this next step, we're going to work with the linear rails, and we need to get them out and get them cleaned up.  I don't like the oil all over myself, so I am going to grab a couple of gloves. I suggest you do the same thing as well, but it's totally up to you. I prefer gloves to not get the oils all over me, and I got a pretty good size cut on my index finger right now that is not required to have oil in it. So something you want to make sure is these little black caps stay in because you don't want this coming off, that will be a mess, but they do come really greased up right now, and we just need to get them all cleaned up before we get them mounted in the next step. So I'm going to put these here.  We do, I do not want to mess around. I have accidentally dropped one of the carriages off these before. All the bearings went flying, and it was not a great day. So I'm going to clean all three of these, and how I'm going to do that is I'm just going to take some paper towel, just make sure there's not excess stuff all over them. For the next step, we're going to take some of the linear rails we just cleaned, and also some m3x8 bolts and m3 t-nuts. We are going to take one of these bolts and put it through like this, and on the back side you need to take a t-nut. But once you have it attached like that, you should see it's on there, and we need to do that for every hole in the linear rail. Now you can see I got three linear rails done. I just went ahead and did all three, putting the screws and the t-nuts in. Be very careful now, because this can slide off the end if you're not careful, so don't let that happen. We're going to start putting these linear rails, two of them on right now. Let me show you how that works. So I'm going to start with the left side of the machine as you're looking at it right here, and we just want to go through and make sure all of your t-nuts are faced the same way, so they go into the extrusion. So they're all faced the same way. And then we're going to push that on and wiggle it in so it's in there. And then you want to push it all the way up against your plate that we just put on in the previous step. And now you have some wiggle room, and that's not great. So before we do anything, Kody actually includes these 3D printed centering tools. So Kody over at 3D Fused created these to make this step easier, and sometimes they might not go on and center great. These actually fit really nice, and they keep them nice and center. But you can see there's a groove here. This goes over the actual rail. This sits on the extrusion and holds it in place, and you just want to take and put that right on the rail. Now if this does not fit on the rail, and I like to do this about two in, so you have two here and two here to start, because you want to, I like to start from the ends and kind of work my way in when I put rails on like this. But if these do not fit, you can reprint them at 102%, and they will slide on a little bit better, and you can actually have a little more room to play with. These fit really nice. They're tight, but they're good, and they're going to keep everything centered. So that holds your rail in place. The next thing we need to do is just grab our trusty T-handle or Allen wrench, whatever you want to use, and start zipping a couple of these in, and just make sure those T-nuts grab. I'm going to start by spinning them and make sure they grab first like that, and then I'm actually going to come back here and tighten them down. Now if you want to do this with a regular Allen wrench, that's fine. If you want to do it with an Allen driver, that's okay too, but I'm just going to make sure that, there we go, these four here are tight now, and this is the two and a half millimeter that I'm using here. So now I can push these back a little bit like this, and you can just start working your way in from each side. I like to go here, here, here, here, just to keep it straight in there. You'll move your, you'll move this back and forth to get around the screws. Just make sure all of them are tight and then do the other side the same way. Do the right side the same way, and then we'll go on to the next step. Now we can see I have both rails on here. If you slide these, they slide really nicely, really good. All of the screws are tightened down, and it's pushed against our plates here. Like I said, we use these cool centering tools to get them centered, and you always want to print two of these, one for the front and the back. If you want to go overboard, print one for the center too. For the next step, we're going to need two of the Y mounts.  Also, countersunk holes. I know that's kind of hard to see. I don't know if I can zoom in. There we go. So you can see that there's threaded pieces here, and then these are countersunk. So that is going to be your lower mount, and they will go on just like this. If you mistake them for the upper mounts, they look identical, but they don't have any of the countersunk holes in them. Just know that the countersunk ones with the shiny threads go on the bottom Y when you're mounting these. And where they go is right like that, and right like that on the linear rail, right where on this sled here. And you're going to use M3 by 6. These right here, you're going to use the M3 by 6 bolts to screw those in. So let's do that now. So I'm working on this side first, and I did the first, second, and third. I'm about to do the fourth bolt right now. These are the M3 by 6s. Now I put them all in, but I did not tighten them. I didn't do that because I want to make sure it's in there good. And then I will tighten the corners, like that, like that. So I tighten these two corners, and then I'm going to tighten these two corners. And then I'm going to go on the other side, on the left side over there, and do that one too. Next we're going to install our Y-axis extrusion, which is the extrusion that came with it. And we need M5 by 12s. We need four of those, and four of the M5 T-nuts. How that's going to work is we are going to use these two holes on each side, the right and the left. We're going to take our screw, our M5 by 12, and push that up. Take our T-nut and slip that on. And just make sure that it's on there. There we go, just like that. We're going to do that same thing for the second hole on this side. And also we're going to do that on the left side of the machine as well. So get these two in, get the same ones on the other side done, and we'll put the extrusion on in a second. So this is where we need to put our Y extrusion on here. So what you need to do is line up your T-nuts so they're straight, and they can go into that extrusion. And this is very important. We want to push both of these sleds all the way to the back of the machine. So they're straight from each other across there. We want to make sure our Y extrusion is as straight as possible. So then once you have it on there, you're going to take and drop that on like this. And you want to make sure, if you can, that this is lined up this way. So it's the same amount of space here as it is over here. It might take you a minute to readjust, but just make sure that is. I'm actually going to measure with a millimeter ruler and just make sure I'm very close. And I'll give you that measurement in a second. From underneath, you're going to grab your Allen wrench or T-handle, whatever you're using. You're going to hold the extrusion, and you're just going to spin those T-nuts up into place. So make sure that they connect. Make sure they're seeding. You just want to get all four of the bolts and T-nuts secured inside. Make sure they're not all the way tight yet because you might have to shift this back and forth. So I got these snugged on, but not tight enough where I could move it back and forth. And I grabbed a millimeter ruler like this. And when I hold it against here, I found myself that 26 millimeters on each side was centered. It should be the same for everybody, I think. But on mine, I got 26 millimeters on each side. And it's kind of hard to show that. But yeah, just 26 millimeters on each side. So this space is the same on both sides. Once you get it there, tighten the four T-nuts up and make sure this is nice and tight. So we are at a crucial part of the install where you might have to readjust this a couple of times to make sure that these are exactly straight across. And you'll know, just like this one, if it's not because it will make a bad sound. It'll be really hard to move. It's just not real smooth. You can't flick it or anything like that. That tells me that this is skewed a little bit. What I need to do is loosen the four bolts underneath and just make sure that these sleds are literally straight across from each other. Then it should slide nice and tight. So I'm going to go ahead and loosen all four, readjust a little bit. Now I'm not going to completely loosen them down, just a little bit, just to adjust. So I want to get this fixed so it slides nice and easy back and forth. You have to spend time doing this. Otherwise, the whole machine is not going to function great. So I'm troubleshooting this. And what I did was I loosened both sides. So it will move. It'll really move like that. But it's not completely loose. You don't want it to break free from the rail here. But then what I did is slid it back and forth a few times. And I tried to keep it as straight as I can, just so it kind of loosens itself on the rail. What I think happened is I had them pulling too far in when I tightened it and it was pulling the rails hard, like inwards. So I gave it a couple of slides. Now be very careful that you don't go off the end of the rail with your sled. If that goes off the end of the rail, you have bearings everywhere. It's not a fun mess to clean up. So give it a couple slides like that. I'm going to tighten it back up now and we'll see how it is. Well, that took me a little bit of time, like 20 minutes of trying and trying again to get them to go good. But now they slide really nice. And I'm going to go with that. So on to the next step. For the next steps, what you need is a couple of NEMA 17 motors. And they do sell them on their website at 3DFuse. Otherwise, you can grab a couple wherever you need to. I like to get the ones that come with a kit, but I did not do that this time. So I actually had these two brand new laying in a box. So I'm going to use these two NEMA 17 motors. Along with the 3D printed spacer, we're going to need that and the two Polis. And that's what we're going to do next. We're actually going to put these Polis onto the stepper motors using this tool. So the best way to show you this is we're going to do the right side first.  Yours might not have that. But we're going to take the right side, there's a right and a left, and we're going to do right side first, if you see right and left, right there. The right side is thinner. So we're going to take that, and we're going to put it on the stepper motor right on top of that island. If yours doesn't have the island, put it right on the face of the stepper. This is the flat spot of the stepper motor. It's facing me. You can kind of see that. We're going to take part of the grub screw, put it flat down on that flat spot, this first grub screw. That way it is going to be tightened into where it's flat. Then we're going to push that down on the spacer. So it looks something like that. You want to make sure that it is properly spaced. So keep the spacer in there, keep some pressure on there. And then grab your island wrench or whatever you're going to use. And you just want to tighten that in so it's nice and tight against the flat spot of that shaft. Once you're tight, don't overdo it, don't strip it, but make it tight. Once you've got that one done, spin it over and tighten this one in. And your spacer should sit right there with little to no movement. So you know you're in there good. If it's too tight, you know you're too close to the bottom here. And if it's way too loose, you know that you need to press it down a little more against there. Now that we got the right side done, we're going to do the same thing on the left side. But we're going to use the side of the model that says left, which is thicker. So we're going to hold that there. We're going to take the front face of the shaft and put it towards us. We're going to push this down against it like I did before. And I'm not going to do it on camera, but I'm just going to tighten that in just like that against the left side. So in doing both of these, I found that it's easier if you hold it like this. Sandwich that spacer in there and then tighten it in. That way you know it's nice and tight. But I kind of found that that's the fastest, easiest way to do this. And I can actually do it on camera when I do it like this. So that's the best way to do it. Make sure you're nice and tight and move on to the next step. So for the next step, what we need is M3x10 bolts here. We need our mounts and our motors that we just did. And you want to make sure you know which one's left and which one's right. So the thinner one, remember, is right side. So this one's going to be our right side one. And I'm going to take the cable and I'm going to face it down like this. So it's faced me because when this is done, it'll be flipped upside down. And I'm not sure exactly where, which way we want this cable facing. But I think I want it facing out. And then I'm going to take this and mount it this way. So when this is upside down, it's going to flip up like this on that back mount on the right side. And our cable will be out this way. And everything will match up that way. So if you take note on the right side, I'm going to do facing me. And that way on the left side, I'm going to do just the mirror opposite, just like that. So facing me, the angles should be in. I believe this is the way we should be doing this. Take your M3 by 10 screws and do 1, 2, 3, 4 on each side into this mount. We'll go straight through into the motor in the four screws. So there'll be eight total and we'll be right back. So we got them both mounted. All eight screws are in. I know this is right and this is left because this pulley is shorter than that one. And we're going to move on to the next steps. Something I want to make sure you don't do is over tighten these. Just get them too tight. Maybe a little bit past tight. You don't want to over tighten. You don't want to strip these out. So I just want to point that out. So on to the next step, step number eight. Future gym here. I mounted these on backwards and I need to fix them. So I thought I had it figured out, but I was wrong. So what these need to do is this plate needs to match this plate. The two holes here and the three holes here need to match when that motor is sitting upside down like this. So really what we need is our motor mounted like this on the right side. So here's the cable here. Here's the two holes and the three holes. So if you can see that upside down, it looks like facing you is the angle. This is the cable plug, two holes and three holes. That way, when you flip it upside down like this to mount it, it actually matches your bottom plate. So that was my mistake. I'm going to fix this one and check the other one and then move on to the next step. For the next step, we're going to need three of the red spacers. They're calling them red. They're not red. They're not. They're aluminum. And then three of the M5 by 45 bolts. And we're actually going to mount this on the back right side. So let's do that. So now we need to mount the motor on the mount on the right side. So what I'm going to do is take the three what they call red tubes and put them right there. So one in the center here, two on the ends. And then I'm going to attempt to set down my motor right on top of them. And you can do this however you want. This is just the way I'm trying on film here. And then I'm going to put the screws down through those tubes in each of the corners and in the center. It is threaded on the bottom. So it should sit in there nicely.  T-handle in my case, like I've said. So then when you're tightening these in, do a little bit of each one at once to make sure you're not cross-threading. And then once they're all three started, then you can just go to town and tighten them down. For the next part of this assembly, we're going to need three of the smooth police right here. We're going to need the purple spacer, which I believe is the smaller one, and a blue spacer, which is the taller one, along with two M5x45 bolts. So this is a shot from the rear now. This is our motor. We just put this on. I'm going to start on the right side here. And we're going to feed our bolt down like this. We're going to put it into a smooth pulley like that, and then into what they're calling the blue, I believe, pulley. And I'm just going to feed it all the way down, and that's going to get screwed in on that one. On the outside one here, we need our M5x45. We need two pulleys in a row. So we're going to push this in one pulley, two pulleys. I know it's kind of tricky to see and also kind of tricky to film, but so we got two pulleys in there. I'm going to squeeze another, what they're calling the purple spacer in there, and it'll look something like that. So on the outside, small spacer, two smooth pulleys. Then we have a long spacer here, a big one, and then on this side, we're going to have the larger of the two spacers and a pulley in the top. Grab your allen, and then just tighten those in. They should thread right down to the bottom, and you can tighten them in right away, just like that. And then we can go on to the left side. So on the left side, if you're facing the machine, this is your left side. So on the back end here, we're going to do the same thing. I'm going to take three, what they're calling red spacers, the longest ones, and put them in that orientation right there, kind of a triangle. I'm going to take my motor, making sure the three here, three here match up and the two in the back. And then I'm going to grab three of my M5x45 and just slide them in. So they go into those spacers. And just like we did on the other side, I'm going to tighten those in. So from the back angle, we're going to do the same thing like we did the other side, except for these pulleys going a little different. So these are going to take the three smooth pulleys, then they're going to take two of the blue ones, one, two, and then one new one, which is the shortest one yet, called yellow. On the outside of the machine here, we're going to put our bolt in. We're going to slide it into two of the pulleys, and then you'll see it like that. And then we need one of the blue spacers underneath. So it should look like that. And you can start those by hand to make them stay if you want to, just like that. On this side, it gets a little more tricky. We're going to take our M5x45. We're going to come down and we're going to go into the smallest one, which is yellow. Then we need our pulley underneath that, and then a blue underneath that. So when you're done with this one, if I can get it started, so it stops wobbling, when you're done with this one, it'll look something like that. So these two here should line up when you're done. We have blue, pulley, pulley, and we have blue, pulley, yellow. Just like that. So in the next step, we're going to work on the top plates for our Y-axis. And we're going to do this to both of these plates first before we go any further. Grab your M5x12 bolts and the M5 t-nuts and put those in. It's going to be just like this. This is what you want to see. Make sure it's in this orientation. The t-nuts are on the bottom because this is going to be the left side and this is going to be the right side. So on the left side here, we're going to use the part that goes up like this and it's going to sit on here like this. Also, we're going to use the green spacers. And don't worry, I'm saying all these colors, they're not colored, but all of these are labeled right here. So you know which one's which when you get the packages. They look like this. We're also going to use the M5x30 bolts like this one here. So the first thing I want to do is drop our t-nuts into the extrusion and make sure they're sitting in there nicely like that. And I'm also going to put one of the green spacers right there. And I'm going to put a bolt in this one right away because I think this one's going to move. Yeah, it's moving all over. So I'm going to put my bolt in here to hold that just like that. And I'm actually going to get that started like that. And then I'm going to go on the other side here on the corner right over here and put that green one in there and push it down through your spacer and get that one started as well. So what we have here is a bolt, a bolt and two green spacers and our t-nuts right here. I'm going to tighten all that down and we're going to come back and do the rest. So I have all of these tight and you can see that there's two more spots that we can put anything in there. And we're going to do the pulley thing like we did last time, but we're going to use the M5x30 here. We're going to take a smooth pulley like we used before and we're going to push this through and not drop it. We're going to push it through onto the pulley. And then we're going to take one of our yellow spacers, which is one of the little ones and we're going to put it right underneath. And I know this is kind of hard to see with my fingers here, but it's going to look like that. So tighten it in a little bit finger tight. So we have yellow smooth pulley bolt going through on this back one here. We're actually going to do something different. It's going to be one of the teeth polis here. I believe this is a 20T pulley is what it said. We're going to set that on the bottom. We're going to take one of our yellow spacers and put that in there, hopefully like that. And we're going to drive one of those bolts right down in and kind of wiggle it around until it all matches up like that. So it should look like one of your teeth polis here, a yellow spacer and the bolt. And then we're going to tighten both of these up. This is the right side now. Well, you need to start with putting our peanuts in the extrusion. And then we are going to take our green spacers and do one there and one over here. So it'll look like that. And this is in the first one on this side and the only one on that side. And we're going to take a couple of our M5 by 30 bolts. We're going to go down in. I like to get it started so it stops wobbling so much.  In the center, we're going to do the pulley on the bottom. We're going to do the yellow on top of that carefully. And you can stack them if you prefer to slide them in like that. And then your M5 by, I believe, 30 down through. So it looks something like that. Now I'm looking at the front right here of the right side. And we're going to do a spacer and a tooth pulley just like you see there. Put your bolt down through those and tighten that in. Now we're going to tighten both of those and move on to the next step. Now we're going to work on the linear rail that goes along right here. We're going to make sure all of our T nuts are aligned. We're going to set it on there just like that. And we're going to use our centering tools to go on here like that. And like that. We'll hold those there. And I need to get these tightened in. But I also need to measure the distance between here and here to make sure that that is the same. Because you don't want this off to one side or this way to one side. You want to make sure it's pretty dead center. I think I'm close, but I am going to measure my distance here. Probably between this plate here and this plate here. And just make sure we're centered.  So what I'm doing is I'm taking a metal millimeter ruler. And I'm measuring between the linear rail here and the end of this extrusion. And on mine, if I push it in here on both sides from here to here, I got 32 millimeters. So I can come right in from the side like that. And I can measure to the end on both sides. And I centered it at 32 millimeters from the end of the linear rail to each end of the extrusion. And now I'm going to tighten all these in. I did spin a couple of these in so it's holding. It is not secured at this time, but it's just holding enough so I can still slide it around. But now it's time to tighten those up. Don't forget to put your centering tools back on. You should have one on each side before you fully tighten this in. You want to make sure that linear rail is centered. So put these back on, make sure they're centered, then tighten up. Next we're going to mount our X carriage up here. So we need the plate and it needs to go in this orientation. So the four bolts will be like that right there. You kind of have this slit on this side and the opening on that side. We're going to use four of the M3x8 screws. And then we're going to screw two of these little tiny standoffs. Like that into the front of the plate when we're done. So we're going to mount that up like this. And put the two standoffs in there and we'll be right back. When we're done with the X carriage, you should see the four bolts and the two standoffs just like that. And we're good to go. Now we need to build the left belt tensioner. And in the left belt tensioner, we need this piece here, the tensioner piece. We need two of the orange spacers, they called orange. We need a smooth pulley here. We also need two T nuts that are M4. And we need two M4x20 bolts. And then we need this one right here. This is the bottom part of the mount. And on the left side, we're actually going to use the smaller of the two. You can see there's a difference. So we're going to put the larger of the two aside. And on the left side, we're going to use the smaller of the two. So the first thing we need to do is take our bottom piece and put the two orange spacers in. And these are going to need to be pressed in. So what I'm going to do is grab something that can lay flat or that's hard. And I'm going to press these down in so they're flush. And they should be in there nice and flush when we're done. So I'm going to do that. I'll be right back. Now that I got that pressed in, we can proceed. How I got it pressed in was I took this chunk of wood here. And I put it on the ground and I just tapped in each one individually until they got all the way in. That's how I pressed them in. I'm not sure if they're supposed to be that tight or not, but that's what I had to do on mine. So now we need to put everything together. We're going to take the piece we just pressed. We're going to take this tensioner part on top of there. So it's going to sit on there like this. And then we're going to put our bolts down through it. So it looks like I got a little rough with my mounting piece and I cracked it. So I'm going to reach out to Cody and get a different one. But it should look like that. And then we'll put the t-nuts on the bottom. And that's the tricky part. There we go. And so once you get the t-nuts on the bottom, there's only one more thing we need to do before we actually put this on the machine. And we'll go over that in one second. So there you go. Everything's mounted on here. The t-nuts are on there. Everything's good. But we need to get this pulley in. So to get the pulley in, we need to remove this screw here. So grab a larger, oh, a much larger. Grab a larger allen wrench. Slide that up like that. Poli should go in the center like that. It's kind of hard to show and hold and film. But it should sit in there.   So that's how it should look. And now it's time to mount it. Looking at the machine, this is the left side straight on. So I'm looking at it. This is my left. We're going to put the tensioner down in like that. And we're just going to tighten up the t-nuts. There we go. So the tensioner's in like this. We're going to hold it there. We're going to grab our allen wrench and just tighten up these t-nuts to make sure it locks in nice and tight. And you want to make sure that it's pushed up against your linear rail all the way. You don't want it to be real loose or anything like that. But get your t-nuts tightened down and we're going to go do the other side. For the left side, we're going to use the larger of the two printed parts. The purple spacers, M4 by 30 and the M4 t-nuts. One of the smooth polis and the tensioner. And we're going to put this together exactly how we did the left side. And then we're going to mount it on the right side. I'm not going to show you that because it's identical to what we did before. It's just using these parts instead. So we're going to do that and we'll be right back. Now you can see we have both the left and the right polis on. They're good to go. They're nice and sturdy. From here, we start installing our belts. So the instructions are pretty good showing you how to route these belts. But I wanted to show you a couple things real quick here. Number one, when you put your belt on, the teeth should be facing you. You'll put it into the back of the lower little slit here in our hot end carriage. Like that. Then you'll take a zip tie. You'll make sure a bunch of teeth are locked together here. And zip tie that bad boy in. So that ain't going anywhere now. And then we can route it. So it comes this way. So your belt will come straight this way. And it'll actually go behind this wheel right here. And it's going to be on the lower section. So when you route it this way, it'll be on the lower section. I am just going to try to spin this thing around and show us. Hopefully this works out. So we get to here. And you can see I came through the center here. I came around. And it catches our rear right pulley here. And it kind of folds around the back on this side. You can see it's kind of hard to see, but it follows us all the way here. Sorry if it's out of focus. It goes in here. It goes into the center where our motor pulley is.  So there's like a loop in here. And the diagram and the instructions is very good. It shows this. It loops around the motor with the pulley. It comes back out right here. And then travels along the whole side here of the left side of the machine. Goes around our belt tensioner right there. And then once it spins around the belt tensioner, it'll come around. It's hard to show you. I'm sorry. So once it's right here on the belt tensioner, it'll come right here. It'll go behind the tooth pulley right over here. See if I can show that better. It'll go, yeah, there you go. So it'll come down here around the tensioner behind this tooth pulley. And then to the right, it attaches to the bottom left side of our carriage right there. Sorry if any of that was out of focus. I'm trying to walk you around the machine. And it's kind of tough to do in this fashion. Something to note, make sure your tensioner is all the way loose when you do this, because you're going to want to be able to put tension on it. And so you want to make sure it's all the way loose. So not to the right. You want to screw it out like this as far as it goes when you do this. I'm working on the top belt. And I wanted to show you a really quick trick that I learned to route these belts. So this belt needs to come around this pulley. And when I push it through here, it just wants to go straight through to this side. It doesn't want to curl around that pulley. But if you stick a zip tie in there, then push your belt through. It'll actually pull it right around that pulley just like that. And then you can continue pulling it through the path. So that's a really quick tip to use a zip tie, push it in, then push your belt behind it, and it'll come right through. So I have the top one mounted. And I wanted to show you how I secure it to the top of the carriage here. Like I talked about. So I pushed it through the back hole. And I'm just going to spin it around about an inch maybe. And there's plenty of belt here. There's way plenty of belt here to do this. So spin it around about an inch and then pinch it like that. When you do that, take one of your zip ties and get it started in a loop. If I could grab it, that'd be amazing. There we go. Excuse my finger there. There we go. So I got it started in a loop on this belt only by the way. I'm going to pull it through. And this side isn't that big a deal because we're going to tighten it on the other side. So I'm just going to pull it through here. And I'm going to start squeezing my zip tie. And I'm going to bring it over towards the carriage like that. Make sure my teeth are meshed up so they're locking. You want to make sure those teeth are locking together like that. You don't want it wide open or anything like that.  That will keep the teeth locked. That will keep those teeth locked together and that's not coming out.  And if you want to trim your belts, you can trim your belts as well. I'm going to do that at, I'll probably do that later, but not right now. So then all we have to do is pull that nice and tight like that. We're going to make sure it's routed properly and then I'm going to mount the other side here. So on the other side, I pulled it through and I'm actually going to pull it taut this time. And I'm going to hold it there. And I'm just going to grab my, and I'm just going to grab that zip tie and do the exact same thing. Make sure it's only around that belt. Get the loop started. I guess I can't pull it that tight when I have to get this loop started. But that's okay. That's the fun of learning. There we go. Then we're going to pull it tight. I'm going to slide it through the loop like we did on the other side. But the trick is on this side, you want to make sure it's tight.  So make sure this side's tight. We are going to use tensioners, but there you go. I zipped it in. The teeth are locking. Everything's good. I'm just going to cut that off and our belts are now ran. So how the top belt is ran. It starts in the top of the slot here. Comes around our toothed gear here. Comes over to our tensioner on the right side. Then it goes straight all the way back here. And it's actually just going to wrap around. And it's actually going to come around here. It's going to wrap around back through here around the gear that's on your motor. And then come back. So it's going to loop back here and then come back around this side. Then go all the way around the back. And you can see it just wraps around here. Comes around this side. Just makes a turn right here and then connects to the carriage. So the diagrams that are on the instructions are very good for this. But you can use this as kind of a reference. Just make sure your bottom is following all the pulleys on the bottom. And your top is following all the pulleys on the top. So I just wanted to jump in while we're doing the belts to show you that you get absolutely plenty of belt to make this happen. There's enough on here to probably make, if I'm going to guess, I bet you can make at least two full sets of belts. But if you do accidentally cut it too short or cut it wrong, you actually get plenty. And I mean plenty of extra belt in this 3D Fused Ender 5 Kid. So thanks, Cody. I appreciate you sending some extra. Basically what I have here is two standoffs from the kit. And this is the right side of the machine. And we're going to put the Y limit switch here. Take two standoffs and screw them into the pre-drilled holes in the plate. Again, this is the right side of the machine in the rear. Then we're going to take our limit switch. And it's going to basically be screwed down on those standoffs. Something like that. So you're going to take two M3x4 screws. Grab a hold of it and just screw it right into the top of those standoffs. And it should hold its place nicely. Put both of the screws in. And now our Y limit switch is installed. So this is the best way for me to show you this, where this is. Sorry for the shickiness. I'm trying to hold the camera as still as possible. But this is the right side of the machine. So if you're looking at the machine, this is also the right side. This is underneath the pulleys here. So you put two standoffs in right there and right there.  And you also have to bend the end stop connection downwards. So it's facing down. Originally it faced backwards and it won't work because it's going to hit the machine. But it's straight down here and it should just bend nicely. You can get these on Amazon pretty cheap if you break one, but just be very careful. But it should be able to bend. And that's where it goes. If I back it up, you can see it's right there underneath the machine. And if I go underneath, you can kind of see how it's mounted there too. So that's your X end stop. And now we're on to the next step. Now we take the original Creality Ender 5 hotend and it's going to mount right to these standoffs. I just removed mine from the gantry and it is right here. This is the original I had. I might change this out to like a micro swiss or something like that. I might as well because I'm really beefing this machine up. But in this case, I just want to show you that it'll mount on to those standoffs. And you just want to make sure it's on there nice and tight. And I'm even going to grab a different allen wrench here. And just tighten those in a little bit. So then this is the original fan assembly. It can actually go and the screws are here for it like that. And it's all pre-mounted. It's all pre-drilled and ready to go. In my case, I had this TH3D Easy ABL. And I'm going to be using that again. So what I need to do is push that all back together. So now because I have the TH3D Easy ABL, normally you could just screw that up there if you're just using the standard hot end and you're good to go. In my case, I need to put this fancy mount on here. It is going to go in the same screw holes. It's made for the Ender 5. It's going to go in the same screw holes right into the plate. So I'll put this one in first and then I'm going to get this one started just to make sure I'm in the right spot. I am. So I can kind of push all that back. So this will all get screwed in there. It'll hold these two screws in and my Easy ABL will sit right in there. If you want to check that out, that's TH3D. It's for bed leveling and it's pretty dang awesome. I prefer them. So I'm just going to tighten these up real quick with this because my T-handle is acting up and I'll be right back. So I thought I would do kind of an overview of how I have all the cabling currently. Right now, this is going to be kind of how it was like this. We're going to let that go down. The end stop, I'm going to go for the end stop on the side here for your, excuse me, for the X end stop, I'm actually going to go underneath and then connect in maybe just actually I might just cable manage this underneath this extrusion. I just don't want it in the belts and I don't want it in our linear rails. If we keep spinning this around, we have, this is how I ran the Y. This is how I ran the Y end stop and I'm actually going to zip tie that down so it can't get in the way right there. Hopefully I'm showing this okay. So the two motors we have are just on the ends of the machine here and it doesn't really matter which one you plug in, which because you're going to designate that in firmware, I believe, but I did X here. I did Y over here and if you noticed, I got this motor backwards. So be careful as much as I was trying to be careful. I wanted this facing in and this one I have it on backwards so the cord, let's see if I can show that better. And this one I have on facing backwards so the cords out here. I might take it apart and spin it. If not, I'm going to just zip tie it right there. That way this cable is out of the way, but everything else is on here. So our heart ends in, all of our stuff's plugged back in and we just need firmware to get this thing flying. And just like that, the mechanical assembly of the 3D Fused Core X Y Kit is done for the Ender 5. As I just showed, my cable management is kind of sloppy right now, but that's just because I don't want to cable tie this to the boat and tube. So I'm going to come up with some better solution for that and I'm also going to come up with a better solution for the stepper motor down here or the stepper motor wire down here as well. But there are some things that I really loved about putting this thing together. Number one, I love projects and I love tinkering. So if that is something that you like to do, you're going to love this kit. It is all machined aluminum. It is super tough, very durable and I mean, this thing is probably stronger than the day it came from Crayati for sure. Another thing that I really liked was the 3D printed guides. The guides to put your linear rails on and also for the motor spacing were just awesome. That makes putting these things together so much easier. And Cody really thought about that while he was designing this kit. Another thing is this 3D printing oil that I will be using to oil my linear rails. Now, I think this is kind of a controversial thing with linear rails on how to oil them, how not to oil them, but this is his kit and he sent this oil and that's what I'm going to use on these linear rails. I appreciate that because this is a full bottle and it's going to last a very long time because it's not like you're going to put this whole bottle on a linear rail or two or three. So thank you for including that Cody because I know a lot of us don't just have this stuff laying around in our shops. So the astute watching might notice that this is a different printer than I started this video with. This is my Ender 5 Pro. It came from Crayati as a pro at the time. And I used this one because I wanted to. That's why. So that's why it's different. So if you're wondering why the color on the screen or something is different, that's why I changed. I decided to do it on the pro version instead. And now let's talk a little bit about why you might want to do this if you have an Ender 5 laying around or Ender 5 Pro or even an Ender 5 Plus. They have kits for that too. The big reason is the whole motion system. You're going to have a lighter gantry because there's no motor up there driving it anymore. The core XY system, as we've seen in many printers in the last year, just is it's so much faster and more reliable. And I believe a lot of people will tell you it's more consistent, especially if it's tuned right, than the standard system that actually came on the Ender 5. I love the idea if that was all aluminum. I like that it's durable and strong and it used almost, almost all of the parts from the original build. The only thing you're going to need is two motors. And they do need to be the Niva 17s. And you can use one motor from the kit, but the other motor that comes in the center of your Ender 5 has a shaft that goes through both sides and you can't use that. So right on the product page, it says to source a couple motors. You could use one that came from the kit and just get one. But jump on Amazon. I'll put a link in the description below. Grab yourself a couple of Nima 17s, even hit up LDO, whatever you want to buy them at. In my case, I think it makes sense to match them just so you don't have a mismatch. But I don't think it really matters as long as they're Nima 17s. But definitely check that out. You're going to need a couple motors to do this project. So besides being lighter and faster and more durable, the other thing is that it's definitely more tunable. I believe that this system is definitely more tunable than the stock system. You're going to get more out of it. I know it's going to cost you some money, but at the same time, you're not starting over with the whole printer. So you can do that. You could clipperize this. We haven't talked about firmware yet, but that's a good idea. I haven't done firmware yet because I want to do another video on that. So you could actually stick with Marlin Firmware if you wanted to. You could clipperize this, and that's probably what I'm going to do because I think that's going to be awesome. But there's many ways to do firmware, and I'll do another video actually showing you how to do that. But overall, this kit is so nice. You get so much value for the money that I definitely suggest this kit. It was such a fun build. One more thing I want to talk about is that I know that 3D Fused has been a little bit slow lately, but that's because they are a one-man shop, and he's trying to do the best he can with getting parts, especially the linear rails, with some other big printers that have released lately. A lot of companies are buying up a lot of linear rails, so he's been a little bit behind on production as far as some of the other kits and stuff go, but I have talked to Cody. There are about 200 of these kits that are ready or just about ready when this video drops, so you can rest assured that if you do order one of these kits for your Ender 5 or multiple Ender 5s, however you want to do it, the kits are going to be ready. They're going to ship fast, and he's doing everything he can to make sure that this kit actually ships out in a very timely manner. Again, he's one man.  So, Cody, keep up the great work.  I love your products. I've used other ones in the past in other videos, and this is just another great product from 3DFuse, so there's going to be roughly around 200 of these kits ready to go when this video drops. So, if you want one, grab one. It will ship in a timely fashion, and if not, drop a comment in the video below and let me know that it didn't, and I'll get on Cody myself. I'm joking.  Thank you so much for the kit. This thing's awesome. If you want to check out the kit, there's a link in the description below. Again, this was just the mechanical part. Firmware coming soon, so stay tuned to that for like a part two. We're going to rock that out. I might even change the hot end on this, so we might do a part three, or a part 2.5 or something. But stay tuned. This thing's awesome. Check it out. Thank you guys for sticking with me this long in the video. I really appreciate it on a build video, and as always, did you guys see this one?


Good to see you back here on our seasonally increasingly snow birdie tropical exotic hood of Waikiki in our city of Honolulu on our island of Oahu has been part of our Hawaiian islands here. That's true. And the Soto Brown and Martin de Speng are going to talk about the snow birdie part. That's right, since snow is starting to fall on the North America as we speak. And soon in Germany it gets to the freezing point at night. That's where you're going to be cold. Pretty soon, yeah. Okay. So let's bring up slide number one here because the way we fly here in big birds and planes isn't forming architecture. So from the bottom right clockwise here, you've been there doing construction TWA by Saranen in New York. They kind of repurpose it as a hotel lobby and you said you will go there and spend there night. I will do, I will go visit it. I've suggested something similar here to the Blaisdale and just keeping the goodies and then building something new in the back doesn't seem to like it. No. Someone listened to us, never mind. Bottom left is when I came here with two bags some seven years ago, I had the chance that you didn't in Mr. Pirera who was an architect who came from Hollywood and basically also was the campus architect for University of California in Irvine. We need that good campus architecture. Yeah, yeah, yeah. And I had the best spicy chicken burger in that restaurant that then the year after close so you can get there anymore. And I've never got to go in, but you did. No, no, but you grew up in our airport's architect's house by Ossipoth and we also have a building that actually has the name of an airline that's not around anymore and that's Pan Am. Yeah. So that's how aviation is informing architecture on the island here, but there was these airlines that we know and I went to this sort of t-shirt store Malibu Shirts and they have these vintage shirts of airlines that aren't around anymore and you can't get a shirt for today's show because this airline is still around and they don't brand themselves with t-shirts. Right. And they do the next slide and tell us which airline that is. Well that's United Airlines and United Airlines was the second airline that was authorized to fly to the Hawaiian Islands by the federal government in 1947 and Pan Am had been first in the 1930s and once United Airlines began flying here they began advertising this route very actively because it was very lucrative and that is going to inform what we're going to talk about the fact that this was a very important destination monetarily for United Airlines and that is obviously what we see in this picture here. So let's next slide, let's go deep into the jungle of Waikiki, there's a place we've been reporting about with exotic escapism expert Suzanne in trying to find tiki places and reconnecting and we found the cuckoo coconut place there and in the back of it. And I've been there too, with you. There you go, we've been there with Moggy. That's right. That's right. And then there's our cuckoo tree there in the middle of Waikiki in an urban jungle and in this sort of jungly way next slide also you know Airlines has been branding right? Yes absolutely. These are things from your archive treasures. Yeah these are from my collection and as you pointed out they're using a lot of ethnically Hawaiian activity or imagery here, the kiwi, the fish, the flowers, the woman offering the lei, all pushing that Hawaiianness. And next slide most people might actually know the building now because of a nicely jungly little culinary place there, this little restaurant on the side of it and that's how it basically looks like. Let's capture a moment in time with a brilliant picture that you gave from your archive that really shows the relationship between that sort of jet stream sleek airplane and mid-century sleek architectural booming next slide and here we go. Yeah so the picture that we see here is a United Airlines jet flying over Diamond Head, the Gold Coast is below as you said, this is the epitome of modernity in the 1960s, the jet set flying here and there and that's the time period that the building is from that we're going to talk about that we just saw. And luckily we just had the National Locomomo Symposium here that was looking for these pockets where we still have that and there are some and actually next slide this particular area here has that you see on the right side a mid-century condominium tower that's pretty much in the original condition at the bottom you have these sort of very expressed concrete roof structures, double tees that go into the vertical here and at the bottom you have this sort of basalt rock plinth that we're preaching in a show where we're referenced at the top right and we have our buildings to the left so this is pretty much an ensemble that's pretty much intact from the 60s early 70s on Seaside Avenue in Waikiki. And next slide is we had that's been catching our eye before in a show about these sort of licking and sticking out one eyes, balcony is here, we found this rather intriguing way back and we still do. And the next slide is this is actually part of a sequence of an architect who has been underrated here who has left a significant impact on the island but different than Asipov and Price and Wimbledy because of reasons we're going to discover and continue to talk about and this one here seems to be the little sibling of the Kahala Hilton Hotel there because the lobby as you can see how it very organically kind of grows out the corner column of the building seems like the little sibling of the hotel and in fact it is. It is because it's the same architect. Exactly and the next slide here you pointed out that these were the explorative and booming areas. We did a show with Peter Shee up there who was doing what architects usually are not supposed to do to become developers, architect as a developer and he did this building up there at the same year that Edward Killingsworth with his team was doing this one and we pointed out that when today architects don't even do this anymore and when they do it they become victims of commercialization and shooting their own knees and wanting to make things nice while here these were cultivated days so that signature style of the sticking out bones of the flying trellises that is so typical for the Killingsworth was celebrated there regardless they were chipping in their own money and their services and next slide shows us this space from the inside basically the lobby it's comprised of these sort of slits of glass and then these slits of louvers and if we go to the next slide and we want to encourage the people to go out and scavenge a hunt and find out themselves and get close and we were intrigued and we were discovering that actually up there it's still open these louvers are basically metal and they're angled and 45 degree so the rain has been kept out while the wind can go through and only next slide the bottom part has been glazed and can obviously be opened as well so that way you want to you know don't confront the hotel guests with the direct wind I guess or rain right but the next slide here is also interesting because usually we don't like these machines because they're fossil AC machines but as you said you know one in these days were unfortunately things get hermiticized you pointed out in this case here that would have been a huge effort and the architect designed it in a easy breezy way absolutely and I was amazed to see that these three relatively small machines are basically able to support the natural trade with AC effectively so you don't need a lot correct and that this is this is a big lobby space it's a two-story lobby space it is to actually air-condition that whole thing yeah really expensive no absolutely and you see some little I mean everything so far look be pretty monochromatic but you see some very bright spot there at the very bottom on the floor and that gets us to the next slide and this is about the the recent sort of rebranding of the hotel right it was originally just plain and simply named after the street right seaside Avenue Avenue it was a seaside hotel and now which kind of puzzles us they made it into the shoreline and it's not on the shoreline does that make sense you know and and so and the interior designer basically went full blown pop 70s here with bright colors very stark and bold yeah and that's happening a lot in Waikiki now with rebranding of older hotels it is like this one from this time period making them hip yeah decorating the interiors and talking hip next slide here we had great contributors to this show who is the late partner with killingsworth run Lindgren and he had an informant mr. Mike Lawrence and they told us particularly about this picture here and and other things they were finding out that this wasn't commissioned by the hotel this is a hotel guest who happened to be there with her boyfriend who was on a dentist conference yeah and she basically offered this and they traded for her staying free there right yeah so this is but the point is here you see there is new furniture in there and then there is the wall painted with Hawaiian islands there but basically everything else the built environment is pretty much stayed the same the old aluminum mid-century sliding doors are the same everything is pretty much so it's just like refurnished as the refurbishment yes yes and the next slide we always do our biochlametic check here that's important for us so we urge you guys have your phones with you go to google maps go to satellite and then click the north era and you will see so this building here is basically facing with its angled position north south so each facade gets a little bit of everything and while the northeast and the north north east and southeast or not problematic the west sun is problematic here but the openings are so small yeah and these little lani louvers are doing a shading job so probably overall you don't have too much overheating and this is not a glass box as we see them nothing but that build up right this is a building that's pretty much in good balance of correct opening and correct right so next slide is another one from your archive and you have some interesting stories behind that there's a there's a map of the Hawaiian islands by United Airlines from the same time period that the building comes from and as I said earlier the flights to Hawaii were so important for united that the slogan they were using at the time was quote it's our little corner of the world meaning that's how important it is and that's how important we are to it yeah and today you could never get away with saying no what he belongs to us you know it's just discriminatory right yeah no no appropriation no appropriation we don't do that now very very interesting so I love these days because they were more naive and silly and not so concerned about all these things right they were more fun right yeah it's a really cool like that's actually sculptural that's actually paper yeah cut out in photograph it's very it's a three-dimensional model not just a flat illustration very lovely yeah and what applies to this sort of on the macro scale and we go to the next slide also applies to the micro scale because this is actually in the middle of the islands on the middle of the biggest water mass in the world the Pacific but here the building is in the middle of the accumulation of buildings and it's not on prime location shoreline as it likes to indicate right so then they basically had to somehow they thought they need to bring the water into the building and they did something that you were referring to another exotic correct so they put a swimming pool on the roof and in Havana Cuba in the 1950s when they had a building boom of hotels there were three hotels who were built there with pools on the roof because Havana does not have a beach it doesn't have an easy place to swim so it was in fact already a big urban city yeah it wasn't rum to put a pool on the roof so that's what they also did here too very cool next slide we got in the middle the iconic column the killingsworth column yeah and we're gonna talk about that later and they recognize that and putting this sort of hanger for the clothing in the middle of it and then clothing speaking at the top right that was the only picture we found googling of when United Airlines went crazy and went really with the signs of times of pop right over the pop bright right dark colors and otherwise also Ron created this term neon and nature so here's the neon part the aloha sign and neon and pink go to the next slide however the only picture from your archive I found that had pink is the one on the left right and it's not even really portraying the hippie 70s right it's pretty much the pre-contact the hula skirt and unlike the other airline to the right and that's just one of many yeah you told me this interesting story of another one where they go in fully zeitgeist you pop oh yeah yeah yeah bright airlines multiple different colors for the store this is to wear by the way they were called stewardesses in the time period that we're talking about there you go yeah and so they they nevertheless picked up on that pink next slide here and there's the shore line and some guests are inspired by that this is not what they have to wear this not the corporate outfit right but she happened to be harmonized with the interior yeah but as exotic escapism expert Suzanne up there at 20 years ago on on the kahala is saying that hotels just seem obligated you know to basically renew themselves rebrand themselves every so often every decade or so at least yeah well this is sort of interesting because the you know the the interior designers try to be respectful of the age of creation so they said this is 70s so make it really 70s but they didn't do their homework enough we find because at Killingsworth was very immune to Zeitgeist he actually stayed very classy as you said yeah over almost half of a century from the fifties to the early 2000s when they closed the office yeah yeah and he he and Ron told us this head stuck with a very classical layout yeah classical lines yeah classical symmetry exactly and and ill and going along with that next slide these are the pictures we found basically this is more the late 60s that sort of classy that more a subtle ride correct and the and the stewardess uniform is navy blue and white yeah and the pilots uniform is navy blue great yeah and they're not going with bright colors so the hotel originally yeah was in keeping with this corporate color combination exactly exactly and and with that a good fit because again this was basically then sold to United Airlines as to put their pilots and their stewardess is as you correct me not to say flight attendants because that's a sterile world we have to that's what we know yes stewardess is was way more sexy right oh yeah and so and next slide this is from our walking encyclopedia don hibbert who has you know done a lot of research about the killingsworth work and incorporated that into his famous book designing paradise up there and he captured this here just after remodeling in 2013 I believe when they were going more subtle they had this more of turquoise simple signage that just said shoreline and only recently they felt like they have to rebrand their rebranding which is very interesting so maybe next slide they want to reconsider that if they constantly rebrand themselves they rebranding maybe they want to go back and do some homework here along with us and you know along these lines where it's way more subtle it's way more elegant it's less poppy right but there's something really funny in this sort of fictional postcard down to the left that looks along our hood you living in the foothills of that's where you grew up and I live down there and we see our favorite building which is the alamona building all of a sudden being pulled down where the wikiki grand where I live so I'm wow this is this is kind of funky right and you see fostered tower and then obviously this is where actually a park shore is now on the corner right yeah so that's obviously a dream but actually that dream sort of came true next slide because almost a decade later after John Graham did the alamona building and the Laurent restaurant he was doing the equivalent which is now the sky of wikiki on Kala Kala Avenue so once again if you look the other direction you can actually see this sort of still composition of mid-century gems and goodies and next slide even on on Kohio which is our sort of you know second tier street yeah that's glitzy and fancy yeah yeah it's more gritty or at least it was it was getting more gentrified very much but this one is a good example because Starbucks actually in the world has only very few what they called Starbucks reserves and they're very special ones and they did it catered one to us in the middle of our jungle so this is pretty much just across the street it is it is around the corner so yeah speaking you can see it's very elegantly done with this sort of ribbon wood and there's some nature in there so there's where the green comes in so we have the neon and we have the nature and that gets us to the next slide here because again here we go that's the way United was again portraying it very sort of jungly very exotic very erotic yeah and you once again have a very fascinating background story about the artist behind right so the artist who did the map that you see there that's actually the inside of a ticket envelope for a ticket to come to Hawaii was Herb Connie. Herb Connie is now very famous as one of the originators of the Hokulea long-distance voyaging canoe but he was born and grew up in the Midwest before he moved back here and became very much more Hawaiian he was a commercial artist he worked for an ad agency in Chicago which is where United Airlines was located it still is and he was commissioned to do this depiction of the Hawaiian Islands before earlier in his career before he came back here and dealt into Hawaiian culture yeah there you got this connection of Chicago and Honolulu that's right that's right we're gonna find we're gonna talk about that and talking basically nature it gets us to the next slide because there's another signature element incorporated that is as iconic and I guess typical for the Killingsworth language is basically in corporate nature in an integrated way not it as an applied way by making these planters that are part of the architecture with a green grows out of it and you can see and I'm very happy that even kept I swear this is the original I think it looks like brushed aluminum which they did and the type the face type is very classy and and Ron told us to specifically that when the Kahala Hilton was built yeah the planter boxes with Boog and Villian were a part of the the whole concept right from the beginning exactly and and they continued this through which we will continue to super to watch in the next couple of shows so next slide here this is again this is our p-i-ing mobile Martin mobile cruising run around right making a pit stop and I have to say you know I'm I'm all marching that the top row is is our firm our family business right and and I can see as we were talking about I can see the similarities of the vertical lines yeah in some of the things that you've designed as well as very clearly in the Killingsworth yeah and this is what Ron calls structural expressionism yeah you don't decorate the building you make it's it's anatomy basically it's on the outside nature exactly and so it is you know carried on to next generations and when we look closer in next slide here this is again there's our friend Ron who tells us all these stories told us all these wonderful stories exactly and you know the car as we said before in the show that we did about the conversion of his Waikiki Park hotel into the Hala Puna which had just opened and we already said that you know the car the cars have always been vehicles for thought for us throughout the shows but this one here more particularly because it had been designed exactly during the same times in the late 60s and then they have basically produced this for two decades and not getting sidetracked of like well we got to reinvent ourselves we got a brewing out a new model which a the automotive industry seemed to seem to was I think they have to do now these days yes they were just sticking with it no matter what all the way through the postmodern 80s and and so for 20 years so that there's this sort of analogy or parallel between that sort of mobile and the old mobile of the killings with architecture and I heard I yet have to call up Ariyoshi the longest running governor because the locals who gave this car to me as a donation told me that it was his wife's car way back and again he was the governor during the mid 70s to the mid 80s so there we go and and you know now these cars as hopefully this architecture there are collectibles and they're like wow people on the street and they're not outdated they became vintage that's right right and so it is with the architecture and you better again stay away from too significantly altering them I mean you can do certain touch ups you know here and there but it's very rare that a car goes through a stage of never looking ugly yeah cars look up to date then they look ugly yeah then they come back to looking cool yeah this looked classic the whole time well and that is next picture certainly the same that's why we make the comparison with the killings worth work right never has anyone I mean you tell me you said that the Kahala Hilton or the apartments at the top left that we did a show about looks outdated or ugly right it was always appreciated for what it was yes century modern yes cool and classy yeah and then we want to point out to the couple of shows here at the top middle there is the column detailing of the condominiums which is basically a negative corner which we call the Meezy in corner he's on the road at that by the way in Chicago he built we got another connection by it campus and many things in Chicago actually the IBM building with a dark night movie played and we will get to that in a second yeah idea while in here they were doing something different they were basically doing a positive corner and we simply indenting the middle of the corner and thanks to again Ron Lindgren and his informant Mike Lawrence here we have the list Ron had took a look at the working drawings that that Mike pulled out and they found these being the partners in crime the collaborators on the collaborative you know chipping in their sweat equity right and there is the legendary Alfred he who's in the picture in the upper right with you thank you yeah I had the chance to see him one time and encourage me to keep on going right and just carrying on the legacy of all the killings worth and so next slide here is slowly but surely phasing out again where is this going I think it's going that we should all remember the good old days and you were digging out some plaques from a family history here right yeah right so in the upper left corner there's a plaque that my grandfather got to say that he was part of the comma Ina club in November 1954 for having taken ten United Airlines flights between the Hawaiian Airlines and the mainland and then in the lower right my great uncle was given a plaque probably in the 60s saying that he was a member of the hundred thousand mile club but it says he's a million miler I don't think he'd actually gone a million miles but this is just to you know say okay we you're good customers and we acknowledge you so we all have these memories and these legacy I used to travel a lot as one can see there that was when I was in the prairie in desert days I was traveling a lot I reached like platinum premier status that was then that was in my mouth but I'm still flying I'm going back this is my ticket there before purchase and I purchased that flight that is for relatively reasonable money to go half around the world and it's it's taking me on the way back I have to hurry a rush to LAX which is going to be hassled if I make it and I've done this before look at that it's 19 hours Honolulu Airport Munich half around the world and that's that's still pretty cool so United is still out there and the next slide we have heard that when you know you know Airlines sold it there was this these hardcore fans that were really disappointed about that but when they sold the building and you know watch out for these people we couldn't get a hold of them as of now but we keep trying and here we were in Hawaii and saw this next generation of Mercedes W123 that my parents used to have too and we're pointing that out a show ago here with my father and me with both huge hair and this color was intriguing me and I thought this looks like the like the you know look at behind the windshield there in the detail so it was right so concluding slide here we just want to make the connection of basically clients as basically ambassadors of building culture yeah and sort of United Airlines you know had actually moved back from the Burbs in Illinois to one of the most iconic buildings if not the most iconic building in Chicago built the same year as our hotel here is little and this is the Sears Tower in the middle there and Sears we don't have any more that became a victim of the recent one extension of Alamoana mall yeah but the architect of the of the Sears Tower which is unfortunately now Willie's Tower this is where you know airlines now move their headquarters back into which is like I think great so they recognize iconic mid-century or late mid-century architecture again is something and we have two S.O.M. buildings here on the islands in which are these we've got the middle one is the the middle one is the Alnakea Beach Hotel that's correct and that was mid 1960s 1965 and it opened just after the Seaside Slash Seasore Hotel Darlene Hotel and the other one is the School of Engineering built in 72 and my favorite project of S.O.M. is on the right which is a bank tower in Jetta so in the Arab desert where they basically were blending you know their American grandeur of designers with a local vernacular courtyard ish so I think this is great so we basically want to you know urge clients developers and all of that go back to the classy I don't think you know S.O.M. has to still find its roots again because they were going down the hill pretty badly in the postmodern era and killingsworth wasn't so with that if we can get the camera back to studio for the last couple seconds we have a little Lego tower here of the Sears Tower and that was the first I bought when Lego came out with the architectural series here and I want to take a chance to congratulate Joni back in Germany half around the world who is the Lego master and it's birthday now so happy birthday and you have something to tell him about encouraging to come over because you had a fantastic Lego exhibit at Bishop Museum and the local Lego club put together up some Hawaiian Legos the Hokule'eth canoe and Aloha Tower and our new upcoming trade absolutely so it can be done all over the world absolutely so thank you for having been with us see you next week we're gonna do we're so excited about killingsworth we do another one we do Harbor Square which is a residential development that's right from the same era right here in downtown Honolulu and until then please stay very elevated Lee exotic bye bye


If you can get right in there, yeah we do. Just toss and fade out. Once I get up there, I'm going to try my best to get a photo of the thing.


How can one even begin to comprehend the military virtues of those so utterly removed from our own levels of simple existence? A colleague once snapped this at me, and I divulged to him the subject of this particular record. He considered it a futile endeavor, for even should I gain access to the prescribed archives, my simple baseline homo sapien mind, would simply be unable to process the intentions of those that are nigh unto gods themselves. Does that, however, mean a humble chronicler imperialist should not even attempt to do so? Well, let this effort stand as one's answer. No then, that this is a record of the organizational structure, tactical doctrine and wartime disposition of the emperor's own, his 10,000, the legio custodies. To the outside observer, the custodies are effectively impenetrable to even the most diligent scrutiny. Most of what is known outside the imperial household itself, even amongst the highest ranks of the officio militaris and the senatorium imperialis, is based off conjecture, inference, and hearsay. Only by special dispensation of the household, access to sequestered archives, and through assidious interviews, can information held within this record be known. To those of us peering in with curious eyes, the rituals, structure, details, and even titles of the 10,000 appear impossibly Byzantine, which is the direct result of them being answerable to none but the master of mankind, even in his current state. They have no need to accommodate us mortals, as their calling is always so much higher than any feeble petition we may make of them. The first, and perhaps most marked sign of this, is their very names. Outwardly, each custodian presents a given name that is usually drawn from a compound of an ancient Terran ruler or mythological figure. Consider, if you will, the legendary names of Constantine Valdor, Ra Indemian, and Diocletian Chorus. Between them, they bear the likeness of ancient Romanii tyrants and a forgotten god of the Gyptus. Why this convention is both accepted and seemingly encouraged is beyond us, perhaps being a facet of the emperor's humor or irony on the part of the custodians themselves, given their role and status. Their true names are long forgotten, obliterated during their rebirth into the demigods they are to become. One fact of Custody's legend is their accumulation of names throughout their lives, granted in recognition of great deeds or victories. Never revealed to those beyond their order, these names are said to be inscribed upon the insides of their armor, and a Custody's never ceases earning them until the moment of his death. By the outbreak of the heresy, Captain General Valdor is known to have possessed 962 names. Valdor is perhaps the most famous example of the head of the legio, the Captain General. At the top of the custodians' chain of command, he is essentially the emperor's ultimate bodyguard and most trusted military advisor, the golden right hand of the Lord of Lightning. By virtue of this, the Captain General is technically able to command the Primarchs, the emperor's own sons, and Valdor is known to have done so on occasion, notably being in nominal command of the Battle of Prospero. Below him is the Tribunate, the fluctuating amount of tribunes, usually around 10 in number, that are roughly analogous to the chapter masters within an Astartes legion, while below them are the remaining two official ranks, prefects and shield captains. The differences between these two are slight, with the former being more a reward for veterans in service, while the latter a distinction of implied active field command with particular responsibilities within a detachment or formation. This all being said, the legio custodies do not abide to the chain of command in the matter of any other military formation within the Imperium. They are more akin to a warrior caste than a regiment, as one of the 10,000 is more formidably equipped to fulfill any number of battlefield roles than any other combatant in human history. Depending on what exigencies are placed upon them, and how they feel best inclined to prosecute their objectives, the custodies may fall into one of the legios broadly defined formations, each unique, each with its own clear purpose. The majority of the legios' martial strength at any given time is the Haikonatoi, which outsiders most commonly see as the baseline custodies. While the term rank and file seems ludicrous to apply to a formation such as the 10,000, it is perhaps the best equivalence at one's disposal. The Haikonatoi take to the field of battle a raid as one might picture a custodies in the works of art that adorn so much of Imperial terra, clad in golden oramite armor and wielding their signature guardian spears, power weapons with Terran boaters built into the haft. Others employ the brutal sentinel warblades should they prefer force over finesse. The basic unit of these formations are referred to as sadalities, although, as with all to do with the structure of the legio, these are not the squads of the legionnaires' astartes by any means. Whereas astartes operate as tightly knit compacts of understanding and shared brotherhood, each custodies is a legion unto himself, an immortal being so utterly beyond the human baseline that even astartes pale in comparison. He fights alone for that is what is expected of him. Each and every member of the legio knows that one day he may be the sole body between an enemy and the emperor of mankind, and should that hour come he will be able to rely on none save himself. This ethos permeates how all of the ten thousand conduct themselves in battle. Sodalities do not engage the enemy with the tight discipline of astartes, but rather as individuals, albeit individuals with peerless battlefield comprehension and almost precognitive skills of coordination with their fellow custodies. They should never be thought of as pursuing individual agendas at the cost of one another, each simply chooses the manner in which he fights according to his own individual talents and skills, rather than, say, a group of tactical astartes fulfilling the exact same battlefield role within a squad. In this way, no two custodies ever fight on the battlefield in a similar manner, and yet their cohesion as a sodality in their persecution of the enemy is utterly peerless. There are few enemies that the High Kanatoi cannot defeat, but, despite their supreme battlefield adaptability and confidence, the legio is not so self-assured as to believe themselves suited for every single battlefield task. Siege warfare, high-intensity zone-mortalis operations, or attritional warfare all provide the legio with a worrisome possibility of casualties, and for beings as precious as the custodies, all possible steps must be taken to avoid this. This will generally mean they avoid the types of operations mentioned above, as they would be, admittedly, a terrible waste of their skills and resources, leaving the destruction of enemy fortresses or foot-slugging infantry advances to astartes. That being said, the Ten Thousand retains the ability to deploy heavy shock troops should it require them, and these counter-assault forces are known as the Tharanatoi. The custodies of these sodalities take to the field as either heavily armored Aquilon terminators clad in the finest, most heavily modified tactical dreadnought plate in the Imperium, or in Sagittarum guard fireteams. The former are optimized for close-quarter engagements, as their terminator plate renders them nearly invulnerable, and will often be equipped for assault operations to annihilate the enemy. The latter are arrayed for longer-range engagements, bearing dark age of technology and drastic weapons. Proscribed by the Emperor himself, these disintegration weapons are born only by the legio, for only the finest warriors of the Imperium can handle the sheer destructive potential of such ancient firearms. The Catafractoi embody the legio's essentially paramilitary writ. They are the pilots of the Ten Thousand's gunships, interceptors, and grav tanks, as well as forming the body of the legio's jet-bike outriders. The custodies have never been front-line soldiers the astartes are. Instead, they are a highly specialized formation intended to be deployed only by the order of the Emperor himself, and because of this, only under the most dire of circumstances. In order to fulfill their stated battlefield role as a rapid strike force, the legio has granted the use of the most sophisticated armor and aircraft in the Imperium. Vehicles seem quite literally nowhere else, for none are deemed worthy for their use outside of the Ten Thousand. Speed and mobility are paramant, as the sodalities must be ferried to the part of the battle their unique skills are needed the most. The vehicles of the Catafractoi embody this, sleek grav attack ground armor and sleeker steel aircraft that are capable of speeds and maneuvers far outclassing any other vehicles of their tonnage in the Imperium, yet in some cases are more armored and always in possession of a far greater destructive potential. The material cost of maintaining and manufacturing these craft is phenomenal, but for the Ten Thousand, no price is too high if it allows them to fulfill their duty all the better. Of the least certainty, even perhaps amongst the archives granted to one for the remit of this record, is the operational purview of the Ephoroi. Custodies tasked with the intelligence operations of the legio. Just quite what their responsibilities were and are, likely are intentionally vague, as with any covert organization, but what is clear is that the Ephoroi conducted high level intelligence gathering and processing, utilizing the full scope of the resources at their disposal, which is to say the resources of the entire Imperium itself. That the legio, ostensibly a paramilitary formation, had a dedicated intelligence divisio may surprise some, but it should be borne ever in one's mind that whatever their martial capabilities, the Ten Thousand exists purely to protect the body of the Emperor himself. As such, they must be aware of any and all threats to him and be able to predict, anticipate, deduce and plan for any and all possible eventualities. They are known to share close operational details with the clades of the officio assassinorum and utilized human agents when required. Infiltration of Imperial nobility was common, often again through their mortal agents, but the Ephoroi themselves were well versed in the politics, traditions and histories of all Imperial houses of note. Custodies' minds possess idetic memories and those of the Ephoroi turned these to the service of knowing all and seeing all. It was they who were the organizers of the blood games to test Imperial household defenses, corroborating their own intelligence gatherings with findings from the games to defeat threats before they even arose. The final subdivision within the legio was also its smallest. The moritoi were singular in being formed entirely of the legio's honored fallen. Custodies whose immortal bodies had been damaged to the point of near death, requiring them to be interred within the life-sustaining dreadnought chassis. The first Custodian to fall in the history of the legio was Sagittaris, one of the Emperor's first thirty companions interred within the Ur-Golim class chassis designed to allow Thunder Warriors of the Unification Wars to fight after death. Sagittaris was the first of the moritoi whose capabilities continuously advanced with the progress of Imperial technology. By the outbreak of the Horus Heresy, the moritoi were entirely composed of Contemptor dreadnought chassis, either the Contemptor Achilles or heavier Contemptor Galatas marks, both capable of wielding weaponry far more arcane and destructive than there are Startes contemporaries. Though small in number, the moritoi represented a staggeringly powerful force at arms, combining centuries of martial skill and experience with the most phenomenally powerful weaponry and equipment, the Mechanicum, and indeed the Emperor himself could devise for them. When death and treachery came to the Istvan system, the legio custodies counted within its number approximately 10,000 members for which it was so colloquially named. The Battle of Prospero that had immediately preceded the true outbreak of the heresy had depleted this number somewhat, although not nearly to the extent that the coming conflict would. The vast majority of the legio's strength was concentrated upon Terra to protect the Imperial Palace, though various sodalities were spread out throughout the galaxy on various missions of high import. Five of the High Kinatoi, for instance, led by Custodian Aquilon, had been seconded to the 17th Legion Word Bearers in the aftermath of that Legion's humbling on Monarchia, but were ultimately betrayed and killed by the Legion's monstrous Gal Vorbach. It has been remarked upon, albeit quietly, by numerous historians that the legio custodies, despite representing an incredibly powerful military force, did not in any way stray from the homeworld during the entire span of the war. While doubtless, coordinating with Rogald Dorne, the 7th Primarch and Praetorian of Terra in the defense of the solar volume, that they did not take up arms until the Battle of Terra itself seems inconceivable to some. Your humble servant has, in the sequestered archives, found scant mentions of a darker war, a hidden war of terrible battles occluded from the sight of the species through their dread import alone. A full record of this conflict may not be possible, but it would be remiss of me not to attempt it. Let its tidings, however, wait upon the advent of another day.