got a bunch of offers ranging from $600 to $1300 which I declined, finally sold for $1,850 at a thrift store for $0.50. I thought I might be reaching a little when I started the auction at $49.99. Within eight hours it was at $0.100. After seven days the auction ended at $810. Oh, sadly this this is this is a sad story kind of sadly the winning bidder didn't pay mean face put it up for auction again and sold it for $455. Again the winning bidder did not pay did a buy it now of $500 accepted a best offer of $425 and they paid the whole process took six weeks I absolutely absolutely love this one oh my goodness okay are you ready sorry I just get so excited about these bolos I don't care if they're not mine somebody is making big money and I am just loving it and I don't know about it so now I do and now I hope to find it hey fellow buddies thanks for watching amazing right all right let's get started hey fellow buddies thanks for watching all right in this video we're gonna talk about big money bolos items to be on the lookout for items that you can hopefully buy low and sell for a profit my name is Courtney also known as a bolo buddies thanks for being here if you're new to the channel I would love for you to subscribe if you've been here for a while thanks for putting up with me all right let's check out these bolos I'm gonna tell you where they got it what they paid for it and what it sold for and some of these you guys are gonna be like what and this first one is one of those what so this one comes from Bolo buddies member terry mindful recycle and she is a big money bolo finder this is her youtube channel you definitely want to subscribe to her just wow okay she purchased five of these not one five she found five at an estate sale for five dollars each and so four of them they are brand new old stock within a couple weeks so four sold within a couple weeks this one was slightly used so didn't sell as high as the other four but still was an amazing profit so four of them have sold this is the last one sold for four hundred and forty nine dollars she paid five it is a world geographic atlas a composite of man's environment cca 1953 herbert bear i mean who would have thought i think some of them sold for like five and six hundred dollars it was incredible i featured it before but this is the last one so she is now sold out if you want to learn about big money bolo's sub her up she's linked down below got it at the goodwill in maryland paid eight dollars and sold for full asking price of a hundred dollars plus shipping so this is a dixon di xx on women's the harris hyrus plaid snap flannel shirt this is what it looks like hundred bucks for that i found this pocket knife at the goodwill outlet i paid about a dollar for it and sold it for 90 dollars plus shipping in one week it is an h balk boker and company tree brand classic four blade folding pocket knife and this is what it looks like my bolo for december thus far my husband was blown away found at a local thrift store for two dollars and sold for 59 dollars and 90 cents sold in less than three days i always opt for the fast nickel it's a vintage bd beckton dickinson glass fahrenheit fever thermometer okay i will say that if it has what's that called oh i can't think of it the red stuff in the middle um oh i can't think of what it's called mercury mercury in it you cannot sell it so i don't know if this has mercury in it or not but just know that thermometers with mercury are not allowed to be sold on ebay i just sold these clock hands i love this one for 78 dollars couldn't believe how the auction went from five to 78 in 15 minutes i had bought a howard miller mcm chime clock for 25 that was in poor condition so i took it apart and sold the parts total sale from the clock was 138 from the same buyer he was so pleasant to work with free shipping cost me 21 so it is just the hands and the you know the pieces that go around 78 dollars and 77 cents on auction that is so awesome i love it i love parting things out this one comes from where pigs fly farm and her ebay store is actually called flipping i'm sorry flipping for fur babies and she has a non-profit she is a bolo buddies member and they have like over 500 rescue animals that they have on this farm i think it's like a bed and breakfast and a petting zoo not zoo but pet you can go and pet the animals and it's really an awesome thing definitely check her ebay store out down below it will be linked if you hear me shouting out a channel a youtube channel or an ebay store that means they are bolo buddies members of my youtube channel and they have joined at level two to get the perks you can check out down in the description there's a link that'll tell you all about that if you click on the link if you want the shout out and want to be featured that is how you do it you join level two if not you just continue to share and i'll still feature your bolo in the video so what she said is broken cells pick this up at an auction cleanup free i clean up the local auction house after live auctions it's amazing what people leave behind this tree had a big chunk broken out i put it up for auction starting at 45 dollars and bidding went up to 91 plus shipping it's a vintage holland mold ceramic snow tipped christmas tree these are really really collectible i'm guessing if the chunk was out of the back or somewhere that could be hidden somebody didn't care because look at this tree it is incredible and maybe somebody can repair it i don't know i absolutely absolutely love this one oh my goodness okay are you ready sorry i just get so excited about these bolos i don't care if they're not mine somebody is making big money and i am just loving it and i don't know about it so now i do and now i hope to find it i found a scrub a dub hand puppet at a thrift store for 50 cents it's the same brand as those used in baby einstein videos i couldn't find this particular puppet on ebay google or worthpoint i thought i might be reaching a little when i started the auction at 49 dollars and 99 cents within eight hours it was at 100 after seven days the auction ended at 810 dollars oh sadly this this is this is a sad story kind of sadly the winning bidder didn't pay mean face put it up for auction again and sold it for 455 again the winning bidder did not pay did a buy it now of 500 accepted a best offer of 425 and they paid the whole process took six weeks my best guess as to reason for the high value is that these puppets were meant to be used in the bath so they wouldn't have lasted long after use plus the kids that grew up watching these shows are now adults with disposable income to spend on memories i absolutely love this bolo i'm gonna have to say it might be my favorite in this video let me know in the comments if you love it morris moose hand puppet baby einstein legends and loris scrub a dub club red would you have walked past it and if you bought it would you have researched it enough to know that it had that much value i can't i i don't know i don't know i mean i feel like i do a pretty good job of researching and i always pick up puppets so i would like to think that i would have picked this up bought this 1940s jansen sweater at an auction for five dollars is sold the same day for a hundred and five dollars how many of you would rock that i would not rock that but it's pretty cool i found this in a bag of plush in a thrift store dumpster i am in an avid dumpster diver as goodwill is becoming a joke everything is put online sold for 160 dollars within an hour within an hour on ebay there are way too many people at the bends i went a few times not impressed people there seem desperate and hostile maybe they need to make a living at it okay um well tell me how you really feel um so my thoughts are the people at my bends there there are some people that are a little pushy but for the most part like everybody is awesome and i think that not all goodwill bends are created equally i think some of them some people can get kind of nasty and you know they they kind of claim their territory um but my bends i love it so uh unfortunately it sounds like she hasn't had a very good experience at hers but let's talk about this Bolo it is a vintage manhattan toy company royal blue t-rex dinosaur plush from 1984 and it sold for 160 dollars so i i'm trying to understand the thrift store dumpster what is a thrift store dumpster like is does the thrift store have a dumpster that they throw stuff in that you can dumpster dive in and why would they not try to sell this i'm confused anybody know anything about that any dumpster divers out there that dumpster dive at thrift stores let me know this one came from farm girl scavenger noelle this is her youtube channel if you're not subscribed you need to go subscribe she is a major bolo finder um got this for free sold in less than a week it is a vintage felt christmas stocking one-of-a-kind handmade santa reindeer beaded applique 90 dollars and 99 cents and she got it for free i don't know where but she got it free okay sold this gem shore nativity with damages in less than two weeks don't be afraid to sell broken items uh it's 2007 gem shore 10 piece miniature nativity hand carved resin sold for 67 and 49 cents and i don't know where she got it she didn't say paid 100 at an estate sale and sold very quickly for 489 dollars and 99 cents it is a vintage 60s i'm going to try and read this hob pecking hob h o b e and then pe k i n g green glass and australian crystal necklace brooch earring set how beautiful is that that is incredible so she paid up for it she paid 100 for it but it sold for almost 500 this is a bright and retired suitcase i walked into a resale shop as it was being priced i bought it for 125 it was new with tags i sold it for full ask of 400 plus 154 shipping and tax he was all in for 554 he was buying it for his wife who he had bought one for 20 years ago and was replacing because luggage handling ruined it i thought that was a really sweet story whoo it's a nice bag all right last day of a tag sale and these were still in the closet got this and another pair for 10 dollars both sold for close to 100 each used beat up cowboy boots these are women's vintage leather hondo boots with chains never heard of the brand hondo um all right this next one paid 15 at a thrift store oakland raiders 90s nfl puffer jacket men's extra large spell out lined jacket 79 99 so spell out means it is spelled out and that is a good keyword to put in your title paid 10 at a thrift store it's a vintage columbia mossy oak original camouflage hunting jacket sold it for 50 this one came from his personal collection from his childhood and it looks like it is all parts or repair 1975 gi joe adventure team land adventure muscle um it looks like the head is off the arms are off and he sold this for 74 99 so do items that are broken or for parts or repair sell for big money yes they absolutely can this one comes from got junk in our trunk ronda she said she purchased this and three other similar sets for eight dollars per set at an estate sale sold for 69 dollars and 99 cents plus shipping and she is got junk in our trunk on youtube so go and sub her up they are vintage christmas carol her boy singing um and it looks like they are ceramic it kind of got cut off but this is what it looks like um very cool little figurines there my most profitable item to date pick this up at an estate sale for maybe a buck or two did not look it up at the time sat in my death pile for a couple months and i call mine my money pile because that is money it's just money sitting there and that's why i'm going to whatnot because i'm going to continue to list on ebay but that money pile like i'm still sourcing so as i source i'm going to list on ebay and get you guys videos on me sourcing and stuff but that money pile it's just sitting there and i'm like i need to bring that stuff to whatnot so in the future expect to see toys and jewelry and lots of that stuff that you see me doing in my what solds coming to whatnot because i got to move some of this stuff and i got to move it like that to make room for more because right now i'm becoming a hoarder oh my goodness but i have no attachments to anything so what not here i come if you guys are not following me on whatnot i am bolo buddies over there follow me there's a link down below um fifteen dollars if you use my referral link to join whatnot that's fifteen dollars to shop okay you got to do it and if you want to sell on whatnot there's a separate link um so after you join to buy you can use the seller link to sign up to sell and that referral link will tell them that bolo buddies sent you or something it connects you to me um and lets them know like i referred you so it may help you get accepted quicker my most profitable item to date pick these up at an estate sale for maybe a buck or two did not look it up at the time okay i already read this uh set in my death sat in my death pile for a couple months i was shocked when researching the value right before listing got a bunch of offers ranging from six hundred to thirteen hundred which i declined finally sold for one thousand eight hundred and fifty dollars wow it's a vintage singer penguin walking pressure foot so it probably goes to like a sewing machine are you kidding me one thousand eight hundred and fifty dollars high five found these in my garage in a box during a move cost ten cents each you guys are gonna love this i love it oh my gosh i've heard of this and i think i've talked about this in a video that i did like a long long long time ago vintage kool-aid packages yeah they paid ten cents it is a kool-aid package pouch unopened packet fruit teas strawberry three hundred dollars can you believe it oh oh my goodness i found these in my garage during a move that is awesome here's another one okay so that one it looks like there were 99 pieces so i don't know if it was a pack of 99 this one here is wild berry tea kool-aid fruit teas and it says 60 packets 180 you gotta love that right all right i bought this barbie at an estate sale for six dollars my scene barbies from the early 2000s are really starting to pick up in prices she sold for full price in about two weeks i sold another similar one at almost the same price 135 bucks is what she sold this for this is what it looks like this comes from jody over at toy addict this is our youtube channel i believe she was the first bolo buddy's member ever and um she actually encouraged me to do membership so i appreciate her so much definitely go check out her youtube channel she is incredible took an offer of 125 plus shipping and buyer was all in for 282 she paid $1.99 each so all in for 398 for these 28 inch annalee dolls from 1970 it's santa and mrs claus with stirrups this is from mom knows treasures this is her youtube channel go sub her up bolo finder wow on the annalee right here's another one she found paid four dollars and 99 cents at shop goodwill auction sold in a couple of weeks for full asking price wow four dollars and 99 cents on goodwill auction that seems really cheap um always check comps on tera peak or in computer when i listed using my phone it was giving me comps of 35 when i hopped on a computer the last sold was over 75 so i listed it for 85 so i think she's saying that when she looks at comps on her phone maybe not everything was coming up huh that's different i like worth point um but worth points kind of pricey and it's not for everyone but if you're interested in learning more about worth point type in bolo buddy's worth point into the youtube search bar and i've got some videos on how it works for me and how it pays for itself and i do have a referral link in the description if you guys want to check it out so this is a vintage jingle bell rock animated santa from 1998 first edition and she sold it for 85 dollars paid three dollars at an estate sale sold in about four weeks for full price minus 15 off coupon it's a flossy family afghan made in usa house of loyd throw christmas blanket she sold it for 56 45 this is also from mom knows treasures and i know that some of these throws can do really really well definitely look them up if you see them and we've got one more here from mom knows treasures and it is she took a best offer of 65 sold in two months she paid a dollar 99 at the salvation army it's a vintage 50s 60s sweater wool jacket k-style hand bead funnel neck mod hong kong and this is what it looks like it's a great color right this one comes from bolo buddy's member dare to dream big 1313 she said i got this cute little kitty ornament from the goodwill bends maybe 20 cents or less and sold him for 31 dollars and two weeks on ebay i think he's so cute yeah it's a vintage hallmark mischievous kitten number one keepsake christmas ornament cat and fish so a lot of times hallmark has series and they are numbered so this is probably number one in the series and people will need replacements or they will be trying to complete their set so definitely can get a little more for those sometimes bought this for 25 dollars and sold it for 350 in less than 14 hours plus shipping brand new open box it's a champion 2000 juicer the world's finest wow it's a juicer ps a to check comps on vintage lunch boxes if you find them in the wild i have a collection that i'm selling off and this one just paid some bills for me condition really matters and most people are looking for the thermos bottle with the box but some are so expensive these days that even in bad condition you can make money this one was in great condition and even had its outer tag and paper instructions inside the thermos paid $90 for this v lunchbox and thermos back in early 90s just sold it on ebay listed it for 749 and i accepted an offer of 685 plus shipping v was a sci-fi mini series in 1982 the box is from 83 fyi if anyone has any lunchbox questions feel free to dm so you guys can find that in the original post if you guys have any questions and this is what it looks like the never heard of that this one comes from bolo buddy's member the quiet thrifter and she said i bought this at a yard sale for $10 it had some minor chips but was still a beautiful piece took a best offer of 127 50 and the buyer paid shipping it is a vintage 1957 michigan composition lamp chalkware jesus wall art incredible wow chalk chalkware wow some chalkware does amazing okay i love this next one too i picked this up at a garage sale for one dollar and bought a light bulb from amazon to ensure it worked the total investment was four dollars and it sold for full asking right price of 7199 now i'm going to tell you right now i'm pretty sure i had one of these as a kid um it's a glow worm it's from 1982 preschool original green glow worm glow worm plush toy and it works this is what it looks like anybody else have one as a kid all right this one comes from ohio treasure hunters who is also a bolo buddies member he said we got this out of the goodwill bends and would have paid around 25 cents for it this sold for full asking price of 94 99 plus shipping the buyer was all in for 104 74 it is a patagonia fits roy summer's shade cap vintage 1998 here is another one from ohio treasure hunters he said we got these out of the goodwill bends with the cheaper electronics weight price we paid around three dollars for these i took a best offer on them for 105 plus shipping buyer was all in for 129 11 netgear orby whole home mesh wi-fi router okay and that is what it looks like found these wigs on facebook marketplace for free sold for full asking price on ebay so this looks like it's a huge doll wig lot multi size and brand sold for $245 and she got these for free on facebook marketplace the other lot is multi size multi brand doll wigs 25 pieces that sold for 135 so you cannot be free let me know in the comments would you have parted these out or would you have sold them in big lots if you got them free would it have made a difference that's a lot of money 245 plus 135 for no investment incredible right you guys thank you much thank you much thank you so much for being here let me know in the comments if you made it this far and how you found the channel thanks for watching so i thought apart i thought no i'm sorry


Sunil Kumar S, Professor and Head Civil Engineering Department, Valtran Institute of Technology, Swalapur. So, today I will discuss about design of two-way slab, learning outcomes. At the end of the session, the learners will be able to explain the procedure of determining the effective span and the effective thickness of two-way slab and the reinforcement required in short and long direction for two-way slab. When the slab is supported on all four sides and the ratio of the longer span L y to shorter span L x is less than 2. The bending moment developed in both x and y directions as shown in figure 1. This is figure 1, you will find this is longer span and this is shorter span. So, you will find it deforms in both the direction, so bending moment you will get in both the direction comparably almost nearer to each other, shorter is more and longer is less, so therefore bending moment developed in x and y direction is predominant and hence design would be made for the reinforcement in both direction. Please remember for two-way slab main steel is there on both the sides along short as well as along long direction, it is known as two-way slab, please see the deformed shape, so the moment developed depends upon the edge condition also. In building we have we come across the following boundary conditions, so all four edges discontinuous or all four edges continuous first one then one shortest discontinuous one longest discontinuous two adjacent edges discontinuous two short edges discontinuous two long edges discontinuous three edges discontinuous and one long edge continuous three edges discontinuous and one short edge discontinuous, so all these cases are shown in this figure number 2. So this is number 1 is all sides of the slab are continuous, number 2 is the one short edge discontinuous, number 3 is one long edge is discontinuous, number 4 two adjacent edges discontinuous, number 5 two short edges are discontinuous but only long edges discontinuous number 6 here two short edges discontinuous one long edge two long edges are discontinuous number 8 all three edges discontinuous and one short edge continuous, number 7 all three edges discontinuous one long edge continuous, number 9 this is all four edges discontinuous number 9 is all four edges discontinuous, number 10 here it is simply supported slab without torsionality and this is with torsionality, number 9 is with torsionality. Now design steps for 2s slab find the effective span lx of the slab as per clause 22.2 effective span 22.2 of is 4562000 effective span shall be smaller of the two that is clear shorter span plus effective depth or center to center distance between the support in shorter direction assume effective depth of the slab small d as per clause number 24.1 node 2 of is 4562000 for 2s slab of shorter span up to 3.5 meter with mild steel reinforcement the span to overall depth ratio given below may generally be you assumed to satisfy the vertical deflection limits for loading up to 3 kilo Newton per meter square this is live load. So simply supported slabs 35 continuous slabs 40 for hysd bars the above value are multiplied by 0.8 find the load on slab the load on slab comprises of dead load floor finish and live load the load can be calculated per unit area that is load per meter square. So here dead load wd it is the overall depth of the slab in meter into 1 into 25 kilo Newton per kilo meter that is density it will give you in 20 kilo it will give the value in kilo Newton per meter floor finish 1 kilo Newton per meter square into 1 it is 1 kilo Newton per meter live load assumed as 2 to between 2 to 5 kilo Newton per meter square depending upon the occupancy of the building for residential 2 and for public 3 and for library it is 5 kilo Newton per meter square find the bending moment in x and y direction for uniform distributed load of entire slab on entire slab maximum positive bending moment tension at bottom develops at the center of span and support at support negative bending moment develops in the slab with various edge conditions the maximum bending moment per unit width of the slab are given in annexure d if you refer d 1.1 you will get mx is equal to alpha x into w into lx square my is equal to alpha y into w into lx square please remember both time it is shorter span only lx square only it is as per d 1.1 of is 456 2000 alpha x and alpha y are calculated coefficients calculated from table 26 and 27 of is 456 2000 depending upon the case. So, please tell me for 2 a slab bends or deflects in shorter direction in longer direction bends in both direction or none the right answer is it bends in both the direction that is option C. Now, this is table number 26. So, depending this is case number from 1 to 9 this is case number from 1 to 9. So, you will get this is l y by lx ratio from 1 to 2 this is the coefficient for longer span this is table number 26 use for case number 1 to 9. So, please remember here you will get the positive and negative bending when negative bending is over supports and positive bending moment at mid span. Now, table number 27 it is used for case number 10 for case number 10 we use the coefficient alpha x alpha y from table number 27. So, next find the area of main steel in both the direction as per g 1.1 b m u is equal to 0.87 f y a s t d into 1 minus a s t f y and b d f c k that is g 1.1 b or you can write it as a s t is equal to 0.5 f c k b d upon f y into 1 minus square root of 1 minus 4.67 upon f c k b d square. Assume diameter of the bar usually 10 m m or 12 m m and find spacing of the reinforcement which is given by area of 1 bar divided by s t into 1000. Provide main reinforcement along short direction and long direction of the slide having spacing less than whatever we determined above. So, that means please remember both are main reinforcement then you are supposed to draw a neat sketch showing the reinforcement arrangement. So, in case of 2-way slab you will find both the steels are very important that means along short direction as well as along long direction. So, whenever you go for the interior slab if you have an interior slab interior span case then you have to first find out L y by L x. If the L y by L x let us say it is 1.5 if it is 1.5 L y by L x then you will get the negative alpha x as 0.053 and alpha x is equal to 0.041 that is for negative bending moment is 0.053 and for positive bending this is at mid span and this is at the support this is over the support. So, therefore, you will get both the coefficient both are alpha x, but this is in the native value this will give you the positive value. So, this is at mid span and this is at the over the support and similarly on the longer side you will get for any value for all values of L y by L x you have to take the same value that is over the support it is 0.032 and at mid span it is 0.024. Now please remember the negative moment is always greater than the positive bending moment. So, therefore, so over the support we have maximum bending moment for the continuous edges. So, this is how we have to refer this particular table and here you will find for 4 edges discontinuous will win only one because for simply supported over the at the support it is 0, bending moment is 0. So, therefore, you get only at mid span and that is having maximum value. Then if you are this is a table with a torsion reinforcement provided at corner will be providing mesh of bars that is torsion reinforcement to avoid lifting up of the edges. Now this table we refer when we do not assume that we are if you are not providing torsion reinforcement at corners then you have to take alpha x alpha y from this particular table. So, this is the difference between these two. So, this we have already discussed these are the references used. Thank you. Thank you and all.


Hello and how are you all today? The question to be discussed is a man standing on the deck of a ship Which is 10 meter above the water level observes the angle of elevation of the top of a hill as 60 degrees and the angle of depression of the base as 30 degrees What we need to do is we need to calculate the distance of the hill From the ship and the height of the hill Now this is the figure that will help us In finding the solution to this question Here what we are given is angle D a e is Equal to 60 degrees whereas angle ACB is equal to 30 degrees and We are given that the height of the deck from the water level is 10 meter So AB is equal to EC as it is forming a rectangle is equal to 10 meters We need to find the length of BCD Right, let the distance of TV edge meters Now in this we need to refer to two triangles in triangle EAD and Triangle ABC Now let us first talk about EAD We are given we need to find out the relationship between Perpendicular and base right so we will be using the relation of tan theta that is Perpendicular upon base the perpendicular we have taken as edge meters and the base is a e Further, we know that here theta is equal to 60 degrees so tan 60 degrees is equal to Edge upon let a e be x meters if a e is x meter then BC will auto automatically be x meters right now We know that the value of tan 60 degree is root 3 so on substituting the value We have root 3x is equal to Edge let this be the first equation Let us carry on with the second triangle that we have taken now here also We have tan theta is equal to perpendicular upon base now here the perpendicular is a b Whereas base is BC now theta here is given to us as 30 degrees so we have tan 30 degrees is Equal to a b that is 10 meters divided by BC that we have taken as x meters Substituting the value of tan 30 degrees as 1 by root 3 so 1 by root 3 into x or 1 by root 3 Into x is equal to 10 or X is equal to 10 root 3 now we know that the value of root 3 is Equal to 1.73 So x is equal to 17.3 meters Now we can substitute the value of x from second in the first equation we can find out the Distance of edge So we have H is equal to root 3 into x That is 1.73 as root 3 is 1.73 Into x which is 17.3 now here We have its value as 30 meters approximately that is further equal to H. We have taken as D e now here we were required to find out the value the height of the hill right so The height of the hill is 10 plus the value of H. Now what we have found out to be 30. So CD is equal to E C plus V e that is 10 meters plus 30 meters that is equal to 40 meters right so our final answer is therefore the distance of the hill from the ship is found out to be 17.3 meters and The height of the hill is 40 meters So this ends the session I was taking hope you have a great time and bye for now


Good afternoon, everyone, and welcome to Human Humane Architecture here on ThinkTechAway. I am the co-host of this program, DeSoto Brown, and we are joined today by our actual host, who is Martin Desbang, who's speaking to us from Germany. And just a second, we're going to see Martin on the screen with me, and it's afternoon here in Honolulu, but poor Martin has to speak to us in the early morning from Germany live. Well, that's okay. He sees up and he's ready to go. And Martin, why don't you tell us what we're going to be talking about today? Welcome back to Solan, everyone. It's a pleasure to be reunited. Why don't we, being away, take advantage of that situation and take a little bit more distant view of our islands? And so if we could get picture one, because we were both traveling, you're currently in Honolulu, but you will be gone in a little bit, and you were away. And tell us where that was and how that relates to the first picture as well. Well, I was in New York City briefly last month and in May, excuse me, and you can see a picture of me in the upper left corner. And while I was there, I came and went through JFK International Airport. And this airport has a very iconic building in it, which is the TWA departure or the TWA terminal, we might say, which built in, I think we said it was 1962, thereabouts. I had hoped to see it, but I just saw a really brief glimpse of it driving by to get to my terminal. And it is now being turned into an airport. And so if you look at this picture, you can see there are two buildings being built behind it. It's now going to be the lobby of a new airport structure. So I wasn't able to actually go in it. Yeah, it's actually a hotel. So it would be the lobby for an airport hotel. And that reminded us, I mean, the architectural approach to build the what hopefully will be a pretty sort of simple blank structure in the back that becomes the background that reminded us of the project that we did almost a year ago that we recall at the top right of the image here, which is the Blaisdale Center, where we would have hoped they would take a different sort of a similar approach and not a different approach where they built a new program in the back and then keep not only the arena at the concert hall, but also the exhibit hall in the middle. Unfortunately, that would not be the case. I guess they didn't listen to us. So they will take a different approach where they make a new exhibit hall that we hope they can achieve the same architectural level of excellence as the original one at. This gets us to the next picture, which, you know, is tough these days, especially in the sort of typology of event architecture. And on the next picture here, we see something that's not around anymore. If you were, and this is a building by an architect that we have one in Honolulu to these West Center of Ohio and pay. And this was a terminal from the seventies, I guess, and it was torn down, unfortunately, in 2011. So let's go back to Honolulu and see what we have as far as aviation architecture. So the next picture, number three. And you were pointing out to that in one of your recent shows, we were talking about the evolution of tourism on the island of Oahu, and the picture at the top left was referring to that, that he said airplanes really broad mass tourism attention to the island. Right. That's right. Yes. So what we're looking at here are two pictures of our two different airports. The one in the upper right corner is the original Honolulu International Airport built during World War II and kept in use until 1962. Very small wooden structure open entirely towards the runway side. Very easy breezy as Martin likes to say. And then we moved to a new airport structure, which was built to accommodate jets. And you see in the lower picture, there's a continental airlines jet at the new Honolulu Airport. And that's what we're going to talk about, which has been through some different evolution. And I think Martin, do you want to say anything else here? Should we go to our next picture? Just looks very, you know, not just easy breezy, but tropical exotic to me. I see more palm trees at the original structure than anything. I see whole Gula girls dancing right up next to the airplane.  So next picture, we can see these are all postcards from your archives. Thanks for providing them. And you can see how the how the airport evolved pretty fastly and trying to catch up with the increased, you know, people flying, right? Correct. And it originally consisted of the central control tower and then two departure lounges on either side of that and a big open expansive parking lot right in the front. And all of that has changed a great deal because our tourism has increased so much. And we're going to be looking at pictures of the way the airport has been modernized, the way it was changed in the 1970s. Go to our next picture. And here's a picture of the airport as it is today or close to as it is today. And one of the things that's changed is the construction of the H1 viaduct in front of the airport viaduct from which now you exit onto these huge off ramps and on ramps. And that's your experience of getting to the airport. And we also have the two wings at either side of the airport, which were built to accommodate 747s and bigger planes in the early 1970s. And that's... And it's compiled postcard pretty much. Something has changed too recently, which is even the name of the airport, right? Yes, that's right. Not called like that anymore. That's right. It's not the whole little intervention. Was it called now? It's called the Daniel K. Inouye Airport. And some people have raised a question about that because it's really not a very nice airport. And is that something we really want to name after him? However, we don't have to go there. I guess next, our picture. Talking architecture. And this is of the expansion, the later expansion and except the bottom right picture, we can see easy breezy and an open, you know, hallway concourse. But everything else doesn't look very much specific to Hawaii anymore. It looks pretty generic to me, right? Yes. I think you're absolutely right. It is very generic. And of course, airports have a very specific function. So maybe that's why a lot of airports look very similar all over the world. Yeah. Anyway. So next page is another compilation of postcards that you provided. And you told me the funny... And you can see how it grows and grows. Infrastructure grows. It's less sticky. And it's more sort of corporate American airport architecture. And then at the top right there is a sort of desperate attempt of still making it look Polynesian, which you said was the sort of fountain that wanted to pretend to be a volcano, but you never bought into it, not even as a kid, right? No. No. It was colored lights showing on water. Didn't really look like lava, but that's what it was supposed to look like. And if you look in the lower left corner, you'll see a picture from the early 70s of the airport beginning to expand with this large parking building that's right in front of it. So no longer as you approach it, do you see it? And then it also has the two wings or the two other departure lounges being built on either side of the original ones. And let's go to our next picture. All right. Let's zoom into that and go to the next picture, because that picture shows that. And that's from the 60s originally. And it's a very clean functional utilitarian structure that has a lot of poetry within that austerity. And it's sort of a double beam that stands very far and wide to the columns at the very end. And everything is pretty much wide open. And you point out that the ceiling here was sort of flush and flat, and the light fixtures were sort of inserted into it. And then there was an addition that was in the 1970s. And I guess that's the next picture where the famous wallpaper magazine had to feature that. And that was around Dean Chakamoto's exhibit of tropical modernism that he wrote a book. And so they feature that as one of the examples of fine Honolulu architecture of its time. And so if we go to the next picture, let's catch some attention. If you guys Google and go online, you'll find this guy, Christopher Dukes here, who did this little blog about the architecture. And he quickly identified the style of the architecture that we have pointed out in a couple of shows. And this is a fine piece of tropical brutalism. Yes, it is. Yes, it is. I agree with you completely. The image is going with that. So the next picture is from your archive. This is that to the brutalist shedding. And you can see the flower power in it. Yes, you can. Yes, you can. These are those 70s terminals in use when they were brand new. And really, they don't look that different except for the clothes that the people are wearing, as you pointed out. And as you said, he's slightly distinguished. So Oscar was sort of working contextually because he found the original condition that we saw a couple of images before. What he did here differently is the ceiling, which he sort of undulated. So you got these ups and downs, and the light pictures were sort of integrated in the low point. So you get a more indirect light source, which is a better one. So it's an improvement, but he was working within the genetic code of sort of the already given sort of brutalist sort of functionalist approach. And next picture, these two pictures is two we took. And lucky us, it's pretty much in the same original condition. Very little has been changed or altered. So kudos to people at the airport who resisted that sort of temptation to remodel it, to give it make-up and makeovers, right? Right, exactly. And that's one of the things that I don't like. Exactly. And early in the show, next picture, we want to come with some recommendations here. And this is now a picture from me traveling on my way back to Germany two months ago now almost, which I went through Tom Bradley International Airport in LA. And this is sort of a mix you think because you see at the top left, which you said, what does it remind you of? Well, it looks like the Sydney Opera House got pulled and stretched in a long line. And so it does have similarity of those roofs, but it's a completely different building. Exactly. We had a colleague of mine that we want to greet, that's Maki Tsagimaki, who's from Finland, who found that actually the architect of the Sydney Opera House, Yon Utzon, had some relationship to why, because that client burned him so much that he needed to recover on our island of Oahu. It was getting inspiration for another project that the church needed. So this is an interesting relationship. But this airport is really sort of like, they tried so hard to reconnect to these glorious days. We put in that little picture of the TWA again. So there is this attempt and this sort of, you can see they want, they tried so hard. But when you look at the details and even the way it's composed architecturally and tectonically, it's not anywhere close. So it's almost, I'm almost close to saying I hate that being a recent American, that we Americans lost it, you know, because we can't do it anyway.  So where are these good old days, right? And not to get further depressed, let's move on to the next picture. You're sounding like me. You sound like me, the good old days, right, right, right, yeah. Yeah, there we go. So good old days, next picture, there is something left still from the good old days. This is a piece of, five pieces of Gooby architecture on LAX, which does really have a name, sort of a signature building. It was by a guy whose name was Pereira. And Pereira was mostly known for his trans-American Pereira, the Thai rise in San Francisco. He was also the campus architect fleshed Dean at UC Irvine. So he built this thing here, which is currently a restaurant. And on my way to moving to Hawaii some six years ago, I was in this restaurant, which is called Encore, I think, and I have the best spicy chicken burger ever in my life. So I can recommend that. So let's see what we have sort of left and, you know, what people started to do on our airport.  This is what you saw until not that long ago, which was a pretty clean, modern, you know, horizontal roof line. That next picture, unfortunately, someone thought they must update that.  And like they wanted to pretend it looks like a horn or something out. It looks pretty silly to me. And especially if you look at the way it's constructed, it's a sort of assemblage of different layers of invasive material. So we're thinking, better don't do that. This is what the mindset of the indigenous people, they were anywhere in the world and not in Hawaii, either would have ever done that. They did things that made tens and this is more nonsense. Yeah. And what we've gotten out today was a flat horizontal surface as a roof, which now has this little kicked up thing, which as you point out has these kind of things sticking up that are supposed to look like Polynesian things, but don't really. Yeah. Exactly. Just don't. And this reminds us of something, next picture, a couple of shows ago here next door to me back in Waikiki. This is the New Denys, which we have critically observed this sort of, you know, notion of pretending. So it's notion of surface rather than substance.  I mean, now it's totally completed. You drive by there every day, but it's pretty much what that is. And so we just say, don't do that because the next picture is because the airport has some really cool substance. And let's, you know, look at some of these sort of details and features. So Christopher Dukes, the guy, once again, the picture at the bottom variety channel leaders, he points out in his block and they reminded us of the top right pictures, which is Pete Wimbley's Coco Palm Resort, or at least we should say was under construction, but that's a different story. And I'm curious, and probably they probably won't redo these chandeliers.  They did not. No. At some point they were, at some point they were proud to have ticking torches, but they didn't have before they found out the computer nut oil can burn, you know, chandeliers they didn't have. So this is again an interpretation. This is American technology, you know, Thomas Edison's light bulb, you know, and, but they, they interpret that in a, in a Polynesian in a fun way. So the chandeliers are really, really special and really, really cool. And they also are left to it. Yeah. I also want to point out that the color is also very typical of the 1970s. Earth tones, burgundies, browns, yellows, that fits in exactly with when this building was constructed, when these wings were constructed in the early 1970s. And as you started to say, it interrupted you on the left, some of the tile work is still there. A lot of the tile work is still there, which again, it's not a literal interpretation of anything Hawaiian, but it does have a suggestion of some types of tropical form. So it's still there. Reminds me of our show about the Lua Street Apartments and the little fit, ceramic, you know, tiles and stuff like that. Right. Those abstract symbols, yeah. The next couple of pictures, you went to the airport, took some great detail shots here. Next, next picture is once again, just like the Christopher Dukes guy, his actually sort of title of his blog was furniture in the airport specifically. So here it's about benches and they're pretty much cast in plates, concrete blocks are topped with a local probably coa wood topping. So you sit on warm wood. But again, the whole structure is sort of stereotypically, monolithically concrete. So also the big picture here is these benches with these wooden planks in front of the very sculptural concrete wall that we want to get to in the next picture. Yes. And here we see. And so concrete, we have at the top left a reference to another fine piece of local brutalist, tropical brutalist architecture, which is the Royal Hawaiian shopping center where they took way more effort than Bush hammer. So they scored, you know, these lines into the concrete under a lot of, you know, manual force, whereas here it was done differently where they're using wooden boards and they just left the space, the boards apart from each other. So the concrete while being compacted and condensed could pour out of the gaps. And this was obviously, you know, then happening irregularly that gave us very, very interesting sort of texture to the wall. And the bottom right pictures are sort of a reference to us pointing out that concrete was and still is one of the prime materials on the island that has a lot of potential. And you identified and discovered an interesting phenomenon of sort of participatory interaction of the people on the airport with that concrete and that's on the next picture. What is that about? Okay. Well, in this picture you can see this is in the baggage claim area and so many people have rubbed against that wall and pushed baggage carts against it that they've actually worn off those skinny little vertical ribs that were originally on the wall. And I, when I saw this actually had to go up and touch one of them to see how robust it was and to see could it actually be chipped off? Well, not with my fingers it couldn't, but with a lot of wear and tear it does go away and you end up with a still textured wall but without those vertical ribs so prominently in place as they were originally. Very interesting. So very tactile architecture, very haptic, right? Yeah, yeah. So next picture is two pictures in one that the top one is these walkways from the parking structure to the terminal, which you pointed out is various in a light way. You can see the exposure of the structure as being trusted. Yes. Whereas the big picture is basically how you go down to the baggage claim. So it's very sort of earthy. It's very, very stereotypic. It's very sort of ethereal, whereas the top one is very sort of ephemeral. So it's a great sort of articulation of different tectonical system, very educational architecture. Yeah. And two different experiences in the same complex. And I also said that that upper walkway that you go over from the parking building over to the terminal building, those cross beams remind me of the way Ward Warehouse looked. And that was one of the subjects, of course, of our previous shows, too. Which is unfortunately gone. And we got to do a follow-up. That's a whole other subject, which I'll talk about. It is, and we will do a show about that. Yes. It drives me crazy, but let's wait for that show. Next picture. Next picture is a compilation of, again, once again, the nature of this architecture is sort of solid math and how you carve out that math and basically avoid the solids. And once again, the original condition of the Royal Hawaiian Shopping Center was using exactly that strategy. And you can see the details of the airport follow that same sort of philosophy of tropical brutalism, which, by the way, Timothy Shuler, who's a co-host of the shows of the recent weeks with our local MOMO board members, is about to write an article about. So you guys stay tuned and be excited about that. Yeah. I'm excited about that. Yeah. No, we totally are. And so next picture is, there's hope because even though they have to update the airport due to different needs of security and expansion and things, they pretty much stick to the original notion when they do things. Never mind that little stainless stained glass detail in the back with a more literal floor pattern. As we pointed out, in the back, you were not literal. You were abstract. You were interpretive. You were suggestive. So we suggest that they were suggestive. But that aside, people pretty much respect the condition which we support. And the next picture is some details that you pointed out are from actually the back in the days, the wooden slats, right? Correct. I think those wooden slats were installed in the early 1970s at the time of the renovation. They serve as a sunshade to cover up the windows on the Makai side of those structures, which otherwise normally led in a great deal of afternoon sun. They've got this wave pattern made into them in a 3D manner, which is intriguing. And then at the below those, you see there's this blue mural that is behind the ticket counters. Martin thought that that looked like it was of the correct time period, original, to the 1970s. But actually, this blue one and the orange one, which are two different of the departure terminals, are very recent. And so you pointed out that this is actually rather thoughtful to correlate to the original appearance of those 70s buildings. They fooled me in a good way, exactly. That's the way to go. That's right. So next picture is some artwork in the airport here of this guy here who was using these sort of rocks on ironwood planks, contrasting the concrete. And that's a very classical way of, you know, using the softness of wood to sort of warm up the harshness of the concrete. We've been using that in our professional work in the kindergarten at the top right, and also in the Permitiva project. So we use, you know, invasive wood species, cut it down to lumber, and sort of contrast our rugged concrete structures with that. So next picture, traveling also on Founding Father J. Feidel, who is in the top left corner, speaking to our emerging architect audience in another prime piece of proposed architecture, the Plaza of the Pacific, right next door where you sit right now. And in a publication wallpaper, again, magazine on the top right, the three pictures where we were featured with our translation project, it was called Travel Top 25. I think we were 007. And another number was what you see in the little picture of the second to the right, which you think is about clubware or something like that. But in fact, it was a very clever, which the wallpaper magazine, if you go down to the substance of it, it had some very, very interesting critical take on things.  And they said in, in Helsinki, the traditional then Tay International Airport, the Pope is pleased because he can kiss wooden floors. So Jay went to Reykjavík, and this is a picture I took when I went to Reykjavík. And on the top floor, they have wooden, they have wooden floors. So we're just encouraging to stick with that sort of, the turtle of wood, which they already do. So this is a good thing. So we have like few minutes left. So let's go to the next picture, which shows us, which I, you fooled me because I thought that was the most recent condition. But this is a rather historic postcard as well. This picture is already older than you would think. First of all, there's no inner island terminal, the Hawaiian airline terminal, which is there today. There's not the other secondary parking building isn't there. And there also are no connections to the freeway. So this picture is actually probably from the 1990s. It's already over 20 years old, and the airport has changed even more since this picture was taken, even though it doesn't look as old as it actually is. Let's go to our next picture. And the next picture, we try to find one picture from all your great pictures you took out there that is most symbolic for what the nature of the airport is. And we think this is like, it's this, it's like this sort of cast in place, tropical, exotic, brutalistic and sit in the architecture, architecture as furniture, furniture as architecture. So a very good example for that. So we would say stick with that. And next picture is a project we did some years ago, which is a school cafeteria, which is using the same sort of tectonic strategy of pretty much making it a hangar, you know, wide open, wide open spacing and see the exposed beams, the contrast, wooden concrete. And on the outside, I was happy to see in my post occupancy evaluation, traveling, I saw some weeds growing, you know, around it. So maybe, you know, landscape, nature and architecture make for a good team. And so next picture is, that's what we propose for what project is that. Well, this is one of the Primitino projects. And it makes use of not only architecture, but it makes use of the open air and it makes use of vegetation. And we're almost at the end of the program. So we've got to do our one last picture here. And that was Martin was saying that when he first arrived here, he was very pleased to see that there was nature incorporated into this huge concrete monolith of the airport viaduct. And you said that was one of the reasons you chose to come here to live, rather than another airport, another place where you were potentially going to be offered a job as well. Which we see at the bottom left, this is somewhere in the boom docs on the mainland, which is with an average, you know, postmodern little regional airport that they made us wait for half an hour to get the plane, the plane.  So we have that picture of the flowering. We don't mean this literally. We mean this figuratively. So the smell, the scent of tropical vegetation is something that we recommend the airport authority to dwell upon. And, you know, we were talking about the viaduct in Nimitz. This is probably not the most scenic, but as you can see, when nature starts to take over and basically contrast that or compliment, that's sort of our concluding suggestion that's the way to go. So stick with sort of the tropical exotic feature, try to keep it as easy breezy as possible and just stay with that. Okay. Well, thanks, everybody. Thanks, everybody, for being here. This is Human Humane Architecture, I think, Tecawaii, and we will see you again on our next episode next week. And until then, aloha.


This is a video to show you how to extend a CAT 6 cable using an inline CAT 6 joiner. Take the stripping tool and strip off the outer plastic sleeve. Repeat for the second cable. Separate out the inner cable cores. Cutting out the central plastic divider. Place the first cable into the side of the joiner, and note the matching colors. Untwist the pair, just enough to slot into the termination slots and place securely. Ensure that both colors match the panel. Continue and do the same for the three remaining color pairs. Double check the colors match. Continue with the second cable in position 2. Once again, securing the cable pairs into place by color code. Take care to only untwist the bare minimum needed to slot in. As you can see both sides match. Once in place, terminate all cables with a punch-down tool. Ensure you hear a distinct termination click. The tool should automatically cut off the spare cable. Continue down both sides. Now you have a permanent CAT 6 join. Secure both cables to joiner with a cable tie. Then cut off any cable tie slack. Finally, secure the joiner with the protection case. Further assistance or a free survey, please email or call on the details below, and click like and subscribe if you have enjoyed this video.


All right guys welcome back to the 21 convention. I hope you all enjoyed your lunch as much as I did our next speaker that we Have lined up for you has been featured on the New York Times VH one even a dr. Phil show But that's not nearly as impressive as being a four-time speaker at the 21 convention He's going to talk about the things that hold you back that you can't see without further ado DJ Fuji Please take the stage Orlando This is your three. Let's see if we can sound out for like we got a pair. Good afternoon, Orlando Let's give a round of applause To your host and to Anthony Johnson and to your entire staff My name as you all know is DJ Fuji and I'm here to talk to you guys today about blind spots I thought a lot about what am I going to talk about that someone else hasn't already covered What am I going to cover? You guys aren't bored to tears of hearing I realized there's a lot of things out there that nobody actually knows is holding them back There's a lot of concepts. There's a lot of things a lot of drills There's a lot of things out there that are holding you guys back. The problem is you have no idea So today we're going to talk about blind spots Blind spots are undetected cancers There's a cancer in your body that's eating away at you the things that are holding you back in game in life In career in everything the problem is you don't know they're there. You don't know what's causing them You don't know what's creating that problem. That's what we're here to eliminate today Blind spots are a little bit like driving. We've all been driving right and we don't check our blind spot We make that lane change person behind us honks Or the person next to us that we're about to hit. Hopefully they honk Hopefully we don't just plow into them and there's some Asian guys sitting here So I know you know what I'm talking about Well as they're called blind spots You don't check your blind spots. You don't check for that car there You just plow right into it when you look in your mirror. You can't see that blind spot That's why it's called the blind spot same thing and pick up it in game. These are concepts that no one teaches I don't know why I try to figure it out No idea why nobody teaches it the things that no one ever covers ebooks DVDs courses No one talks about these things. So that's what we're going to cover today First off a personal question We're gonna do a quick test for social pressure Okay, I want you guys I'm gonna ask you guys to be really honest and this is gonna be potentially embarrassing But I want you guys to be really honest with me. Okay at the age of 16. Who here was still a virgin? Okay, keep your hands up.  Okay.  I want you guys to get better. That's what we're here for All right, give those guys a round of applause and to those of you guys watching at home. This is where you missed out again. I Hope to see you guys here next year. All right, let's move on some things. You're gonna learn today Why sometimes even the best coaches can inadvertently hurt your game and a lot of times we don't even know that's happening Sometimes the best coaches will give you advice that hurts your game. How do we prevent that? We're gonna learn the pitfalls that most students make over and over and over again Because they don't know what it is and therefore they can't correct it We're gonna learn the two skills that you have to know to stay out of the friend zone I felt like I was in the friend zone for like 10 years. It sucked probably longer than that But just in my development here I was in that friend zone for a long time because nobody taught me how to get out of it Nobody said this is what you do. Everyone just said I'll just keep going in field. You'll figure it out. They said oh just escalate It didn't help me. We're gonna talk about what you have to do to stay out And we're gonna talk about how to unlearn several commonly accepted theories Some things that you guys expect to be true you think are true because you've been told over and over They're true, but they're not. These are blind spots gentlemen Good and bad advice. That's our first thing. This is gonna be 10 things 10 blind spots That are gonna hold you guys back the first one


Welcome to the fifth unit of NASA and Sailor Foundation's Space Systems Engineering online course, Unit 5 Requirements. So let's review the objectives for this unit. First, describe the characteristics of a requirement and the meaning of the word requirement, how it's used. Identify the various types of requirements, their definition and how they differ from one another. Describe the source of requirements and the process of requirements development including system decomposition. Describe requirements traceability and the importance of developing a traceable flow-down of requirements to lower levels of responsibility but higher levels of detail. Recognize that requirements can change during the execution of a project and describe the impact of such change. And describe the process of capturing the change in requirements. Subunit 5.1 Requirements Overview. Although the scoping exercise that you see here that we went through in a previous unit does provide a good overview of how the mission should be developed, we need to define a lower level of detail for the system designers to actually go off and to finish a design and build the system that needs to meet all of the things that you've defined in your scoping exercise earlier and that's the process of capturing requirements. A requirement is a characteristic or a statement that captures the understanding of what's to be done, in some cases how well it should be done and in some other cases under what constraints should it be done. As we said, a requirement is a contractually binding statement. It's a documentation of a problem space that provides definition to a problem and it's a means by which people communicate within the engineering community. Now, earlier we laid out the needs, goals and objectives for the Apollo mission in Unit 4 and now we're going to demonstrate how you can take system engineering tools and go from that high level scoping exercise of needs, goals and objectives down to more detailed requirements that are required to design the system. First in this discussion about requirements, let's talk about different types of requirements. They're not all created equal. So if you look here on the next slide it shows that there are three different types, functional requirements, performance requirements and constraints. So each one of them is going to look a little different and be defined a little bit differently. So let's walk through each one. I'll give you an example. The first type of requirement is a functional requirement. So see your very discrete definition. It defines what an item must do. We're going to use the Apollo example of the VHF radio. The VHF radio is just a way for the crew on board the Apollo capsules to be able to talk either to the ground or to astronauts that were outside during a time when some crew members were inside the capsule, some were outside. And so they had to be able to communicate. So they had a radio, a VHF radio. So you might be familiar with a VHF radio. But there had to be very discrete requirements defined for that radio to be able to make sure you bought the right radio and made it configured to the right configuration to be used. So in the world of functional requirements you see here that there was a requirement that said the command module VHF system. That's the module where the crew is sitting. They have their own radio. It should be capable of two-way communication with the Earth during the time that the Earth is in view and they can communicate down to the Earth. And that shows that it's during the mission and even when they come back and they land on the surface and they're floating around in the water at the end of the mission, they need to be able to communicate with other assets on Earth. So that radio is going to come in handy throughout the mission. And then it also says that they also need to be able to communicate with astronauts outside the command module. If while they're in space one of their crew members needed to go out, they actually did some science experiments where one crew member would leave the capsule and have to float outside and collect some science experiments. Or there was a case in a contingency where some crew members might have to transfer. They've launched from the moon, they're docked to the command module to come home and then they can't physically get through the tunnel inside so they have to go outside. So the command module radio needs to be able to communicate with those crew members outside. So that's another requirement, a functional requirement for how that radio has to operate. And lastly, the command module, the cone capsule that you see in Apollo that takes the crew to the moon and puts them in the lunar orbit needs to have a radio that can communicate with the lunar module, the bug-like module that goes down to the surface with two of the crew members. So they need to be able to stay in voice communication during that trip. So again now when you go to buy the radio you know that you've got these functional requirements. I need to be able to communicate from my capsule down to Earth, my capsule to an astronaut outside, or my capsule to the people in the lunar module. That's a functional requirement. It's a function that I have to be able to perform with this unit that I'm going to build. Another type of requirement on the next page is a performance requirement. So in this case it defines how well an item must perform a function. So not only it needs to perform it, but now there's some caveats, some additional information that says how well must it perform that function. So let's again use the VHF radio for Apollo as an example. And now you see a requirement on the next page that the command module s-span, so this is not the VHF, sorry for the confusion, the s-span radio system. There's a separate radio that's going to send data down to the Earth. So this is not the one that you're going to be talking on. This is a way to get data about like the health of the spacecraft. So is the power system working okay? Is the propulsion system tank working okay? That data from your computers on board has to get down to Earth as well. Not only to be able to, you're not just talking, you're sending down data. So this s-span radio that sends down the data has to be able to transmit data back to Earth at 1.6 kilobits per second. So now you've got a performance requirement because it's saying exactly what that data rate needs to be. So if any of you guys have had dial-up internet in your life, 1.6 kilobits per second is pretty darn low, right? But you know, hey, this is folks going to the moon. So even a small amount of data coming back will be enough for them to evaluate the health of the spacecraft and make sure the mission is going safely. So these performance requirements are saying, okay, when I go out to buy the radio, not only does it need to be able to talk back and forth, but it also needs to be able to send data back to the ground and data in a certain quantity. That's the aspect that makes it a performance requirement. So the last one is a constraint. These could be federal regulatory constraints. It could be all kinds of constraints that this requirement states that says there's some constraint on your mission. And we'll stick with the VHF radio example in this case. And so in this case for the command module VHF radio, the one that you're using to talk, it has to be able to communicate between 250 and 300 megahertz on the spectrum. Now, you know, when you tune into your car radio, you tune into a station, every station has been allocated to a certain company to be able to broadcast. Same exact thing for space flight. So groups like the Federal Communication Commission, right, the FCC, they assign different parts of the spectrum of communication, not only for ground communication, but for space communication. And so the radio for Apollo had to operate within a certain regime as defined by regulatory constraints that were levied upon the system. So you can see how you now have a radio system that you've defined what functions it needs to perform, you've defined what level of performance it needs to give you, and then you've also defined some of the constraints that you have to build the system under. So now when you go off to buy the radio, you've got a lot more information to make that purchase because you've defined these three types of requirements around it. So one thing to keep in mind when you're doing requirements development is that there are three different types of requirements and use them appropriately to kind of define how the system is going to need to be built and operate. So next thing about requirements is, okay, you've got these three different kinds of requirements. Well, for any given system that you're going to build, you may have hundreds or thousands of requirements. That's a lot of requirements. So how do you organize them? How do you make sure that you have enough requirements to build your system?  So the next thing we're going to talk about is how do you organize the requirements process. And so just like we talked about before in the world of scoping and an earlier unit, we went from needs to goals to objectives, where each level was a little bit more refined, a little bit more detailed, but each one supported the one before it, right? So, you know, you start off with a high-level thought and you keep going down to lower and lower levels of detail, and that's what we're going to do here. So you had a set of objectives in the scoping exercise and now you want to develop a set of requirements that will support meeting those objectives. So now this requirements process has got to be tied back to needs, goals, and objectives. And just like everything about system engineering, you think about system engineering, the life cycle itself is broken down into discrete small steps that are easy to define and accomplish along the way step by step, right? Same thing happens in requirements. You're going to define things in smaller and smaller increments so that you get down to a very refined, very specific set of requirements for each specific part of the system. And then you're going to put all that stuff together to build your final system. And so requirements will flow down from top to bottom and that's what we're going to talk about here. So on the next page you see the hierarchy and we're again going to use the Apollo example of how requirements lay out in that hierarchy. So at the top, well, let's kind of move along the left-hand side of the page first. And so you see some labels and so the top level says mission. Under it is system. Below that is segment, element, subsystem, component, and part. So the idea here is that these are the various levels of requirements that will be defined for the system starting all the way up at the top where the mission is the mission you defined in the scoping exercise. And now you're going to take that and you're going to build requirements at lower and lower and lower levels of detail to get this entirely flushed out so that each manufacturer will now know what are the requirements for my radio? What are the requirements for my power battery? What are the requirements for my propulsion thruster? So that's what you're trying to do is you're trying to break this into smaller and smaller pieces where you can clearly define requirements at the lowest level but remembering that these requirements have to trace backwards. So if I said I bought a certain kind of radio for the Apollo command module and that was defined by very low level component requirements or port requirements I should be able to trace it all the way back up and say it's because it has to fit into this system that will be operated on the way to the moon that will accomplish the objectives that you heard earlier President Kennedy had defined for Apollo. So everything that you do ends up having to flow back to that high level set of needs, goals, and objectives. So that's the intent here. So we're going to kind of walk through and I'll kind of quickly show you along the way how for Apollo at least you could take that high level set of requirements and keep going to lower and lower level. So you have one example for each level to kind of show you how the structure works. So we're going to go through this hierarchy of requirements and we'll start with level zero. So level zero requirements you see an example here on the page perform a human lunar landing by the end of 1970s. So that comes right out of the president's speech and the system you're going to build you want it to be able to meet that requirement. So that's a very high level requirement. Let's go down the next level. So at the next level the segment level or at the system level you see a requirement that says return 80 pounds of lunar rock and soil samples to Earth without contaminating these samples. So you start to think about okay that gives me more information about how to design the system because it's really specifying an amount, it's specifying that I can't contaminate them and so you can see I'm getting down into more detail that'll help me define my system. At level two you go down to the next segment, segment level requirements. It says that for the flight segment, the flight segment shall have a mass of no more than 40,823 kilograms at injection into lunar transfer trajectory. That means when they leave the Earth, head it off to the moon, that's the maximum mass of the vehicle. That's the maximum mass that the rocket can push to get to the moon. So now you've again defined something that when I go off to design the system I have to make sure that that's the maximum mass of the system. Go down a little bit lower level, the level three requirements and you see these are the element requirements. And so one of the elements is a lunar module. So again you can see that the problem is getting smaller and smaller. Now we're down to defining requirements for the lunar module specifically. So on the lunar module it says it shall be capable of 45 hours of operation on the lunar nearside surface to side face in the Earth at any time that the nearside is in sunlight. A week, two weeks of time defines a lunar day followed by two weeks that define a lunar night. So if you're ever on the moon, you're going to go through a period. It's not like a day where it's 24 hours and you have light for a certain portion of time. On the moon it's two weeks of light followed by two weeks of darkness. And when you think of the lunar cycle, when you look up in the sky the moon being lit up and the moon being dark at some phases, that's exactly what we're talking about. So all the Apollo missions were accomplished while the nearside, the side face in the Earth was in sunlight. You didn't want to try to send astronauts to the moon when that side of the moon was in darkness. So the lunar module had to be able to survive on the surface for 45 hours while that side of the moon was in the sun. So again that's really helping me understand for this lunar module how do I have to design it? What's it got to look like? It's got to be able to withstand really high temperatures. It's like over 200 degrees Fahrenheit in the sun. So I really got to design a system that can withstand those kind of temperatures. So go down to the next level, level four, the subsystem requirements. And here it says the lunar module docking system. So now I'm not talking about the whole lunar module. I'm defining requirements just for the docking part. The part where the lunar module is going to have to dock to the command module so the crew can transfer back and forth between the two vehicles. So here it says that the lunar module docking element shall be designed to permit a single crew member to affect an unassisted docking with the command module in lunar orbit. So there are two people coming back from the moon. What if one of them is injured? What if one of them has some kind of medical issue that they can't help in the process? Well, the system should be able to be driven, the lunar module should be able to be driven back up into orbit with just one crew member at the controls. And so that's again a requirement on how you have to build that system. Take it to another level, level five, the component level. And here you're down to, again, we're still on the lunar module, you're now down to just the rendezvous radar. So the docking system that's going to dock the two vehicles together has a lot of requirements. But now we're going to talk about specifically requirements on the rendezvous radar, the radar system that's going to aid them as they go to dock the two modules together. So here it says the lunar module rendezvous radar shall be capable of tracking the command module from a minimum distance of five feet and a maximum distance of 400 nautical miles with an accuracy of plus or minus one percent. So it's saying that, hey, I need a radar system that if I'm inside the command module or the lunar module, I should know how far apart the two vehicles are to plus or minus one percent whether the vehicles are close together up to five feet or even if they're 400 nautical miles away from each other, I need to be able to know with this radar system how far apart they are. That's going to help me in doing my docking. So, again, another set of requirements is getting down to very low level of detail on how this docking radar should work. And the last level, the lowest level of requirements that we're going to define are the parts level, the level six requirements. So at this level, we're talking not only about the rendezvous radar, but now we're talking about the motors inside that radar. And what are the requirements on how those motors need to drive the radar as the two vehicles are moving towards each other? Because, right, they could be coming towards each other maybe at an angle. The radar needs to be able to move back and forth, and so there has to be a motor in there to be able to track and allow it to move to track the two vehicles. And so it says here that the rendezvous radar drive motors shall be able to move the antenna, the radar antenna, across its full range of motion at up to seven degrees per second. So there's some assumption being made about how the relative rate that the two vehicles will be moving with respect to each other that this radar needs to be able to move it up to seven degrees per second. So again, when I go off to buy this radar system, I have to make sure that the motors are capable of tracking with that rate of speed. So you can see we just went from very high level requirements, things like you need to be able to go to the moon before the end of the decade. You need to be able to collect what it was, the 80 pounds or whatever it was of mass and bring it back, right? 80 pounds of lunar rocks and bring it back to Earth. Those are very high level all the way down to the drive motor on the radar. So that's what we're doing here in the system engineering processes. We're taking a very high level system concept and we're breaking it down into smaller and smaller pieces and defining requirements. I used one example. There are again hundreds to thousands of requirements that are at each level of this hierarchy for every one of those components, every one of those subsystems so that you see mentioned on the chart. So that's really the key process here is breaking things down into smaller, more easily defined parts. Then you can go off and procure or build all those parts, put them all together and you should have a system that operates to meet that high level set of needs, goals and objectives. That's the way it should work. Now, one of the things you could probably see is as you break it down into smaller and smaller parts, what happens?  You're going to put them all together into a system, so they have to operate as one unified system at the end when you put it all together. So what are you going to do? Well, you're going to go through and you're going to look at all the interfaces between them and make sure that you've clearly identified what are called interface requirements that show how each piece is going to have to work with every other piece, right? So at every level, you're going to have interface requirements. We're going to talk about one, so you see it circled here. We're going to talk about the Lunar Module and Command Module, two basic elements that have to be able to dock together at multiple points during the mission. So there has to be the capability for these two to be able to interface at a docking port to allow for the crew to transfer back and forth between the two vehicles. So here you see the requirements. So it says the Lunar Module and Command Service Module, that's LEM and CSM, the Lunar and Command Modules. The structure shall be designed to provide window areas located to allow for rendezvous and docking to be initiated by either one of them, right? Using optical means. So what that says is when I define these two vehicles and I go to build their systems, I need to make sure that I can look out the window in the direction where I'm going to be docking with the other vehicle and see the other vehicle so that as one of my aids for docking, I have a window that is perfectly placed to see this docking happening so that with my eye I can visually tell you whether I'm docking properly. So, you know, if I'm designing the Command Module or if I'm designing the Lunar Module, I may not want to worry about that because I'm designing a standalone element. But I do have to worry about it because in the end my element has to be integrated in with all the other elements to provide a system operational capability. So this is where interface requirements come in handy because they're going to force the designers of both elements to meet some interface and to find, in this case, an optical window that has to be put into the vehicles even though for running the Command Module or running the Lunar Module by itself that set of requirements might not be that relevant but the fact that they have to be interfaced is making it critical that this requirement be defined. So there's another interface requirement that says the Command Module shall be responsible for latching the two together, the Command and Lunar Module, and for ensuring structural continuity and pressurization between the two when they're in a docked configuration. So this defines that at the interface one of them is going to be passive, the Lunar Module, one of them is going to be active, the Command Module, and it's going to initiate the sealing between the two when they dock together to make sure there's a pressurized tunnel that the crew can transfer from one vehicle to the other. So this specifically tells the Command Module designers this interface between the two vehicles it's your responsibility to make sure there's a good seal between the two vehicles. If the Command Module team doesn't have to worry about that side of the interface, they can watch and see what the Command Module side's going to do. Okay, so once you've got all these requirements defined and you've got them all at these different levels you've figured out what all your performance requirements are, your functional requirements, your constraints, you've laid it all out. Now one of the other things that's really critical about requirements is the verification of a requirement. So it's true in system engineering. Everyone always says it's not worth writing a requirement. If you can't verify it before launch, what does verify mean? Well, if I said this radio needs to operate at a certain part of the spectrum, I need to be able to on the ground, turn the radio on, tune it to that frequency, and talk to somebody in another room and say, ah, yeah, that works just the way it was supposed to. I can work at the right frequency. If it says that the vehicle should weigh no more than a certain amount of kilograms or pounds, I should be able to put the vehicle on a scale before I launch it and say, I can verify that I did not build this vehicle heavier than what the requirement said it should be. So for every requirement in that whole structure that we just talked about, you should have an identified way of verifying that the requirement has been met before you launch the vehicle. Some are easier than others. Let's say I have a star tracker, something that's going to look out in the sky at a pattern of stars, and it's going to be able to tell me how my spacecraft is oriented by looking at a star field. Well, how do I test it on the ground to make sure it really works? Well, I might have to create a device that I stick on the end of it that creates, maybe with little pinholes, a fake star pattern, and then I can operate it on the ground and say, yeah, it picked up my fake star pattern and it made the right assessment of where I'm pointed in the sky, if that was the pattern it would see. But it could be very complicated. It might be very, you know, you might have to build a lot of special equipment where hundreds or thousands of requirements has been met by the design and the components that you've actually selected, right? So one of the things that happens is when you're going through to verify your requirements, sometimes you have to build these big complex systems. And what you see on the next chart is probably one of the biggest, most complex. So what you see there is a command and service module from Apollo inside a gigantic chamber, and that chamber is one where it's down at Johnson Space Center where you can suck out most of the air, create a pretty good vacuum and you could raise and lower the temperature to the temperatures you would see in space using cryogenic things like cryogenic nitrogen, liquid nitrogen to cool the inside of the chamber. You can heat the chamber up with very bright lights and heaters and so you can replicate a space environment to see, again, I have all these requirements that say my vehicle must work in a space environment. I need to be able to put this thing in a chamber to work as close as I can simulate in a space environment on Earth. So what you see here is that when you do that you might have to actually write some additional requirements that are going to help you do the verification process. And so right here it says the command module Flight Hardware, the Apollo Flight Hardware shall be designed to withstand five acceptance tests and an acceptance test is where you're going to put it in the chamber and run it through and make sure it can operate at temperature, make sure it can operate in vacuum. So you need to be able to do that on five separate occasions using a specific test profile that will be defined like how hot will it be, how low will the pressure be, all those kinds of things. And then you need to be able to do that it's just here between minus 300 Fahrenheit and plus 270 and it gives you a pressure rating as well for the amount of vacuum. So what you're saying is when I build this system not only should it operate in space I need to make sure it's going to operate on the Earth during its verification testing and the chamber is where I may put it in the chamber, run a test, stop, put it back in the chamber at another time, run a test and so I need to make sure I keep that in mind when I'm designing the vehicle not only does it have to operate in space it has to operate during this process of verification. So as we've been hearing throughout this course about the James Webb Space Telescope I just wanted to bring up that this chamber here that you see at Johnson Space Center is actually going to become a key part of verifying that James Webb Space Telescope will be able to operate in orbit by doing tests right at this facility. But again some of these facilities are very unique and so as you're building your requirements you're also thinking about to verify these requirements what kind of facilities am I going to need and in some cases you may have to go off and ask people if they have a facility that's big enough or can take the temperature down low enough or whatever it is to test your specific mission. Now the last part of the process that you're going to do is refining the requirements you've come up with a verification method for each one how are you going to test it and make sure that it's going to be met. The other thing you want to do is look back you've got this big set of requirements do I have the right requirements and so you see this last chart here it says requirements validation to validate now is to say if I look back at a big perspective have I actually done the job I was supposed to do in defining all the requirements needed to build this system requirements validation is really not the process of checking that you can meet each requirement by saying the verification process validation is really looking back and saying have I put enough requirements into the system that when I go to design and build I am going to be able to get a system that's going to operate the way I expected to so requirements validation is kind of the most important kind of last part of the process so when you build these requirements and you go through and you validate that you've got the right ones something to keep in mind if you went back to the life cycle and you see the life cycle chart is that some of the requirements are going to be required to be done in phase A by the system requirements review so you see system requirements review in phase A usually level 1, 2 and 3 requirements have been completed by then you're going to go through and make sure at that level in phase A you've got the right set of high level requirements so then after system requirements review you'll continue to work into phase B to define level 4, 5 and 6 if necessary requirements all the way down to the component and part level so that needs to be wrapped up by about the time you get to the preliminary design review that you see there in phase B and that's the point where you should really have almost all the requirements defined for your system because as we talked about earlier you don't want to go too far in where you're still defining requirements because the later you define requirements the more expensive it could be to change your design to accommodate those changes now click on the icon to read section 4.2 technical requirements definition of the NASA system engineering handbook