We have new Superman news. That's not speculation, it's actually a thing. It's a thing that's happened and it's being reported on by me right now. ["Superman Legacy Cast"] According to, I think this is Collider. James Gunn's Superman Legacy Cast is Clark Kent and Lois Lane. It's a new era for the DCU. That's the tagline. By Diego Peralta? This looks to be in... I can only imagine that's 9-point font. That's just way too small. Can we pump it up to at least 11? All right, we have a nice Superman logo. This looks like the Superman logo from Superman Returns. That's just something I wanna point out for no reason. All right, a new iteration of Man of Steel is on its way as David Corinswet. David Corinswet? That's not a great name. Has been cast as Superman in James Gunn's Superman Legacy. The actor will portray the world's most famous superhero in the upcoming franchise leading to blah, blah, blah, blah. Added to that, Rachel Brosnahan? Brosnahan, are these names? Rachel Brosnahan, star of the Marvelous Mrs. Maisel. Miss Maisel, I apologize, she's single. Has been cast as Lois Lane. An intelligent journalist from the Daily Planet and Clark's love interest in case there's someone that's only been alive for a day on this planet and didn't know that. The duo will bring their own voice to the characters. Oh, well, that's it.   They're gonna play it differently than in the past. I would just once like to see an article that says they're going to play the characters exactly like the previous versions were. He is going to fully 100% channel the last guy. I already forgot his name. The guy that played the Witcher but doesn't play him anymore either.  Henry Cavill, what are you gonna be doing soon? While we know the release date of Superman Legacy, don't make me click on another thing to find out the date. It'll change anyways. And that it will feature Clark trying to balance his life as a young journalist and as a powerful Kryptonian warrior, very little else has been shared about the upcoming project. Now, for those of you that didn't know because you were born yesterday, he was from the planet Krypton. Superman's actually an alien. He's not from Earth originally. This is why you come to the channel. Subscribe for more insight. He looks like Henry Cavill 10 years prior, 10 years Richard Pryor. And I believe this actor is 29, Cavill's 39. Maybe it's 27 and 37. You come here for kind of facts as well. Subscribe for kind of facts. He looks like mini Henry Cavill. And I believe he's 6'4. Henry Cavill pretends to be 6'1. I'm joking. Cavill's probably 6'1. Why would he lie about that? Here is the new Lois Lane. She's cute. She's very white. That makeup is very strong. Or is her skin that porcelain?  I like my Lois with a tan. So can we get her airbrushed or out in the sun for a little while? Dear God. I don't know anything about this woman. I never watched Miss Maisel because I'm not a 11 year old girl. But I'm sure it's a wonderful show. Now I give my expert opinion on this as a certified rod and tomatoes movie critic. I still love that I'm certified on rod and tomatoes. How embarrassing for them. Adam Oluger, what's he done? Well, let's check out his YouTube channel.  Oh, okay. So Ron Tomatoes is just letting anyone be certified at this point. They've run through everybody else on the internet. Like Adam's literally the only person that put in his application approved. Here's my thoughts. I don't really care. I have faith in James Gunn. In James Gunn, I trust. He hasn't let me down with the movie yet. James Gunn has given me three great Guardians of the Galaxy movies. A nice little Christmas special. He's given me Slyther, which is a great horror thriller.  So I have no reason to doubt that he can do a fantastic Superman legacy. These characters look the part as long as Lois gets a tan, I'm fine with her. I don't really have anything else to say. I'm sure this kid's gonna hit the gym. He's gonna hit the roids. He's six four.  So there you have it. My thoughts on Superman legacy. I'm sure you have your own. I would love to hear them. And as always, subscribe.


Belarusian President Alexander Lukashenko on June 27 made his first speech after playing an apparently decisive role in forcing mutinous Wagner fighters in Russia to stop their march on Moscow. Lukashenko talked about the threats of NATO enlargement and provocations on the Belarusian border, including with Ukraine. We need to be stronger than the threat that once again casts a shadow over our land. Comes from the West, once again, Lukashenko told military personnel, political experts and media representatives in the presidential palace.


President Trump never asked me and I need to tell him that he never asked you know I heard it all on television that he's gonna ask Hershey saying Hershey to run. President Trump never came out as Hershey when you run for that sentence. He never asked or mad at him because he never asked but he's taking credit that he asked before all this start coming about my wife and I went with Pasatonev as an Oakley Bible Fellowship and we went into prayer. We went into prayer and I prayed about it and to be honest with you I was praying that God would bring somebody else going like I'm happy my life is doing well I got a company man I'm rolling but I love the Lord Jesus. And because Jesus politely asked him to run well Herschel Walker decided to answer the call. Yeah so we'll talk about that in a second but for those of you unaware that is a US Senate candidate who will be facing off against Democrat incumbent Raphael Warnock this November and as you saw he's very mad that Donald Trump took credit for encouraging him to run but I've got to say I don't know what he's talking about because all of the things that I can find Trump saying quotes with regard to Herschel Walker they don't indicate that he's taking credit for Herschel Walker deciding to run. So before Walker announced his run this is what Trump said about him quote he told me he's going to and I think he will I had dinner with him a week ago he's a great guy he's a patriot and he's a very loyal person he's a very strong person they love him in Georgia I'll tell you Trump said now Trump runs his mouth constantly so it's possible that during some interview Trump quickly slipped it in and took credit for convincing Herschel Walker to run but I can't find evidence of this perhaps Trump said that Herschel Walker won because of his endorsement but that's not what Herschel Walker is saying there Herschel Walker is very clearly saying Trump is taking credit for saying that he got me to run when that's not actually the case so who convinced Herschel Walker to run well as you saw he implied that it was Jesus and I love the way that Ross story wrote this out in an interview with provolt TV host Michael Santiago render better known as killer Mike Walker revealed that it was God not Trump who inspired him to run for the US Senate yeah so that's basically Herschel Walker saying God convinced me to run not Donald Trump so don't take credit for what God did Donald Trump Herschel is God in the room with you right now can you see God is he standing over there it's just it's so bizarre to hear adults talk like this right like I'm envisioning him conjuring up this image of God and he thinks that we're gonna believe his own delusions Herschel yeah who's there this is God Herschel on planet Earth in the United States in the Milky Way Galaxy just making sure that I have the right person here that I created I want you to run for the US Senate in Georgia but God I don't want to run this is this is not what I want to do I'm a successful football player this is dumb God no Herschel you must run because you are a true follower Herschel but God there's already a reverend who's in that particular seat you want me to unseat the reverend I mean how can I be a truer follower than him just shut the fuck up Herschel and do what I'm envisioning I mean when you say that God convinced you to run you convinced you to run you didn't want to but you felt like you needed to because you could do better than Raphael Warnock which you can't but it's just this is weird and it's so bizarre to me that he's genuinely upset that God would try to take credit for something or that excuse me that Trump would try to take credit for something that God did don't ever do that okay Trump you can criticize everyone you can attack every single person you can sexually harass and assault women multiple women but don't you dare step on God's toes evangelicals in America genuinely like they're so difficult to understand because of how insane most of them are but I've got to say as insane as Herschel Walker is something tells me that the more he speaks the less popular he's going to become with the GOP's base because later on in that same interview he says something that may be disqualifying among the GOP's base and it's disqualifying potentially because of how reasonable it is yes you heard me right Herschel Walker said something reasonable take a look my parents raised me that if something is going wrong got nothing to do with who I am what I've done in life but what I can do to help someone else right now that is a problem that's a problem with the racism people are calling each other names guys we come so far Martin Luther King done an incredible job you know and right now we're taking things back and I'm like guys we got to come together and I said and I told President Trump and leader McConnell I said wait a minute you endorse me and you endorse me but I do this yeah I don't know so you're disavowing Trump publicly and you're speaking out against Trump saying I have to do this my way and not Trump's way I don't know if the base is gonna go for that and the most problematic thing that he said that is going to trigger the chuds is there's a problem with racism right now we're taking things backwards and he's absolutely correct about that but the problem is that the GOP thinks that the problem with racism is hurting them they think that white people are being discriminated against and that's not hyperbole a Yahoo news you gov poll released last week found that 64% of Republicans either strongly or somewhat agree that white people experience hate or discrimination in this country so the extent to which are able to discuss racism as a Republican candidate it goes in so far as you're talking about discrimination against white people but if you're actually going to have a serious conversation about anti-black racism in this country then the base is going to shut down because they don't want to hear that I mean we just learned that most of them agree with the great replacement theory so you know if Herschel Walker is able to win somehow by not pandering to Republicans it'll be encouraging to see but also disappointing because he's very clearly not qualified compared to Raphael Warnock who is very qualified who actually cares and wants to do things to help people but if Herschel Walker is going to try to run to reform the GOP I mean I just I don't think that that is possible at all you got the endorsement of someone who catalyzed a global fascist movement because of how racist he was so I just I don't know how you're going to do that but honestly if this is your goal Herschel more power to you but I hope that you don't win because Raphael Warnock is a better senator objectively speaking in terms of intelligence and qualifications than you but there's another thing that he did that's kind of a non-starter for Republicans at least seemingly so he endorsed pseudo gun reform now I call it pseudo gun reform because it's not actually gun reform and it's so bad in terms of policy design that I wouldn't even support this and I support gun reform pretty vehemently so but what Herschel Walker is proposing is just absurd and I think there would be bipartisan distaste for this particular policy so as Ross Dory reports Herschel Walker calls for creation of federal agency to monitor American social media posts to prevent gun violence oh and I'm sure that that won't be abused at all I'm sure that the Republicans who you are counting on to vote for you who already think that social media is discriminating against them are gonna support this I don't support this that's too broad you can create a federal registry for gun owners I think that would make sense but just basically surveilling everyone in the country that doesn't make sense that's that's too broad of an approach that's an abusive approach you need to narrow the scope because we need to legislate in reality not based on some random thought that you had at 3 a.m. when you were shitting I just look I don't know what to say about Herschel Walker he's someone who is one of the least qualified candidates and really this is something that's true for all celebrities who run for Congress Donald Trump Ronald Reagan the dumbest celebrities get embraced by Republican voters because even if they pretend to not care about Hollywood and celebrities the second one of them says that they're conservative they embrace them because they're thirsty for that culture clout but you know Herschel Walker is it's not qualified so yeah we'll leave that there Herschel Walker is mad at Donald Trump for stepping on God's toes and claiming that he convinced Herschel to run when it indeed was the Lord Jesus Christ okay man whatever


Yeah, let's go and get started. All right. Hello, everyone. Welcome to the Preservation Priorities Task Force Forum webinar. I'm Natalie Hinshaw, Director of the Campaign for Historic Trades with Preservation Maryland and a member of the PPTF. Today's webinar is titled, How to Incorporate Preservation Training into Your Construction Project. Before we begin, there's a few technical logistics that we'll go over. We will take questions from the audience during the webinar. We send the questions via the Q&A function directly to the panelists that's below down on the screen. It says Q&A. You're welcome to submit at any point during the webinar, but we will be waiting till the Q&A section to answer the questions after each of the panelists have presented. You're encouraged to communicate to all the participants in the webinar through the chat function, which is next to the Q&A. The close captioning function is enabled for this webinar. You can enable it and disable it either through the controls at the bottom of your Zoom screen or through your audio settings depending on what version of Zoom you are using. Following the program, we will send out a recording today of today's webinar directly to the email you used to register. It will also be posted on the Preservation Priorities website. Okay. Next slide, please. So some background on the Preservation Priorities Task Force. The Task Force is a partnership of the National Trust for Historic Preservation and the National Preservation Partners Network, an independent nonprofit serving local and statewide organizations. The two groups joined forces in 2020 to help these organizations address four urgent issues in preservation. This is one of the working groups for the Preservation Priorities Task Force focused on preservation trades and workforce development. Next slide, please. Before priority issues are affordable housing and density, diversity, inclusion, and racial justice, preservation trades and workforce development, and sustainability and climate action. These aren't issues new to preservation. Many groups around the US have found great ways to address them. And we wanted to collect this learning and shared and practical ways that advocates can tailor to their own communities anywhere in the country. Next slide, please. So this is a two-year partnership with the four working groups, one for each issue, and each is chaired by experts in the field that work closely with the Steering Committee of Representatives from the Partners Network and the National Trust, and all more than 50 preservation advocates from across the US are volunteering their time and expertise. Next slide, please. The working groups are assembling tools, strategies, and ideas to address specific challenges. This project alone certainly won't solve the problems, but it can help. And our goal is to coordinate the efforts, align communication, develop resources, and multiply impact, which can ultimately strengthen the movement. Next slide, please. In the first phase of the project, the working groups combine their own expertise with research and outreach nationwide. The Steering Committee created a website for easy access to resources and updates on the Moe Family Fund for statewide and local partners or to grants to six organizations to preserve innovative projects in those four priority areas listed earlier. Next slide, please. And each working group produced an issue brief summarized in the key challenges and opportunities in their target area. And you can go to preservationpriorities.org to read of those. It's just linked right now in the chat. And you can also download them and share them outward. Next slide. Thank you. This year, we're using what we learned to create practical tools and resources, one of which is this webinar. We have no shortage of ideas beyond even these, and the details will change over the coming months, but we're excited to get the resources like this into your hands as soon as possible, starting right now with this webinar. Okay, so that's in background on both the partners network and the national trust, as well as the PPTF. So let's get started with the main program. We have four wonderful panelists who are very kind to come here today and share their expertise, and they'll be presenting this afternoon. Next slide, please. First up is Roy N'Grafia, the National Director of Industry Development for the International Masonry Institute, IMI. Roy directs IMI's Marketing, Industry Development, Research and Technical Services programs nationwide. In his leadership role, Roy manages all aspects of day-to-day operations and long-term partnerships and initiatives. As an architectural conservator with technical expertise in design and contracting capacities, his professional work has a primarily focused on the preservation of historic masonry structures through research of traditional materials and methods and development of contemporary restoration techniques. He is an Associate of the American Institute of Architects, a professional associate of the American Institute for Conservation of Historic and Artistic Works, and a recognized professional of the Association for Preservation Technology International. In addition to his work with IMI, Roy teaches the Masonry Conservation Seminar with the Graduate Program in Historic Preservation at the University of Pennsylvania. Next slide, please. Next we will have Jessica Bomert. Jessica Bomert is the Executive Director of the Woodland Cemetery in West Philadelphia. She has a degree in Historic Preservation from the Savannah College of Art and Design and fell in love with historic cemeteries as a 21-year-old learning to repair 200-year-old headstones. After graduating, Jessica followed her love of preservation to Philadelphia. For 10 years, she helped care for the historic structures of Philadelphia's Fairmount Park and avid fan of gardening, public spaces, and old stuff. Jessica knew she would be able to bring big changes to the woodlands. She took over the organization in the fall of 2011 and has been creating programs like the nationally renowned Grave Gardeners ever since. She has increased yearly visitorship to over 150,000 people and has cultivated a renewed sense of community within the 54-acre necropolis. Next slide, please. Joining Jessica is Claire Donato, Senior Associate with Mark B. Thompson Associates. Claire attended the University of Pennsylvania from 1982 to 86 and from 1986 to 89, whereas she received her undergraduate degree and Master of Architecture and solidified her lifelong connection to the city of Philadelphia in its rich architectural history. Professionally, Claire Donato is a registered architect and lead accredited professional with more than 30 years experience with programming, planning, and developing complex projects for both nonprofit and public institutions. Claire has developed an expertise with projects requiring rigorous technical solutions through the rehabilitation and adaptive reuse of existing structures, including historic and national historic landmark properties. Claire has been privileged to be involved with the planning and architectural projects for some of our nation's most significant cultural resources and historic settings, including the Fairmount Waterworks, the Scoogle River Villas, historic houses of Philadelphia, including the Woodlands, Belmont Mansion, Woodford, Strawberry Mansion, and Lemon Hill. Other sites in Philadelphia, including Eastern State Penitentiary and Wick Historic House, Garden, and Farm, and the West Point Campus of the U.S. Military Academy in New York. Claire enjoys learning deeply about the background and unique qualities of each project that she works on and creating a collaborative process with the stewards and leadership of the properties, the design team, and the hands-on builders and conservators that make the preservation of these resources a reality for today's users and for future generations. Next slide, please. And last but not least is Manny Sarah. Mr. Sarah is a seasoned stone contractor with 39 years of industry experience. As president of Lorten Stone, Mr. Sarah has led the company to become one of the leading stone contractors in the D.C. area, performing work on iconic buildings and monuments, such as the U.S. Capitol, the Washington Monument, and the Washington National Cathedral. His insight of the stone construction industry qualifies him as an expert on both new stone and restoration work. As president of Lorten Stone, he provides leadership to advance the company's objectives to promote profitability and growth. He oversees and ensures production efficiency and cost-effective management of resources. The company has secured a multitude of awards for quality and craftsmanship under his outstanding leadership. And now, I will hand off the program to Roy. Great. Thank you so much, Natalie. All right. So, let's get started. Every time they show that picture of me, I realize I need to update it post-COVID, but we'll get there. There's always opportunities. Anyway, I just wanted to thank the Preservation Priorities Task Force, NPPN, as well as the National Trust for hosting us today. This is a topic that we love to talk about. We're actively involved in a lot of different programs surrounding masonry preservation and preservation of other materials and workforce development. So, I thought I'd take some time here to explain a little bit who IMI is, talk a little bit about our training capacity, and then pass it off to some of the other folks here. Next slide, please. So, IMI, International Masonry Institute, and our sister organization, the International Masonry Training and Education Foundation, are organizations that are strategic partners with the bricklayers and allied craft workers, as well as the contractors that are signed with the BAC. Next slide. Again, I'll be showing you lots of friendly faces throughout this portion of the presentation. This is just a group of some of our recent apprentices, and again, this is the next generation of masons and tile setters out there. And so, again, what we do in our day-to-day jobs, we are constantly thinking about these folks and opportunities for these folks, both learning opportunities and working opportunities as well. Next slide. So, IMI, we collaborate with the bricklayers and allied craft workers. IMI and MTF have over 60 training centers around the country. These are the centers where we provide our apprenticeship training for a variety of different trades, which I'll discuss in a little bit, as well as learning opportunities to bring in design professionals, contractors to explore Masonry materials and assemblies. Next slide. So, at these training centers, we implement our standardized curriculum. The curriculum that's developed at our national headquarters in Bowie, Maryland is implemented locally throughout the country, along with our certified instructors. We have an instructor certification program that is a five-year program for our instructors located at the local level. And then we also offer these continuing education or upgrade training opportunities for journey-level masons. Folks who have gone out of their apprenticeship program have done 6,500 hours of on-the-job training and classroom training and have graduated into that journey-level worker position. Next slide. So, what are some of the crafts and trades that we represent? We represent bricklayers, obviously. Next slide. As well as block masons. Next slide. Tile setters and tile finishers, as well as terrazzo installers, like you see here. Stone masons, whether it be rubble or decorative stone. And we'll see lots of pictures of that when Manny has his portion of the presentation. Next slide. I mentioned tile setters and tile finishers, and we've been one of the organizations that has brought about the advanced certification for tile installers. Again, just raising the bar in terms of qualifications that design professionals can specify in terms of really showcasing the higher quality on their projects. Next slide. And of course, we represent restoration masons as well. Next slide. So, in addition to restoration work, we obviously, some of the other things that you see here on the slide, we represent plasters, both contemporary plaster systems, as well as decorative plaster systems, rain screen installation. And we really, at our training centers, that's really the first place where we instill safety into the craft workers through their apprenticeship and into their journey level work. Next slide. So, again, what we're here to do is really work with our union partners, the members and the contractors to make sure that they have the resources and the training necessary in order to implement projects safely on time and on budget. Next slide. The IMI side of things, MTF really is the component of our organization that really handles the craft worker training and the IMI side of things. We're involved in a lot of other different sort of industry advancement opportunities. So, we provide technical assistance.  And so, we, on our staff, we bring a lot of valuable expertise to certain projects. Next slide. We work a lot with school groups, doing hands-on exercises for architecture students, and in this case, preservation students as well. Next slide. We do drawing and specification review for projects. And all the things that I'm mentioning here are free services. We provide these services at no cost to the design community in hopes that the folks who are working on projects obviously want to make sure that they are working with qualified individuals on their projects. Next slide. We do a lot of research and testing on new materials and methods. You know, for instance here, you're seeing a lot more of the robotics entering into the construction industry. Next slide. And we're working very closely to understand and disseminate information as it relates to energy and sustainability, focusing quite a bit on currently on resilience as it relates to seismic design, impact resistance, storm, shelter safety, and fire safety. Next slide. As well as things like prefabrication of masonry, which can obviously speed up some of the construction processes. Next slide. We have our detailing series which is on our website. Again, this is a long-standing resource that we put together, critical details as it relates to a variety of the new installation techniques that we've just been talking about. Next slide. More specifically to this group, we've been delving into historic masonry detailing. So when it comes to architectural terracotta, for instance, you know, some of the resources that the design community has been leaning on over the years have been the 1914 and 1927 terracotta standards, which obviously during that time, these were put out to the design community as new construction resources, but now we're looking back on them as restoration resources. Next slide. So we've taken some critical details from this collection. We've redrawn them in SketchUp as they would have been, and then we've actually worked with Gladding McBean in Boston Valley terracotta to showcase two different scenarios of repair, one in hand-pressed terracotta and the other, what you see here on the front here, extruded terracotta, two of the materials that are now still available to us. Next slide. One of the things that some of our other panelists will be talking about today is our ability to work with them prior to a project in order to select contractors to do pre-job training, pre-job conferences in order to make sure that the entire team from design professionals down to the craft workers doing the work are well aware of the goals of the project and making sure that they're active part of that project team. Next slide. And of course if a union contractor is on a project, we are there to provide technical support for jobs like troubleshooting or any questions that might come up during the course of a project. Next slide. So the program that we really have, it's been a pleasure to work on and develop over the last 10 years, has been our Historic Masonry Preservation Certificate Program. And again, all of the training that you've just been introduced to is, you know, doesn't come at any additional cost to the project or your project team. This is training that the craft workers, the union members are being provided, they're being provided their training at no cost to them and through our training network. And so the programs, this program in particular that I'm mentioning is something that you can easily specify on a project and it will come at no additional cost to your project. This program has been established to meet the current ASTM standards for certificate programs and we've collaborated with practicing design professionals, seasoned Masonry craft workers in order to make sure that the information is cohesive. The program, the coursework that I teach at Penn, this program correlates directly to that. So the same information that I'm presenting and educating the graduate students in Historic Preservation is the same information that's being conveyed to the craft worker, but just on two different levels based on the information that's relevant to their individual tasks. Next slide. So we have our core modules are typically our classroom sessions. These focus on fundamentals of Historic Preservation and Conservation. Again, we want these craft workers to know that they are part of the preservation process. They are preservationists. For too long, I think we've sort of disenfranchised a lot of our craft workers who are doing this work. The work it's designed, it gets bit out to a contractor and the craft workers just come on the site and they're told to install a material, but they're not really told about the project, about what the ultimate goals are, the history of the building, the importance of their role in providing quality craft skills to the project to make sure that that building is preserved well into the future. Next slide. We do an introduction to architecture and building technology, making sure that everyone recognizes that a building built in the 1880s and a building built in the 1920s and a building from the 1960s and the 1990s are very different buildings. They represent very different periods in architectural technology. Next slide. We provide coursework on materials, masonry materials, historic masonry materials, how they were manufactured, what are some of the reasons why they might deteriorate. So again, they have a better sense of what they're looking at when they're asked to tackle building. Next slide. We also go into the process of showcasing to the craft workers what goes into historic structure report, what goes into a building condition survey, what are some of the tests that take place? What is involved in a project prior to them coming onto the project site? Because as we know, these projects take years of fundraising and development and investigation in order to really come to fruition. And it's important for the craft workers to understand their role in that timeline. Next slide. So we invite practicing preservation professionals. We invite architects and engineers and conservators to come in and teach this component of the course to the craft workers directly. And again, this is a program that is not, we're not going to teach people how to become masonry preservation craft workers in a week-long period. This is a five and a half day course. What we're trying to do is we're trying to elevate the level of craft on a project by taking folks who already have an established skill set and established experience and track work record and feed them information that will allow them to better understand the things that they've been doing and the materials that they've been working with and its context within the preservation movement. Next slide. And obviously one of the big focuses of our classroom work is historic mortars. Understanding the differences between mortar technology over the last 150 to 2,000 years. To making sure that they can appreciate the difference between Portland cement mortars versus line putty mortars and things to that effect. So all these core modules, again, are more of the classroom-based programming that we offer. And then that segues into our hands-on training. Next slide. So again, we piggyback the classroom sessions on historic mortars with actually implementing historic mortar repairs, mixing up a variety of different historic mortar formulations, having the masonry craft workers install them with varying degrees of joint profiles. Next slide. We also focus on brick restoration and terracotta restoration. Next slide. Focusing on stone repair, Dutchman repair exercises. Next slide. Focusing on masonry cleaning and showcasing newer technologies in this instance, laser cleaning of masonry. Next slide. So all of the training modules that we've just discussed, as well as the core coursework, are standalone program. They are our HMPCR historic masonry preservation certificate program. We run it throughout the country, usually during the winter months, as it relates because typically work is slower during that time period. Craft workers have the ability to take advantage of some of this training opportunities. Contractors have the ability to send folks in to get these sort of advanced qualifications. But we can also pull out, we can also run this program relative to a specific project, and then we can also pull out components or modules as it relates to certain projects. So if you have a project, for instance, that involves wanting to run a workshop on Guastavino training like we did for the Ford Michigan rail station, which is being restored in Detroit, you can do that. Next slide. We worked with the contractor. We worked with some consultants. Kent D. Bolt from Vertical Access was a great consultant for us here. And we ran a three-day training with the crew to make sure that they understood we built Guastavino vaulting, and then we had them repair the Guastavino vaulting so that they understood the construction, the original construction techniques, as well as the repair methods prior to coming onto the project site. Next slide. Similarly, if you have a project that requires a more in-depth view on or take on terracotta repair, in that process of updating the details, we worked with our partners to develop mock-ups. And so we again, we have two different mock-ups here. We have extruded material, and we have hand-pressed material. Next slide. And we developed mock-ups, and Boston Valley and Gladding McBean manufactured these mock-ups, shipped them to several hard training centers around the country where we have a high density of craft workers working on terracotta repairs. And we use these mock-ups to run exercises for specialized training. So we had a contractor who is working on a building down in Puerto Rico right now. It's all terracotta. And so we ran training for the crew so that prior to arriving on site in Puerto Rico, they were able to familiarize themselves with proper anchorage and repair techniques. Next slide. Similarly, these are just coping details part of those same mock-ups. Next slide. One more click, and then we should be good. So if you go on our website, if you're interested in learning more about how to specify this training into your projects, you can go to our website under technical resources and specification language. You'll get a little bit more information on our training programs, how they're implemented, to what standards that they represent. Again, all of these programs are registered apprenticeship programs with the Department of Labor. So if you're looking to ensure that you have qualified contractor on your project, we have a language that you can certainly pull from, whether it's a division three concrete work, division four masonry, division nine more finished work. And we list all these in a variety of our different training programs so that you can see the variety that we have to offer. Many of these are geared towards new construction. So flashing training as it relates to New York cavity wall assemblies, but you can see here we have language relative to our preservation certificate program and some of the other programs that I mentioned earlier. We also have language associated with our supervisor certification program and industry manufacturer programs like all the safety training relative to OSHA or any manufacturer specific certifications as well. Next slide. So I figured before I hand it over to the other folks, I just wanted to run through a quick case study of how this training gets implemented. So this is an instance. This is a former police station in New York City that's currently being converted into a new public school. Next slide. You can see they've stabilized the exterior facade. They're going to rebuild new infrastructure behind that facade. Next slide. The architect wanted to make sure that the folks being selected for the project had our training or an equivalent. So they stipulated in the worker qualifications that the bidder must have our IMI preservation certificate or equal and provide evidence prior to the or as part of the bidding process essentially. Next slide. So typically what we do is we get contacted by the contractors who are bidding that project. And if they are a union contractor and accessible to our training network, then we provide a commitment letter and basically say if this contractor is awarded the project, we will provide the training. If the contractor hasn't already essentially had people go through the program as a standalone program. So in this instance, the contractor who was awarded the project did not have folks who had gone through this program. Next slide. So we set up training within a very short period of time. We were able to bring the entire crew in, get them up to speed as it related to some of the materials and methods utilized on this project and to make sure that they were qualified to do the work. Next slide. So this is the crew after they've completed the program. Next slide. Something that Manny will talk a little bit later. He and his team were involved in the Baltimore City Hall restoration. That project didn't necessarily require everyone in the project to have this certificate, but they did want the superintendent and the foreman to have this training under their belt so they could supervise with a better understanding. And fortunately, Lortenstone already had folks who had gone through the program and were able to successfully meet the qualifications. One of the things I want to showcase here is that on your projects, if you're interested in running this training, you should have a line item and say how much is the cost for running this project? And you ask the contractors to provide that cost. If it is a project requirement, you should also ask the contractor to compensate their crew for the time. Again, if you want to run a project-specific three-day training or the full HMPC course, which is a five-day training, it would be nice for those craft workers to be compensated for their time in terms of making sure that they're this as a part of the project team. Next slide. So, in addition to all the work that I'm on MTFDU in order to cultivate the apprenticeship program, I just wanted to mention that we are involved in other workforce development programs, international masonry institute holds the contract for any masonry entile and masonry restoration programs that are done through the job core program throughout the country. So, these are all the job core centers. These are separate from our IMI training centers. And again, providing craft worker training through job core. Next slide. And then we're also fortunate to have been to be partnered with World Monuments Fund and Woodlong Conservancy in the Bronx, Greenwood Cemetery in Brooklyn and Cave Hill Cemetery in Louisville, Kentucky, to run the Bridge to Crafts Careers program. Next slide. This is a 10-week training program that introduced young people to masonry preservation trades. Our instructors work with the participants. They get safety training, they get instruction, they work with social services organizations. And we encourage the folks who want to move forward to apply for the apprenticeship program through the bricklayers and ally craft workers. So, again, trying to come at preservation and equity and inclusion through a variety of different avenues as it relates to this. So, again, all of the things that I've just mentioned to you, if you're working with a union contractor, they come at no additional cost to the program. And just like we have partners in these variety of programs, we see you all as partners. The more that you encourage and make sure that these qualifications are built into projects, the more frequently we can run this training. The more craft workers we have who can execute the types of repairs that we're looking to achieve. And we can offer and grow the number of offerings that we have. So, again, thank you for the opportunity. And I'll turn it over now to Jessica Ballmer. Hi, all. Thank you so much for having us today. Claire and I are really excited to talk about a specific project that we worked with Roy on, the North Terrace and Cryptocorticus rehabilitation project at the Woodlands. And at the time that we were working on this project with Roy, the training program he just told us all about was just getting off the ground. We're excited to share how this program benefited us as the owners, as the owner, as the design team, and share with you how it benefited us. Next slide. Before we get into the project, a quick background of the Woodlands to give you some context of our project. The Woodlands is a 54-acre national historic landmark district, which includes remnants of the 600-acre 18th century estate of William Hamilton. It was then turned into a 19th century cemetery. And today, while still an active cemetery, the site serves the surrounding community as the largest open space in West Philadelphia. The site's open 365 days a year from dawn until dusk. And over 150,000 people visit the Woodlands annually and explore the grounds and historic buildings. In addition, the Woodlands has a robust public programming schedule that utilizes the national historic landmark district as a backdrop for art exhibitions, musical performances, flora, and fauna walks, and everything in between. Next slide. The Hamilton Mansion, which is where the Cryptocorticus and North Terrace project took place, is one of the remaining Hamilton-era buildings on the property that was built in phases between 1766 and 1789. The largest change to the structure was between 1786 and 89 upon William Hamilton's return home from a multi-year visit to England. While in England, he was inspired by the manner houses he visited and emulated much of what he saw there back here at the Woodlands. The house contains one of the preeminent neoclassical interiors in the United States, boasting what were likely the best finished and most sophisticated internal service spaces created at that time in Philadelphia and perhaps in the country as a whole. Next slide. The core 90 acres of the estate was repurposed as a rural cemetery in 1840, and the cemetery with its meandering pathways and ostentatious monuments developed around the federal era mansion. Next slide. The mansion became cemetery offices and was also used as a chapel and for viewings prior to burials. These 19th century views of the building showed the north facade, which was part of this construction project we're going to be getting into more detail talking about. Next slide. Fast forward 120 years to 2011, and after decades of disinvestment, the mansion truly looked like a haunted mansion in the middle of the cemetery. On the left, you can see peeling paint. That was the least of our problems as the north terrace, the entire front of the building, and the cryptocorticus below were starting to pull away from the rest of the building. This project was urgent and quickly moved to the top of our priority list. A conditions assessment and materials testing were completed and treatment approaches were determined. Funding was in place to move forward with this project. The cryptocorticus north terrace rehabilitation project was the first large project of many that would be completed on the structure over the next several years. Next slide. What you're looking at in the larger image of this slide is the completed cryptocorticus portion of this project, which is an arched passageway beneath the terrace that is one of those internal service spaces that was so critical to the design of this building. It was extremely important to us that we get this first project of many on the National Historic Landmark Mansion, correct, as we wanted to set a standard for all of the work to come on the building. Utilizing the training program is one way we were able to do this. Next slide. I'm now going to pass it over to Claire Donato, who was the lead of our design team to talk a bit about how we incorporated training into the bid process. Our participation in the training and the overall positive outcomes the training had on the project. Thank you, Jessica. Much of what I'm going to show you is building on Roy's presentation, sorry, but from the architect participant point of view and using the Woodlands project as a specific example. With the changing industry and increasing pressure for productivity, we welcomed the opportunity when Roy approached us to set aside time with the prospective builders to share details about the development of our project at the Woodlands and to describe how we got to the point where they would take the baton and carry our work forward and do the important work of making it real. Preservation projects benefit from an owner that is willing to take the time to create an environment that is conducive to high quality work and to encourage the trades to feel vested in the project and excited about preserving our cultural resources. Since we were partnering with IMI, our project example is a masonry intensive project, but IMI's approach can be replicated across many trades. We were fortunate to have a motivated group of invited bidders, but hopefully the benefits to the project outcomes will encourage many folks to try incorporating this type of training into their projects and to help make this more of a standard expectation for owners, architects and builders. Next slide please. For the Woodlands, we were at a point where the drawings and specifications were complete. As part of setting a high standard for the work, the Woodlands had already determined that a pre-qualification process was essential. Roy's template showed how to gave language for incorporating it directly into the specification. In our case, we used the request for qualifications, which proved to be a straightforward method to ensure participation in the IMI program. Next slide. As part of the certification training, IMI invited us to present a seminar on the design team's work. As we run through the slides today, I'll give examples of the type of information and level of detail that we shared. Next slide. The classroom sessions were integrated with hands-on shop training, as Roy described, to provide comprehensive exposure to the multi-layered aspects of preservation. Next slide. So real quickly, the Hamilton Mansion has a fairly complex construction chronology. We used the sequence of construction diagram to illustrate that historic buildings are routinely adapted and modified over time. An understanding of how, when, and why the building was built or modified impacts decisions about the period of significance and interpretation and informs which materials and portions of the building are preserved. Next slide. The condition of the cryptoporticus had reached a point where it was structurally failing and had been temporarily shored. Next slide. The next point we wanted to illustrate is that before we make any decisions as part of the design and documentation process, it is important to learn as much about the building as possible. This can include review of documentary evidence such as written descriptions, illustrations from the original period of construction, and historic photographs. It also involves physical investigations and testing. Next slide. The measurements of the deflected arch were graphically plotted. The types of failures were mapped and materials were tested. Next slide. The investigations revealed that the arch was constructed of only one brick course depth and that the foundation walls did not have adequate construction to resist the thrust at the crown. The slender profile of the arch in combination with the lateral drift of the foundation walls led to the failure. From the materials analysis, we learned that the original bricks were comparable to modern standards for compressive strength and absorption, making them suitable for reuse. Understanding what contributed to the failure and what performed well for generations allowed us to evaluate different levels of intervention and to propose multiple options that were reviewed with the owner's advisory group. Two of these options are illustrated on the right. During the training seminar, we went into more depth about what criteria we used to select the actual implementation mode method that was documented. Next slide. After settling on that approach, the design and engineering decisions were communicated to the builder with a set of construction drawings and specifications. We don't often have the opportunity to have the dedicated attention of the tradespeople who will be working on the project to provide this type of context to the drawings. The training program created that type of forum and approved to be an effective method for improving communication and setting expectations throughout the project. It also provided context for identifying the different periods of construction within the structure and for the trades folks to better understand the original materials that they would be working with. Next slide. The project included numerous brick masonry techniques, stone masonry and resetting and repair of original marble stones. Next slide. And here you see some of the work in progress. The center section of the arch had to be completely dismantled and reconstructed with a concealed structural tie system. Each brick miraculously was numbered carefully removed and put back into its original location. Next slide. Here again just some of the work in progress. And then next slide. Despite the complexity of the project it was a great success due in large part to the masonry preservation group and their commitment to working with the certification program and dedicating the required resources to a challenging project. The owner architect team, the pre-project training ensures a high level of qualifications and a commitment to expectations set by the owner. It cultivates a collaborative approach and a vested outcome for the builders as part of the team. It elevates the role of the mason as critical to the execution of the owner and architect's vision and goals for the project. It improves communications between all parties during execution of the work. For future projects we'd recommend engaging at this level with the builder earlier in the project whenever possible, exploring ways to build this type of program with other trades and other projects. This example is a bit unique. We were working with a single trade. We'd like to explore ways to facilitate training for general contractors that oversee and coordinate multiple trades all working together on a single restoration project. Thank you so much and at this time I'm going to pass it on to Manuel Sera. Good afternoon everyone. Unlike the rest of the participants I don't have any anything written so I'm more of a question and answer guide. Our company Lortenstone has been established in the DC metropolitan area for nearly 40 years. We currently have a workforce, the Performing Historical Preservation and monumental stonework of approximately 145 people in the field. Some of the customers that we are, value customers are National Park Service, General Service Administration, the Smithsonian Institute, the architect of the capital, National Cathedral amongst others. Over all these years we've relied on both the IMI and the local to help us with the training of our people. Aside from safety training it requires yearly training for different consolidation, patching the different motors. We've done carving at the IMI. We currently employ five master carvers. They're divided between the Baltimore City Hall and the US Capitol and other buildings in the US Capitol grounds. It's a constant effort, never ends. Without their help it's very difficult to do it on our own. Most of the training is done on site but a lot of training needs to be done in classroom in a controlled environment. So this is what we are, this is constant and we appreciate Roy's help, Matt's help, Paul now has taken over the apprenticeship program. At the same time, like Roy says, we do a lot of pro bono work with assigned groups through the initial stages of the design. They call on us for our opinions on what materials to specify, what details, especially monumental work and what I've been doing so now for since 1987 here. That said, we're going to show some slides of some of the work that we're going in right now if you can click onto the next one please. Some of the jobs that we are working on were not allowed to put the name of the job on the slide. So in this instance they're doing just cleaning with detergents. I had letters on these to help me determine which one was which but this is just general cleaning, the safety protective gear for the guys because we're using detergents. Next please. This is before and after at the U.S. Supreme Court. Over on the lines, some of these locations require five applications, copper stain removal and that's how we got to the after picture on the right hand side. Next please. That's laser cleaning. One of the projects that we're working on, we have about six people that are trained to laser clean. We haven't seen it too much but it's on and off a requirement and specification so we have people trained just in case. Next please. In here is just a re-pointing exercise, one of our projects. Next please. This is painting, structural painting of the of the medallion there. Everything is now because of silica regulations everything has to be with minor or no dust control. Minor dust, 20 years ago you walked a scaffold and it was littered with dust. Nowadays most of the jobs are some 100% clean but they're going to drill through this and then install a rod with epoxy. Next please. This is the same thing, this is one of our carvers. They've loosened it, they've loosened the piece, now they're going to drive fit it and eventually they're going to reattach with the same painting condition that in the previous picture. Next. Again this is one of our most experienced persons. This gentleman's been working at the U.S. Capitol Grounds now since 2001 non-stop. On 2001 he worked for the GSA, the Justice Department Headquarter for Innovation Project. He finished that and has been at the U.S. Capitol Grounds non-stop since 2001. He's performing a crack repair patch in this picture. Next. The same, this patching on the material, this element has been cleaned and now he's patching anchor holes that were used for bird deterrents. Next please. This is the Carnegie Library in Washington D.C. which is a new Apple store. We had to, there was a lot of damage. The building was owned by the D.C. for many years and they've signed, Apple signed a multi-year long-term lease from the city and as part of that lease they went ahead and did a major renovation interior and exterior. On the exterior it hadn't been shown any law for many, many years. In this instance we replaced the entire column base that was carved using Vermont marble and this was done by our carvers in-house in our shop. Next please. This is, again, this is the full replacement, the Capitol Dutchman full replacement. You see the before condition, the after condition, again this 100 percent this crawl was done 100 percent in-house by one of our carvers. They, they do the rough, they rough it in and then they bring it to the job and profile it to match adjacent surfaces. Next please. This one of our carvers in our yard working on that same element, this crawl for the U.S. Capitol and it's making the final touches in our shop, in our shed in the yard. Next, this was, as in our shop again, this is, if you look at the on the left, the pediment at the southeast pediment of the U.S. Capitol, there was an element of very, very fine element. The scaffolding company, I think it was during the installation, they broke the element. We then had to duplicate the gentleman on the left is the photographer from the U.S. Capitol and the one on the right is Manuel, one of our carvers duplicating that that element. Next please. Just an up close of the leaves. We have replaced, we have to, we're in the phase four of the U.S. Capitol renovation and we've now replaced, well in excess of 300 leaves. We're generally to start the balcony on the northwest and it's got, just along there is one over 100 leaves that need to be replaced and that's what this gentleman is doing. Next please. That's the modellines. We're fitting the modellines. This is the Russell Center office building. We're fitting a modelline underneath. A lot of these modellines have failed. So right now they get all threads stainless steel epoxy rod from the new element to the existing. They build the rig to set it at the correct elevation so they can slide it in and let the epoxy set before the rig is removed and go on to the next one. They replace hundreds of these. This is a column, a cap over at the Russell Center office building. We all these balusters underneath are brand new balusters that were carved to match existing. Next please. It's same. This is Russell Center office building. They're putting a lead tease onto the final product, the copings. Next please. This is a terrace at, oh, looks like the courtyard of Russell. They're resetting a stone terrace of salvage papers. Next please. That's it. So we value our relationship with IMI and with Roy. He's helped us out in the past. He's a great source of information. We've hired a couple of project managers through his input that have been with us for a while now. So I'll defer to someone else if they have any questions. Okay. Thank you all. Good afternoon everybody. I'm Molly Baker. I work with the National Toss for Historic Preservation and the Hope Crew Program and I'm lucky enough to work alongside Natalie in the Preservation Priorities Task Force. We know we're right at time. We wanted to make sure that we acknowledged how much we appreciate the questions being put in the question and answer box. Roy was right on it. He was able to answer the majority of the questions as we were going through the presentation. So please refer to the answered section in the Q&A box. I see that we do have one last question here. It says, is the architecture requiring you to use marble hand carved? Why don't you use 3D printing piece? I believe that question is from Manny. Would you be able to address that Manny? I do. We use a combination of scanning. We scan historical elements and then we use machines to get it to a specific point. The machines will never get it to the finished profile to match an adjacent piece. That needs to be done by a carver. No matter how good the scan is, you cannot profile to match an existing piece when the U.S. Capitol was built. They had hundreds of carvers working on it and no two elements are the same. So the final fitting on site has to be done on site and sometimes more economical for us to do with our own carvers as well. Fantastic. Thank you. Well, it looks like all the questions have been answered in the Q&A. I'll give just 30 seconds here if there are any other questions. I also want to take a moment just to say please refer to the chat. There's links to all of the wonderful work that our guests do. Please check that out at the respective websites. We really appreciate y'all joining us today and we love seeing the conversation of questions happening. I see one more question for Manny. I would like to know more about the laser cleaning technology. Thanks. That's from Vince. We, like I said, we have people that are certified. We work in conjunction with an outfit out of Philadelphia and we've helped us train our people. We've done three projects so far, two at the US Supreme Court and one at the Russell Center office building. We've started seeing laser in our specifications five years ago. We have to adapt to it. I personally think there's other ways to clean that are as good as laser but if the spec requires us, we have to accommodate the spec. In our experience, we can achieve the same level of cleanliness with non-aggressive cleaning delicate marble materials with other methods other than laser but laser does work. It's just tedious. It's time consuming and the people have to be trained. It's a safety concern. Wonderful. Thank you, Manny. I see we have one last question. I believe this would be for Roy. Do you have any recommendations for carvers? I imagine training recommendations for carvers in the Houston, Texas area. Roy, would you be able to make any recommendations for Mary? We can certainly put her in contact with some of the folks that we're involved with and try to work through our network to locate qualified carvers in that area.  I don't have everything in there but I'm glad to work with you to meet your project needs. Thanks, Roy. We'll go ahead and dismiss at this point. Thank you again so much for joining us. Thank you for our panelists. We really appreciate the time and effort you went into building this program and share your wonderful work with our guests today. So have a wonderful day and we look forward to seeing you at some of the upcoming preservation priorities task force webinars. Have a great day.


They take this first very steep part, give it a different scale, and then they finish up with the second part and a different scale. There's two things I would do if I were them that they don't do if you look at the book. One is, if I remember, this line is kind of a light blue when they do it, and then the scale is kind of a light blue, and then this line is kind of a slightly darker blue, but then the line that goes with it is a black and they don't match. This way the black goes with the black, the red goes with the red, and it's pretty easy to tell what's going on. The trouble with that is, though, that when you photocopy it, or I just sent it out on my printer, same thing as a photocopy would do, now you don't know what's going on. So that's hazardous. I also, if I were them, would add this little dotted line just to emphasize that it's meant to be a continuous line that's connected that way, and it's just easy for the eye what to do with that. So if I were them and could do a book in full color like these books are, which is hard why they're so expensive, I would do it the way I first had it with the red and the black or something like that that just stands out a little bit more, I think that's a mistake they've made with their graphs in the book. But the way I think I myself would do this if I was presenting this data is this way, where the real steep part is on an expanded scale, then there's a break, I'd worry about this and work on it a little more, I had some time to deal with that kind of stuff, but then I'd show that we've gone now to a different scale for the rest of it. Now this doesn't depend on color, it doesn't depend upon, it doesn't have the danger of any misinterpretation of which line goes with which scale. It's obvious this way which line goes with which scale. I might also maybe put up here where there's a little bit of room, put a single graph that shows the thing to actual scale for the whole thing just to kind of also illustrate why I'm doing this break out so that this kind of stuff becomes more apparent. This comes from a couple problems, the problem 3-3 in the book, it's just a data table and they said to now graph this in a way such that you think might work. So I think there's a couple different ways to look at those things. And it's part of what you need to learn. When you do work like this that needs to be shared with someone, which most work does, you need to consider carefully how it's going to look, how you're going to present what you've got. So it's the most used to your reader. I forgot about that, I didn't get that light fixed. Alright, so we were looking at a problem, didn't quite finish it. Let's bring that back up, see where we got, see what we can do to finish it. We had a beam hung from a cable at one end and simply pinned at the other. And then about a partway between an unknown weight that was hung there. Because of the presence of that weight it caused the beam to deflect position down to there. So we had a couple numbers that went with this all, 3 feet, 2 feet. So this was 2 feet from the end where the cable hung, another 3 feet of beam there. I think the deflection, oh the deflection was a point B. Did I say that yesterday I put the deflection here? Because that's what it was meant to be. Downward deflection of the beam of 0.025 inches. Huh? I did have it at the end. Too bad, what it does is it just changes the number some a little bit. So we didn't get all that far with it though, did we? But you worked on it some at home? Yeah, I got it on. But should we continue through with it some? Sure. Okay. Did anybody go farther with it with these numbers? Because if I put the deflection here that will match my numbers. But we can also re-figure it matching your numbers either way. Depending on how much you got done. I don't think so. Okay. Well we might put it here because it really doesn't change things too terribly much I don't think. The two cables were both A36 structural steel. That kind of thing was never a concern before. We never cared what this stuff was made of. We will be from now on because we're going to need material properties for us to decide some of the engineering dimensions and designs and stuff that we're going to be relying on here as we go a little bit farther. Had a cross sectional area of 0.02 inches squared. That's both cables here. Oh by the way that one was 4 feet. And at this time we're considering the fact that the beam as a real structural member would tend to bend a little bit itself in the center because of this weight hanging there. We're not concerned with that yet so we're going to assume that there's no lengthwise deflection in that beam at all. That it remains straight. We will later add into the fact that the beam will bend and then we'll have the deflection of the point and the deflection of the beam to take into consideration in some of the design problems we're going to be doing a little bit later. Alright so with those numbers we needed to find a couple things. We needed to find the strain in the cable ED which is really just a problem of geometry. We know it's original length. We can use the little bit of geometry and find out how much longer it is now and then that's the strain. It's the deflection in ED over the original length of ED. Now with yesterday if I accidentally gave you that number then it's a real quick calculation you just plug those things in and they're done. With the deflection moved back to where it should have been it's not a big deal. We just have similar triangles and so we're at a distance we could call five-thirds. This is going to be five-thirds that deflection because we're five-thirds the farther distance along so it's just a geometry problem there. And hopefully isn't too big a piece to it. And so using this drop diagram with that deflection in the right location we have a strain in that cable ED of something like that. Oh yeah sorry that's still I looked at the wrong one and that gives a deflection, sorry a strain of 0.115. That's a geometry problem that part but then the other things we were to find need to find the strain in both cables. So we still need to find the strain in the other cable that one was labeled BC. To find the strain in BC we'll need, well we need the same type of thing that we had up there. We need to know the deflection in the, sorry not ED, BC over the original length of BC. Well the original length of BC that's easy, that's given, that's the four feet right here. The deflection of BC that's not this value given here, that's the deflection of point B. Not the elongation of the entire cable BC. So that's a number we don't happen to have yet. Do we have this? That's what we were supposed to find. That's one of the things we were supposed to find the strain in both cables. We already found one, I'm supposed to find the second. We can't find this unless we have that. So then what? We do have this now appearing in another place that we got yesterday. We didn't have before. You could use the elasticity of the E equals PL over the del A. We have the fact that it's A36 steel which means we can pull out the book, remember what this E stands for? Elasticity or elastic modulus or? Young's modulus. Young's modulus. Any one of those. Some books actually impact and think in physics one we used a capital Y for that value. Same thing, just a different choice of terms there. So we pull the book open, look at the U.S. units. Structural A36 steel and we've got a modulus elasticity of 29 times 10 to the third KSI. Remember what a KSI is? Kips per square inch, kilo pounds, a thousand pounds per square inch. So this is a 29,000,000 pounds per square inch. So a million pounds per, 29 million pounds per square inch. And we know that to be... Well how did we find this Young's modulus and how did we define it? This is what we just got yesterday. It's experimentally determined. It's the only way to find this out. You've got to run the material through the test machine. Do you want to stress over the strain slope? Well, that's a little redundant. Stress over the strain is the slope. Remember we have the test data. Something like that, what we're concerned about is this linear portion, this elastic portion. And that slope is what we use for the elastic modulus. Again, experimentally determined. Probably something published by the manufacturer of that material or those structural members. It's generally not something that would be determined on site. You have the stuff delivered. You already know you long since know what the elastic modulus is because the design depended upon knowing that. You might need to test it just to make sure that the batch you ordered was as promised. But you wouldn't necessarily retest that at every step. You've got to trust the manufacturers to some measure, I guess. So we could use the stress over this elastic modulus to find the strain. Do we know enough stuff to do that? E we've got, we just looked it up. But what about the stress? We could find this divided by the elastic modulus. Then we know the strain in the cable BC. How do we know the stress? What is stress?  You're not stressed. This is stress, man. What? In this case, it would be for this cable, it's W over A. A being the cross-sectional area of that material supporting that load, which is this cable, the two cables are the same. Well, we don't know W, though. If W was zero, then this mean wouldn't do this. We wouldn't have any problem. Good try. It's always tempting to say everything's zero and we're done. You just cross out the whole page. Sometimes you have to assume values. Sometimes you'll assume zero and you're done. Can we find W? If we can, everything else is known and we're done. If we look at the beam, we have this unknown W here we're looking for. It's the thing that causes everything to happen anyway. It's being opposed by some force there in the cable ED. We're looking for some support reactions here at A at point A. That's not area, that's just our point A. If we knew this force, we could find that W because we could just sum the moments about the point A. That way we don't even care what the support reactions are at A. They weren't asked for. They're not a concern at least in this part of the problem. We could sum the moments about A. We know they'll sum to zero. Remember this class is always done in static equilibrium just like statics was last fall. If we could do that, that would give us ED. That would give us W and we could finish the problem. How do we find ED though? We know the strain in ED. The strain in ED is just like it was in BC. It's going to be that load ED over that area divided by the elastic modulus of the material. We do know the strain. We do know the area. We do know the elastic modulus. We can get ED, the force in ED directly from here. That should equal, anybody have it? 6, 7 to find the weight that keeps this in equilibrium with that then the strain in the cable BC. With the strain in the cable BC, we could find the elongation of BC and it could be that the deflection of the beam plus the stretch of the cable BC then makes this gadget unusable. It could be that this weight is just barely above the floor somewhere and once all this stuff is put together, the fact that the cable ED stretches and the cable BC stretches and the weight now gets the floor and is out of design specs for whatever reason, for whatever purpose this thing would serve. That's why we need to look at those deflections now. The deflections, the elongations, all of those things are going together as we put this together. Anybody have any of the missing numbers still? We're still looking for the strain in BC. We need this force ED, the force in the cable ED to find that. We need the W. That was one of the requirements to find. Anybody have some of those pieces yet? A pretty fun class in that we've been here for almost three weeks and we're still just dealing with nothing more than a few simple ratios. This is the easiest class you'll ever take. It just gets easier. Bob, how you feeling? Amazing how long it can take this dust in. Shake out. We got some numbers. I should have done those. I should have taped it out of focus so it would have been like you were really here. I taped it out of focus and kept the camera going and then rub the camera over the trash cans and back. I put it up. It takes about an hour and a half to get an hour of class up to iTunes. In fact, I found it's not even worth doing at night because the whole network's a little bit slower because everybody's updating Facebook and let us know what happened with Billy Biffin's scooter that day. Any numbers to share? We've got a brain trust of five over here against three over there. I had the wrong dimension. It's the same process, right? Just slightly different numbers as all. Fair about that. So you can check them since you don't seem particularly in the mood to drive it forward too much right now. For this setup, I had a final weight, a 112 kit put on there and a strain in BC 193.112. Oh yeah, sorry. If I'd actually written down pounds, it would be .112 kit. Either way's fine. Things we can do now we couldn't do before is just make sure that once under load, all of these things are still within specs. A simple problem like hanging a weight from something might mean the weight no longer hangs like it's supposed to, whatever it is. If this was a cattle wrestler that were hanging from a tree limb, you don't want his feet touching the ground. He's not going to learn his lesson. The other cow folks are going to get the message and don't steal our cattle. So they don't show it in the movies and hang them high with Clint Eastwood. They don't show the calculation they went through first. Do you know Clint Eastwood at least? I may not have seen him hang them high, but yeah. Any other questions on this one? P.J., you got it? You think? Enough? Can I start erasing a little bit? Some of this. In case you're still going. Alright. So let's try another problem. Say we have a structural member and a nuclear reactor. Very simple piece of strut of some kind. Made of zirconium. Three feet in length. Subject to a four-kip load. I need you to find that load is safely supported. You certainly don't want structural members and nuclear reactors failing. Use a factor of safety of three with respect to yield. That means we've used a factor of safety before. Had that a couple times last week, that thing. But I don't believe at that time the term with respect to yield. Exactly what yield is. If you remember yesterday when we talked about the stress strain diagram, we had this linear portion that was of most interest to us. Because that's where the load is most predictable. The response of the material to the load is most predictable. And it's repeatable.  There are curves in engineering where you take a different path up than you do down, which can complicate things. This kind of thing may have come across in some of the work with Professor Wulmer. Possibly, I don't know. This is called hysteresis. A path that is not the same in one direction as it is in the other. That's not the case that we have here. We follow identically the same path up or down as we increase the load going up or decrease the load coming back down. At some point we lose that linearity and the curve does whatever the rest of the curve does. That takes us out of this elastic region, the slope of this line that gives us Young's modulus. It's the elastic limit we define as the yield stress. That's one of the numbers you see in the back of the book for those various materials. So a factor of safety with respect to yield means that the allowable stress for this particular problem will be one-third of the yield stress of the material, which is a big reduction. That's the kind of thing you need to do when you're working with something that a failure would be absolutely catastrophic. Certainly you know the kind of thing that happened with Chernobyl. I don't remember that it was a structural failure. I don't think it was. I think it was in trouble with their control rods. But it was devastating that Chernobyl is no more for the most part as a city. And it's been 25 years this April. How do I know that, you wonder? How do I know so quickly it's 25 years? Because that's my wedding day. Same day as Chernobyl. Not only that, it's the same day Arnold Schwarzenegger and Murray Shriver were married. So how do you think that makes me feel? My wedding day and we're on the third page of The New York Times to this day. All right. So know the load. You need to find the area that will support that load, which means you need to find the load and what stress, what area will keep us under the allowable stress with the appropriate area that will also come from Young's Modulus. I told you. Oh, did you? No, I told you. You're not listening. Zinc? Do I have to run the... Zinc? No? No? Zirconium alloy. Zirconium alloy. What, it's not in there? Well, maybe they used wood instead. No, I'll give you those numbers. Those, that's not available, so. It's the yield strength for Zirconium alloy, 57.5 KSI Modulus of 14 times 10 to the third. Those are the values of interest for the... For a second, we actually could have done this problem last week, but there's got to be more to it. If this paper is something you need to refer to months from now or your photocopy at a couple of times, it may not be clear. Keep the zero out in front of that. And then even if that dot disappears, you look at that, say, you know there's a decimal place there. So you kind of protect yourself with what she got. So it can't be both of you, right? It's also quite different than what Frank got, but I know you guys aren't on speaking terms. It's different than what T.J. got. Brandon, what'd you do? We got numbers all over the page. This... A zero radius is that 4-kip load will float in space all by itself. This is easy stuff. This is all from yesterday. Once we get this allowable, we know that it's going... or not even yesterday, last week. We know that stress is going to be P over A, where the P is given, and then A needs to be the right size to support that, to keep us under this allowable stress. Maybe the hang-up is that then have to remember what the area of the circle is. No, that wasn't it.  Because we got some people saying something like a quarter inch, and others saying five inches.  You know, it's only a zirconium alloy. Are you missing some decimal places somewhere? Allowable comes out to be 19.2 KSI, right there. So we know the load P. So the area should come out to be 209, 207, I think. Something like that. Remember, we've already got a factor of three built in there anyway. So the last decimal place may not be of a particular concern. Too much. Jay, you found your mistake? Yeah. Would you like to share what you did with us, or is it algebra? Algebra. Algebra. Man. Still learning. And so you get a radius of two five eight inches. Get in the habit of keeping this zero out in front when you write numbers down. Because you're going to work on stuff and put it away for months. Photo copy of 12 times. And that dot, if there's zero in there and that dot disappears, or if there isn't one there and it appears, that zero will clear things up for you. Even if it happens to disappear in photocopying, you'll still be able to tell. And that's got to be a decimal place in there. It just wouldn't make sense any other way. But you've got to be in the habit of doing that. Good practice. You won't see the book without a leading zero on decimals. The design decision is finished. The only other thing you'd have to look at is that the radius you'd specify, or would you have to see if maybe this comes in some stock radius that would be a lot less expensive if you ordered that rather than have it custom made to that radius? What if it's available at a quarter of an inch? We've got a factor of three in it, but if you go down to a quarter of an inch, you no longer have a factor of three, and that could leave you liable if there's some kind of failure. Even if you say, well, come on, I had a factor saved you 2.9, and they said I'm sorry, the design specs, which may be legally determined by a national agency. They certainly are with other things we're going to look at later. We're going to look at pressure and the stress in the walls of a pressure tank that's very strictly regulated in terms of what kind of pressure is allowable and boiler tanks and the like. And if you were supposed to design to a factor of safety of three and you hit 2.9, that may not be good enough, but you'll be protected with that factor of safety. So you go to a greater one if you're not going to do that 2.58. All right, let's change it a little bit, figure out what load is allowable, load such that the change in length of that structural member itself is no greater than we hit that amount of, in this case, elongation than the structured self no longer works card. Maybe gaps form, you don't want gaps forming in a nuclear reactor. Well, yes, the four kips is out. I mean, if we keep the four kips, then what's there to do? You can take the four kip and check this. Well, is that radius still going to be relevant? Yeah, we now have a radius. It could be that even with the radius, we can support this load, but maybe we cannot allow this much change in length of the structure itself, and so we're going to have to modify that four kip load somehow or modify the structure itself. Put in more of these zirconium doodads. That's the technical term in nuclear reactors. In your experience with designing nuclear reactors, you mean engineers down the hall, with whom you might still be on speaking terms with any. Recurring number, four kips on there. We're going to exceed that. Maybe you checked that first, maybe you didn't. It's very easy to start with this strain because we've got the original length. When we've got the strain and Young's modulus, then we can go to the stress. Once we have the stress and the area we had before, we can then find out what the allowable load is. Basically what you did? We could have a new radius, or not because we want to. Well, I don't know, it depends. These problems are much narrower than a real design problem. Because you might need to say that, well, that's too small. What do you get, 1.62 kip? Something like that, 1.6 kip of some kind. You might find out that that's too small. We need to support four somehow. So you've got to decide what do we need to do so we can get this back up to four. Well, yeah, we may need to increase the area. We can increase the area by possibly just putting in extra structural members. That takes up volume. Volume in a nuclear reactor can be a critical issue, especially if it's in the nuclear navy in the submarine. Space is an absolute premium in submarines. So these are all the systems you need to iterate around and around until you get to a number that satisfies all the available criteria. And sometimes it does mean you've got to go back somewhere, maybe re-investigate this. Maybe this is too strict. It could be that whatever number led to this four kip, we've got to back off on that, which maybe has something to do with what the reactor's doing when the vessel's under full power or something. Lots of a million things. That's why we've got to have you here for four years before you can even pretend you're going to work in anybody's office. Yeah, long way to go on. What about what? Do you use the different material that they're going to modulate? That's a possibility, but there's other concerns. It depends on just where this might be in the nuclear reactor. There's a big concern in nuclear reactors of something called hydrogen embrittlement, where the material is subject to bombardment from atomic particles itself with all the radioactivity that's going on, and the material properties change. So sometimes some very specific, even expensive materials are required because others will not last in the nuclear reactor. A million design decisions you're going to have to make, which is part of the joy of engineering and part of why the schmo's out on the street can't do it. There's a reason that the most popular major in a college is often business or... What's the other one? When the guy becomes a corrections officer. What? Criminal justice. Criminal justice, yeah. Criminal justice. God made criminals so that we can have the criminal justice major so that we can have a place to put football players. Yeah, the tape was run, that's good. I want that one on record. So as we're looking at these things, we're looking now in a lot more detail at the material response of these items as we've got here, whatever they might be. Jake, how awesome is that? We're looking at the material response to these structures under some kind of load. So we start here with an item in some kind of initial unloaded form. So there's its initial shape. Apply some load to it and we'll make it a simple axial load. The material is going to respond. Mechanically respond to that load. Response is a concern to us. So far for the most part, except for one little time we looked at a slightly different problem, we've only been looking at the possibility that this material will elongate, at least under a tensile load like I happen to draw. If it was in compression, it would compress. But in this case, it will elongate. But since the density of the material will stay the same, if it elongates, it's also going to have to narrow down. So maybe the response of the material will be not only elongate, such that the density stays constant. Oh man, this is so much fun drawing this stuff. Jake, you've got to be all excited about the possibility of doing this drawing. This is so much like technical freehand sketching here. Not too bad. That'll do for a cartoon at the board, I guess. That looks a little bit better on the screen. A wobble on the top side to it there. But let's see if anybody's doing it better. Well yeah, it's always good when you think it's so tiny. You've got to take it. You've got to be courageous.  You're not working for the post office designing stamps here, Frank. Look at that, awesome job. Kind of small. Do I have to show that Professor Hampshire? Do you want me to do that? Not how'd you do? Not bad. It doesn't have to be great, as long as you can tell what it is you've got there. As long as you can tell what it is, it's going to be okay. Alright, just to help us, we'll put some reference directions here. We'll call that the y-axis, that the x, and the z coming out here. Because what we've got now is different strains in different directions. For example, we have an axial strain, which is just like what we've looked at before, which is in this case the elongation in the x direction over the original length in the x direction. In this example, that would have to be positive because the material got longer. But we also have a lateral response. We have a lateral strain, which I guess we could call in the y direction, which is whatever the change in dimension is in the y direction over the original length in the y direction. Well, for this particular drawing, we also have a response in the z direction, but we'll assume that our materials are what we call isotropic and that there's no difference in the y or the z direction, but there may be in the x direction. Wood is very much like that. Wood is very different axially than it is in a transverse direction, but once you look at the transverse directions, it doesn't matter in what orientation the wood is. It's pretty much the same across the piece, but it may be very different down the piece. So this assumption here is that the material is what we call isotropic. The material properties are the same in all directions. Well, this here is under a completely different load. It's the part that's in attention. Then the material responds transverse to that, which is a different load. But if we could take this material and put it in any orientation, and it didn't matter which one is x and which one is y, and we get exactly the same response, then it's isotropic in all directions. So we have one last thing to throw in here, and then we'll be done. It's, again, a material property in just how the material responds in an axial and a lateral direction at the same time. We have what we call Poisson's ratio. That's the Greek letter nu, I believe, and it's defined as the absolute value of the lateral strain. The absolute value simply because one of these is going to have an opposite sign of the other, because as it gets longer in one direction, it's got to get shorter in the other and vice versa. So this way we keep it always as a positive value. In this case, it'd be minus the lateral strain over the axial strain. And if you open up the back of the book, it's the second to last column in there, and you'll notice everything's on the order of 0.3. Very typical value of around 0.3 for Poisson's ratio. We looked at this briefly with a problem we had where we took a piece, elongated it, put it under tensile load, and we looked at the fact that it also narrowed down on a stress. That's one of the problems we looked at on last week sometime. Alright, so we'll start up again then with Poisson's ratio on Friday.