Where is demolition

You must be able to demonstrate experience in using at least two of the following demolition methods:. You must be able to demonstrate practical experience in dismantling and removing a range of the following from single and two-storey buildings:. You must provide evidence of having carried out, managed and arranged demolition works for at least five different projects, each up to five storeys in height.

You must be able to demonstrate experience in using at least three of the following demolition methods:. You must be able to demonstrate practical experience in dismantling and removing at least four of the following from buildings up to five storeys in height across a range of building classes:.

You must provide evidence of having carried out, managed and arranged demolition works for at least five different projects. You must be able to demonstrate experience in dismantling and removing at least four of the following from buildings over five storeys in height across a range of building classes:. Print Share. On this page. Demolition work must consider risks to both people and property: Demolition work can expose workers and the public to significant risks that may cause injury or death.

These risks exist whether the work is undertaken at ground level or at heights. If the work is conducted above ground level, then fall protection equipment is required. What are the three classes of registration? When I started working with dynamite, there were only ten engineers in Brazil that worked with rock blasting. Today, there's about five hundred… So many courses and lectures were given that nowadays there's an absurd amount of competition in the field of rock blasting. It served as a lesson for me.

But to dynamite a rock, so that one can build a tunnel, for example, is not the same as imploding a building. You must have other skills, it's very different How did you learn? We sometimes give a few lectures showing how it was done, how it works, how it doesn't work. But never a recipe… Look, a lot of it is learned by feeling , really. It's in a kind of dialogue with the building that the plan works itself out.

In years of experience with this company, a lot of knowledge was accumulated. Each implosion is unique. Each building is different and demands specific calculations, made especially for it.

But, of course, some things can be used for one and another. Now and then we make partnerships with foreign companies, and it's there, in the action of the daily preparations that we exchange methods.

If you want, we have some photographic records, but we don't keep anything beyond that. On the first visit, I identified myself to the guards at gate , on Frei Caneca Street, and was soon led by one of the demolition company workers to the second floor of the building, through a two-story staircase that was in ruins and had no lateral protection.

Carefully climbing one step at a time and skipping the ones that had only the stair hardware, I found one of the engineers responsible for the operation, standing in a floor full of debris. He was Engineer 1 's son, who had authorised my entrance in this fenced and restricted area. On that same floor, there were also four or five workers with helmets around a column.

They were drilling into it at various points. They carefully handled coloured wires and a kind of white paste which, I would later find out, were the detonation wires and gases that would be mixed with a gelatinous nitro-glycerine compound and explosives: dynamite.

I had the impression they were setting up "traps" in a mine field and I paid extra attention as I walked. Still on the same floor, and not far from these men, another group of people, men and women who were apparently foreigners, walked around with powerful recording cameras, microphones, reflectors, diffusers, backpacks and clipboards. Probably influenced by the presence of all that cinema paraphernalia and by the requests for "silence! Scenes that reveal images of destruction after a bombardment could very well be shot in this set, where there were holes of all sizes in the walls, wreckage everywhere and pigeons flying and cooing freely inside the building, with no one to chase them away.

Although I will not treat the topic in this paper, it must be said that the presence of a wide range of animals in a building to be demolished is an important issue for animal protection associations and for the demolition contractors themselves. Indeed, animals are also very much linked to their urban habitats. A moment later, I found out that these foreigners were actually a physicist and his crew of documentary filmmakers from an English broadcasting station.

They were there to capture images that could be used as analogies in an astronomy show regarding the cosmological explanations for stellar evolution, with their collisions, explosions and compressions… I quickly found out also that the "traps" which were being set up by those workers had as their only "prey" the building itself. Far from having any explosive traps on the floor to stop any unwanted passerby, they were being placed directly into the "backbone" that sustained the "body" of that motionless building.

Still on the second floor, apart from the debris that also completely covered it, one could see a giant collage of pictures, framed by a trail of partitions that no longer existed.

Up close, one could distinguish a series of erotic, and even pornographic photographs mixed with newspaper cut-outs with all sorts of articles, automobile and perfume ads, photos of escolas de samba samba schools and sports teams, as well as football score tables. According to the engineer who accompanied me during the visit through the interior of the building - answering my questions and pointing out technical demolition procedures - in order to implode a construction, one must initially identify the structures to which its weight converges.

Engineer 2 - The rest, such as the divisions and walls, has to be destroyed by hand so that, once the columns are detonated, the weight of the building doesn't support itself in a unbalanced and dangerous manner on these more fragile structures, producing unwanted motions. That is why there isn't anything except the structural columns on the first and ground floors. On the remaining floors this isn't necessary, the force of the collision takes care of the destruction… Unless there's concrete or some other kind of resistant material or structure.

The elevator shaft, for example, is always a delicate case to deal with. It absorbs the impact and can cause motions that weren't planned. That's why we drill all these holes, so that we can be sure… Since our time is short, we can't open all the walls, of course. That would be a different job… That's why you need a certain feeling that comes with experience from other implosions. There are times when we have to guess… Since we don't always have access to the construction plans, or we can't trust them completely, it becomes a matter of knowing which columns are structural, what could be inside the walls and how these materials will react to the explosives.

On the Friday prior to the implosion, I spent the morning observing the preparations for the following day. I walked through the ground floor, as well as the three other floors and the concrete slab where there was a huge water tank.

In a crescendo that went from the free and ripped spaces up to the almost intact third floor, with nearly all of its divisions, it felt more and more as if the inmates had left only moments ago, forgetting some of their belongings behind.

Among the graffiti, drawings and marks of all kinds, there were also bed sheets, ripped t-shirts, laundry tubs and numbered concrete bunk beds, bathrooms, mattresses and blankets, clothes, notebooks, plastic cups and a lot of pornography. According to a note published in the newspaper O Dia Online on Feb. My first impressions of this warlike scenario were then abruptly replaced by the disturbing and frightening thoughts on prison life.

On a bed, an inmate's geography textbook with notes and exercises. In the cell in front, three playing cards grouped in a corner, two facing upwards and one downwards. On another corner, papers and lists of names. All of those material traces, the smell of the cells and the sight of improvised electrical wiring and curtains provided fertile material for the visitor's imagination. As highlighted in the comments I heard from the documentary filmmakers, as well as from the company workers, it was impossible not to be affected or even "contaminated" by the lives and sociability that had, not long ago, occupied that scenario.

As one of the team members pointed out, the preparations for an implosion do have something of an "indiciary" or archeological procedure.

Foreman 1 - This isn't the first time I've worked in a prison demolition. The cells always strike us, they make you think about the lives of the inmates and the conditions of these prisons are frightening. Sometimes we spend four, five months inside a building. It actually becomes our workplace, our office. And we work in all kind of places: sometimes a warehouse, a factory, stadium, bridge.

One of us found a hand phone and money hidden inside a wall and covered up in tooth paste. Things like old newspapers, coins from past centuries or wooden figurines are also very common. It depends how old the building was. There is a huge amount of stories that can be found among bricks… not to mention… well… corpses. You know, many things from the past end up stuck in the walls. At least in one of its possible forms and presences.

Once the construction was entangled in connected blue and orange wires technically referred in Portuguese as "cordel" and "brinel" , the latter inserted in dynamite sticks, carefully placed into orifices drilled into the building's support columns, and once the detonation sequence was defined, all that was left was to connect one end of this tangle by means of a long red wire containing a gaseous chemical composite launcher wire , to a pistol fuse. A company worker moves away from the building and walks slowly as he unwinds that last piece of red wire from his coil towards a point in an imaginary two hundred meter radius maximum security zone 23 Following the norms by Rio de Janeiro State and municipal civil defense agencies — which determined that occupants of the real estate located inside the so called "maximum security area" must leave the area two hours before the implosion — there could be no one inside the radius.

He is closely followed by a second worker, who carefully adjusts the wire on the floor, moving it away from any object that might obstruct the flow of combustion gases. Once there, the second worker cuts the wire, separating it from the rest of the coil and hands the end to Engineer 2.

From his waist, Engineer 2 draws the pistol to which the end will be stapled. He is closely observed by Supervisor and Engineer 1. Around them there are reporters, cameras, Civil Defense agents, Fire Department officers and the top officials of the state Housing Company. One could also see the English documentary filmmakers and the rest of the demolition company staff, a few guests invited to the ceremony and myself, an anthropologist who, until then, had never seen an event such as this happening "live.

Scattered throughout the area, including inside the drain pipes and even inside the building, there are microphones, photo cameras, film cameras and seismometers, all pointing towards the wrapped building. This is in fact an enormous white screen that serves to contain projectiles.

As soon as the first sound signal is given, a certain tension seems to establish itself among those present. There can no longer be anyone inside the "maximum security radius.

In the air, two or three helicopters circulate the area and on the top of a nearby hill, dozens of spectators await to watch a spectacle that, based on previous experience, will last less than ten seconds. For one of the workers, whom I talked to while we waited for the final moment, this wasn't an exciting novelty in any way. How does it appear in your contract? Demolition man?

Hammerman 1 — No, it's mar-te-le-teiro hammerman … It's someone who knows how to use a drilling rig and hammer drill. The one who makes the right holes in the right places, so that the dynamite can be placed there afterwards. That's how it works here, there are labourers, hammermen, supervisors, the administration people and the engineers.

I'm not too worried. It's not me who's in trouble if something goes wrong! But actually, this is the part of the job I least enjoy. I would actually like to leave after everything's ready, before the explosion. I don't even look. It always frightens me. It's tense. Once there was a building no one wanted to demolish. So this engineer accepted the challenge. When it was time to implode it, he got very nervous, sweating even. And when the detonation came and the building fell, he cried a lot.

Out of fear, emotion, relief, all at once…. Similar to a theater play, the third of three sound signals is finally given. Weeks of preparation come to an end. The building would now thoroughly "perform" the "role" it was given. The honor of pressing the trigger is then granted to a state representative, the president-director for the state Housing Company, precisely the one in charge of the housing construction that will occupy the area once the prison wreckage is removed.

The countdown begins. Two or three minutes after noon, a light snap could be heard and the detonation seems to have failed. The engineer abruptly takes the pistol from the hands of the honoured guest, swiftly handles the weapon and, with the appropriate skill, presses the trigger once again.

This time, one hears a monumental rumble and the four-story building can be seen moving as if from the outside in. Engineer 2 — Yeah I think he was nervous or scared and couldn't press the trigger until the end, it happens a lot. In a conversation that I had much later with Supervisor 1 , during the works for the implosion of another building in Rio de Janeiro, he confided to me that the "real" fuseisn't always in the hands of the guest.

Supervisor 1 — Sometimes we hand a button or a pistol with a wire attached to it to someone important from the government, but it's all fake. I stare at the person, the countdown starts, he pulls the trigger and immediately looks at the building That is when I do it for real!

When it was past noon, the imaginary line of the safety radius was already undone. In the building behind the prison, separated by a tall and sturdy wall, occupants that had invaded an old head office for the extinct Manchete Communications Network now returned to their homes, authorised by the Civil Defence Department.

From behind the wall, I remember hearing screams of fright concerning the cloud of dust that had entered the rooms. Spread out on the floor and covered by that huge white screen, the last block of the Frei Caneca Prison now awaited the removal of its last debris. It would be the demolition company itself that would return, days later, to crush those remains so that they could be reused in the construction of the new housing project.

Hammerman 2 — The crusher produces small stones, which is important material in civil construction. Nothing is really lost. It is either reused or disposed of, but it does not disappear! At the stands, some dedicate themselves to trade in specific images, commonly known as "Old Rio Photographs.

They collect objects that make present an absence, images that refer to something that resembles the thing sought after, although it is not the thing itself.. In other words, and according to the iconological treatment given to these images, their collected objects speak of loss, destruction and of the disappearance of other objects.

The goal behind the initiative to collect is, as they affirm, , to document the "urban transformations that took place in the city of Rio de Janeiro. In this case, however, the value of the collected object is not actually in the photography itself, for this is seen merely as the support that provides, by comparison, the detection of a mutation in the urban tissue. As soon as it was made a ruin, the Frei Caneca Prison Complex became a coveted and highly valued image among merchants and collectors.

A couple of months prior to the implosion of the Frei Caneca Prison, the company whose work I have been following since July , participated in two other public bids.

They won the first one, where a university hospital was at stake. The second bid though, they lost. Once the implosion was accomplished, I met Engineer 1 in his office to discuss the issue. Offices of demolition company 1 , one week after the implosion of the Fonte Nova Stadium.

That's not the kind of adjective I would have expected from you! What do you mean, ugly? They were very scared that something would go wrong. They stuffed too much explosives and they imploded the bleachers with no design whatsoever. They even left a whole gallery up to demolish manually later just because it was close to another building.

That is fear and lack of respect for the stadium. The stadium had a long history of very famous football games!

Besides, there were hundreds of supporters, dressed up with their local team shirts, gathering around the stadium the day it was imploded. They had lots of memories about the place It would have been much better to do a spiral implosion. It would have given the impression that the stadium ascended, that it raised. In their implosion, as you have seen, the stadium just fell apart. Our project would have started from one point of the ring, sort of burning it slowly until it disappeared into a dust cloud.

These words give us the opportunity to bring back the analogy between buildings and people. The aesthetic care for this implosion proves the point about demolition not being a simple task. Indeed it is not, neither from a technical point of view nor from a ritualistic one. According to Stanley Tambiah: "Ritual is culturally constructed system of symbolic communication.

It is constituted of patterned and ordered sequences of words and acts, often expressed in multiple media, whose content and arrangement are characterized in varying degree by formality conventionality , stereotypy rigidity , condensation fusion , and redundancy repetition. Ritual action in its constitutive features is performative in these three senses: in the Austinian sense of performative, wherein saying something is also doing something as a conventional act; in the quite different sense of a staged performance that uses multiple media by which the participants experience the event intensively; and in the sense of indexical values — I derive this concept from Pierce — being attached to and inferred by actors during the performance TAMBIAH, , p.

There are very strict codes when demolition is at stake. September 22, Reduced max rounds to 10 and eliminated half-time team swap.

Reduced round time Adjusted weapon progression. Counter-Strike: Global Offensive. Marksman Win a match on every Arms Race and Demolition map. Be the first player to get a kill in an Arms Race or Demolition match. Shorter Fuse Plant five bombs in Demolition Mode. Quick Cut Defuse five bombs in Demolition mode. Gungamer Win one match in Arms Race or Demolition mode.

Avenging Angel Kill an enemy who has killed a player on your friends list in the same round. Unknown achievement name Kill an enemy with an un-zoomed sniper rifle in Arms Race or Demolition. Hydra Events. Categories Global Offensive game modes. Universal Conquest Wiki.