An Eton Fives court consists of three walls, with the left hand wall interrupted by a buttress approximately halfway up the court. There are also two levels to the court, the front being around six inches higher than the back half of the playing area. On the front wall is a vertical black line about three quarters of a metre from the right wall; this is used during the serve and return process detailed later. There is a diagonal ledge that circumvents the entire ‘top-step’ at about chest height; it is this ledge which the ball has to hit or go above to be ‘up’. Below this ledge, at knee height, is a horizontal ledge about two inches wide, and which is only present on the ‘top-step’. This is merely here because of the origins of Eton Fives as the ledge is present at the chapel in Eton College. The diagonal ledge drops vertically at the edge of the ‘top-step’ and then returns to normal at a slightly lower height on the bottom step, running to the back of the court. At the back are brick columns that jutt out slightly into the court, which vary in width from school to school, these “buttresses” are usually anywhere from 2 - 10 inches in width. Shots very rarely hit this part of the court, but once they do it is usually very effective for winning a point. Each of the courts at varying schools differ in some way, leaving room to modify how your school’s courts are built to a certain extent. In this way the ‘home team’ will often have an advantage over a visiting side because of their knowledge of the court’s layout.
In earlier designs of castles the curtain walls were often built to a considerable height and were fronted by a ditch or moat to make assault difficult.
Later with the introduction of trace italienne fortifications the height of the curtain walls was reduced and beyond the ditch additional outworks such as ravelins and tenailles were added to protect the curtain walls from direct cannonading.
It began as a housing marvel. Two decades later, it ended in rubble. But what happened to those caught in between? The Pruitt-Igoe Myth tells the story of the transformation of the American city in the decades after World War II, through the lens of the infamous Pruitt-Igoe housing development and the St. Louis residents who called it home. At the film’s historical center is an analysis of the massive impact of the national urban renewal program of the 1950s and 1960s, which prompted the process of mass suburbanization and emptied American cities of their residents, businesses, and industries. Those left behind in the city faced a destitute, rapidly de-industrializing St. Louis , parceled out to downtown interests and increasingly segregated by class and race. The residents of Pruitt-Igoe were among the hardest hit. Their gripping stories of survival, adaptation, and success are at the emotional heart of the film. The domestic turmoil wrought by punitive public welfare policies; the frustrating interactions with a paternalistic and cash-strapped Housing Authority; and the downward spiral of vacancy, vandalism and crime led to resident protest and action during the 1969 Rent Strike, the first in the history of public housing. And yet, despite this complex history, Pruitt-Igoe has often been stereotyped. The world-famous image of its implosion has helped to perpetuate a myth of failure, a failure that has been used to critique Modernist architecture, attack public assistance programs, and stigmatize public housing residents. The Pruitt-Igoe Myth seeks to set the historical record straight. To examine the interests involved in Pruitt-Igoe’s creation. To re-evaluate the rumors and the stigma. To implode the myth.