❉ River Outfit ❉

Includes Bikini & Optional Skirt

Available In 10 Different Colours

Designed For The Following Body Types:

- eBody Reborn

- Legacy & Perky

- Maitreya Lara & LaraX

(Shown on Reborn)

↓ TAXI TO MAINSTORE ↓

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Missing my stop one day on the way to the railway station at Kerepesi út I ended up walking back the few blocks to the station. There, on the wall along Thököly út, and watching me from across the street, were Péter Pozsár, András Huszár, Dávid Ráday and Maxim Bakos—Budapest designers, architects and artists. Together they had conceived an art project to build an eleven metre tall tree built entirely of sleighs, 365 of them in fact, to celebrate Christmas. The sleighs were donated to the SOS Children’s Village once they had finished being displayed at Müpa Budapest.

Péter Pozár, Huszár András, Ráday Dávid & Bakos Maxim—designers, architects and artists—larger than life along a wall on Thököly út.

SASUKE from Naruto

Custom Taeyang by Sheryl Designs to Renske

FULL CUSTOM:

Carving – Complete MAKE UP – Eyechip special design - ©2007 Eyemech Modification by Sheryl Designs – obitsu – Modeled shoes and sword – Complete Outfit and Complements by Sheryl

Hilo en el Foro: miPullip

See more photos at: Renske‘s Flickr

So, decided to do some drawings of designs I was thinking of for the different Toho kaiju. Anguirus is gonna go in that spot next to Gigan, just gonna figure out what I wanna do with him. Hope you enjoy this series! Next wave will have Kong and DAM ones.

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Most 15 Cute and Easy Owl Nail Designs 2016 Life is too short to be walking around with plain nails. Nail polish isn't just an accessory for women to make them look beautiful, but it also boosts self-confidence. Most of us are happy with 1―2 coats of our favorite nail polish color. However, d...

chusnul.com/most-15-cute-and-easy-owl-nail-designs-2016/

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• Closes: 12 - May- 2024

🌸 WILD FLOWER STONE WALL - Li:7

🌸 WILD FLOWER GOTHIC ARCH = Li:11

🌸 WILD GOTHIC ARCH BACKDROP = Li:13

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All other decor in this photo are not included in the sale

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@ NEXTUP EVENT December 13 - 31

🌸 DD TTHE EVERGREEN ESCAPE LIVINGROOM SET

01 Cozy Couch - Adult- RARE

02 Cozy Couch - PG - RARE

03 Cozy Chair - Adult - RARE

04 Cozy Ottoman

05 Area Rug

06 Coffee Table

07 Candle Stick L

08 Candle Stick S

09 Round Sidetable

10 Wooden Lamp

11 Snowman Frame

12 Let It Snow Frame

13 Table Lamp

14 Whimsical Christmas Collage

15 Console

16 Whimsical Angel Collage

17 Book Decor

18 Wool Rug

Designs

Here's my idea for the centre of the DQS10 swap... what do you think partner? I'm thinking embroidery, but it could also become applique....

Saschas designs Norma set in 6 versions includes...

SAS - Norma Black Sunglasses

SAS - Norma Tweed Coat

SAS - Norma Black Shawl

SAS - Norma Black Turtleneck

SAS - Norma Black Pants

To fit ♥ Maitreya ♥ Legacy ♥ Reborn ♥ Freya♥ Hourglass bodies

TP TO SASCHAS DESIGNS ~ maps.secondlife.com/secondlife/Grey%20Magic/156/38/2003

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

.:Inkling:. Psychic Dots // Forehead // 100% // Evo X

.:Inkling:. Psychic Dots // Lower Lip // 100% // Evo X

TP TO INKLING ~ maps.secondlife.com/secondlife/Callistei/40/85/2251

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For other items used check my blog stormysstorey.blogspot.com/2024/02/norma.html#more

Pałac Karola Poznańskiego

ul. Gdańska 32, 90-716 Łódź

Przy zbiegu dawnej ulicy Długiej - dzisiejszej Gdańskiej i Pasażu Schulza, zwanej dziś ulicą 1 Maja, wzniósł Izrael Kalmanowicz Poznański w latach 1904/1905 rezydencję dla swej rodziny. Projekt pałacu wykonał Adolf Seligson, autor m.in. fabryki Silbersteina przy ulicy Piotrkowskiej, szeregu domów i pałaców, ale też rytualnych budowli na cmentarzu żydowskim. Rozległa narożnikowa działka dawała moż­liwość realizacji obszernej siedziby, zapewniającej luksusowe warunki życia właścicielowi i jego najbliż­szym. Rezydencja uzyskała kostium stylowy nawiązujący do florenckiego renesansu. W fasadach dostrzegamy charakterys­tyczne zdwojone okna i po­tężne boniowania, motywy znane z piętnastowiecznych rezydencji toskańskich.

Pałac powstał wszakże w Ło­dzi, w początkach XX stulecia i musiał odpowiadać duchowi swych czasów oraz istniejącym podówczas potrzebom. Stąd mimo renesansowych detali pojawiły się w nim także rozwiązania typowe dla fabrykanckich rezydencji. Zwraca uwagę podcienie pod­jazdu od strony ulicy 1 Maja, służące jako reprezentacyjne wejście do rezydencji. Również narożniko­wa wieża o owalnym planie, nakryta eliptyczną kopu­łą, czy lekko wypukłe fragmenty fasad i wykusze wskazują, że renesans włoski był tu adaptowany i przetwarzany.

Znakomite są wnętrza pałacu Poz­nańskich, mieszczące dziś Akademię Muzyczną. Ich urodę ujawnia choćby wspaniała, okrągła klatka scho­dowa zaopatrzona w kute poręcze, majstersztyk kowalstwa artystycznego, i nakryta wspaniałym sklepieniem. Rezydencja posiada też intymny „ogród zimowy", przykryty szklanym dachem. Jego widok od strony przypałacowego parku, zwłaszcza wiosną, gdy kwitną w nim krzewy magnolii, jest wspaniały. Potężną budowlę otacza dekoracyjne ogrodzenie. Na jednym z jego filarów stał kiedyś Moryc Welt, w wajdowskiej ekranizacji kreowany przez Wojciecha Pszoniaka, niezapomniany bohater „Ziemi obiecanej"...

Karol Poznański's Palace

32 Gdańska St., 90-716 Łódź

Izrael Kalmanowicz Poznański erected his own family residence at the crossing of the former ul. Długa - the present-day ul. Gdańska and Schulz Passage - now called ul. 1 Maja. The palace was designed by Adolf Seligson, author of, among others, Silberstein's mill in ul. Piotrkowska, a number of other residences and palaces, yet also the ritual buildings in the Jewish cemetery. The residence was given its stylistic attire following the manner of the Florentine Renaissance with its characteristic double-Windows and impressive rustications upon the façades, the motifs known from the l5th c. residences of Toscany.

The palace was yet created in Łódź at the turn of the 20th century, and it had to correspond to the spirit of the times as well as people's contemporary needs. Hence it also contained some solutions typical for the other industrialist seats. Worth our attention is doubtless the vaulted gateway from ul. 1 Maja, the main entrance to the residence. Also the corner tower on the oval plan, covered with an elliptical dome, or the slightly projecting fragments of the facades and bay-Windows point to the fact the Italian Renaissance was there adapted and transformed.

The interiors of the Poznañski palace, now housing the Music Academy, are exquisite, indeed. Their beauty is enhanced by the impressive, round staircase with wrought-iron banisters, a masterpiece of artistic blacksmithery, covered with a stately vaulted ceiling. The residence also possesses its own intimate 'winter garden' under a glass roof. It is most appealing when viewed from the palace park, especially in spring, when its beautiful magnolia bushes are in Pull bloom. The huge building is surrounded with an ornamented wrought-iron fence. It is upon one of its pillars that Moryc Welt, one of the unforgettable heroes of The Land o f Promise, played by Wojciech Pszoniak in Wajda's production, once stood...

Looking dramatic illuminated at night, this is one of Conder's flat canopy designs. The noticeable 'dip' in the profile on the ends can still occasionally be spotted around the place, e.g. in Chris Barker's photo of this former NWF garage in Upper Langford.

Here in Weston-super-Mare in 1967 — with Bleadon Hill in the background, and just around the corner from Oldmixon Crescent where BWOC was later based — we can see a few interesting details — the Wayne 2-star pump nearest the camera has a Power globe (National used the Power name for its lowest grade at this point) but a National decal on it, rather than the green / white / red Power diamond that was often used; the mobile 2-stroke oil dispenser visible in the night-time photo; the BP and Shell oil racks at the front of the forecourt along with the Goodyear G8 tyre rack; and the delightful little kiosk.

Cowies / Oldmixon Service Station had become Peugeot dealers by the mid-70s, going by old newspaper ads, later adding Talbot of course. In 1988 they switched to Hyundai.

I don't know when they stopped selling petrol, but a 1987 advert in the Cheddar Valley Gazette proclaims "Ladies!! Who find self-service pumps fight back — Mr Bidwell is still available for your assistance".

The garage itself is now AW Leisure / Auto Wholesale

goo.gl/maps/BvcWnQWHwLofNUsH6

More Information: quasesemprenublado.blogspot.com.br/2017/08/109-alli-desig...

justaspoonfulofpsycho.blogspot.com/2015/09/im-dark-in-nee...

A set of badge designs I created for Chubby.

Available from chubbytown.com

fashion.doubleasl.com/blog/duna-prefab-sim-full-version-b...

Free EPS vector file Fish every year with Vietnamese, Chinese new year vector 08 download from Mediafire

Name: Fish every year with chinese new year vector 08

Files source: Go to Website

License: Creative Commons (Attribution 3.0)

Categories: Vector Animal, Vector Festival

File Format:...

itcsky.com/mediafire-2.html

The Jaguar programme began in the early 1960s, in response to a British requirement (Air Staff Target 362) for an advanced supersonic jet trainer to replace the Folland Gnat T1 and Hawker Hunter T7, and a French requirement (ECAT or École de Combat et d'Appui Tactique, "Tactical Combat Support Trainer") for a cheap, subsonic dual role trainer and light attack aircraft to replace the Fouga Magister, Lockheed T-33 and Dassault Mystère IV. In both countries several companies tendered designs: BAC, Hunting, Hawker Siddeley and Folland in Britain; Breguet, Potez, Sud-Aviation, Nord, and Dassault from France. A Memorandum of Understanding was signed in May 1965 for the two countries to develop two aircraft, a trainer based on the ECAT, and the larger AFVG (Anglo-French Variable Geometry)

Cross-channel negotiations led to the formation of SEPECAT (Société Européenne de Production de l'Avion d'École de Combat et d'Appui Tactique – the "European company for the production of a combat trainer and tactical support aircraft") in 1966 as a joint venture between Breguet and the British Aircraft Corporation to produce the airframe. Though based in part on the Breguet Br.121, using the same basic configuration and an innovative French-designed landing gear, the Jaguar was built incorporating major elements of design from BAC – notably the wing and high lift devices.

Production of components would be split between Breguet and BAC, and the aircraft themselves would be assembled on two production lines; one in the UK and one in France, To avoid any duplication of work, each aircraft component had only one source. The British light strike/tactical support versions were the most demanding design, requiring supersonic performance, superior avionics, a cutting edge nav/attack system of more accuracy and complexity than the French version, moving map display, laser range-finder and marked-target seeker (LRMTS). As a result, the initial Br.121 design needed a thinner wing, redesigned fuselage, a higher rear cockpit, and after-burning engines. While putting on smiling faces for the public, maintaining the illusion of a shared design, the British design defacto departed from the French sub-sonic Breguet 121 to such a degree that it was for all intents and purposes a new design.

A separate partnership was formed between Rolls-Royce and Turbomeca to develop the Adour afterburning turbofan engine. The Br.121 was proposed with Turbomeca's Tourmalet engine for ECAT but Breguet preferred the RR RB.172 and their joint venture would use elements of both. The new engine, which would be used for the AFVG as well, would be built in Derby and Tarnos.

Previous collaborative efforts between Britain and France had been complicated – the AFVG programme ended in cancellation, and controversy surrounded the development of the supersonic airliner Concorde. Whilst the technical collaboration between BAC and Breguet went well, when Dassault took over Breguet in 1971 it encouraged acceptance of its own designs, such as the Super Étendard naval attack aircraft and the Mirage F1, for which it would receive more profit, over the Anglo-French Jaguar.

The initial plan was for Britain to buy 150 Jaguar "B" trainers, with its strike requirements being met by the advanced BAC-Dassault AFVG aircraft, with France to buy 75 "E" trainers (école) and 75 "A" single-seat strike attack aircraft (appui). Dassault favoured its own Mirage G aircraft above the collaborative AFVG, and in June 1967, France cancelled the AFVG on cost grounds. This left a gap in the RAF's planned strike capabilities for the 1970s at the same time as France's cancellation of the AFVG, Germany was expressing a serious interest in the Jaguar, and thus the design became more oriented towards the low-level strike role.

The RAF had initially planned on a buy of 150 trainers; however, with both TSR2 and P.1154 gone, the RAF were looking increasingly hard at their future light strike needs and realizing that they now needed more than just advanced trainers with some secondary counter insurgency capability. The RAF's strike line-up was at this point intended to consist of American F-111s plus the AFVG for lighter strike purposes. There was concern that both F-111 and AFVG were high risk projects and with the French already planning on a strike role for the Jaguar, there was an opportunity to introduce a serious backup plan for the RAF's future strike needs - the Jaguar.

While the RAF had initially planned to buy 150 trainers, the TSR2 and p.1154 were gone, and believing that both the US F-111 and AFVG were high-risk programs, and with the French already planning a strike role for their Jaguar, the MOD suddenly realized they were in bad need of a new light strike aircraft capable of delivering tactical nuclear weapons. As a result, by October 1970, the RAF's requirements had changed to 165 single-seat strike aircraft and 35 trainers.

The Jaguar was to replace the McDonnell Douglas Phantom FGR2 in the close air support, tactical reconnaissance and tactical strike roles, freeing the Phantom to be used for air defence. Both the French and British trainer requirements had developed significantly, and were eventually fulfilled instead by the Alpha Jet and Hawker Siddeley Hawk respectively. The French, meanwhile, had chosen the Jaguar to replace the Aeronavale's Dassault Étendard IV, and increased their order to include an initial 40 of a carrier-capable maritime version of the Jaguar, the Jaguar M, for the Aeronavale. From these apparently disparate aims would come a single and entirely different aircraft: relatively high-tech, supersonic, and optimised for ground-attack in a high-threat environment.

Lingerie Designs #8

Eternity gown Sascha's Designs

The Boater Silkstone wearing a Paintbox Designs dress, Pink Stole is borrowed from The Baroness, Sensational Soiree Agnes Von Weiss.

NARUTO from Naruto

Custom Taeyang by Sheryl Designs to Renske

FULL CUSTOM:

Carving – Complete MAKE UP – Eyechip special design - ©2007 Eyemech Modification by Sheryl Designs – obitsu – Modeled shoes – Complete Outfit and Complements by Sheryl

Hilo en el Foro: miPullip

See more photos at: Renske‘s Flickr

Kinkaku-ji (金閣寺, literally "Temple of the Golden Pavilion"), officially named Rokuon-ji (鹿苑寺, literally "Deer Garden Temple"), is a Zen Buddhist temple in Kyoto, Japan.[2] It is one of the most popular buildings in Japan, attracting many visitors annually.[3] It is designated as a National Special Historic Site, a National Special Landscape and is one of 17 locations making up the Historic Monuments of Ancient Kyoto which are World Heritage Sites.

The Golden Pavilion (金閣 Kinkaku) is a three-storey building on the grounds of the Rokuon-ji temple complex.[11] The top two stories of the pavilion are covered with pure gold leaf.[11] The pavilion functions as a shariden (舎利殿), housing relics of the Buddha (Buddha's Ashes). The building was an important model for Ginkaku-ji (Silver Pavilion Temple) and Shōkoku-ji, which are also located in Kyoto.[2] When these buildings were constructed, Ashikaga Yoshimasa employed the styles used at Kinkaku-ji and even borrowed the names of its second and third floors.[2]

Architectural design

The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor.[8] Each floor of the Kinkaku uses a different architectural style.[2]

The first floor, called The Chamber of Dharma Waters (法水院, Hō-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy.[2] It is evocative of the Shinden palace style. It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster.[8] This helps to emphasize the surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion[8] and change the view by controlling the shutters' heights. The second floor, called The Tower of Sound Waves (潮音洞, Chō-on-dō ),[2] is built in the style of warrior aristocrats, or buke-zukuri. On this floor, sliding wood doors and latticed windows create a feeling of impermanence. The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon.[8] The third floor is built in traditional Chinese chán (Jpn. zen) style, also known as zenshū-butsuden-zukuri. It is called the Cupola of the Ultimate (究竟頂, Kukkyō-chō). The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period.[8]

The roof is in a thatched pyramid with shingles.[12] The building is topped with a bronze hōō (phoenix) ornament.[11] From the outside, viewers can see gold plating added to the upper stories of the pavilion. The gold leaf covering the upper stories hints at what is housed inside: the shrines.[9] The outside is a reflection of the inside. The elements of nature, death, religion, are formed together to create this connection between the pavilion and outside intrusions.

Garden

The Golden Pavilion is set in a Japanese strolling garden (回遊式庭園 kaiyū-shiki-teien, lit. a landscape garden in the go-round style).[6] The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world. The pavilion extends over a pond, called Kyōko-chi (鏡湖池 Mirror Pond), that reflects the building.[5] The pond contains 10 smaller islands.[8] The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature.[8] Vantage points and focal points were established because of the strategic placement of the pavilion to view the gardens surrounding the pavilion.[10] A small fishing deck (釣殿 tsuri-dono) is attached to the rear of the pavilion building, allowing a small boat to be moored under it.[5] The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida, intending to illustrate a harmony between heaven and earth.[6] The largest islet in the pond represents the Japanese islands.[5] The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.[5]

The garden complex is an excellent example of Muromachi period garden design.[11] The Muromachi period is considered to be a classical age of Japanese garden design.[10] The correlation between buildings and its settings were greatly emphasized during this period.[10] It was a way to integrate the structure within the landscape in an artistic way. The garden designs were characterized by a reduction in scale, a more central purpose and a distinct setting.[13] A minimalistic approach was brought to the garden design, by recreating larger landscapes in a smaller scale around a structure.

en.wikipedia.org/wiki/Kinkaku-ji

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ALL OTHER DECOR IS NOT INCLUDED IN THESE ITEMS

ArcoIris Designs

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Nail designs of popular beverages and snacks

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SECRET SALE

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🌸 → LAURSAN SHABBY FIREPLACE←

🌸 → BELIANI WROUGHT IRON BED - Adult/PG←

🌸 → BELIANI SIDE CHEST & SIDE CHEST 1←

🌸 → BELIANI WINGBACK CHAIR - Adult/PG←

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✰ This photo was featured on The Epic Global Showcase here: bit.ly/1O4hfXO

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Lingerie Designs #10

Soflines BKNY (designs)

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Pain from Naruto

Custom Taeyang by Sheryl Designs to Renske

AT NEXT ADORE ISSUE... ;D

We are pleased to say we are in this year's Vintage Fair!

We decided to span the 20s-50 with the beautiful and distinct art style of Art Deco. Spanning from the 20s-50s, this distinct art style is sure to catch the eye.

There are 4 new items from us in this style at the Vintage Fair!

*pm* Art Deco Numbers

We have 2 sets of Art Deco numbers available. 0-9, each only 1 LI as rezzed, can be linked together for lower LI impact. Make a statement with this delicate and strong number designs!

Vintage Fair runs: June 9th - June 25

maps.secondlife.com/secondlife/Kindred%20Soul/166/205/22

I freaked out when I saw this great condition Designs 3 quart casserole at the rummage sale. For $2!!

atelier ying, nyc.

There are some cameras without which life would not be complete (it seems).

My own current personal list is the: Hasselblad SWC, Plaubel Makina, Canomatic, Tessina, Voigtlander Brillant V6, Ricoh GR1v, Luftwaffe Leica IIIc, and a dream Linhof kit.

Fortunately, I can subsume some of these desires by botanizing histories and making designs.

In this design, the Linhof kit must be a "wow" as there is a very slim chance of this design ever being built, so I can be as extreme as possible.

Which is also characteristic of the subject of this homage, Jean Cocteau who designed churches in addition to all the art that he made.

I was making notes in a cafe not far from the Cathedral St. John the Divine, one of my favorite places in this world, when it occurred to me that the large format Technika is worthy to be made into a place of worship.

Many years ago, all that was necessary to form a church was a

tax id number and some furniture for assembly.

I'm not making any references to historical church architecture in this design.

The requirement is solely that it be a functional sanctified space.

This extremely high-quality camera more than fulfills these requirements. Since I will digitize it, the actual space needed for the optics is much smaller than the bellows space. It's the focal length that's the vital factor, nothing else.

Perhaps the simple function of the camera is subsumed now by a set of complicating elements, yet this recalls the artistic habits of the very eccentric Cocteau.

Some technical features:

1. a recessed and removable chamber within the actual Linhof body will allow a dust-free enclosure for picture taking that I can remove when setting up the camera in "church" mode.

2. the bellows is either modified or adjusted (this portion of my design is incomplete here) so it can become the shape of an auditorium or concert space (with bellows extended it is almost a shoebox---the perfect kind of acoustic space for a concert hall according to the architect Rem Koolkass). I've an idea of making a triangular structure that will either be incorporated with the bellows or be placed underneath it. Either way, part of the bellows will have to be modified, and it won't have to be lightproof for the sake of the optics but for the sake of making the space dramatic for the effect of the light so it is an architectural concern, not an optical one at all.

3. The triangular base mentioned above would house a small wireless Bluetooth speaker and an incense burning element, allowing for both music and space cleansing for worship.

4. The chamber, when lifted out of the camera, allows for an auditorium space as was mentioned above. However the extra space around this chamber area would also have two choir lofts for Evensong as is shown in the sectionals on the drawing.

5. the space is also sanctified by a Procession of Relics, crossing deftly between quite a number of faiths. For example, Buddhism has relics and relic tours also. Wouldn't it be something if memento-relics of famous artists were to be included in this procession?

6. to accommodate a digital camera, a custom made Linhof back will be lined with leather to look exactly like a typical Linhof accessory. This back will have a port door typical of early cameras (kodak) that used these portholes to access the camera lens for cleaning.

7. a second twin custom made Linhof back will also have porthole door, but this one will function as the entrance to the place of worship. It will be made of iron, and will have a floating arched stairway that extends out of the back of the camera. This stairway, made out of balsa (to simulate bamboo) can be taken apart for easy storage inside the accesory camera back.

8. The Linhof viewfinder is modified with a 'Cocteau' viewfinder which has motifs reminiscent of his graphic designs

(this viewfinder will have an upload of its own, coming out soon).

This Cocteau Viewfinder has a self-contradicting element: you can look through it from both ends, mirroring the similarly contradicting design of the camera body (the traditional image paths have been reversed). Hopefully, it adds an enigmatic quality, which is my design intention.

9. The lens is taken off and replaced by a cathedral window ( when in "church" mode) which will have a cross-shaped light bar. This opening for the light starts out very narrow (Laser-cut) and opens gradually by small fractions of a degree to give a mysterious feeling of light when seen in near total darkness allowing for meditation, solitude and communion with the Divine.

10. this model Linhof IV will be covered in beautiful red leather, a traditional color of religious passion.

11. a traditional large-format View-camera dark cloth in purple with the very beautiful Linhof crest motif sewn on the back is provided, not for picture taking (although it could be used as such) but more importantly so that the worshiper can take in the religious experience vicariously.

So a poetic element of this design is that the main camera lens is not used to allow the image to traditionally enter the camera, but this lens opening becomes a Cathedral window through which worshipers look out, reversing the traditional space of the camera. Paradoxically, the main entrance to the camera is instead from the rear, made prominent by an arched floating staircase. Worshipers ceremoniously climb the long curved staircase and enter an auditorium and descend down towards the single cathedral window, which lets the light in by a simple cross. On the sectional drawing for the viewfinder there are other graphic designs drawn by Cocteau which can substitute for the main cathedral window's cross symbol, like Cocteau's signature star.

Parts of this design concept was made after the architect Tadao Ando, whose designs were applied but done with the camera as the main structure.

This camera can therefore be used as a theater or church or concert hall (via an iPhone Bluetooth connection).

As my original intent was to use it as a church, the music I intended for it was William Byrd's Masses for three voices (recording by the Alfred Deller consort)

As I have noted above, this design is not complete and is left in an extreme state which covers more possibilities without being fully resolved. As such, it has more poetic potential, honoring its main subject the poet Jean Cocteau.

This drawing is dedicated to my great friend Mike from Queens, Nyc. who has been my optics guru.

Design, text and drawing are copyright 2013 by David Lo.