View allAll Photos Tagged Iteration
Here the last days of this iteration of the Luxicars premises was captured. Soon the entire site would be demolished and a totally new expanded garage and showroom would be built. It's hard to imagine this photo was taken any earlier than 1960, yet by 1964 the building work was complete, so the two images are not far apart in time despite looking so different - see below.
I don't know when Luxicars stopped trading but certainly by the earliest Streetview this was by then a Volkswagen dealer called Ridgeway, and the building had by then been expanded and visually improved from the awful prefabricated concrete disaster that the original new premises had been. By 2015 the premises were unoccupied and by 2018 it was on the verge of being demolished, this time for good!
If some of the cars on view here are very old, the right hand pump with the Shellmex globe is ancient! It must date from the pre-war era by a few years at least.
The replacement for the SC series came in 1984 as the 911 3.2 Carrera, reviving the Carrera name for the first time since 1977. This was the last iteration in the original 911 series, with all subsequent models featuring new body styling and new brake, electronic, and suspension technologies.
A new higher-displacement engine, a 3.2-litre horizontally opposed flat 6-cylinder unit, was utilized. At the time Porsche claimed it was 80% new. The new swept volume of 3,164 cc was achieved using the 95 mm (3.7 in) bore (from the previous SC model) combined with the 1978 Turbo 3.3 crankshaft's 74.4 mm (2.9 in) stroke. In addition, higher domed pistons increased the compression ratio from 9.8 to 10.3:1 (9.5:1 for the US market). New inlet manifold and exhaust systems were fitted. The 915 transmission was carried over from the SC series for the first three model years. In 1987, the Carrera got a new five-speed gearbox sourced from Getrag, model number G50 with proven BorgWarner synchronizers. This slightly heavier version also featured a hydraulically operated clutch.
With the new engine, power was increased to 207 hp (154 kW; 210 PS) (at 5,900 rpm) for North American-delivered cars and to 237 PS (174 kW; 234 hp) (at 5,900 rpm) for most other markets. This version of the 911 accelerated 0–97 km/h (0–60 mph) in 5.4 seconds and had a top speed of 240 km/h (150 mph) as measured by Autocar. Factory figures were more modest: 0–97 km/h (60 mph) time of 6.3 seconds for the US version and 6.1 seconds for cars outside the American market.
Excerpt from Wikipedia:
Kitchener City Hall is the seat of municipal government of Kitchener, Ontario, Canada. It has gone through many iterations through the 20th century, culminating in the current building, which opened in 1993.
The first city hall was built in 1919 by William Henry Eugene Schmalz (son of Mayor W.H. Schmalz) faced King, with the area towards Duke hosting the weekly Kitchener Farmer's Market (operating from 1869 to 1872 which relocated to building in rear), rebuilt 1907 and lasted until 1973. The last of the city halls on the site was built in 1924 replacing the Victorian structure topped with a clockless cupola (and with a Weather vane) with a three-story Renaissance Revival (similar to St. Lawrence Hall in Toronto) porticoed building topped with a clock tower. It was demolished in 1973 in a decision controversial to this day.
The city moved its offices across Frederick Street to the upper floors of the Oxlea office tower in 1973. Municipal affairs continued in leased space at this unremarkable location for the next twenty years; the former site was converted to the Market Square shopping centre, which housed the Farmers' Market below its parking garage.
The clock tower of the 1924 city hall was finally reassembled 22 years after being dismantled, and placed on a new base in Victoria Park in view of the new city hall, in 1995.
In the 1990s, during the mayoral term of Dom Cardillo, the city decided that it should operate from a dedicated, modern building again. It purchased the complete block enclosed by King, College, Duke, and Young streets, and held an architectural competition to design the building. The winner was Toronto architects Kuwabara Payne McKenna Blumberg Architects (Mertins & Wright, 1990) who laid out an open square facing King Street complete with a fountain/skating rink. The design plans for the building are kept at the Canadian Centre for Architecture in Montreal. The Kitchener City Hall is enclosed on two sides by three-storey wings, with the main building at the back of the square. The west side of the edifice houses the council chamber; a central, open rotunda defines an indoor public space, and the east elevation consists of a twelve-storey office tower.
The parts of the building are named for former names of Kitchener; the wings surrounding the square are named for Sandhills and Ebytown, while the Berlin Tower carries the most recent of the former names. The square at front was simply named Civic Square for its first 21 years; it was renamed Carl Zehr Square in late 2014, in honour of the mayor who retired that year. Gardens and other open space face Duke Street at the rear. The new City Hall opened with generally enthusiastic support in 1993.
The textures of the building are varied. Much of both the interior and exterior is in red sandstone imported from India; domestic granite makes up pavement and floors. A unique feature is the 'green wall'; passing from the south on a parallel with Gaukel Street, this bulwark of green stone continues, at various heights, through the square and building across the entire block. The council chamber is a modern, approachable space, where the mayor and councillors sit at a circular furnishing, surrounded by staff facilities and observed by the visitors' gallery.
Second iteration of one of those MOCs you don't know how came to life or how to integrate to your story but you like enough to keep it around.
Torso design belongs to Logan McOwen and upper arms belong to BobTheDoctor27. More pictures here: www.flickr.com/photos/golden_arpeggio/albums/721576482688...
The latest iteration of the skyline of the square mile, afforded this nice clean view due to the obliging clear sky which gave us a good blue hour last night.
It looks like 22 Bishopsgate is pretty much done - the newest addition - a little left of centre here. It's also the first time I've seen this view without a crane in sight for a very long time. Sadly the venerable old Gherkin barely gets a look-in anymore.
This was taken from the viewing balcony of the Blavatnik Building at Tate Modern, with the sneaky help of my mini GorillaPod tripod wrapped around the safety railing to enable base ISO and exposure of 0.6s ...
The latest iteration of the city's Walterdale Bridge, which over the years became a horrid bodge under regular repair. This version is wider, paved, actually kinda cool looking - and was built on time and under budget!
Swimming with sharks is really expensive. Last time I did it, it cost me an arm and a leg.
Un point de repère d'Edmonton. La dernière itération du pont Walterdale de la ville, qui au fil des ans est devenu une horrible épave régulièrement réparée. Cette version est plus large, pavée, plutôt cool - et a été construite dans les délais et dans les limites du budget !
Please, read my profile, or visit my website!
SVP, lire mon profil, ou visiter mon page sur Web!
A few more iterations of my "Think Tank" (tachikoma) design using Hero Factory parts. I know they stretch the definition of a "Think Tank", as the body segmentation is more implied than well defined, nor are the sensor eyes pronounced in some (except for the "Scanner", of course), but think all they might still fit into the GiTS anime universe...
In collaboration with Tony DeVarco
Tony Devarco www.flickr.com/photos/tonydevarco/
CoLab with Mayako Nakamura
www.flickr.com/photos/tonydevarco/sets/72157649519692395/...
ReGenerations
au vernissage.
Fractal,
iteration to imaginary
Exhibition
september 23th till October 7th
canvas (44")
in Amiens
" La Briqueterie "
september 23th /7PM (vernissage)
Fractales, itération vers l'imaginaire
carrés (1m x 1m)
exposition à la Briqueterie
expo visble du 23 Septembre au 7 Octobre 2005
ch_P
la Briqueterie - 2, rue lescouvé - 80 000 AMIENS
tél : 03.22.95.12.95
mail : ch_p{at}mac.com
This is my second iteration of this MOC and I have completely reworked the top part of the gate, now includes a hallway where stormtroopers can look down onto the vehicle bay or the snowy terrain.
More Info and instructions can be found below: rebrickable.com/users/Wiktor%20Radomski/mocs/
Imperial Crates, Droids And Light Pack used in this MOC linked Below
rebrickable.com/mocs/MOC-133675/Wiktor%20Radomski/imperia...
Imperial Fighter tank designed by ImperialBrickProductions, his Flickr page linked below
www.flickr.com/photos/imperialbrickproductions/
If you like this MOC or have any suggestions please feel free to comment below :)
Date: August 2015
Medium: Digital Photomontage
Dimensions: 20" x 45"
© 2015 Tony DeVarco and Mayako Nakamura
Here is an image of Iteration I and Iteration II-
www.flickr.com/photos/tonydevarco/16513571668/in/album-72...
In collaboration with the work of Mayako Nakamura www.flickr.com/photos/ma85/
An interview (in English) with Mayako on her working methods- www.theactofpainting.com/interviews/interview-mayako-naka...
*******************************************************************************
This image and its name are protected under copyright laws.
All their rights are reserved to my own and unique property.
Any download, copy, duplication, edition, modification,
printing, or resale is stricly prohibited.
*******************************************************************************
Final iteration/version of this prompt:
/imagine prompt: cyberpunk cathedral:: Drawing, Tri-X 400 TX, Lumen Global Illumination:: vast interior space:: intricate architecture:: battle flags:: smoke:: high detail --iw 2 --q 4 --chaos 10 --uplight --w 3584 --h 2048 --q 2
as rendered, no post editing
Decisive Action 3 was the third iteration of a MOC-driven war game in which players competed for control of the world using armies, air forces, and navies build from Lego.
The game was run by a dedicated staff (Keith Goldman, Michael Rutherford and Caleb Inman) who did not play in the game, so there was no conflict of interest or bias. The rules were published, and enforcement of those rules was consistent and transparent. All players were treated equally in all aspects of the game. The rules served to bind all players equally.
Decisive Action 3 was a game for competitive, creative, Lego builders who like to communicate. To succeed in the game, players would have to build in diverse styles, and within highly restrictive rules. Above all, in this game players would have to build, post, review and attack. Players had to do it quickly, and often.
Make no mistake, DA is difficult. If it were easy, the game would be have been called "checkers" not "Decisive Action 3." Players who were thin skinned, who couldn't take a punch and walk it off... were quick to crumble. In Decisive Action, players could count on competing in an environment of respect, but that didn't take any of the sting out of defeat. And in DA3, every player but one WOULD feel that sting.
However, players that were resilient, creative, and looking to develop as a MOC builder, a strategist, and a communicator, (and simultaneously meet other like minded builders) then DA3 was the place to be.
The game began on April 6th, 2018 at 1:00pm PDT(Pacific Daylight Time) and ended on June 8th, 2018 at 12:41pm.
Observe. Assess. Decide, and then commit.
Ignorance may be bliss... but indecision kills.
This is Decisive Action.
Throwback to an earlier iteration of the NKP765, from December 2011. It didn't really work, but some features are still held over in the current form.
Blue Event
February 16th to Marth 8th
Iterations Stars Eyes- Nebula
*Bom, Genus, Lelutka
Hyacinth Poses and Designs-Kawaii Collection-Chou Chou HandPose- "Only Love"
*AO+walk+ pose COMPATIBLE. 3 versions, Both arms/Left arm only/Right Arm only
[REM]- GALA Chrome (Coffin) Nails
*Fits: Belleza Gen X, Erika, Legacy, Maitreya, Reborn
Mignonne Sophia Skin- Chantilly Tone (Worn)
*Comes in Velour Tones *brow or no brow
*Shape available
Blue Event Taxi: maps.secondlife.com/secondlife/BLUE%20EVENT/144/123/2810
Hyacinth Poses Mainstore: maps.secondlife.com/secondlife/Tomorrowland%20Estate/178/...
[REM] Mainstore:
maps.secondlife.com/secondlife/Jacksonville%20Island/167/...
Iterations Mainstore: maps.secondlife.com/secondlife/Seosan/223/181/2505
Mignonne Mainstore: maps.secondlife.com/secondlife/Miyuki/194/6/1801
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
LOGO-Mabel Evox Head
Available exclusively at the Tres Chic event for Feb/Mar at a promo price of only 999L. The LOGO Mabel head comes with 6 skins tones, dozens of HD makeup and other options and 12 animations. She is also EvoX compatible.
Demo available at Mainstore: maps.secondlife.com/secondlife/Eventide%20Far%20East/127/...
Tres Chic Event: maps.secondlife.com/secondlife/Tres%20Chic/176/118/21
LOGO Eyelashes Pack 2
Contains 8 different eyelash styles, from subtle and sparse, to thick and bold. There are 2 different lengths included for each style for a total of 16 different options.
Mainstore: maps.secondlife.com/secondlife/Eventide%20Far%20East/127/...
Bit of a fun one for you today! This is a Renault Master T35, the latest iteration of the Master. This is a replica of the vans they use at Jumbo Supermarkets in the Netherlands.
Jumbo is a major supermarket chain in the Netherlands who started expanding their potential in online ordering by launching a delivery service. You order your groceries and the next day (or whenever you like) a delivery driver will turn up at your doorstep in a Renault Master just like this! Click here for a reference pic of the real thing.
This has been a fun build because I got to see some pictures of how these vans work from the inside. Big trolleys with the groceries will be rolled into it to create some shelves from which the delivery driver can easily pick the order and deliver it. I tried to replicate the trolleys (even though the poles to hold them are a bit weird) with the grocery boxes and other items, and also a little hand truck that is often used to make carrying the boxes a bit easier.
The van itself is about as accurate as I can make it, obviously not perfect but it hopefully represents the Jumbo van as well as possible :) Obviously the company name is not present, although a brick built logo is planned.
The van is complete in its accurate configuration which includes the interior of the cabin. A bit basic, but so is the real one. Van drivers prefer the term 'utilitarian' :)
Hope you like it!
I've made another iteration of the Kübelwagen, this time one stud longer than the previous.
Having one stud more between the wheels gives enough room to sit four people, and gives another stud to the engine compartment.
The ribbed side panels are back to grilles, and if you look closely, there's a gap at the rear mudguard that cannot be filled if you want to have four minifigures inside.
I've changed the engine cover to an old, hinged plate. Used a bracket to give it a bit more stability, but you mustn't push your bricks tight, because there's so little room with the wheel covers, that the wheels won't roll if you're not leaving a bit of slack with the curved slope.
Didn't bother too much about light or dark grey in the back, or an actual engine, because I don't think that I'll keep it.
A word about putting it in your pocket to take it outdoors: Without the patient help of my wife this picture wouldn't have happened. The front came apart in pieces, and the exhaust keeps falling off.
Toy Project Day 2449
What I hope is the final iteration of my Class 08 shunter. All Lego, bar the connecting rods (3D printed), but I have "modified" a few pieces. The blue pins connecting to the rods have been shortened and holes drilled in the black plates behind. The hand rails are cut down aerials (although I built the model to accommodate 3L rods (87994) - I just think they look over-scale). The piping on the front grille is also a cut-down 22L flexihose (27965). Decals are O-gauge. I spray painted the wasp stripes, as the model is slightly over-scale and the decals I bought were slightly too small. At the front it's tamiya black on yellow Lego. At the rear I used a yellow sticky-back plastic and painted the stripes on that. Model is fully powered, but runs a 9V battery rather than the Lego battery pack. I'll upload a video of it running on track next week. Apologies for my poor picture-taking!
This is a slight upgrade to my previous iteration of these characters.
Grand Admiral Delthar was once the commander of the Vieran forces under King Toredenas during the Second Vieran Civil War. After King Toredenas was defeated and killed by his son Trohduil at the battle of the Sleeping Caverns (0AV), Delthar and what remained of his forces retreated to the island of Krükland. From the island, he and his troops terrorized the new King's regime until their losses were too great to continue fighting with Trohduil's loyalists. He grew a beard to signify his dishonour, an display that many Vieran would compare to death.
Delthar invested his energy into growing more powerful with magic. Troduil had won the war by discovering an ancient magic that allowed him to duplicate his finest warriors. Delthar did not know how he did this, but he spent centuries attempting to copy this magic so that he could reclaim Esterdame in the name of his former master. To survive, Delthar resorted to raiding the shorelines of the Far East, the Attonight Empire and Kalarocco.
The exiled Vieran dwell in the cliffside fortresses around the Porcupine shore, which got it's name for the volleys of arrows that penetrate the armour of anyone who lands on the beach. On the far eastern tip of Krükland is the legendary prison of the Black Mountain. Thousands of helpless captives have disappeared into the mountain and never been seen again. Legend has it that these captives are being used in endless experiments conducted by Vieran sorcerers under the guidance of the mysterious Threndaugar.
Delthar is a capable swordsman and sorcerer, and he has mastered the weapon of fear. He never engages an enemy that he has not already worn down psychologically. He is a legendary figure in the history of Esterdame, but his influence is almost insignificant. The bulk of his army is Krük warriors that fear sea travel, so his full mobile strength in in the low thousands at most. The Young King has been advised to focus on the bigger threats to his reign at present.
Final iteration/version of this prompt:
/imagine prompt: cyberpunk cathedral:: Drawing, Tri-X 400 TX, Lumen Global Illumination:: vast interior space:: intricate architecture:: battle flags:: smoke:: high detail --iw 2 --q 4 --chaos 10 --uplight --w 3584 --h 2048 --q 2
as rendered, no post editing
Over a hundred years ago this was the site of the infamous Sutton Poison Gas Works. Since then it has been an industrial estate with various uses over the years. Currently it is in the process of being deconstructed ready for another chapter in its history.
Menger sponge
From Wikipedia, the free encyclopedia
An illustration of M4, the sponge after four iterations of the construction process
In mathematics, the Menger sponge (also known as the Menger cube, Menger universal curve, Sierpinski cube, or Sierpinski sponge)[1][2][3] is a fractal curve. It is a three-dimensional generalization of the one-dimensional Cantor set and two-dimensional Sierpinski carpet. It was first described by Karl Menger in 1926, in his studies of the concept of topological dimension.[4][5]
Construction
The construction of a Menger sponge can be described as follows:
Begin with a cube.
Divide every face of the cube into nine squares, like a Rubik's Cube. This sub-divides the cube into 27 smaller cubes.
Remove the smaller cube in the middle of each face, and remove the smaller cube in the center of the more giant cube, leaving 20 smaller cubes. This is a level-1 Menger sponge (resembling a void cube).
Repeat steps two and three for each of the remaining smaller cubes, and continue to iterate ad infinitum.
The second iteration gives a level-2 sponge, the third iteration gives a level-3 sponge, and so on. The Menger sponge itself is the limit of this process after an infinite number of iterations.
An illustration of the iterative construction of a Menger sponge up to M3, the third iteration
Properties
Hexagonal cross-section of a level-4 Menger sponge. (Part of a series of cuts perpendicular to the space diagonal.)
The n nth stage of the Menger sponge, M n M_{n}, is made up of 20 n {\displaystyle 20^{n}} smaller cubes, each with a side length of (1/3)n. The total volume of M n M_{n} is thus ( 20 27 ) n {\textstyle \left({\frac {20}{27}}\right)^{n}}. The total surface area of M n M_{n} is given by the expression 2 ( 20 / 9 ) n + 4 ( 8 / 9 ) n {\displaystyle 2(20/9)^{n}+4(8/9)^{n}}.[6][7] Therefore, the construction's volume approaches zero while its surface area increases without bound. Yet any chosen surface in the construction will be thoroughly punctured as the construction continues so that the limit is neither a solid nor a surface; it has a topological dimension of 1 and is accordingly identified as a curve.
Each face of the construction becomes a Sierpinski carpet, and the intersection of the sponge with any diagonal of the cube or any midline of the faces is a Cantor set. The cross-section of the sponge through its centroid and perpendicular to a space diagonal is a regular hexagon punctured with hexagrams arranged in six-fold symmetry.[8] The number of these hexagrams, in descending size, is given by a n = 9 a n − 1 − 12 a n − 2 {\displaystyle a_{n}=9a_{n-1}-12a_{n-2}}, with a 0 = 1 , a 1 = 6 {\displaystyle a_{0}=1,\ a_{1}=6}.[9]
The sponge's Hausdorff dimension is log 20/log 3 ≅ 2.727. The Lebesgue covering dimension of the Menger sponge is one, the same as any curve. Menger showed, in the 1926 construction, that the sponge is a universal curve, in that every curve is homeomorphic to a subset of the Menger sponge, where a curve means any compact metric space of Lebesgue covering dimension one; this includes trees and graphs with an arbitrary countable number of edges, vertices and closed loops, connected in arbitrary ways. Similarly, the Sierpinski carpet is a universal curve for all curves that can be drawn on the two-dimensional plane. The Menger sponge constructed in three dimensions extends this idea to graphs that are not planar and might be embedded in any number of dimensions.
The Menger sponge is a closed set; since it is also bounded, the Heine–Borel theorem implies that it is compact. It has Lebesgue measure 0. Because it contains continuous paths, it is an uncountable set.
Experiments also showed that cubes with a Menger sponge structure could dissipate shocks five times better for the same material than cubes without any pores.[10]
Menger sponge
From Wikipedia, the free encyclopedia
An illustration of M4, the sponge after four iterations of the construction process
In mathematics, the Menger sponge (also known as the Menger cube, Menger universal curve, Sierpinski cube, or Sierpinski sponge)[1][2][3] is a fractal curve. It is a three-dimensional generalization of the one-dimensional Cantor set and two-dimensional Sierpinski carpet. It was first described by Karl Menger in 1926, in his studies of the concept of topological dimension.[4][5]
Construction
The construction of a Menger sponge can be described as follows:
Begin with a cube.
Divide every face of the cube into nine squares, like a Rubik's Cube. This sub-divides the cube into 27 smaller cubes.
Remove the smaller cube in the middle of each face, and remove the smaller cube in the center of the more giant cube, leaving 20 smaller cubes. This is a level-1 Menger sponge (resembling a void cube).
Repeat steps two and three for each of the remaining smaller cubes, and continue to iterate ad infinitum.
The second iteration gives a level-2 sponge, the third iteration gives a level-3 sponge, and so on. The Menger sponge itself is the limit of this process after an infinite number of iterations.
An illustration of the iterative construction of a Menger sponge up to M3, the third iteration
Properties
Hexagonal cross-section of a level-4 Menger sponge. (Part of a series of cuts perpendicular to the space diagonal.)
The n nth stage of the Menger sponge, M n M_{n}, is made up of 20 n {\displaystyle 20^{n}} smaller cubes, each with a side length of (1/3)n. The total volume of M n M_{n} is thus ( 20 27 ) n {\textstyle \left({\frac {20}{27}}\right)^{n}}. The total surface area of M n M_{n} is given by the expression 2 ( 20 / 9 ) n + 4 ( 8 / 9 ) n {\displaystyle 2(20/9)^{n}+4(8/9)^{n}}.[6][7] Therefore, the construction's volume approaches zero while its surface area increases without bound. Yet any chosen surface in the construction will be thoroughly punctured as the construction continues so that the limit is neither a solid nor a surface; it has a topological dimension of 1 and is accordingly identified as a curve.
Each face of the construction becomes a Sierpinski carpet, and the intersection of the sponge with any diagonal of the cube or any midline of the faces is a Cantor set. The cross-section of the sponge through its centroid and perpendicular to a space diagonal is a regular hexagon punctured with hexagrams arranged in six-fold symmetry.[8] The number of these hexagrams, in descending size, is given by a n = 9 a n − 1 − 12 a n − 2 {\displaystyle a_{n}=9a_{n-1}-12a_{n-2}}, with a 0 = 1 , a 1 = 6 {\displaystyle a_{0}=1,\ a_{1}=6}.[9]
The sponge's Hausdorff dimension is log 20/log 3 ≅ 2.727. The Lebesgue covering dimension of the Menger sponge is one, the same as any curve. Menger showed, in the 1926 construction, that the sponge is a universal curve, in that every curve is homeomorphic to a subset of the Menger sponge, where a curve means any compact metric space of Lebesgue covering dimension one; this includes trees and graphs with an arbitrary countable number of edges, vertices and closed loops, connected in arbitrary ways. Similarly, the Sierpinski carpet is a universal curve for all curves that can be drawn on the two-dimensional plane. The Menger sponge constructed in three dimensions extends this idea to graphs that are not planar and might be embedded in any number of dimensions.
The Menger sponge is a closed set; since it is also bounded, the Heine–Borel theorem implies that it is compact. It has Lebesgue measure 0. Because it contains continuous paths, it is an uncountable set.
Experiments also showed that cubes with a Menger sponge structure could dissipate shocks five times better for the same material than cubes without any pores.[10]
I'm excited to be part of the next iteration of the New Hashima City cyberpunk collab, coming to Brickworld Chicago 2023. I started with train cars, but things always escalate with me, so now I'm building a couple of the cubes that make up the foundation of the city. This one actually started as a train car hauling a big engine, but it evolved into a maintenance shop that will serve the spacecraft landing at the docks. The large strut on the front will support one of the landing pads on Alec Doede's cube above. I'll replicate that same structure for my second cube with some little variations. Thankfully I had the foresight to recreate it in stud.io as I built so I don't have to rip it apart to reverse-engineer it.
I took some inspiration from Inthert's excellent Repair Yard build for the scene inside, and while I made a deliberate effort to make mine very different, particularly with the grittier cyberpunk vibe, that's what got my gears turning.
The engine has one of my most outlandish parts usages ever, although you'd never know by glancing at it. The brown band around just in front of the exhaust nozzle is an old Fabuland table.
I've only been able to estimate the parts count on my MOC's when asked, and always wondered if I was overestimating. Building the digital model of the strut I discovered that I'm probably not, as that alone has almost 1,500 parts.
Disclaimer: the broken reddish brown tiles I used for the fence all broke by natural causes, most while working on one of my train cars.
The latest iteration of the branding for services along the Jurassic Coast in Dorset with former Green Line B9TL 37997 BF63HDV showing the most recent livery in Lyme Regis. Small error though - the map shows the 2021 routeing whereas by 2022, the X51 to Dorchester continued to Weymouth
The fourth iteration of the 1950s era “Century Series,” the F-104 Starfighter was designed around one central element: speed. Clarence “Kelly” Johnson, head of Lockheed’s famous “Skunk Works” factory, had interviewed U.S. Air Force pilots during the Korean War, seeking their input on any new fighter. Since many pilots reported that they wanted high performance more than anything else, Johnson returned to the United States determined to deliver exactly that: a simple, point-defense interceptor marrying the lightest airframe to the most powerful engine available at the time, the superb General Electric J-79.
When Johnson offered the L-098 design to the USAF in 1952, they were so impressed that they created an entire competition for the aircraft to be accepted, ostensibly replacing the F-100 Super Sabre. The Lockheed design had the clear edge, though North American and Northrop’s designs went on to be built themselves—the North American F-107A Ultra Sabre and the Northrop T-38 Talon. The USAF purchased the L-098 as the F-104A Starfighter. The design changed very little from its initial design to prototype to operational aircraft, and it was finished in an astonishing two years.
When the first F-104As reached the USAF in 1958, pilots quickly found it was a hot fighter—perhaps a little too hot. The Starfighter’s design philosophy of speed above all else resulted in an aircraft with an extended fuselage, a T-tail for stability, and tiny wings, which were so thin that special guards had to be put on the leading edges to avoid injuring ground personnel. Because of its small wing, the F-104 required a lot of runway, and blown flaps (which vent airflow from the engine over the flaps to increase lift) were a necessity; unfortunately, the airflow system often failed, which meant that the F-104 pilot would be coming in at a dangerous rate of speed. Because it was feared that a pilot who ejected from a F-104 would never clear the tail, a downward-ejection seat was fitted, but after killing over 20 pilots, the seat was retrofitted with a more reliable, upward-firing type. The design also was not very maneuverable in the horizontal, though it was challenging to match in the vertical. Its shape earned it the moniker “Missile With a Man In It” and “Zipper.”
One thing pilots did not complain about was its speed—the listed top speed of the F-104 was Mach 2.2 (2,714 kph/1,687 mph), but this was because, above that, the fuselage would quite literally melt. The J-79 was a near-flawless engine that gave the Starfighter an excellent thrust-to-weight ratio; uniquely, the intake design of the Starfighter gave the engine a banshee-like wail for which the aircraft became known for. So superb was the F-104 at level speed and climbing that NASA leased several as trainers for the X-15 program and set several speed and time-to-climb records.
If the F-104 had received a mixed reception at best in the USAF, Lockheed felt that it had potential as an export aircraft. Beating out several excellent British and other American designs in a 1961 competition, every NATO nation except France and Great Britain bought F-104s and manufactured their own as the F-104G; Japan also license-built Starfighters as F-104Js, while more were supplied to Pakistan and Taiwan. As in USAF service, the accident rates were incredibly high, particularly in West German and Canadian service—West Germany lost 30% of its initial batch, and the Canadians over half. Worries that the F-104 was too “hot” for pilots usually transitioning from the F-86 were ignored, and later, it was learned why: German, Dutch, and Japanese politicians later confessed to being bribed by Lockheed into buying the Starfighters.
The high accident rates earned the aircraft nicknames such as “Widowmaker,” “Flying Coffin,” “Lawn Dart,” “Death Tube,” and “Ground Nail.” Pakistani pilots simply called it Badmash (“Criminal”) and the Japanese Eiko (“Glory,” inferring that it was the easiest way to reach it.) West German pilots often joked that the quickest way to obtain an F-104 was to simply buy a patch of land and wait.
Nevertheless, once pilots learned how to tame the beast, the accident rates eased somewhat, and NATO pilots discovered that the Starfighter excelled as a low-level attack aircraft: fitted with bomb racks, the F-104 was remarkably stable at low altitude and high speed, and Luftwaffe pilots, in particular, found that they could sneak up on a target, launch a simulated attack, and be gone before ground defenses could even react. The Italians, in particular, loved the F-104, building their own version as the F-104S: these aircraft were equipped with multi-mode radar and armed with AIM-7 Sparrows and Aspide radar-guided missiles, making them superb interceptors. Even though most NATO nations reequipped their F-104 units with newer F-16s, F-18s, or Tornadoes beginning in the 1980s, the Italian F-104S fleet was continuously upgraded and soldiered on until final retirement in 2004. There were a total of 2,578 F-104s built, primarily F-104Gs. Today, over 150 survive in museums, with at least ten flyable examples, making it one of the best-preserved members of the Century Series.
This aircraft, FX82, was license-built in Belgium by Sociétés Anonyme Belge de Constructions Aéronautiques (SABCA) for the Belgian Air Force in 1965 and served with 350 Squadron at Beauvechain until 1983, when it was retired in favor of the newer F-16s. It was brought to the U.S. in 1989, and Planes of Fame acquired the aircraft in 1993 and has remained there ever since. This was quite a surprise since foreign aircraft are uncommon in American collections! The BAF camouflage is somewhat faded but still shows the colors used by Belgian F-104s, similar to the USAF’s Southeast Asia camouflage.
I've made another iteration of the Kübelwagen, this time one stud longer than the previous.
Having one stud more between the wheels gives enough room to sit four people, and gives another stud to the engine compartment.
The ribbed side panels are back to grilles, and if you look closely, there's a gap at the rear mudguard that cannot be filled if you want to have four minifigures inside.
I've changed the engine cover to an old, hinged plate. Used a bracket to give it a bit more stability, but you mustn't push your bricks tight, because there's so little room with the wheel covers, that the wheels won't roll if you're not leaving a bit of slack with the curved slope.
Didn't bother too much about light or dark grey in the back, or an actual engine, because I don't think that I'll keep it.
A word about putting it in your pocket to take it outdoors: Without the patient help of my wife this picture wouldn't have happened. The front came apart in pieces, and the exhaust keeps falling off.
Toy Project Day 2449
My iteration of the Starfighter Telephone Game for the Invaders of the Xth Dimension!
Couldn't help but be force inspired for this one. Started with the wings and finally found a solid way for them to open and stay on the fighter.
Love being a part of this team, and I can't wait to see where it goes from here!
The current iteration of the Triumph Cinema in East Brisbane, Queensland. Wouldn't you love to see inside this building, that seems to have remained somewhat intact. Remember the days when we went to the "pitures" or flicks? I might have to have some Kung Fu lessons and get inside.
Does anyone have any Jaffas? (Older Aussies will know what I mean!)
I don't think they sell them any more. Last I saw them was a giant variety in the lollie store at Williamstown in Melbourne. Oh boy, we we sick after we ate what we bought in there that day 15 years ago or so.
From Wikipedia
Triumph Cinema is a heritage-listed former cinema at 963 Stanley Street, East Brisbane, City of Brisbane, Queensland, Australia. It was designed by Arthur Robson and built in 1927. It is also known as East Brisbane Picture Theatre, Elite Cinema, and Classic Cinema. It was added to the Queensland Heritage Register on 27 July 2001.
Location
963 Stanley Street, East Brisbane, City of Brisbane,
The site of the Triumph Cinema, East Brisbane, has been associated with film exhibition since 1921. The building itself dates to 1927, with minor modifications probably c. 1970.
The site was earlier part of a much larger parcel of land purchased from the Crown in 1855 by Joseph Darragh of Brisbane. Darragh held the land, unsubdivided, for nearly 30 years, and it was the eventual subdivision of this property into residential allotments (mostly 16 perches) in the mid-1880s, which established East Brisbane as a dormitory suburb. Prior to this, East Brisbane was semi-rural in character, with a few isolated families scattered through the bush, and a number of elite estates (such as Mowbray's and Heath's) along the riverbank.
In June 1885 Mrs Annie Elizabeth Cocks gained title to subdivisions 112 and 113 of eastern allotment 128, parish of South Brisbane, county of Stanley (32 perches - later the site of the picture theatre). Mrs Cocks owned this land for over 20 years. About 1906 she sold it to Brisbane real estate agent George Henry Blocksidge, who in 1907 transferred the property to Henry William Robinson, who established a fuel depot there.
On 1 July 1921 the property was transferred from Robinson to Frederick Carl Christian Olsen, who established an open-air picture show on the site that year. A sewerage detail plan dated 1919 shows a picture theatre, partly roofed, occupying the whole of the site. The date may be misleading. It is not unusual for alterations to be made to original detail plans, and in this instance, the theatre as shown on the site is more likely to date to between 1921 and 1927. Oral history reveals that the facade of this theatre was timber, and that about one-third of the seating area was roofed in flat galvanised iron, which on rainy days could be manually extended over about half the seating. The Olsens reputedly were very proud of this technological feat. Around the perimeter of the site were fences of flat iron.
Frederick Olsen died in January 1926. The Stanley Street East property passed to his widow, Maria Gustava Olsen, a year later, and then to Vigo Gustav Olsen (her son) in June 1927. Around the same time Vigo Olsen raised a mortgage on the property from Ernest Adolph Burmester, which is likely to have financed the construction of a new picture theatre to cost £2,000, for which Vigo Olsen already had permission from the Brisbane City Council to erect. Olsen, who lived nearby at Didsbury Street, East Brisbane, had let the contract to construct the theatre to Corinda contractor and architect Arthur Robson. It is highly likely Robson also prepared the design. He had worked for the Workers' Dwellings Board in Townsville as an inspector and as an architect in Rockhampton in the early 1920s. From 1923 he was resident in Corinda and practised as an architect and builder in Brisbane and other centres throughout Queensland. Robson both constructed and/or designed picture theatres throughout Queensland in the 1920s, including the Indooroopilly Picture Theatre (later the El Dorado), and the Paragon Theatre at Childers. By August 1928, he had erected 23 picture theatres in Queensland.
The picture theatre at Stanley Street East is listed as the Triumph in 1927 licensing records, but there is some suggestion that the place was known initially as the East Brisbane Picture Theatre. It is possible that the name was changed when the new picture theatre was built in 1927, and this is the name which still appears in relief on the facade of the building.
Vigo Olsen died in August 1929, and the property passed to his widow, Ida Elizabeth Olsen, in April 1931. Around this time Mrs Olsen raised a further mortgage on the property from EA Burmester, possibly to purchase sound equipment for the theatre. Sound movies were introduced in 1927 with Warner Brothers' production of The Jazz Singer, and over the next few years motion picture exhibitors either converted their theatres to sound or went out of business, as demand for the "talkies" swept the world.
In mid-1934 title to the property was transferred to accountant Albert Frederick Stoddart of East Brisbane, and Alma Jones, wife of Sylvester Stephen Jones of Mount Gravatt, as tenants in common. The Jones were related to the Olsens. Gordon Jones took over the management of the Triumph in 1934, when he was only 17 years old. In 1943, AF Stoddart transferred his interest in the property to Gordon, who managed the theatre until c. 1970, exhibiting (from at least 1938, and likely earlier) as the Triumph Theatre Company.
A 1940 photograph of the theatre shows a facade remarkably similar to that which survives today. The foyer was reached via concrete steps from the street, but had not yet been enclosed with glass doors. Folding iron gates still secured the foyer, and these were at the front of the building, on the footpath. The interior of the foyer was lined with fibrous sheeting and dark-stained timber cover-strips; there was a centrally located ticket-box at the back of the foyer; and doors to the auditorium were located either side of the ticket box. The terrazzo flooring in the present entrance is likely to date to 1927.
In the 1930s, there were approximately 200 picture theatres operating in Queensland, of which about 25% were located in Brisbane. This was the period when most Brisbane suburbs had at least one picture theatre, if not more, and encouraged local allegiances. Theatre staff - owners, management and other employees (such as projectionists, organ or piano players, ticket sellers and ushers) - generally lived in the district, and the theatre offered a local community focus and sense of local identity. Competition for audiences was strong. The Triumph's closest contemporary competitors were the Broadway at the Woolloongabba Fiveways; the Mowbray Park Picture Theatre on Shafston Road; the Alhambra at Stones Corner; the Roxy (Gaiety) at Coorparoo; and the Norman Park Picture Theatre near the Norman Park railway station. Of these, only the Triumph survives.
Following the introduction of television to Brisbane in the late 1950s, Brisbane cinema audiences declined rapidly. Suburban cinemas struggled to continue screening films and in the 1960s and 1970s many closed, the buildings converted into alternative uses or the sites redeveloped. By the 1980s, only a handful of single-screen interwar suburban cinemas survived in Brisbane.
In 1960-61 the Triumph had a seating capacity of 800, suggesting that some seating refurbishment had occurred since 1938, when the theatre seated 950.
By January 1970 the property had been acquired by Roy Arthur Chesterman and Merle Audrey Chesterman, and was transferred in February 1970 to Eric Dare, who owned the place for over three decades. The changes in ownership c. 1970 correspond with a transformation of the theatre. By 1970 the Triumph had been renamed the Capri East Brisbane and was operated by the Capri Theatre Company, which screened mostly R-rated sex films. In 1971 the capacity of the theatre was listed as 510, indicating that seating and/or possibly foyer refurbishment had taken place.
The cinema is believed to have closed for a short period in the 1980s, but by 1988 had re-opened as the Classic Cinema, an art-house screening alternative and revival films, and the venue for film festivals and the annual Brisbane screening of Australian Film, Television and Radio School productions. The theatre functioned as an art-house until closed in mid-2000.
In 2014 the building was being used as a martial arts studio, with a yoga studio on the upper floor.
Description
The former Triumph Cinema occupies a site at the southeast corner of Stanley Street East and Withington Street, East Brisbane. The facade fronts Stanley Street East, which is a major arterial road. The surrounding streets are mostly residential, but there is a small commercial node either side of Stanley Street East, where the cinema is located. Diagonally opposite, on the northeast corner of Stanley Street East and Didsbury Street, is the East Brisbane Hotel, erected in 1889.
The theatre is built to the street alignments and occupies the whole of the site. The front facade is two storeys in height, of rendered brick, and decorative, with strong streetscape presence. In an extraordinarily eclectic metaphorical mix typical of 1920s picture theatre architecture, the facade combines a mix of "Classical" and "Mediterranean" decorative and design elements. There are five bays, not of equal width, defined by pilasters, at the top of which are decorative concrete urns. A balustraded concrete pediment unites the two bays either side of the central bay. This middle bay is wider and taller, with a high pediment with the name TRIUMPH in rendered block lettering. Below the theatre name is a cantilevered tiled window hood above a bank of five-paned casement windows with opaque, green and amber Arctic glass. Behind these windows is the original bio-box. In the bays either side are pairs of similar casement windows, with similar window hoods above. At street level there is a centrally placed wide, low-arched entrance, defined by half pillars on each side, with concrete steps leading to what was formerly a semi-open foyer. This has been partly enclosed with later timber-framed glass doors, recessed from the arch entrance. To either side of this arched entrance is a billboard case, and in the end bays are small "porthole" windows with a square leadlight panel in each, now enclosed with timber lattice.
As was typical of suburban picture theatre construction of this period, the masonry facade returns along the sides only one narrow bay in depth. What the elegant facade was intended to obscure is that the main part of the structure, housing the auditorium, is a large, timber-framed space with a steep, gabled, galvanised iron roof. The side walls of the auditorium are clad externally with later cement sheeting. At the rear (southern) end of the main building the gable is in-filled with weatherboards and there is a lower, hipped roof extension over the stage area.
The main change to the building is that the foyer has been expanded and pushed back into the auditorium, c. 1970s. This space has a low, false ceiling of acoustic tiles, and the floor, which was formerly raked and part of the auditorium, has been raised and levelled. A ticket box and candy-bar are located on the western side of the foyer, and there are toilets on the eastern side. The auditorium is accessed from doorways at either side of the rear wall of the foyer. Above the renovated foyer is the projection booth, which is the original bio-box, accessed from steep, narrow timber stairs behind the ticket box on the western side, and near the men's toilets on the eastern side.
The auditorium remains remarkably intact and retains much of its early decorative finishes. It is a large space, with the roof supported by unboxed laminated timber arches, and has an early lattice ceiling with hessian or canvas backing which follows the curve of the arches. There are three decorative light panels in the centre of this ceiling. There is a raked timber floor, sloped more steeply at the northern end of the building. The side walls are lined internally with vertically-jointed tongue and groove timber boards to dado height, and above this have early plasterboard panels with decorative "classical" mouldings between the timber arches.
There is a small stage the southern end of the auditorium, with a proscenium arch in plasterwork with "classical" motifs. On either side of the stage, angled to direct focus to the rear wall, are large, early plasterboard panels with decorative "classical" mouldings. The rear wall is constructed of galvanised iron sheeting, on which is painted an early "screen". A later cinema screen which once filled the proscenium arch has been removed. There are two early sound horns which hang above the stage. There is off-stage space either side of the stage, which suggests that it may have been used for performance purposes as well.
9 years ago this June, I started working on a Redcoat ship built on a red hull with two middle pieces. The structure went through several iterations before masts were even added, and the hunt through my boxes for enough black slopes lasted at least three years.
This is the culmination of the building style I developed over childhood, before the influence of Flickr and TFOL military stuff. Most of the work was done while I was in middle school. I've only just finished my second year of college.
It was never intended to be a historical build -- I hadn't even run into the likes of Luke Watkins Hutchins, E J, Captain Green Hair, or other dedicated historical ship modelers -- but rather a high-quality part of the fun classic 80's and 90's Lego Pirates line. (Why I was okay with getting away without side rigging for the masts :P )
Been waiting my whole career on Flickr to have this finished and uploaded. Several more pics to come!
Final iteration/version of this prompt:
/imagine prompt: cyberpunk cathedral:: Drawing, Tri-X 400 TX, Lumen Global Illumination:: vast interior space:: intricate architecture:: battle flags:: smoke:: high detail --iw 2 --q 4 --chaos 10 --uplight --w 3584 --h 2048 --q 2
as rendered, no post editing
It's the same story with a little 'local colour' added (With 'Invisible Details', only available through 'Infrathin').
Rock: So which story are you referring to? Okay, I see it, the 'Sex is Over' story. I am not at all sure how commercial that will be.
If that's the story you want to tell, why is the 'identification' necessary?
Ruin: Well Rock, funny you should ask. It's 'sort of' where the story starts. It isn't really, but it is my starting point, something over which I had no control.
Rock: You have a theory about what this is heading towards, don't you?
Ruin: Yes, I do.
(With apologies to the late great Diane Arbus, whom this image partially acknowledges, a lineage that celebrates the 'outliers', the misfits and the edge-dwellers).
This, and the image below were generated using her name as a reference. All praise to our other-worldly bot overlords, otherwise.
I will probably add more text here, as I go along, as I do under other images. Sometime the winkling out takes some time, and images, and ideas, need to ferment.
Rock: Well Ruin, don't you think 69 years is enough of a fermentation period?
Just askin'.
Ruin: I will write to you privately, like I always do. But be warned, everything you write to me will be used. Rack was right when she called me a plagiarist whore. Be warned.
Japan, Food, Bentō
Miso baked lobster, sushi, gari, blackvinegar spiced carrots, eggplant & lotusroots, carved fresh fruits.
The term Bentō is derived from the Chinese term “Biàndāng”, which means "convenient".
A Bentō is the Japanese iteration of a single-portion take-out or at home-packed meal, mostly for lunch.
In the 5th century simple food was still placed in bamboo tubes to make them transportable.
This was followed by the development of the traditional Japanese Bentō box, consisting of lacquered bowls artfully wrapped in cloth.
There are boxes with matching lids made of many imaginable materials & sizes, from cheap plastic to pressed cardboard ones, up to high-quality lacquered or decorated boxes. The boxes are always divided into various compartments, usually 4 or 5, with partitions so that everything does not mesh with each other during transport.
When filling the Bentō boxes, the rule of thumb is 4:2:1, four parts carbohydrates, mostly rice but also pasta, two parts proteins, fish, meat, egg etc. & one part other ingredients such as vegetables & fruits. If you follow this ratio, the milliliter information in the box also roughly corresponds to the number of calories in a meal.
What goes into a Bentō box is basically up to you. However, if one follows some traditional rules;
"The eye eats with you", which is important with Bentō, apart from the taste, it must have an appetizing presentation.
Therefore, the portions must be small & easy to eat with chopsticks or fingers; they should look pretty & be handmade.
In general, no traditional Japanese ingredients have to be used. If you don't like rice, sushi & Asian spices, you can still prepare a healthy Bentō. Instead of rice, pasta, bread or potatoes are also suitable, instead of raw fish, fried meat, sausage or scrambled eggs.
For many, it takes some getting used to the fact that a Bentō is generally eaten at room temperature. However, this has advantages, especially for lunch in the office, since a microwave is not always available. In addition, the feeling of fullness after a cold meal is less than with a warm meal. If you don't want to do without something warm, you can of course also pack heat able dishes. Many newer bento boxes are microwaveable, adapting to European preferences.
📌… “Washoku”: Preparation of a Japanese Bentō
If you want to prepare a Bentō according to traditional Japanese cuisine, you should adhere to the principles of Washoku, which simply means "Japanese food". An important aspect of Washoku is the harmony of the food, i.e. that a dish is aesthetically pleasing to the eye & taste, as mention before.
"Washoku", the five principles for preparing a harmonious dish,
📍…Go Shiki, - The Five Colours
… A Bentō should always contain five different colours, red, white, black/brown/purple, green & yellow. The five colours are not just about an aesthetic and colourful look. A varied food combination provides the body with a variety of important nutrients. The more colour, the more nutrients!
📍…Go Mi, - The Five Flavours,
…The variety of flavours in a Bentō is just as important. Anyone who has a completely sweet or sour meal with them will soon lose interest in it. If there are many flavours such as sweet, sour, tart, hot & mild, the food is more harmonious & more enjoyable.
📍…Go Ho, - The Five Ways of Cooking
…In addition to colour / taste, the type of preparation also plays an important role in Japanese cuisine. A Bentō should therefore not only contain cooked or raw ingredients, but also something roasted, fried & pickled.
📍…Go Kan, - The Five Senses
… Not only does the taste of the ingredients affect our eating experience, but also the smell, look, sound & texture of the dish. Again, it is about a harmonious overall picture of the dish.
📍…Go Kan Mon, - The Five Perspectives
The last principle deals with the state of mind with which the dish is to be consumed. Appreciation & respect for the person who prepared the dish is particularly important.
•••Of course, not all principles need to be followed consistently. Rather, they are intended to be a suggestion & reminder on how to prepare & eat a healthy meal. These principles actually apply to all types, traditional or contemporary, cuisines on our planet to put together a balanced meal.
…last but not less important, “Bentōs as a sign of affection”
In Japan, a bento is not only a lunch, but also a sign of affection. If the wife, a friend or whoever prepares a particularly nice Bentō for someone, he, she etc. can take this as a token of love & to express their affection. In Japan, if you are invited to someone's home, it is considered polite to bring something with you, here, too, an artfully prepared bento box is a sign of recognition & is gladly accepted.
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
17 million visits in my photostream with countless motivating comments
Braved the cold winds with the Horseman Woodman 4x5 since I was having clear issues with not really observing recently. I find that LF really slows me down in a positive way, and gets me out of the funk I sometimes find myself when i feel uninspired. Had some expired Ultra and put it to good use. While the day was mostly overcast I had alot of fun seeing again what was in front of me. Thanks again to my other inspiration - the flickeranians who continue to share their images and show us the way.