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The Palácio Nacional da Ajuda is a neoclassical monument in the city of Lisbon, in Portugal. The Palace was built during the 19th century to be a residence for the Kings of Portugal.
The site where the Palace stands, in the neighbourhood of Ajuda, was previously occupied by the Royal Tent (Real Barraca), a wooden structure that housed King José I after the Ribeira Palace was destroyed in the 1755 Lisbon Earthquake. After this wooden structure was destroyed by fire in 1794, during the reign of Queen Mary I and Prince John VI, a new Palace begun to be built by architect Manuel Caetano de Sousa, who planned a late baroque-rococo building. The lower storeys of the towers of the Palace, with typical rococo windows, date from this time.
In 1802, the project was entrusted to the Portuguese José da Costa e Silva and the Italian Francisco Xavier Fabri, who planned a magnificent building in the modern neoclassical style. In 1807 the Royal Family had to flee to Brazil, following the invasion of Portugal by French troops, and the works proceeded very slowly with Fabri taking charge of the project, later followed by António Francisco Rosa. Lack of financial resources would cause the project to be greatly reduced in scale.
The Palace became a permanent residence of the royal family during the reign of King Luis I (after 1861) and his wife, the Italian princess Maria Pia of Savoy. Their architect, Possidónio da Silva, introduced many aesthetic changes and turned one of the lateral façades into the main façade. After the death of her husband, Queen Maria Pia continued to live in the palace until a military coup overthrew the monarchy in 1910. It is now a museum.
The Ajuda National Palace is one of the earliest neoclassical buildings in Lisbon. The Palace is square-shaped with a central courtyard. The West wing of the palace is unfinished, while the East wing is now the main façade with two towers at the corners. The central part of the façade has a tympanum with the coat-of-arms of Portugal and an entrance hall with statues of the virtues by Joaquim Machado de Castro and his disciples dating from the early 19th century. The interiors were decorated by many important 19th century Portuguese artists.
Lolita Dark is an Epic
Rock band with roots in Southern California and Japan formed in 2012. Their sound weaves together crunching guitar riffs, progressive bass lines, lush harmonies, and complex melodic structures in songs that reflect both angst and optimism in an increasingly interconnected world of disconnected residents.
2012 年に結成。米国・カリフォルニアを拠点とする日米双方にルーツを持つ個性派ロックバンド。壮大なハーモニーと複雑なメロディのアンサンブルを特徴的な激し いギターやプログレッシブなベースラインに乗せることにより、幻想的で独創性溢れる世界観を生み出している。バンドのフロントマンであるRay は闇と光、怒りと喜び、過去と現在、東洋と西洋など、現世に存在しうる全ての相反する事象や矛盾の「融合」を音楽を通じて表現しているという。
Fronted by Shibuya-born singer/songwriter Rayko, Lolita Dark provides the soundtrack and visuals of a world where light intersects dark, east meets west, and the past overlaps the present, depicting the, seemingly, redundant circles of our lives and universe.
The core of Lolita Dark is formed by singer/ songwriter / guitarist / multi-instrumentalist Rayko (Ray), Bassist Rain Balen, and Drummer Joey Felix who are also members of the Los Angeles rock band "Dig Jelly", and Okinawan vocalist and keyboardist Machiko (May), and guitarist Patrick Cabrera of prog metal band False Empire.
LD はバンドの中核を担うリーダー・Rayを筆頭に、苦楽を共に過ごした地元の音楽仲間であるRain Balen(Bs)、Joey Felix(Dr)、Patrick Cabrera(Gtr).沖縄出身のMay(Keys/Vocal)の移住の後、北海道出身のK−Luを加えた国際的なバンド構成。
Their first album, “Tokyo Status” was released in 2012 and featured a wide range of intensely personal, yet universal meditations on love, addiction, promise, and despair. It blazed new territory with a sonic landscape that fused Shibuya glam, European symphonic-rock, and American metal. Lolita Dark's debut CD explored the themes of Salvation, Redemption, Sanctuary, and displayed some of Rayko's internal anguish after the Great Tohoku Earthquake and Tsunami ravaged her homeland.
Lolita Dark has performed at various venues including Bar Sinister, House of Blues, J-Pop events hosted by "Tune in Tokyo", and Rayko's on going event “Tokyo Status” .Lolita Dark has also performed at Anime Expo, Nan Desu Kan, Anime Los Angeles, and Pacific Media Expo, where they opened for Japanese artists BACK-ON (Avex) and D (Avex, Universal Music). Lolita Dark was also invited by NAMM 2015 to host a panel to talk about their success in finding a niche in independent music market.
Lolita Dark is working on their third release while they perform as an opener to national acts from Japan, and headlines local clubs and anime convention circuits.
全米最大の日本ポップカルチャー祭典であるAnime Expoでの鮮烈のデビューを飾る。これを期にバンドは本格始動し、ローカル誌などで多く取り上げられるようになる。Anime Expoでのライブを皮切りにBar Sinister Hollywood、Roxy、House of Blues等、数々の有名ライブハウス公演をも成功させている。また、デビュー後は矢継ぎ早 に Nan Desu Kan (Co)、Katsukon (D.C/Maryland)、Zenkaikon (PA)といった多様なコンベンション・ツ アーも取り組まれ、多くの会場での演奏を経験する。
“Mad Times”, from the "Tokyo Status" album, has been chosen for the in-production Steampunk web series “Tinker". “Wounded Angel”, the recently released song by Lolita Dark, has become the official theme song for Anime California 2014. Lolita Dark's second album, “Queen's Decade”, was released in the spring of 2014 at their opening performance for Gacharic Spin (Universal Music) at Tekko 2014.
Lolita Dark's albums and new single "Wounded Angel" are available now on iTunes and CDBaby.
Lolita Dark signed a 5 year recording/distribution contract for East Asia including Japan, Korea, and China in July 2015.
itunes.apple.com/us/artist/lolita-dark/id586389170
www.cdbaby.com/Artist/LolitaDark
Official Lolita Dark website: www.lolitadark.com/
Rayko official website: rayko.com/
2012年にはデビューアルバム「Tokyo Status」をリリース。
リリースから現在に至るまで、州外へも精力的に赴き本格的なライブ活動を行っている。このアルバムは全曲メッセージ性が強く、Rayの強烈な想いが反映されている。特に「Mad Times」というトラックは東日本大震災で被災された方々への追悼の意を込めた楽曲であり、Rayの故郷が崩壊されたことに対する悲しみや虚しさなどの感情を色濃く表現している。また、同曲は現在アメリカで制作 中の 「TINKER」というスティームパンクを題材としたウェブTVシリーズの主題歌として起用されている。(www.youtube.com/watch?v=ttWXSVs_4iI）
また、「Tokyo Status」リリース翌年の3月からはアルバムと
同名儀のファッション・ロックショーケース・イベントも月１で開催している。(www.facebook.com/TokyoStatus)
A whistlestop tour of the Structures Exhibition in Henley on Thames, organised by the Quilters' Guild Contemporary Quilt Group.
In 1896, the Traders National Bank built the original structure at the corner of Spruce Street and Wyoming Avenue. In 1929, Traders merged with the first privately owned bank in Scranton, First National Bank, which had been incorporated in 1863. The building was renovated in 1907, and again in 1927, to meet the bank's growing demand. After the merger in 1929, the bank was again redesigned and expanded, this time by the local architectural firm Davis and Lewis. The $400,000 renovation upgraded the exterior of the building to limestone and a ten-story addition was added that included a spire, which is no longer present today. The lobby was also redone in marble, with Doric columns lining the space. Tiffany designed bronze teller cages. In 1957, the merger of First National Bank with Lackawanna Trust Company called for a three-story annex to the building. The son of Edward Lewis designed a glass and bronze facade to contrast, but in harmony and scale with his father's 1930 work.
from scrantonpa.gov
This amazing glass couture piece Structures of Self was recently modeled by one of the collaborating artists during the new Beakerhead festival of science, art and engineering. The idea to collaborate on an a photoshoot that paired the alien/bug like garment with the 40 foot RayGun Gothic Rocketship during the setting sun, made for some pretty creative images
Structures of Self:
lead artist: Farlee Mowat
artist: Lana Collier
Raygun Gothic Rocketship:
Sean Orlando
Nathaniel Taylor
David Shulman
NORTHRIDGE - 40 firefighters found the garage (attached) of a single-family home fully involved and extinguished the fire in 13 minutes. Initial reports of a person trapped in the fire room proved to be false after a thorough search. The fire was stopped quickly before extending into the home. No reported injuries.
© Photo by Jacob Salzman
LAFD Incident: 060419-1230
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I photographed David Baker inside his lab at the Institute for Protein Design on January 21, 2026. The room carried a quiet intensity. Screens glowed with rotating molecular structures. Whiteboards were layered with equations, sketches, half erased ideas that had not yet settled into final form. People moved deliberately, speaking softly, as if the work itself required a certain respect. Baker seemed entirely at home in that atmosphere. This is not a place of reflection. It is a place of making.
There is nothing performative about him. He does not explain for the sake of explanation. His attention stays fixed on the problem in front of him, on what works and what fails, on structures that nearly hold together and ones that collapse under their own logic. Time here is measured in iterations, not hours. The goal is not to describe nature but to understand it well enough to build with it.
Proteins are the machinery of life. They act as enzymes, messengers, scaffolds, switches. What they do depends entirely on how they fold. A protein begins as a linear chain of amino acids, but almost instantly it twists and collapses into a precise three dimensional shape. That shape determines its function. For much of modern biology, this folding process was something scientists could only observe after the fact. Structures were solved experimentally, often years after a protein was identified. Predicting a protein’s shape from its sequence, or designing a brand new protein that would reliably fold into a chosen form, remained one of the field’s deepest challenges.
Baker approached the problem as a question of physics and computation rather than biological intuition. He treated protein folding as an energy landscape shaped by forces that could be modeled, sampled, and optimized. From that effort emerged Rosetta, a powerful and evolving computational framework that allowed researchers to predict how proteins fold and, eventually, to design new ones. Rosetta was never a single static program. It became a platform and a shared language for thinking about proteins at the level of atoms, forces, and probabilities.
The shift from prediction to design marked a turning point. With Rosetta, Baker and his collaborators showed that it was possible to begin with a desired shape or function and work backward to identify an amino acid sequence that would reliably fold into it. These were not small tweaks to existing biology. They were entirely new protein structures, forms that had never existed before. Biology began to look less like a catalog of what evolution happened to produce and more like a space that could be deliberately explored.
The impact of that shift is now visible across science and medicine. Designed enzymes can catalyze reactions that natural proteins never evolved to perform. Custom binding proteins can neutralize viruses, block disease pathways, or deliver drugs with remarkable specificity. During the COVID pandemic, protein design methods rooted in Rosetta were used to rapidly create novel binders to SARS-CoV-2, demonstrating a speed and flexibility that traditional biological approaches could not match. As machine learning systems like AlphaFold transformed structure prediction, Rosetta evolved alongside them, remaining central to the harder challenge of design. Not what nature made, but what could be made.
In 2024, Baker was awarded the Nobel Prize in Chemistry for his foundational contributions to protein design. What made the recognition unusual was its timing. The prize did not mark a conclusion or a summation. It acknowledged a body of work that is still actively expanding. Baker did not win for something safely locked in the past. He was recognized while still deeply immersed in the problems that motivated the work in the first place.
The Institute for Protein Design reflects that forward looking mindset. It feels less like a traditional academic department and more like a workshop for the future of biology. Computation, wet lab experiments, and real world applications sit side by side. Ideas are tested quickly. Failures are expected. What matters is whether a design holds up when reality pushes back.
Baker himself is famously reluctant to be pulled away from this environment. Travel, ceremony, distraction of any kind feel secondary to the work. There is always another structure to test, another hypothesis to refine. Standing there with him, camera in hand, it was clear that the Nobel Prize had not changed the trajectory. If anything, it underscored how much remains unfinished.
Protein design is now moving from demonstration to infrastructure. Designed proteins are beginning to enter medicine, energy, materials, and manufacturing. They promise therapies that are more precise, industrial processes that are cleaner, and biological systems that are both powerful and biodegradable. In this vision, biology becomes a design discipline, guided by computation and constrained by physics rather than chance.
Baker measures progress not in accolades but in unanswered questions. The work continues because it must. The frontier is not behind him. It is very much still in front.
The WINSTANLEY HEAPSTEAD (5) of 1913-14 is a substantial brick structure which comprises a brick tower that supports and encases the headgear and a two-storey winding house. The two parts of the building are connected via an open concrete floor slab at first-floor level with open-arched masonry side walls. This was originally roofed over, but the roof has been removed and the side walls have been lowered. The building has timber doors, metal-framed windows set in rendered surrounds, some with brick relieving arches and concrete balconies. It was fitted with ‘a 12ft Schiele-type fan driven by a pair of 28" x 36" horizontal engines'; the fan and silencer remain in situ. The electric winding engine, which replaced a steam winder, is situated on the first floor. It is a relatively small, geared parallel drum winder; the mechanical parts by Tinsley of Darlington, and the electric motor and control gear by Metro-Vickers. The operating manual states that the engine dates from 1967, but this may refer to the date it was installed in the heapstead since this type of engine was developed in the 1930s and 1940s. The headgear is steel.
Over a 106 years old, the Egmore Railway Station in Chennai, remains one of the cities centrally located, renowned landmarks. Its bright red and white colors, and vaulted metal ceiling on the interiors are what make it striking. With typical Victorian wrought iron beams,
NORTH HOLLYWOOD - LAFD firefighters battled a blaze in three adjacent commercial buildings, fending off electrical hazards and building collapse, to extinguish the inferno in just over 3 hours.
A pile of oily rags were the culprit of a massive commercial structure fire on Lankershim Blvd just before midnight on November 1, 2019. Painting-related chemicals provided for a chemical reaction with the rags they were saturating and produced enough heat for them to spontaneously combust. Firefighters arrived to find fire blowing through the roof of the commercial building. Crews made access to enter the building and began cutting holes in the roof to ventilate the structure. As fire blew out of every hold that was cut, despite their continuous attempts to retreat to a less involved area to continue cutting, the decision was made to pull companies off the roof and out of the structure, and assume a defensive posture. The heavy fire load in the business quickly grew the fire, which spread to two more nearby commercial buildings.
The combined 40,000 square-foot fireball burned for over 3 hours, while 127 firefighters worked the perimeter to "surround and drown" the fire. Firefighters navigated around electrical wires down, and roof and wall collapses during the fight. By nearly 3:00 AM, the flames waved the white flag and gave up, succumbing to the three hour tour of large-diameter hose streams raining down, guided by spotters on the radio with a better vantage point. Ladder pipes, portable monitors, and 2-1/2-inch hand lines were all used in the deluge. The emergency was mitigated, but the work was not done.
Firefighters stayed on scene to overhaul the buildings and the debris pile for days following, while the pile continued to smoke. Plastics and other materials had melted throughout the pile, creating a water-resistant layer that protected hot spots under the surface from hose streams. LAFD tractor companies came out at first light the next morning to turn over the pile. A track loader (Caterpillar 953) and a wheel loader (Caterpillar IT28), driven by LAFD Heavy Equipment Operators, worked for days to continue overhauling the buildings and turn over debris, allowing firefighters to continue to put water on the materials to cool it off. Companies from all over the city rotated shifts during the days after, on "fire watch" to ensure nothing flared up and to continue to apply water while the tractors operated.
Fire investigators from the LAFD Arson/Counter-Terrorism Section obtained video evidence that enabled them to make the determination that the cause was accidental, due to spontaneous combustion. Near the end of the video from an internal surveillance camera, rags with painting-related chemicals on them (left on a bench) can be seen spontaneously combusting due to a chemical reaction. This is a sobering reminder to properly dispose of oily and chemical-soaked rags properly. Fortunately, no one was hurt during this Major Emergency fire.
© Photo by Rick McClure
LAFD Incident: 110119-1860
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Catalog #: 01_00083142
Title: Convair , 880
Corporation Name: Convair
Additional Information: USA
Designation: 880
Tags: Convair , 880
Repository: San Diego Air and Space Museum Archive
8-10-2015
Meadowbrook Rd
Meadow, Stricklands Crossroads, Blackman's Crossroads, Newton Grove, Bentonville
JCEMS
Structure Synth / Sunflow lighting experinment #1
I managed to find out (with the help of Groovelock) how to create light emitting objects. It will be fun :)
Kom Ombo is home to one of Egypt's most picturesque ruins, the Temple of the crocodile-god Sobek and Haroeris (Horus the Elder). The temple was built during the Ptolemaic dynasty in c180-47 BC in an elevated position overlooking the Nile, giving the site one of the most attractive of locations amongst Egypt's ancient monuments.
The temple is unique in being dedicated as a twin sanctuary to two patron gods, southern half belonged to the crocodile-headed Sobek (or Sobk) and the northern half to the falcon-headed Haroeris. The twin shrine is often referred to simply as the Temple of Sobek owing to the fame of the crocodile cult here, where live crocodiles were once kept as living embodiments of the god and to whom offerings were made. Several of these crocodiles can still be seen in mummified form in the small museum that was recently built adjacent to the site (alas no photography allowed in the museum).
The structure is less complete and more ruinous than many of the best known Egyptian temples, but this does at least make it a more picturesque, photography friendly site than some. The main core of the temple is fairly well preserved with the columns (with richly carved capitals) of the hypostyle hall and successive chambers and sanctuaries still standing at full height. The main courtyard is partially preseved but the original main facade with its pylon towers and gates has long since tumbled into the Nile as a result of erosion caused by the site's proximity to the river.
One of the most rewarding aspects of the temple is its relief decoration, with figures of the exotic, animal-headed deities and kings in unusually high relief (for Egyptian art) on every wall and pillar.
Frustratingly our arrival here had been delayed by the lengthy return from our morning excursion, thus we only managed to catch the temple in rapidly dwindling light. Conditions became quite limiting, though to see the structure illuminated in the darkness was a bonus.
For more on this fascinating temple see below:-
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Seems like everybody has a version of this, so I figured I would make my own :)
I currently have another image being rendered right now, but its only 35% complete after over 30 hours and I really wanted to see a finished product of something, so here it is.
14 hr render (at 50% power with other image going)
Structure Synth / Sunflow
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Commissioned Work
Myspace music layout for Digital Structures
www.myspace.com/digtalstructures
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In delicate light-pink traditional Vietnamese dress, a graceful maiden holds a bunch of white calla lilies, posing on a curved structure on a green lake at a street intersection. The soft afternoon sunlight and pale blue smoke evoke an ancient ambiance.