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My take on metro station Sol structure. I think it's going to be two or three years since it was built, but never took a picture of it...
Hope everyone's doing well and enjoying the weekend!! :)
An unusual looking gothic-style structure, funded by American philanthropist, Andrew Carnegie, and designed by Henry Price. Built in 1915, it is now a Grade II Listed Building.
For the 'Architecture' weekly theme in the 365 2013 Edition group.
I'm trying to decide where I should shoot some portraits in an abandoned place... if you can see these, feel free to weigh in. :)
I know, the names are *very* creative... :P
Ambient Occlusion test using the new internal Structure Synth raytracer. (Rendering time: 68s)
I've started working on a simple built-in raytracer in Structure Synth, both for providing fast previews in the GUI, and for people who are intimidated by the somewhat complex template export.
So far it is pretty standard stuff: a single-threaded, Phong shaded based raytracer which uses the Fast Voxel Traversel method to accelerate ray-primitive intersection tests. As of now it supports reflections, transparency, shadows (the hard and ugly type), and adaptive anti-alias. I've also implemented a simple Ambient Occlusion scheme.
Celebrating number 20 in the Leaf structure photo series :)
Also have a look at my website at www.focx.de :)
Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.
ETYMOLOGY
Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.
HISTORY
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
THE BUDDHIST CAVES
These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.
These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.
Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.
CAVE 10
Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.
THE VISHWAKARMA
The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.
THE HINDU CAVES
The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.
THE KAILASANATHA TEMPLE
Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.
All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.
The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.
THE DASHAVATARA
The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.
OTHER HINDU CAVES
CAVE 21
Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.
The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.
THE INDRA SABHA
The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.
OTHER JAIN CAVES
All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.
GEOLOGY OF ELLORA
Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.
INSCRIPTIONS AT ELLORA
Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.
The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).
The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)
WIKIPEDIA
I bought the Harbor Freight Portable Garage (Tent) to cover my car over the winter but once I put the framework structure together it was taller than I needed and wanted so I then figured out how to shorten the height by about 20" or so.
I've found Love, love & Kisses
Comments, criticism and tips for improvement are most welcome.
1/1000 sec at f / 6.3, ISO - 2000, 200mm (18-200)
Is it possible to ever before consider a structure without a plumbing solution done? Effective plumbing St. Petersburg FL is definitely important for any structure to deliver the citizens a clean and tidy environment. Issues in the plumbing unit are bound to happen at some point eventually in domestic units. There are a number of factors to call a professional plumbing technician, yet maybe one of the most common one is for a stored drain. Where hair and cleansing soap buildup in the drain of a shower, a lot of home owners are incapable to hit down into the blockages that clog their drainpipe and ease the pipes by removing all of the built up debris that is collected simply here the plug. At that time drain cleaning St. Petersburg FL will ready to assist you any sort of time. When you consult with a plumber St. Petersburg FL service for assistance, an expert plumbing technician can easily see your house and evaluate your present boiling water heating unit.Visit our site www.benfranklintampabay.com/service-areas/st-petersburg-fl/ for more information.on this Plumbing St. Petersburg FL
the structure was made from warehouse shelving, and had 24 individual rooms / offices / workspaces. and a large central open area. here's a view from the top front looking back
Hanuman Dhoka is a complex of structures with the Royal Palace of the Malla kings and also of the Shah dynasty in the Durbar Square of central Kathmandu, Nepal. It is spread over five acres. The Hanuman Dhoka Palace (Hanuman Dhoka Darbar in Nepali) gets its name from the stone image of Hanuman, the Hindu monkey god, that sits near the main entryway. 'Dhoka' means door or gate in Nepali. All temple that are situated in a durbar square is the best example of newari architecture.
HISTORY
The eastern wing with ten courtyards is the oldest part dated to the mid 16th century. It was expanded by King Pratap Malla in the 17th century with many temples. Sundari Chok and Mohan Chok in the north part of the palace are both closed. In 1768, in the southeast part of the palace, four lookout towers were added by Prithvi Narayan Shah. The royal family lived in this palace till 1886, where after they shifted to Narayanhiti Palace. The stone inscription outside is in fifteen languages and legend states that if all the 15 are read milk would spring from the middle of stone tablet. after 25 april 2015 earthquake many temple have been totally destroyed in hanuman dhoka durbar area.
DESCRIPTION
HANUMAN GATE
The "Hanuman Dhoka" proper, or Hanuman Gate, is located on the east side of Durbar Square. It is the entry gate to the palace, where a standing statue of Hanuman (monkey god), dated to 1672, guards the palace. Hanuman is decked with a red cloth and an umbrella. The face is smeared with a red paste. On the left is a stone sculpture dated to 1673 of Lord Narasimha (the half-man, half-lion incarnation of Lord Vishnu), devouring the demon Hiranyakashipu, which is credited to Pratap Malla period according to an inscription on the pedestal of the image.
NASAL CHOK
Ahead of the main entrance, adjoining the Hanuman Temple, is the Nasal Chok courtyard ('Nasal' means "dancing one") named after the image of dancing Shiva located on the east side of the square. This is the square where Birendra was crowned as king in 1975, on the platform in the middle of the courtyard. At the south side of the courtyard, stands the nine storey Basantapur Tower. While the courtyard was built during Malla Period, the buildings around it, which depict intricately carved doorways, windows, and struts, were creations of the Rana rulers. Nasal Chok is a rectangular in a north–south direction with entrance from the northwest corner. Near the entrance is an intricately carved doorway with carvings of four gods that leads to the private apartments of Malla king. A golden image of Maha Vishnu is seen now in an open veranda on the eastern wall, as the original Maha Vishnu Temple in the square, which housed this image, was destroyed in the 1934 earthquake. Other structures in the courtyard are: the Audience Chamber of the Malla kings in the northeast corner, the throne of the Malla kings in an open verandah and portraits of the Shah Kings.
The Panch Mukhi Hanuman Temple (five faced Hanuman) dedicated to Hanuman is in the northeast corner of the Nasal Chok. It has a unique design of five circular roofs. The temple priest is the only person who can enter the sanctum of the temple.
The Basantapur Tower ('Basantpur' means "place of Spring") is located on the south of Nasal Chok. It is a nine-storey tower from the top of which a panoramic view of the palace and city could be seen. Erotic images are carved on the struts of this tower. This tower is one of the four red towers that King Prithvi Narayan Shah built delimiting the four old cities of the Kathmandu Valley namely, the Kathmandu or the Basantapur Tower, the Kirtipur Tower, the Bhaktapur Tower or Lakshmi Bilas, and the Patan or Lalitpur Tower.
MUL CHOK
Mul Chok, dedicated to Taleju Bhawani, is a courtyard with two storey buildings all round that are exclusive places for religious rites. Taleju Bhawani is the tutelary goddess of the Malla family. Taleju Temple with a golden torana (door garland) is located to the south side of the courtyard. During the Dasain festival, deity of Taleju is shifted to this temple. The entrance to the temple is flanked with images of the river goddesses Ganges and Yamuna. Degu Taleju Temple is another triple roofed temple built by Shiva Singh Malla that is also dedicated to Taleju.
MOHAN CHOK
Mohan Chok, built in 1649 to the north of Nasal Chok, was the residential courtyard of the Malla kings. It was mandatory for a Malla king to be born here to become heir to the throne; an example cited to this belief is that of Jaya Prakash Malla who faced difficulties. At the center of the courtyard, there is a golden waterspout, known as Sun Dhara, said to be spring sourced from Budhanilkantha, in the north part of valley. It is an ornately carved spout sunk several metres below the courtyard level and the Malla kings used it for their daily ablutions. The four corners have towers. To the north of this chok is the Sundari Chok.
MUSEUMS
On the west side of Nasal Chok, the Tribhuwan Museum has exhibits of items of the grandfather of King Birendra. Exquisite stone carvings, several impressive thrones, jewel-studded ornaments used for coronations, weapons, furniture, wooden temple carvings and a coin collection are on display at the museum. King Tribhuwan's bedroom, study and personal effects have been recreated and preserved here. This part of the palace, next to Durbar Square, was built by the Ranas in the mid to late 19th century.
The southeast corner of the courtyard has the King Mahendra Memorial Museum where two thrones are also on display.
WIKIPEDIA
Trying to show you the movement of this amazing structure. I went on it and worth it.
The Falkirk Wheel is 35 metres tall, the equivalent of 8 double deckers buses stacked on top of each other
Cost £17.5 million to build
1,200 tonnes of steel was used to create The Wheel
The structure contains over 14,000 bolts and 45,000 bolt holes
Over 1,000 construction staff helped to build it
The gondolas hold 500,000 litres of water, enough to fill an Olympic swimming pool
The Wheel only uses 1.5kWh of energy to turn, the same amount as it would take to boil 8 household kettles
The Millennium Link was an ambitious £84.5m project with the objective of restoring navigability across Scotland on the historic Forth & Clyde and Union Canals, providing a corridor of regenerative activity through central Scotland.
A major challenge faced, was to link the Forth and Clyde Canal, which lay 35m (115ft) below the level of the Union Canal. Historically, the two canals had been joined at Falkirk by a flight of 11 locks that stepped down across a distance of 1.5km, but these were dismantled in 1933, breaking the link.
What was required was a method of connecting these two canals by way of a boat lift. British Waterways (now Scottish Canals) were keen to present a visionary solution taking full advantage of the opportunity to create a truly spectacular and fitting structure that would suitably commemorate the Millennium and act as an iconic symbol for years to come.
The resultant, a perfectly balanced structure that is The Falkirk Wheel - the world's first and only rotating boat lift - was the eventual outcome of our collaboration with a design team that combined international experience of joint venture contractor Morrison-Bachy-Soletanche with leading specialists from Ove Arup Consultants, Butterley Engineering and Scotland-based RMJM architects.
Completion of The Millennium Link project was officially marked by Her Majesty The Queen on 24 May 2002 at The Falkirk Wheel.
The Falkirk Wheel lies at the end of a reinforced concrete aqueduct that connects, via the Roughcastle tunnel and a double staircase lock, to the Union Canal. Boats entering the Wheel's upper gondola are lowered, along with the water that they float in, to the basin below. At the same time, an equal weight rises up, lifted in the other gondola.
This works on the Archimedes principle of displacement. That is, the mass of the boat sailing into the gondola will displace an exactly proportional volume of water so that the final combination of 'boat plus water' balances the original total mass.
Each gondola runs on small wheels that fit into a single curved rail fixed on the inner edge of the opening on each arm. In theory, this should be sufficient to ensure that they always remain horizontal, but any friction or sudden movement could cause the gondola to stick or tilt. To ensure that this could never happen and that the water and boats always remain perfectly level throughout the whole cycle, a series of linked cogs acts as a back up.
Hidden at each end, behind the arm nearest the aqueduct, are two 8m diameter cogs to which one end of each gondola is attached. A third, exactly equivalent sized cog is in the centre, attached to the main fixed upright. Two smaller cogs are fitted in the spaces between, with each cog having teeth that fit into the adjacent cog and push against each other, turning around the one fixed central one. The two gondolas, being attached to the outer cogs, will therefore turn at precisely the same speed, but in the opposite direction to the Wheel.
Given the precise balancing of the gondolas and this simple but clever system of cogs, a very small amount of energy is actually then required to turn the Wheel. In fact, it is a group of ten hydraulic motors located within the central spine that provide the small amount, just 1.5kWh, of electricity to turn it.
Allen Lambert Galleria, Brookfield Place, Toronto.
Camera: Zeiss Ikon Contessamat SE
Film: Shopper's Drug Mart easypix 400 (Fuji?)
Serpentine Pavilion 2022 Black Chapel by Theaster Gates
“Designed by Chicago-based artist Theaster Gates, the Serpentine Pavilion 2022 Black Chapel draws inspiration from many of the architectural typologies that ground the artist’s practice.
The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion’s circularity and volume echo the sacred forms of Hungarian round churches and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
Black Chapel is a site for contemplation and convening, set within the grounds of Serpentine in Kensington Gardens. The structure’s central oculus emanates a single source of light to create a sanctuary for reflection, refuge and conviviality. The project mirrors the artist’s ongoing engagement with ‘the vessel’ in his studio practice, and with space-making through his celebrated urban regeneration projects.
Drawn to the meditative environment of the Rothko Chapel – which holds fourteen paintings by American artist Mark Rothko in Houston, Texas – Gates has produced a series of new tar paintings titled Seven Songs for Black Chapel. Creating a space that reflects the artist’s hand and sensibilities, seven paintings hang from the interior. In these works, Gates honours his father’s craft as a roofer by using roofing strategies including torch down, a method which requires an open flame to heat material and affix it to a surface.
As part of Serpentine’s dynamic summer programme, the Pavilion becomes a platform for live performances and public convenings. An operating bronze bell – salvaged from St. Laurence, a landmark Catholic Church that once stood in Chicago’s South Side – is placed directly next to the entrance. Pointing to the erasure of spaces of convening and spiritual communion in urban communities, the historic bell will be used to call, signal and announce performances and activations at the Pavilion throughout the summer.
Gates’ Serpentine Pavilion 2022 Black Chapel is part of The Question of Clay, a multi-institution project which comprised of exhibitions at Whitechapel Gallery (September 2021 – January 2022), White Cube (September – October 2021) and a two-year long research project at the V&A. The project seeks to investigate the making, labour and production of clay, as well as its collecting history, through exhibitions, performance and live interventions, with the aim of generating new knowledge, meaning and connections about the material.”
All text © Serpentine Gallery 2022, see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
CAL FIRE/Placer County Fire Department assisted Placer Hills Fire Protection District with a structure fire on Ponderosa Lane Auburn February 2023.
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