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Following this year's Day of Remembrance ceremony at the Kennedy Space Center Visitor Complex, guests walk to the Space Mirror Memorial. The names of fallen astronauts from Apollo 1, Challenger and Columbia, as well as the astronauts who perished in training and commercial airplane accidents are emblazoned on the monument. Each year spaceport employees and guests join others throughout NASA honoring the contributions of astronauts who have perished in the conquest of space.
Photo credit: NASA/Kim Shiflett
Crews continue to battle the Tambo Complex near Victoria, Australia. Bureau of Land Management firefighters from Idaho work with partners to conduct a burn out operation to try and slow progression.
Credit: Clay Stephens, Bureau of Land Management, National Interagency Fire Center
Only showed center portion of the back as the rest is being worked on; I may release the center and bring it completly to the back. Super complex.
The West Fork Forest Fire Complex intensified in the San Juan National Forest near Pagosa Springs, Colorado leading to the closure of US 160 through Wolf Creek Pass and the evacuation of South Fork on the other side of the Continental Divide. The fire would double it's size over the next 24 hours.
Another visual: The thought behind this is if the 4 stars twisted in the same direction it would force squashes in the four areas adding more shapes. But I haven't got around to it. As I've just completed the 1st draft of a long test fold model. PS look at next recent post!
Density on field - TWDC - Designing connected places Summer School - Complexity Maps
Turin-Pollenzo 21-29 August
Lovely Debbie Kubheka with Gorgeous Twins at Market Theatre Complex Newtown Johannesburg South Africa January 1999
en.wikipedia.org/wiki/Market_Theatre_(Johannesburg)
Joint Fire Fighting: Two HH-60G Pave Hawk helicopters from the 129th Rescue Wing and one UH-60 from 1-140th Aviation Battalion (Air Assault) battling wildfires at the Jawbone Complex Fire in Kern County, Calif. The Three aircraft have been based out of the Tehachapi Municipal Airport in Tehachapi, Calif. since Sunday, Aug 12 and have dropped over 100,000 gallons of water. (Air National Guard photo/Master Sgt. Julie Avey)
This monumental sabil-kotab and wikala complex is located within the walls of the Fatimid city, on the southeastern (qibli) side of the Mu`iz Li-Dinellah street just inside Bab Zuweila, opposite the Mosque of al-Mu'ayyad Shaykh and contains a sabil (charitable fountain), kotab (reading school), wikala (indoor market) and a hammam (bath house).
Of this building, only the façade, whith its elegant bank of upper-story mashrabiya windows, is still impressive. At the southern end, near Bab Zuwayla, is the rounded structure at the corner contained the school on the upper floor and the fountain below, while the caravanserai occupied the rest of the building. Its rounded front is characteristic of a change in the outline of such monuments that was introduced about 1750 and would be emblematic of the monumental sabils and kotabs of early modern Egypt. At the northern end, next to a jeweler's shop, is the entrance to a men's hammam (bath), which is still in operation. The fires that heat the water are also used to cook the ful mudammas (broad beans) that supply Egyptians of the quarter and beyond with their breakfast fire.
Nafisa al-Bayda ('the white one') started her career as a slave. She was married first to 'Ali Bey, 'the mighty one of Egypt,' in the mid-1700s, then to Murad Bey, a Mamluk of the Qazdughli faction, who rose to power at the end of the eighteenth century. From 1784 he shared power in an unstable relationship with another Mamluk, Ibrahim Bey. Twice Murad was driven to Upper Egypt: first by a newly appointed and determined Ottoman viceroy, then by Napoleon Bonaparte. Murad died there in 1801.
Nafisa was a woman of beauty, wealth, charity and great culture. During Murad Bey's resistance she acted as intermediary between him and Napoleon. She is the only female patron to have a monument survive on the main ceremonial artery of al-Qahira, Al-Mu`iz Li-Dinellah street. Her monument attests not only to her reputation as righteous and charitable, but to the fact that some women of the eighteenth century achieved great wealth through business investments in land and trade. In fact, she was one of the richest women of her period.
The sabil-kuttab, beautifully restored in 1998 by the American Research Center in Egypt, sits on the corner of Sugar Street, once famous for its sweets and pastries, and for its inclusion in the novel of the same name by Naguib Mahfouz.
Density on field - TWDC - Designing connected places Summer School - Complexity Maps
Turin-Pollenzo 21-29 August
Oxford City leaders, leaders of the Muscogee Creek Nation and members of the GMC team at the groundbreaking ceremony.
Government Service Insurance System (GSIS) Complex by Jorge Ramos, in partnership with The Architects Collaborative (TAC), Pasay City, Metro Manila, completed 1995.
Photographed by Patrick Kasingsing
A Complex Beauty is an artistic engagement with the internal body and historical medical practice. It explores the difficult terrain of disease, dissection, anatomical theatre and the unknown body, encouraging the viewer to engage intimately with what lies beneath the skin.
The exhibition is the culmination of an arts residency that Lauren Black undertook at the Harry Brookes Allen Museum of Anatomy and Pathology at The University of Melbourne, with its fascinating collection of over 12,000 human specimens. Her dedicated work with this collection, coupled with historical research, shines a new light on medicine’s past, artistic documentation of the body and the pathology specimens themselves.
The fine detail and artful skill of Lauren’s beautiful artworks draw heavily on history and identity. They invite slow and reflective looking and are anatomically insightful in the way that they explore the fine line between life, death and identity.
Lauren’s work is exhibited with two rare anatomical drawings by Edward Swarbreck Hall and an historical illustrated volume on dissection by Joseph Maclise from the Libraries Tasmania collection.
A Complex Beauty exhibition was first exhibited at The Art Gallery of Ballarat in 2017.
Copyright in the artwork and exhibition retained by the artist.
Almost five years after the original events of September the 11th demolished most of the World Trade Centre complex in New York, eagerly awaited plans have been finally released for three of the neighbouring buildings to the now under construction Freedom Tower designed by a trio of the world's top architects just in time for the fifth anniversary of the original disaster.
It's only been in the previous few months that work has finally ratcheted up on the Freedom Tower into something substantial on-site. The project is now about to take another major leap forwards that now leaves only the Tower 5 plot of the World Trade Centre with a publicly unannounced design.
Leading the pack are Foster and Partners with the 382 metre / 1254 feet tall 78 floor 200 Greenwich Street. The basement level is to be linked to the WTC Transit hub and provide 3500 square metres of retail. This continues over the lower floors which will contain 9,000 square metres of retail above street level with offices only starting 177 metres up the tower. Beginning with an office lobby of 20 metres, this commercial area will total about 213,000 square metres with a typical floor-size of 3,344 square metres. There will also be four huge trading floors of 5000 square metres.
Resembling a cruciate and designed to represent a diamond, the top inclines to provide a visual marker with the nearby memorial site. The crystalline form has indentations running up all four sides of it providing a visual break up of what would otherwise be sheer uninterrupted surfaces.
The sloping roof is topped by an 80 feet / 24.3 metre tall spire but even without this the building is taller than the Empire State Building making it the second tallest in New York.
Richard Rogers has planned 175 Greenwich Street on the site next door to 200 Greenwich Street. The 71 floor building will reach 352 metres / 1155 feet above ground level and when finished will be New York's fifth tallest. The 200,000 square feet of offices will be contained on 54 floors plus 5 trading floors whilst the ground floor and two storeys either side will contain retail.
Set at in almost square dimensions of 61 x 60 metres, it features typical Rogers design with functionalist diamond shaped cross bracing and the visual expression of the structure that provide integrity to the building whilst allowing the corners to be free of columns and creating a 360 degree view.
The third building has been worked on by Maki and Associates, the only non Brit in the pack. This 61 floor tower will be 287 metres / 947 feet high. The 53 floors of offices within will have 170,000 square metres of space whilst once more the ground floor, two floors below and three floors above, will have retail.
Unlike the previous buildings this one already has an anchor tenant in the form of the Port of New York Authority who plan on taking two thirds of the office space within the building.
The lower floors are set out in a parallelogram that then steps back into a trapezoid on the top 20 levels and orientated to face the Freedom Tower.
This building is drawn in complete contrast to the other two with a simple minimalist form. Clad in clear double-skinned glass that surrounds a perforated mesh metal pattern the idea is that the effect of light will be diffuse on the surface creating a light airy structure that reacts positively with light no matter what the time of day.
Stepping down progressively from the Freedom Tower to the Foster one, through to Rogers and finally to Maki, all three of the new buildings are arranged around the eastern boundary of the site overlooking the planned memorial park.
These 150 and 175 Greenwich Street are both scheduled for a 2007 construction although there is yet to be a firm date on when the tallest, 200 Greenwich Street, will begin. Developer, Silverstein Properties, plans on having all three of these newly announced buildings finished for occupation by 2012
...... I would say the 2nd model is at the 0.8 to 9 Standpoint.
It worked out luckily to a nice 22.5 reference point intersection in its beginning, instead of standard pleating. Major redo to the top front flap as well (after a few tests).. I may adjust the 4 inside / outside flaps (based on how you look at them) in a future version depending. Now to fold the exhibit version
FINALLY, the 3rd and last of the series will be the most challenging....... oh the precreasing......... and yes the front needs to be adjusted as well; which don't know how much of that I will do due to limited time. See you at convention.
PS On a final note, I was able to get a basic idea of the recent Skytones order (The ones that didn't match the weight) as more tests were done while I was folding. So the 60T Natural (Yes better than the brown).. while they still take more effort to make a fold.. YES THIS TIME it actually almost feels like elphant hide in the sense that it requires a bit more FORCE, Versus the thinner older batch, which I was able to fold along and accomplish a test ALOT Faster. Nevertheless, the newer batch; though not as good as the older, is still able to produce decent models... so far. Sufficient test models in my case; and probably neat folded ones as well.
The Richfield Town Hall, Police Station, and Fire Station, circa 1988. The complex at 4410 Streetsboro Rd. was built in 1958-59.
Location of slide: Slide Notebook #1
Is it possible to fall in love with a virtual mate? In Second Life, couples prove that theory on a regular basis. They do fall in love. Sometimes, it lasts and sometimes it doesn't.
Those that last are a remarkable group of couples. They are remarkable both in SL and RL where the divorce rate matches the break-ups in SL!
My partner, Xavier and I enjoy SL very much. We dance, we explore, we network, we chill, we love and we have a blast doing silly things.
So many places offer romantic areas such as ballrooms, chill zones and explorations. Here are some of our favorites...
Avilion Ballroom is a special favorite of mine. It's where I first danced with my first crush... and now I dance here with my partner. Recently, renovated, the Avilion offers a beautiful place to romance each other.
Phatland is another. More jazz music than Avilion, Phat's is a sophisticated club for couples. Beautifully built, we seem to frequent this place a lot.
Another great ballroom venue is Frank's Place. A lot of avies hang out here, so do prepare for a bit of lag. I suggest that you arrive early so that you can grab a spot on the dance floor.
A smaller club that we frequent regularly is the MMAC Jazz Link. Every week, DJ VJ Shojo spins an eclectic set of jazz and indie tunes. Very chill and very romantic little jazz club. Dash Renoir is the perfect host there.
Then there's the beautiful Ballroom">Palace, where grand is an understatement. We usually arrive to a nearly empty place dancing alone in our own world. Very romantic.
But, the most grand of all is a recent discovery. Tempura Island and Ballroom is the epitome of a lover's paradise. Grand and magnificent, the ballroom is done in gold gilt, with a beautiful ceiling and wall textures. The stairs leading to the ballroom and castle are simple but ever so opulent. This is an LM that I have sent to all my friends! LOL!
And we still frequent the clubs that offer a place for us. A place where we can be a couple without the drama that other places bring...
We hit Dorian Gray for DJ Barbs set and Xavier set off his JMD particle hud for a romantic interlude on the dance floor. So fun!
A big thanks to DJ Dint Talon for an awesome night over at IPR365 Milky Way Entertainment complex's K-Lounge. OMG, we had a blast! DJ Dint was spinning an incredible set of jungle, tribal, trance... you name it, he was spinning it! We stayed until the end!
We also went to Bogart's Cafe which is kinda a ballroom and kinda a lounge setting. You can dress in ballroom or cocktail dress there. We often go in between clubbing for a quick ballroom dance to lovely jazz music.
We usually stop off at Spanish DJ Sonar Halsey's Future Club. It is always psy heaven there! And BassLine Island for some hardcore tunes to get the blood pumping. Both are fun clubs for couples to hang at and dance.
And when we explore, we always seem to find the cutest places such as Midnight City for NBC's romantic dinner club, Rainbow Room Dining and the Italian pizza place that reminds me of North Beach in San Francisco!
The other night, Xavi took me to NOAA, the National Oceanic and Atmospheric Administration's build featuring an interactive floor of of the entire world's atmosphere! Wow! This from the US Department of Commerce!
And, when we chill at home we can be silly and set off our particles and dance or pull all our emotes and gestures for hours of silliness.
Couples in Second Life are just like couples in real life. They play, they love, they emote real emotions towards each other... and as best friends, they share the best of Second Life together.
Buildings on Broad Street in Birmingham. Including clubs.
The Five Ways Complex.
A new club called Amazon Brazil Churrascaria.
It is an Authentic Brazilian Restaurant and Cocktail Bar.
This khanqah and Complex are built by Sultan Baybars II, or al-Malik al-Muzaffar Rukn al-Din Baibars al-Jashnakir al-Mansuri (r. 1309-1310). He is not to be confused with his more famous namesake, Baibars al-Bunduqdari (r. 1260-1277).
The khanqah (Sufi monastery) of Sultan Baybars al-Jashankir and its dependencies (some of which are no longer extant) were commissioned by him in 1307 while he was still a prince holding the position of jashankir (taster) at the court of Al-Nassir Muhammad ibn Qalawun's seconr reign (1299-1309). The complex was only completed between 1309 and 1310 after Baybars usurped the sultanate from Al-Nassir. It was then that he commissioned and dedicated the resources necessary for the erection of the minaret, portal and mausoleum.
After re-assuming the sultanate in 1310, Al-Nassir closed down the complex as a symbol of Baybars' defeat. It wasn't until Baybars was killed in 1325 that Al-Nassir ordered the complex be reopened, although Baybars' name was removed from the ceremonial tiraz.
This is the oldest surviving khanqah in Cairo, and the second to be built in the heart of the Fatimid city after Saladin turned the Fatimid Palace of Sa'id al-Su'ada' into a foundation for sufis.
It is the only extant Cairene khanqah displaying a four-iwan scheme, a concept borrowed from madrasa architecture. Also analogous to madrasa architecture from this early Bahri period is the introversion of the living units. The architect created a plan that accommodates a mausoleum with a vestibule that extends to the passersby and allows for a subtle adjustment of the Mecca-oriented interior to the street alignment.
The minaret is unique among the extant Cairene minarets of this specific type for substituting a circular second story for the standard octagonal one. The crowning element consists of a ribbed helmet on a circular pavilion with a muqarnas cornice adorning the base of the helmet.
HK Cultural Centre, completed in 1989. Kowloon, Hong Kong.
"The new Hong Kong Cultural Center stands on one of Hong Kong's finest waterfront sites, looking out over Victoria Harbor with its quaint wooden fishing junks and busy passenger ferries parading past the colony's glistening glass and metal skyscrapers. But the $77 million center, designed by a committee of government architects, has no windows. The only opening onto one of the most magnificent waterfront views in the world is a narrow slit of glass that runs up a wall of the low, angular pink-tiled building.
While many people involved in the arts here believe that the sophisticated new center marks the colony's cultural coming of age, much of its significance has been obscured by the debate over its design. ''It is a contentious design; there is no question about that,'' said Wayne Maddern, the center's executive director. ''I would say that 90 percent of the local population don't like it.''
Prince Charles of Britain and his wife, the Princess of Wales, attended opening-day ceremonies in November. There was speculation that the Prince, an outspoken critic of modern architecture, would use the occasion to criticize the design, but he politely declined. ''I would hardly be so tactless as to impart to you my views on the architectural design of this remarkable building,'' the Prince said.
The outside of the building has been described as ''a giant ski jump,'' while the vast, windowless foyer has been compared to ''a high school gym'' and ''a shopping mall without shops.''
''The architects wanted to design a building on Victoria Harbor which made a statement, and you can't question that they succeeded in doing that,'' Mr. Maddern said wryly. Hong Kong residents, performers, critics and newspapers are criticizing everything from the center's lack of windows to the tight fit of the seats in its concert hall. The Hong Kong Philharmonic has already complained about its rehearsal hall, and local dance groups say the theater's dance floor doesn't have enough spring."
By BARBARA BASLER, Special to The New York Times
Published: January 01, 1990
The entire complex of buildings is quite diverse, as is the case with the Old Town Hall. Houses were built from the 13th up to 18 century. The oldest part of the complex is the cloister, which was part of the Dominican monastery built in the early 13th century. The buildings of the complex with the broad united front entrance were built according to the design of M. Grimm from 1726 to 1732. Before this facade is the original historic courtyard. Interestingly Renaissance staircase, the work of architects brothers Gabriel. In the hall we find three sets of sundials, all dated to 1728 showing ideas looking at Brno, with the eagle of Zeus and the Provincial House. Metal fountain standing in the middle of the courtyard dates back to 1928, when it was part of an exhibition of contemporary culture. The fountain is decorated with allegories of the twelve months of the year. Interesting is also the interior hall decorated with frescoes. Also visit the Assembly Hall of the Knights' Hall and Hall of provincial boards, the first courtyard, in addition to designated Renaissance staircase are also several historic sites.
More here: brnoweb.webnode.cz/zajimava-mista/nova-radnice/
Dominican Square - " Fish Market "
The Dominican Square comes from Freedom Square Zámečnická short street. The most prominent structures are complex New Town Hall ( formerly the seat of the Provincial Assembly and the court) and the St. Michael church with a beautiful baroque pulpit, which binds to one of Brno's reputation.
Church. Michael is the temple of the former Dominican monastery, founded in the years 1228-1238. When this church founded Moravian Margrave Ottokar I., son of Vladislav II ., in the first half of the 13th century Dominican order. Dilapidated medieval church was destroyed during the siege of Brno by Swedes. The baroque reconstruction in the 17th century (consecrated in 1679), author of the project was John the Baptist Erna. A special feature is the orientation change of the church whose façade with an impressive double spiers is heading east.
(You can see pictures by clicking on the link at the end of the page)
View towards Merry Street
Gothic Royal Chapel , r.1904
Interior, exterior
Today in its place stands Menšíkova cafe
View towards Peter and the Dominican street (1916)
Baroque cathedral is its large front facing toward the former Fish Market. Above the portal, you can see the signs of Leo donors of Kaunitz and his wife Eleanor, born Dietrichsteins. In the 18th century before the temple was built terrace with stone sculptures.
Nave measures 49 meters and its width is 19 meters. In the church there are a number of rare paintings, sculptures and decorative marble elements. A special feature of the church is the pulpit in Baroque style, which pressed Josef Winterhalder 1747. The main altar is a monumental three-story structure, decorated with statues.
View of the street corner Locksmith and Sword Street (1918 )
The earlier part of the Dominican Square was also a gothic chapel which stood on the street corner entering the mouth of the Locksmith street. In fact, the two chapels: one dedicated to St. Wenceslas and the other Mary. In the fifteenth or sixteenth century chapel changed patron, the Virgin Mary replaced Cyril and Methodius. Chapel of Our Lady founded by Czech King Wenceslas II. Deed on 25 března (March) 1297.
Royal property did not stay long. John of Luxemburg the third November 1322 gave the widow of Vaclav II., Eliska Rejčce and joined the house, which was located near the tabernacle. Rejčka house and chapel transferred Cistercian monastery in Old Brno. The scope of the Cistercian chapel remained until the abolition of their order by Josef II. in 1782. Like many other religious buildings it has since served as a military depot (a similar fate had church. Nicholas in Freedom Square).
City of Brno former chapel took over in 1902. City officials simply decided to demolish part of the redevelopment. Against this step rebelled cultural elite and conservation authorities, even they and the Central Commission for art historical sights in Vienna protested, the capital of the Austro-Hungarian monarchy . Nothing, however, what was in 1908 not applicable went of this historically valuable building to the ground. Today you can see some of the historical fragments of the former royal chapel in the cloister of the New City Hall, many other stone fragments is closed to the public because they are kept in the corridors bomb shelter in the Petrova rock.
The terrace at the church. Michael is 10 baroque statues.
Dominican Square
Shots in the photos are trying to match the orientation maps
New Town Hall
North side of the square instead of the former royal chapel corner Merry and Locksmith
completely back Liberty Square
Facade of the New Town Hall
Still Life - St. Michala
Angkor Wat or "Capital Temple" is a temple complex in Cambodia and the largest religious monument in the world. It was first a Hindu and later a Buddhist temple. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum.
Breaking from the Shiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple, based on early Dravidian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls.
The modern name, Angkor Wat, means "Temple City" or "City of Temples" in Khmer; Angkor, meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ), which comes from the Sanskrit word nagara (नगर). Wat is the Khmer word for "temple grounds" (Sanskrit: वाट vāṭa ""enclosure").
HISTORY
Angkor Wat lies 5.5 kilometres north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.
According to one legend, the construction of Angkor Wat was ordered by Indra to act as a palace for his son Precha Ket Mealea.
According to the 13th century Chinese traveler Daguan Zhou, it was believed by some that the temple was constructed in a single night by a divine architect. The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113-C. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as "Varah Vishnu-lok" after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished.
In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometers to the north.
In the late 13th century, Angkor Wat gradually moved from Hindu to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.
One of the first Western visitors to the temple was António da Madalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."
In the mid-19th century, the temple was visited by the French naturalist and explorer, Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:
"One of these temples - a rival to that of Solomon, and erected by some ancient Michelangelo - might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."
Mouhot, like other early Western visitors, found it difficult to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site. There were no ordinary dwellings or houses or other signs of settlement including cooking utensils, weapons, or items of clothing usually found at ancient sites. Instead there is the evidence of the monuments themselves.
Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.The temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbor Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and even transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937. Angkor Wat's aesthetics were also on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from C. 1880 to the mid-1920s. The splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since 1351 AD (Manich Jumsai 2001), or by some accounts, 1431 AD. Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since that time.
ARCHITECTURE
SITE AND PLAN
Angkor Wat, located at 13°24′45″N 103°52′0″E, is a unique combination of the temple mountain, the standard design for the empire's state temples and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction - prasavya in Hindu terminology - as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.
A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.
STYLE
Angkor Wat is the prime example of the classical style of Khmer architecture - the Angkor Wat style - to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested. The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style." Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.
FEATURES
OUTER ENCLOSURE
The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper. Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth. The outer wall encloses a space of 820,000 square metres, which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.
CENTRAL STRUCTURE
The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.
Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.
The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Gods"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.
North and south of the cloister are libraries.
Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.
Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.
DECORATION
Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".
From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology.
On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"). and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna. Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.
CONSTRUCTION TECHNIQUES
The stones, as smooth as polished marble, were laid without mortar with very tight joints that are sometimes hard to find. The blocks were held together by mortise and tenon joints in some cases, while in others they used dovetails and gravity. The blocks were presumably put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding. Henri Mouhot noted that most of the blocks had holes 2.5 cm in diameter and 3 cm deep, with more holes on the larger blocks. Some scholars have suggested that these were used to join them together with iron rods, but others claim they were used to hold temporary pegs to help manoeuvre them into place. The monument was made out of millions of tonnes of sandstone and it has a greater volume as well as mass than the Great Pyramid of Giza in Egypt. The Angkor Wat Temple consumes about 6 million to 10 million blocks of sandstone with an average weight of 1.5 tons each. In fact, the entire city of Angkor used up far greater amounts of stone than all the Egyptian pyramids combined, and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids which use limestone quarried barely half a km away all the time, the entire city of Angkor was built with sandstone quarried 40 km (or more) away. This sandstone had to be transported from Mount Kulen, a quarry approximately 40 km to the northeast. The route has been suggested to span 35 kilometres along a canal towards Tonlé Sap lake, another 35 kilometres crossing the lake, and finally 15 kilometres upstream and against the current along Siem Reap River, making a total journey of 90 kilometres. However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2012 a shorter 35-kilometre canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.
Virtually all of its surfaces, columns, lintels even roofs are carved. There are miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles. The gallery wall alone is decorated with almost 1000 square metres of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were a prime target for robbers. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture under 1.2 m, this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labor force to quarry, transport, carve and install so much sandstone must have run into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artifacts that have been dated to the seventh century, before the Khmer came to power.
ANGKOR WAT TODAY
The Archaeological Survey of India carried out restoration work on the temple between 1986 and 1992. Since the 1990s, Angkor Wat has seen continued conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery in 2008 after several years of conditions studies. The project restored the traditional Khmer roofing system and removed cement used in earlier restoration attempts that had resulted in salts entering the structure behind the bas-relief, discoloring and damaging the sculpted surfaces. The main phase of work ended in 2012, and the final component will be the installation of finials on the roof of the gallery in 2013. Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Angkor Wat has become a major tourist destination. In 2004 and 2005, government figures suggest that, respectively, 561.000 and 677.000 foreign visitors arrived in Siem Reap province, approximately 50% of all foreign tourists in Cambodia for both years. The site has been managed by the private SOKIMEX group since 1990, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance - as of 2000 approximately 28% of ticket revenues across the whole Angkor site was spent on the temples - although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities. Since Angkor Wat has seen significant growth in tourism throughout the years UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organized seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasized the importance of providing high quality accommodation and services in order for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed with regard to traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large amounts of tourists. The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat. Locals of Siem Reap have also voiced concern over the charming nature and atmosphere of their town being compromised in order to entertain tourism. Since this charming local atmosphere is the key component to projects like Angkor Tourist City, local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture. At the ASEAN Tourism Forum 2012, both parties have agreed Borobudur and Angkor Wat to become sister sites and the provinces will become sister provinces. Two Indonesian airlines are considering the opportunity to open a direct flight from Yogyakarta, Indonesia to Siem Reap.
WIKIPEDIA
The iron pillar of Delhi, India, is a 7 m (23 ft) high pillar in the Qutb complex, notable for the composition of the metals used in its construction.
The pillar, which weighs more than six tons, is said to have been fashioned at the time of Chandragupta Vikramaditya (375–413) of the Gupta Empire,though other authorities give dates as early as 912 BCE. The pillar initially stood in the center of a Jain temple complex housing twenty-seven temples that were destroyed by Qutb-ud-din Aybak, and their material was used in building the Quwwat-ul-Islam mosque and the Qutub Minar complex where the pillar stands today.
The pillar has attracted the attention of archaeologists and metallurgists and has been called "a testament to the skill of ancient Indian blacksmiths" because of its high resistance to corrosion,due to both the Delhi environment providing alternate wetting and drying conditions, and iron with high phosphorus content conferring protection by the formation of an even layer of crystalline iron hydrogen phosphate.
About the Qutub Minar
Qutub Minar also Qutb Minar, is a UNESCO World Heritage Site. Located in Delhi, India. The Qutub Minar was constructed with red sandstone and marble, and is the tallest minaret in India, with a height of 72.5 meters (237.8 ft), contains 379 stairs to reach the top, and the diameter of base is 14.3 meters whereas the last store is of 2.7 meters. The Construction was commenced by Qutb-ud-din Aibak in 1192 and completed by Iltutmish. The Qutub Minar is notable for being one of the earliest and most prominent examples of Indo-Islamic architecture. It is surrounded by several other ancient and medieval structures and ruins, collectively known as Qutub complex.
Qutub Minar in red and buff sandstone is the second highest tower in India, after the Fateh Burj or "Victory Tower" at Chappar Chiri village in Punjab’s Mohali district. A projected balcony encircling the Minar is supported by stone brackets which are decorated with honeycomb designs, more conspicuously so in the first story.
Inspired by the Minaret of Jam in Afghanistan and wishing to surpass it, Qutb-ud-din Aibak, the first Muslim ruler of Delhi, commenced construction of the Qutub Minar in 1193; but conical shafts, separated by balconies carried on Muqarnas corbels. The minaret is made of fluted red sandstone covered with intricate carvings and verses from the Qur'an. Numerous inscriptions in Arabic and Nagari characters in different places of the Minar reveal the history of Qutb. According to the inscriptions on its surface it was repaired by Firoz Shah Tughlaq (AD 1351-88) and Sikandar Lodi (AD 1489-1517).
Quwwat-ul-Islam Mosque, to the northeast of Minar was built by Qutbu'd-Din Aibak in AD 1198. It is the earliest mosque built by the Delhi Sultans. It consists of a rectangular courtyard enclosed by cloisters, erected with the carved columns and architectural members of 27 Hindu and Jain temples[citation needed], Later, a coffee arched screen was erected and the mosque was enlarged,by Shams ud Din Iltutmish (AD 1210-35) and Allaud-din Khilji. The Iron Pillar in the courtyard bears an inscription in Sanskrit in Brahmi script of 4th century AD, according to which the pillar was set up as a Vishnudhvaja (standard of Lord Vishnu) on the hill known as Vishnupada in memory of a mighty king named Chandra. A deep socket on the top of the ornate capital indicates that probably an image of Garuda was fixed into it. It is situated in Delhi.
The Qutub Minar comprises several superposed flanged and cylindrical shafts, separated by balconies carried on Muqarnas corbels. The minaret is made of fluted red sandstone covered with intricate carvings and verses from the Qur'an. The Qutub Minar is itself built on the ruins of the Lal Kot, the Red Citadel in the city of Dhillika, the capital of the Tomars and the Chauhans, the last Hindu rulers of Delhi. The complex initially housed 27 ancient Hindu and Jain temples, which were destroyed and their debris used to build the Qutub minar. One engraving on the Qutub Minar reads, "Shri Vishwakarma prasade rachita" (Conceived with the grace of Vishwakarma.)
NEOBALLS / ZEN MAGNETS - Neodymium Magnetic Balls (@4205) - Starcraft II's Massive Thor
This is my most complex and largest build to date.
It was designed in parts: Cockpit body, then legs, then arms, then rear guns. Then I had to redesign parts when it came time to assemble it together because of incorrect bonding assumptions and misalignment of magnet fields.
Experimented with x-beam coupled bonds to get the maximum lateral strength with reinforcements on the sides. This proved to be very string. Created a X-Beam using similar methods producing a very strong leg structure. It was capable of support the entire weight of the cockpit body w/o a problem. Had to redesign the leg to cockpit body mount point from the earlier concept because the bond was not completely coupled.
Next up were the arm/guns ... the weight was too much for the cockpit body to support so I fashioned a pair of lego-platforms for them to rest on and take the weight off of the central body.
Finally ... the rear guns ... these were a challenge in that their original mount point design had to be reworked also to make them fit correctly into the rear of the cockpit body. I changed the mount points on the guns to fit the space on both sides and added a few support balls to improve the mount point bonds. I was very surprised how they were balanced and supported only by two point sections to the body. The guns stayed in place for a small series of photos.
The design flaw was in the side bonds of the beam to the legs. The coupled field held nicely for a short amount of time and would have held if it didn't have the weight of the rear guns to support. When they were standing upright and straight, all was good. As soon as I attempted to move the platform forward (to take a video), the rear guns tilted slightly backwards and and that was the end of the leg to body support bonds ... and created the dreaded implosion.
The rear gun weight caused the entire central body section to rotate backwards and fall back on the rear guns ... taking the arms in the process. Perhaps I should have created a Lego-support structure for the rear guns to remove the pendulum force backwards ... but that would have created another view blocker like the side Lego-platforms obstructed the view of the legs and feet. Not sure if I can recreate it for a rotational video ... this took over a week (on/off to design and assemble).
Overall ... I was very happy with the result ... hope I captured enough detail to warrant some visual recognition as a Starcraft II Thor reproduction/interpretation.
This was design and built for the Zen Magnets Contest 26: The Massive Thor
www.zenmagnets.com/blog/26-the-massive-thor/
I tried to document the info for this super complex build (below) accompanied by associated pics in this set
www.flickr.com/photos/tend2it/sets/72157632920071597/
Starcraft II Thor Magnet Count and Detail Talley
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Cockpit Body bottom section: (@0520)
(@0217) - Main shape middle core = (2x108) + 1
(@0095) - central bottom layer 1 = (47x2) + 1 w/black parameter
(@0078) - Sides Bottom layer 2 = (2x(22 parallel pair frnt2bck support + 3 red + 4 gold + 10 ring outside black))
(@0028) - Central bottom layer 3 = (2x14) rectangle
(@0032) - Sides bottom layer 3 = (2x((2x5 parallel bridge rectangle to ring) + (6 ring outside))
(@0010) - Central bottom layer 4 = (10 ring) leg waist w/gold
(@0020) - Sides bottom layer 4 = (2x10 ring) coupled over parallel bridge for perpendicular underside support
(@0040) - Central rear Barrel = (4x8 ring w2 red rings) + (2x4 sqr end)
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Cockpit Body top section (from center out): (@0371)
(@0166) - top layer 1 = (2x83) w/black missle cover + middle sect separator
(@0105) - top layer 2 = ((2x52) + 1) w/black separator, red trim, gold cockpit
(@0083) - top layer 3 = ((2x41) + 1) w/black separator, red trim, gold cockpit
(@0037) - top layer 4 = ((2x18) + 1) w/black separator trim
(@0010) - top layer 5 = (2x5) w/red/black
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(@0891)
Leg section x2 (@0640 - 12 removed from bottom of @ leg for foot contact pt)
leg internal structure:
(@0384) - columns = 2 x (4x((2x12) + ((2x11) + 2))) top/bottom coupled bonds w/parallel bonds stacked x 4))
(@0096) - side reinforcements = 2x((2x11) + 2) coupled pair along outside edge centers)
(@0032) - ball reinforcements = 2x(2x4 balls are two balls added to 4 ball in 2, 4, 6, 8th positions) - (12 @ bottom)
leg arch structure (connected to one flat leg top face:
(@0128) - (4x4 parallel sqr) + (2x(6 + 2)) pointy rings) + (4x4 parallel sqr) + (2x(6 + 2)) pointy rings)
Place the two leg arch structures together to form the leg arch
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(@1519) = 1531-12
Leg side panels (@0384)
(@0344) - (2 each leg x (2x(2x43 each side))) w/black outside trim
Knees + Leg detail
(@0040) - (2x(2x(6 + 2) knee w/red sqr) + 2x(4 red sqr top of leg))
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(@1903)
Feet x2 (@0242)
(@0184) - (2x((2x7 + 2 1st mid layer) + (2x(2x10 + 1) 2nd mid layer) + ((2x(2x8 + 1) outside layer))
(@0034) - (2x(2x(2x3 + 1 top of toe 2 leg)) + (1 center rear foot 2 leg conn) + (2 x 1 outer rear foot sides 2 leg
conn))
(@0024) - (2x(2x6 rings rear foot heel))
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(@2145)
X-Beam waist platform - (@0233 - 19) this part is placed across the center perpendicular to the x-beam leg arch
(@0214) - (2x(2x(18 + 17 + 6 + 3)) + (2x(7 + 2)) + ((8 + 1 front side) + (2x9 rear side)) + ((2 x 3 red front center) +
(2 x 2 red front sides) + (2 red rear)) - (19 removed under rear panel side to fold)
Arm Guns (2 pair per arm w/red + black accents)
(@0380) - (4x((4x9 center core) + (3x((2x7) + 1)) top/sides) + (2x7) middle join))
Shoulder to elbow core w/o reinforcements ((@0174)per arm)
(@0348) - (2 x (top((2x5)+2) + (4x8+2 parallel) + ((2x5)+2) + (2x5) + (2x(2x5)+1) + (2x(2x6)+1) + ((4x7)+2 parallel
mount2gun) + (1 ball center to bridge below 2 ball center to 1 ball) + ((2x6)+1) + ((2x4)+2)bottom)
Shoulder to elbow (per arm, per side)
(@0248) - (2 x (2 x (top 3 + 5 + 5 + 5 + 4 + 5 + 4 + 4 + 5 + (2x7arm2shoulder bridge) + (5 + 3 bottom))
Elbow to gun support (per arm, per side) (@0140 - 18 for outside facing side revamp)
(@0122) - (2 x (2 x (((2x9)+1) + (2x8)) -
Revamp outside facing sides for Z bracket (remove 2x(4 top/4 bottom/2 middle/move center ball down, add 1 ball)
Revamp 2 rear centerballs with red
(@028) - add red design outside facing shoulder 2 elbow
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(@3485)
Rear Guns x2
Large cannon (@0112 each)
(@0224) - 2 x ((2x(2x15) + (4x(5+2)) + (4x(6 ring)))
Smaller cannon (@0092 each)
(@0184) - 2 x ((2x(2x13) + (4x(4+2)) + (4x(4 ring)))
Gun bridges (@0010 each)
(@0020) - (2 x (4 ring + 6 ring across two cannons)
Gun mounts x2
(@0104) - (2 x ((top (2x4+2) + (2x5+2) parallel to existing + (2x4+2) + (2x5 parallel) + (2x4+2) bottom)
Gun panel x 2 (@0102 each)
(@0204) - (2 x (2x(11 + 10 + 9 + 8 + 7 + 6))
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Revamp base
(@4221) subtotal b4 assembly
Assembly mods
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Moved the (@0040) - Central rear Barrel = (4x8 ring w2 red rings) + (2x4 sqr end) below the rear of the body between
the leg mount and cockpit body. Actually used the barrel as a mount point for the rear guns.
Modded Cockpit Body bottom section (mount point):
(@0020) = (2 x (7 + 6 + 5)) = Changed = (@0028) - Central bottom layer 3 = (2x14) rectangle to covert parallel
rectangle to hex parallel center, coupled sides
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(@4213) = (@4221 - 8)
Moved central bottom layer x-beam
(@0018) = (2x09 ring) = Changed = (@0020) - Sides bottom layer 4 = shifted it down one row, removed 1 ball on end to form point and pinched outside end fit in center of 6 ball side.
(@4211) = (@4213 - 2)
Removed gold 10 ball ring mount
Changed = (@0010) = Central bottom layer 4 = (10 ring) leg waist w/gold
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(@4201) = (@4213 - 10)
Modded Rear Guns
(@0100) = Changed = Rear Gun mounts x2 - removed +2 from top/bottom mount point (2x4+2)=>(2x4)
(@4197) = (@4201-4)
Added extra mount point support bwtween rear gun mounts and rear cockpit body
(@4205) = (@4201+8)
Grand Total! = (@4205)