View allAll Photos Tagged developing
Oxford, UK.
30th January 2020, Canon 90uII and Kodak T-MAX 100ASA film, developed at home in Kodak D76.
A bridle path, also bridleway, equestrian trail, horse riding path, bridle road, or horse trail, is a path, trail or a thoroughfare that is used by people riding on horses. Trails originally created for use by horses often now serve a wider range of users, including equestrians, hikers, and cyclists. Such paths are either impassable for motorized vehicles, or vehicles are banned. The laws relating to allowable uses vary from country to country.
In industrialized countries, bridle paths are now primarily used for recreation. However, they are still important transportation routes in other areas. For example, they are the main method of traveling to mountain villages in Lesotho. In some areas, bridle paths developed as transport routes where the terrain was so steep that the route was impassable by wheeled wagons and vehicles, as for example, Bridle Path, New Zealand, an early transport route in Christchurch. However, In England and Wales a bridle path now refers to a route which can be legally used by horse riders in addition to walkers, and since 1968, by cyclists.
In the US, the term bridle path is used colloquially for trails or paths used primarily for people making day treks on horses, and usually used only on the east coast, whereas out west the equivalent term is trail. The term "bridleway" is rarely used in the U.S. Most of the time horses are presumed allowed to use trails in America unless specifically banned, although rules differ among locations.
In some countries long distance multi-use trails have been created, including the Bicentennial National Trail in Australia, one of the longest marked multi-use trails in the world, stretching 5,330 kilometres. Rail trails can often be used by equestrians.
Cheshire England Early Autumn 2014
JR Sassho line, Tohbetsu, Hokkaido.
Canon FTb, Sigma APO Macro 180mm F5.6, negative ISO 100 ( for recoding use from Kodak ) expired, exposed as ISO 50, developing time shortened, scanned with Epson V700 at 3200 DPI.
Yak-18 is a two-seater aircraft for initial training, which replaced the Ut-2 and U-2 in the Air Force, civil aviation and flying clubs. Developed at the Yakovlev Design Bureau. The first domestic training aircraft of a metal structure with retractable landing gear. It made its first flight in 1946. Approximately 4,830 were built.
Before entering the museum, from 1964 to 2009, this unidentified frame was located in the village of Moshkany, Vitebsk region, Senno district, where it was installed near the technical school. Since 2009 it has been on display at the museum. A metal plate with the text is fixed on the plane:
“Generations of teachers and students of the Moshkan secondary school named after A.K. Gorovets 45 years old (1964 - 2009) carefully and lovingly guarded the Yak-18 aircraft. Now he has a new life, new ups. Good luck, our Moshkan plane! Director Kh.A. Kuliev ".
Flora in the back yard of Urausu Shrine, Urausu, Hokkaido.
Mamiya M645 1000S, 150mm F3.5, positive ISO 100 self developed as described previously( www.flickr.com/photos/threepinner/6870171688 ).
The weather is grey and cold, it's probably going to snow in the next hours. There's nothing better than staying in and developing film.
Hasselblad 500 c/m
Zeiss Distagon 50mm F4 FLE
Kodak T-max 100 iso
Canoscan 9000f
Developed by me in Caffenol CM
Camera: Yashica Mat 124 G,
Lens:Yashinon 80/3.5,
ight meter: Sekonic L-308B reading the incident light,
Film: Ilford PanF plus 50,
Film Developing: PYROCAT HD 1+1+300
Time: 20C° - 60 min, Stand development. Agitate for first minute only, then allow to stand undisturbed.
scanned with Epson Photo V 500
Yes folks, we are going to be parents for the first time..!!!
This is the image of the 12 week scan we had 4 weeks ago. Seeing as Tam had her nails done, I thought now is the time to ask her to model the image or our baby and broadcast our news to the world.
Tammy sometimes looks at me and says "do what?" I think all you Flickrites will know what I am getting at here.....It is hard being a Director at times..!!!
Was a very surreal moment for both of us as it kind of hits home when you can see the joy of life on the screen...;o)
Also the 2nd image in two days to hit Explore..!!!
Developed as a small farm and river trade center in the 19th Century and early 20th Century, Rabbit Hash, a census-designated place, sits along the Ohio River in a rural section of Boone County, Kentucky across from Rising Sun, Indiana. The quirky and charming community features many intact historic wood-frame and log buildings and outbuildings, including houses, shops, and sheds, which are remarkably well-preserved and today form a small and quaint historic district that stretches along Lower River Road. Rabbit Hash’s most notable building is the Rabbit Hash General Store, which has operated in some form in the area since 1831, and is considered by many to be one of the best-preserved historic country stores in the United States. The town has also had multiple dogs who have served as “mayor” in its history, though it does not have an actual municipal government. The Rabbit Hash Historic District was listed on the National Register of Historic Places in 2003.
As my photography developed over time, I noticed that I like having some human element in my photos, to show scale, but most often I’m unprepared for it. When I walk around with my camera and see someone approaching, I hurry myself to find something interesting for photography. But usually, there’s no time to tweak the composition more optimally.
I was lucky this time. Those two stood in position for a couple of seconds, enough time for me to move aside, look not to cut any tree and take photo as I wanted. I see them every time I’m out in this area, and we greet mutually and sometimes exchange some words. I think they’re retired. There is always a dog with them, but he usually watches his own business so he’s not in the photo here. Anyway, I love this sort of morning, when you can’t see your finger in front of your eyes because of fog thickness. Nature looks so different, more photogenic and luckily I was there to get this photo.
The first generation Escort was developed and built simultaneously in Germany and in the UK. In the UK the Escort was introduced in late 1967. On the European continent in January 1968.
Manufacturing facilities were increased by opening of the Genk plant (Belgium) and Saarlouis plant (Western Germany).
Four-door Escorts were quite rare in the Netherlands. The most sold versions had two doors.
The owner of this Escort must be a passionate Ford collector. There are old Fords parked continuously in this spot on the street.
This car is registered as brown.
1098 cc L4 petrol engine.
Performance: 44/49 bhp.
810 kg.
Production Ford Escort series: Nov. 1967-July/Oct. 2002.
Production Ford Escort MKI: Nov. 1967-Dec. 1974.
Production Escort sedan this version: 1969-Dec. 1974.
Original first reg. number: Oct. 30, 1974.
New Dutch pseudo-historical reg. number: March 14, 1997 (private import).
With current owner since Oct. 24, 2018.
Tilburg, Schaepmanstraat, May 4, 2025.
© 2025 Sander Toonen Halfweg | All Rights Reserved
DEVELOPING THE PHOTOGRAPHER’S EYE, HEART AND MIND
INSPIRED EYE - NOT QUITE YOUR TYPICAL MAGAZINE
It has a traditional + interactive philosophy
VOL I - ISSUE V
C-41 stand developed -- Fuji 100 film shot at ISO 100 with Voigtlander Bessa T and mostly Voigtlander Nokton 40mm f/1.4 SC classic. This was a test of diluted (1:9) c-41, stand developed at room temp (75 degrees F), for 45 minutes with 2 inversions at 15 and 30 minute marks.
The negatives were a bit funky with a dirty grey mask. I had some problem getting a good image on VueScan for a jpeg scan, however the raw scans worked well in photoshop.
Dngs in photoshop were dull, like the mask, but auto leveling brought the colors right out correctly. I dont have as much hope if one were printing.
I will try this again, I am torn between increasing the development or adjusting the EI down for more light. We will see.
The two mountains and Brith Sholem were shot with a hexanon AR 57mm f/1.4 adapted to the Bessa. There seems to be some difference in how the light landed...
Bleached for 10 minutes at room temp with Potassium Ferricyanide bleach and fixed in home made Ammonium Thiosulfate fixer for 10 minutes.
Just finished shooting, developing and scanning a test roll through my new Miranda Sensorex II; loaded with Fujicolor 100, expired February 2013.
The camera's meter is not working, but mechanically things are pretty good. Very nice lens, and the removable viewfinder is a neat feature.
In an idyllic waterfront location overlooking the intracoastal waterway, Palm Beach Island, and the Atlantic Ocean, South Flagler House is the first residential high-rise development in South Florida designed by globally renowned Robert A.M. Stern Architects and developed by Related Ross. Crafted with a meticulous eye for quality and detail, the result is a masterpiece of timeless character and elegance to be enjoyed for generations to come.
With its graciously designed residences, expansive private terraces, and unparalleled views, South Flagler House embodies the pinnacle of waterfront luxury real estate in South Florida. Each home is meticulously developed with bespoke interiors, custom finishes, and grand living spaces, offering a rare combination of sophistication and comfort.
As one of the most anticipated new construction condos in West Palm Beach, this landmark development is redefining luxury living along the Intracoastal Waterway.
As construction progresses, visit the South Flagler House Sales Gallery to explore detailed architectural models, bespoke finishes, and floor plan options. Schedule a private appointment today to experience firsthand the design and craftsmanship that define West Palm Beach's most anticipated waterfront development.
Amenities
Fitness Center, Pickleball Court & Lounge, 24-Hour Attended Lobby with Concierge, Golf Simulator, Hot Tub, Lap Pool, Business Center, Children's Playroom, Outdoor Terrace
Credit for the data above is given to the following websites:
www.related.com/our-company/properties/south-flagler-house
www.southflaglerhouse.com/?gad_source=1&gad_campaigni...
www.google.com/search?q=forte+on+flagler&sca_esv=4a27...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Horonai, Mikasa, Hokkaido.
Ricoh XR8, Rikenon 28mm F2.8, Era (公元)100, exposed as ISO 50, developed with SPD + KSCN (2g/500ml) ror 3min. and 20 sec. at 17 Deg.C.
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
The VF-1D Valkyries were two-seater variants of the VF-1 Valkyrie and they were used for training. Each features two independent TV camera "eye" systems within their head, one for each crew member, and each visual system was linked to a RÖV-20 anti-aircraft laser cannon, which could be fired independently or as a single weapon station, operated by either crew member. Otrherwise the VF-1D had the same equipment and avionics suite as the single seat fighters, making them fully combat-capable.
The forward fuselage (コクピット・カプセル Kokupitto Kapuseru, lit. Cockpit Capsule) of a VF-1D Valkyrie functionsed as an escape system that was furnished with an independent life support system, rescue transponder, a hypo-metabolic system, and a simple emergency medical system. When a VF-1D transformed into Battroid mode, the head could open, allowing the two seats to emerge at the top, arranged vertically. The back seat emerged first and the front seat, where the pilot sat, emerged second underneath the back seat.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
The versatile aircraft also underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing on the upper side of the nose, just in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.
Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wingtips, on the fins and/or on the LERXs. Improved ECR measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68).
However, the fighter was frequently updated, leading to several “re-built” variants, and remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x Mauler RÖV-20 anti-aircraft laser cannon in the "head" unit, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-spaceship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles, or a combination of above load-outs and other guided and unguided ordnance
The kit and its assembly:
This started as a quick relief build after the submission for the 2021 "One Week " Group Build at whatifmodellers.com - but progress was so quick that I finished this VF-1 in time to make it a second submission withing the GB's effective run of nine days.
This one was a simple adaptation of one of the experimental "Heather Ferris" low-visibility paint schemes the US Navy tested during the early Eighties on some F-4S "Phantom II"s of VF-301 and 302, before the moere uniform Light Compass Grey/Light Ghost Grey was eventually adapted. However, the Heather Ferris schemes are absolutely comtemporary for the VF-1's medial appearance, and mating them on a model appeared like a suitable combo.
The basis is - as usual - the vintage and very simple ARII VF-1, in this case a double-seater. It was built OOB with the landing gear down, and with the usual improvements: some standard blade antennae, the fins’ tops were modified with RHAWS fairings. However, I neglected to modify the upper torso - The VF-1D Valkyrie has a slightly different forward fuselage in Super Dimension Fortress Macross The First, lacking the dorsal air brake of the single-seat fighters and having a "cleaner" surface with an edgier spine. But the "standard" hull is also fine/canonical, I just missed the opportunity. Maybe on another VF-1D...?
The underwing pylons were deleted (it's just a trainer and maybe used for air combat drill, so extra weight is superfluous). The gun pod was retained and modified to accept a scratched wire display in its tail to hold the Valkyrie in flight scenes. The pilot figures were just guests for the in-flight photo sessions, later the canopy was glued to a mount in open position.
Painting and markings:
As mentioned above, this kit carries an adaptation of one of the three Heather Ferris schemes, namely #2 with a light nose section and a darker tail/starboard side. Since the VF-1's structure, with VG wings at shoulderposition and a twin tail, differs from the benchmark F-4, I drew up a three-side profile view of a VF-1 and laid the paint scheme out - it made painting much easier.
The Heather Ferris warp-around scheme consists of four tones FS 36375 (Light Ghost grey), 36307 (Light Sea Grey, it was a brownish hue), 35237 (Grey bLue AMT-11) and 35164 (Intermediate Blue). The paints I used were Humbrol 127, a 3:1 mix of 64 and 140, 145 and 144, respectively. The cockpit interior became, according to the look in the TV series, medium grey (Revell 47) with black seats and brown cushions. The landing gear became white and the GU-11 gun pod iron metallic (Humbrol 53), for a toned.down look.
After basic painting, the model received an overall washing with thinned black ink to emphasize the engraved panel lines. A little post-shading was done, too, for a more graphic look, and then the decals were applied. The low-viz "kite" roundels were printed at home, the tactical markings came from an Authentic Decals F-18 sheet (which turned out to be rubbish - very thin but brittle and prone to crack like vintage ESCI decals!!!) and the stencils were taken from the VF-1 OOB sheet. For some contrast to the dull livery, and as a hommage to the "Delta November" markings of the F-4Ss that carried this unique paint scheme, I gave the VF-1D small red markings on the fins and under the cockpit - very subtle, but I think that this improves the overall look a lot. Generic decal material was used to create the grey wing leading edges and some black hull details, e.g. the bands around the nose.
Finally, after some more detail painting (antennae, position lights) , the VF-1 was sealed with a semi-gloss acrylic varnish. The jet nozzles/feet were treated with graphite for a used abnd metallic look.
A small and quick interim project, realized in just three days (plus two more for the pictures). There are certainly better VF-1 models than the vintage ARII kits, but I just love them because they are small, simple and easy to modify. Creating a benchmark profile for painting was quite a challenge, but it was IMHO worthwhile because it made adapting the F-4 scheme to the rather different VF-1 easier.
Newest Video and Blog by Owen M. McCafferty II
Blog (w/ video!)
filmphotographyproject.com/content/howto/2018/09/develop-...
YouTube link
taken a while ago with film, just got it developed. I may not have many posts for a few months. I shall be working in the darkroom and as I do not have a scanner...you will not see them :(
PictionID:43929562 - Catalog:17.S_001258 - Title:Republic F-105D 62-4253 466TFS 301TFW Hill AFB Sep83 [Peter B. Lewis] - Filename:17.S_001258.tif - ----Image from the René Francillon Photo Archive. Having had his interest in aviation sparked by being at the receiving end of B-24s bombing occupied France when he was 7-yr old, René Francillon turned aviation into both his vocation and avocation. Most of his professional career was in the United States, working for major aircraft manufacturers and airport planning/design companies. All along, he kept developing a second career as an aviation historian, an activity that led him to author more than 50 books and 400 articles published in the United States, the United Kingdom, France, and elsewhere. Far from “hanging on his spurs,” he plans to remain active as an author well into his eighties.-------PLEASE TAG this image with any information you know about it, so that we can permanently store this data with the original image file in our Digital Asset Management System.--------------SOURCE INSTITUTION: San Diego Air and Space Museum Archive
Developed in Lightroom and then converted to B&W in Photoshop using combined hue/sat and gradient map adjustment layers. Toning applied back in Lightroom.
Ebeotsu, Takikawa, Hokkaido.
Mamiya Universsal Press, Sekor 250mm F5.0, positive ISO 100 developed as described before.
Bigger sizes: www.flickr.com/photos/threepinner/18023939310/sizes/l
Marina Bay Sands is an integrated resort fronting Marina Bay in Singapore. Developed by Las Vegas Sands (LVS), it is billed as the world's most expensive stand-alone casino property at US$ 5.7 billion, including the cost of the prime land.
Marina Bay Sands is situated on 15.5 hectares of land with the gross floor area of 581,000 square metres. The iconic design has transformed Singapore's skyline and tourism landscape since it opened on 27 April, 2010. The property has a hotel, convention and exhibition facilities, theatres, entertainment venues, retailers, and restaurants.
Marina Bay Sands was one of two winning proposals for Singapore's first integrated resorts, the other being the Resorts World Sentosa, which incorporates Universal Studios Theme Park. The two resorts aimed to meet Singapore's economic and tourism objectives, and have 30-year casino licenses, exclusively for the first ten years.
Bidders were assessed based on four criteria:
tourism appeal and contribution
architectural concept and design
development investment
strength of the consortium and partners
On 27 May, 2006, Las Vegas Sands (LVS) was declared as the winner to develop the Marina Bay site in the prime new business district of Marina South. LVS highlighted its forte in Meetings, Incentives, Conferencing, Exhibitions (MICE). LVS's founder Sheldon Adelson is a pioneer in Las Vegas and the key to his early business success.[3] In the Design Evaluation portion of the tender, a panel of local and international architects commended Sands' design as superior to other bids in terms of pedestrian circulation and layout, and it also fit in with the Marina Bay landscape best. They liked that the hotel towers were set back from the waterfront to open up expansive views of the city and the entire Marina Bay, making the skyline for Singapore's downtown more attractive and distinctive.Construction of the property commenced in early 2007 and was expected to be completed by 2009.
Singapore Tourism Board highlighted Sands' line-up of six celebrity chefs, such as Tetsuya Wakuda, Wolfgang Puck, Daniel Boulud and Mario Batali.
LVS submitted its winning bid on its own. Its original partner City Developments Limited (CDL), with a proposed 15% equity stake, pulled out of the partnership in the second phase of the tender process. CDL's CEO, Kwek Leng Beng said his company's pullout was a combination of factors – such as difficulties in getting numerous companies he owns to comply in time, as well as reluctance of some parties to disclose certain private information in probity checks required by the Singapore government. However, Kwek was retained as an advisor for Sands' bid.
Las Vegas Sands initially committed to invest S$3.85 billion in the project, not including the fixed S$1.2 billion cost of the 6,000,000 square feet (560,000 m2) site itself. With the escalating costs of materials, such as sand and steel, and labour shortages owing to other major infrastructure and property development in the country, Sheldon Adelson placed the total cost of the development at S$8 billion as of July 2009.
Las Vegas Sands declared the undertaking as "one of the world's most challenging construction projects and certainly the most expensive stand-alone integrated resort property ever built". It expects the casino to generate at least $1 billion in annual profit. Two months after the initial phased opening, the casino attracts around 25,000 visitors daily, about a third being Singaporeans and permanent residents who pay a $100 daily entry levy or $2,000 for annual unlimited access. Half a million gamblers passed through the casino in June 2010. In the third quarter of 2012, the revenues of the Marina Bay Sands fell almost 28 per cent from a year earlier.
For the economy, Marina Bay Sands is projected to stimulate an addition of $2.7 billion or 0.8% to Singapore's Gross Domestic Product by 2015, employing 10,000 people directly and 20,000 jobs being created in other industries.
Moshe Safdie was approached to lead the design on this massive project. Taking inspiration from the form of card decks, led to the unique design of the three hotel towers. Other key structures of the property include the 200,000-square-foot (19,000 m2) ArtScience Museum, The Shoppes, Expo and Convention center and the casino. During the resort's planning and construction phases, feng shui consultants, the late Master Chong Swan Lek and Master Louisa Ong-Lee were consulted in regards to divination.
The engineering for the project was headed by Arup and Parsons Brinkerhoff (MEP/ELV). Arup had originally worked on prestigious projects such as the Beijing National Aquatics Centre and the Sydney Opera House. In spite of their experience in constructing challenging designs, the Marina Bay Sands project was described as the 'most difficult to carry out in the whole world' due to the amount of integration of the varied and advanced technologies needed to complete the project.
The extensive background music system was installed by Singapore based contractor Electronics & Engineering Pte Ltd
The Marina Bay Sands hotel has three 55-story towers with 2,561 luxury rooms and suites, which is capped by the Sands SkyPark, which offers 360-degree views of Singapore's skyline. The SkyPark is home to restaurants, gardens, a 150-metre vanishing edge and the world's largest public cantilever housing an observation deck. This architectural marvel stands at the height of 200 metres and boasts 12,400 square metres of space. Dining options at the Skypark include local celebrity chef restaurant, Sky on 57 (by Justin Quek), restaurant and nightclub KU DÉ TA, and executive club lounge The Club at Marina Bay Sands.
To help the Skypark withstand the natural motion of the towers caused by wind, engineers designed and constructed four movement joints beneath the main pools, each possessing a unique range of motion. The total range of motion is 500 millimetres (19.68 inches). In addition to wind, the hotel towers are also subject to settlement in the earth over time, hence custom jack legs were built and installed to allow for future adjustment at more than 500 points beneath the pool system. This jacking system is important primarily to ensure the infinity edge of the pool continues to function properly.[citation needed]
Connected to the hotel towers are the Sands Expo and Convention Centre, Marina Bay Sands Casino and The Shoppes at Marina Bay Sands.
The Sands Expo and Convention Centre has more than 120,000 square metres or 1.3 million square feet of meeting space, making it one of the largest and most flexible locations in Asia. It is also the biggest MICE (Meeting, Incentives, Conference and Exhibitions) facility in Singapore, and the ballroom is the largest in Southeast Asia, capable of hosting up to 11,000 delegates. The Sands Expo and Convention Centre has five floors of exhibition and convention space, with up to 2,000 exhibition booths and 250 meeting rooms. It has hosted events ranging from banquets, theater-style conventions, to exhibitions and roadshows.
Located near the Sands Expo and Convention Centre is the Marina Bay Sands Casino. Spanning 15,000 square metres over four levels of gaming, the casino features over 600 gaming tables and 1,500 slot machines along with two noodle bars, The Nest and Tong Dim, and local Chinese eatery, Fatt Choi Express.
Another attraction found at Marina Bay Sands is The Shoppes at Marina Bay Sands. With close to 800,000 square feet of retail and restaurant space, The Shoppes at Marina Bay Sands is Singapore's first large-scale luxury shopping mall in the Central Business District with boutiques such as Ralph Lauren, Chanel, Cartier and Prada. Other luxury stores include Salon by Surrender, Gucci, Hermès, Emporio Armani, Chopard, REDValentino, Dior, Dunhill, Vertu, Miu Miu, Saint Laurent Paris, Salvatore Ferragamo, Montblanc, Blancpain, and an Hermès Watch Boutique. Also housed within the Shoppes are the five of the six Celebrity Chef Restaurants – Cut (by Wolfgang Puck), Waku Ghin (by Tetsuya Wakuda), Pizzeria and Osteria Mozza (by Mario Batali), Guy Savoy (by Guy Savoy), and DB Bistro Moderne (by Daniel Boulud).
Other attractions within The Shoppes at Marina Bay Sands include a canal which runs through the length of the Shoppes, in the same style as the Venetian in Las Vegas, two Crystal Pavilions, one housing renowned nightclubs – Avalon and Pangaea and the other the world's largest Louis Vuitton boutique. An indoor skating rink (synthetic ice) measuring 6,500 square feet (600 m2) as well as the MasterCard Theatres, compromising of the Sands Theatre and Grand Theatre which seat 1,680 people and 2,155 people respectively can also be found at The Shoppes at Marina Bay Sands.
The MasterCard Theatres has played host to many international acts and plays since its opening, with Broadway smash musicals like The Lion King, Wicked, Annie, and The Phantom of the Opera. Other acts such as Cirque Éloize and A. R. Rahman's Jai Ho, located in the latter during their world tours.
Visitors to the Event Plaza at The Shoppes can enjoy the nightly Wonder Full show, a 13-minute light and water show featuring lasers, lights, water movements and graphics, set against the backdrop of Marina Bay Sands.
Marina Bay Sands is also home to the ArtScience Museum, With a form reminiscent of the lotus, the ArtScience Museum has been called "The Welcoming Hand of Singapore". It features an adjustable roof waterfall which uses rainwater collected when the roof is sealed in the day.
The resort also features an Art Path designed by Moshe Safdie, incorporating 11 installations by five artists including Zheng Chongbin, Antony Gormley, and Sol LeWitt. The 11 art installations were commissioned to integrate seamlessly with Moshe Safdie's iconic architecture. These art installations form the largest art commissions ever completed as part of an integrated architectual proccess