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Built between 1937 and 1959, the Organic Modern-style Taliesin West was designed by Frank Lloyd Wright and constructed by his apprentices to serve as the winter home of Wright and his Taliesin Fellowship. The complex, which consists of many buildings, began as a set of temporary, tent-like structures in the late 1930s, before evolving into more permanent buildings over the course of the 1940s, reflecting the ever-experimenting nature of the Taliesin Fellowship and Frank Lloyd Wright, something also seen at the original Taliesin in Wisconsin. Wright developed an architecture at Taliesin West that reflected the surrounding desert environment, with long, low stone buildings featuring long and narrow expanses of glass, shed roofs, stone walls, and timber framing, with rooflines that reflected the surrounding mountains, small areas of non-desert plantings, and buildings that were, alternatively, reminiscent of tent pavilions and stone caves. The complex is clustered around the main building, with much of the site remaining an undisturbed natural desert landscape, an increasingly rare feature of the greater Phoenix Area, which was already beginning to disappear during Wright’s lifetime. The site is home to rocks with petroglyphs created by the indigenous Hohokam people, along with remnants of their habitation of the site prior to their migration out of the region during a period of climate change, which was accompanied by severe flooding that damaged their irrigation canal infrastructure, in the 14th and 15th Centuries. The buildings surround various courts, gardens, and natural areas, and many incorporate Chinese sculptures near their entrances, collected by Frank Lloyd Wright due to his lifelong fascination with East Asian art.
The buildings consist of a main building, with a stone vault at its northwest corner. Built in 1937 as the first structure at Taliesin West, the cave-like stone vault meant to protect drawings created by Wright and the Taliesin Fellowship in the event of a fire, influenced by the fires that had previously destroyed Taliesin in Wisconsin. From this initial structure extends, to the southeast, a drafting studio with a canvas roof, large roof beams, ribbon windows, stone walls, and a wooden pergola on its northern flank, which contained the main drafting studio of the Taliesin Fellowship, and has a large entrance terrace on its south facade, with steps leading down to the pool and the prow at the southwest corner of the complex. To the east of the drafting studio is the kitchen, which features an exterior bell tower that would signal members of the Taliesin Fellowship to come to the dining room for meals, and dining room, which served as a large communal space for the Taliesin Fellowship and Wright. These public and communal spaces sit west of a breezeway that connects the northern patio with the sunset terrace on the south side of the complex. On the southwest side of sunset terrace is the Garden Room, a large living room utilized by both the Taliesin Fellowship members, as well as Wright’s family, as a gathering space, which encloses a small walled garden and, along with the breezeway, marks the transition between the more communal, public spaces at the western end of the main building with the more private rooms to the east. The eastern portion of the main building contains bedrooms and bathrooms for the Wright family, and a weaving studio utilized by Olgivanna to create textiles, with a ventilation tower, the tallest section of the complex, being located on the north side of this wing.
To the east of the main building are various cottages and residences for the Taliesin Fellowship, as well as Sun Cottage, the former residence of Iovanna Wright, the daughter of Olgivanna and Frank Lloyd Wright, which are simpler versions of the main building, and remain private living quarters today, not open to visitors taking tours of the complex. At the southeast corner of these structures is the cave-like Kiva, originally constructed to serve as a theater for the Taliesin Fellowship, which features stone walls and a rooftop terrace, and is connected to the main building via a covered walkway. At the northern end of the original complex is Frank Lloyd Wright’s office, which is extremely similar to the drafting studio, but at a smaller scale, and features the same ribbon windows, canvas roof with large beams, and stone walls seen on the drafting studio. To the north of the office is the Cabaret Theatre, built in 1950, which replaced the Kiva as a performance space and meeting space for the Taliesin Fellowship, and consists of a long, low cave-like structure built of stone and concrete that is embedded into the surrounding landscape. On the east side of the theater is the music pavilion, originally built in 1957, which was destroyed by fire and rebuilt in 1963 according to the original plans, and rivals the main building in size. West of these structures is the Visitor’s Center and Maintenance Building, which was built in the early 2000s to allow for additional visitor capacity at Taliesin West. Following the design of the rest of the complex, the visitor center harmonizes with the rest of Taliesin West, feeling like a natural extension of the buildings constructed with oversight by Wright.
Taliesin West was listed on the National Register of Historic Places in 1974, and was designated a National Historic Landmark in 1982. The structure is also part of The 20th-Century Architecture of Frank Lloyd Wright UNESCO World Heritage Site, listed in 2019. Taliesin West is the final resting place of the remains of Frank Lloyd Wright and Olgivanna Wright, which, controversially, led to the exhumation of Frank Lloyd Wright from Unity Chapel Cemetery in Spring Green, Wisconsin following Olgivanna’s death in 1985. The complex remained in use by the Taliesin Fellowship until it became The School of Architecture in 1986, which remained in operation seasonally at both Taliesin and Taliesin West until moving its operations to another location in Scottsdale in 2020. Taliesin West today is owned and operated by the Frank Lloyd Wright Foundation, which continues conservation work on the buildings, including reconstruction of various wings that were built quickly with low-quality materials, ensuring that the buildings continue to stand and remain open to visitors in perpetuity.
YAO
yao / www.paradiseone.com.au
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VISIONARY ART MUSEUM @ BOOM 2014
Be prepared! This temporary museum is in full bloom within the Boom, excitingly evolving into full maturity, along with the Art that it presents.
Boom has since its inception supported psychedelic visual arts. Being in the live visuals or psytrance deco artists, psychedelic expressions of painting are part of Boom's DNA. In 2002, the so called Visionary art (a mash up of Fantastic Realism, Surrealism, and many other styles) started to blossom at Boom, when Alex Grey came to Boom Festival. Year after year, Robert Venosa, Martina Hoffmann and all the extraordinary painters of the cosmic unknown have shared their art at Boom with exhibitions, live painting, sculpture or workshops.
In 2014 the time has come for a new project for psychedelic fine arts. The area for the fine arts is conceived as a broad-spectrum educational space, where Visionary Art is presented in all its multidimensional aspects, allowing the possibility for a deeper understanding of its history, inspirations, techniques and wonders beyond the logic of a gallery.
A literally “paradigm-shifting” collection with a psy-museologic approach will display works from the different visionary sub-genres: Digital Fusionism, Sacred Geometry, Visionary Psy-Trance Deco Art, Flemish Technique, Visionary Graffiti Art, Amazonian/indigenous Medicine Art, Tibetan Buddhist Tradition and Visionary Activist Art.
A unique and pioneering project, a portal into the reality, which lies beyond... behind... and within!
ARTISTS:
Adam Scott Miller
Alex Grey
Aloria Weaver
Amanda Sage
Andrew Jones
Andy Thomas
Antoine Merger
Autumn Skye
Ben Ridgeway
Carey Thompson
Carmelo
Chris Dyer
Collin Elder
Daniel Mirante
De Es
Emma Watkinson
Eos Otherre
Erik Vajra
Fabián Jiménez
George Atherton
Hakan Hisim
Ihti Anderson
Jake Kobrin
Jessica Perlstein
Jonathan Solter
Julian Graham
Justin Totemical
Keerych Luminokaya
Li Lian Kolster
Luis Tamani
Luke Brown
Manu Menendez
Mars 1
Martina Hoffman
Maura Holden
Michael Divine
Mugwort
Olga Klimova
Olivia Curry
Randal Roberts
Reinier Gamboa
Robert Venosa
Simon Haiduk
Stuart Griggs
Subliquida
Symbolika
Vibrata Chromodoris
Xavi
LIVE PAINTERS:
Amanda Sage
Emma Watkinson
Erik Vajra
Ihti Anderson
Jake Kobrin
Jessica Perlstein
Lilian Kolster
Luis Tamani
Luke Brown
Luminokaya
Olga Klimova
Shrine
Stuart Griggs
www.boomfestival.org/boom2014/program/visionary-art-museum
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Boom 2014
Photo-Reports by Wolfgang Sterneck
A Reality called Boom - Rhythms @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646523564525
A Reality called Boom - Visions @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646103367017
A Reality called Boom - Spiral Dance @ Boom 2014 *
www.flickr.com/photos/sterneck/sets/72157646505988761
Wolfgang Sterneck:
In the Cracks of the World
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german / english) : www.sterneck.net
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Boom-Festival
04.08.-11.08.2014
Boom-Festival
Idanha-a-Nova Lake - Portugal
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BOOM VISION
Boom is not only a festival, it is a state of mind. Inspired by the principles of Oneness, Peace, Creativity, Sustainability, Transcendence, Alternative Culture, Active Participation, Evolution and Love, it is a space where people from all over the world can converge to experience an alternative reality.
Boom is a festival dedicated to the Free Spirits from all over the world. It is the gathering of the global psychedelic tribe and of whoever feels the call to join in the celebrations!! Boom is a weeklong unpredictable and unforgettable adventure. It takes place, every two years, during August Full Moon, on the shores of a magnificent lake in the sunny Portuguese inland and every one is invited!
BOOM IS A MODEL OF ENVIRONMENTAL AWARENESS
An environmentally conscious event is a way to offer a concrete example that it is possible to live on this Planet in respect of Mother Earth and of one another. This is possible through a deep understanding of the cycles of life and humanity’s place within these cycles. Permaculture is a brilliant example of how such understanding can be turned into practice.
Boom’s pioneering Environmental Program applies the principles of Permaculture to every single aspect of the Festival production. Moreover Boom widely promotes knowledge and practices of sustainability through lectures, workshops and… practical example!
100% compost toilets (still to this day the only large event in the world to reach this result!); 100% on-site water treatment facilities, off-the-grid energy solutions, bio-construction, permaculture gardens, vegetable oil for the generators… these are just a few of the ground breaking projects that have granted Boom the most prestigious international prizes in environmental efficiency.
For further details please visit the environmental program page.
BOOM BELIEVES IN A BORDERLESS WORLD
Since its beginning in 1997, Boom is the home of the global nomadic tribe. Since then, it has grown organically by word of mouth into an incredibly culturally diverse festival, attracting people from 116 nationalities (2012). Boom is the celebration of the Earth’s multicolored Oneness. EVERY ONE is invited and EVERY ONE is called to consciously co-create a positive reality of Love and Peace, for us and for the next generations. We Are One!
BOOM BELIEVES IN TRANSCENDENCE THROUGH MUSIC
At Boom music is sacred. The dancefloors are temples where to transcend ordinary states of perception and the limitations of our egos. Through dance and music, we can reconnect to our own individual divine essence, while in synch with the beating heart of the whole tribe. All in One!
Scattered across four stages, music at Boom is as diverse as it gets: electronic, acoustic, classic, any style is welcome and represented in a different area, live concerts, djs sets, solo artists, bands… Boom started as a psytrance festival and has developed into an inclusive gathering, unveiling the surprising diversity of quality underground soundscapes.
Psytrance culture remains one of the inspiring sources of Boom's vision and intention. And Boom remains as a testimony of the evolutionary potentials of such a culture.
Check the pages of the single areas for details on the different visions.
BOOM ACTIVATES TRANSFORMATION
Boom’s ultimate aim is to facilitate individual and collective transformation. The Boom experience has been conceived to activate the vital force directing every being towards the fulfillment of its highest potential. To reach this ambitious goal, Boom relies on the continuous exchange of radically innovative knowledge and practices by countless Boomers, musicians, artists, teachers, visionaries, healers, farmers, ecologists, wisdom keepers, researchers, scientists, activists
Besides the music stages and the countless art installations scattered all over the site, the other areas where Boom channels transformation are the Liminal Village, the Healing Area and the Visionary Art Museum. Here our hearts, bodies and minds can receive a full download of information through workshops, presentations, rituals and meditations Check the single areas’ pages for more details.
NO TO CORPORATE SPONSORS, CORPORATE LOGOS AND VIPs, YES TO INDEPENDENCE, SOLIDARITY AND CREATIVITY!!!
Boom is an autonomous zone of cognitive liberty and therefore is and will always be free from corporate sponsorship and logos. Boom is funded by the financial support of the thousands of people that buy the tickets and come to the festival.
Boom does not believe in VIP areas and special treatments, since every Boomer is a VIP! Boom adheres to the principle of ’thinking outside the box’, for the co-creation of novel ways of viewing reality and acting for its evolutionary unfolding.
www.boomfestival.org/boom2014/news/boom-vision
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BOOM-VISION
Die Boom ist nicht nur ein Festival – Sie ist ein Lebensstil
Es sind kleine Momente, in denen das Lernen stattfindet. Jene Momente in denen du versteht wie wichtig es ist, Fünfe einfach mal gerade sein zu lassen. Und jene Momente in denen dir klar wird, dass du es an anderen Stellen genauer nehmen musst. Diese kleinen Momente prägen dich, deine Einstellung und dein Handeln – und mit dir die Grundlage für große Veränderungen. Genau hier setzt die Idee der Boom an: Als schillernder Kristallisationspunkt einer Neo-Stammeskultur möchte sie inspirieren. Und zwar durch jene magische Erfahrung, die zwischen zeitgenössischer Musik, visionärer Kunst und intellektuell-spirituellem Input entsteht.
Veränderung fängt bei dir an, bei deiner Weltanschauung. Du bist der Flügelschlag des Schmetterlings, der am anderen Ende der Welt einen Wetterumschwung bewirkt. Lerne, deine Flügel zu gebrauchen!
Zu diesem Zweck kippen wir das Schubladensystem, das unseren Alltag bestimmt, einfach mal komplett aus. Und zwar mitten hinein in die sonnige, unverdorbene, nuklearfreie Natur Portugals. Dann nehmen wir uns 7 Tage lang Zeit, um spielerisch neue Denkwege und Handlungsweisen, um eine neue Ordnung zu erkunden. Das ist unsere Vision von psychedelischer Kultur und sie wollen wir aktiv vortreiben.
Auf unserer Webseite findet ihr ausführliche Informationen zu den freien Künsten, den multidimensionalen Installationen und den kreativen Liebensbomben, die auf unsere temporäre autonome Zone regnen werden.
Boom ist eine Lebenseinstellung – und sie lebt in euch, liebe Boomer!
INTERKULTURELL
Andere Länder, andere Lebensstile. Auf der Boom kannst du erleben wie inspirativ diese einfache Tatsache ist. Und zwar in konzentrierter Form: Im Jahr 2012 reisten Stammesangehörige aus 116 verschiedenen Ländern an, um in ihrer multikulturellen Mischung eine durchweg positive Vision für die Zukunft zu manifestieren: We Are One – Wir sind eins!
NATUR
Die Kulisse für unser Stammestreffen gestaltet die wohl besten Dekorateurin überhaupt: Mutter Natur. Jene jahrhundertealte iberische Baumlandschaft der umliegenden Hügel, versonnene Gärten und der weitläufige See, in dem sich die Magie des August-Vollmonds spiegelt, schaffen ein einzigartiges Panorama.
STRAND
Nachdem du dich in schwitzende Trance getanzt hast oder wenn dir die Wärme des portugiesischen Sommers zuviel werden sollte: Die nötige Erfrischung ist maximal ein paar hundert Meter entfernt - egal wo du gerade bist. Der große See bestimmt nicht nur das Bild der Boom, sondern auch ihre Stimmung. Wie beim Strandurlaub kannst du jene fließende Ruhe des Wassers aufsaugen, die dich sanft umspült.
DESIGN FÜR DEN GEIST
Das Liminal Village bietet Gelegenheit, dir dein Oberstübchen neu einzurichten: Mit Lebensphilosophie und praktischem Wissen. Im intellektuellen Brennpunkt der Boom finden Vorträge und Diskussionen zu Themen wie Aktivismus, Psychedelik, Freie Kultur, Rituale der Ahnen, Mythologie, Ökologie, Traumlandschaften, Permakultur, Trance, Heilige Pflanzen oder Alternative Medizin und Wissenschaft statt. Dazu waren in den letzten Jahren Referenten wie Vandana Shiva, Alex Grey, Daniel Pinchbeck, Graham Hancock, Robert Venosa, Erik Davis und Shipibo Don Guillermo Arevalo zu Gast. Ein Filmprogramm zur neuen, planetarischen Kultur bietet noch mehr Stimulation auf intellektueller Ebene.
PSYCHEDELISCHES KUNSTMUSEUM
Was ist psychedelische Kunst, was visionäre? Will sie die Eindrücke einer psychedelischen Erfahrung wiedergeben? Will sie ähnliche Emotions- und Assoziationsstrukturen auslösen wie eine Vision? Mach dir selbst ein Bild! In atemberaubender Vielfalt präsentieren einige der talentiertesten Maler von allen Kontinenten des Planeten ihre bewusstseinserweiternden Werke.
INSTALLATIONEN
Bildende Kunst stößt die Pforten unserer Wahrnehmung weit auf und eröffnet uns so die Sicht auf Aspekte unserer Realität, welche normalerweise hinter dem Grauschleier des Alltags verborgen liegen. Um dich mitten hinein in dieses ästhetisch-surreale Paralleluniversum zu katapultieren, kommen überall auf dem Gelände Medien wie Malerei, Bildhauerei, Land Art oder Video zum Einsatz. Sie lassen deine Reise über die Boom zu einer Reise in eine außerirdische Welt von fremdartiger Schönheit werden.
MUSIK
Über verschiedene Tanzplätze verteilt verwirklicht die Boom ihre psychedelische Vision im Spektrum der hörbaren Frequenzen. Dabei entstehen viele verschiedene Rhythmus- und Harmonie-Texturen die alle darauf abzielen, deine Synapsen zu kitzeln, deine Fantasie zu stimulieren und dich zu beflügeln. Die Klanglandschaften der Boom erstrecken sich auf Genres wie Psytrance, Progressive, Dub, Bass Music, Dubstep, World Music, Glitch, Nu Funk, IDM, Cosmic oder Psy Brakes. In ihrer Gesamtheit schwingen sie sich zum kosmischen Groove der universellen Liebe auf!
TANZTEMPEL
Mit jedem Herzschlag der Boom bebt das portugiesische Hinterland. Im monumentalen Tanztempel verschmelzen utopische Zukunftsvisionen und das archaische Ritual des Stammenstanz zu einer einzigartigen Trance-Erfahrung. Um euer Bewusstsein dorthin zu schicken, wo Worte zu Hülsen und Bedeutungen zu Variablen werden, haben wir einige der besten DJs, Liveacts und Tribal Bands eingeladen, uns mit extralangen Sets zu verzaubern. Denn Qualität ist wichtiger ist als Masse. Mit viel Liebe zum Detail planen wir eine Reise durch jene multidimensionale Welt namens Psy, wobei wir in Regionen wie Dark, Twilight, Forest, Tribal, Prog, Full-On, Groovy Full-On, Goa und Nu-Goa vorstoßen.
Die Grundidee der Boom unterscheidet sich ganz erheblich von der einer kommerziellen Massenproduktion. Wir möchten raus aus dem Schattenreich des Egoismus, hinein in eine kollektive Erfahrung. Mithilfe von DJs, VJs, Dekorateuren, Designern und -am allerwichtigsten- mithilfe von euch, den Boomern. Auf dass wir unsere multikulturelle kreative Energie zu einer wahrhaft großen Erfahrung vereinen: Wir sind eins!
UMWELT
Auf der Boom werden die Erkenntnisse und Prinzipien der Permakultur in ein Festival umgesetzt. So wird ganz konkret erfahrbar: Auch große, internationale Menschenansammlungen lassen sich mit maximalem Respekt vor unserer heiligen Mutter Natur vereinbaren. Dieser Ansatz wurde in den Jahren 2008 und 2010 mit dem Greener Festival Award ausgezeichnet, 2010 und 2012 außerdem mit dem European Festival Award.
Auf der Boom kommen ausschließlich Komposttoiletten zum Einsatz. Das Nutzwasser wird mithilfe von Pflanzen zu 100% wiederaufbereitet. Es gibt kostenlose Taschenaschenbecher. Für die Generatoren wird gebrauchtes Pflanzenöl verwendet. Außerdem nutzen wir Technologien wie Solarenergie, Windräder, Biobau und ökologische Abwasserentsorgung, die jedes Jahr weiterentwickelt werden. Auch hier gilt: Die Boom seid ihr, die Boomer. Tragt bitte dazu bei, dass sie ein nachhaltiges Festival ist. Respektiert Mutter Natur und hinterlasst keinen Müll!
SPIRITUALITÄT
Anreize für spirituell-sozialen Aktivismus, die sich in Form von Yoga, Ayurveda, Tai Chi, Kung Fu, Watsu, Therapien, alternativen Heilmethoden und ganzheitlichen Lehren manifestieren. Auch das ist ein zentraler Aspekt unserer Vision. Denn die Harmonie zwischen Geist und Körper ist ein erster Schritt in Richtung globale Harmonie.
INFRASTRUKTUR
Freies Wasser. Freies Camping. Freier Wohnmobil-Park. Babyboom für die jüngsten Boomer (bring deine Familie mit zur Boom!) Freie medizinische Versorgung. Freies WIFI. Schließfächer. Boom-Busshuttle von den Flughäfen Lissabon und Madrid. 100% Komposttoiletten. 100% Aufbereitung des Duschabwassers mithilfe von Pflanzen. Ayurvedische Apotheke. Spezielle Einrichtungen für Behinderte. Lebensmittelgeschäft. Gemeinschaftsküchen. Und vieles, vieles mehr!
LOGO-FREIE ZONE
Die Boom finanziert sich einzig und allein über den Ticketverkauf, sie ist frei von jeglichem Firmen-Sponsoring und wird es immer sein. Auch in dieser Hinsicht möchten wir einen Freiraum schaffen, in dem sich der menschliche Geist unbefangen ausbreiten und entfalten kann.
Obwohl das Boom Team den Rahmen schafft – das eigentliche Erlebnis, die eigentliche Inspiration und der eigentliche Geist lebt in euch. Denn ihr seid die Energie, ausgehend von euch kann sich diese Welt ändern.
BESONDERE BEDÜRFNISSE
Wir möchten die Einrichtungen und Angebote für Behinderte weiterentwickeln. Wenn du oder jemand deiner Freunde behindert ist, sendet uns bitte bis Juni 2014 eine Email um optimale Bedingungen zu garantieren: specialneeds@boomfestival.org
FLEXIBLE EINTRITTSPREISE
Unser globaler Stamm ist in vielen verschiedenen Ländern zuhause, in denen ganz unterschiedliche Einkommensverhältnisse herrschen. Außerdem leben wir in Zeiten des finanziellen Abschwungs. Wir waren sehr betroffen als wir nach der Boom 2012 hörten, dass einige Menschen schlichtweg nicht genug Geld aufbringen konnten um Teil der kollektiven Erfahrung zu sein. Deshalb haben wir uns entschieden, auf diese Tatsache mit einem flexiblen Eintrittsmodell zu reagieren. Es gibt spezielle Ticketpreise für Länder außerhalb der Europäischen Union, der USA, Kanada, Australien, Neuseeland und Japan. Außerdem für jene Länder, die aktuell die ökonomischen Spekulationen der Rating-Agenturen und der IMF durchlaufen: Portugal, Irland, Griechenland und Spanien. Diese Tickets sind nur bei den Boom Botschaftern des jeweiligen Landes erhältlich, nicht über die Webseite der Boom.
www.boomfestival.org/boom2014/multilingual/deutsch
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"Rone" is a preeminent Melbourne-based contemporary artist who has evolved from a street art pioneer known for his immersive, multi-sensory installations, and hauntingly beautiful, large-scale portraits of women that explore the "beauty in decay".
Finally, "Rone" began his art journey as a member of the famed Melbourne "Everfresh Crew" and was initially known for his stickers, stencils and wheat-pasting.
Notable Major Projects and Immersive Installations:
"Australian Silo Art Trail" - www.flickr.com/photos/colourourcity/albums/72157667054263...
"Easey Livin" x "Yarra City Council" @ Collingwood, Melbourne (2015) - www.flickr.com/photos/colourourcity/albums/72177720330644...
"Edge of Your Seat" @ Docklands Stadium, Melbourne (2015) - www.flickr.com/photos/colourourcity/albums/72177720332804...
"Empire" @ Burnham Beeches, Dandenong Ranges, Victoria (2019)
"Empty" @ "the Star Lyric Theatre", Fitzrot, Melbourne (2016) - www.flickr.com/photos/colourourcity/albums/72177720330502...
"Fitzroy Faces" @ Fitzroy, Melbourne (2016) - www.flickr.com/photos/colourourcity/albums/72177720330691...
"the Omega Project" @ Alphington, Melbourne (2017)
"Time" @ Flinders Street Station, Melbourne (2022 - 2025) - www.flickr.com/photos/colourourcity/albums/72177720330502...
Notable Iconic Australian Silo Art Trail Large-Scale Murals:
Fyansford Cement Works, Geelong, Victoria (2017)
For more information or to follow this artist, refrences refer to -
INSTAGRAM: www.instagram.com/r_o_n_e/
INSTAGRAM: www.instagram.com/everfreshstudio/
#Rone #TyroneWright #RoneEmpty #RoneAlpha #RoneEmpire #RoneTime #TheOmegaProject #EverFreshCrew #EverFresh #EFC #Mayo #Mayonaize
Unique Patton
Junior
Design Studies
"Evolve"
Digital Art
8 x 8 Inches
$25
As a designer, I believe that everyone has a story to tell. In my work I want to visually share those stories to open up conversations that can change the perspective of those looking from the outside in on one's experience.
This artist is open to commissions: upatton@ncsu.edu
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Boeing B-52 Stratofortress is a long-range, subsonic, jet-powered strategic bomber, designed and built by Boeing, which has continued to provide support and upgrades.
Beginning with the successful contract bid in June 1946, the B-52 design evolved from a straight wing aircraft powered by six turboprop engines to the final prototype YB-52 with eight turbojet engines and swept wings. The B-52 took its maiden flight in April 1952. Built to carry nuclear weapons for Cold War-era deterrence missions by the United States Air Force (USAF), the B-52 Stratofortress replaced the Convair B-36. A veteran of several wars, the B-52 has dropped only conventional munitions in combat, capable of carrying up to 70,000 pounds (32,000 kg) of weapons.
The B-52 has been in active service with the USAF since 1955. The bombers flew under the Strategic Air Command (SAC) until it was inactivated in 1992 and its aircraft absorbed into the Air Combat Command (ACC). In 2010 all B-52 Stratofortresses were transferred from the ACC to the new Air Force Global Strike Command (AFGSC).
Superior performance at high subsonic speeds and relatively low operating costs have kept the B-52 in service despite the advent of later, more advanced aircraft, including the canceled Mach 3 B-70 Valkyrie, the variable-geometry B-1 Lancer, and the stealth B-2 Spirit. The B-52 has so far completed sixty years of continuous service with its original operator, and after being upgraded between 2013 and 2015, it is expected to serve with the USAF even into the 2040s, maybe even beyond that.
The only foreign operator of the B-52 had been the Royal Air Force in the 1980ies and 19990ies, and just in a small number. After the USAF's retirement of the earlier B-52 types, the remaining G and H models were used for nuclear standby ("alert") duty as part of the United States' nuclear triad. This triad was the combination of nuclear-armed land-based missiles, submarine-based missiles and manned bombers.
After the end of the Falkland War, the Royal Air Force withdrew its final long-range bomber type, the Avro Vulcan - which was to be replaced by the MRCA Tornado which was designed to a totally different tactical profile. Fearing the loss of international influence, the Ministry of Defence decided to fill this gap and leased twelve revamped and heavily modified B-52Gs from the USA. This was a convenient deal for both sides, since these bombers were earmarked to be scrapped per the terms of the Strategic Arms Reduction Treaty (START).
These modified aircraft were designated B-52K by Boeing, while the RAF officially called them later in service Stratofortress B.I, even though B-52K was more common. Most obvious change was the introduction of new engines. The B-52K benefited from a Boeing study for the U.S. Air Force in the mid-1970s which investigated replacing the original TF33 engines, changing to a new wing, and other improvements to upgrade B-52G/H aircraft as an alternative to the B-1A, then in development. Boeing had suggested re-engining the complete USAF B-52 fleet with four Rolls-Royce RB211 535E-4 each. The RB211 had originally been developed for the Lockheed L-1011 TriStar in the early 1970ies, but also saw use with several Boeing airliners, the "535" being a special development for the 757 airliner.
This new, bigger engine would not only improve overall weight and power (total thrust 8× 17,000 lb vs .4× 37,400 lb), it would also increase range and reduce fuel consumption and simplify the whole aircraft. Despite these direct benefits the USAF did not opt for this offer: the costs for aircraft modifications, infrastructure, logistics and also for the running operations of the complete fleet would have been prohibitively high, as well as only a partial conversion. For the UK, where the weapon system was to be introduced from scratch and also on a much smaller scale, the update made sense, though.
Boeing supported the British project, since the company expected to present the UK conversion as a field case study for potential later large-scale sales to the USAF. This included extensive wind tunnel testing, in order to optimize the engine pylons. These tests also demonstrated that the new four-engined aircraft may not have enough rudder authority to counter the adverse yaw generated by an outboard engine-out scenario. As a consequence, an enlarged fin was (re-)introduced, even though it was different from the earlier B-52 variants. Actually, as a cost saving measure, fin elements from the Boeing 747 airliner were used - and its integral tank enhanced the overall fuel capacity even further.
The ex-USAF B-52Gs converted into K models were taken from surplus stock that not been modified into cruise missile carriers, they were rather conventional bombers with nuclear capabilities - its main purpose for the RAF. A secondary role were martime operations like mine laying or missile attacks against surface ships over long distances.
Hence, the RAF aircraft underwent a series of modifications to improve conventional bombing and to adapt them to RAF standards. They were fitted with a new Integrated Conventional Stores Management System (ICSMS) and new underwing pylons that could hold larger bombs or other stores, including up to twelve AGM-84 Harpoon anti-ship missiles. The B-52K also introduced new radios, integrated Global Positioning System into the aircraft's navigation system and replaced. The under-nose FLIR was retained, even though with a modernized system. A fixed refluelling probe for the RAF's drogue system was installed on top of the cockpit section (earn ing the B-52K the nickname "unicorn"), and the tail gun station was deleted and replaced with ECM equipment and flare/chaff dispensers.
Delivery started in 1990, and the B-52K was just too late to become operational during the First Gulf War (Operation Desert Storm), in which RAF Tornados took part in, though, as well as USAF B-52s. In fact, the modified BUFF took three years to become fully operational, despite - or perhaps because of - the small fleet. In parallel, the Tornado was gradually introduced, too.
Eventually, the B-52Ks were baptized with fire: in 1999, when 'Operation Allied Force' began and USAF and RAF bombers bombarded Serb targets throughout the Federal Republic of Yugoslavia - even though with mixed success, since more than 600 of the 1.000 bombs dropped by the RAF during the Kosovo conflict missed their target, the Ministry of Defence admitted in 2000.
In 2003 the B-52Ks also took part in the invasion of Iraq as part of 'Operation Telic'. The Iraqi Forces were unable to mobilize their air force to attempt a defense, and the U.S. Air Force, Marine Corps and Naval Aviation, as well as the Royal Air Force, operated with impunity throughout the country, pinpointing heavily defended resistance targets and destroying them before ground troops arrived.
This success reinstated the B-52K's performance reputation a little, but could not deny the fact that the global political situation had changed since the fall of the Soviet Union, and that the heavy bomber was a concept of the past. Furthermore, the changing character of conflicts and the respective mission profiles made the British MoD in 2004 decide to retire the small, costly B-52K fleet, of which four aircraft had already to be grounded due to the end of their airframe lifetime. Consequently, all B-52Ks were scrapped until 2005.
Besides, the program results did not change the USAF's decision to keep the B-52H with its eight engine layout in service.
General characteristics:
Crew: 5 (pilot, copilot, Weapon Systems Officer, navigator, Electronic Warfare Officer)
Length: 159 ft 4 in (48.5 m)
Wingspan: 185 ft 0 in (56.4 m)
Height: 42 ft (12.8 m)
Wing area: 4,000 sq ft (370 m²)
Airfoil: NACA 63A219.3 mod root, NACA 65A209.5 tip
Zero-lift drag coefficient: ~0,0119
Drag area: 47,60 sq ft (4,42 m²)
Aspect ratio: 8,56
Fuel capacity: 48.630 U.S. gal (40.495 imp gal; 181.090 l)
Empty weight: 185.000 lb (83.250 kg)
Loaded weight: 265.000 lb (120.000 kg)
Max. takeoff weight: 488.000 lb (220.000 kg)
Powerplant:
4× Rolls-Royce RB211 535E-4 turbofan jet engines, rated at 17.000 kp (37.400 lb) each
Performance:
Maximum speed: 560 kn (650 mph, 1.047 km/h)
Cruise speed: 442 kn (525 mph, 844 km/h)
Combat radius: 4.750 mi (4.125 nmi, 7.650 km)
Ferry range: 10.715 mi (9.300 nmi, 17.250 km)
Service ceiling: 50.000 ft (15.000 m)
Rate of climb: 6.270 ft/min (31,85 m/s)
Wing loading: 120 lb/ft² (586 kg/m²)
Thrust/weight: 0.31
Lift-to-drag ratio: 21.5 (estimated)
Armament:
Approximately 70.000 lb (31.500 kg) mixed ordnance; bombs, mines, missiles, in various
configurations in an internal bomb bay and/or on wing pylons
Avionics:
Electro-optical viewing system that uses platinum silicide forward looking infrared and high
resolution low-light-level television sensors
LITENING Advanced Targeting System
Sniper Advanced Targeting Pod
IBM AP-101 computer
The kit and its assembly:
I remember that I read about the re-engine project of the USAF's late B-52 versions when I was in school, many years ago, and the BUFF is still flying - even though in its original eight engine layout. Anyway, I wonder why this topic has not been adopted by modelers more often? O.K., a B-52 is a large aircraft, but there are good small scale version around, like the Dragon kit in 1:200 which I converted.
Work was pretty straightforward, and the basis is/was a B-52G. The kit was built almost OOB, only mods include:
- engine nacelles from a Hasegawa Boeing 747-400
- the upper section of the latter's fin, too
- a scratched refuelling probe
- a modified tail without the four machine guns
Fit is good and surface structure/details are more than satisfactory for a kit of this small scale. Only thing that bugged me was the slightly tinted canopy that is a bit too wide for the fuselage, it's hard to blend it into the rest of the body. Another building horror were the 24 itsy-tiny bombs for the quadruple MERs under the wings.
Integrating the Jumbo nacelles was easier than expected, even though, after finishing the conversion, I'd recommend reducing the height of the outer pyolns by 2-3 mm, so that the engines come higher and closer to the wings. Space to the ground is very little - and to mend this I lengthened the outrigger wheels slightly.
Another issue were the wing parts - the left wing was slightly warped, upwards, and even though I tried to bend and force it into a stright line it somehow move back into its original position, so that a B-52 on the ground was hard to realize. If you build one, tuck the landing gear up and put it on a stand. It looks better, anyway... ;)
Painting and markings
This was the fun part. A B-52 with four bigher jet engines is one thing, and at first I intended to create a contemporary USAF aircraft. But then I remembered the weird Hemp apint scheme for large RAF birds like the Nimrod, VC.10 or Tristar tankers, and I wondered if that could not be applied to a B-52 in "foreign service"...?
Said and done, and from there things unfolded in a straightforward fashion. The only consequence of the RAF as useer was the refuelling probe, and the 340kg iron bombs that came as ordnance with the kit were a welcome option, too.
Even though Hemp is available from Humbrol (168) I rather used a darker tone, 187. Hemp was later used for shading, though. The undersides were painted in Barley Grey (Humbrol 167) and shaded with Light Ghost Grey (FS 36375, Humbrol 127), after a light wash with highly thinned black ink. Radomes and antennae received a yellow-ish, beige finish, the landing gear and the air intakes were painted white, as well as the MERs.
Decals come from several kits, e .g. a Cyber Hobby 1:200 Vulcan, a Matchbox Hawk 200 and a Tornado sheet from the Operation Allied Force era (the nose art was taken from there, as well as the ZA447 code).
A relatively simple whif - the large engine nacelles look strange and demonstrate how slender the B-52's body actually is, compared with an airliner. But the Hemp/Grey livery suits it very well, and the pics taken from above show how effective this scheme is when the aircraft is parked on a concrete airfield - and it is even effective in the air!