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This is a slight upgrade to my previous iteration of these characters.
Grand Admiral Delthar was once the commander of the Vieran forces under King Toredenas during the Second Vieran Civil War. After King Toredenas was defeated and killed by his son Trohduil at the battle of the Sleeping Caverns (0AV), Delthar and what remained of his forces retreated to the island of Krükland. From the island, he and his troops terrorized the new King's regime until their losses were too great to continue fighting with Trohduil's loyalists. He grew a beard to signify his dishonour, an display that many Vieran would compare to death.
Delthar invested his energy into growing more powerful with magic. Troduil had won the war by discovering an ancient magic that allowed him to duplicate his finest warriors. Delthar did not know how he did this, but he spent centuries attempting to copy this magic so that he could reclaim Esterdame in the name of his former master. To survive, Delthar resorted to raiding the shorelines of the Far East, the Attonight Empire and Kalarocco.
The exiled Vieran dwell in the cliffside fortresses around the Porcupine shore, which got it's name for the volleys of arrows that penetrate the armour of anyone who lands on the beach. On the far eastern tip of Krükland is the legendary prison of the Black Mountain. Thousands of helpless captives have disappeared into the mountain and never been seen again. Legend has it that these captives are being used in endless experiments conducted by Vieran sorcerers under the guidance of the mysterious Threndaugar.
Delthar is a capable swordsman and sorcerer, and he has mastered the weapon of fear. He never engages an enemy that he has not already worn down psychologically. He is a legendary figure in the history of Esterdame, but his influence is almost insignificant. The bulk of his army is Krük warriors that fear sea travel, so his full mobile strength in in the low thousands at most. The Young King has been advised to focus on the bigger threats to his reign at present.
Menger sponge
From Wikipedia, the free encyclopedia
An illustration of M4, the sponge after four iterations of the construction process
In mathematics, the Menger sponge (also known as the Menger cube, Menger universal curve, Sierpinski cube, or Sierpinski sponge)[1][2][3] is a fractal curve. It is a three-dimensional generalization of the one-dimensional Cantor set and two-dimensional Sierpinski carpet. It was first described by Karl Menger in 1926, in his studies of the concept of topological dimension.[4][5]
Construction
The construction of a Menger sponge can be described as follows:
Begin with a cube.
Divide every face of the cube into nine squares, like a Rubik's Cube. This sub-divides the cube into 27 smaller cubes.
Remove the smaller cube in the middle of each face, and remove the smaller cube in the center of the more giant cube, leaving 20 smaller cubes. This is a level-1 Menger sponge (resembling a void cube).
Repeat steps two and three for each of the remaining smaller cubes, and continue to iterate ad infinitum.
The second iteration gives a level-2 sponge, the third iteration gives a level-3 sponge, and so on. The Menger sponge itself is the limit of this process after an infinite number of iterations.
An illustration of the iterative construction of a Menger sponge up to M3, the third iteration
Properties
Hexagonal cross-section of a level-4 Menger sponge. (Part of a series of cuts perpendicular to the space diagonal.)
The n nth stage of the Menger sponge, M n M_{n}, is made up of 20 n {\displaystyle 20^{n}} smaller cubes, each with a side length of (1/3)n. The total volume of M n M_{n} is thus ( 20 27 ) n {\textstyle \left({\frac {20}{27}}\right)^{n}}. The total surface area of M n M_{n} is given by the expression 2 ( 20 / 9 ) n + 4 ( 8 / 9 ) n {\displaystyle 2(20/9)^{n}+4(8/9)^{n}}.[6][7] Therefore, the construction's volume approaches zero while its surface area increases without bound. Yet any chosen surface in the construction will be thoroughly punctured as the construction continues so that the limit is neither a solid nor a surface; it has a topological dimension of 1 and is accordingly identified as a curve.
Each face of the construction becomes a Sierpinski carpet, and the intersection of the sponge with any diagonal of the cube or any midline of the faces is a Cantor set. The cross-section of the sponge through its centroid and perpendicular to a space diagonal is a regular hexagon punctured with hexagrams arranged in six-fold symmetry.[8] The number of these hexagrams, in descending size, is given by a n = 9 a n − 1 − 12 a n − 2 {\displaystyle a_{n}=9a_{n-1}-12a_{n-2}}, with a 0 = 1 , a 1 = 6 {\displaystyle a_{0}=1,\ a_{1}=6}.[9]
The sponge's Hausdorff dimension is log 20/log 3 ≅ 2.727. The Lebesgue covering dimension of the Menger sponge is one, the same as any curve. Menger showed, in the 1926 construction, that the sponge is a universal curve, in that every curve is homeomorphic to a subset of the Menger sponge, where a curve means any compact metric space of Lebesgue covering dimension one; this includes trees and graphs with an arbitrary countable number of edges, vertices and closed loops, connected in arbitrary ways. Similarly, the Sierpinski carpet is a universal curve for all curves that can be drawn on the two-dimensional plane. The Menger sponge constructed in three dimensions extends this idea to graphs that are not planar and might be embedded in any number of dimensions.
The Menger sponge is a closed set; since it is also bounded, the Heine–Borel theorem implies that it is compact. It has Lebesgue measure 0. Because it contains continuous paths, it is an uncountable set.
Experiments also showed that cubes with a Menger sponge structure could dissipate shocks five times better for the same material than cubes without any pores.[10]
Menger sponge
From Wikipedia, the free encyclopedia
An illustration of M4, the sponge after four iterations of the construction process
In mathematics, the Menger sponge (also known as the Menger cube, Menger universal curve, Sierpinski cube, or Sierpinski sponge)[1][2][3] is a fractal curve. It is a three-dimensional generalization of the one-dimensional Cantor set and two-dimensional Sierpinski carpet. It was first described by Karl Menger in 1926, in his studies of the concept of topological dimension.[4][5]
Construction
The construction of a Menger sponge can be described as follows:
Begin with a cube.
Divide every face of the cube into nine squares, like a Rubik's Cube. This sub-divides the cube into 27 smaller cubes.
Remove the smaller cube in the middle of each face, and remove the smaller cube in the center of the more giant cube, leaving 20 smaller cubes. This is a level-1 Menger sponge (resembling a void cube).
Repeat steps two and three for each of the remaining smaller cubes, and continue to iterate ad infinitum.
The second iteration gives a level-2 sponge, the third iteration gives a level-3 sponge, and so on. The Menger sponge itself is the limit of this process after an infinite number of iterations.
An illustration of the iterative construction of a Menger sponge up to M3, the third iteration
Properties
Hexagonal cross-section of a level-4 Menger sponge. (Part of a series of cuts perpendicular to the space diagonal.)
The n nth stage of the Menger sponge, M n M_{n}, is made up of 20 n {\displaystyle 20^{n}} smaller cubes, each with a side length of (1/3)n. The total volume of M n M_{n} is thus ( 20 27 ) n {\textstyle \left({\frac {20}{27}}\right)^{n}}. The total surface area of M n M_{n} is given by the expression 2 ( 20 / 9 ) n + 4 ( 8 / 9 ) n {\displaystyle 2(20/9)^{n}+4(8/9)^{n}}.[6][7] Therefore, the construction's volume approaches zero while its surface area increases without bound. Yet any chosen surface in the construction will be thoroughly punctured as the construction continues so that the limit is neither a solid nor a surface; it has a topological dimension of 1 and is accordingly identified as a curve.
Each face of the construction becomes a Sierpinski carpet, and the intersection of the sponge with any diagonal of the cube or any midline of the faces is a Cantor set. The cross-section of the sponge through its centroid and perpendicular to a space diagonal is a regular hexagon punctured with hexagrams arranged in six-fold symmetry.[8] The number of these hexagrams, in descending size, is given by a n = 9 a n − 1 − 12 a n − 2 {\displaystyle a_{n}=9a_{n-1}-12a_{n-2}}, with a 0 = 1 , a 1 = 6 {\displaystyle a_{0}=1,\ a_{1}=6}.[9]
The sponge's Hausdorff dimension is log 20/log 3 ≅ 2.727. The Lebesgue covering dimension of the Menger sponge is one, the same as any curve. Menger showed, in the 1926 construction, that the sponge is a universal curve, in that every curve is homeomorphic to a subset of the Menger sponge, where a curve means any compact metric space of Lebesgue covering dimension one; this includes trees and graphs with an arbitrary countable number of edges, vertices and closed loops, connected in arbitrary ways. Similarly, the Sierpinski carpet is a universal curve for all curves that can be drawn on the two-dimensional plane. The Menger sponge constructed in three dimensions extends this idea to graphs that are not planar and might be embedded in any number of dimensions.
The Menger sponge is a closed set; since it is also bounded, the Heine–Borel theorem implies that it is compact. It has Lebesgue measure 0. Because it contains continuous paths, it is an uncountable set.
Experiments also showed that cubes with a Menger sponge structure could dissipate shocks five times better for the same material than cubes without any pores.[10]
I'm excited to be part of the next iteration of the New Hashima City cyberpunk collab, coming to Brickworld Chicago 2023. I started with train cars, but things always escalate with me, so now I'm building a couple of the cubes that make up the foundation of the city. This one actually started as a train car hauling a big engine, but it evolved into a maintenance shop that will serve the spacecraft landing at the docks. The large strut on the front will support one of the landing pads on Alec Doede's cube above. I'll replicate that same structure for my second cube with some little variations. Thankfully I had the foresight to recreate it in stud.io as I built so I don't have to rip it apart to reverse-engineer it.
I took some inspiration from Inthert's excellent Repair Yard build for the scene inside, and while I made a deliberate effort to make mine very different, particularly with the grittier cyberpunk vibe, that's what got my gears turning.
The engine has one of my most outlandish parts usages ever, although you'd never know by glancing at it. The brown band around just in front of the exhaust nozzle is an old Fabuland table.
I've only been able to estimate the parts count on my MOC's when asked, and always wondered if I was overestimating. Building the digital model of the strut I discovered that I'm probably not, as that alone has almost 1,500 parts.
Disclaimer: the broken reddish brown tiles I used for the fence all broke by natural causes, most while working on one of my train cars.
The latest iteration of the branding for services along the Jurassic Coast in Dorset with former Green Line B9TL 37997 BF63HDV showing the most recent livery in Lyme Regis. Small error though - the map shows the 2021 routeing whereas by 2022, the X51 to Dorchester continued to Weymouth
I've made another iteration of the Kübelwagen, this time one stud longer than the previous.
Having one stud more between the wheels gives enough room to sit four people, and gives another stud to the engine compartment.
The ribbed side panels are back to grilles, and if you look closely, there's a gap at the rear mudguard that cannot be filled if you want to have four minifigures inside.
I've changed the engine cover to an old, hinged plate. Used a bracket to give it a bit more stability, but you mustn't push your bricks tight, because there's so little room with the wheel covers, that the wheels won't roll if you're not leaving a bit of slack with the curved slope.
Didn't bother too much about light or dark grey in the back, or an actual engine, because I don't think that I'll keep it.
A word about putting it in your pocket to take it outdoors: Without the patient help of my wife this picture wouldn't have happened. The front came apart in pieces, and the exhaust keeps falling off.
Toy Project Day 2449
The fourth iteration of the 1950s era “Century Series,” the F-104 Starfighter was designed around one central element: speed. Clarence “Kelly” Johnson, head of Lockheed’s famous “Skunk Works” factory, had interviewed U.S. Air Force pilots during the Korean War, seeking their input on any new fighter. Since many pilots reported that they wanted high performance more than anything else, Johnson returned to the United States determined to deliver exactly that: a simple, point-defense interceptor marrying the lightest airframe to the most powerful engine available at the time, the superb General Electric J-79.
When Johnson offered the L-098 design to the USAF in 1952, they were so impressed that they created an entire competition for the aircraft to be accepted, ostensibly replacing the F-100 Super Sabre. The Lockheed design had the clear edge, though North American and Northrop’s designs went on to be built themselves—the North American F-107A Ultra Sabre and the Northrop T-38 Talon. The USAF purchased the L-098 as the F-104A Starfighter. The design changed very little from its initial design to prototype to operational aircraft, and it was finished in an astonishing two years.
When the first F-104As reached the USAF in 1958, pilots quickly found it was indeed a hot fighter—perhaps a little too hot. The Starfighter’s design philosophy of speed above all else resulted in an aircraft with an extended fuselage, a T-tail for stability, and tiny wings, which were so thin that special guards had to be put on the leading edges to avoid injuring ground personnel. Because of its small wing, the F-104 required a lot of runway, and blown flaps (which vent airflow from the engine over the flaps to increase lift) were a necessity; unfortunately, the airflow system often failed, which meant that the F-104 pilot would be coming in at a dangerous rate of speed. Because it was feared that a pilot who ejected from a F-104 would never clear the tail, a downward-ejection seat was fitted, but after killing over 20 pilots, the seat was retrofitted with a more reliable, upward-firing type. The design also was not very maneuverable in the horizontal, though it was challenging to match in the vertical. Its shape earned it the moniker “Missile With a Man In It” and “Zipper.”
One thing pilots did not complain about was its speed—the listed top speed of the F-104 was Mach 2.2 (2,714 kph/1,687 mph), but this was because, above that, the fuselage would quite literally melt. The J-79 was a near-flawless engine that gave the Starfighter an excellent thrust-to-weight ratio; uniquely, the intake design of the Starfighter gave the engine a banshee-like wail for which the aircraft became known for. So superb was the F-104 at level speed and climbing that NASA leased several as trainers for the X-15 program and set several speed and time-to-climb records.
If the F-104 had received a mixed reception at best in the USAF, Lockheed felt that it had potential as an export aircraft. Beating out several excellent British and other American designs in a 1961 competition, every NATO nation except France and Great Britain bought F-104s and manufactured their own as the F-104G; Japan also license-built Starfighters as F-104Js, while more were supplied to Pakistan and Taiwan. As in USAF service, the accident rates were incredibly high, particularly in West German and Canadian service—West Germany lost 30% of its initial batch, and the Canadians over half. Worries that the F-104 was too “hot” for pilots usually transitioning from the F-86 Sabres were ignored, and later, it was learned why: German, Dutch, and Japanese politicians later confessed to being bribed by Lockheed into buying the Starfighters.
The high accident rates earned the aircraft nicknames such as “Widowmaker,” “Flying Coffin,” “Lawn Dart,” “Death Tube,” and “Ground Nail.” Pakistani pilots simply called it Badmash (“Criminal”) and the Japanese Eiko (“Glory,” inferring that it was the easiest way to reach it.) West German pilots often joked that the quickest way to obtain an F-104 was to simply buy a patch of land and wait.
Nevertheless, once pilots learned how to tame the beast, the accident rates eased somewhat, and NATO pilots discovered that the Starfighter excelled as a low-level attack aircraft: fitted with bomb racks, the F-104 was remarkably stable at low altitude and high speed, and Luftwaffe pilots, in particular, found that they could sneak up on a target, launch a simulated attack, and be gone before ground defenses could even react. The Italians, in particular, loved the F-104, building their own version as the F-104S: these aircraft were equipped with multi-mode radar and armed with AIM-7 Sparrows and Aspide radar-guided missiles, making them superb interceptors. Even though most NATO nations reequipped their F-104 units with newer F-16s, F-18s, or Tornadoes beginning in the 1980s, the Italian F-104S fleet was continuously upgraded and soldiered on until final retirement in 2004. There were a total of 2,578 F-104s built, primarily F-104Gs. Today, over 150 survive in museums, with at least ten flyable examples, making it one of the best-preserved members of the Century Series.
This aircraft, FX82, was license-built in Belgium by Sociétés Anonyme Belge de Constructions Aéronautiques (SABCA) for the Belgian Air Force in 1965 and served with 350 Squadron at Beauvechain until 1983, when it was retired in favor of the newer F-16s. It was brought to the U.S. in 1989, and Planes of Fame acquired the aircraft in 1993 and has remained there ever since. This was quite a surprise since foreign aircraft are uncommon in American collections! The BAF camouflage is somewhat faded but still shows the colors used by Belgian F-104s, similar to the USAF’s Southeast Asia camouflage.
Final iteration/version of this prompt:
/imagine prompt: cyberpunk cathedral:: Drawing, Tri-X 400 TX, Lumen Global Illumination:: vast interior space:: intricate architecture:: battle flags:: smoke:: high detail --iw 2 --q 4 --chaos 10 --uplight --w 3584 --h 2048 --q 2
as rendered, no post editing
The current iteration of the Triumph Cinema in East Brisbane, Queensland. Wouldn't you love to see inside this building, that seems to have remained somewhat intact. Remember the days when we went to the "pitures" or flicks? I might have to have some Kung Fu lessons and get inside.
Does anyone have any Jaffas? (Older Aussies will know what I mean!)
I don't think they sell them any more. Last I saw them was a giant variety in the lollie store at Williamstown in Melbourne. Oh boy, we we sick after we ate what we bought in there that day 15 years ago or so.
From Wikipedia
Triumph Cinema is a heritage-listed former cinema at 963 Stanley Street, East Brisbane, City of Brisbane, Queensland, Australia. It was designed by Arthur Robson and built in 1927. It is also known as East Brisbane Picture Theatre, Elite Cinema, and Classic Cinema. It was added to the Queensland Heritage Register on 27 July 2001.
Location
963 Stanley Street, East Brisbane, City of Brisbane,
The site of the Triumph Cinema, East Brisbane, has been associated with film exhibition since 1921. The building itself dates to 1927, with minor modifications probably c. 1970.
The site was earlier part of a much larger parcel of land purchased from the Crown in 1855 by Joseph Darragh of Brisbane. Darragh held the land, unsubdivided, for nearly 30 years, and it was the eventual subdivision of this property into residential allotments (mostly 16 perches) in the mid-1880s, which established East Brisbane as a dormitory suburb. Prior to this, East Brisbane was semi-rural in character, with a few isolated families scattered through the bush, and a number of elite estates (such as Mowbray's and Heath's) along the riverbank.
In June 1885 Mrs Annie Elizabeth Cocks gained title to subdivisions 112 and 113 of eastern allotment 128, parish of South Brisbane, county of Stanley (32 perches - later the site of the picture theatre). Mrs Cocks owned this land for over 20 years. About 1906 she sold it to Brisbane real estate agent George Henry Blocksidge, who in 1907 transferred the property to Henry William Robinson, who established a fuel depot there.
On 1 July 1921 the property was transferred from Robinson to Frederick Carl Christian Olsen, who established an open-air picture show on the site that year. A sewerage detail plan dated 1919 shows a picture theatre, partly roofed, occupying the whole of the site. The date may be misleading. It is not unusual for alterations to be made to original detail plans, and in this instance, the theatre as shown on the site is more likely to date to between 1921 and 1927. Oral history reveals that the facade of this theatre was timber, and that about one-third of the seating area was roofed in flat galvanised iron, which on rainy days could be manually extended over about half the seating. The Olsens reputedly were very proud of this technological feat. Around the perimeter of the site were fences of flat iron.
Frederick Olsen died in January 1926. The Stanley Street East property passed to his widow, Maria Gustava Olsen, a year later, and then to Vigo Gustav Olsen (her son) in June 1927. Around the same time Vigo Olsen raised a mortgage on the property from Ernest Adolph Burmester, which is likely to have financed the construction of a new picture theatre to cost £2,000, for which Vigo Olsen already had permission from the Brisbane City Council to erect. Olsen, who lived nearby at Didsbury Street, East Brisbane, had let the contract to construct the theatre to Corinda contractor and architect Arthur Robson. It is highly likely Robson also prepared the design. He had worked for the Workers' Dwellings Board in Townsville as an inspector and as an architect in Rockhampton in the early 1920s. From 1923 he was resident in Corinda and practised as an architect and builder in Brisbane and other centres throughout Queensland. Robson both constructed and/or designed picture theatres throughout Queensland in the 1920s, including the Indooroopilly Picture Theatre (later the El Dorado), and the Paragon Theatre at Childers. By August 1928, he had erected 23 picture theatres in Queensland.
The picture theatre at Stanley Street East is listed as the Triumph in 1927 licensing records, but there is some suggestion that the place was known initially as the East Brisbane Picture Theatre. It is possible that the name was changed when the new picture theatre was built in 1927, and this is the name which still appears in relief on the facade of the building.
Vigo Olsen died in August 1929, and the property passed to his widow, Ida Elizabeth Olsen, in April 1931. Around this time Mrs Olsen raised a further mortgage on the property from EA Burmester, possibly to purchase sound equipment for the theatre. Sound movies were introduced in 1927 with Warner Brothers' production of The Jazz Singer, and over the next few years motion picture exhibitors either converted their theatres to sound or went out of business, as demand for the "talkies" swept the world.
In mid-1934 title to the property was transferred to accountant Albert Frederick Stoddart of East Brisbane, and Alma Jones, wife of Sylvester Stephen Jones of Mount Gravatt, as tenants in common. The Jones were related to the Olsens. Gordon Jones took over the management of the Triumph in 1934, when he was only 17 years old. In 1943, AF Stoddart transferred his interest in the property to Gordon, who managed the theatre until c. 1970, exhibiting (from at least 1938, and likely earlier) as the Triumph Theatre Company.
A 1940 photograph of the theatre shows a facade remarkably similar to that which survives today. The foyer was reached via concrete steps from the street, but had not yet been enclosed with glass doors. Folding iron gates still secured the foyer, and these were at the front of the building, on the footpath. The interior of the foyer was lined with fibrous sheeting and dark-stained timber cover-strips; there was a centrally located ticket-box at the back of the foyer; and doors to the auditorium were located either side of the ticket box. The terrazzo flooring in the present entrance is likely to date to 1927.
In the 1930s, there were approximately 200 picture theatres operating in Queensland, of which about 25% were located in Brisbane. This was the period when most Brisbane suburbs had at least one picture theatre, if not more, and encouraged local allegiances. Theatre staff - owners, management and other employees (such as projectionists, organ or piano players, ticket sellers and ushers) - generally lived in the district, and the theatre offered a local community focus and sense of local identity. Competition for audiences was strong. The Triumph's closest contemporary competitors were the Broadway at the Woolloongabba Fiveways; the Mowbray Park Picture Theatre on Shafston Road; the Alhambra at Stones Corner; the Roxy (Gaiety) at Coorparoo; and the Norman Park Picture Theatre near the Norman Park railway station. Of these, only the Triumph survives.
Following the introduction of television to Brisbane in the late 1950s, Brisbane cinema audiences declined rapidly. Suburban cinemas struggled to continue screening films and in the 1960s and 1970s many closed, the buildings converted into alternative uses or the sites redeveloped. By the 1980s, only a handful of single-screen interwar suburban cinemas survived in Brisbane.
In 1960-61 the Triumph had a seating capacity of 800, suggesting that some seating refurbishment had occurred since 1938, when the theatre seated 950.
By January 1970 the property had been acquired by Roy Arthur Chesterman and Merle Audrey Chesterman, and was transferred in February 1970 to Eric Dare, who owned the place for over three decades. The changes in ownership c. 1970 correspond with a transformation of the theatre. By 1970 the Triumph had been renamed the Capri East Brisbane and was operated by the Capri Theatre Company, which screened mostly R-rated sex films. In 1971 the capacity of the theatre was listed as 510, indicating that seating and/or possibly foyer refurbishment had taken place.
The cinema is believed to have closed for a short period in the 1980s, but by 1988 had re-opened as the Classic Cinema, an art-house screening alternative and revival films, and the venue for film festivals and the annual Brisbane screening of Australian Film, Television and Radio School productions. The theatre functioned as an art-house until closed in mid-2000.
In 2014 the building was being used as a martial arts studio, with a yoga studio on the upper floor.
Description
The former Triumph Cinema occupies a site at the southeast corner of Stanley Street East and Withington Street, East Brisbane. The facade fronts Stanley Street East, which is a major arterial road. The surrounding streets are mostly residential, but there is a small commercial node either side of Stanley Street East, where the cinema is located. Diagonally opposite, on the northeast corner of Stanley Street East and Didsbury Street, is the East Brisbane Hotel, erected in 1889.
The theatre is built to the street alignments and occupies the whole of the site. The front facade is two storeys in height, of rendered brick, and decorative, with strong streetscape presence. In an extraordinarily eclectic metaphorical mix typical of 1920s picture theatre architecture, the facade combines a mix of "Classical" and "Mediterranean" decorative and design elements. There are five bays, not of equal width, defined by pilasters, at the top of which are decorative concrete urns. A balustraded concrete pediment unites the two bays either side of the central bay. This middle bay is wider and taller, with a high pediment with the name TRIUMPH in rendered block lettering. Below the theatre name is a cantilevered tiled window hood above a bank of five-paned casement windows with opaque, green and amber Arctic glass. Behind these windows is the original bio-box. In the bays either side are pairs of similar casement windows, with similar window hoods above. At street level there is a centrally placed wide, low-arched entrance, defined by half pillars on each side, with concrete steps leading to what was formerly a semi-open foyer. This has been partly enclosed with later timber-framed glass doors, recessed from the arch entrance. To either side of this arched entrance is a billboard case, and in the end bays are small "porthole" windows with a square leadlight panel in each, now enclosed with timber lattice.
As was typical of suburban picture theatre construction of this period, the masonry facade returns along the sides only one narrow bay in depth. What the elegant facade was intended to obscure is that the main part of the structure, housing the auditorium, is a large, timber-framed space with a steep, gabled, galvanised iron roof. The side walls of the auditorium are clad externally with later cement sheeting. At the rear (southern) end of the main building the gable is in-filled with weatherboards and there is a lower, hipped roof extension over the stage area.
The main change to the building is that the foyer has been expanded and pushed back into the auditorium, c. 1970s. This space has a low, false ceiling of acoustic tiles, and the floor, which was formerly raked and part of the auditorium, has been raised and levelled. A ticket box and candy-bar are located on the western side of the foyer, and there are toilets on the eastern side. The auditorium is accessed from doorways at either side of the rear wall of the foyer. Above the renovated foyer is the projection booth, which is the original bio-box, accessed from steep, narrow timber stairs behind the ticket box on the western side, and near the men's toilets on the eastern side.
The auditorium remains remarkably intact and retains much of its early decorative finishes. It is a large space, with the roof supported by unboxed laminated timber arches, and has an early lattice ceiling with hessian or canvas backing which follows the curve of the arches. There are three decorative light panels in the centre of this ceiling. There is a raked timber floor, sloped more steeply at the northern end of the building. The side walls are lined internally with vertically-jointed tongue and groove timber boards to dado height, and above this have early plasterboard panels with decorative "classical" mouldings between the timber arches.
There is a small stage the southern end of the auditorium, with a proscenium arch in plasterwork with "classical" motifs. On either side of the stage, angled to direct focus to the rear wall, are large, early plasterboard panels with decorative "classical" mouldings. The rear wall is constructed of galvanised iron sheeting, on which is painted an early "screen". A later cinema screen which once filled the proscenium arch has been removed. There are two early sound horns which hang above the stage. There is off-stage space either side of the stage, which suggests that it may have been used for performance purposes as well.
Another iteration of the tentacle SHIP idea. This one inspired by the shapes of the Cybertron chunks (and also Sentinels from the Matrix). A small head and then a long mass of tentacles that I can pose in different positions. Concept art by Brett Northcutt and Thang Le.
Final iteration of this design. Fixed some issues:
Enlarged stock with cutout features and 1-sling mount for a QD sling-swivel
Folding Foregrip for better stowage.
Shrank the barrel a bit to maintain the "compact feel"
Added M-16 style charging handle.
Various other receiver modifications
My vision with this gun is something a standard soldier would carry slung across his back and use when taking the point position while infiltrating a building. Quick to grab, use, and quick to stow again.
credit goes to Beck for the shaded rails.
made in PMG .6
Well here's the latest iteration of a ship I've been subconsciously rebuilding since 2016 (or you could even say since 2013 if you want to get really into it.)
Thematically appropriate music: Astrid, The Encounter
Like my previous Alucia, Relampago is also a digital render. I've limited myself to only parts that exist though, so I'd like to build it once I have a space big enough to unpack my Lego collection.
Final iteration/version of this prompt:
/imagine prompt: cyberpunk cathedral:: Drawing, Tri-X 400 TX, Lumen Global Illumination:: vast interior space:: intricate architecture:: battle flags:: smoke:: high detail --iw 2 --q 4 --chaos 10 --uplight --w 3584 --h 2048 --q 2
as rendered, no post editing
Japan, Food, Bentō
Miso baked lobster, sushi, gari, blackvinegar spiced carrots, eggplant & lotusroots, carved fresh fruits.
The term Bentō is derived from the Chinese term “Biàndāng”, which means "convenient".
A Bentō is the Japanese iteration of a single-portion take-out or at home-packed meal, mostly for lunch.
In the 5th century simple food was still placed in bamboo tubes to make them transportable.
This was followed by the development of the traditional Japanese Bentō box, consisting of lacquered bowls artfully wrapped in cloth.
There are boxes with matching lids made of many imaginable materials & sizes, from cheap plastic to pressed cardboard ones, up to high-quality lacquered or decorated boxes. The boxes are always divided into various compartments, usually 4 or 5, with partitions so that everything does not mesh with each other during transport.
When filling the Bentō boxes, the rule of thumb is 4:2:1, four parts carbohydrates, mostly rice but also pasta, two parts proteins, fish, meat, egg etc. & one part other ingredients such as vegetables & fruits. If you follow this ratio, the milliliter information in the box also roughly corresponds to the number of calories in a meal.
What goes into a Bentō box is basically up to you. However, if one follows some traditional rules;
"The eye eats with you", which is important with Bentō, apart from the taste, it must have an appetizing presentation.
Therefore, the portions must be small & easy to eat with chopsticks or fingers; they should look pretty & be handmade.
In general, no traditional Japanese ingredients have to be used. If you don't like rice, sushi & Asian spices, you can still prepare a healthy Bentō. Instead of rice, pasta, bread or potatoes are also suitable, instead of raw fish, fried meat, sausage or scrambled eggs.
For many, it takes some getting used to the fact that a Bentō is generally eaten at room temperature. However, this has advantages, especially for lunch in the office, since a microwave is not always available. In addition, the feeling of fullness after a cold meal is less than with a warm meal. If you don't want to do without something warm, you can of course also pack heat able dishes. Many newer bento boxes are microwaveable, adapting to European preferences.
📌… “Washoku”: Preparation of a Japanese Bentō
If you want to prepare a Bentō according to traditional Japanese cuisine, you should adhere to the principles of Washoku, which simply means "Japanese food". An important aspect of Washoku is the harmony of the food, i.e. that a dish is aesthetically pleasing to the eye & taste, as mention before.
"Washoku", the five principles for preparing a harmonious dish,
📍…Go Shiki, - The Five Colours
… A Bentō should always contain five different colours, red, white, black/brown/purple, green & yellow. The five colours are not just about an aesthetic and colourful look. A varied food combination provides the body with a variety of important nutrients. The more colour, the more nutrients!
📍…Go Mi, - The Five Flavours,
…The variety of flavours in a Bentō is just as important. Anyone who has a completely sweet or sour meal with them will soon lose interest in it. If there are many flavours such as sweet, sour, tart, hot & mild, the food is more harmonious & more enjoyable.
📍…Go Ho, - The Five Ways of Cooking
…In addition to colour / taste, the type of preparation also plays an important role in Japanese cuisine. A Bentō should therefore not only contain cooked or raw ingredients, but also something roasted, fried & pickled.
📍…Go Kan, - The Five Senses
… Not only does the taste of the ingredients affect our eating experience, but also the smell, look, sound & texture of the dish. Again, it is about a harmonious overall picture of the dish.
📍…Go Kan Mon, - The Five Perspectives
The last principle deals with the state of mind with which the dish is to be consumed. Appreciation & respect for the person who prepared the dish is particularly important.
•••Of course, not all principles need to be followed consistently. Rather, they are intended to be a suggestion & reminder on how to prepare & eat a healthy meal. These principles actually apply to all types, traditional or contemporary, cuisines on our planet to put together a balanced meal.
…last but not less important, “Bentōs as a sign of affection”
In Japan, a bento is not only a lunch, but also a sign of affection. If the wife, a friend or whoever prepares a particularly nice Bentō for someone, he, she etc. can take this as a token of love & to express their affection. In Japan, if you are invited to someone's home, it is considered polite to bring something with you, here, too, an artfully prepared bento box is a sign of recognition & is gladly accepted.
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
17 million visits in my photostream with countless motivating comments
Next iteration of my favourite spaceship. Not one among favourites, THE favourite: the classic A-Wing from ROTJ. Compared to the older design from 2008 proportions are better, there are properly brick-built missile launchers, foldable landing gear and most importantly, this time it holds together well enough without stickers!
Instructions for this build are available at brickvault.toys!
Braved the cold winds with the Horseman Woodman 4x5 since I was having clear issues with not really observing recently. I find that LF really slows me down in a positive way, and gets me out of the funk I sometimes find myself when i feel uninspired. Had some expired Ultra and put it to good use. While the day was mostly overcast I had alot of fun seeing again what was in front of me. Thanks again to my other inspiration - the flickeranians who continue to share their images and show us the way.
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"Iterative design"
If you don’t know, November is Vic Viper month! This particular model originated back in 2008 during the first “Novvember” as my only contribution to the event. Since then, I’ve built nearly 20 other Vic Viper style starfigters, but I’ve held on to this thing, revising it over the years. A little exercise in iterative design.
This is the second time I've made somewhat significant changes to this model which originated years ago. One thing I like best when I see my favorite musicians at live concerts is when they take an old classic song and switch it up in a fresh new way. That's sort of what I've been doing a lot over the past year or two-- since I tend to keep so many MOCs in tact, I've started revamping them with updated parts and a fresh eye on design, sometimes going in a vastly different direction, other times (like this) staying closer to the original.
So yeah, iterative design: you should try it sometime...
Yea so, this happens to be the 20th Vic Viper I’ve made (if you count the previous iterations).
Oh, the memories...
I'm excited to be part of the next iteration of the New Hashima City cyberpunk collab, coming to Brickworld Chicago 2023. I started with train cars, but things always escalate with me, so now I'm building a couple of the cubes that make up the foundation of the city. This one actually started as a train car hauling a big engine, but it evolved into a maintenance shop that will serve the spacecraft landing at the docks. The large strut on the front will support one of the landing pads on Alec Doede's cube above. I'll replicate that same structure for my second cube with some little variations. Thankfully I had the foresight to recreate it in stud.io as I built so I don't have to rip it apart to reverse-engineer it.
I took some inspiration from Inthert's excellent Repair Yard build for the scene inside, and while I made a deliberate effort to make mine very different, particularly with the grittier cyberpunk vibe, that's what got my gears turning.
The engine has one of my most outlandish parts usages ever, although you'd never know by glancing at it. The brown band around just in front of the exhaust nozzle is an old Fabuland table.
I've only been able to estimate the parts count on my MOC's when asked, and always wondered if I was overestimating. Building the digital model of the strut I discovered that I'm probably not, as that alone has almost 1,500 parts.
Disclaimer: the broken reddish brown tiles I used for the fence all broke by natural causes, most while working on one of my train cars.
Next iteration of my favourite spaceship. Not one among favourites, THE favourite: the classic A-Wing from ROTJ. Compared to the older design from 2008 proportions are better, there are properly brick-built missile launchers, foldable landing gear and most importantly, this time it holds together well enough without stickers!
Instructions for this build are available at brickvault.toys!
This year's iteration of my gear photo shows the completion of my move from Canon to FujiFilm. Gone are are the last of my Canon EOS DSLRs. The biggest changes for this year are the replacement of the Canon 300mm f/2.8 L for the Fuji 200mm f/2 and the addition of another 35mm film body (the Canon P).
Gear Pictured:
Digital Bodies
Fujifilm X100F
Fujifilm X-Pro2
Fujifilm X-T2
Fujifilm X-T4
Film Bodies
Canon Canonette QL17 GIII
Canon A-1
Canon P
Fujifilm GW690 II Pro
Lenses (L to R)
Fujinon XF 200mm f/2 R LM OIS WR
Fujinon XF 50-140mm f/2.8 R LM OIS WR
Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR
Fujinon XF 16-55mm f/2.8 R LM WR
Fujinon XF 35mm f/1.4 R
Fujinon XF 27mm f/2 R WR
Fujinon XF 56mm f/1.2 R
Fujinon XF 90mm f/2 LM WR
Fujinon XF 10-24mm f/2.8 R LM WR
Fujinon XF 16mm f/1.4 R WR
Fujinon XF 80 mm f/2.8 LM WR OIS Macro
Fujinon XF 18-55mm f/2.8-4 R LM OIS
Fujinon XF 1.4x TC F2 WR Teleconverter
Not really based off any iteration of the team, but just who I would have in my team.
Starfire: Leader
Blue Beetle: Weapons/Tech
Beast Boy: Shapeshifter
Kid Flash: Speedster
Raven: Magic User
Robin: Rookie and Master Combatant
Dick and Tim have been on the Teen Titans at one point in their Robin careers and it taught them humility and team respect. Jason wasn't on the team and I think we all know why. Batman decided to send his newest Robin, Damian Wayne, to Titans Tower to teach his young son what it's like to be on a team without the Batfamily.
Nightwing took Robin himself and introduced everyone.
NW: Robin, this is Starfire, the team's leader.
SF: It is a pleasure to finally meet you, Robin.
DW: I'm sure it is.
SF: This is Blue Beetle.
Blue: Hola, amigo.
SF: Beast Boy.
BB: Sup, Rob.
SF: Kid Flash
KF: Hey.
SF: And Raven.
Raven: ...
Robin: This is going to be a waste of my time.
NW: Shut it! You're here because you need it. Or we can go all the way back to Gotham and tell Batman you said no.
Nightwing and Robin starred at each other before Robin sighed heavily and walked passed everyone to get inside the T Shaped Tower.
BB: He sure seems happy.
Blue: Yeah you'd almost think he's actually Batman's kid!
Raven: He is.
BB and Blue: WHAT!?
NW: Sorry about that.
SF: He'll be fine here, Richard, don't worry.
Here is my second iteration of one of my favorite ships of Star Wars -- the Delta-7 Aethersprite Delta-7 Jedi Starfighter.
@khatmorg & @atlas_er are big influences on this design -- especially the cockpit area of @khatmorg & the wings by @atlas_er. Biggest difference in mine is the overall length is shorter by two studs (which I think is more accurate).
Overall I'm really happy with how it came out. I tried my best to eliminate all gaps, and make it smooth as possible. I've very proud of the green accent on the back wings, and how I was able to keep the front wing/hood area smooth.
I couldn't squeeze in rear landing gear, but I love how the underside came out.
Stanley Kubrick, before he became a renowned film director, was an avid photographer, working for the 'Look' magazine.
His picture of a showgirl Rosemary Williams inspired me to do another iteration in drawing pencil.
Second iteration on this. Scale is 1:32. This is a mostly original work but several elements are inspired or lifted from other builders. Without stand or gear installed it's about 1250 parts. Some have been re-coloured but it's all lego.
I finished my latest iteration of Kodachrome 64 Capture One -style. You can read more and download the style here in my blog:
captureone2three.blog/2022/04/30/modern-k64-iii-capture-o...
I’m finally doing a review of my all-time favorite character in this new iteration, Walking On Gold Adele Makeda. I wasn’t sure if I was keeping this doll or not. I had to take a good hard look at her. But gurl the moment I saw her face I knew she was a keeper. I was actually rolling my eyes because yet again Adele had the Paparazzi Bait face design for the third time in less than two years. But then she lured me in with those eyes! As much as I want a new face design for Adele, I can’t deny Paparazzi Bait is one of her best. I mean she even photographs really well. The camera loves her.
With the return of the Adele 2.0 face sculpt into the Fashion Royalty line, Adele has gained her popularity back. But from what I heard Walking On Gold wasn’t much of a hit as I was anticipating. In fact I heard she’s selling for retail price on the secondary market. I do get why she’s not as popular as she should be. First of all I think this Christian Lacroix Fall 1988 Couture inspiration not only feels dated but it feels like this is a fashion we had before. This version of Adele is very much reminiscent of 2010’s Scarlet Woman. But what I do love about her is that she has fashion pieces that can be mixed and matched with other existing ones in our collection. We could totally break this Spanish Conquistador look and make something chic out of it. Second is that I bet a lot of us felt what I felt about this doll. She’s too similar to Faces of Adele, Exquise, Goldstroke, Soul Deep and other older versions of Adele. When people feel that a new doll is too similar to what they already have in their collection, they won’t buy it. But for a die-hard Adele fan like me, that’s a different story.
One thing that I have to point out though when buying dolls from the Luxe Life Collection is that you have to make sure the hairline looks great especially the ones with this high ponytail hairstyle ‘cause some of those dolls had some serious crooked hairlines! I get that these dolls are handmade but I’m a perfectionist and I find crooked hairlines as flaws. We can look back at pictures of dolls from 2008’s Mineral Matters and 2009’s Future.Perfect and you can see how perfectly rooted their hairlines were. I might have seen one doll with a crooked hairline but it was that one rare occasion. It is doable. If they can do it back then, certainty those factory workers can do the same now and there’s proof. East 59th for example. They stepped up their game this year. Almost all of the IRL pictures I’ve seen of those dolls’ widow’s peak were done superbly unlike last year were the factory didn’t do so well. I hope they keep it up for the years to come.
I believe this version of Adele is in the new Sunkissed skin tone just like Dollface from earlier this year. The difference that I see between them though is that Walking On Gold’s head is a perfect color match to her body while with Dollface there are times you can see a color difference depending on the light. I wasn’t too thrilled about another skin tone at first but I have to say this is a great alternative to Latino or Light Honey. Last year they did something special with Frosted Glamour Adele by giving the base of her stand a design that was unique to her coordinating with her Snow Queen look, this time they did something special again with Adele. She’s the only doll in the entire Luxe Life Collection that comes with these new hand-on-hip extra hands while she has the Rupaul Kitty Gurl Pink hands as her default. Now these aren’t your flat FR2 hands from way back. Nope. These are much more graceful and much more appealing.
Now I have a feeling Walking On Gold is a sleeper hit. I see so much potential in her. I think she’ll look better redressed. Adele can definitely benefit with a new face design for next year, something that can rival the Paparazzi Bait face design. I think we’ve had enough of these recycled face screenings. They need to rest for a while.
The third iteration of one of Britain's most popular cars of all time. They were old when I got to drive one for the first time and what a land yacht! Vage steering, wallowy suspension, feeble engine. Still, a lot of car for the money in the 1970s in Britain. And it was even made here, unlike any modern Ford car.
I'm excited to be part of the next iteration of the New Hashima City cyberpunk collab, coming to Brickworld Chicago 2023. I started with train cars, then a cube, and things always escalate with me, so now I've built two of them. Like the first, this one belongs in the docks (aka sector 6, hence the giant 06 on the side), and the large strut on the front (similar but not quite identical to the strut on my first) will support one of the landing pads on Alec Doede's cube above. I envision this as a slightly seedy seller of robot parts of questionable origin. As an Easter Egg, though, the display in the window features the classic M:Tron and Blacktron droids, as these were probably the two most influential Lego space themes of my childhood. I spent a lot of time going crazy on the details on this one, since with time constraints being what they are I probably won't finish a third. In particular I put an inordinate amount of effort into upping my decomposing concrete game, especially on the right side (not shown in the main photo).
The greebles and lights behind the strut are one of my favorite parts but the robot sign blocks the line of sight from all the other shots, so here is a closeup. I decided I wasn't happy with the 45 degree beams in the original strut, so I added some detail to them in cube #2. I'm going to go back and update the 1st cube now.
Also on Instagram: www.instagram.com/p/CqiFALMOwbp/
Iterating on the edit of the final image. Some the crop, others the color and white balance settings. . Please bear with me.
Here is the final iteration of the Starship Telephone Game organized by Roanoke HandyBuck. You can see the evolution the ship has gone through by checking out the previous installments on Flickr
Part 17 (You are here.)
I had Isaac's ship to work from, I kept the dark blue but changed the orange to bright light yellow. Most of the physical characteristics ended up different as well.
Big props to Roanoke for keeping us all on schedule and on track! This was a lot of fun to participate in!