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Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 25, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
ENGLISH
These images show the unboxing and setup of the MakerBot Replicator 2 personal 3D printer.
SVENSKA
Dessa bilder visar uppackningen och igångsättning av MakerBot Replicator 3D-skrivare.
During OHM2013, we tested printing a Minecraft model on a MakerBot Replicator 2. Turned out much better than we had expected! The model was exported with Mineways with the standard size of 2mm per block (edge length). For the print, it was resized to 60%.
THE PROCRUSTES TRILOGY
Procrustes In Situ
Oratorio—Variation On A Theme By Joseph Bor
Martyrs of the Cities of the Plain
PROCRUSTES IN SITU, overall plan
About the entire PROCRUSTES TRILOGY, Robert Cremean wrote the following:
THE PROCRUSTES TRILOGY was initiated in 48 A.H. with PROCRUSTES IN SITU. Throughout the following five years my preoccupation with this monster of the Thesian myth became obsessional. Threading back through the eternal Now of PROCRUSTES IN SITU, two events emerged to illustrate Procrustes at his most extreme…two acts of holocaust: ORATORIO, an event knotted in linear time during the Nazi persecution of the Jews, and MARTYRS OF THE CITIES OF THE PLAIN, dating back to the prehistory of biblical time. Both events live on politically, socially, and psychologically within the Now. By dating the Now from the Third Holocaust, which occurred at Hiroshima on the sixth of August, Nineteen Hundred and Forty Five, the Trilogy becomes a play in four acts. The fourth and final event will be the Fourth Holocaust. There will be no fifth. There will be no other.
Procrustes was first introduced into our lexicon of metaphors through the trials and triumphs of the mythical Greek hero, Theseus, as a robber-innkeeper who haunted the road near Eleusis. When travelers accepted his hospitality, he made them lie on one of two beds: one very long, the other very short. If the guest was too long for the short bed, Procrustes cut off his legs until he was short enough; if he lay on the long bed, Procrustes stretched him until he fitted it. In the legend, Theseus slays Procrustes. Once personified, however, like all enduring metaphors, Procrustes refused to die. Through metaphor, he illustrates a truth and, as a truth, he lives on throughout the evolving triumphs and tragedies of the human condition. His existence is indelible.
At approximately the time the myths were personifying the attributes of Procrustes as villainous, a writer named J, in the kingdom of Judah, was illustrating these same qualities as virtuous in the first chapters of the Old Testament. This clash of metaphors exists today in the war between humanism and theism.
PROCRUSTES IN SITU attempts to illustrate the obvious and redundant visages of Procrustes. He is omnipresent within the human condition: cutting, trimming and stretching each individual to fit the beds of conformity. During this phase of the Trilogy, I came to see how essential he is to everything that we are. Without Procrustes, there is no coherence. Procrustes is the antithesis of chaos. He is also the enemy of Art.
Procrustes thrives on repeat, stasis, and order. His sole purpose is to determine and control. Anything that threatens his authority and the dimensions of his beds is trimmed away or stretched beyond its viable scope of importance. The enforced illusions of Procrustes are in constant conflict with the Artist’s desire for truth, no matter what the cost.
In PROCRUSTES IN SITU, the connection between Procrustes and nature, sexuality and reproduction is considered. The linear extension of the species gives Procrustes great authority within the strictures of society. This is acknowledged in the beds of the mother, the father, the young woman, the young man, the child, and fear. Procrustes controls these beds through instinct. We are born into them. By these he controls us all. Chaos is not a threat to Procrustes in his natural form but rather to the illusions that that form has itself constructed. It is this illusion of identity that centers the drama of Procrustes: Theseus versus Procrustes, Art versus culture, chaos versus illusion.
PROCRUSTES IN SITU sets the stage for the following two acts of the Trilogy: ORATORIO portrays an event that occurred during the Second Holocaust, a performance of the Verdi Requiem at the Terezín concentration camp in 1944, with full orchestra and chorus of Jewish prisoners, for an audience of Nazis. The Procrustean overtones here are so obvious as to be grotesque and hideous in their irony. That this event precedes the Third Holocaust by barely a year increases its tragi-comedic theatricality. The laughter of Procrustes is his most terrifying edge and here, in ORATORIO, it is in full display. The Second Holocaust completes the cycle of biblical time initiated by J in the book of Genesis making possible the fulfillment of prophecies. The significance of ORATORIO is not the tragedy of the Jews but rather the paradox of theism: one man’s God is another man’s Satan.The portrayal of Jews in performance of a doctrinal Catholic requiem in a Nazi concentration camp is irony of such magnitude as to make Procrustes himself blush. The similarities of facial contortions involved with singing, screaming, and lamentation are so obvious as to be banal. The permission and encouragement of the Nazi propagandists for such a grandiose undertaking in the face of appalling circumstances is sadism of procrustean virtue.
MARTYRS OF THE CITIES OF THE PLAIN examines the First Holocaust. Based on the blue triangle that descends the back panel of PROCRUSTES IN SITU, the third section of the Trilogy concerns itself with the destruction of the cities Admah, Gomorrah, Sodom, and Zeboiim which the Old Testament attributes to the wrath of God. It examines the procrustean constrictions of patriarchy and the liberating challenge of feminine entelechy through the songs of Procrustes and the opposing chants of Chance, Being, and Desire. Masculine gestalt versus feminine insurrection.
As the pen of J transported good and evil into biblical time, the following centuries of hermeneutics turned the holocaust of the Cities of the Plain into a simplistic hatred of homosexuality.
Ascribing to a Father-god absolute judgement of good versus evil set the illusion that has dominated the religions of Abraham through the millennia: God destroys bad people and rewards good people. Through this lens, men have assumed their superiority.
J, by transporting the monotheistic Father-god of the Israelite tribes onto the pages of literature, initiated the gestalt of metaphors upon which linear history has based its illusions. By casting one protagonist as the sole arbiter of the human drama, J created a monster of deception and paradox, the sort of creature that Greek myth sends its heroes to defeat. He is Procrustes.
As J concretized monotheism in the Old Testament, a Greek poet named Hesiod was composing his Theogony of polytheism. These two dramatizations of the human condition have traversed the centuries in the hermeneutics of morals and ethics.
When J ascribed to the Father-god the destruction of the Cities of the Plain in terms of good and evil, he placed nature within the paradigm of moral rectitude. God’s will became the supreme wisdom of Patriarchy and all its contingent hermeneutics. The Israelites became god’s chosen people and the saga of the religions of Abraham began. By the time of the Second Holocaust, the Father-god had assumed two additional profiles, Christianity and Islam, and in the Second Holocaust, god turned his wrath against the Jews. A year later, in replication of his annihilation of the Cities of the Plain, he would rain death upon the cities of Hiroshima and Nagasaki. The Fourth Holocaust will be the last and all non-believers will be slaughtered by his wrath. What an ugly and ignorant scenario!
The gestalt of monotheism, with all its attendant metaphors and hermeneutics, is simply bad art. How much richer in imagination and complexity, Hellenic mythology. Comparing the nomadic expediencies of monotheism with Hesiod’s Theogony is like comparing a water jug to the Parthenon.
Compared to the Israelite tribes, the Cities of the Plain were highly civilized societies. To joyously praise their destruction in the worship of a Father-god’s wrath rather than admit to schadenfreude has been the basic theme for centuries of monotheistic history. As long as a Father-god exists, war will never cease. History will remain a drumbeat in constant repeat until the fourth and final holocaust.
THE PROCRUSTES TRILOGY exists for me as an attempt to understand the artist’s plight. (Interestingly, the dictionary gives the word plight two definitions: one is “a condition, state, or situation, especially an unfavorable one.” The other is: “to give in pledge, as one’s word, or to pledge, as one’s honor; danger, risk.”) The artist, as prototype for singularity versus the conforming group, confronts the beds of Procrustes as intrinsic within natural and social Isness.
The grotesqueries of ORATORIO attempt to portray the open hostility that exists between culture and Art. In the faux setting of the Terezín ghetto in Birkenau, Procrustes was operating with deft facility and terrible humor. Verdi’s Requiem was cut short to fit a Nazi time schedule and the musicians who performed this propaganda were shipped off to Auschwitz, their talents of no further value.
If an artist believes that Art is purifying and spiritualizing, what differentiates artists who worked inside Terezín and those who worked outside? Jewish musicians performed Verdi’s Requiem for a Nazi audience and were destroyed because the culture had decided to purify itself. German musicians performed Beethoven’s Ninth Symphony for German audiences and exalted the Nazi culture with the Ode To Joy. It is impossible to imagine any audience not being moved by either work. It is the culture that qualifies the emotion. And what of Wagner? And what of the musicians who performed during the Nazi regime. Were they collaborators because they believed in the power of Art no matter what its audience? No matter what its consequence? What is the moral equivalency here? Wherein lies an artist’s loyalty and honor?
Did the Jewish musicians of Terezín not know that they were collaborating with Nazi propaganda any more than German musicians knew of Nazi atrocities? Can an artist refuse his responsibility to Art?
MARTYRS OF THE CITIES OF THE PLAIN mirrors the artist’s plight set forth in ORATORIO. The eight testimonies of the four voices of Art are inscribed on the four-sexed sails of the Traveler.
By casting the voice of the artist as creator, heretic, healer and slave, an attempt is made to stage individual diversity on the beds of Procrustes.
As the Israelite Father-god rained death on the Cities of the Plain in an attempt to sever the two ancillary sexes from natural selection and societal acceptance, all living things were sacrificed to his dedication. This biblical example of the triumph of good over evil regardless of natural truths and objective ethics persists and continues to martyr the human condition to the plagues of mono-theism. God the Father is now positioned to destroy us all in the Fourth and final holocaust.
Homosexuality is part of Isness. To seek its eradication is to murder one’s children in a conflagration of hate and ignorance and fear. Even the Jews, in the agony of their own holocaust, seek to purify their martyrdom by cutting away the martyrs of the Cities of the Plain. Procrustes is omnipresent. No one eludes his beds. His delight. His laughter. His irony.
By setting a Father-god over the Isness of Being, humankind will always and ever be at war with itself, its nature, its self-recognition and realization.
The four sails of MARTYRS OF THE CITIES OF THE PLAIN are situated between the entelechies of masculine and feminine. The red monologues of War, Religion, and Commerce, with their corresponding heads and drawings of the male body, stand in opposition to the blue essays of Isness with its heads and drawings of the female body.
The blue and red commentaries flowing across either side of the sails relate past and present to the procrustean Now. (These inscriptions relate back to the diatribe that moves across the seven embossed prints of PROCRUSTES INN REGISTER.)*
In opposition to the Songs of Procrustes performed by War, Religion and Commerce, the alcove of feminine entelechy, personified by Chance, Being, and Desire, lies outside the Inn of Procrustes with its beds of conformity. This alcove, formed by the flowing blue inscription across the four sails of the traveler and the two walls of writings and drawings, attempts to define the true face of Theseus, not as a mythical hero, but as any human being who struggles with the destructive forces of dogma. Only truth can slay Procrustes. Only courage can lay waste his beds. Only empathy can destroy the accommodating hatred of his Inn.
Encased in the armor of helmet, miter, and bowler, Procrustes controls the history of men.
*PROCRUSTES INN REGISTER is a suite of engravings and monologues derived from the Preparatory Study that forms one wall of PROCRUSTES IN SITU.
Collection:
Fresno Art Museum
Fresno, California
(Robert Cremean: Metaphor and Process, the video, may be seen at www.youtube.com/watch?v=mgrxW8xSvrA)
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
An Albanian soldier looks on while an Armenian army commander, replicating a soldier of the Afghanistan National Army, talks on the radio during a Military Advisory Team (MAT) and Police Advisor Team (PAT) training exercise at the Hohenfels Training Area, a part of the Joint Multinational Readiness Center, in Hohenfels, Germany, Dec. 7, 2013. The training prepares MATs and PATs for counterinsurgency, combat advisory, and force enabling support operations in Afghanistan. (U.S. Army photo by Spc. Sara Hering/Released)
The size of the Makerbot Replicator prints is a game changer - this baby is 15x15x10 cm. And no, the Ritz cracker wasn't 3D printed.
Here's the kid brother: Horn0016
The Z-axis nut needs to be moved from above the platform to below it, or the z-axis won't have enough travel. Custom Replicator case increases build height by 100mm.
Almost 10" tall print - 248mm to be exact - my tallest MakerBot print by a mile. I think I can go to 255 total now? Custom Replicator case increases build height by 100mm.
The cut files on Thingiverse for the Replicator case ( www.thingiverse.com/thing:18813 ) are NOT right, and not the files used for production. The Mightyboard has moved, so I needed to 'edit' my case with a dremel.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
Somewhere in Bedford County, Virginia--not far from the Blue Ridge Parkway
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
The MakerBot Digitizer 3D-scanned Laser Cat model was used in this test of different layer thicknesses. The cat was scaled down to 50 mm in height and then 3D printed at the following layer heights:
- 0.40 mm (400 microns)
- 0.30 mm (300 microns)
- 0.20 mm (200 microns)
- 0.10 mm (100 microns) - Average width of a strand of human hair
- 0.05 mm (50 microns)
- 0.02 mm (20 microns)
All six cats where 3D printed on a MakerBot Replicator 2 with TRUE BLUE PLA plastic at 230 degrees C.
All layers where 3D printed with MakerWare's standard values as follows:
(400 microns) - 15% infill - perimeters 2 - speed 90 mm/s
(300 microns) - 15% infill - perimeters 2 - speed 90 mm/s
(200 microns) - 15% infill - perimeters 2 - speed 90 mm/s
(100 microns) - 15% infill - perimeters 2 - speed 90 mm/s
(50 microns) - 15% infill - perimeters 2 - speed 60 mm/s
(20 microns) - 15% infill - perimeters 2 - speed 40 mm/s
---
The 3D scanner: bit.ly/1a7y8hG
The 3D printer: makerbot.creativetools.se
The 3D model: www.thingiverse.com/thing:146265
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
Let's see:
- Minimalistic MK8 Extruder (Dual): www.thingiverse.com/thing:28241
- Beefed Up Replicator Extruder Bracket: www.thingiverse.com/thing:33589
- (Unofficial) Replicator XL Case: www.thingiverse.com/thing:33265
- Replicator HBP Support Upgrade: www.thingiverse.com/thing:35059
- RepXL Panels and Doors: www.thingiverse.com/thing:33269
- Replicator 3mm Hood and Cover: www.thingiverse.com/thing:23386
Probably some other things I've forgotten.
During OHM2013, we tested printing a Minecraft model on a MakerBot Replicator 2. Turned out much better than we had expected! The model was exported with Mineways with the standard size of 2mm per block (edge length). For the print, it was resized to 60%.
Zulu Head Carrying Lesson at Shakaland Village Shaka Zulu Kraal Cultural Replication of a Zulu “Umuzi” or Homestead Normanhurst Farm Nkwalini Kwazulu-Natal South Africa May 1998
The 3D model: www.thingiverse.com/thing:69491
The 3D printer: makerbot.creativetools.se
For more information creative-tools.com
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 25, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
The 3D model: www.thingiverse.com/thing:310961
The 3D printer: bit.ly/1sJQB0d
For more information creative-tools.com
During OHM2013, we tested printing a Minecraft model on a MakerBot Replicator 2. Turned out much better than we had expected! The model was exported with Mineways with the standard size of 2mm per block (edge length). For the print, it was resized to 60%.
Left: Maximum build size on a MakerBot Replicator 1: 150mm
Right: Near maximum build size on the Unofficial ReplicatorXL: 248mm (I think it can go to 255 or so)
Custom Replicator case increases build height by 100mm.
Wat Phra That Doi Suthep is a Theravada Buddhist temple (wat) in Chiang Mai Province, Thailand. The temple is often referred to as "Doi Suthep" although this is actually the name of the mountain where it's located. It is a sacred site to many Thai people. The temple is 15 kilometres (9.3 mi) from the city of Chiang Mai and situated at an elevation of 1,073 meters. From the temple, impressive views of downtown Chiang Mai can be seen.
Wat Phra That Doi Suthep is a gorgeously planned Wat with a story to tell about Buddhism. Once the Naga lined steps are surmounted (the longest Naga balustrade in Thailand), the first site one sees is the White elephant statue commemorating the story behind the Wat placement. The closest entrance to the inner ring is to the left, on the North side of the complex. The immediate view is one of the chedi towering 79 feet (24 meters). This gold plated spire is very typical of Northern Thailand chedi with its heightened redented octagonal base, ringed spire, smooth spire, and the tiered chatra (umbrella) at the top. The structure is greatly influenced by Sukhothai art; however, the chatra isn't a Thai influence, but rather an aspect that came from two centuries of Burmese occupation. The tiered and angular shape of the chedi is found all around Thailand is an aspect of Buddhist architecture. The tiers represent the level of heavens that one must ascend in order to achieve Nirvana as well as the hierarchy associated with a monarchy. The angular shape and sloping appearance are more related to the feeling that Thai architects wished to relate. In Threvada Buddhism, the main focus is to rid oneself of unwholesomeness, and to do that there is a focus on peace, lightness, and floating. If the chedi was just its plain shapes of an octagon and triangle, it would appear dense and static. The redented look, near parabolic slope, and golden cover of the chedi creates a feeling of weightlessness of the structure
This same concept can be seen with the Wihans. The weightlessness for the wihans and the surround structures comes primarily from the roof aesthetic. The aesthetic that comes into play here is the toying of geometry and separating similar shapes. This particular wihan has a two tiered roof with the different sections being at different angels. The lower tier is at a flatter angle to replicate a stouter more tense look, while the next tier is at a quite steep angle that creates a more elevated and relaxed look. This separation is to represent the freedom from attachment which is the ultimate goal of Buddhism. The white stucco and incredibly ornate pediment greatly assist with this lightweight feel and separation, but the roof provides the most dynamic movement of the building due to its size and composure. The pediments are typically the most decorated parts of the building that express the grandeur and status of the temple. At each corner of the roof tiers there's a flat ornamental Naga and the large pointed pieces at the peak of the roof are called chofas.
The same Buddhist theme from the exterior also makes its way to the interior with many different factors. The first is that the walls and columns all slant inward to the center of the building. This is to help with the structural integrity of the building, but to also make the feeling of the room ascending. The interior is also greatly decorated with murals all over the walls. The murals are typically the story of Buddha's life and travels but also include Hindu aspects as well. The inside is of the building is typically quite dark because the main lighting comes from the narrow vertical windows and the fact that the murals and all of the indoor decoration are darker materials. The narrowness of the windows is for structural concerns, but to also help with the ascension feel because they are actually trapezoids that are wider at the base. The interiors at Wat Phra That Doi Suthep contains myriads of Buddha statues that come in all different styles and materials just like the outside courtyard.
The layout of the complex shows bi axial symmetry around the chedi with the main and small wihans slightly off the east-west cardinal plane. The cardinal directions are important to Buddhism and it is said that if there isn't a body of water around, like in this case, then the main wihan should face the rising sun. This explains why the main wihan is on the west side of the complex. Outside of the square courtyard the placement and design of the surroundings is due to the topography of the mountaintop. The viewing spot to see Chiang Mai is a propped cantilever with around a 15-foot drop over the edge. Even looking at the wooden wihan and the monk's residence further down the hill, they both exist on the north-south plane pointing towards the chedi. Everything on the site points inward towards the iconic chedi indicating its significance to the wat [Wikipedia.org]
The three service can be seen on the left serving Anglesey, water, sewage & electricity
Where the Britannia Bridge meets the Anglesey shoreline from the outside, this abutment structure looks like solid masonry but actually it’s hollow. There is a door which faces the Menai Strait which allows maintenance workers to get inside. The pillars support arches, a pair of barrel vaults forms the roof, on which lies the railway track bed.
The structure resembles the inside of a cathedral, hence it’s known as the cathedral abutment (original drawings refer to it as the “wing wall”). The bridge’s three stone piers are made of a similar cellular structure.
The cathedral abutment enables the bridge’s spans to be symmetrical. A long span to carry the railway from the Anglesey pier to the higher ground would not have been replicated on the Gwynedd side, where the land slopes more steeply. The original tubular spans were innovative, and provision was made for symmetrical chains to be installed for extra strength if needed (hence the piers extend far above the railway).
The position of the central pier was dictated by its base, the Britannia Rock in the Strait. The distance from that pier to the Gwynedd abutment is mirrored by the distance from the pier to the cathedral abutment.
Building the piers and abutments in this exposed location was a large and dangerous task. Two men died after falling from the scaffolding – one was blown off by the wind in 1847 and 1848.
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 25, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...