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Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
Another attempt at replicating the famous picture of Ms Keeler on her chair (but with a twist, sorry a Twix) as per this Facebook group
BOXPOP® REPLICATES HARRY’S HOUSE
Austin, Texas
situation
You may be familiar with Harry Styles. Former boyband member turned soloist debonair popstar. Performer with a magnetizing presence on and off the stage. Conductor of electrifying concerts to sold-out arenas. That Harry Styles. Having just released a highly acclaimed studio album, and currently in the midst of a whirlwind world tour, it could be said that Mr. Styles is enjoying a moment of unprecedented global popularity. One prominent stop of this continent-trekking tour was the Moody Center in Austin, TX this October. A town renowned for its own eclectic fair, this sold out arena was packed to the brim with the Styles faithful. Often camping out the day (or days) before gates opened, once admitted into the arena, there were hours of downtime for fans before Harry would take the stage. Hoping to occupy the time and attentions of devoted concertgoers, Hannah Baker of the Moody Center concocted an interactive set piece in miniature. Looking to recreate scenes from Style’s music videos, the Moody Center entrusted BoxPop® and the Britten Events team to replicate Harry’s House into an experiential event that would promote fan engagement and let them envision themselves as extras on a Harry Styles music video production.
solution
The Britten team started with a 20-foot single container as the template for this set design. A drop stage door was cut and installed along the container length, allowing the full interior to be viewed and utilized. Next a finished partition was framed through the center of the container, creating two juxtaposed sets that could be viewed simultaneously. On the right was a finished bedroom scene, complete with brooding navy floral wallpaper, a clean white coiffured accent wall, complete with installed flooring. This bedroom set was later staged with furnishings to round out the retro inspired, cozy aesthetic interior. The left side was a true spectacle. Drawing direct inspiration from the Harry’s House album cover, the team recreated an inverted living room scene. Complete with a fully carpeted ceiling with lounge chair, midcentury modern couch, and end table with lamp mounted upside down, the result was an upending experience that paid close homage to the album artwork. Accented with a groovy, amorphous meld of vibrant sherbet oranges, sweet reds, and bubblegum pinks, the exterior of the container was befitting of the 70’s inspired, forward blended palette and aesthetic of Harry Styles himself.
impact
The result was a widely popular space for Styles fans to photograph and experience. Inserting themselves into either half of the presentation, concertgoers could envision one another as cast members within the highly curated world of a Harry’s House reality. Perfect for selfie’s along with actual interaction with the set pieces, it was an immediate draw for fans who sought to deepen their concert experience and was a magnetizing focal point for entrants looking for something to do before the show. A substantial addition for the Moody Center venue, this curated portable set piece was a highly successful element of fan engagement, connecting individuals with the mood and vision of Style’s new album, and helped to enrich the concertgoing experience.
Replicate Designs produces Architectural Scale Models and Custom Displays along with props for advertising, movies and more.
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
This scene replicates the suicide of the members of Tanomo Saigo's (1830-1903) family. Tanomo Saigo was one of the chief retainers of Aizu Clan, and was engaged in the Boshin War (Meiji Revolution) at the time of the incident. The women of the family were afraid that a concern for their well-being would cause unnecessary grief and trouble for Tanomo Saigo , and decided to take their own lives. In this scene, a girl, whose courage faltered after she wounded herself, asks one of the first enemy soldiers to break into the compound, to finish her off. Moved by her plight, the soldier complied with her request.
I am not sure why, but the screen in the background is flipped upside down.
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
Replication point of spring-fed pond.
2002 © UNEP
For further information go to www.unep.org/disastersandconflicts
My latest creation, which is a model of the Northumbria Blood Bank Nissan Juke in 1/43 scale. A replication of the real vehicle.
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
This replication of a popular poster is mounted on the wall of the AC Diner in Atlantic City's new shopping district "The Walk".
Shot with the Canon FD 135mm f/2.8 - A boy playing in a dirt parking lot in Quito, Ecuador
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#3DBenchy printed on a MakerBot Replicator Desktop 5th Generation 3D printer.
The 3D-model: 3dbenchy.com/download
The 3D-printer: www.creativetools.se/index.php?route=product/search&f...
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU
Southwark Cathedral is unique among English Anglican cathedrals in being separated by little more than a mile and the River Thames from it's neighbouring diocesian church, St Paul's. This odd arrangement derives from Southwark being a young diocese, since despite being one of London's oldest churches, it has only had cathedral status since 1905. Surprisingly the new Southwark diocese wasn't even carved out of the London one, since everything south of the Thames had traditionally been part of the Diocese of Winchester.
The site goes back to Roman times, with remains of a villa beneath the present building. A church has probably existed here since the 10th century (first recorded in the Domesday book in 1086) though the present cruciform building is mostly the result of 13th century rebuilding. The church was then known as St Mary Overie ('over the river') and served a college of priests.
Following the Reformation it was stripped of it's collegiate function and redesignated as the parish church of St Saviour. For a while the parishoners rented the building from the Crown until they were able to buy it for their own use in 1614. Certain chapels ceased to be used and the building suffered a long decline, culminating in the early 19th century when neighbouring London Bridge was being rebuilt, and road enlargement encroached on the churchyard. There were calls to demolish the church but luckily preservationists won the day, though two projecting chapels were lost at this time.
Though the east end was repaired the neglect had taken it's toll on the nave and in 1832 it's roof was removed, leaving it open to the elements for seven years until it was tragically demolished and replaced with a cheap and nasty brick substitute. Happily this was itself replaced in 1890 by the present nave by Sir Arthur Blomfield, a very successful attempt to replicate the surviving medieval choir which restored harmonyt and dignity to the building in preparation for it's rise to cathedral rank in 1905.
Today the church is a haven of peace in one of the most unsympathetic settings of any English cathedral, hemmed in by roads, car parks and a railway viaduct that passes through the former churchyard! Somewhat choked by all this developement, the exterior looks mostly Victorian, thanks to the new nave and general refacing of the older parts, except for the 15th century central tower.The interior however is a delight, and transports the visitor back to the 1200s, despite the newness of the nave and it's aisles, which blend beautifully with the medieval choir and transepts. The focal point of the interior is the high altar screen of c1520, adorned with niches containing statues (all Victorian replacements).
There are many tombs and monuments in the cathedral spanning all periods and styles, and several have been recoloured (thanks to a slightly over enthusiastic campaign in the 1960s). The most notable tombs include that of the poet John Gower (14th century) in the north aisle, and 16th century Anglican divine, Bishop Lancelot Andrewes in the choir.There is a modern monument to Shakespeare bearing his effigy (he is believed to have worshipped here,being close to the Globe and Rose theatres, his brother Edmund is buried nearby). Further medieval and later monuments are in the choir aisles, and a rich collectionn of Baroque wall tablets adorn the transepts.
The furnishings are generally Victorian, whilst the stained glass is mostly later, the most prominent being Ninian Comper's 1950s east window of Christ in glory and Henry Holiday's superb Pre-Raphaelite west window on the theme of Creation. Most of the Victorian glass was lost to wartime bombing, in it's place we have some fine modern windows in the south choir aisle by Lawrence Lee and Alan Younger, and the Shakespeare window by Christopher Webb.
Lawrence Lee's 1959 window in the south choir aisle, with the Madonna & Child at the centre surrounded by historical vignettes.
At the west end is a display of medieval wooden roof bosses from the old nave (more have been reintegrated into the tower ceiling, which has a modern design by George Pace). To the north a large suite of rooms has recently been constructed to serve the cathedral's administrative functions.
Experimental adjustable drive block for the Replicator 2X extruder. The purpose of this design is to allow the operator to fine-tune the pressure applied to the filament by the idler ball bearing.
The 3D-files: www.thingiverse.com/thing:267394
Instructions: bit.ly/1eaYi3p
The 3D-printer: bit.ly/1ehTaKU