Brutalist Architecture (inc. brick, metal and glass)
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Fjadrargljufur river canyon near Kirkjujabaejarklaustur in Southweast Iceland, a place that looks like some archaic dragon lair. In my hyperactive phantasy, filled with old Norse sagas, I saw Sigurd (Siegfried), overcome the evil Wyvern (Lindworm) in this canyon.
WE <3 ROLE-PLAY EVENT: 04.11.21 - 28.11.21
R3D STUDIO: ARMOUR SIGURD w/ HUD - Aesthetic, Gianni, Jake, Legacy
NEFEKALUM: WARRIOR TATTOO (on face, fore head) - Catwa,, EvoX, Omega, Lelutka compatible
JUNA: DARIAN TATTOO UNISEX - Classic AV, BOM is modifiable for tinting - 4 TONES - Base texture is white
NO VIKING w/ TEXTURE HUD - includes hairbase(Catwa, Omega, Lelutka, TMP) @ NO.MATCH MAINSTORE
GUARDIAN AXE SWORD FIRO @ THE FORGE & EZ WEAPONRY MAINSTORE
NORD BOW w/ HUD @ THE FORGE & EZ WEAPONRY MAINSTORE
BATTLE VIKING AXE w/ HUD @ GTS MAINSTORE
ELIAS CUFFS w/ HUD - Gianni, Jake @ AMIAS MAINSTORE
****Check out my BLOG in profile for Full SLURLs****
Face Chain: .:E.A. Studio:. - Chain Gunnhild Cross Goth RARE (Gacha) ... Available at the Kinky Event now!
Neck Scar: .:E.A. Studio:. - Sigurd Scars Neck Net RARE (Gacha) ... Available in-store!
Cheek Scar: .:E.A. Studio:. - Sigurd Scars Cheekbone I See You (Gacha) ... Available in-store!
Hair: Truth - Flirt
Eyes: Avi-Glam - Magical Eyes 18 RARE
Eyeshadow: [Suicidal Unborn] - Foxy
See full blog here.
Sigurd, Utah
I've seen some fancy ones, and I've seen some mediocre ones, but this one is right up there in the ugly post office contest.
Designed by the great architects Gunnar Asplund and Sigurd Lewerentz, Skogskyrkogården is on the Unesco World Heritage List and is famed for its functionalist buildings and harmonious layout. It represents a different style of thinking about how to integrate buildings in a landscape, how man-made structures should subtly blend with their natural surroundings.
A spur of the moment portrait of Satyricons frontman Sigurd Wongraven, taken during the event Wongraven Wine Tasting at Inferno Metal Festival in Oslo, Norway.
To get art out of the museum and invite visitors to discover nature, Thomas Dambo, a Danish artist, had the idea of a treasure hunt …
Thomas Dambo is a Danish artist. His Speciality ? Upcycling. He recovers waste and unused materials to transform them into artwork, sculptures or even furniture.
To get art out of the museum and invite visitors to discover nature, Thomas Dambo, a Danish artist, had the idea of a treasure hunt …
Thomas Dambo is a Danish artist. His Speciality ? Upcycling. He recovers waste and unused materials to transform them into artwork, sculptures or even furniture.
Sestriere, a small village, a commune of Turin Province, up in the Alps in August, is a lovely place to be. We went there to watch an outdoor classical consert (I will post a photo of that later on).
I am at around 2000m above sea lever. Walking the hills, I could feel the less oxygene in the air my breathing harder than usual when walking hills.
Winter Olympic Games 2006 took place here.
I would love to go here in winter!
The power lines: for hours I worked on removing the power lines using Photoshop which I hardly ever use. Watching numerous Youtube videos on how to remove power lines. Result was not too bad but it is not easy to remove so much bent power lines from a photo!
I ended up liking this version WITH power lines...
You will get: All tones = 16 tones and 4 HUDS
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My first model of 2017, I have had the idea for this build for sometime, and finally found time to do it. The building is modeled after Bits and Pieces, the general store in Solitude from the game Skyrim. I used the same stonework design as I did in my Nordheim Farmhouse creation, though this time in dark bley. A tutorial for that technique is available. The rather complex layout of the building offered some challenges to recreate in LEGO, but I’m quite pleased with the finished result. It lifts off the base and hinges open to reveal the full interior.
See plenty more images on brickbuilt.
10km south of Stockholm this fine lake is located. About 500m from my house :-)
ax depth is a whopping 4m ;-) It is very long but very narrow.
On display at the Norwegian National Museum, Oslo
Property of the Museum of Cultural History of the University of Oslo.
Wood, carved and incised
This panel, carved in high relief with nested medallions, is one of the few surviving fragments from the Vegusdal stave church in Agder. It depicts scenes from the Völsung legend—specifically, the hero Sigurd killing the dwarf-smith Regin. en.wikipedia.org/wiki/V%C3%B6lsunga_saga
What We Know:
The panel dates to the early 13th century. It is one of a pair that framed the main portal of the church, greeting worshipers as they entered.
The circular medallion at the top of the panel illustrates the episode where Sigurd, having slain the dragon Fafnir, turns on Regin. In most literary versions, Sigurd beheads Regin, but the carving instead shows a violent abdominal thrust.
Below Regin’s mouth is a carved stream or ribbon-like motif, long interpreted as blood.
From a forensic standpoint, a gut wound would not typically cause blood to gush from the mouth. That symptom is more plausibly linked to trauma to the lungs or throat. If symbolic, the motif may reflect the soul’s departure or a stylized convention to mark death.
Sigurd appears to brace himself against the rim of the medallion in order to thrust his blade with more force, while Regin’s impalement causes his puppet-like feet slip from the opposite edge—making the physical frame part of the drama.
What Remains Unclear:
Why such a stark deviation from the canonical beheading narrative? Was the artist drawing on oral variants?
What did medieval viewers make of this moment? Did they interpret it as symbolic, literal, or theological? Did they perceive the narrative as a holdover from the pagan world? Was it viewed as a cautionary tale, a moral allegory, or a decorative flourish?
Did 13th-century parishioners understand this as a sacred threshold charged with meaning—or simply as narrative art?
The Question of Meaning:
Narrative Ambiguity: Even the literal storyline is unstable. The carving appears to show Sigurd stabbing Regin in the abdomen, with some material—likely blood—gushing from his mouth. This contradicts saga sources in which Sigurd decapitates Regin. Is this an error, a reinterpretation, or a local variant? The dissonance between text and image resists resolution.
Contemporary Reception:
Thirteenth-century viewers were mostly illiterate and dependent on local oral traditions, visual fluency, and possibly clerical guidance. The scene could have been interpreted as heroic, cautionary, or moral, but the lack of contemporary records leaves all such interpretations speculative.
Patronal Intent:
Who chose this scene—and why? Was it a community decision, an individual patron, or the carver’s initiative? Perhaps the Völsung theme was used not for its theological coherence but for its cultural cachet, drawing on admired tales in a flexible, prestigious, and symbolic way. There is no way to know.
Why It Matters:
This carving is more than an illustration—it is a reflection on storytelling itself. Sigurd and Regin interact not just with each other, but with the frame that contains them. Sigurd leverages the circular boundary; Regin slides off it. The scene breaks the fourth wall of medieval art, making the medallion both stage and structure.
The drama is intensified by its placement at the church's entrance. Whether didactic, mnemonic, or mythic, it served to provoke thought—perhaps even when the sermon inside failed to do so.
In the panel below, a rearing horse appears to strike a human figure with its foreleg—an anatomically implausible blow, yet one rendered with comic violence. The emotional register here is complex: darkly humorous, unsettling, and immediate.
The Fate of the Church and Its Panels:
Stave churches were timber-framed Christian buildings found across medieval Norway, named for the "staves" (upright posts) that formed their structural core. Their heyday was the 12th to 14th centuries, with over a thousand built across the country. Today, fewer than thirty survive, and of those, very few retain narrative carvings like the Vegusdal panels.
The Vegusdal church, located in southern Norway, stood for centuries before it was dismantled in about 1720. Its figural panels—likely once discarded or repurposed—survived thanks to antiquarian interest in the 19th century, when a nascent preservation movement began to see value in what had once been dismissed as outmoded or papist.
The broader losses are staggering. Most stave churches were demolished or "modernized" beyond recognition after the Reformation. Lutheran reformers, Enlightenment-era renovators, and later architectural purists often showed little concern for the carved legends and monsters at their doors. Some panels were burned, others planed down or whitewashed; still others were discarded when churches were replaced with larger, plainer structures.
This wasn't always iconoclastic rage—it was often indifference. Panels rich in mythic or theological symbolism became illegible to later generations and thus expendable. As a result, what survives is not representative but exceptional: fragments like the Vegusdal portal that narrowly escaped destruction.
Each panel lost represents not just a work of art, but a worldview, a narrative gesture, a set of meanings that will never again be fully understood.
Thresholds of Meaning:
The essential paradox of medieval doorway sculpture is that its richest images are placed where people spend the least time. The Vegusdal panels—like many narrative portals in Romanesque and Gothic churches—present complex, layered iconography at a threshold rather than in a space meant for contemplation. And yet, that’s precisely the point.
The doorway as liminal space:
Crossing the threshold into the sanctuary was not a casual act—it symbolized a passage from the worldly to the sacred. The imagery at the portal condensed spiritual or moral lessons into a kind of visual incantation. You weren’t expected to study it then and there; rather, it set a tone, planted a question, or created a mnemonic impression.
Communal familiarity:
In small, closely knit communities, repeated exposure across years or decades could foster shared knowledge of these images. Local clergy or elders may have used them in catechesis or storytelling. So even brief encounters at the door might have drawn from, and contributed to, a deeper cultural reservoir.
Oral culture and storytelling:
Unlike modern viewers, medieval congregants lived in a world where visual art, spoken narrative, and communal ritual were deeply intertwined. Stories like that of Sigurd were known beyond the church; seeing them rendered in wood—at the door to God’s house—invited reflection on what they meant in a Christian moral framework.
Mental stimulation? Yes, and more: These carvings could offer visual escape or engagement—even humor or horror. But their location suggests something ritualistic: they were meant to frame the act of entering, not to be passively admired. You saw them again and again, each time perhaps noticing a new detail or feeling a new association.
Few labels in modern museums do justice to the philosophical richness of such works. To honor these carvings is to accept that their meanings resist easy resolution—that their power lies in ambiguity, embodiment, and emotional immediacy. They remain charged, even now, with a mythic force that exceeds the frame.
This text is a collaboration with Chat GPT
My first model of 2017, I have had the idea for this build for sometime, and finally found time to do it. The building is modeled after Bits and Pieces, the general store in Solitude from the game Skyrim. I used the same stonework design as I did in my Nordheim Farmhouse creation, though this time in dark bley. A tutorial for that technique is available. The rather complex layout of the building offered some challenges to recreate in LEGO, but I’m quite pleased with the finished result. It lifts off the base and hinges open to reveal the full interior.
See plenty more images on brickbuilt.
Sigurd / Heft-Reihe
Eine niederschmetternde Entdeckung
Zeichner: Hansrudi Wäscher
Walter Lehning Verlag
(Hannover/Deutschland; 1958-1968)
ex libris MTP
On a lovely day a few days before the holiday Ferragosto, I attended a rehersal for the concert that would be held on that national holdiday and be TV broadcasted.
I was a bit late, so people were already leaving but the orchesrta played a few more songs before ending for the day.
About 2000m up in Seriestre. Fantastico view!
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Press L and then F11 for a large view -
an absolute must to fully enjoy this picture!
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After Brynhild had ordered Sigurd to be killed, she was filled with remorse and commits suicide by jumping on to the burning ship which carries Sigurd, so they can be together again.
Based on book 3 of The Story of Sigurd the Volsung and the Fall of the Niblungs
Build for the collaboration category of Brickscalibur.
This is part two, part one build by Jip Kempers: flic.kr/p/2obJenV
The stairs at Almhöjden. The higher you come up the steps, the lower each step becomes. Designed a century ago by Sigurd Lewerentz.
My first model of 2017, I have had the idea for this build for sometime, and finally found time to do it. The building is modeled after Bits and Pieces, the general store in Solitude from the game Skyrim. I used the same stonework design as I did in my Nordheim Farmhouse creation, though this time in dark bley. A tutorial for that technique is available. The rather complex layout of the building offered some challenges to recreate in LEGO, but I’m quite pleased with the finished result. It lifts off the base and hinges open to reveal the full interior.
See plenty more images on brickbuilt.