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SOUTH CHINA SEA (Oct. 15, 2020) - An F/A-18E assigned to the “Royal Maces†of Strike Fighter Squadron (VFA) 27 launches off the flight deck of the aircraft carrier USS Ronald Reagan (CVN 76) while conducting security and stability operations in the South China Sea. Ronald Reagan, the flagship of Carrier Strike Group 5, provides a combat-ready force that protects and defends the U.S. as well as the collective maritime interests of its allies and partners in the Indo-Pacific. (U.S. Navy photo by Mass Communication Specialist 2nd Class Codie L. Soule) 201015-N-KP021-1097
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PACIFIC OCEAN (Jan. 18, 2021) - o F/A-18E Super Hornets, assigned to the “Blue Diamonds” of Strike Fighter Squadron (VFA) 146, fly over the aircraft carrier USS Theodore Roosevelt (CVN 71) Jan. 18, 2021. The Theodore Roosevelt Carrier Strike Group is on a scheduled deployment to the U.S. 7th Fleet area of operations. As the U.S. Navy's largest forward deployed fleet, with its approximate 50-70 ships and submarines, 140 aircraft, and 20,000 Sailors in the area of operations at any given time, 7th Fleet conducts forward-deployed naval operations in support of U.S. national interests throughout a free and open Indo-Pacific area of operations to foster maritime security, promote stability, and prevent conflict alongside 35 other maritime nations and partners. (U.S. Navy photo by Mass Communication Specialist 2nd Class Casey Scoular)
It appears that this craziness kills Rocksim if you actually try to load and fly 253 motors, Could be the number of odd components, the number of motors or even the way I had to fake static stability.
PHILIPPINE SEA (June 26, 2019) Sailors practice proper firefighting techniques during a damage control training drill aboard the Arleigh Burke-class guided-missile destroyer USS McCampbell (DDG 85). McCampbell is forward-deployed to the U.S. 7th Fleet area of operations in support of security and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 3rd Class Isaac Maxwell/Released)
SOUTH CHINA SEA (Sept. 6, 2020) Force Reconnaissance Marines with Command Element, 31st Marine Expeditionary Unit (MEU) transit the ship during a visit, board, search and seizure exercise aboard the amphibious dock landing ship USS Germantown (LSD 42). Germantown, part of the America Amphibious Ready Group assigned to Amphibious Squadron 11, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners, and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Ensign William Ash)
Few electric bass designs are as instantly recognizable as the Steinberger Spirit. Compact, headless, and unapologetically modern, this instrument distills the electric bass down to its essentials while delivering a sound and feel that far exceed its footprint.
The headless design eliminates neck dive entirely, creating a perfectly balanced instrument whether seated or standing. The straight string pull and compact body contribute to excellent tuning stability and a fast, precise playing experience. This Spirit model delivers a focused, articulate tone with plenty of punch, making it equally comfortable in rock, fusion, funk, and studio environments where clarity matters.
The bold yellow finish underscores the instrument’s futuristic aesthetic, while the minimalist control layout keeps everything intuitive and performance-ready. The trem-free bridge system and double-ball string design make string changes quick and reliable, reinforcing the Spirit’s reputation as a practical tool for working musicians.
Ideal for travel, tight stages, or players who simply appreciate efficient industrial design, the Steinberger Spirit remains a statement instrument decades after its introduction. It’s not trying to imitate a traditional bass—it’s offering a smarter alternative, with unmistakable visual identity and a sound that holds its own in any mix.
Nikon’s impressive Vibration Reduction with SPORT mode ensures exceptional stability when tracking fast action.
Find out more here: bit.ly/Nikkor500
© Craig Kolesky
PHILIPPINE SEA (Aug. 12, 2020) The forward-deployed amphibious assault ship USS America (LHA 6) conducts a replenishment at sea with the dry cargo and ammunition ship USNS Cesar Chavez (T-AKE 14). America, flagship of the America Expeditionary Strike Group, is operating in the U.S. 7th Fleet area of operations to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Matthew Cavenaile)
PHILIPPINE SEA (Sept. 25, 2020) - As seen from the amphibious dock landing ship USS Germantown (LSD 42), an E-2 Hawkeye airborne early warning aircraft leads a formation of F/A-18 Super Hornets as they fly above the Philippine Sea. Germantown, part of Expeditionary Strike Group Seven (ESG 7), along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners, and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 2nd Class Taylor DiMartino) 200925-N-CL550-1529
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CHAI. Stability Chair Nutmeg
CHAI. Stability Decor
CHAI. Equity Decor Multi
CHAI. Stability Rug
8f8 - Pebbles... but soft! - Coco's lair
[DDD] Paper Crane Holdable
laroseromance.wordpress.com/2025/01/27/simply-latte-2025-...
My appreciation and thanks to all of you for your comments awards and faves.
©2016, by Denis D'Arbela
Must attribute with link to: www.ptpioneer.com
Personal training instruction for benchpress outdoors on a stability ball with dumbbells
I said bye to Adrian today, he'll be back in 8 weeks times. I held it together as we parted and I think our friendship will grow even stronger being apart.
Green is a safe colour, a true sign of stability and endurance. It's these qualities I shall build on in his absence.
Private Mini-Challenge with Brightonsinger: Seven Colours in Seven Days
PHILIPPINE SEA (Jan. 27, 2021) Aviation Boatswains Mate (Handling) 3rd Class Russell Edgar, from Salt Lake City, left, and Chief Warrant Officer Brad Anthony, from Anthony, Fla., perform a P-25 drive-through aboard the forward-deployed amphibious assault ship USS America (LHA 6). America, flagship of the America Expeditionary Strike Group, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners, serving as a ready response force to defend peace and stability in the Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Kelsey Culbertson)
PHILIPPINE SEA (Sept. 14, 2020) As seen from the amphibious dock landing ship USS Germantown (LSD 42), the amphibious assault ship USS America (LHA 6) and an MH-60S Seahawk helicopter from the “Archangels” of Helicopter Sea Combat Squadron (HSC) 25, Detachment 6, transit the Philippine Sea following a replenishment-at-sea with the dry cargo/ammunition ship USNS Washington Chambers (T-AKE 11). Germantown, part of the America Amphibious Ready Group assigned to Amphibious Squadron 11, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners, and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 2nd Class Taylor DiMartino)
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
In 1948, a swept wing version of the F-84 was created with the hope of bringing performance to the level of the F-86. The last production F-84E was fitted with a swept tail, a new wing with 38.5 degrees of leading-edge sweep and 3.5 degrees of anhedral, and a J35-A-25 engine producing 5,300 pound-force (23.58 kN) of thrust. The aircraft was designated XF-96A and flew on 3 June 1950. Although the airplane was capable of 602 knots (693 mph, 1,115 km/h), the performance gain over the F-84E was considered minor. Nonetheless, it was ordered into production in July 1950 as the F-84F Thunderstreak. The F-84 designation was eventually retained because the fighter was expected to be a low-cost improvement of the straight-wing Thunderjet with over 55 percent commonality in tooling.
In the meantime, the USAF, hoping for improved high-altitude performance from a more powerful engine, arranged for the British Armstrong Siddeley Sapphire turbojet engine to be built in the United States as the Wright J65. To accommodate the larger engine, YF-84Fs with a British-built Sapphire as well as production F-84Fs with the J65 had a vertically stretched fuselage, with the air intake attaining an oval cross-section. Production quickly ran into problems, though. Although tooling commonality with the Thunderjet was supposed to be 55 %, but just 15 % of the tools could actually be re-used. To make matters worse, the F-84F utilized press-forged wing spars and ribs. At the time, only three presses in the United States could manufacture these, and priority was given to the Boeing B-47 Stratojet bomber over the F-84. The YJ65-W-1 engine was considered obsolete, too, and the improved J65-W-3 did not become available until 1954. When the first production F-84F flew on 22 November 1952, it was considered not ready for operational deployment due to control and stability problems. The first 275 aircraft, equipped with conventional stabilizer-elevator tailplanes, suffered from accelerated stall pitch-up and poor turning ability at combat speeds. Beginning with Block 25, the problem was improved upon by the introduction of a hydraulically powered one-piece stabilator. A number of aircraft were also retrofitted with spoilers for improved high-speed control. As a result, the F-84F was not declared operational until 12 May 1954.
The second YF-84F prototype was completed with wing-root air intakes. These were not adopted for the fighter due to loss of thrust, but this arrangement kept the nose section free and permitted placement of cameras, and the different design was adopted for the RF-84F Thunderflash reconnaissance version. Being largely identical to the F-84F, the Thunderflash suffered from the same production delays and engine problems, though, delaying operational service until March 1954.
During the F-84F’s development the Air Defense Command was looking for a replacement for the outdated F-94 ‘Starfire’ interceptor, a hasty development from the T-33 trainer airframe with an afterburner engine and an on-board radar. However, the F-94 was only armed with machine guns in its early versions or unguided missiles in its later incarnations, which were inadequate. An aircraft with better performance, ideally with supersonic speed, a better radar, and the ability to carry guided missiles (in the form if the AIR-1 and 2 ‘Falcon’ AAMs) as well as the AIR-2 ‘Genie’ missile was now requested.
The Douglas AIR-2 Genie followed a unique but effective concept that represented the technological state-of-the-art: it was an unguided air-to-air rocket with a 1.5 kt W25 nuclear warhead. The interception of Soviet strategic bombers was a major military preoccupation of the late 1940s and 1950s. The World War II-age fighter armament of machine guns and cannon were inadequate to stop attacks by massed bomber formations, which were expected to come in at high altitude and at high subsonic speed. Firing large volleys of unguided rockets into bomber formations was not much better, and true air-to-air missiles were in their infancy. In 1954 Douglas Aircraft began a program to investigate the possibility of a nuclear-armed air-to-air weapon. To ensure simplicity and reliability, the weapon would be unguided, since the large blast radius made precise accuracy unnecessary. Full-scale development began in 1955, with test firing of inert warhead rockets commencing in early 1956. The final design carried a 1.5-kiloton W25 nuclear warhead and was powered by a Thiokol SR49-TC-1 solid-fuel rocket engine of 162 kN (36,000 lbf) thrust, sufficient to accelerate the rocket to Mach 3.3 during its two-second burn. Total flight time was about 12 seconds, during which time the rocket covered 10 km (6.2 mi). Targeting, arming, and firing of the weapon were coordinated by the launch aircraft's fire-control system. Detonation was by time-delay fuze, although the fuzing mechanism would not arm the warhead until engine burn-out, to give the launch aircraft sufficient time to turn and escape. However, there was no mechanism for disarming the warhead after launch. Lethal radius of the blast was estimated to be about 300 meters (980 ft). Once fired, the Genie's short flight-time and large blast radius made it virtually impossible for a bomber to avoid destruction. The rocket entered service with the designation MB-1 Genie in 1957.
During the development phase the first carrier aircraft earmarked to carry the AIR-2 was the Northrop F-89 Scorpion, which had already been introduced in the early Fifties. While being an all-weather interceptor with on-board radar, it was a slow and large aircraft, and outdated like the F-94. Trying to keep the F-84 production lines busy, however, Republic saw the chance to design an all-weather interceptor aircraft that would surpass the F-89’s mediocre performance and meet the AIR-2 carrier requirements on the basis of the swept-wing (R)F-84F. To emphasize its dedicated interceptor role and set it apart from its fighter-bomber ancestors, the heavily modified aircraft was designated F-96B (even though it had little to do with the XF-96A that became the F-84F) and called ‘Thunderguard’.
The F-96B was largely based on the RF-84F’s airframe with its wing-root air intakes, what offered ample space in the aircraft’s nose for a radar system and other equipment. The radar was coupled with a state-of-the-art Hughes MC-10 fire control system. To relieve the pilot from operating the radar system one of the fuel cells behind the cockpit was deleted and a second crew member was placed behind him under an extended, strutless hood that opened to starboard. To compensate for the loss of fuel and maintain the F-84F’s range, a new tank was mounted under the cockpit floor in the aircraft’s center of gravity.
To improve performance and cope with the raised take-off weight, the F-96B was powered by an uprated Wright J65-W-18 turbojet, which generated 0.4 kN more dry thrust than the F-84F’s original J65-W-3 (7,700 lbf/34 kN). This was not too much, though, so that the J65 was additionally outfitted with an afterburner. With this upgrade the powerplant provided a maximum thrust of 10,500 lbf (47 kN), what resulted in a markedly improved rate of climb and the ability to break the sound barrier in level flight. The additional reheat section necessitated a wider and longer rear fuselage, which had to be redesigned. As an unintended side benefit, this new tail section reduced overall drag due to a slightly area-ruled coke-bottle shape behind the wings’ trailing edge, which was even emphasized through the ventral brake parachute fairing.
Armament consisted only of missiles, which were all carried externally on wing stations, all guns of the former F-84 versions were deleted to save weight. The F-96B’s weapons range included GAR-1/2/3/4 (Later re-designated as AIM-4) radar- and IR-guided Falcon air-to-air missiles and a pair of MB-1 Genie missiles. Up to four pods with nineteen unguided 2.75 in (70 mm) "Mighty Mouse" Mk 4/Mk 40 Folding-Fin Aerial Rockets each were an alternative, too, and a pair of drop tanks were typically carried under the inner wings to provide the aircraft with sufficient range, since the new afterburner significantly increased fuel consumption.
Even though it was only a derivative design, the F-96B introduced a lot of innovations. One of these was the use of a diverertless supersonic inlet (DSI), a novel type of jet engine air intake to control air flow into their engines. Initial research into the DSI was done by Antonio Ferri in the 1950s. It consisted of a "bump" and a forward-swept inlet cowl, which worked together to divert boundary layer airflow away from the aircraft's engine. In the case of the F-96B this was realized as an inward-turning inlet with a variable contraction ratio. However, even though they had not been deemed necessary to guarantee a clean airflow, the F-96B’s air intakes were further modified with splitter plates to adapt them to the expected higher flight speeds and direct the air flow. The initial flight tests had also revealed a directional instability at high speed, due to the longer nose, so that the tail surfaces (both fin and stabilizers) were enlarged for the serial aircraft to compensate.
Another novel feature was an IRST sensor in front of the windscreen which augmented the on-board radar. This sensor, developed by Hughes International and designated ‘X-1’, was still very experimental, though, highly unreliable, and difficult to handle, because it relied on pressurized coolant to keep the sensor cold enough to operate properly, and dosing it at a consistent level proved to be difficult (if not impossible). On the other side the IRST allowed to track targets even in a massively radar-jammed environment. The 7” diameter silicone sensor was, together with the on-board radar, slaved to the fire control system so that its input could be used to lock guided missiles onto targets, primarily the GAR-1 and GAR-2 AAMs. The X-1 had a field of view of 70×140°, with an angular resolution of 1°, and operated in 2.5 micron wavelength range. When it worked properly the sensor was able to detect a B-47-sized aircraft’s tails aspect from 25 nm (29 ml/46 km) and a target of similar size from directly ahead from 10 nm (12 ml/19 km). Later, better developed versions of Hughes IRST, like the X-3 that was retrofitted to the F-101B in the early Sixties, had a better range and were more reliable.
During the Thunderguard’s development another competitor entered the stage, the F-101B Voodoo. In the late 1940s, the Air Force had already started a research project into the future interceptor aircraft that eventually settled on an advanced specification known as the 1954 interceptor. Contracts for this specification eventually resulted in the selection of the F-102 Delta Dagger, but by 1952 it was becoming clear that none of the parts of the specification other than the airframe would be ready by 1954; the engines, weapons, and fire control systems were all going to take too long to get into service. An effort was then started to quickly produce an interim supersonic design to replace the various subsonic interceptors then in service, and the F-101 airframe was selected as a starting point. Although McDonnell proposed the designation F-109 for the new aircraft (which was to be a substantial departure from the basic Voodoo fighter bomber), the USAF assigned the designation F-101B. Its development was protracted, so that the F-96B – even though it offered less performance – was ordered into production to fill the USAF’s urgent interceptor gap.
F-96B production started after a brief test phase in late 1957, and the first aircraft were delivered to the 60th Fighter-Interceptor Squadron in 1958. However, when it became clear that the F-101B would finally enter service in 1959, F-96B production was quickly cut down and the initial order of 300 aircraft reduced to only 150, which were produced until early 1960 in three batches. Only sixty were directly delivered to ADC units, because these were preferably equipped with the supersonic F-102A and the new F-101B, which could also carry the nuclear Genie missile. The rest was directly handed over to Air National Guard units – and even there they were quickly joined and replaced by the early ADC aircraft.
Operationally, almost all F-96Bs functioned under the US–Canadian North American Air Defense Command (NORAD), which protected North American airspace from Soviet intruders, particularly the threat posed by nuclear-armed bombers. In service, the F-96Bs were soon upgraded with a data link to the Semi-Automatic Ground Environment (SAGE) system, allowing ground controllers to steer the aircraft towards its targets by making adjustments through the plane's autopilot. Furthermore, the F-96B was upgraded to allow the carrying of two GAR-11/AIM-26 Nuclear Falcon missiles instead of the Genies when they became available in 1961.
A handful F-96Bs were camouflaged during the late Sixties with the USAF’s new SEA scheme, but most aircraft retained their original bare metal finish with more or less colorful unit markings. Due to its limited capabilities and the introduction of the Mach 2 McDonnell F-4 Phantom, the last F-96B was retired from ANG service in 1971.
General characteristics:
Crew: 2
Length: 54t 11 1/2 in (16,77 m) incl. pitot
Wingspan: 33 ft 7.25 in (10,25 m)
Height: 16 ft 9 in (5,11 m)
Wing area: 350 sq ft (37,55 m²)
Empty weight: 13,810 lb (6.264 kg)
Gross weight: 21,035 lb (9.541 kg)
Max takeoff weight: 28,000 lb (12.701 kg)
Powerplant:
1× Wright J65-W-18 turbojet with 8,600 lbf (34 kN) dry thrust and 10,500 lbf (47 kN) with afterburner
Performance:
Maximum speed: 695 mph (1,119 km/h, 604 kn, Mach 1.1) at 35,000 ft (10,668 m)
Cruise speed: 577 mph (928 km/h, 501 kn)
Range: 810 mi (1,304 km, 704 nmi) combat radius with two droptanks
Service ceiling: 49,000 ft (15,000 m)
Rate of climb: 16,300 ft/min (83 m/s)
Wing loading: 86 lb/sq ft (423 kg/m²)
Armament:
No internal guns;
6× underwing hardpoints for a total ordnance load of up to 6,000lb (2,727 kg), including
a pair of 191.5 US gal (727 l) or 375 US gal (1.429 l) drop tanks on the inner stations
and a mix of AIM-4 Falcon (up to six), MB-1 Genie (up to two) and/or pods with
nineteen 2.75”/70 mm FFAR unguided missiles each (up to four) on the outer stations
The kit and its assembly:
This fictional missing link between the RF-84F and the F-105 was conceived for the Fifties Group Build at whatifmodellers.com, an era when the USAF used a wide variety of interceptor aircraft types and technical advancements were quick and significant – in just a decade the interceptor evolved from a subsonic machine gun-toting aircraft to a guided weapons carrier platform, capable of Mach 2.
The F-96B (I re-used Republic’s dropped designation for the swept-wing F-84F) was to display one of the many “in between” designs, and the (R)F-84F was just a suitable basis for a conversion similar to the T-33-derived F-94, just more capable and big enough to carry the nuclear Genie missile.
The basis became Italeri’s vintage RF-84F kit, a rather simple affair with raised panel lines and a mediocre fit, plus some sinkholes. This was, however, heavily modified!
Work started with the implantation of a new tandem cockpit, taken wholesale from a Heller T-33. Fitting the cockpit tub into the wider Thunderflash hull was a bit tricky, putty blobs held the implant in place. The canopy was taken from the T-33, too, just the RF-84F’s original rear side windows were cut away to offer sufficient length for the longer clear part and the cockpit side walls had to be raised to an even level with the smaller windscreen with the help of styrene strips. With these adapters the T-33 canopy fitted surprisingly well over the opening and blended well into the spine.
The camera nose section lost its tip, which was replaced with the tail cone from a Matchbox H.S. Buccaneer (actually its air brake), and the camera windows as well as the slant surfaces that held them were PSRed away for a conical shape that extended the new pointed radome. Lots of weight in the nose and under the cockpit floor ensured a safe stance on the OOB landing gear.
The rear section behind the air brakes became all-new; for an afterburner I extended and widened the tail section and implanted the rear part from a B-66 (Italeri kit, too) engine nacelle, which received a wider nozzle (left over from a Nakotne MiG-29, a featureless thing) and an interior.
To balance the longer nose I also decided to enlarge the tail surfaces and replaced the OOB fin and stabilizers with leftover parts from a Trumpeter Il-28 bomber – the fin was shortened and the stabilizers reduced in span to match the rest of the aircraft. Despite the exotic source the parts blend well into the F-84’s overall design!
To add supersonic credibility and to connect the design further with the later F-105 I modified the air intakes and cut them into a raked shape – quite easy to realize. Once the wings were in place, I also added small splitter plates, left over from an Airfix BAC Strikemaster.
As an interceptor the armament had to be adapted accordingly, and I procured the quartet of IR-guided Falcons as well as the Genie duo from an Academy F-89. The large drop tanks were taken OOB from the Italeri kit. The Genies were mounted onto their massive Scorpion pylons under the outer wings of the F-96B, while the Falcons, due to relatively little space left under the wings, required a scratched solution. I eventually settled for dual launchers on small pylons, mounted in front of the landing gear wells. The pylons originally belong to an ESCI Ka-34 “Hokum” helicopter kit (they were just short enough!), the launch rails are a halved pair of F-4 Sidewinder rails from a Hasegawa air-to-air weapons set. With everything on place the F-96B looks quite crowded.
Painting and markings:
The machine would represent a late Fifties USAF type, so that the paint options were rather limited if I wanted to be authentic. ADC Grey was introduced in the early Sixties, SEA camouflage even later, so that bare metal became a natural choice – but this can be quite attractive! The model received an overall coat with acrylic “White Aluminum” from the rattle can, plus some darked panels all over the hull (Humbrol 56 for good contrast) and an afterburner section in Revell 91 (Iron Metallic) and Humbrol’s Steel Metallizer. The radome became deep black, the anti-glare panel in front of the windscreen olive drab (Revell 46). Light grey (Revell 75) was used for some small di-electric fairings.
Interior surfaces (cockpit and landing gear wells) were painted with Zinc Chromate primer (I used Humbrol 80), while the landing gear struts became silver-grey (Humbrol 56) and the inside of the covers as well as the air brakes were painted in bright red (Humbrol 19).
Once basic painting was done the model received a black ink washing and was rubbed with grinded graphite to emphasize the raised panel lines, and the material adds a nice dark metallic shine to the silver base coat.
Another challenge was to find suitable unit markings for the Fifties era in the decal vault, which would also fit onto the model. After a long search I eventually settled for rather simple markings from a 325th FIS F-102 from an Xtradecal sheet, which only features a rather timid fin decoration.
Finding other suitable standard markings remained demanding, though. Stars-And-Bars as well as the USAF taglines were taken from the Academy F-89 that also provided the ordnance, most stencils were taken from the OOB Italeri sheet and complemented by small markings from the scrap box. The biggest problem was the creation of a matching serial number. The “FF” code was originally used for P/F-51D Mustangs during the Korea War, but after the type had been phased out it might have been re-used? The letters as well as the serial number digits were created from various markings for USAF F-100s, also from an Xtradecal sheet.
Once the decals had been applied the model was sealed with semi-gloss acrylic varnish, except for the radome, the anti-glare panel as well as the walking areas on the wings as well as parts of the afterburner section, which were coated with matt varnish.
A rather straightforward conversion, even though finishing the project took longer than expected. But the result looks surprisingly natural and plausible. Lots of PSR was needed to modify the fuselage, though, especially the tail section was not easy to integrate into the Thunderflash’s hull. Sticking to the simple NMF livery paid IMHO out, too: the livery looks very natural and believable on the fictional aircraft, and it suits the F-84’s bulbous shape well.
Purple combines the stability of blue and the energy of red. Purple is associated with royalty. It symbolizes power, nobility, luxury, and ambition. It conveys wealth and extravagance.
Purple is associated with wisdom, dignity, independence, creativity, mystery, and magic.
truly a magic bloom... a gift from the hubs ♥
PLEASE, NO BLINKING ANNOYING GLITTER GRAPHICS, it slows the load for my dial up friends.
did you know that wildly blinking graphics can prompt seizures in folks with brain tumors or epilepsy, and even prompt migraines.
As the politics of Roawia shifted towards stability after the War, Sir Rivings adapted to a new life as a guardian and protector- one of a parent. The apartments and dens that he had once called his home were no suitable place for a lady, even if he was there to protect her. Instead, he purchased a small keep from a failing baron near the border of Lenfald to call his own.
Controversy had stormed around him as he had taken her home, but soon faded. Those who had seen Sir Faulenhart's face now suddenly noticed how similar Sir Rivings appeared to the fabled knight. Others called him baser names, accusing him of taking her as a wife. On top of buying a castle, the scandal took new heights. Needless to say, Sir Rivings was gaining himself a reputation as an increasingly eccentric noble. He did not mind that claim one bit.
The new Queen decided that she too cared little for such claims. Sir Rivings received word of a great feast for everybody who is anybody in Roawia. Seeing it as an opportunity to learn more about those enemies of the Prince whom he had not yet met, Sir Rivings accepted at once. He called for Faelin and had her make new armor for the occasion. She finished just in time for him to make a leisurely journey to the King's Palace. He made the final preparations for his journey while wearing his new treasure to ensure that it allowed for the movements and physical requirements his work might entail. When it passed his inspection, Sir Rivings discovered he was not ready after all.
"What could I possibly bring to a Queen as a gift? She'll be getting gold, clothes, jewels, and other treasures from nobles all over the land. How can I stand apart?" Rivings pondered aloud. "Perhaps an exquisite armoire, or other furnishing? No, I'd sooner be known as Sir who brought nothing than Sir Decor."
After examining his own treasure room, Sir Rivings returned with a beautiful amulet. "Now this treasure is truly worthy! The gold itself may not be worth much, but the story it carries is worth entire kingdoms. Pirates, valiant knights battling duels for kings, and spies. All the things she ought know about here in Roawia, before she befalls any tragedy herself. It will certainly bring interest to the table. Now I am ready."
"You wouldn't want to leave without your scepter, Sir. I've had Faelin fashion a gem in the pommel, you'll look much more courtly. Bring back stories, Dad. I've had far too few of them from you over the years." Lady Jayne stood in the doorway, dressed in simple, elegant robes of the desert.
"I will bring back more than stories, little dove. Thank you for your kindness. I only hope it doesn't offend the Queen that I carry one." Sir Rivings' smile had become a common sight these days, and it graced the room again now. "One doesn't receive an invitation from royalty every day. Hopefully things go peacefully, but should they turn ugly, it will be my only weapon."
Saint Benedict of Nursia (c. 480–547) is known as the Father of Western Monasticism and the founder of the Benedictine Order. His Rule of Saint Benedict shaped the spiritual, cultural, and intellectual life of Europe for centuries, teaching a balanced path of prayer, work, and community life rooted in Christ. Benedict’s emphasis on humility, obedience, and stability created a spiritual tradition that continues to inspire countless men and women who dedicate their lives to God in monasteries across the world.
At Chilworth Abbey, the Benedictine spirit is still alive today, expressed through the rhythm of the Divine Office, silence, and hospitality. A place of prayer and peace, the Abbey stands as a witness to Benedict’s vision: that in all things, God may be glorified.
From and for the benefits of rhizom-E-xquisite
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A. Order and chaos not only as subjective, but as objectively disguised by some scale, some focus, some state of mind. Order seen as an epiphenomenon which we can choose -or not- to call reality:
Where are you?
B. Red lines and white glimmer... layers.
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I might follow... but not to the same places perhaps. :)
+ + + + + + + + + + +
"Stability is no longer the consequence of the general laws of physics. We must examine the way a stationary state reacts to the different types of fluctuations produced by the system or its environment. In some cases, the analysis leads to the conclusion that a state is "unstable" - in such a state, certain fluctuations, instead of regressing, may be amplified and invade the entire system, compelling it to evolve toward a new regime that may be qualitatively quite different from the stationary states corresponding to minimum entropy production."
Prigogine, I. and Stengers, I. "Order out of Chaos." p. 140.
PHILIPPINE SEA (Aug. 6, 2020) A CV-22 Osprey tilt-rotor aircraft attached to the Air Force 21st Special Operations Squadron launches from the flight deck of the amphibious assault ship USS America (LHA 6). America, flagship of the America Expeditionary Strike Group, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners and serve as a ready response force to maintain security and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 3rd Class Walter Estrada)
PHILIPPINE SEA (Aug. 26, 2020) The forward-deployed amphibious assault ship USS America (LHA 6) transits the Philippine Sea to maintain stability in the region. America, flagship of the America Amphibious Ready Group, assigned to Amphibious Squadron Eleven, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of operations to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Matthew Cavenaile)
Perimeter Institute for Theoretical Physics (PI), Waterloo, Ontario, Canada. Architects: Saucier & Perrotte, 2004.
© Stephanie Fysh 2005; all rights reserved
PHILIPPINE SEA (Sept. 24, 2020) As seen from the amphibious dock landing ship USS Germantown (LSD 42), an MH-60S Seahawk helicopter from the “Archangels” of Helicopter Sea Combat Squadron (HSC) 25, Detachment 6, prepares to transport stores from the fleet replenishment oiler USNS John Ericsson (T-AO 194) to Germantown during a replenishment-at-sea, as the amphibious transport dock ship USS New Orleans (LPD 18), left, and the amphibious assault ship USS America (LHA 6) sail behind Ericsson. Germantown, part of Expeditionary Strike Group Seven (ESG 7), along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners, and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 2nd Class Taylor DiMartino)
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Core stability refers to a person's ability to stabilise their core. Stability, in this context, should be considered as an ability to control the position and movement of the core. Thus, if a person has greater core stability, they have a greater level of control over the position and movement of this area of their body. The body's core is frequently involved in aiding other movements of the body, such as the limbs, and it is considered that by improving core stability a person's ability to perform these other movements may also be improved i.e. core stability training may help improve someone's running ability. The bodies core region is sometimes referred to as the torso or the trunk, although there are some differences in the muscles identified as constituting them. The major muscles involved in core stability include the pelvic floor muscles, transversus abdominis, multifidus, internal and external obliques, rectus abdominis, erector spinae (sacrospinalis) especially the longissimus thoracis, and the diaphragm. The minor muscles involved include the latissimus dorsi, gluteus maximus, and trapezius. Notably, breathing, including the action of the diaphragm, can significantly influence the posture and movement of the core; this is especially apparent in regard to extreme ranges of inhalation and exhalation. On this basis, how a person is breathing may influence their ability to control their core.
Some researchers have argued that the generation of intra-abdominal pressure, caused by the activation of the core muscles and especially the transversus abdominis, may serve to lend support to the lumbar spine.
Typically, the core is associated with the body's center of gravity, which is over the region of the second sacral vertebrae groups and stability is associated with isometric or static strength. In addition, it is the lumbar spine that is primarily responsible for posture and stability thus providing the strength needed for the stability especially utilized in dynamic sports.
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The ArcelorMittal Orbit (often referred to as the Orbit Tower or its original name, Orbit) is a 114.5-metre (376-foot) sculpture and observation tower in the Queen Elizabeth Olympic Park in Stratford, London. It is Britain's largest piece of public art, and is intended to be a permanent lasting legacy of London's hosting of the 2012 Summer Olympic and Paralympic Games, assisting in the post-Olympics regeneration of the Stratford area. Sited between the Olympic Stadium (now called London Stadium) and the Aquatics Centre, it allows visitors to view the whole Olympic Park from two observation platforms.
Orbit was designed by Turner-Prize winning artist Anish Kapoor and Cecil Balmond of Arup Group, an engineering firm. Announced on 31 March 2010, it was expected to be completed by December 2011. The project came about after Mayor of London Boris Johnson and Olympics Minister Tessa Jowell decided in 2008 that the Olympic Park needed "something extra". Designers were asked for ideas for an "Olympic tower" at least 100 metres (330 ft) high: Orbit was the unanimous choice from proposals considered by a nine-person advisory panel. Kapoor and Balmond believed that Orbit represented a radical advance in the architectural field of combining sculpture and structural engineering, and that it combined both stability and instability in a work that visitors can engage with and experience via an incorporated spiral walkway. It has been both praised and criticised for its bold design, and has especially received criticism as a vanity project of questionable lasting use or merit as a public art project.
The project was expected to cost £19.1 million, with £16 million coming from Britain's then-richest man, the steel tycoon Lakshmi Mittal, Chairman of the ArcelorMittal steel company, and the balance of £3.1 million coming from the London Development Agency. The name "ArcelorMittal Orbit" combines the name of Mittal's company, as chief sponsor, with Orbit, the original working title for Kapoor and Balmond's design.
The ArcelorMittal Orbit temporarily closed after the 2012 Olympic and Paralympic Games while the South Plaza (in which Orbit is positioned) underwent reconstruction for its long-term legacy use as a public outdoor space. It re-opened to the public on 5 April 2014. The structure incorporates the world's tallest and longest – 178 m (584 ft) – tunnel slide, designed by Carsten Höller. The idea was originally envisioned by the London Legacy Development Corporation as a way to attract more visitors to the tower. The slide includes transparent sections to give a "different perspective" of the twisting red tower and was completed in June 2016. This follows an option to abseil down the tower, introduced in 2014.
According to London mayor Boris Johnson, in around October 2008 he and Tessa Jowell decided that the site in Stratford, London that was to become the Olympic Park for the 2012 Olympics needed "something extra" to "distinguish the East London skyline", and "arouse the curiosity and wonder of Londoners and visitors".
A design competition held in 2009 called for designs for an "Olympic tower". It received about 50 submissions. Johnson has said that his early concept for the project was something more modest than Orbit, along the lines of "a kind of 21st-century Trajan's Column", but this was dropped when more daring ideas were received.
The media reported unconfirmed details of the project in October 2009, describing the interest of the steel magnate Lakshmi Mittal, one of Britain's richest men, in funding a project that would cost around £15 million. Boris Johnson was believed to want something like the Eiffel Tower or the Statue of Liberty. At that time there were understood to be five artists being considered, including Antony Gormley. Early designs reportedly included 'Transmission' by Paul Fryer, a 400-foot (120 m) high structure "resembling a cross between a pylon and a native American totem pole", according to The Times. A spokesman for Johnson would only confirm that he was "keen to see stunning, ambitious, world-class art in the Olympic Park", and that work on commissioning the project was at an early stage.
Mittal's involvement came about after a chance meeting with Johnson in a cloakroom in Davos in January 2009, as they were on their way to separate dinner engagements. In a conversation that reportedly lasted 45 seconds Johnson pitched the idea to Mittal, who immediately agreed to supply the steel. Mittal later said of his involvement, "I never expected that this was going to be such a huge project. I thought it was just the supply of some steel, a thousand tonnes or so, and that would be it. But then we started working with artists and I realised that the object was not just to supply steel but to complete the whole project. It took us almost 15 months of negotiation and discussion." Johnson has said that, "In reality, ArcelorMittal has given much more than the steel."
Kapoor's and Balmond's Orbit was announced as the winner on 31 March 2010. According to The Guardian, Orbit was chosen from a short list of three, beating a design by Antony Gormley and one by the architectural firm Caruso St John. According to The Times, Gormley's design was a 390-foot (120 m) steel colossus titled Olympian Man, a trademark piece of a statue of himself, rejected mainly on the grounds of its projected cost, estimated at £40 million.
Johnson and Jowell agreed to issue a commission for Orbit in partnership with Mittal after it was chosen by a nine-person advisory panel brought together by them to advise on a long list of proposals. According to Mittal, the panel made a unanimous decision to pick Orbit, as it both represented the Olympic Games and was achievable within the ambitious time frame. Kapoor described it as "the commission of a lifetime".
Johnson pre-empted possible criticism during the official launch by stating: "Of course some people will say we are nuts – in the depths of a recession – to be building Britain’s biggest ever piece of public art. But both Tessa Jowell and I are certain that this is the right thing for the Stratford site, in Games time and beyond."
The completed structure was officially unveiled to the press and public on 11 May 2012.
An image of the structure was included in the 2015 design of the British passport.
The structure was re-purposed with the world's longest slide in 2016, as a way to attract more visitors.
Design
According to Kapoor, the design brief from the Mayor's office was for a "tower of at least 100 metres (330 ft)", while Balmond said that he was told the Mayor was "looking for an icon to match the Eiffel Tower".
Kapoor said that one of the influences on his design was the Tower of Babel, the sense of "building the impossible" that "has something mythic about it", and that the form "straddles Eiffel and Tatlin". Balmond, working on the metaphor of an orbit, envisaged an electron cloud moving, to create a structure that appears unstable, propping itself up, "never centred, never quite vertical". Both believe that Orbit represents a new way of thinking, "a radical new piece of structure and architecture and art" that uses non-linearity – the use of "instabilities as stabilities." The spaces inside the structure, in between the twisting steel, are "cathedral like", according to Balmond, while according to Kapoor, the intention is that visitors will engage with the piece as they wind "up and up and in on oneself" on the spiral walkway.
The Independent described Orbit as "a continuously looping lattice ... made up of eight strands winding into each other and combined by rings like a jagged knot". The Guardian describes it as a "giant lattice tripod sporting a counterweight collar around its neck designed to offset the weight of its head, a two-storey dining and viewing gallery". According to the BBC, the design incorporates the five Olympic rings.
Upon its launch Johnson said "It would have boggled the minds of the Romans. It would have boggled Gustave Eiffel."[18] Nicholas Serota, a member of the design panel, said that Orbit was a tower with an interesting twist, with "the energy you might traditionally associate with this type of structure but in a surprisingly female form".
According to Mittal, Orbit was already the working title, as it describes continuous action, a creative representation of the "extraordinary physical and emotional effort" that Olympians undertake in their continuous drive to do better. It was decided to keep this as the final name and prepend ArcelorMittal (as the project supporter).
On the public announcement of the design Johnson conceded that it might become known by something other than its official name, suggesting "Colossus of Stratford" or the "Hubble Bubble", in reference to his belief that it resembles a giant shisha pipe, or a variant on people's perceptions that it resembled a "giant treble clef", a "helter-skelter", or a "supersized mutant trombone".
Designers
Orbit is described as "designed by Anish Kapoor and Cecil Balmond". Kapoor is a Turner Prize winning sculptor, while Balmond is one of the world's leading designers. According to Kapoor, both men are "interested in a place where architecture meets sculpture" and "the way that form and geometry give rise to structure". Kapoor and Balmond stated that their interests have blurred and crossed over into each other's fields since they first began working together in 2002 on Kapoor's Marsyas installation in the Turbine Hall of the Tate Modern. As well as Orbit, in 2010 Kapoor and Balmond were also working on the Tees Valley Giants, a public art project in northern England.
The sculpture was engineered by the Global engineer Arup, who developed the overall geometry, structural design and the building services including the lighting displayed extensively during the Olympic games. Architectural input by Kathryn Findlay (Ushida Findlay Architects, as a sub-consultant to Arup) made the sculpture into a functional building, for example designing the staircase.
Structural
The organic design of Orbit demanded an extraordinary amount of structural engineering work. This was done by Arup, which reported that it took up two-thirds of the budget for the project (twice the percentage normally allotted to structural engineering in a building project).
From a structural point of view, Orbit consists of two parts:
The trunk has a base diameter of 37 metres (121 ft), narrowing to 5 metres (16 ft) on the way up, then widening again to 9.6 metres (31 ft) just under the observation deck. The trunk is supported and stabilized by the tube, which gives a structural character of a tripod to the entire construction. Further structural integrity is given to the construction by octagonal steel rings that surround the tube and trunk, spaced at 4 metres (13 ft) and cross-joined pairwise by sixteen diagonally mounted steel connectors.
A special part of the construction is the canopy, the conic shape that hangs off the bottom of the trunk. Originally planned as a fibreglass composite construction, costs forced the use of steel for this section as well. Centraalstaal was approached as a special consultant for the design of the steel cone and came up with a design for a cone built out of 117 individually shaped steel panels with a total surface area of 586 square metres. The entire cone weighs 84 tonnes.
Height
Early contradictory reports suggested the tower would be 120 metres (390 ft) tall. However, it finally measured in at 114.5 metres (376 ft), making it the UK's tallest sculpture, surpassing the 60-metre (200 ft) tall Aspire in Nottingham.
On announcing the project, the Greater London Authority described Orbit's height in comparison with the Statue of Liberty, stating that it would be 22 metres (72 ft) taller – the Statue of Liberty is 93 metres (305 ft) high, including the 46-metre (151 ft) statue and its pedestal. The media picked up the apparent intention to cast the Orbit as London's answer to the Eiffel Tower, which is 324 metres (1,063 ft) tall. The Guardian related how it was "considerably shorter", also noting that it is even "20 metres (66 ft) shorter than the diminutive Blackpool Tower".
Its height was also compared in the media with other London landmarks. It was described as being "slightly taller" or "nearly 20 metres (66 ft) taller" than the Big Ben clock tower, the centrepiece of the Palace of Westminster. It was also described as being "twice as tall" or "more than double the height" of Nelson's Column, the monument honouring Admiral Nelson in Trafalgar Square. Other reports described how it was "just short of" or "almost as tall as" the Great Pyramid of Giza in Egypt, the ancient tomb of the Pharaoh Khufu. Big Ben is 96.3 metres (316 ft) tall, Nelson's Column is 51.5 metres (169 ft) tall, including statue and column. The Giza Pyramid was thought to have been constructed as 280 Egyptian cubits or 146.478 metres (480.57 ft) tall, although with erosion it has reduced in height by nearly 10 metres.
Construction
Orbit is located in the southern area of the Olympic Park, between London Stadium and the Aquatics Centre. After the March 2010 confirmation of the winning design, construction began in November 2010; it reached its full height in November 2011.
Steel is the primary material used in the sculpture. According to Balmond, there was no feasible alternative, as steel was the only material that could give the minimum thickness and maximum strength represented in the coiling structure. It was built from approximately 2000 tonnes of steel, produced as much as possible from ArcelorMittal plants, with the exact sourcing being determined by the grades of steel required and the technical requirements of the project. Of this, 60% was recycled steel produced by the Esch Belval steel plant in Luxembourg.
On 14 March 2011, with construction already underway on the main pylon, The One Show broadcast footage of the on-site status of project, and profiled the four-man team putting it together, comprising two steel erectors, a crane operator and a site foreman.
Use
As an observation tower, Orbit has two indoor viewing platforms on two levels, with each level having capacity for 150 people. According to the Greater London Authority, the observation platform offers "unparalleled views of the entire 250 acres (1.0 km2; 0.39 sq mi) of the Olympic Park and London's skyline". According to The Independent, visitors should take the lift to the top and descend the 455-step staircase; this should allow them to appreciate the views around which Anish Kapoor arranged the sculpture.
It is designed to cope with 700 visitors per hour. During the Olympic Games the entrance fee was £15 for adults and £7 for children. The tower does not include a dining area, however there is a cafe, shop and other facilities at the South Park Hub building, which opened in April 2014.
The ambition is that the sculpture, as well as being a focal point for the Olympic Park during the Games, will form part of the wider Stratford regeneration plans, which aim to turn the Olympic site into a permanent tourist destination after the Games. Tessa Jowell said Orbit will be "like honey to bees for the millions of tourists that visit London each year". Boris Johnson predicted it would become "the perfect iconic cultural legacy". According to Lord Coe, chairman of the London 2012 Olympic organisers, it would play a central part in the Game's role of leaving a lasting legacy and transformed landscape in east London.
During the opening ceremony of the 2012 Summer Paralympics, Joe Townsend (a Royal Marine and double amputee) delivered the Paralympic flame into Olympic Stadium via a zipline that was attached to the top of Orbit.
In 2016, a permanent slide designed by German artist Carsten Höller was added to the sculpture. The slide is reported to be the world's tallest and longest tunnel slide at 178 metres. Though it was originally reported that admission to the slide would cost around £5, the general adult price for entry to the slide and viewing platforms is £30.00 (£25.00 if bought in advance), as of March 2023.
Funding
At the time of its public launch, the total cost of Orbit was announced as £19.1 million. ArcelorMittal was to fund up to £16 million, with the remaining £3.1 million being provided by the London Development Agency. This consists of a £10 million cash donation, and £6 million in underwriting of capital costs, which could be potentially recovered from profits generated after the Games. According to Johnson, the cost of the project would be recouped after the games through the private hire of a dining area at the top, predicting it would become a "corporate money-making venture".
Mittal said he was immediately interested in Orbit after he remembered the excitement that surrounded the announcement that London had won the Olympic bid. He saw it as an opportunity to leave a lasting legacy for London, showcase the "unique qualities of steel" and play a role in the regeneration of Stratford. Mittal said of his involvement in the project, "I live in London – I’ve lived here since 1997 – and I think it’s a wonderful city. This project is an incredible opportunity to build something really spectacular for London, for the Olympic Games and something that will play a lasting role in the legacy of the Games."
Advisory panel member and director of the Tate gallery, Nicholas Serota, said Orbit was "the perfect answer to the question of how sport and art come together", and praised Mittal's "really impressive piece of patronage" for supporting a "great commission".
In October 2015 Len Duvall, a Labour member of the London Assembly, stated that the tower was losing £520,000 a year; LLDC said they had revised their visitor target from 350,000 to 150,000 per year.
Reception
Overall reception to Orbit was mixed, but mostly negative. With regard to its potential as a lasting visitor attraction, The Guardian's Mark Brown reflected on the mixed fortunes of other large symbolic London visitor attractions such as the popular, but loss-making, Thames Tunnel; the Skylon structure, dismantled on the orders of Winston Churchill; and the successful London Eye. When plans were first reported for an Olympic tower, the media pointed to a manifesto pledge of Johnson's to crack down on tall buildings, in order to preserve London's "precious" skyline. The Times criticised the idea as a vanity project of Johnson's, with a design "matching his bravado", built to "seal his legacy", surmising it would be compared to other similar vanity projects such as the "wedding cake", the Monument to Vittorio Emanuele II built in Rome, or the Neutrality Arch, a rotating golden statue erected by Turkmenistan's President Saparmurat Niyazov, while comparing Johnson to Ozymandias.[6] Art critic Brian Sewell said "Our country is littered with public art of absolutely no merit. We are entering a new period of fascist gigantism. These are monuments to egos and you couldn't find a more monumental ego than Boris."
The Times reported the description of it being the "Godzilla of public art". In October 2012, ArcelorMittal Orbit was nominated and made the Building Design magazine shortlist for the Carbuncle Cup—an award for the worst British building completed in the past year, which was ultimately awarded to the Cutty Sark renovation.
Jay Merrick of The Independent said that "[Orbit's] sculptural power lies in its ability to suggest an unfinished form in the process of becoming something else", describing how its artistic riskiness elevated it above the banal artworks of the public art movement that have been built elsewhere in Britain's towns and cities. Merrick was of the opinion that it would be either loved or hated, being a design which is "beautifully fractious, and not quite knowable". Jonathan Glancey of The Guardian described Orbit as "Olympian in ambition" and a "fusion between striking art and daring engineering", and said that, the Aquatics Centre apart, it represented the architecturally striking Joker in the pack, given that the rest of the landscaping and architecture for the Games "promises little to get excited about". He believed it would become a "genuine eyecatcher" for the Olympics television coverage, with its extraordinary form being a "strange and enticing marriage of sorts" between the Eiffel Tower and the un-built early Soviet era Tatlin's Tower, with the biblical Tower of Babel as "best man".
Richard Morrison of The Times described Orbit as "like an enormous wire-mesh fence that has got hopelessly snagged round the bell of a giant french horn", adding that it "seems like an awful lot of trouble just to look at East London", in comparison to a music hall comedian's refrain at the $16 million cost of the Brooklyn Bridge. Morrison not only compared Johnson to Ozymandias, but also to the 20th century dictators Adolf Hitler, Joseph Stalin and Nicolae Ceaușescu, in their acts of "phallic politics" in building grandiose monuments. Criticising the lack of public involvement, he described how it would be an "undesired intrusion by the few into the consciousness of the many". He feared that it could become one of the many "thousands of naff eyesores" of recent public art in Britain, citing the embracing couple at St Pancras station (The Meeting Place), the Dockland's Traffic Light tree, and the proposed Rotherhithe Tunnel 'match-stick man' tribute to Isambard Kingdom Brunel, as London-based examples. Fellow Times writer Tom Dyckhoff, while calling it "a gift to the tabloids" and a "giant Mr. Messy", questioned whether the Olympic site needed another pointless icon, postulating whether it would stand the test of time like the London Eye and become a true icon to match the Eiffel Tower, or a hopeless white elephant. Suggesting the project had echoes of Tatlin's Monument to the Third International, and especially Constant Nieuwenhuys' utopian city New Babylon, he asked whether Orbit was just as revolutionary or possessed the same ideological purpose, or whether it was merely "a giant advert for one of the world’s biggest multinationals, sweetened with a bit of fun".
Rowan Moore of The Guardian questioned if it was going to be anything more than a folly, or whether it would be as eloquent as the Statue of Liberty. He speculated that the project might mark the time when society stops using large iconic projects as a tool for lifting areas out of deprivation. He questioned its ability to draw people's attention to Stratford after the Games, in a similar manner to the successes of the Angel of the North or the Guggenheim Museum Bilbao. He also questioned the piece's ability to strike a chord like the Angel, which he believed had at least "created a feelgood factor and sense of pride" in Gateshead, or whether it would simply become one of the "many more unloved rotting wrecks that no one has the nerve to demolish". He postulated that the addition of stairs and a lift made Orbit less succinct than Kapoor's previous successful works, while ultimately he said "hard to see what the big idea is, beyond the idea of making something big".
Fellow Guardian writer John Graham-Cumming rejected comparisons to icons like the Eiffel Tower, which had itself not been intended to be a lasting monument, only persisting into public acceptance as art through being useful; he also pointed out the Colossus of Rhodes collapsed within a few decades, and the Tower of Babel was "constructed to glorify those that constructed it." He suggested that Johnson should reconsider whether it should be pulled down after 20 years. Questioning its corporate role, he believed that meant it looked less and less like a work of art and more like a vanity project. In an online poll published by The Guardian, 38.6% of readers considered it a "grand design", while 61.4% considered it "garbage".
Responding to concerns from The Times that ArcelorMittal's sponsorship and naming of Orbit would represent an improper incursion of corporate branding into public life, Johnson stated that Olympic rules mean that it cannot carry any corporate branding during the games. Felicity Carus of The Guardian's environment blog questioned whether ArcelorMittal's record on carbon emissions was good enough to mean Orbit represented a fitting monument for the 2012 Olympics, billed as a 'world's first sustainable Olympics'.
Memorial controversy
The Mittal Steel company purchased the Omarska mining complex and planned to resume extraction of iron ore from the site. Mittal Steel announced in Banja Luka on 1 December 2005 that the company would build and finance a memorial in the 'White House' but the project was later abandoned. Many Bosnian Serbs believe there should not be a memorial, while many Bosniaks believe that construction should be postponed until all the victims are found and only if the entire mine—which is in use—be allocated for the memorial site.
By the time of the 20th anniversary of the camp's closure proposals for a physical memorial to the camp's existence had made no progress. ArcelorMittal said that it was prepared to meet the former inmates' demands but the local authorities were ultimately responsible for granting permission. The Republika Srpska authorities considered that allowing camp survivors free access to the site and the construction of a memorial as originally agreed by ArcelorMittal would undermine reconciliation. "Prijedor 92" president Mirsad Duratović, stated that the campaign for a memorial would continue.
In July 2012, ahead of the start of the 2012 London Olympic Games, survivors of the camp laid claim to the ArcelorMittal Orbit tower, located in the Olympic Park beside the Olympic stadium, as the 'Omarska Memorial in Exile'. The survivors allege that the Orbit is "tragically intertwined with the history of war crimes in Bosnia, as the bones of victims are mixed in with the iron ore". ArcelorMittal denied that material from Omarska had been used in the Orbit's construction. The company said that sensitive issues relating to the mine could not be addressed by ArcelorMittal on its own. Campaigners urged ArcelorMittal as the world's largest steel producer to use its considerable influence to oppose the local politics of denial and play an active role in healing fractured communities that have made the company's success possible. Susan Schuppli of the Centre for Research Architecture at Goldsmiths' College in London, observed that ArcelorMittal insistence on "not taking sides" in an area where persecution and injustice continued was not neutrality but taking a political position by default.
Advisory panel
The advisory panel consisted of:
Nicholas Serota, director of the Tate gallery
Julia Peyton-Jones, director of the Serpentine Gallery
Hans-Ulrich Obrist, also of the Serpentine Gallery
Sarah Weir OBE, of the Olympic Delivery Authority
Stuart Lipton, of Chelsfield LLP
Anita Zabludowicz, of the 176 gallery Zabludowicz collection
Michael Morris and James Lingwood, directors of the Artangel arts commissioning organisation
Munira Mirza, the Mayoral Advisor on Arts and Culture
In announcing the winning design, Johnson thanked the Greater London Authority, the Olympic Delivery Authority and the London Organising Committee of the Olympic Games and Paralympic Games, as well as David McAlpine and Philip Dilley of Arup, and Sir Robin Wales and Jules Pipe for their involvement and support in the project.
I was invited to a collab by moc550_berserk to celebrate him reaching 1000 followers on Instagram. I decided to do Spiriah, as I've always had a secret appreciation for the character. To mess up so badly is impressive.
For this Moc I sought inspiration from the community on instagram, and tried to incorporate all of the "key traits" folks suggested. Didn't want him to just look like Antroz so kept black to a minimum and instead bad Grey/Bley as the tertiary color.
Also felt Spiriah would compensate for his cowardice with sheer size.
Had alot of fun with this build, and there are some parts that are held in place by pure friction.
Torso is completely custom with a Visorak torso frame piece serving as the starting point that everything branches off from.
Custom light up eyes were done by driftingmoc over on instagram. Check them out for great custom masks and pieces.
Search #federationoffear on instagram to see all the other great creations.
The first free library in Bright was a wooden building established in the mid 1880s. However, but the Twentieth Century, the citizenry wanted something finer and more permanent as their free library, something that would reflect the stability and prosperity of the township. Wangaratta architect J. E. Ludholm and building contractors Messrs. McNichol and McNichol were awarded the design and construction of the new Bright Free Library. The elegant Federation Free Classical style building built on Ireland Street was the result. Completed in August 1910, the building was opened on the 23rd of September 1910. Constructed of red brick with contrasting materials for decoration, it has a symmetrical façade, a prominent tower and decorative finials. It also has some classical decorative accents. All of these elements are common characteristics of Federation Free Classical style architecture.
Bright, a town in north-east Victoria, is situated in the Ovens Valley and is part of the Alpine Region of Victoria. 210 kilometres from Melbourne, Bright was one of the towns in the Ovens Valley where gold was discovered. Gold was found near the junction of Morses Creek and the Ovens River in the 1850s. Established in 1862 and named Bright, most likely after John Bright (1811 - 1889) an English publicist, reformer and parliamentarian the township thrived. With the Gold Rush in full swing, Bright soon had Catholic, Wesleyan and Presbyterian churches, schools, three hotels, three quartz mills and two bank branches. As the yield of gold declined in the 1870s, so too did Bright’s population, yet by the 1880s, it became an alpine tourism town. The Bright Alpine club was formed in 1887 and a community library was started there in 1889. In the following year Bright was connected by railway to Myrtleford and Wangaratta, bringing with it much needed tourists from Melbourne. In 1910 a grand chalet was opened at Mount Buffalo and Bright ran a hire car service for visitors, who often stayed there overnight at a hotel or guesthouse. In 1919 a secondary school was opened in Bright. It also had a tourist progress association and local angling, bowling, racing, tennis and golf clubs amongst its many attractions. By the mid 1920s the people of Bright began planting exotic trees partly for landscape improvement and partly to lay the summer dust. The street tree plantings produced extraordinary autumn colours. By 1933, Bright was described as the “Tourism Capital of the Ovens Valley”. Bright’s train line continued until 1983 when it was finally discontinued and replaced with coaches. By that time, it was a well established tourism town with people flocking there all throughout the year for different reasons. Bright is a base for exploring the peaks of Mount Buffalo National Park and Alpine National Park as well as Mount Hotham, a popular ski resort. Bright is a starting point for the Murray to Mountains Rail Trail, a hiking and cycling path. Bright Museum, in the town’s former train station, documents rail and gold rush history. The region is also known for wineries and of course its amazing display of autumnal foliage.
PHILIPPINE SEA (Sept. 15, 2020) Aviation Boatswain's Mate (Handling) 3rd Class Alex Sagastume, left, from Pearson, Ga., supports Aviation Boatswain's Mate (Handling) Airman Tony Holland, from Dallas, as he directs the landing of an MV-22B Osprey tiltrotor aircraft from Marine Medium Tiltrotor Squadron (VMM) 262 on the flight deck of the amphibious transport dock ship USS New Orleans (LPD 18). New Orleans, part of the America Amphibious Ready Group assigned to Amphibious Squadron 11, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 2nd Class Kelby Sanders)
A cellarium (from the Latin cella, "pantry"), also known as an undercroft, was a storehouse or storeroom, usually in a medieval monastery or castle. In English monasteries it was usually located in or under the buildings on the west range of the cloister.
The monastery's supplies of food, ale and wines were stored there, under the supervision of the cellarer, one of the monastery's obedientiaries. He was often assisted by a sub-cellarer.
Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England. It is located approximately three miles south-west of Ripon in North Yorkshire, near to the village of Aldfield. Founded in 1132, the abbey operated for over 400 years, until 1539, when Henry VIII ordered the Dissolution of the Monasteries.
The abbey is a Grade I listed building owned by the National Trust and part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site.
After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey, in York, 13 monks were expelled (among them Saint Robert of Newminster) and, after unsuccessfully attempting to return to the early 6th-century Rule of St Benedict, were taken into the protection of Thurstan, Archbishop of York. He provided them with land in the valley of the River Skell, a tributary of the Ure. The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. After enduring a harsh winter in 1133, the monks applied to join the Cistercian order and in 1135 became the second house of that order in northern England, after Rievaulx. The monks subjected themselves to Clairvaux Abbey, in Burgundy which was under the rule of St Bernard. Under the guidance of Geoffrey of Ainai, a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours and were shown how to construct wooden buildings in accordance with Cistercian practice.
After Henry Murdac was elected to the abbacy in 1143, the small stone church and timber claustral buildings were replaced. Within three years, an aisled nave had been added to the stone church, and the first permanent claustral buildings built in stone and roofed in tile had been completed.
In 1146 an angry mob, displeased with Murdac's role in opposing the election of William FitzHerbert to the archbishopric of York, attacked the abbey and burnt down all but the church and some surrounding buildings. The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned the abbacy in 1147 to become the Archbishop of York and was replaced first by Maurice, Abbot of Rievaulx then, on the resignation of Maurice, by Thorald. Thorald was forced by Henry Murdac to resign after two years in office. The next abbot, Richard, held the post until his death in 1170 and restored the abbey's stability and prosperity. In 20 years as abbot, he supervised a huge building programme which involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. Only the chapter house was completed before he died and the work was ably continued by his successor, Robert of Pipewell, under whose rule the abbey gained a reputation for caring for the needy.
The next abbot was William who presided over the abbey from 1180 to 1190 and he was succeeded by Ralph Haget, who had entered Fountains at the age of 30 as a novice, after pursuing a military career. During the European famine of 1194 Haget ordered the construction of shelters in the vicinity of the abbey and provided daily food rations to the poor enhancing the abbey's reputation for caring for the poor and attracting more grants from wealthy benefactors.
In the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203â1211), John of Hessle (1211â1220) and John of Kent (1220â1247). They were burdened with an inordinate amount of administrative duties and increasing demands for money in taxation and levies but managed to complete another massive expansion of the abbey's buildings. This included enlarging the church and building an infirmary. In the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John Romeyn in 1294. The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1349â1349. The loss of manpower and income due to the ravages of the plague was almost ruinous.
A further complication arose as a result of the Papal Schism of 1378â1409. Fountains Abbey along with other English Cistercian houses was told to break off any contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England and consequently they became increasingly involved in internecine politics. In 1410, following the death of Abbott Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon, Abbot of Meaux, and Roger Frank, a monk of Fountains were locked in discord until 1415 when Ripon was finally appointed and presided until his death in 1434. Under abbots John Greenwell (1442â1471), Thomas Swinton (1471â8), John Darnton (1478â95), who undertook some much needed restoration of the fabric of the abbey including notable work on the church, and Marmaduke Huby (1495â1526) Fountains regained stability and prosperity.
When Marmaduke Huby died he was succeeded by William Thirsk who was accused by the royal commissioners of immorality and inadequacy and dismissed from the abbacy and replaced by Marmaduke Bradley, a monk of the abbey who had reported Thirsk's supposed offences, testified against him and offered the authorities six hundred marks for the abbacy. In 1539 Bradley surrendered the abbey when Henry VIII ordered the Dissolution of the Monasteries.
The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell, the inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, causing deviations from the strict Cistercian type. Outside the walls were the abbey's granges.
The original abbey church was built of wood and "was probably" two-stories high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c.1170. This structure, completed around 1170, was 300-foot (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. The church's greatly lengthened choir, commenced by Abbot John of York, 1203â11, and carried on by his successor terminates, like that of Durham Cathedral, in an eastern transept, the work of Abbot John of Kent, 1220â47. The 160-foot (49 m) tall tower, which was added not long before the dissolution, by Abbot Huby, 1494â1526, is in an unusual position at the northern end of the north transept and bears Huby's motto 'Soli Deo Honor et Gloria'. The sacristry adjoined the south transept.
The cloister, which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister and the refectory, with the kitchen and buttery attached, are at right angles to its southern walk. Parallel with the western walk is an immense vaulted substructure serving as cellars and store-rooms, which supported the dormitory of the conversi (lay brothers) above. This building extended across the river and at its south-west corner were the latrines, built above the swiftly flowing stream. The monks' dormitory was in its usual position above the chapter-house, to the south of the transept. Peculiarities of this arrangement include the position of the kitchen, between the refectory and calefactory, and of the infirmary above the river to the west, adjoining the guest-houses.
Breaking the tragedy of the horizon – climate change and financial stability.
Read the speech here:
www.bankofengland.co.uk/publications/Pages/speeches/2015/...
Copyright: Johnny Millar
OKINAWA, Japan (Jan. 15, 2021) Aviation Electrician’s Mate 3rd Class Lance Boruszewski, from Saginaw, Mich., assigned to Helicopter Sea Combat Squadron (HSC) 25, performs maintenance on a MH-60S Sea Hawk on the flight deck aboard USS America (LHA 6). America, part of the America Amphibious Ready Group, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners, serving as a ready response force to defend peace and stability in the Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Kelsey Culbertson)