#Restoring Historic Structures

[smartcaddengineering]

Restoring the Past with Future Tech: Scan to BIM for Historic Structures

Historic buildings are pieces of our shared history. They hold stories, art, and craftsmanship that deserve to be preserved for future generations. But restoring them can be a real challenge. It is generally beyond repairing defective parts, it is about retaining the original beauty as well as the integrity of the building. That is where Scan to BIM comes in. This clever technology defines identifying existing structures using a fusion of laser scanning and 3D modeling to recreate them accurately and safely.

Here’s a closer look at how Scan to BIM is making historic restoration easier and better.

What is Scan to BIM?

Think of Scan to BIM as a high-tech way to "copy and paste" a building into the digital world. Advanced tools like laser scanners and LiDAR technology scan every angle of the structural surface recording all signified details-from cracks on the wall to strokes of intricate carvings. This scan creates a 3D digital model, called a Building Information Model (BIM).

For example, observing the building's design and condition in almost physical proximity without actually touching it is exactly what it means for a lot of historical buildings. It's almost like viewing the building in a virtual way, with which you can study, analyze, and restore.

Why Use Scan to BIM for Historic Structures?

Restoring Historic Buildings isn't like repairing modern ones-these old buildings were made from materials that have become rare today, techniques very few people have mastered, and in some cases, quite fragile because they were built over an intricate set of details. Scan to BIM solves this problem in many ways:

Capturing Details:  Laser scanning picks up even the tiniest features in designs, assuring nothing is lost in the restore.

Accuracy Matters: The digital models are precise, so restoration work stays true to the original design.

Protecting Fragile Structures: Everything here is scanned in digital form, which means no disturbance of the building. This prevents accidental damage.

Keeping a Record: The 3D model also acts as a digital archive, preserving the building’s current condition for future use.

How Does Scan to BIM Work?

Here’s a quick breakdown of the process:

Scanning the Building: The first step is to scan the building using tools like LiDAR technology or laser scanners. These devices measure everything down to the tiniest detail, creating what’s called a point cloud (essentially a massive map of all surfaces that make up the building).

Processing the Data: The scan data is processed to create a clear, accurate digital 3D model.

Building the Model: This data is then used to make a full 3D BIM model, which includes not just the structure but also elements like plumbing, wiring, and ventilation if necessary.

Planning Restoration Work: Ultimately, that's a model that architects and engineers would use to find problems, plan repairs, and test ideas even before touching the building.

What Makes Scan to BIM So Useful?

Here’s why this method is changing the game for historic restoration:

Precision: Everything is accounted for, so nothing will potentially be overlooked.

Time-Saving: Traditional restoration takes a lot of manual measuring and guesswork. Scan to BIM speeds things up by providing accurate data right from the start.

Cost-Effective: By making fewer mistakes and planning faster, one can keep the costs of restoration under control.

Preservation First: By working with digital models, experts can protect the original structure from unnecessary wear and tear.

Where is Scan to BIM Used?

This technology is being used in all kinds of restoration projects, including:

Historic Monuments: Iconic landmarks are being digitally preserved and restored, ensuring their longevity.

Heritage Buildings: Centuries-old places like castles, libraries, and churches are being brought back to life.

Ancient Artwork: Detailed carvings, sculptures, and other decorative features can be captured and restored with precision.

Old Infrastructure Updates: Buildings can be modernized to meet today’s safety standards while keeping their original charm.

How Laser Scanning and LiDAR Technology Make a Difference

At the heart of Scan to BIM is the tech - laser scanning and LiDAR. These tools send out tiny light pulses that measure distances and shapes, creating a highly detailed digital copy of a structure. Such technology comes in handy while restoration of delicate and complicated structures requires a lot of care.

Examples of Successful Historic Restorations

Here are some ways Scan to BIM has been used to bring historic buildings back to life:

Cathedrals and Churches: Intricate stained glass windows and delicate arches are restored with stunning accuracy.

Forts and Palaces: Massive, centuries-old buildings are scanned and modeled to uncover damage and plan precise repairs.

Libraries and Museums: Fragile bookshelves and exhibits are preserved digitally, reducing the risk of harm during restoration.

Why Work with Experts?

Restoring historic buildings takes skill, the right tools, and experience. That is why working with experts like SmartCADD is a smart choice. They handle everything, from scanning the structure to delivering the final 3D model and have the expertise needed to make your project successful.

Preserving the Past with SmartCADD

SmartCADD is a company that specializes in Scan to BIM services meant especially for the restoration of historic buildings. We have helped restore countless buildings with unmatched precision and care. Whether it’s capturing the finest details or solving complex structural problems, our team has the knowledge and tools to get it done right.

Final Thoughts

Restoring historic buildings doesn’t have to be complicated. Thanks to Scan to BIM, it’s easier than ever to bring these treasures back to life. From capturing every detail to planning the restoration, this technology makes the process faster, safer, and more accurate. If you’re working on a historic building or just want to learn more, reach out to SmartCADD. They’re here to help you keep the past alive for future generations.

[apostate-in-an-alcove]

Not to sound like a curmudgeon but I HATE when century homes and buildings get torn down and replaced with modern ones; feels like the personality and soul of a neighbourhood gets sucked out of it when that happens.

[asestimationsconsultants]

Preserving the Past | How a Construction Estimating Service Supports Historic Renovations

Introduction

Historic renovations are more than just construction projects—they are missions to preserve cultural identity, architectural artistry, and community heritage. These projects come with a unique set of challenges: outdated materials, strict preservation guidelines, and unpredictable structural conditions. In such high-stakes environments, financial planning becomes both critical and complex. A construction estimating service plays a vital role in supporting historic renovations by forecasting costs accurately, managing risk, and aligning preservation goals with budget realities.

Understanding the Complexity of Historic Renovations

Unlike modern construction, historic renovations demand extraordinary attention to detail and sensitivity to architectural authenticity. These projects often require working with fragile materials, replicating century-old craftsmanship, or adhering to national heritage regulations. The unpredictable condition of hidden structural elements and the need for specialized labor can lead to volatile costs. A construction estimating service provides clarity in this uncertainty by mapping out cost implications across every phase.

Specialized Cost Knowledge

One of the greatest advantages of using a construction estimating service for historic renovations is access to cost databases tailored to heritage-specific items. These include antique finishes, custom-milled woodwork, lime plasters, handmade tiles, and restoration-grade hardware. Estimators familiar with historic projects can source these prices from trusted networks and ensure the budget reflects the premium nature of these materials and methods.

Aligning with Preservation Guidelines

Many historic buildings are protected under local or national regulations. Compliance with these standards often restricts what materials and techniques can be used. A construction estimating service collaborates with architects, engineers, and preservation consultants to ensure the estimates conform to these strict guidelines. This collaboration helps prevent costly redesigns or permit delays by aligning costs with conservation requirements early in the planning process.

Uncovering Hidden Costs

Historic buildings often hold surprises behind their walls—rotted timber, outdated wiring, asbestos, or damaged masonry. A skilled construction estimating service anticipates these potential discoveries by adding allowances and contingencies that reflect the probability of encountering such conditions. This proactive approach prevents severe budget overruns later in the project when surprises inevitably surface.

Labor and Craftsmanship

Restoring a heritage building requires more than typical labor. It demands artisans skilled in lost trades—stonemasons, woodcarvers, traditional roofers, and plaster experts. These specialists come at a higher cost and may require additional lead time. Construction estimating services provide realistic labor pricing that accounts for the difficulty of sourcing such talent and the time-intensive nature of their work.

Material Sourcing Challenges

Sourcing authentic or reproduction materials for heritage work is difficult and expensive. Whether it's sourcing reclaimed bricks, custom ironwork, or original glass patterns, these materials are not found in typical supply chains. A construction estimating service includes extended sourcing times, transportation logistics, and potential storage costs in the budget. This ensures no hidden costs creep in due to delays or miscalculations.

Collaboration with Conservation Professionals

In heritage work, conservation architects, archaeologists, and historians may be involved in the approval process. Construction estimating services understand the need to collaborate with these professionals to adjust budgets in real time. As decisions evolve to protect the site’s integrity, the estimator ensures that all changes are reflected in the financial plan, helping the team stay informed and in control.

Supporting Grant and Funding Applications

Many historic renovation projects rely on public grants, tax credits, or nonprofit funding. These applications often require a detailed and credible cost estimate as part of the submission. A professionally prepared estimate from a construction estimating service adds credibility to the project and improves the chances of securing financial support. Their transparent cost breakdowns are also useful in donor reporting and public accountability.

Change Management in Adaptive Reuse

Sometimes historic buildings are being adapted for modern uses—like turning a church into a library or a mill into an office complex. These transformations, known as adaptive reuse, require careful cost integration between old and new. A construction estimating service helps manage this balance by assessing how modern amenities (like elevators or HVAC systems) can be introduced without compromising the building’s character or violating codes.

Conclusion

Historic renovations demand a precise, respectful, and financially grounded approach. They are projects rooted in storytelling and preservation, but also need to meet budgets, deadlines, and regulations. A construction estimating service becomes the financial translator between past and present, ensuring that the beauty and significance of heritage structures are preserved without hidden financial risk. Whether it's a museum, a colonial home, or an art deco theater, accurate cost estimating is the backbone of any successful restoration.

[reasonsforhope]

"In a historic step toward the first-ever restoration of the tiger population to a nation where they were once extinct, two captive Siberian tigers have been translocated from Anna Paulowna Sanctuary, Netherlands, to the Ile-Balkhash Nature Reserve in Kazakhstan.

This remarkable event is part of an ambitious program led by the Government of Kazakhstan with support from WWF and the UN Development Program to restore the Ile-Balkhash delta ecosystem and reintroduce tigers to the country and region, where the species has been extinct for over 70 years.

“It is a high priority for Kazakhstan to work on the restoration of rare species. For ecological value it is important that our biodiversity chain is restored. And that the tiger that once lived in this area is reintroduced here,” said Daniyar Turgambayev, Vice-minister of the Ministry of Ecology and Natural Resources of Kazakhstan.

In the early 21st century, genetic studies were carried out on bones and furs held in national collections which revealed that the population of tigers living between Iran, southern Russia, Central Asia, and the areas around the Caspian Sea was extremely similar to Siberian tigers.

This led scientists to conclude that Felis vigrata, the former name of the Caspian tiger, was simply the Siberian tiger that developed into a distinct population, but not a new subspecies, over generations of being separated by habitat fragmentation.

Bodhana and Kuma, the male and female tigers, will be housed in a spacious semi-natural enclosure of three hectares [7.4 acres] within the Ile-Balkhash Nature Reserve. Any of their offspring will be released into the wild and will become the first tigers to roam Kazakhstan in decades, and potentially the first-ever international tiger reintroduction.

They will play an important role in the establishment of a new tiger population in the region where they had previously been wiped out as a result of excessive hunting.

“Today marks a monumental conservation milestone to bring tigers back to Kazakhstan and Central Asia,” said Stuart Chapman Leader of WWF Tigers Alive. “This tiger translocation is a critical step to not only bring back the big cat to its historic homeland but also to rewild an entire ecosystem.”

Progress towards restoration of the area is already well underway with recovering and reintroduction of critical tiger prey species like the Kulan (Asiatic wild ass), and reforestation of over 120 acres with native trees. Being the apex predator, tigers will play a significant role in sustaining the structure and function of the ecosystem on which both humans and wildlife rely...

“With the launch of the tiger reintroduction program, we have witnessed a significant change—the revival of nature and our village of Karoi,” said Adilbaev Zhasar, the head of the local community group Auyldastar.

“This project not only restores lost ecosystems, but also fills us with pride in participating in a historic process. Because of small grants from WWF, we have the opportunity to do what we love, develop small businesses, and create jobs in the village, which brings joy and confidence in the future.”

From the very beginning, the local community around Ile-Balkhash Nature Reserve has been closely involved in the project. This includes support for improved agricultural techniques and the future development of nature tourism in the area.

The translocation of these tigers is the first of several planned in the coming years, with a goal to build a healthy population of about 50 wild tigers by 2035, starting with this pioneering pair for breeding. This initiative is not only a testament to the resilience of the species but also a powerful example of governments, conservation organizations, and local communities cooperating in wildlife and nature conservation."

-via Good News Network, November 27, 2024

[gloomwitchwrites]

Dog with No Teeth // Chapter Nine

Simon "Ghost" Riley x Female Reader

Chapter Specific Warnings (MDNI): post-apocalypse au, swearing, mild angst, mild fluff

Word Count: 6k

The mandate becomes clearer. You start your first day at the archive. Ghost shares information.

Chapter Eight // Chapter Ten

ao3 // main masterlist // dog with no teeth masterlist

United Nations Preservation of Humanity Charter (UN Mandate I)

Pillar I: Genetic Continuity: All citizens capable of reproduction must contribute to the gene pool unless medically exempt.

Pillar II: Historical Memory: Each Safe Zone and its civilians must preserve human history, language, and art, ensuring no generation forgets humanity’s origins.

Pillar III: Weapons Compact: All Safe Zones are forbidden from producing, obtaining, or trading weapons of mass destruction without prior UN Council approval. Military force may be used only under UN mandate to prevent genocide or extinction-level threats. The production or attainment of firearms, explosives, projectiles, blades, or any instrument of war by civilians is prohibited.

Pillar IV: Bioethics: Non-consensual testing on humans is prohibited. Artificial intelligence, cloning, and biotechnology is outlawed unless authorized by UN Council and must prioritize long-term human well-being.

Pillar V: Reintegration: No persons may be denied sanctuary in a Safe Zone on the basis of origin, gender, or religious belief. All survivors have the right to seek safety and sustenance.

Pillar VI: Equity of Resources: Vital resources, such as water, food, medicine, and power, must be shared across Safe Zones under UN allocation protocols, and redistributed in times of shortage.

Pillar VII: Rewilding: Each Safe Zone and the citizens therein must preserve or restore a percentage of surrounding ecosystems to maintain biodiversity and prevent ecological collapse.

Pillar VIII: Cultural Sovereignty: Safe Zones and the citizens therein retain cultural autonomy, as long as that autonomy does not propagate ideologies that promote extinction, discrimination, or historical erasure. Minority cultures, languages, and traditions must be legally protected.

Pillar IX: Equal Dignity: All individuals, regardless of origin, ethnicity, religious belief, sexual orientation, or country of birth, are equal under the law and entitled to equal protection and opportunity.

Pillar X: Anti-Extremism: All Safe Zones and the citizens therein must report, identify, or otherwise notify the respective authoritative bodies of any organizations, groups, collectives, or movements advocating genocide, supremacy, or systemic subjugation.

You close the pamphlet, shutting out what you didn’t want to know but need to understand. The Preservation of Humanity Charter. Mandate I. Specific and yet entirely vague—open to interpretation. On the surface, nothing appears nefarious, yet you detect hypocrisy in it, that as you dig deeper and ask more questions, fractures will appear.

Your gaze shifts to the collection of reading materials the transitional advisor and family planner handed you when you departed. They stare back, mocking. With a sigh, you set the pamphlet down and reach for another. This one is black with white lettering. “Bill of Rights” is embossed on the front near the top of the thin booklet. In the middle is the emblem of the United Nations.

Opening it, you scan the introduction.

In recognition of the fragility of civilization and the enduring worth of all persons, the United Nations affirms the following rights and protections as universal and mandatory for all Safe Zones, Neutral Zones, governing bodies, and military authorities. These rights are preserved under The United Nations Preservation of Humanity Charter, Mandate III, in alliance with the global standards set forth by the United Nations Continuity Council.

You pause in your reading, mind drifting toward all that’s been lost. There was so much chaos when the structures in place began to collapse—when everything destabilized and devolved. No one believed that any of this would happen. When world leaders threatened one another and preached for isolationism, nothing seemed to come of it. People went to work, lived their lives, spent time with their friends and families.

Then came the trade wars, the tariffs, and sanctions. Even then, people only complained about rising prices and the cost of living. Land and border disputes followed. More empty threats where nothing happened, and the news cycle carried on. But one country put boots on the ground. Another did the same in retaliation. Like a faucet being slowly turned on, the droplets became a stream and then a current.

Article I – Right to Existence and Liberty.

All citizens have the right to life, dignity, liberty, and autonomy. No persons shall be subject to enslavement, forced labor, or arbitrary detention.

All “citizens.” You’re not a citizen—not yet. Where does that leave you? Will they grant you full status when probation is lifted?

Article II – Equality Under Law.

A loud, repeated thudding fills the room, coming from the front door. Clutching the thin black booklet, you head for the door, yanking it open, only to find Lieutenant Riley on the other side holding a cardboard box.

“You’re here early,” you blurt.

“Brought you something,” he replies, voice raspy but gentle.

Behind the balaclava, all you can see are his gorgeous brown eyes. There is no crease in his brow—nothing that indicates any emotion. Yet his shoulders are a tad slumped, almost as if he’s exhausted and would rather be in bed.

You step to the side, holding the door open enough for Lieutenant Riley to enter. Shutting the door, you follow behind him as he makes his way into the bedroom. Placing the cardboard box on the bed, Lieutenant Riley rests his hands atop it, silently observing you as you approach the box.

“You brought me something?” you ask with a hint of excitement.

Neutrality becomes softness. A flush of pink blooms at the edges of the balaclava. Ghost taps the top of the box and takes a step back, extending an arm in open invitation.

“Go on,” he urges.

Placing the thin, black booklet on the bed, you reach for the box with eager, itching fingers. Anticipation flowers in your stomach. Only days ago, Lieutenant Riley dumped you out of his lap and left, hardly giving you a glance as he walked out the door. Now, here he is, bringing you a gift.

You open the box and find an array of colors.

“Is this…” you trail off, reaching into the box, fingers gliding along soft fabric.

Lifting it from its home, you unfurl it. A sweater. Deep maroon by the color. The fit looks almost perfect. Holding the sweater off to the side, you peer down into the box.

“Have you brought me clothes?” you ask, almost choking on your words.

On your release from quarantine, you were given a single outfit. You’ve been rotating through two shirts and two pants the last two weeks. Placing the sweater on the bed, you start removing more items. There are tank tops, dress pants, and cardigans. There’s even a sundress. A wave of joy washes over you, drowning you in rapt glee as you retrieve more clothing items out of the cardboard box.

“I guessed on your size,” says Ghost as a mountain of clothes begins to form on the thin duvet. “Wasn’t sure about color. Or style.”

While the clothes are clearly second-hand, all of it is in good condition. You’ll have more than two shirts to wear. More than two pants. Ghost has brought you an entire wardrobe.

Gratitude explodes within you, bringing you to the brink of tears.

“I can exchange what you don’t like,” he continues, rambling on like he’s suddenly nervous. “If something is too big, can always have it resized.”

“Lieutenant,” you whisper, clutching a pair of black slacks to your chest.

“Do you like it?” he asks, taking a step toward you.

He sounds so eager—so hopeful.

Words form and then promptly leave your head, escaping into the air. So, you don’t speak. You walk around the corner of the bed, and push into Lieutenant Riley’s space. Placing your hand on his arm for support, you go up on your toes, pressing your lips to his balaclava-covered cheek.

“Thank you,” you murmur, squeezing his arm. “For thinking of me.”

Lieutenant Riley’s brow is soft and delicate. He leans in your direction, pure affection in his gaze. It’s startling, sending a rush of heat up your neck and a little flip of your stomach. You quickly drop your hand, backing up.

“You start at the archive today,” states Ghost that soft gaze following your every step.

“I do,” you exhale, smiling in his direction as you delicately fold a pair of jeans. “I’m excited to be around books again.”

“Should pick something out,” nods Ghost. “Look your best for the big day.”

“You’re right,” you grin. “I should.”

After a long deliberation and several spins for Lieutenant Riley’s viewing pleasure, you select a simple black dress with a forest green cardigan. It’s plain and comfortable but professional.

Ghost lightly tugs on the hem of the cardigan. “Fit all right?”

“It’s lovely,” you beam, shying away from how intensely Lieutenant Riley watches you.

It’s hunger but not lecherous in nature. Like dark water, you cannot see into his depths—you cannot begin to guess what he might be thinking. Yet you like the attention, and whatever animosity that lingered between the two of you from the other night is gone. Lieutenant Riley’s body language is relaxed and intimate. The man is in a good mood, and that contentment only heightens your own happiness.

You should enjoy this day. It’s a fresh start. A new beginning in the face of all that you’ve lost.

Ghost releases the cardigan, his arm returning to his side. “Ready?”

You nod. “Ready.”

Out on the street, Ghost escorts you toward a black SUV.

You come to a dead stop. “Is this yours?” you ask in disbelief. “People own cars?”

Ghost opens the front passenger door. “No,” he answers, stepping to the side to indicate that you should get in.

“No this isn’t yours? Or no people don’t own cars?”

“Yes.”

You poke him in the chest, but you’re grinning. “Don’t you dare,” you laugh.

“Dare what?” he replies in mock confusion.

You shake your head good-naturedly, sliding into the passenger seat. Ghost shuts the door, circling around the front of the vehicle to hop into the driver side.

You arch an eyebrow. “Why are you taking me to work in a non-military vehicle?”

“How do you know that?” counters Ghost, draping his arm across the steering wheel.

“So it’s a civilian vehicle?”

“Didn’t say that,” he says casually, leaning back in the seat, reaching into his pocket as he digs around for something.

You open your mouth. Shut it. Ghost chuckles, and you playfully smack his bicep with the back of your hand. Withdrawing a pack of cigarettes and a lighter, Ghost sets both in the middle console. The SUV roars to life, the floor gently rattling beneath your feet. Ghost checks the side mirror and shifts gears. The vehicle rolls forward, cruising slowly down the street.

Two weeks behind the wall and all you’ve seen is the inside of your temporary apartment, and a few surrounding streets. This is furtherment—a consolidation of what was and the exploration of possibilities. Home is behind you, though it dwells in your heart, and for now, you must make peace with your new reality. You must navigate this to your advantage, happiness, and well-being.

That is the core of survival after all. To carry on.

“Where is the archive?” you ask, peering upward through the windshield at the towering buildings.

“It’s inside the library,” answers Ghost, turning on his blinker as he rolls up to a stop sign. “In the civilian zone.”

“We’re going to the civilian zone?” Your voice is laced with excitement.

All you’ve known is grim-faced men and a militarized looming presence. This might just be your first real sense of normalcy in almost a month.

“We are,” replies Ghost.

You can’t sit still as the SUV shepherds the two of you along. Beneath your skin is a buzzing adrenaline. It pushes you to twist and turn, to try and absorb everything around you. The neutral greyness of the militarized zone starts to change, shifting toward greenery. Where there were only sidewalk, road, and buildings, trees and plants begin to appear at even intervals, adding a touch of color.

Ghost slows the vehicle at a small guard gate. The barrier lifts, and a guard waves the SUV through. The transition to the civilian zone is almost instantaneous—a whiplash. While there are several vehicles on the road, the majority are buses, and beside those in designated lanes are bicyclists and motorized scooters. No one walks around in uniform. It’s so…ordinary, and yet so strange, like you’ve been transported back to a time before the collapse or shoved into a parallel reality.

There is a communal quality to the way people move in groups or pairs. No one appears to be any hurry. Lieutenant Riley turns, and you nearly tell him to stop the car. You press your face to the glass, mouth agape as he drives by an open market.

As he takes another turn, you whirl around in your seat. “What was that? Can we stop there?”

Behind the balaclava, the skin around Lieutenant Riley’s eyes wrinkle, hinting at a hidden smile. “Another time,” he murmurs. “Promise. Don’t want to be late on your first day.”

You press yourself against the seat, head tilted in the direction of the window. While everything appears clean—utopian even—there is an underlying rawness, a wear and tear that can only come from age and lack of sufficient resources. Questions fire off in your head. There is so much you want to ask Ghost. If he weren’t so goddamn stubborn, you’d talk his ear off for hours. Instead, you sit still, toying with the hem of your dress as Lieutenant Riley guides the vehicle along.

A few more turns, and then you’re solidified, staring up in shock at the building before you.

“Oh my God,” you say aloud.

Lieutenant Riley snorts at your outburst.

The library’s front façade are book spines in various colors and titles. This is not a structure built in the collapse but from the time before, when libraries were receiving adequate funding, the government cared about knowledge, and learning was publicly free institution. The very center of the building, where the stone stairs meet the entrance doors, is a wall of glass, splitting the book spines into two sections.

“This is—This is amazing,” you gasp.

Ghost grunts in what must be an agreement. Either way, you don’t particularly care. This is a library, a place you never thought you’d see in all its glory again.

“Are you crying?” asks Lieutenant Riley, reaching across the center counsel to place his hand on your shoulder.

“Yes,” you hiccup, wiping away a wayward tear.

“What’s upset you?” He sounds genuinely worried, and that only makes you cry harder.

“I’m happy. I promise,” you say through a shaky breath.

The crease in the middle of Lieutenant Riley’s brow doesn’t abate. “Need to take a minute?”

You nod, sniffling, using the sleeve of the cardigan to absorb the remaining tears. “Just a bit overwhelmed.” Ghost nods but remains the quiet companion as you gather your composure. “I’m ready,” you murmur after a minute.

Lieutenant Riley leans away from you, fingers pressing against the door lock buttons. You hear the audible transition of the locks disengaging. Reaching for the handle, you take a deep breath, readying yourself for what’s to come.

The car door opens. Crisp, cool air rushes in. You inhale sharply, slipping from the seat, landing on solid ground. Glancing over your shoulder, you lock gazes with Lieutenant Riley. He gives a little nod, an encouraging inclination to go.

You raise your hand in the smallest goodbye, slamming the SUV door. Through the window tint, you watch him watching you. Backward step. A turn of your heel. Forward step by forward step. Stairs.

At the top, just before the glass doors, you turn one last time. Ghost is still parked at the curb. Waiting. This is a different version of him, a patient and caring Lieutenant Riley you haven’t seen before. He’s certainly flirted, found ways to comfort you, but there has always been distance—a separation. You consider this change as you enter the library, questioning whether Lieutenant Riley’s motivations are pure.

Who did they assign to you?

Why does it matter?

It matters to me.

The bit of joy that’s made a nest in you fractures. Small cracks. Tiny fissures. Not enough to notice but just wide enough to allow bitterness in.

I was offended they didn’t make me an offer.

Perhaps Lieutenant Riley’s motivations aren’t pure. It’s clear that he wants you to himself, but why? Why you when he could probably have anyone?

As you enter the library, you’re greeted by a warmly lit space, the interior all dark wood and polished stone. Overhead, you notice a balcony of a second story. All you can see of it are the tops of the shelves, but that isn’t what captures your attention. As you approach the front desk, you notice the lack of books on the shelves. Some are completely empty, others full. Most are partially stocked with sections of barren shelving, dust collecting in the corners.

You give your name at the desk, and the receptionist smiles.

“Follow me,” she says, voice soft and lyrical.

As the two of you head toward the back of the building, your awe becomes worry. Most of the lights are turned off back here. The bit of light it does receive comes from the main windows up front and a few skylights that cut through the middle of the second-story ceiling. Rope barricades close off endless rows of empty shelves. Destruction has not touched them. They are simply empty. Bones and broken skulls that once held neural gore.

“Through this door, dear,” says the receptionist, indicating a door that says, “Archival Department” and below that “Employees Only.”

“Thank you,” you reply, but she’s already off, shoes clacking against the marble.

You press your hand to the door, standing there in the muted shadows. Instinct is rising, whispering to run, to seek shelter in more familiar places. But there is nowhere for you to go. Even if you were to walk out the front door, Lieutenant Riley might not be out front, and you don’t know how to return to your apartment.

“Fuck,” you whisper, pressing your forehead to the door with the other hand on the handle. “Fuck.”

You have to do this.

You have to do this.

You have to—

Turning the handle, you shove it open, barreling through without looking where you’re going. You nearly take a tumble, righting yourself at the last moment. The door slam shuts behind you, and three pairs of eyes stare back.

“That’s certainly an entrance,” comes a masculine voice with a thick Irish accent.

A tall, lanky man with wire-thin glasses sits behind a plain wood desk covered in stacks of paper and various office supplies. His auburn hair has a touch of grey in it—messy too like he’s only just rolled out of bed. In his hand is a white mug with black lettering that says Yes, I really do need all these books.

“Hi,” you manage, raising your hand in greeting.

When he smiles, there is a fatherly touch to it. You instantly gravitate toward it. “I’m Arthur,” he says, rising from his chair and circling around the front of his desk, arm extended, hand offered in a handshake.

You give your own name, clasping his hand. “It’s nice to meet you.”

“You’re me new archivist.”

“I am,” you nod.

Arthur beams. “Welcome.” He turns to the other two people in the room. Both are women around your age give or take a year or two. “This is Hannah.” He nods toward a blonde with a head of tight curls. “And that is Eloise.”

“Hello,” they greet in unison, all smiles.

The room itself is a quaint office space. Along the far wall are large windows that let in natural light. There are four desks in total, three clearly belong to Arthur, Hannah, and Eloise. The fourth sits empty and must be yours. Beneath your shoes is worn, dark wood and the walls are an off beige with one accent wall in dark green. Pushed up against the three walls without windows are rows and rows of shelving, all of it packed and overflowing. A few of the wood shelves sag inward, threatening to collapse at any moment.

“Charles mentioned your experience,” says Arthur. He takes a drink from his mug. “We’re happy to have you. Too much work for three.” He chuckles. “Not that four will be much better.”

“I noticed all the empty shelves,” you reply, taking a leap in what he might be referring to.

He nods solemnly. “This library services the entire Safe Zone. You’d think they’d assign more staff.” Arthur shakes his head. “We can’t process all this material fast enough. Demand is high but we’re only three.” He lifts his coffee mug in your direction. “Four.”

“Staying busy sounds nice,” you reply, because it’s true. You need out of your fucking head. You need to be away from Ghost and from that apartment for a bit. “And books make me happy.”

Arthur nods. “Hopefully you’ll still love them as time goes on.” He clears his throat. “Now, about the job.”

An endless sea of information rushes at you. Eloise and Hannah float about the office, the two of them chatting in French as they rifle through paperwork. Arthur leaves them to it, taking you on a full tour of the office space and then into the library itself. You stay politely silent through most of it, asking questions when there are lulls. Meandering through the library, Arthur circles back to the office, bringing you to another door.

“Behind here,” he begins. “Is everything we have yet to duplicate.”

While walking through the library, Arthur explained the only books on the shelves were ones they already had duplicates of. There are plenty more where there are only singular copies. Some in pristine condition, others needing a reprint. But it’s not all physical. There are digital versions too that are sitting, waiting to be processed.

“It’s a maze in there.”

“I’m ready,” you smile.

Arthur opens the door, the two of you stepping inside. The quality of the air is immediately different. On the wall next to the door are several panels indicating temperature, air quality, and humidity. It’s all being monitored. But that’s not what shocks you.

Arthur wasn’t joking. The place is a fucking maze.

“What—what is all this?” you ask, turning toward him, gesturing at what can only be called a mess.

Arthur sighs, adjusting his glasses. “That is too much work for four people.”

There is no organization. To order in the chaos. It’s just rows of shelving, stacks of cardboard boxes and storage bins. There are even stacked books pressed up against the wall. A home was found, even that means home is on the goddamn floor.

“No kidding,” you whisper.

Just as Arthur opens his mouth, the door swings open.

“It’s lunch,” says Hannah.

Arthur checks his watch. “Look at that.”

“And someone is here for you,” adds Hannah, smiling in your direction.

“Me?” You point at yourself as if there might be another of you lurking in the stacks.

Hannah’s smile shifts, becoming a knowing smirk like she’s holding on to a little secret.

Arthur claps and pats his stomach. “Lunch is an hour. A full hour.” He winks. “We take that seriously around here.”

At the library reception desk, you find an unexpected visitor.

“Lieutenant,” you breathe, approaching Ghost slowly. “Are we leaving?”

You don’t want to go. Only a few hours in and you’re eager to stay, to idle amongst the shelves.

In one hand, Ghost carries a soft-sided insulated cooler bag. Tucked under that arm is large blanket. The receptionists gaze lingers on the two of you, observing with abject curiosity. Ghost is in his all-black fatigues and balaclava.

“Thought I’d bring lunch,” he states.

“That’s kind of you,” you murmur, reaching for the blanket.

Ghost surrenders it without protest. “There’s a park across the street.”

You nod, clutching the blanket to your chest. “I’d like that.”

A few minutes later and you’re sitting on the blanket, soaking up the sun as Lieutenant Riley opens the cooler bag. He retrieves a glass bottle of water along with sandwiches, fresh fruit, and some cut raw veggies.

“Eat as much as you want,” sighs Ghost as he settles onto his back, arms tucked behind his head.

Unwrapping one of the sandwiches, you take a bite, chewing slowly. “Thank you.”

Lieutenant Riley glances at you. “You didn’t pack a lunch. Knew you’d be hungry.”

“Looking after me?” you tease.

“That’s my job.”

You snort and take another bite. As you chew, you pour yourself some water. It’s cold and crisp. Refreshing. “Didn’t work today?” you venture to ask.

“Work every day,” sighs Ghost. “Price doesn’t mind if I slip away for an hour or two.”

“Must be nice,” you murmur.

“First day treating you well?”

You nod, still chewing. Swallowing, you answer him. “It’s a good fit. Keep me busy.”

“Good.”

“Arthur is the Lead Archivist. And Irish. Hannah and Eloise speak French, but their accents are different.” You take another bite. “Pretty sure Hannah’s Canadian and Eloise is from France,” you muse. After a few seconds of silence, you continue. “Is that normal for all the Safe Zones?”

Ghost adjusts, stretching. “Is what normal?”

“Is it normal for people from different countries to all live in a Safe Zone together?”

Lieutenant Riley stares up into the sky. “It’s on purpose.” You start to formulate a follow-up question, but he carries on. “To dispel supremacy movements. Can’t gather support if the remaining population is scattered across hundreds of Safe Zones.”

“There are hundreds of Safe Zones?” Ghost nods but doesn’t elaborate. “How many exactly?” you probe.

“Just over two hundred.”

Two hundred? There aren’t even two hundred countries. You recall the map in Commander Graves’ office, of the different colored stars that dotted the unlabeled land masses. Of the stars, there were eight different colors, but now that you consider it, they easily could have been two hundred of them on it.

“Are they all large like this one?”

“No,” snorts Lieutenant Riley. “Most are small. Only a few dozen are the size of this one. Ten that are even larger.”

This is the most information Ghost has given you. He appears more open than before. Relaxed. You take another bite of your sandwich, knowing that you need to take advantage of this opportunity.

“Is that why the country flags are black on your uniforms?”

Like a sudden breeze that chills the bones, Lieutenant Riley’s demeanor shifts to a somber note. “Partially,” he answers, voice raspy. “Black flags used to mean something different. Now it’s a statement of grief and remembrance.”

“I don’t entirely understand,” you say softly, shifting closer to him. “There’s so much I don’t know. And no one is willing to talk to me about it. They just…stare at me like I’m dumb.”

You recall Commander Graves’ disgusted expression, and the aloofness you received from Charles. Joann didn’t acknowledge your lack of understanding either.

Ghost still stares into the sky. “Countries exist by law and not land. Borders don’t bloody matter when half a continent is devasted by warfare.”

A sourness blooms in your stomach, the food sitting heavy. “What about your home?”

“Habitable. But destroyed. The infrastructure is gone. All the major cities are craters.”

You reach out, placing your hand on his arm. “I’m so sorry.”

Lieutenant Riley finally looks at you, a sadness settling in his brow. “I’ll be fine, dove. Everyone I care about is here.”

You give his arm a little squeeze before retreating, fiddling with the paper wrapper your sandwich sits in. While you’d like more answers, it’s clear that this topic upsets him. Lieutenant Riley’s home is gone—obliterated. It’s not a pleasant topic for idle conversation.

“With the school attached, I might be asked to lead a writing or reading class. Maybe sub if someone is sick. Arthur mentioned that they try to go there once a week to help those students who are behind reading level.”

It’s an attempt to turn the conversation around, to divert Lieutenant Riley’s thoughts elsewhere. He takes it, some of that sadness receding.

“You interested in that?” he inquires.

You incline your head. “Yes. Did it all the time in my previous community.” Taking another bite of your sandwich, you chew thoughtfully. “But I wouldn’t call what we had a ‘school.’ Did our best though.”

Lieutenant Riley’s gaze is soft. There is a lightness to it, an affectionate edge that reminds you of this morning. You fluster under that stare, staring down at your lap.

“You’ll be brilliant,” he states with such confidence that you believe it too. A smile forms on your lips, spreading wide until your cheeks hurt. Lieutenant Riley rolls onto his side. “Can I kiss you?”

Startled, you blink rapidly. “I—” You giggle. “Yes.”

As you lean toward him, Ghost reaches out, grasping the back of your neck to draw you closer. With one hand on his chest, and the other pushing up his balaclava to reveal his lips, you don’t care if anyone is watching. The sweet connection is instant sunshine—a flowering of a season. Low in your core, a heat stirs.

Soft and slow, Ghost restrains himself, and that only fuels the desire swirling inside you. This is the Lieutenant Riley you like. The one you want to know. Even though you’ve been ripped from your home, you could make a new one here, with him, if only it were always like this.

“Dove,” he breathes against your lips.

That name he calls you. An endearment. You pretend to hate it, but the way he always says it with a husky tone sends you over the edge every time. It drives into your skull. Burrows in your bone.

“Need to take you back,” he whispers, nuzzling your cheek. You linger here, eyes closing as his thumb traces the underside of your bottom lip.

The walk back is silent but not awkward. You stand close to him, arms occasionally brushing against each other with the sway of your body. The urge to hold his hand is suffocating, but you resist. There is no relationship here—only a terrible back-and-forth that you cannot wrap your head around.

The rest of your workday is a blur. It’s combing the library catalog and organizing stacks of paperwork Eloise places on your desk. There is no clear organization. Most of the paperwork are inquiries from other Safe Zones, wanting to know if they have extra copies of certain materials. You do not touch anything in the storage room, but neither do Arthur, Hannah, or Eloise. It dawns on you then, that the work happening requires far more people than what’s been staffed.

When Lieutenant Riley comes to pick you up, you’re almost thankful. Exhaustion settles over you, and you don’t realize you’ve fallen asleep in the passenger seat until Ghost awakens you. Every step is a drag, and all you want is your bed.

With a groan, you flop onto the duvet. Beside you, the bed dips as Ghost sits.

“Are you staying?” you ask into the bedding.

“No.” Silence. Then, “I have to take you to the family planner at the end of the week.”

Your eyes pop open, the tiredness vanishing. Pushing up, you turn toward Lieutenant Riley. “Did they say why?”

He shakes his head. “Just that they want to see you.”

This is it.

The push.

“You’re being pushy.”

“I’m sorry if I’m coming across that way.” Joann folds her hands in front of her on the desk. She has this superior look about her, as if to say, I know more than you. “I’m simply thinking ahead. Better to start the search now than wait until you’re ready.”

“I’m not ready,” you scoff, still in complete belief at Joann’s audacity to hurl this at you. “I haven’t even been assigned my new home after probation. I just started my job a few days ago.” You shake your head. “This is all very sudden.”

Joann puts on an air of false sympathy. “I completely understand. It’s a difficult transition. But if you put this off, you’ll find yourself rushing later.”

I fucking doubt that, you think even as the words threaten to leave your mouth.

She raises her hands in a placating gesture. “Don’t think of it in the way you’re thinking. You don’t need to make a decision tomorrow.” Joann shrugs. “Think of it as shopping.”

“You’re asking me to shop around for a potential spouse?”

“Or sperm donor,” interjects Joann. “We are inclusive here.”

You wince, wanting to be done with this conversation. It’s not as easy as saying no and moving on. Joann isn’t here speaking with you just for you to throw a no in her face. Not that she gave you the option. I put you down for single’s social, she had said with a bright smile, as if that’s something you wanted to hear today.

“Do I need to wear anything specific?” you ask. “Is this a casual event? Or…”

“It’s casual, but I’d recommend something that compliments you.” She laughs. “No one is going to be in a suit if that’s what you’re asking.”

“Didn’t know those still existed,” you mutter.

Joann ignores your comment. “Look at this as an opportunity. I’ve already received a few inquiries about your eligibility.”

“I’m sorry,” you blurt. “You’ve received what?”

Joann continues like she didn’t hear you. “All of them will be there. And I’ll likely receive more after you attend.” She sighs dreamily. “Especially from those military boys. They see what they want and go after it.”

No. Fucking no.

“This will overwhelm me,” you chuckle nervously. “I shouldn’t go.”

Joann blinks. “Course you should. It’ll do you good to get out. Talk with people other than Lieutenant Riley. I know he’s mysterious and has a bit of a bad boy reputation, but he’s not the only option.” She smooths her hand over the small stack of papers in front of her. “It’s also an excellent opportunity to make some connections. Maybe find friends.”

You could use some friends, but your coworkers are starting to fill that gap. Eloise brought you some croissants she made, and Hannah presented you with your very own coffee mug with “Book Sniffer” on it because she caught you smelling a particularly beautiful copy of War & Peace.

Gathering up the papers, Joann gently taps them against the top of the table. “Lieutenant Riley will be there but I recommend you branch out. I know that he’s probably a place of safety for you right now but lingering at his side all night isn’t the best idea.”

“Why is that?” you snap.

While you’re genuinely interested in knowing, you’re also a bit pissed off that Joann called you out. Ghost is your safety net, and if he’s attending, why would you leave his side to speak with anyone else.

“It’s not fair to others,” answers Joann simply. “Stick by Lieutenant Riley’s side during the whole social and people will think you’re spoken for. They’ll complain.” She looks at you pointedly. “And we don’t want that.”

Fuck.

Causing problems. It’s the exact thing you don’t want to do while you’re on your probationary period. Once you’re past it, things might be different. Charles hasn’t discussed what comes after. He didn’t say whether or not you receive immediate citizenship or if there’s an additional process.

No one is giving you clear direction. No one wants to fully explain. It��s expected submission, to look down and follow along. Pushing back or questioning too much seems to aggravate everyone.

“No,” you agree. “We don’t want that.”

Joann’s face lights up, and you immediately want to slap it off her face. “Brilliant,” she sighs. “Here’s the information. Can’t wait to hear all about it when I see you next.”

Fucking doubtful.

With a half-hearted smile, you make your exit, meeting Ghost in the lobby of the building. When he notices you, he immediately turns in your direction, walking toward you with purpose in every step.

“Everything good?” he asks, grasping your arm to pull you in.

You hand him the information instead of speaking. Ghost takes it, gaze roaming over the piece of paper rapidly.

“You’re fucking joking,” he growls.

[icantbelieveitsnotbutler]

Phantomhive Manor Layout

I'm the type of person who loves a good fictional map or floor plan and, unable to find one of the Phantomhive manor house on the internet, I naturally tried to make one myself. I figured that I would be able to to follow the routes the characters take to get to certain rooms and compare the interior and exterior window positions and designs to map the rooms.

I've been trying off and on for around a week now and, besides the entrance hall, I couldn't confidently tell you the location of a single room. Windows seen from the inside don't exist on the outside and windows on the exterior aren't present within the rooms. Certain windows and external doors exist in one chapter and are gone the next. Characters go up 3 full flights of stairs only to end up on the second floor. Entire stories appear where they weren't in previous in arcs.

This is obviously due to human error and things being changed to make them more historically accurate or to serve the story. It also doesn't matter where the rooms are, only the purpose they serve and what happens in them. The location of the dining room isn't important; we just need to know that's where people eat and have birthday parties, and one time Sebastian did a cool flip there.

That being said, I always want a Watsonian explanation even when there's a Doylist one. I could only come up with one in-universe explanation for the logical inconsistencies of the house: when Sebastian restored the manor house, he didn't just fix it. Whatever he did to it, the house is no longer a static, spatially-consistent structure.

If anyone is interested, more details about how confusing this building is are below the cut (with some out of context manga spoilers).

The Manor House

The first image is the front of the house, the side which carriages approach. The second image is the back where the garden is. Both are from Meyrin's backstory.

Here are more aerial views:

Note the appearance of extra windows along the side of the central section in the first one, which is from the same arc as the previous two images. The second is from the Blue Revenge Arc.

Here are details of the back view of the building:

Note the disappearing windows in some.

Ciel's bedroom.

Before the Green Witch Arc, Ciel's bedroom windows look like this on the interior and exterior:

Note that they open outwards (casement). Also note that they interrupt the hip-height decorative design inside. The three exterior shots are from Sebastian's record in the Luxury Liner Arc and don't match any corner on the more zoomed-out views of the building.

At the end of the Green Witch Arc, the windows are now hung (the bottom half slides upward to open) rather than casement style, but are otherwise the same:

In the Blue Revenge Arc (including the servants' flashbacks and r!Ciel's time there after he reclaims his identity from o!Ciel), the windows change:

The curtains are now a solid color and the decorative design is below the windows, rather than being interrupted by them. Those are insignificant details, but the panels showing the exterior directly contradict the interior and information from previous arcs:

The room is now on the middle floor while before it was on the top floor (not including the attic level), in addition to having a different architectural design around it.

The bedchamber together with the front room have 4 windows altogether, but the exterior only shows 3. The dressing room and bathroom each have a bay window, but the area where they would be seems to be up half a level. There's also a window on the exterior on the wall behind Ciel's bed, but no sign of it inside.

Interestingly, the layout of his quarters would be closer to the floor above, which has the four windows on the back and the two bay windows on the side. It's missing the dormer windows above, and the architectural details below, but it makes me think that there was some error in planning/drawing and the bedroom was actually supposed to be on the top floor.

It seems that the whole manor is actually two main floors for the family and guests, with a basement level and an attic level for the servants, and that one additional floor in the corner block got added at some point. In the earlier arcs, the roof of that section was the same height as the section to the left of it. It was only in the Blue Revenge Arc that they became different heights:

I thought things might be cleared up by following the routes of the characters to reach the room, but it's hard to understand where they're going.

In the Murder Arc, they go up one flight of stairs from the dining room (usually on the first floor in these types of houses) to reach Ciel's bedroom, and the second time they go up at least two floors from a bedroom (usually on the second floor) to reach the same room.

In Bard's backstory, Finny tells him Ciel's room is on the second floor, and then Bard goes up three flights of stairs from the first floor to reach it.

Something to note is that the three middle panels of Bard's route are identical to the first route of the Murder Arc, and then he goes up an entire extra staircase to reach what is supposed to be the same room.

In the Blue Memory Arc, Ciel has to come down from a higher floor to reach his parents' room (which became his room).

If the bedroom is on the second floor, he must have come down from the third floor, but I can't find the window in the stairwell anywhere on the outside of the building.

The Dining Room

The dining room is a long room with two entrances on one of the short walls, three large windows on the left, a fireplace on the right, and a huge bow window at the end. I initially thought there could be two of them, because I noticed that the height and design of the bottom of the bow window seemed to change depending on what meal was being eaten. However, I now think it's just inconsistent drawing.

As usual, there's no way to tell where this room is located. There are no bow windows on the outside of the building, or even a corner of the building which would allow for this configuration of windows.

The Drawing Room

This room has two enormous windows and conveniently has a panel of Ciel looking out of one them so we can determine its general location. However, I'm not sure which of the following sets of windows is correct:

The blue and orange are very big, but the yellow has the same window pane pattern as the most recent iteration of the room, which is the most accurate. However, the yellow is a set of three windows while the room has two. One of the windows could be in the next room, but it feels unlikely. The interior distance from the top of the windows to the ceiling is lacking from the the blue on the outside, so if the drawing is accurate, it would probably be the orange. The orange also feels most accurate to the panel of Ciel looking out the window, but the earlier volumes were less consistent in perspectives and proportions, so it's impossible to tell.

Ciel's Office

Ciel's office has a bay window overlooking the drive up to the house. There are two locations that fit this criteria.

In volume one (so take this with a grain of salt), there's a second window consistent with the teal option, but it doesn't seem to show up again. The side where the second window would in the orange option is never shown (to my knowledge).

Whichever option it is, the other side might be the room where Sebastian tutored Ciel.

The wall shown with bookshelves doesn't seem to have a window consistent with the teal side, so assuming the window is on the opposite wall and this room is the orange, Ciel's office would be the teal.

[hometoursandotherstuff]

Historic 1855 Italianate in Staten Island, NY has a lot of work already completed, but needs a new owner to finish it. As you can see, only parts of the house have been repainted. It has 9bds, 2ba, 5,200sqft, $1,599,999. This is one of my favorites that hasn't been sold.

The porch is painted, looks like there's a new roof, and the Belvedere has been painted, as well.

So, the middle of the house has been scraped, but needs paint. It looks like they added 2 side structures to the original house. 0.52acre lot. The home is on the site of the former 1650 Rose and Crown Tavern.

Look at the pretty view from the front porch.

Look at the front yard.

This is actually the rear entrance. A bright blue foyer opens to a beautiful main hall.

The stairs need to be refinished and there's old linoleum on the floor. You can see the double front doors from here. They already restored the mural on the stairs to the lower level.

Isn't this lovely? The main sitting/reception room is complete. They did a great job on the fireplace.

From here, you can see a finished sunroom through the doors.

They currently have it set up as a child's room.

The 2nd reception room is lovely- the fireplace is done and I like their choice of carpeting.

Look at the wide plank floor in here. This could be the dining room, actually, but they're using it as a bedroom.

The kitchen is very small, and I don't think that this is the original kitchen. If anything, it looks like a pantry.

The upper floor needs restoration, and it's the murals that I love. There's a nice bath up here, with a vintage tub.

Look at this hall, though. The murals! This house has 4 floors. The floor plan counts the Belvedere as a 5th level. These walls are just so beautiful, I hope that someone doesn't come in and do them all white. Note how you can see the next level's stairs thru the ceiling.

There's some history included in the listing. Here, we can see that they did do work on the walls.

Here we are up in the belvedere. It's large enough for a table and chairs.

New York Magazine had a fashion photo shoot here in 2006. Look at the shot in the Belvedere. The house was in need of painting all the way back then.

The house has history. After the tavern was demolished, in 1890, Gustav Mayor bought the house and put a bakery business in the basement. There, he invented the Nilla Wafer cookie and sold it to Nabisco in in 1898, so the house is where the famous Nilla Wafer was born.

https://www.zillow.com/homedetails/24-Saint-Stephens-Pl-Staten-Island-NY-10306/32295440_zpid/?

[useless-denmarkfacts]

I remember discovering the fire of Notre Dame on tumblr, so I'm very sorry to inform everyone that the Danish Stock Exchange in Copenhagen, completed in 1625, is burning. Its unique spire has fallen, and as the building is, to a larger degree than Notre Dame, made of wood, mortar, and stucco, there may be very real structural damage. As you can see from the image, they were in the process of restoring it, just as it was the case with the church. Very real reconsideration should be done to how we restore very old buildings if we keep setting them on fire during the work.

People off the street have been seen running into the building and bringing out historical art pieces, primarily paintings. If you are close by, DO NOT do this! I know it appears the heroic thing to do, but no human life is worth the risk to save a painting, no matter how significant.

Before all this:

[blueiscoool]

Ancient Painted Tomb Found in Etruscan Necropolis

Archaeologists have uncovered a remarkable painted tomb at the Monterozzi Etruscan Necropolis, located east of Tarquinia in Lazio, Italy. Though initially discovered in late 2022, the find was only recently announced by the Superintendence of Viterbo, revealing a burial chamber adorned with well-preserved wall frescoes.

A HIDDEN TREASURE REVEALED

The tomb, now officially recorded as Tomb 6438, was discovered during an inspection of previously looted and disturbed burial sites. A collapsed wall unexpectedly led researchers to an intact chamber, prompting immediate efforts to secure and protect the site from further damage.

To prevent additional looting, the excavation was kept confidential until experts could fully assess and safeguard the structure. Inside, archaeologists uncovered striking frescoes illustrating scenes of dance and ancient craftsmanship, which have been dated to the mid-5th century BC.

INTRICATE FRESCOES DEPICTING ETRUSCAN LIFE

The frescoes offer a fascinating glimpse into Etruscan culture. The left wall showcases men and women dancing around a musician playing the flute, while the right wall features a metallurgical workshop, possibly symbolizing the forge of Sethlans—the Etruscan equivalent of the Greek god Hephaestus.

The back wall depicts a woman, possibly the tomb’s occupant, accompanied by two youthful figures. Unfortunately, part of this scene has been lost due to looters breaching the chamber by drilling through the tomb’s seal. This intrusion caused a collapse from an overlying tomb, scattering debris and artifacts into the burial space.

ARCHAEOLOGICAL FINDINGS AND RESTORATION EFFORTS

Although few burial artifacts remain intact, archaeologists recovered fragments of Attic red-figure pottery from the debris.

Superintendent Margherita Eichberg emphasized the tomb's artistic significance, noting that early restoration efforts have already revealed the intricate details of the flute player and one of the dancers. Restorers Adele Cecchini and Mariangela Santella are currently working to preserve these delicate artworks.

Daniele Maras, a leading expert on Etruscan history, highlighted the tomb's importance, stating, "This is the first painted tomb featuring a figurative frieze discovered in Tarquinia in decades. It holds great promise due to its artistic quality, historical value, and unique imagery."

A RARE GLIMPSE INTO ETRUSCAN HERITAGE

This extraordinary discovery sheds new light on Etruscan burial traditions and artistic achievements. The detailed frescoes offer a rare and invaluable look into a civilization that once thrived in ancient Italy, further enriching our understanding of their customs, mythology, and daily life.

As restoration continues, researchers hope to unveil even more insights from this extraordinary tomb, preserving its legacy for future generations.

[blackstarlineage]

Roots and Routes: The Sharp Divide Between Afrocentrism and Pan-Africanism Through a Garveyite Lens

Introduction:

Too often in today’s discourse, Pan-Africanism and Afrocentrism are used interchangeably. But from a Garveyite perspective—rooted in organization, political power, race-first philosophy, and global Black unity—this conflation is both incorrect and dangerous. While both frameworks attempt to restore dignity to African people, their core philosophies, strategies, and end goals differ profoundly. One is a worldview rooted in aesthetic restoration and cultural reclamation; the other is a revolutionary project of global liberation, nation-building, and self-determination. Let’s draw the line.

1. Definitions: Surface vs Structure

Afrocentrism is primarily an intellectual and cultural movement. It seeks to reframe history, philosophy, and identity from an African-centered perspective. It reclaims ancient African contributions to civilization (Kemet, Nubia, etc.), reinterprets historical narratives, and critiques Eurocentric frameworks in education, religion, and science. Its goal is to mentally decolonize.

Pan-Africanism, especially in its Garveyite form, is a political movement—built on race pride, economic independence, self-reliance, and the unification of all African people under one flag. It calls for African control of African affairs, be it on the continent or in the diaspora. It doesn’t just want to rewrite history—it wants to make history.

Garveyism, the most militant and organized strand of Pan-Africanism, understands this difference and demands more than mental liberation. It demands power—political, economic, and military.

2. Cultural Reconnection vs Political Realignment

Afrocentrism often revolves around symbolic reclamation—names, clothes, spiritual systems, and a sense of identity. It’s about replacing European heroes with African ones, reclaiming ancestral memory, and taking pride in Blackness.

But Pan-Africanism asks: What systems do we control? Who governs our lands? Who owns the resources? It sees cultural pride as a tool, not an endpoint. Garveyites assert: What good is reclaiming a name or deity if we still live under foreign rule, economic dependency, and systemic subjugation?

Afrocentrism may critique oppression. Pan-Africanism strategizes to end it.

3. Individual Liberation vs Collective Nationhood

Afrocentrism often emphasizes personal or group enlightenment—an internal transformation through African-centered knowledge and spirituality. While powerful, this path often lacks organized mass movement or material outcomes.

Garveyite Pan-Africanism is inherently collectivist. It calls for global Black unity—not just in spirit but in institution. Garvey’s UNIA (Universal Negro Improvement Association) built shipping lines, schools, factories, newspapers, and provisional governments. The aim wasn’t just consciousness—but sovereignty.

Afrocentrism may change minds. Pan-Africanism changes conditions.

4. Diaspora Focus vs Global Black Nation

Most Afrocentric discourse is diaspora-centric, particularly African American in tone. Its critiques and solutions are often local, focused on Western systems of education, religion, and media.

Pan-Africanism—Garveyite Pan-Africanism especially—is transnational. It refuses to center the West. It sees Black people in America, the Caribbean, Africa, and Europe as one people with one destiny. Its map is global. Its aim is a worldwide African federation.

Garvey said: “Africa for the Africans, at home and abroad.” Afrocentrism too often forgets the abroad is not just where we are, but where we must unite to return, rebuild, and reign.

5. Militancy and Mass Movement

Garveyism believes Black liberation is a war. It’s not poetic or symbolic—it’s real. It demands discipline, order, strategy, and mass mobilization. The UNIA was a blueprint: uniforms, oaths, ranks, black cross nurses, and political offices. That wasn’t cosplay—it was preparation for sovereignty.

Afrocentrism is rarely militant. It is more academic, introspective, and expressive. There is no Afrocentric equivalent to the UNIA or the Black Star Line. No global organizational machinery. No chain of command. No flag to fight under.

Garveyites know that without structure, you cannot build power.

6. Pitfalls of Afrocentrism: The Garveyite Warning

Myth-making without organizing: Afrocentrism sometimes indulges in unverified or romanticized histories (e.g., everyone being Moors, Israelites, or Pharaohs), which can become distractions.

Individualism over institution: It often produces lectures, not organizations.

Confusion over unity: It can fracture along spiritual lines—Kemetic, Yoruba, Moorish, etc.—while Pan-Africanism aims to unify across these differences for political goals.

Silence on Africa today: Many Afrocentrists romanticize ancient Africa but have little to say about modern Africa’s struggles or Pan-African state-building efforts.

Garveyism stands firm: If it does not build power for African people worldwide—it’s not enough.

Conclusion: The African Race Needs Builders, Not Just Dreamers

Afrocentrism is not the enemy of Pan-Africanism—but it is not the substitute. Culture without sovereignty is performance. Identity without power is vulnerability. Garveyism demands we go beyond aesthetic reconnection and move toward global Black reconstruction.

As Garvey once thundered: “The Black man must build for himself. If others are to live by conquering, then he too must learn to conquer for his survival.”

Let us not be content dressing in Kente while begging for crumbs. Let us organize, unify, and take what is ours.

[sensiblereblogifposts]

A while ago, I posted a petition, to stop the closing of a much loved museum, Syndeys Powerhouse museum, a place that's been under threat for years.

I need your help with this once again, (especially if you are an Aussie)

After years of threatening to close down and demolish our only science, tech and applied arts museum, and one attempt to turn it into an events center, they've come back with another plan, which basically amounts to "we're going to clear out the museum and demolish most of the structures inside. We definitely have a plan to put some cool stuff back, but we can't tell you it, but it's definitely gonna be great. Don't mind that a bunch of purpose built structures to display delicate objects are set to be demolished."

(That's an F1 Apollo rocket engine, very rare outside the USA. Almost 60 years old, now delicate, but it's going.)

"We've garunteed 3 of the most iconic items (not their accompanying collections) will come back. Pay no mind that we haven't allowed for where they're gonna go, or that the one object we can't move (rare, 250 year old working Boulton and Watts steam engine) is set to end up inside a corridor)

(There used to be room, elevated planforms even)

"Oh, also, you know that museum storage hall, so close by and practical, with a loading dock and workshops, that's also sitting on prime real estate? We're building a second loading dock and workshops in the main museum! Right where the all classrooms where!"

It's supposedly a heritage restoration, but in truth, it's based of a skewed heritage report which has been heavily criticised as I'll informed, and rigged to allow the place's removal.

Almost every detail goes against the spirit of the original musuem. The orginal museum was a fun, post modern place with a sciencey vibe,

Which transitioned fluidly into historic halls, with historic products and technology to match

The Musuem has an upper entrance designed to be welcoming, full of natural light, and evoke the feel of an old grand train station. This is to be bricked up.

Rather than restore the older galleries, theyre taking several of them out reducing display space from about 15,000m²ish to about 6000m² ish.

The historic halls included restored generator room filler with steam engines. This really put the museum on the map.

But that's going.

All that is going, in favour of

This kind of thing.

The plan to do this is on display untill end of may May 30th, Aussie time. It would help a lot if you (might be only Australians) log on and make a short comment opposing the project:

A lot more commentary on the project can be found at:

@protecpowerhous on Twitter

Or if you cant make a submission, and still haven't, please sign that petition:

The people reporting to government planning will be see it, and attention helps.

[reflectionspace]

Let's talk about this.

“It’s Just a Game” Isn’t a Shield from Critique—Especially in a Series Like Dragon Age

The idea that Veilguard should be immune to political critique because it’s a “video game” is historically inaccurate—and intellectually lazy. The Dragon Age series has always used fantasy to explore sociopolitical dynamics: Chantry control, class divides between mages and templars, Qunari imperialism, elven diaspora, Tevinter slavery, and more. So when Veilguard invites players into a world supposedly about revolution, anti-slavery, and queer identity, it should be expected to have something meaningful to say about power.

And if it doesn’t? That’s a legitimate—and necessary—critique.

More to the point: many games, even those from large publishers, handle sociopolitics more carefully than Veilguard does.

Cyberpunk 2077 gives us a protagonist who becomes a living legend and can kill Adam Smasher—but is still structurally powerless in the face of corpo systems. Even the elites are trapped by the machine.

Cyberpunk 2077 really deserves its own post, because hot damn, it's the Schwartzwald cake of embedded sociopolitics and careful writing with intention, amidst a sea of cupcakes.

No, seriously. Cyberpunk 2077 is so good. Writing-wise, it was good on release - all it really needed was technical polish.

Skyrim, for all its fantasy tropes, embeds debates about religious freedom, colonization, and nationalism—conversations so compelling that people still argue Stormcloaks vs. Empire over a decade later.

The Witcher 3 examines war, poverty, racial violence, pogroms, and political manipulation. Geralt is “neutral,” but the world is not, and the player is always brushing up against the consequences of that.

Dishonored is about restoring monarchy—but it’s also about class, state violence, surveillance, political power, and systemic rot. Even its mechanics reflect power: the more violence you unleash as Corvo, Emily, or Daud, the more chaos the world spirals into. And in Death of the Outsider, Billie Lurk—the least privileged of them all—breaks the system without causing Chaos, because she lacks the same embedded power.

Deathloop continues that thread by parodying elite escapism. The AEON techbros and scientists, ahem, "Visionaries", try to create a sealed world of permanent consequence-free comfort, looping the same day endlessly so they never have to face history. Sound familiar?

In contrast, Veilguard offers a post-apocalyptic world where the party still has book clubs and picnics, coffee beans are miraculously stocked, and revolutionary, world-ending struggles are background noise to the main cast’s personal growth arcs.

And finally, let’s talk about Baldur’s Gate 3.

It’s not even trying to be a political manifesto. Its setting is rooted in high-fantasy adventuring, not grounded political struggle. The actual politics of Faerûn are often laughably simple—good guys, bad cults, ancient gods, mind flayers.

And yet, despite (mostly) sidelining overt sociopolitical commentary in favor of focusing on trauma and cycles of abuse, BG3 still manages to say more about power, identity, and morality than Veilguard does.

Why? Because it invests deeply in character writing, layered interpersonal conflict, and meaningful player choice. Its companions have rich internal contradictions, complex loyalties, and personal histories that don’t always align with tidy messaging. It doesn’t flatten queerness or trauma into checkbox representation. It lets you screw up. It lets people be angry. And where socioplitical questions come up, it shows that the writers have thought about it.

And crucially, it respects the player’s ability to make difficult, morally complicated decisions—including decisions that affect systems, people, and outcomes. Including evil decisions. It doesn't accidentally sprinkle misogyny all over itself. It's not perfect (where's that Gortash kiss Larian, where's more Wyll content), but compared to Veilguard, it's chef's kiss.

Baldur’s Gate 3 succeeds where Veilguard fails not because it’s more radical or politically correct—but because it’s better written. It doesn’t posture. It just tells a story worth engaging with, with intention and awareness.

No one’s saying Veilguard needed to be Disco Elysium—but it positioned itself as a political, inclusive, transformative game, and in doing so, invited political analysis. That’s not “whining,” and it’s not clicktivism. It’s critical literacy. It’s what thoughtful fans do.

[ssa-dado]

Hi! So following up from your (incredible) breakdown of Hotch's apartment, I've always wondered why stayed in the apartment to raise Jack after Foyet/100 and I'd love to hear your thoughts about it!

Obviously, his and Haley's marital house was out after everything but the same apartment he got stabbed in is wild to me and to then to Jack who was held hostage by the guy who stabbed Hotch by the dining table? I get if it was for security with less points of direct entry but Foyet got in??? Is there a garden or green space for Jack to play in? Does Hotch do a background check on all new tenants?

Anyway, this is not anti-apartment slander because I happily live in one myself but I'm so interested in why Hotch would since he clearly has the means (Rolex watches are not cheap lmao) and this feels like the right platform to discuss it haha what do you think?

Breaking down Hotch's apartment layout until someone from Criminal Minds slides into my DMs with the damn floorplans: (The Empire Strikes Back)

I’ve thought about this a lot (maybe too much) and I honestly believe Hotch stayed in that apartment building for a mix of reasons. It’s not just one thing. Maybe one factor weighed heavier than the others, but ultimately, I picture him doing one of those classic pros and cons lists, like the fussy man he is, and letting the whole picture guide the decision... does it make sense??

Now, if we look at the architectural typology of his building, we know it follows a comb-plan layout - meaning it features two semi-enclosed, semi-public green spaces that are open toward the street. (I even made a little sketch to visualize it because I’m a visual learner... Like, I don’t know what “Hotch’s hands” means until I see them. Someone please send references...pls???)

That said, the green spaces aren’t the reason he stayed. Sure, the building has them, but they’re likely shared among all tenants, mostly decorative, and maybe even off-limits in terms of actual use (some buildings do that.. yikes). Plus, they’re super open to the street, which means they’re not really safe or private enough for Jack to play in.

So I don’t think the green spaces themselves were the selling point.

I think he stayed because of the overall architectural quality of the building. It's a historic structure (from mid 1920s-1930s??) that’s been carefully restored, updated with 21st-century systems and amenities, and built with high-quality materials and finishes. Maybe there’s a park nearby where Jack can actually play safely. Maybe it’s closer to his school. It also doesn’t strike me as a suburban area, which could be another plus - city life offers access to public transportation, shops, cultural spaces, sports activities… all of which might've played into the decision.

I am so so so so here for this headcanon and I fuck so much with the background check idea because yes, he absolutely asked Garcia for help and no, he doesn’t think that was an overstep. It was a precaution. For Jack.

Also, I’m convinced he’s very active in the tenant community.

He’s the one who created the condo group chat - no one asked him to, but it’s impeccably organized, with pinned messages and!!! a color-coded spreadsheet of recycling days (I'm European, this is wired into my DNA, sorry) he made himself at 3 a.m. on Excel. He barely answers texts from his team, but the second someone reports “unusual noises near the trash chute,” he’s replying in 0.3 seconds with “What time? Which floor?”

Sure, he’s fussy about noise (especially when he’s actually home) but he’s also the one everyone turns to when the building manager starts power-tripping or the garbage hasn't been collected. You’ve got a broken washing machine? Hotch already emailed the landlord and the building’s legal obligation clause. Trash not yeeted? He’ll yeet it himself. The man has a complex Google Drive dedicated to tenant rights #prosecutor!Hotch

I will die on the hill he is a chatty grandma. Sure, he’s serious, but he knows everyone’s business, and somehow people trust him with their extra keys and gossip. He's fbi, he's cunty, he has great hair... hello???

(Like, you knock on his door and say, “Sorry to bother-” and he’s already saying, “Your cat escaped again? He's in apartment 127, do you need anything else?”)

Another reason I think he stayed in that apartment is because, most likely between s3 and 4, he started spending some time there with Jack. I’m not sure how the co-parenting with Haley worked logistically, but I can easily imagine him having Jack over on weekends when he wasn’t working, or at least trying to carve out that time. And that apartment became part of Jack’s routine, part of what "home" felt like to him, Hotch probably couldn’t bring himself to move.

I don’t think Hotch stayed there for himself. Psychologically of course, it’s not the healthiest choice (he was literally stabbed there by Foyet) but it is the best choice for his son. And unless you’re talking about his job, Jack always comes first.

And Hotch… Hotch always comes last.

I think he bottled everything up. I don’t even think he fully let himself consider that the apartment might be an unhealthy place to stay in. If the thought of moving did ever cross his mind, I’m almost certain it wasn’t about him. It wasn’t “I don’t feel safe here,” it was: What if someone breaks in again? What if Jack’s here? What if it happens when I’m not home?

He stayed because Jack knew that place. Because changing homes again would be another loss. Another shift. Another instability. And Hotch would rather carry the weight of that trauma alone than risk making his son feel displaced.

Sooooo... yep. That's it. I guess.

Thank you so so so so much for the ask!!! I'm so so so curious to know what are YOUR! thoughts!!

[reasonsforhope]

The Klamath River’s salmon population has declined due to myriad factors, but the biggest culprit is believed to be a series of dams built along the river from 1918 to 1962, cutting off fish migration routes.

Now, after decades of Indigenous advocacy, four of the structures are being demolished as part of the largest dam removal project in United States history. In November, crews finished removing the first of the four dams as part of a push to restore 644 kilometres (400 miles) of fish habitat.

“Dam removal is the largest single step that we can take to restore the Klamath River ecosystem,” [Barry McCovey, a member of the Yurok Tribe and director of tribal fisheries,] told Al Jazeera. “We’re going to see benefits to the ecosystem and then, in turn, to the fishery for decades and decades to come.” ...

A ‘watershed moment’

Four years later, [after a catastrophic fish die-off in 2002,] in 2006, the licence for the hydroelectric dams expired. That created an opportunity, according to Mark Bransom, CEO of the Klamath River Renewal Corporation (KRRC), a nonprofit founded to oversee the dam removals.

Standards for protecting fisheries had increased since the initial license was issued, and the utility company responsible for the dams faced a choice. It could either upgrade the dams at an economic loss or enter into a settlement agreement that would allow it to operate the dams until they could be demolished.

“A big driver was the economics — knowing that they would have to modify these facilities to bring them up to modern environmental standards,” Bransom explained. “And the economics just didn’t pencil out.”

The utility company chose the settlement. In 2016, the KRRC was created to work with the state governments of California and Oregon to demolish the dams.

Final approval for the deal came in 2022, in what Bransom remembers as a “watershed moment”.

Regulators at the Federal Energy Regulatory Commission (FERC) voted unanimously to tear down the dams, citing the benefit to the environment as well as to Indigenous tribes...

Tears of joy

Destruction of the first dam — the smallest, known as Copco 2 — began in June, with heavy machinery like excavators tearing down its concrete walls.

[Amy Cordalis, a Yurok Tribe member, fisherwoman and lawyer for the tribe,] was present for the start of the destruction. Bransom had invited her and fellow KRRC board members to visit the bend in the Klamath River where Copco 2 was being removed. She remembers taking his hand as they walked along a gravel ridge towards the water, a vein of blue nestled amid rolling hills.

“And then, there it was,” Cordalis said. “Or there it wasn’t. The dam was gone.”

For the first time in a century, water flowed freely through that area of the river. Cordalis felt like she was seeing her homelands restored.

Tears of joy began to roll down her cheeks. “I just cried so hard because it was so beautiful.”

The experience was also “profound” for Bransom. “It really was literally a jolt of energy that flowed through us,” he said, calling the visit “perhaps one of the most touching, most moving moments in my entire life”.

Demolition on Copco 2 was completed in November, with work starting on the other three dams. The entire project is scheduled to wrap in late 2024.

[A resilient river]

But experts like McCovey say major hurdles remain to restoring the river’s historic salmon population.

Climate change is warming the water. Wildfires and flash floods are contaminating the river with debris. And tiny particles from rubber vehicle tires are washing off roadways and into waterways, where their chemicals can kill fish within hours.

McCovey, however, is optimistic that the dam demolitions will help the river become more resilient.

“Dam removal is one of the best things we can do to help the Klamath basin be ready to handle climate change,” McCovey explained. He added that the river’s uninterrupted flow will also help flush out sediment and improve water quality.

The removal project is not the solution to all the river’s woes, but McCovey believes it’s a start — a step towards rebuilding the reciprocal relationship between the waterway and the Indigenous people who rely on it.

“We do a little bit of work, and then we start to see more salmon, and then maybe we get to eat more salmon, and that starts to help our people heal a little bit,” McCovey said. “And once we start healing, then we’re in a place where we can start to help the ecosystem a little bit more.”"

-via Al Jazeera, December 4, 2023

[wolfliving]

"The Cathedral of Robot Artisans"

Spatial Qualities: Dialogue Between Existing and New Structures

The project posed a complex challenge: to retrofit a 19th-century brick stable into a functional, contemporary fabrication space while preserving its historical integrity. Within a four-month timeframe, an international cohort of MAEBB (Master in Advanced Architecture and Biocities) students designed and built a hybrid structure that simultaneously honors traditional craftsmanship and embraces advanced digital fabrication.

At the heart of the project lies a tension between the old and the new, the solid and the porous, the static and the adaptive. The design retains the original brick walls, reinforcing them structurally while removing the decayed roof to introduce a new timber framework. This act of surgical preservation frames the contemporary intervention as both a response and a counterpoint to the pre-existing architecture.

Internally, the space is organized around the operational needs of the industrial robot. An open-span layout ensures unobstructed movement, while carefully positioned skylights and glazed openings allow natural light to penetrate the interior without compromising environmental control. Above the robot, a prominent skylight creates a dramatic shaft of light that recalls the sacred spatial strategies of ecclesiastical architecture, reinforcing the project’s metaphor of a “cathedral” for contemporary artisanship.

The spatial atmosphere is quiet and refined, a composition of filtered daylight, exposed timber, and restored masonry that balances technological precision with human engagement.

Materiality and Construction: Advanced Timber Engineering

Timber serves as the project’s primary material, chosen for its environmental performance, structural adaptability, and symbolic resonance with the surrounding landscape. A self-supporting arborescent structure, made from solid wood and Cross-Laminated Timber (CLT), defines the new roof and internal framework. Seven branching columns, reminiscent of tree trunks, hold aloft a Voronoi-patterned canopy, a formal language derived from nature but realized through digital craftsmanship....