The dredge is divided into four levels. The top level has controls for the tailings boom and, when it was there, the bucket excavator.
HDR matrix panorama. Looking from the grain elevators, now doomed, toward the city between the flour mill’s water tower and tile elevator’s neon sign, the old and new economies seem almost united. Yet the financial centers rise in reality to shadow the now-abandoned industry and manufacturing. The way of things, I’m told.
The shaft house, where hydraulic steel doors allowed or denied entry into the mine shaft. Overhead is a light and alarm. If it sounds, the mine is being evacuated, and you best not go in and best stay the hell out of the way. Locals dump tires here, now.
A white star marks the landing between the Keeper’s Quarters (Second Floor) and the radiobeacon and furnace rooms (First Floor).
It’s a straight view from the projection booth to the stage, but hell of a walk. At a fast pace, I think it would take 10 minutes to walk from this spot to the chair. Behind the curtains is a big white screen, so the theatre could be used for either stagework or moving pictures. The two projectors are set up for 3D movies right now–hence the little switch below the window–a Polaroid 3D synchronizer. Cool, huh?
A strange arcade machine in the basement.
This floor of the workhouse had corkscrew conveyors–big augers–in the floor to move material around. Most of the walls that were metal were missing, leaving the concrete structure and open doors.
After a religious conversion from actors to projectors, a rebranding was in order.
The generator room was state of the art when it was installed, allowing the complex to use motors and electric lighting ahead of its competitors.