Video yükleniyor...

Video Yüklenemedi

Bu video yüklenirken bir sorun oluştu. Bu geçici bir ağ sorunundan kaynaklanıyor olabilir veya video kullanılamıyor olabilir.

Ana Sayfaya Dön

Building sculpture.

Brian Roemmele

485,829 subscribers

4,663,162 görüntüleme • 1 yıl önce •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

11 Yorum

movesnyc profil fotoğrafı

movesnyc1 yıl önce

Song?

☯️ profil fotoğrafı

☯️1 yıl önce

I sat n waited to see he final product & was only left with disappointment 😭

William Barrett profil fotoğrafı

William Barrett1 yıl önce

Unreinforced mortar or cement Not even gravel. In other-words, performative nonsense, because none of it will last for shit

Michael Dorausch profil fotoğrafı

Michael Dorausch1 yıl önce

Underappreciated skills.

Croudemar profil fotoğrafı

Croudemar2 yıl önce

Minecraft Lego sets: where Minecraft and Lego meet! I think they did an especially good job on the little figures. Click an image below or see them all at:

Cody Savage profil fotoğrafı

Cody Savage1 yıl önce

Eye candy!

James Hague profil fotoğrafı

James Hague1 yıl önce

I can't be the only one waiting until the end to see the finished article and it never comes 😂

brotherdarul 🇺🇸🟠 profil fotoğrafı

brotherdarul 🇺🇸🟠1 yıl önce

So is this for a theme park, like Disney World, where they often build structures that mimic other materials, but are more durable for all the traffic they get?

iiTzRonin profil fotoğrafı

iiTzRonin1 yıl önce

Song ? :3

Gator Stephens the Pilot of the 4 Winds profil fotoğrafı

Gator Stephens the Pilot of the 4 Winds1 yıl önce

Captain The most difficult part of my journey to release my creativity is finding worth in my efforts and time spent on them. A big part of my early programming was focused on how something was gonna make money or some tangible physical product. I can only spend a few minutes doing “nothing” otherwise known as the creative process before the negative voice comes in. But I am working daily to silent that thinking which was put there. Always looking for an aide to do so. It’s horrible to always feel you must produce or it’s worthless. Horrible.

Ronnie profil fotoğrafı

Ronnie1 yıl önce

😎

Benzer Videolar

Talented boy Building Bugatti Sand Sculpture! Wow! Incredible🔥

Talented boy Building Bugatti Sand Sculpture! Wow! Incredible🔥

VERYDARKMAN

22,976 görüntüleme • 6 ay önce

Building a 3D Lego sculpture in Claude Code desktop

Building a 3D Lego sculpture in Claude Code desktop

Evan Bacon 🥓

11,939 görüntüleme • 5 ay önce

Building a Custom Thing Action Figure #comicart #comics #comicbooks #art #artist #artwork #marvel #fantasticfour #thing #sculpture #behindthescenes

Building a Custom Thing Action Figure #comicart #comics #comicbooks #art #artist #artwork #marvel #fantasticfour #thing #sculpture #behindthescenes

Alex Ross

24,511 görüntüleme • 8 ay önce

You realize it's all a hoax when you see a "steel" beam in a sculpture on the facade of a building that "EXPERTS" and official history claim is 6,000 years old.

You realize it's all a hoax when you see a "steel" beam in a sculpture on the facade of a building that "EXPERTS" and official history claim is 6,000 years old.

Bronze Giant

372,153 görüntüleme • 5 ay önce

#AdamSavage is challenged with building an exploded-view diagram sculpture of the new #OnePlus12 smartphone, but with a twist: Will the phone still work? It’s a 5 day build filled with despair and triumph; watch here: #sponsored by OnePlus

#AdamSavage is challenged with building an exploded-view diagram sculpture of the new #OnePlus12 smartphone, but with a twist: Will the phone still work? It’s a 5 day build filled with despair and triumph; watch here: #sponsored by OnePlus

Tested

55,209 görüntüleme • 2 yıl önce

To mark 25 years of The Office, a sculpture of David Brent has been unveiled - at the Premier Inn in Slough which now occupies the building that doubled as Wernham Hogg in the opening titles. Impersonator Tim Oliver features in this video:

To mark 25 years of The Office, a sculpture of David Brent has been unveiled - at the Premier Inn in Slough which now occupies the building that doubled as Wernham Hogg in the opening titles. Impersonator Tim Oliver features in this video:

British Comedy Guide

81,192 görüntüleme • 2 ay önce

This is White Supremacist J6er Jake Lang being arrested after destroying a Sculpture at a Minnesota Legislature building! Look at the difference between the way they’re gently arresting him compared to the way they arrest anyone that is black and brown in color! 🤬

This is White Supremacist J6er Jake Lang being arrested after destroying a Sculpture at a Minnesota Legislature building! Look at the difference between the way they’re gently arresting him compared to the way they arrest anyone that is black and brown in color! 🤬

Suzie rizzio

21,052 görüntüleme • 7 ay önce

#WATCH | Srinagar, J&K | NC MLA Tanvir Sadiq says, "She should feel ashamed for not understanding religious sentiments. She has crowned herself inside the Hazratbal shrine. As per our 'Tawheed', we cannot place a sculpture inside any religious place. She should know this... Instead of apologising, she has threatened to file an FIR against those children. It is not right to hurt religious sentiments... No sculpture should be present inside a dargah... This is not a government building, this is a religious place..."

#WATCH | Srinagar, J&K | NC MLA Tanvir Sadiq says, "She should feel ashamed for not understanding religious sentiments. She has crowned herself inside the Hazratbal shrine. As per our 'Tawheed', we cannot place a sculpture inside any religious place. She should know this... Instead of apologising, she has threatened to file an FIR against those children. It is not right to hurt religious sentiments... No sculpture should be present inside a dargah... This is not a government building, this is a religious place..."

ANI

255,943 görüntüleme • 1 yıl önce

So this is Jake Lang who will be going to jail for dressing up in Camouflage and going over to the State Legislature Building in Minnesota and kicking over a “Prosecute ICE”sculpture! This is a State crime so he won’t get a pardon from Trump for this crime like he did for J6!

So this is Jake Lang who will be going to jail for dressing up in Camouflage and going over to the State Legislature Building in Minnesota and kicking over a “Prosecute ICE”sculpture! This is a State crime so he won’t get a pardon from Trump for this crime like he did for J6!

Suzie rizzio

31,107 görüntüleme • 7 ay önce

น้องแก้วยักษ์ GEMM HOUSE จะตั้งอยู่ที่ตึก GMM Grammy จนถึงวันที่ 20 กันยายนนี้ เป็นวันสุดท้ายแล้วว อย่าลืมแวะมาเช็กอินทิ้งท้ายก่อนบายน้องๆ กันน้าาา 🥺👋🏻 Last chance to visit our GEMM HOUSE Big Cup Sculpture! On display at GMM Grammy Building until 20 September only. 🔗 Reservations open via See you at GEMM HOUSE! 🗓️ OPEN DAILY ⏳ 9 AM - 9 PM 📍 2nd Floor, GMM Grammy Place #GEMMHOUSE #GMMTV

น้องแก้วยักษ์ GEMM HOUSE จะตั้งอยู่ที่ตึก GMM Grammy จนถึงวันที่ 20 กันยายนนี้ เป็นวันสุดท้ายแล้วว อย่าลืมแวะมาเช็กอินทิ้งท้ายก่อนบายน้องๆ กันน้าาา 🥺👋🏻 Last chance to visit our GEMM HOUSE Big Cup Sculpture! On display at GMM Grammy Building until 20 September only. 🔗 Reservations open via See you at GEMM HOUSE! 🗓️ OPEN DAILY ⏳ 9 AM - 9 PM 📍 2nd Floor, GMM Grammy Place #GEMMHOUSE #GMMTV

GEMM HOUSE ☕️

756,289 görüntüleme • 13 gün önce

Ben Cohen (yes, from Ben & Jerry’s) just unveiled a towering sculpture in DC showing what $100 billion in nuclear weapons spending looks like. That’s what the U.S. blows every year, half of it on building new nukes while people here can’t afford rent, insulin, or clean water. This is the launch of Up In Arms, a 4-year campaign to expose the insanity of prioritizing mass death over human need. Because if our government can build a new generation of nukes but not confront climate change, it’s not national defense.

Ben Cohen (yes, from Ben & Jerry’s) just unveiled a towering sculpture in DC showing what $100 billion in nuclear weapons spending looks like. That’s what the U.S. blows every year, half of it on building new nukes while people here can’t afford rent, insulin, or clean water. This is the launch of Up In Arms, a 4-year campaign to expose the insanity of prioritizing mass death over human need. Because if our government can build a new generation of nukes but not confront climate change, it’s not national defense.

Medea Benjamin

147,565 görüntüleme • 1 yıl önce

I believe that the interfaces of the future will disappear. Instead of buttons and menus, we will interact with objects. The process itself becomes the feedback. Building software is always a complex craft, but spatial computing is a different beast entirely. It demands a fusion of visual art, logic, and spatial UI where every interaction happens in the air around you. With OPERATOR, built for Apple Vision Pro, we explored this by turning music into a sculpture. The music track isn't a timeline anymore; it’s a 3D object you can walk around, touch, and modify from any angle.

I believe that the interfaces of the future will disappear. Instead of buttons and menus, we will interact with objects. The process itself becomes the feedback. Building software is always a complex craft, but spatial computing is a different beast entirely. It demands a fusion of visual art, logic, and spatial UI where every interaction happens in the air around you. With OPERATOR, built for Apple Vision Pro, we explored this by turning music into a sculpture. The music track isn't a timeline anymore; it’s a 3D object you can walk around, touch, and modify from any angle.

maxim zhestkov

102,915 görüntüleme • 7 ay önce

11,000-year-old sculpture unearthed at Karahantepe.... 🇹🇷 Culture and Tourism Minister Mehmet Nuri Ersoy said an 11,000-year-old composite sculpture depicting a human figure sitting on the back of a leopard has been discovered during excavations at Karahantepe, located in southeastern Türkiye's Şanlıurfa province. In a social media post, Ersoy said the sculpture was unearthed as part of the Heritage for the Future Project’s 2026 excavation season. He described it as having a style not previously seen in similar finds. The 70-centimeter-high (28-inch) sculpture depicts a human figure seated on a leopard and was found on a bench running along the wall of a 3-meter-diameter structure whose floor was paved with flat stones, according to Ersoy. "I believe this discovery, which opens the door to new questions about the earliest periods of human history, will have a wide impact in the scientific community,” Ersoy said, thanking the General Directorate for Cultural Heritage and Museums, the excavation team, scientists and other field workers. Another sculpture from Karahantepe makes the new discovery especially arresting. That earlier work shows a human supporting a leopard on their back. The animal’s open mouth and visible teeth make clear that it is not represented as harmless or passive. Its legs extend around the person carrying it, creating one of the site’s most difficult images to interpret. The newly announced statue turns that arrangement around. Instead of carrying the animal, the human now occupies the leopard’s back. It would be premature to treat the two sculptures as consecutive scenes or surviving parts of the same story. They were not found together, and no text survives to explain them. Yet their contrasting compositions show that Karahantepe’s sculptors repeatedly explored the physical relationship between people and one of the region’s most formidable predators. The difference is sharper than a simple change in posture. In one sculpture the animal bears down on a human body; in the other, the human has been placed above the animal. Whether this conveyed control, confrontation, transformation or something else cannot yet be established. Leopards were part of the landscape known to the communities living around Karahantepe and Göbekli Tepe. In the art of the region, however, they were rarely treated as background wildlife. Felines appear on stone pillars and in three-dimensional sculpture, sometimes with open jaws, raised tails and carefully marked teeth. Comparable images at Göbekli Tepe and Sayburç place dangerous animals close to human figures, often in scenes that appear deliberately composed. Such depictions have prompted interpretations involving power, danger, group identity and ritual performance. None can be applied automatically to the new statue. The people who made it left no written explanation, while similar animals could have carried different meanings depending on the building, audience or occasion. Its location may eventually provide firmer evidence. The statue stood on a bench inside a small paved structure, meaning that its placement was probably visible and intentional. Archaeologists will need to establish whether it remained there throughout the building’s use or was deposited as part of its closure. Excavations at Karahantepe began in 2019, but even the limited area opened so far has produced an unusual concentration of human faces, heads and full-body figures. In 2023, archaeologists discovered a 2.3-meter human statue fixed within a bench. Deeply carved ribs, shoulders and a pronounced spine gave the seated figure an emaciated or deathlike appearance. A stone vulture had been placed nearby, adding another dangerous animal to the room’s imagery. 🎥© tckulturturizm © Anatolian Archaeology #archaeohistories

11,000-year-old sculpture unearthed at Karahantepe.... 🇹🇷 Culture and Tourism Minister Mehmet Nuri Ersoy said an 11,000-year-old composite sculpture depicting a human figure sitting on the back of a leopard has been discovered during excavations at Karahantepe, located in southeastern Türkiye's Şanlıurfa province. In a social media post, Ersoy said the sculpture was unearthed as part of the Heritage for the Future Project’s 2026 excavation season. He described it as having a style not previously seen in similar finds. The 70-centimeter-high (28-inch) sculpture depicts a human figure seated on a leopard and was found on a bench running along the wall of a 3-meter-diameter structure whose floor was paved with flat stones, according to Ersoy. "I believe this discovery, which opens the door to new questions about the earliest periods of human history, will have a wide impact in the scientific community,” Ersoy said, thanking the General Directorate for Cultural Heritage and Museums, the excavation team, scientists and other field workers. Another sculpture from Karahantepe makes the new discovery especially arresting. That earlier work shows a human supporting a leopard on their back. The animal’s open mouth and visible teeth make clear that it is not represented as harmless or passive. Its legs extend around the person carrying it, creating one of the site’s most difficult images to interpret. The newly announced statue turns that arrangement around. Instead of carrying the animal, the human now occupies the leopard’s back. It would be premature to treat the two sculptures as consecutive scenes or surviving parts of the same story. They were not found together, and no text survives to explain them. Yet their contrasting compositions show that Karahantepe’s sculptors repeatedly explored the physical relationship between people and one of the region’s most formidable predators. The difference is sharper than a simple change in posture. In one sculpture the animal bears down on a human body; in the other, the human has been placed above the animal. Whether this conveyed control, confrontation, transformation or something else cannot yet be established. Leopards were part of the landscape known to the communities living around Karahantepe and Göbekli Tepe. In the art of the region, however, they were rarely treated as background wildlife. Felines appear on stone pillars and in three-dimensional sculpture, sometimes with open jaws, raised tails and carefully marked teeth. Comparable images at Göbekli Tepe and Sayburç place dangerous animals close to human figures, often in scenes that appear deliberately composed. Such depictions have prompted interpretations involving power, danger, group identity and ritual performance. None can be applied automatically to the new statue. The people who made it left no written explanation, while similar animals could have carried different meanings depending on the building, audience or occasion. Its location may eventually provide firmer evidence. The statue stood on a bench inside a small paved structure, meaning that its placement was probably visible and intentional. Archaeologists will need to establish whether it remained there throughout the building’s use or was deposited as part of its closure. Excavations at Karahantepe began in 2019, but even the limited area opened so far has produced an unusual concentration of human faces, heads and full-body figures. In 2023, archaeologists discovered a 2.3-meter human statue fixed within a bench. Deeply carved ribs, shoulders and a pronounced spine gave the seated figure an emaciated or deathlike appearance. A stone vulture had been placed nearby, adding another dangerous animal to the room’s imagery. 🎥© tckulturturizm © Anatolian Archaeology #archaeohistories

Archaeo - Histories

20,578 görüntüleme • 1 ay önce

My first interview with Edward Mehr, Co-Founder & CEO of Machina Labs. 0:46 Creating a sculpture of Tesla’s Chief Designer 3:28 What went wrong with early prototypes 5:56 How the metal forming process works 9:01 Rapid design iteration 13:48 The limiting factor in creating more Elons 16:18 Building the first prototype on $300k 22:22 The importance of naiveté & having fun 24:17 What it was like working at SpaceX in 2012 29:57 Celebrating customers 40:36 Focusing on the biggest risks 45:35 Designing the system to fit inside a shipping container 47:25 Early mistakes 52:22 Finding 10 champions 1:06:42 Selling systems, parts, vs finished assemblies 1:10:39 Hardware companies require complex capital structures

My first interview with Edward Mehr, Co-Founder & CEO of Machina Labs. 0:46 Creating a sculpture of Tesla’s Chief Designer 3:28 What went wrong with early prototypes 5:56 How the metal forming process works 9:01 Rapid design iteration 13:48 The limiting factor in creating more Elons 16:18 Building the first prototype on $300k 22:22 The importance of naiveté & having fun 24:17 What it was like working at SpaceX in 2012 29:57 Celebrating customers 40:36 Focusing on the biggest risks 45:35 Designing the system to fit inside a shipping container 47:25 Early mistakes 52:22 Finding 10 champions 1:06:42 Selling systems, parts, vs finished assemblies 1:10:39 Hardware companies require complex capital structures

Ti Morse

20,006 görüntüleme • 7 ay önce

I visited the Tara Tarini Temple in Odisha today. Even though it is one of the four Aadi Shaktipeethas, Tara Tarini was a small temple built in brick and mortar till a few years ago. The state govt of Odisha has renovated it as a cost of more than 100 crores. What is heartening is that the temple has been renovated keeping in mind traditional Odia aesthetics, sculpture and the glorious Kalinga style of temple architecture. Kudos to the Naveen Patnaik govt for this! The renovation work took 20 long years and was spearheaded by noted Odia sculptor, Padmavibhushan late Shri Raghunath Mahapatra and a team of expert sculptors and traditional sthapatis from Odisha. The result is spectacular. Today, a typical Kalinga style temple stands atop the Kumari hill, complete with a bhog mandapa, a jagamohana and a tall Kalinga style shikhara with an amalaka on top. The external devakoshthas have exquisitely carved Alasa Kanyas or sursundaris in various vibhramas. The big niches around the garbhgriha feature stunning life-size Murtis of Varahi, Narsimhi and Chamunda, three of the seven Matrikas. The craftsmanship is exceptional. As the work on surrounding mandapas is not yet complete, I got to see sculptors at work in-situ, like how the sculptors must have worked in the glory days of temple building in India! #hindutemple #odishaodyssey #taratarini #shaktipeeth #templetrails #incredibleindia #templearchitecture #dharma

I visited the Tara Tarini Temple in Odisha today. Even though it is one of the four Aadi Shaktipeethas, Tara Tarini was a small temple built in brick and mortar till a few years ago. The state govt of Odisha has renovated it as a cost of more than 100 crores. What is heartening is that the temple has been renovated keeping in mind traditional Odia aesthetics, sculpture and the glorious Kalinga style of temple architecture. Kudos to the Naveen Patnaik govt for this! The renovation work took 20 long years and was spearheaded by noted Odia sculptor, Padmavibhushan late Shri Raghunath Mahapatra and a team of expert sculptors and traditional sthapatis from Odisha. The result is spectacular. Today, a typical Kalinga style temple stands atop the Kumari hill, complete with a bhog mandapa, a jagamohana and a tall Kalinga style shikhara with an amalaka on top. The external devakoshthas have exquisitely carved Alasa Kanyas or sursundaris in various vibhramas. The big niches around the garbhgriha feature stunning life-size Murtis of Varahi, Narsimhi and Chamunda, three of the seven Matrikas. The craftsmanship is exceptional. As the work on surrounding mandapas is not yet complete, I got to see sculptors at work in-situ, like how the sculptors must have worked in the glory days of temple building in India! #hindutemple #odishaodyssey #taratarini #shaktipeeth #templetrails #incredibleindia #templearchitecture #dharma

Shefali Vaidya. 🇮🇳

303,986 görüntüleme • 3 yıl önce

Acropolis Theater of Pergamon in Bergama - Türkiye 🇹🇷 The first traces of Greek Theatre of Pergamon, situated on west side of castle hill, can be dated back to early 5th Century BC. Today dominating cavea was built in late 5th Century BC. Spectators had access to their seats via theatre terrace. Current theatre was built in mid 3rd Century BC, at the beginning of Attalid dynasty and renovated extensively by King Eumenes II (r. 197-159 BC). Theatre is said to have had seating capacity of 10,000 and the cavea (seating area) was steepest in the ancient world. The 80 rows of seats were arranged on three levels, divided by 3 walkways (diazomata) around width of cavea. At the front of second row in centre of cavea are remains of royal box. The orchestra (performance area) was on 246.5m long, 17.4m wide colonnaded terrace along the front of the theatre. The stage itself was a wooden construction which could be removed when not in use, in order to clear the terrace and the approach to Temple of Dionysus at its north end. Today, all that remains of monumental terrace is a footpath, along which lie some of fragments of stoa (colonnade). Due to limitations of steep hillside site, cavea could not be built wider than a semi-circle as in other Greek theatres, however it was extended upwards to 37m above the orchestra. Standing at the top, looking over Selinus valley can be quite dizzying, and visitors should watch their step. The stage house consisted entirely of wood and was only erected and dismantled during seasons. This construction method was retained until change from 2nd-1st Century BC, as a marble stage house would have permanently obstructed the theatre terrace. To accommodate the supporting beams, recesses called "quivers" were made in floor. These are numerously verifiable and can be assigned to different construction phases. For square inlet holes still visible today, there were capstones with which a smooth continuous terrace could be restored after the stage had been dismantled. The hill of Pergamon Acropolis and many other nearby hills consist of this purplish-red, igneous, volcanic rock. Since it was in plentiful supply, it was used extensively for building in and around the city. However, it is not suitable for large building projects because, although it can bear a lot of weight, it breaks relatively easily, which is not an ideal quality in such a highly earthquake-prone area. Stones used for building walls had to be cut quite small, as can be seen in stone blocks immediately to left of millstone. At the end of 3rd Century BC, Pergamon took control of island of Proconnesos (today Marmara), and its marble quarries became royal property. Proconnesian marble was used thereafter in great quantites for building and sculpture in city. In Roman times quarries belonged to emperors. Since, the late 18th Century AD, architects and scholars, including William Martin Leake, have attempted to estimate the seating areas and audience capacities of ancient theatres using mathematical formulae and other methods. The resulting estimates often vary considerably. Roughly, a width of 50cm is allowed for each of "bums on seats". 🎥© arkeolojievreni #archaeohistories

Acropolis Theater of Pergamon in Bergama - Türkiye 🇹🇷 The first traces of Greek Theatre of Pergamon, situated on west side of castle hill, can be dated back to early 5th Century BC. Today dominating cavea was built in late 5th Century BC. Spectators had access to their seats via theatre terrace. Current theatre was built in mid 3rd Century BC, at the beginning of Attalid dynasty and renovated extensively by King Eumenes II (r. 197-159 BC). Theatre is said to have had seating capacity of 10,000 and the cavea (seating area) was steepest in the ancient world. The 80 rows of seats were arranged on three levels, divided by 3 walkways (diazomata) around width of cavea. At the front of second row in centre of cavea are remains of royal box. The orchestra (performance area) was on 246.5m long, 17.4m wide colonnaded terrace along the front of the theatre. The stage itself was a wooden construction which could be removed when not in use, in order to clear the terrace and the approach to Temple of Dionysus at its north end. Today, all that remains of monumental terrace is a footpath, along which lie some of fragments of stoa (colonnade). Due to limitations of steep hillside site, cavea could not be built wider than a semi-circle as in other Greek theatres, however it was extended upwards to 37m above the orchestra. Standing at the top, looking over Selinus valley can be quite dizzying, and visitors should watch their step. The stage house consisted entirely of wood and was only erected and dismantled during seasons. This construction method was retained until change from 2nd-1st Century BC, as a marble stage house would have permanently obstructed the theatre terrace. To accommodate the supporting beams, recesses called "quivers" were made in floor. These are numerously verifiable and can be assigned to different construction phases. For square inlet holes still visible today, there were capstones with which a smooth continuous terrace could be restored after the stage had been dismantled. The hill of Pergamon Acropolis and many other nearby hills consist of this purplish-red, igneous, volcanic rock. Since it was in plentiful supply, it was used extensively for building in and around the city. However, it is not suitable for large building projects because, although it can bear a lot of weight, it breaks relatively easily, which is not an ideal quality in such a highly earthquake-prone area. Stones used for building walls had to be cut quite small, as can be seen in stone blocks immediately to left of millstone. At the end of 3rd Century BC, Pergamon took control of island of Proconnesos (today Marmara), and its marble quarries became royal property. Proconnesian marble was used thereafter in great quantites for building and sculpture in city. In Roman times quarries belonged to emperors. Since, the late 18th Century AD, architects and scholars, including William Martin Leake, have attempted to estimate the seating areas and audience capacities of ancient theatres using mathematical formulae and other methods. The resulting estimates often vary considerably. Roughly, a width of 50cm is allowed for each of "bums on seats". 🎥© arkeolojievreni #archaeohistories

Archaeo - Histories

19,711 görüntüleme • 1 yıl önce