View allAll Photos Tagged Concepts
This is a bit better then my last, not sure if I will keep the leg design if I do more on these guys in future sketches. Hope you like! Any requests?
I found the concept art in the upper right corner on the classic space web site a couple of years ago.I dont know who made it, but it inspired me enough to build 3 lego spaceships out of it. First the VS-015 Hornet Ranger (upper left), then the VS-017 Centaur (bottom right) and finally the VS-020 Minotaur (bottom left). That last one is quite close to the drawing. It allowed me to greatly improve my skills and taught me that at these scale (50+ cm long), careful planning and clear overview of what I want to do is really important.
I say thanks to whoever did that concept art.
This is my entry for the rebrick McLaren design challenge.
The McLaren E1 Concept takes the known McLaren design language to a whole new level. While carrying the “form follows function” approach forward, it also incorporates design cues from Mclaren's rich racing history.
Like McLaren's famous Formula 1 cars the E1 Concept is a single seater high performance car, where the driver sits in the middle like in the legendary F1 road car. This allows the driver to position the car more precisely, while the car itself has a very narrow shape. Viewed form above the car is primarily shaped like a raindrop to allow best possible airflow and a minimal drag coefficient.
The front of the car is inspired by McLaren's current road cars, like the P1 or the 650S. It is wide and low with a round front profile. The headlights are shaped like the Mclaren logo and are attached to the hood as seperate sculptures. This gives the car a much greater road presence. The backwards facing hood scoop allows better airflow and is a homage to the McLaren M6GT road car.
The back of the E1 Concept mimics the look of McLarens Formula 1 cars. The rear wheel cases are separated from the main body. The two floating C-pillars connect them with the cockpit. The car features a massive rear wing, which is inspired by the F1 cars but is seemlessly integrated into the flow of the design architecture. The rear wheel suspension is fully exposed and since the E1 concept is a fully electric car, there is no need for exhaust pipes. The black painted wheels with red rims are another nod to the F1 race cars.
I struggled with the whole concept of altruism. Does that make me selfish? Maybe. Delving into the science that altruistic acts do activate the reward centre of your brain, reminded me of the Victorian art of phrenology which was the analysis of bumps on the head. Curiosity led me to finding one of these heads, and interestingly enough Love and Approbation are in roughly the same area as altruistic acts are in the brain.
To me therefore, the essence of altruism is the level of grey matter at the temporoparietal junction of the brain, and you are either born with a lot, or not much. I think I know which category I fall into.
Libera dagli stereotibi e libera di esprimersi.
Supercontest: "Immagini e Pensieri"
Foto: Carlos Contreras
Maquiagem: Eric Maekawa
Modelo: Luana Cassola (Simone Lopes Model Management)
Assistente figurino: Lucia da Rocha
This is a concept vehicle developed by Ricardo SV as an electric drive vehicle. Why we do not know!
It was going to be scrapped so we thought as a project/concept vehicle it should be saved. We hope to discover more of its history and original purpose in due course.
We know it has a Wolf chassis and swivels, Discovery air springs and a Steyr 2.8 Diesel engine.
The Dunsfold Collection
Alfold - Surrey
England - United Kingdom
June 2015
29 December 2011
The 1968 Alfa Romeo Carabo concept car was based on the race-derived mechanicals of the exclusive 33 Stradale from the previous year, but that wasn’t its only claim to fame: it also inspired two of last century’s most iconic cars...
The Carabo project was a collaborative effort between the Italian manufacturer and the Bertone styling house: a partnership which had previously borne fruits that included the 2000 Sportiva and BAT concept cars of the mid-1950s. The basis of the Carabo was a chassis numbered 75033.109 which was, more specifically, that of a 33 Stradale road car. Despite sharing mechanicals with the Tipo 33 race car and since being recognised as one of the most beautiful cars in history, Alfa had trouble finding owners for the Stradale due to its steep asking price of around $17,000. As a result, five of the Stradale chassis were passed to Italian carrozzerie: two to Pininfarina (used for the 33.2 and Cuneo concepts), one to Italdesign (which became the Iguana concept), and two to Bertone – the other being used as a basis for the 1976 Navajo concept.
The H-shaped tubular chassis supported an all-aluminium 1995cc engine which was designed by Carlo Chiti and, incidentally, was the first Alfa Romeo V8. The fuel-injected, longitudinally mounted motor used chain-driven camshafts and red-lined at 10,000rpm, despite being detuned to 230bhp from the Tipo race car’s 250-270bhp. This granted the Carabo a top speed of 160mph and the ability to dispatch the 0-62mph sprint in 5.5 seconds, with the power being sent to the rear wheels through a six-speed, syncromeshed, transaxle gearbox designed by Valerio Colotti.
Because of its underpinnings, designer Marcelo Gandini had the opportunity to create a car that would revolutionise the automotive industry for many years afterwards. The engine being mounted amidships allowed for a pointed front end, while the ground-hugging poise inherited from the Tipo race car meant the car was under a metre tall at its highest point. Combined with the squared-off rear end, these characteristics inspired countless wedge-shaped designs of the 70s and 80s, and also gave the car its name and colour: Carabo is derived from ‘Carabidae’, a family of ground-beetles with a distinctive green and gold colour.
The principle of the wedge-shaped profile was used to eliminate the high-speed aerodynamic lift troubles of the Lamborghini Miura, which Gandini had penned two years earlier. However, his innovative cerebration didn’t stop there: as well as having headlights hidden beneath active flaps, the Carabo was the first concept car with front-hinged wing doors, later used by Gandini when designing the Lamborghini Countach and since assuming the ‘Lamborghini doors’ meme. As well as inspiring the revolutionary raging bull, the Carabo clearly also lent styling cues to the Lancia Stratos Zero concept car, which in turn inspired the iconic Stratos HF.
Unsurprisingly, the Carabo remained a one-off, but its revolutionary styling dramatically steered the automotive design industry onto a radically different path – one which produced some of the landmark cars of the 20th Century. Even those who can’t look favourably on its apparent aversion to curved surfaces should take a second to appreciate its legacy; after all, would an Aventador have quite the same drama without its ‘Carabo doors’?
[Text from classicdriver.com]
www.classicdriver.com/en/article/cars/classic-concepts-19...
As mentioned in the article, the Carabo used the Alfa Romeo 33 racer's chassis, as also used in the beautiful 33 Stradale. I used my model of the Stradale as the basis for the Carabo, which did cause a few issues, but also means that the car can be built around the Lego pull-back motor unit.
Once I have more Buddhist artwork on my back I want to move this idea into a more interesting location, and juxtapose the peaceful artwork with the weapons and pose.
Obviously, the pose needs work. I hate being in front of the camera with an incredible passion.
Kia Provo concept. Geneva Motor Show 2013.
-----------------------------------------------------------------------------------------------
Nature, travel, photography: MY YOUTUBE CHANNEL
-----------------------------------------------------------------------------------------------
Here are some really interesting pics of the character concepts from out favourite show - Winx Club!
In my opinion Rainbow should finally stop Winx Club and stop to make more shitty seasons and movies.... I REALLY WOULD DIE for a Winx "Movie" where Rainbow shows the full development of Winx Club. From the very first ideas, character concepts and more deleted scenes and informations about Magic Bloom [1999].
If you don't know Magic Bloom here is a little Video:
www.youtube.com/watch?v=61Nr5MfW2Vs
And some deleted scenes from Season 1(You can see a few of them in the 4Kids Opening of the first Season):
All Credits to Rainbow.
Here's a rather interesting and unique shot NOT taken by me at the GM Test Track. Being a car guy, I had a rather nice talk with one of the GM Cast Members. Normally, you can only see the front and side of this car because it's tucked away in the corner, but the cast member asked me for my camera and shot this cool shot of it's quad exhuasts in the rear. I don't think that's gonna make the final production version of the C7 Corvette but it's a neat angle I think. Lol, I look so puzzled like "what's this guy doing with my camera?!" The C7 Corvette is expected to be debuted January 13th!
Villa Cavrois, Croix, France, 1932
Architect Robert Mallet Stevens (1886-1945)
Built between 1929 and 1932, the villa was the result of an order placed by Paul Cavrois with the architect Robert Mallet-Stevens to house his family of seven children and his domestic servants. Covered in yellow facing bricks set on a concrete frame and double brick walls, the villa was thought out as a total work of art comprising an exemplary case of homogenous construction between architecture, decoration and furniture. It is the architect’s technical and aesthetic manifesto in terms of the care given to its materials and equipment. Clear guidelines governed the design of the building: “air, light, work, sports, hygiene, comfort and efficiency”.
The Villa Cavrois is a masterpiece of modern architecture and a unique example in the North of France. The villa is 60 meters long, it has 3.800 m² including 1.840 m² habitables and 830 m² of terraces and a garden of 17.600 m² (originally 5 ha). The Villa Cavrois is a testimony to the modernist vision of the 1920s as it was conceived by designers such as Le Corbusier, Pierre Chareau and the Bauhaus school. Luminosity, hygiene and comfort are the keywords that underlie such buildings. Villa Cavrois illustrates this concept with simplicity and elegance. The large modern mansion was organized to offer the best possible lifestyle to the nine members of the family and to facilitate the daily work of the household staff. Mallet-Stevens' work was not limited to the design of the building. He also designed the interior decoration and the gardens which surround the house. The choice of materials, concrete ceiling, metal, steel, glass, green Swedish marble in the main dining room, yellow Sienna marble in the fireplace alcove of the hall-salon, parquets of oak, iroko, zebrawood, Cuban mahogany, and the furniture of the rooms echoed the hierarchy of space: everything was conceived and adapted for use in place. Simplicity and functionality of the furniture prevail in all parts. The luxury of this house does not lie in carved detailing or gilding, it unfolds in the richness of the materials used, such as unadorned marble, metal and wood. The Villa Cavrois provided for its occupants a large number of amenities especially rare for the time, even in luxury houses. Use of the latest modern technology, especially electricity meant each room was provided with electric lighting, a radio loudspeaker, an electric clock and telephones enabled people to communicate between rooms or with the outside world. The villa was equipped with a modern boiler room and a wine cellar. The water system provided hot and cold water, as well as softened water for cooking and drinking. Lighting was the object of special care. The lighting, both direct and indirect, is very delicate and elegant. In collaboration with the lighting engineer André Salomon, Mallet-Stevens conceived an indirect lighting which fit in the architecture and he has provided most of the rooms of the villa of a lighting device system which direct the light towards the ceiling to obtain an unchanging light closer at the natural one. Hygiene was very important in the conception of the Villa Cavrois, as it is shown by the clinical aspect of the kitchen of metal and white paint and also by the presence of a swimming pool of 27 metres long and 4 metres depth at the diving boards.
The villa was occupied by German troops between 1940 and 1944 and was damaged at the end of the war. When he returned in 1947, Paul Cavrois called upon architect Pierre Barbe to add two apartments for his elder sons. The family lived in the villa until 1985. The following year, it was sold to a real estate firm that wanted to subdivide the park. Despite its automatic classification as a historic monument in 1990, the villa was no longer maintained by its owner. The State bought the property, which was in serious danger, in 2001, and undertook a major restoration project to its original historic condition as when it was inaugurated in 1932. The lighting, the furnishings attached to the decorations, as well as the bookcases and benches have all been restored using the original materials. The parquet floorings, metal doorframes and marbles have been restored or returned. The restoration of the park has returned it to the original land’s very subtle gradient with the precise layout of the alleyways, while replanting plant species identified from old photographs. The reflecting pool, which had been filled in during the war, and the swimming pool have been restored to their original state. The restoration was carried out between 2009 and 2015. Since 2012, the villa has been part of a worldwide conservation programme for emblematic houses of the 20th century, “Iconic Houses”.