View allAll Photos Tagged Configuration
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The 3-cylinder (fan-configuration) Dual-Over-Head-Cam (DOHC) engine has all cylinders above the center line, but uses a master rod and 2 articulating rods like those used in a radial engine. Each cylinder has two valves (one for intake and one for exhaust) and the camshafts are belt driven 1:2 off of the crankshaft. Two camshafts operate the valves in each cylinder head. One camshaft operates the intake valves and the other the exhaust valves, thus “dual overhead cams.”
See More Schillings Engines at: www.flickr.com/photos/15794235@N06/sets/72157650830753031/
See More Three Cylinder Engines at: www.flickr.com/photos/15794235@N06/sets/72157651691030122/
See More Radial Engines at: www.flickr.com/photos/15794235@N06/sets/72157636169553994/
See Our Model Engine Collection at: www.flickr.com/photos/15794235@N06/sets/72157602933346098/
Visit Our Photo Sets at: www.flickr.com/photos/15794235@N06/sets
Courtesy of Paul and Paula Knapp
Miniature Engineering Museum
Velos Designwerks has just released an inventory update for Fall 2016. Check out their Fall wheel lineup below with their respective fitment sizes and color options. If you have any questions regarding size or the order process, feel free to contact Vivid Racing at 1-480-966-3040. You can also v...
www.vividracing.com/blog/announcing-new-products-specials...
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
The Supermarine Spitfire was a British single-seat fighter aircraft used by the Royal Air Force and other Allied countries before, during and after World War II. Many variants of the Spitfire were built, using several wing configurations, and it was produced in greater numbers than any other British aircraft. It was also the only British fighter produced continuously throughout the war.
The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works, which operated as a subsidiary of Vickers-Armstrong from 1928. Mitchell pushed the Spitfire's distinctive elliptical wing designed by Beverley Shenstone to have the thinnest possible cross-section, helping give the aircraft a higher top speed than several contemporary fighters, including the Hawker Hurricane. Mitchell continued to refine the design until his death in 1937, whereupon his colleague Joseph Smith took over as chief designer, overseeing the Spitfire's development through its multitude of variants and many sub-variants. These covered the Spitfire in development from the Merlin to Griffon water-cooled inline engines, the high-speed photo-reconnaissance variants and the different wing configurations.
One exception was the Spitfire Mk. X: it was the only variant powered by a radial engine, and it looked quite different from its sleek Merlin-powered brethren. Early in its development, the Merlin engine's lack of fuel injection meant that Spitfires and Hurricanes, unlike the Bf 109E, were unable to simply nose down into a steep dive. This meant a Luftwaffe fighter could simply "bunt" into a high-power dive to escape an attack, leaving the Spitfire behind, as its fuel was forced out of the carburetor by negative "g". An alternative engine was to solve this issue. Another factor that suggested an air-cooled engine were theatres of operations in the Far East, primarily India: the hot and humid climate was expected to be a severe operational problem for the liquid-cooled Merlin. As a further side effect a radial engine was expected to be easier to maintain under these conditions than the Merlin.
The project of a radial-powered Spitfire variant was eventually launched in late 1940. The choice for the power unit fell on a Bristol Taurus II 14-Cylinder engine, which had an appreciable small diameter, was available in ample numbers and had about the same power output as the early Merlin variants used in the Spitfire Mk. I and II (1.030 hp/740kW). In order to save time and keep the radial engine variant as close as possible to the Spitfire V design, the production type of that era. The new type’s structure and fuselage were only adapted to a minimum to allow the bulkier power unit and its periphery to be taken. The fuselage was widened in front of the cockpit section, a new engine mount was integrated and the Merlin’s radiator bath and respective piping were removed. The oil cooler under the port wing was retained, though, and the Taurus engine was from the start outfitted with dust filters, so that all resulting Spitfire Mk. Xs left the factory tropicalized. Like the Spitfire Mk. V, different wing armaments were available, e.g. an “A” wing with eight .303 in machine guns and a “B” wing with two 20 mm cannon and four machine guns.
The first Spitfire Mk. Xs, finally outfitted with a more powerful Taurus VI engine, were delivered to homeland RAF units for evaluation from May 1941 onwards. From the start, the radial-powered Spitfire proved to be inferior to the Merlin-powered variants - even to the early Mk. Is – and they were no match to the modern German fighters, especially at high altitude. As a consequence many Mk. Xs received clipped wing tips for better roll characteristics at low altitude (receiving an additional “L.F.” designation), but this did not significantly improve the type’s overall mediocre performance. Only a few Mk. Xs were actually employed by front line units, most were quickly relegated to training units. Later production aircraft were immediately shipped to the Far East or to units in Northern Africa, where they could be used more effectively.
A few machines were also delivered to Egypt (30), the Netherlands (12 for the East Indies NL-KNIL, which eventually ended up in RAAF service) and Turkey (24). In 1942, many machines still based in Great Britain were handed over to the USAAF, being either used for USAAF pilot and conversion training, or they were allocated to the Northern Africa invasion force during Operation Torch.
Since the Taurus-powered Spitfire turned out to be quite ineffective (it was no good either in the fighter or in an alternative ground attack role and 20 mph slower than the comparable Mk. V), production was already stopped in late 1942 after 353 aircraft. At the same time, the Spitfire Mk. IX with a much more powerful Merlin engine entered service, and all resources were immediately allocated to this more potent fighter variant and the idea of the Spitfire with a radial engine was ultimately dropped. Since the Taurus-powered type was quickly phased out of frontline service, the designation was later re-used for a pressurized high-altitude photo reconnaissance variant of the Spitfire, the PR.X, of which only 16 machines were built.
General characteristics:
Crew: one pilot
Length: 29 ft 6 in (9.00 m)
Wingspan: 32 ft 2 in (9.80 m)
Height: 11 ft 5 in (3.86 m)
Wing area: 242.1 ft2 (22.48 m²)
Airfoil: NACA 2213 (root)
NACA 2209.4 (tip)
Empty weight: 5,065 lb (2,297 kg)
Loaded weight: 6,622 lb (3,000 kg)
Max. takeoff weight: 6,700 lb (3,039 kg)
Powerplant:
1× Bristol Taurus VI 14-Cylinder sleeve valve radial engine, 1.130 hp (830 kW)
Performance:
Maximum speed: 350 mph (312 kn, 565 km/h)
Combat radius: 410 nmi (470 mi/756 km)
Ferry range: 991 nmi (1,135 mi/1,827 km)
Service ceiling: 36,500 ft (11,125 m)
Rate of climb: 2,535 ft/min (12.9 m/s)
Wing loading: 27.35 lb/ft2 (133.5 kg/m²)
Power/mass: 0.22 hp/lb (0.36 kW/kg)
Armament:
2× 20 mm Hispano Mk II with 60 RPG
4× .303 in Browning Mk II machine guns with 350 RPG
The kit and its assembly:
My third contribution to the “RAF Centenary” Group Build at whatifmodelers.com, and the next one in chronological order. This one was spawned by the simple thought of “What would a Spitfire with a radial engine look like…?”. I have seen this stunt done in the form of a Fw190/Spitfire kitbash – nice result, but it did IMHO just not look like a “real” Spitfire with a radial engine, rather like an Fw 190 with elliptical wings. And the fact that I had already successfully transplanted a Centaurus engine onto a P-51 airframe made me feel positive that the stunt could be done!
Consequently, the conversion was pretty straightforward. The basis is a Revell 1:72 Spitfire VB (1996 mold), which was – except for the nose section – taken OOB. A simple, nice kit, even though it comes with some flaws, like a depression at the rear of the wing/fuselage intersection and the general need for PSR – not much, but I expected a better fit for such a relatively young mold?
For the engine, I used a personal replacement favorite, the cowling and the engine block from a Mitsubishi A6M2 “Zero” (Hasegawa). The Nakajima Sakae radial engine has a relatively small diameter, so that it serves well as a dummy for the compact Bristol Taurus engine – a replacement I have already used for a radial-powered Westland Whirlwind. The other benefit of the small diameter is that it is relatively easy to blend the round front end into the oval and very slender fuselage of the early Spitfire airframe. This was realized through massive body sculpting from scratch with 2C putty, widening the area in front of the cockpit and expanding its width to match the cowling – I guess that real life engineers would have followed a similar, simple path.
Since the radial engine would not need a radiator, I simple omitted this piece (cut out from the single piece lower wing half) and faired the respective underwing area over with a piece of styrene sheet and PSR. The asymmetrical oil cooler was retained, though. The propeller is a replacement from the scrap box, with a smaller diameter spinner and more slender blades which better suit the open cowling.
Since the Taurus had its best performance at low altitudes, I used the Revell kit’s OOB option of clipped wing tips – a move that makes the aircraft look much faster, esp. with the new, deeper nose section.
Painting and markings:
I did not want classic RAF markings, but still keep the model well within the Centenary GB confines. The original plan had been a classic Dark Green/Ocean Grey livery, which all Spitfire’s in USAAF service and based in the UK received. But I rather wanted to create a frontline aircraft, operated during Operation Torch in late 1942/early 1943 with American roundels – and the grey/green look would not look plausible on a machine taking part in the North African campaign. In fact, any Spitfire with American roundels I found that was used in North Africa carried the RAF Tropical Scheme in Dark Earth/Middle Stone. And, AFAIK, during Operation 'Torch' all British aircraft received American markings in the hope that the Vichy French, who were anti-British due to them bombing their ships in 1940, would switch to the allied cause. They were supposed to think that the Americans would be invading, not British troops as well. So I eventually switched to the classic Tropical Scheme (using Humbrol 29 and Modelmaster 2052 as basic tones), and it does not look bad at all - even though the yellow trim around the roundels does not stand out as much as on a Grey/Green aircraft.
Typically, the RAF codes were retained, as well as – at least during the early phases of Operation Torch – the RAF fin flash. A little personal twist is the pale blue (Humbrol 23, Duck Egg Blue) underside of the aircraft, instead of the typical Azure Blue. The rationale behind is that the Tropical Scheme was originally designed with Sky undersides, and the blue shades were later modifications after initial field experience.
The red spinner is a typical Northern Africa marking, and found on many 5th FS aircraft.
The interior (cockpit, landing gear wells) was painted with RAF Cockpit Green (Modelmaster), while wheels and struts became light grey.
As a standard procedure, the kit received a light black ink wash and a post shading treatment.
The decals were puzzled together from various sheets and sources, the design benchmark was a real USAAF Spitfire Vb from Operation Torch, though. The code letters were taken from an Xtradecal sheet, the roundels come from a Carpena Spitfire sheet, even though I placed American markings in all six positions – the roundels without yellow trim under the wings were taken from a Hobby Boss F6F sheet.
The serial number comes from the Revell kit’s OOB sheet, because it fits perfectly into the kit’s intended time frame. The nose art comes from a P-38 sheet (PrintScale) – not a typical feature for an RAF Spitfire, but a frequent personal decoration among USAAF machines during Operation Torch (e.g. on P-40s).
The Allied yellow ID markings on the wings’ leading edges, which were typically carried by Operation Torch Spitfires, too, were created with generic yellow decal sheet (TL Modellbau), while the maroon machine gun nozzle covers are part of Revell’s OOB sheet.
Finally, the kit received some soot stains around gun and exhaust nozzles, and was finally sealed with matt acrylic varnish.
A bold experiment, and it turned out well. The Zero’s cowling has the perfect diameter for this transplant, and the scratch-sculpted new front fuselage section blends well with the new engine – the whole thing really looks intentional! I am just not certain if the resulting aircraft still deserves the “Spitfire” designation? Even though only the engine was changed, the aircraft looks really different and has a Ki-43ish aura? I guess that a dark green livery and some hinomaru would also look great and pretty plausible?
The baseline 4x4 configuration of the SMTV family, the Mk401A short bed is the mobile and versatile vehicle ready to move all types of cargo across any sort of terrain you can throw at it.
Features include opening doors and top hatch, a cab capable of seating 2 minifigs with body armor and headgear, foldable gunner’s bench, turning front wheels, a center-pivoting rear axle, and spare tire with lift arm.
As with my other builds, this is made with all purchasable parts and can be built in real life.
If you're interested in this build, a file can be found here:
Henry Parohl miniaturized almost every configuration of internal combustion engine that was invented, including this Wankel (Mazda type) rotary engine. It is a four-cycle engine that burns gasoline with oil mixed in for lubrication. The tank sits above the engine and the fuel is gravity fed into carburetor’s float bowl (cylindrical tank next to the carburetor. The float bowl retains a steady level of fuel and maintains constant pressure for the fuel available to the carburetor. The spark for the ignition is provided by an external battery and coil.
See More Henry Parohl Engines at: www.flickr.com/photos/15794235@N06/sets/72157634219050453/
See Our Model Engine Collection at: www.flickr.com/photos/15794235@N06/sets/72157602933346098/
Visit Our Photo Sets at: www.flickr.com/photos/15794235@N06/sets
Courtesy of Paul and Paula Knapp
Miniature Engineering Museum
The Arc de Triomphe de l'Étoile (UK: /ˌɑːrk də ˈtriːɒmf, - ˈtriːoʊmf/, US: /- triːˈoʊmf/, French: [aʁk də tʁijɔ̃f də letwal]; "Triumphal Arch of the Star"), often simply called the Arc de Triomphe, is one of the most famous monuments in Paris, France. It is located at the western end of the Champs-Élysées, at the centre of the Place Charles de Gaulle—formerly known as the Place de l'Étoile—named for the star-shaped configuration formed by the convergence of twelve radiating avenues. The monument is situated at the intersection of three arrondissements: the 16th (to the south and west), the 17th (to the north), and the 8th (to the east). Commissioned to honor those who fought and died for France during the French Revolutionary and Napoleonic Wars, the Arc bears the names of French victories and generals engraved on its inner and outer surfaces. Beneath its vault lies the Tomb of the Unknown Soldier from World War I, marked by an eternal flame commemorating unidentified fallen soldiers.
The central cohesive element of the Axe historique ("historical axis", a sequence of monuments and grand thoroughfares on a route running from the courtyard of the Louvre to the Grande Arche de la Défense), the Arc de Triomphe was designed by Jean-François Chalgrin in 1806; its iconographic programme depicts heroically nude warriors and set the tone for public monuments with triumphant patriotic messages. Inspired by the Arch of Titus in Rome, the Arc de Triomphe has an overall height of 49.54 m (162.5 ft), width of 44.82 m (147.0 ft) and depth of 22.21 m (72.9 ft), while its large vault is 29.19 m (95.8 ft) high and 14.62 m (48.0 ft) wide. The smaller transverse vaults are 18.68 m (61.3 ft) high and 8.44 m (27.7 ft) wide.
Paris's Arc de Triomphe was the tallest triumphal arch until the completion of the Monumento a la Revolución in Mexico City in 1938, which is 67 m (220 ft) high. The Arch of Triumph in Pyongyang, completed in 1982, is modeled on the Arc de Triomphe and is slightly taller at 60 m (197 ft). The Grande Arche in La Défense near Paris is 110 m (361 ft) high, and, if considered to be a triumphal arch, is the world's tallest.
History
Construction and late 19th century
The Arc de Triomphe is located on the right bank of the Seine at the centre of a dodecagonal configuration of twelve radiating avenues.
It was commissioned in 1806, after the victory at Austerlitz by Emperor Napoleon at the peak of his fortunes. Laying the foundations alone took two years and, in 1810, when Napoleon entered Paris from the west with his new bride, Archduchess Marie-Louise of Austria, he had a wooden mock-up of the completed arch constructed. The architect, Jean-François Chalgrin, died in 1811 and the work was taken over by Louis-Robert Goust.
During the Bourbon Restoration, construction was halted until 1823, and it would not be completed until the reign of Louis Philippe I in 1836, by architects Louis-Robert Goust and Jean-Nicolas Huyot, under the direction of Louis-Étienne Héricart de Thury, then by Guillaume-Abel Blouet. The final cost was reported at about 10 million francs (equivalent to an estimated €65 million or $75 million in 2020).
Various designs were proposed to crown the monument with a monumental sculptural group, yet none was permanently realized. In 1838, Bernard Seurre submitted La France victorieuse ("Victorious France"), depicting a chariot drawn by six horses. In 1840, this proposal gave way to a temporary sculptural group representing Napoleon I, installed above the arch by the architect Guillaume-Abel Blouet for the return of the Emperor's remains. In preparing this installation, Blouet returned to a scheme he had drafted in 1834, modifying it by substituting the originally intended allegorical figure of France with that of the Emperor.
From 1882 to 1886, a quadriga by Alexandre Falguière was erected above the arch. The work, entitled Triomphe de la Révolution ("The Triumph of the Revolution"), depicted a chariot drawn by horses advancing "to crush Anarchy and Despotism". Executed in plaster, the group was hoisted to the summit of the monument in order to assess its visual effect. The result was judged unconvincing; although the sculpture remained in place for four years, its material deteriorated under exposure to the elements and it was ultimately removed. Following this episode, the proposal to crown the monument was ultimately abandoned.
20th century
It is said that on the day the Battle of Verdun began in 1916, the sword carried by the figure of the Republic in La Marseillaise sculptural group broke off. The relief was immediately hidden by tarpaulins to conceal the accident and avoid any undesired ominous interpretations. On 7 August 1919, three weeks after the Paris victory parade marking the end of hostilities in World War I, Charles Godefroy flew his Nieuport biplane under the arch's primary vault, with the event captured on newsreel. Jean Navarre was the pilot who was tasked to make the flight, but he died on 10 July 1919 when he crashed near Villacoublay while training for the flight.
Following its construction, the Arc de Triomphe became the rallying point of French troops parading after successful military campaigns and for the annual Bastille Day military parade. Famous victory marches around or under the Arc have included the Germans in 1871, the French and Allies in 1919, the Germans in 1940, and the French and Allies in 1944[16] and 1945. After the interment of the Unknown Soldier, however, all military parades (including the aforementioned post-1919) have avoided marching through the actual arch. The route taken is up to the arch and then around its side, out of respect for the tomb and its symbolism. Both Adolf Hitler in 1940 and Charles de Gaulle in 1944 observed this custom.
By the early 1960s, the monument had grown very blackened from coal soot and automobile exhaust, and during 1965–1966 it was cleaned through bleaching. In the prolongation of the Avenue des Champs-Élysées, a new arch, the Grande Arche de la Défense, was built in 1982, completing the line of monuments that forms Paris's Axe historique. After the Arc de Triomphe du Carrousel and the Arc de Triomphe de l'Étoile, the Grande Arche is the third arch built on the same perspective.
In 1995, the Armed Islamic Group of Algeria placed a bomb near the Arc de Triomphe which wounded 17 people as part of a campaign of bombings.
On 12 July 1998, when France won the FIFA World Cup for the first time after defeating Brazil 3–0 at the Stade de France, images of the players including double goal scorer Zinedine Zidane and their names along with celebratory messages were projected onto the arch.
21st century
In late 2018, the Arc de Triomphe suffered acts of vandalism during the yellow vests protests. A crowd of demonstrators sprayed the monument with graffiti and ransacked its museum. In September 2021, the Arc was wrapped in a silvery blue fabric and red rope, as part of L'Arc de Triomphe, Wrapped, a posthumous project planned by artists Christo and Jeanne-Claude since the early 1960s.
Design
Monument
The astylar design is by Jean-François Chalgrin (1739–1811), in the Neoclassical version of ancient Roman architecture. Among the major French academic sculptors represented on the Arc de Triomphe are Jean-Pierre Cortot, François Rude, Antoine Étex, James Pradier, and Henri Lemaire.
The main sculptures are not integral friezes but are treated as independent trophies applied to the vast ashlar masonry masses, not unlike the gilt-bronze appliqués on Empire furniture. The four sculptural groups at the base of the Arc are The Triumph of 1810 (by Jean-Pierre Cortot), The Resistance of 1814 and The Peace of 1815 (both by Antoine Étex), and the most renowned of them all, The Departure of the Volunteers of 1792, commonly called La Marseillaise (by François Rude). The face of the allegorical representation of France calling forth her people on this last was used as the belt buckle for the honorary rank of Marshal of France. The sculptures representing Triumph, Resistance and Peace commemorate Napoleon's victories, the invasion of France in 1814, and the end of hostilities in 1815.
On the attic above the richly sculptured frieze of soldiers are 30 shields engraved with the names of major French victories in the French Revolution and Napoleonic wars. The inside walls of the monument list the names of 660 officers, among which are 558 French generals of the First French Empire; the names of those killed in battle are underlined. Also inscribed, on the shorter sides of the four supporting columns, are the names of the major French victories in the Napoleonic Wars. Battles that took place during the Hundred Days are not included.
Inside the monument, a permanent exhibition, conceived by artist Maurice Benayoun and architect Christophe Girault, opened in February 2007.
Tomb of the Unknown Soldier
Beneath the Arc is the Tomb of the Unknown Soldier from World War I. Interred on Armistice Day 1920, an eternal flame burns in memory of the dead who were never identified (now in both world wars).
A ceremony is held at the Tomb of the Unknown Soldier every 11 November on the anniversary of the Armistice of 11 November 1918 signed by the Entente Powers and Germany in 1918. It was originally decided on 12 November 1919 to bury the unknown soldier's remains in the Panthéon, but a public letter-writing campaign led to the decision to bury him beneath the Arc de Triomphe. The coffin was put in the chapel on the first floor of the Arc on 10 November 1920, and put in its final resting place on 28 January 1921. The slab on top bears the inscription: Ici repose un soldat français mort pour la Patrie, 1914–1918 ("Here rests a French soldier who died for the Fatherland, 1914–1918").
In 1961, U.S. President John F. Kennedy and First Lady Jacqueline Kennedy paid their respects at the Tomb of the Unknown Soldier, accompanied by President Charles de Gaulle. After the 1963 assassination of President Kennedy, Mrs. Kennedy remembered the eternal flame at the Arc de Triomphe and requested that an eternal flame be placed next to her husband's grave at Arlington National Cemetery in Virginia.
Details
The four main sculptural groups on each of the Arc's pillars are:
The Departure of the Volunteers of 1792, also called La Marseillaise, by François Rude (southern façade, right). This sculptural group celebrates the cause of the French First Republic during the Battle of Valmy. Above the volunteers is the winged personification of Liberty. The group served as a recruitment tool in the early months of World War I and encouraged the French to invest in war loans in 1915–1916.
The Triumph of 1810, by Jean-Pierre Cortot (southern façade, left). This group celebrates the Treaty of Schönbrunn and features Napoleon, crowned by the goddess of Victory.
The Resistance of 1814, by Antoine Étex (northern façade, right). This group commemorates the French Resistance to the Allied Armies during the War of the Sixth Coalition.
The Peace of 1815, by Antoine Étex (northern façade, left). This group commemorates the Treaty of Paris, concluded in that year.
Six reliefs sculpted on the façades of the arch, representing important moments of the French Revolution and of the Napoleonic era include:
The Battle of Aboukir, 25 July 1799, by Bernard Seurre (southern façade, left).
The Funeral of General Marceau, 21 September 1796, by Henri Lemaire (southern façade, right).
The Battle of Jemappes, 6 November 1792, by Carlo Marochetti (eastern façade).
The Capture of Alexandria, 3 July 1798, by John-Étienne Chaponnière (northern façade, left).
The Crossing of the Arcole Bridge, 15 November 1796, by Jean-Jacques Feuchère (northern façade, right).
The Battle of Austerlitz, 2 December 1805, by Théodore Gechter (western façade).
The names of 158 battles fought by the French First Republic and the First French Empire are engraved on the monument. Among them, 30 battles are engraved on the attic.
96 battles are engraved on the inner façades, under the great arches.
The names of 660 military leaders who served during the French First Republic and the First French Empire are engraved on the inner façades of the small arches. Underlined names signify those who died on the battlefield.
The spandrels of the great arches are decorated with allegorical figures representing characters in Roman mythology (by James Pradier).
Access
The Arc de Triomphe is accessible by the RER and Métro, with the closest stop being the Charles de Gaulle–Étoile station. Due to heavy traffic on the roundabout of which the Arc is the centre, pedestrians use two underpasses accessible from the Champs-Élysées and the Grande Armée avenues. A spiral stairway with 240 steps leads visitors to the museum level in the attic of the monument, where large models of the Arc and interactive exhibits on its history, construction, and cultural significance are displayed. Another 40 steps lead to the rooftop terrace, offering a panoramic view of Paris. Elevators providing access to the museum and rooftop terrace are available.
The location of the Arc, as well as the Place de l'Étoile, is shared between three arrondissements: the 16th (to the south and west), the 17th (to the north), and the 8th (to the east).
Replicas
While many structures around the world resemble the Arc de Triomphe, some were actually inspired by it. Replicas that used its design as a model include the Rosedale World War I Memorial Arch in Kansas City, United States (1924); the Arcul de Triumf in Bucharest, Romania (1936); the Arch of Triumph in Pyongyang, North Korea (1982); a miniature version at the Paris Casino in Las Vegas, United States (1999); and the Simpang Lima Gumul Monument in Kediri, Indonesia (2008).
(Wikipedia)
Der Arc de Triomphe de l’Étoile (dt. Triumphbogen an der Place de l’Étoile) oder kurz Arc de Triomphe ist ein von 1806 bis 1836 errichtetes Denkmal im Zentrum der Place Charles de Gaulle in Paris.
Das Bauwerk gehört zu den Wahrzeichen der Metropole und wird vom Centre des monuments nationaux (dt. Zentrum für nationale Monumente) verwaltet, das dem Ministerium für Kultur untersteht.
Unter dem Triumphbogen liegt das Grabmal des unbekannten Soldaten aus dem Ersten Weltkrieg mit der täglich gewarteten Ewigen Flamme, im Französischen Flamme du Souvenir (dt. Flamme der Erinnerung) genannt, im Gedenken an die Toten, die nie identifiziert wurden. Das ganze Jahr hindurch finden Kranzniederlegungen und Ehrungen statt, die ihren Höhepunkt in der Parade am 11. November finden, dem Jahrestag des Waffenstillstands von Compiègne im Jahr 1918.
Für Fußgänger ist der Arc de Triomphe nur durch eine Unterführung erreichbar; der Triumphbogen verfügt über eine Aussichtsplattform.
Der Arc de Triomphe de l’Étoile ist nicht zu verwechseln mit dem weniger bekannten und kleineren Arc de Triomphe du Carrousel, der sich zwischen dem Palais du Louvre und dem Jardin des Tuileries befindet.
Geschichte
Der Triumphbogen diente dem Ruhm der kaiserlichen Armeen und wird von manchen pathetisch als „Altar des Vaterlandes“ bezeichnet, denn an diesem Ort finden die feierlichsten staatlichen Zeremonien Frankreichs statt; häufig führen Festumzüge von hier aus die Avenue des Champs Élysées hinunter oder enden mit dem Arc de Triomphe als Ziel.
Er steht im Zentrum der Place Charles de Gaulle (bis 1970 Place de l’Étoile), am westlichen Ausläufer der Avenue des Champs Élysées. Er ist Teil der „historischen Achse“, einer Reihe von Monumenten und großen Straßen, die aus Paris herausführen. Zwölf Avenuen gehen sternförmig von diesem Triumphbogen ab. Die heutige Form des Platzes entstand 1854, war in Grundzügen aber bereits seit dem späten 18. Jahrhundert so ähnlich angelegt worden, wenn auch nur mit vier Straßen.
Der Triumphbogen selbst wurde von Kaiser Napoleon I. nach der Schlacht bei Austerlitz zur Verherrlichung seiner Siege 1806 in Auftrag gegeben. Am 15. August 1806 wurde der Grundstein zum Bau gelegt. Zwei Jahre dauerte der Bau der Fundamente. 1810 erhoben sich die vier Pylonen des Triumphbogens aber erst bis zu einer Höhe von 1 m. Napoleon heiratete am 1. April 1810 die habsburgische Prinzessin Marie-Louise; er ließ dazu ein provisorisches Modell des Triumphbogens aus Holz und Stuck in originaler Größe errichten. Ähnlich dem Elefanten der Bastille stand diese Ehrenpforte längere Zeit. Der Triumphbogen wurde (anders als der Elefant) letztlich fertiggestellt.
Als der zuständige Architekt Jean-François Chalgrin im Januar 1811 gestorben war und Napoleon am 6. April 1814 abdankte, wurden die Bauarbeiten gestoppt. Louis XVIII. ließ sie 1824 unter der Leitung von Héricart de Thury fortsetzen. 1830 entschied sich König Louis-Philippe I. (oft Bürgerkönig genannt), zur napoleonischen Konzeption zurückzukehren. Er und Adolphe Thiers entschieden über den figurativen Schmuck und seine Ausführenden. Der Bogen wurde 1836 von Huyot und Blouet fertiggestellt. Am 25. Juni 1836 schoss ein 26-jähriger Anarchist namens Louis Alibaud auf die Kutsche des Königs und verfehlte ihn nur knapp. Der König beschloss daraufhin, nicht an der geplanten großen Militärparade teilzunehmen, die am 29. Juli zur Erinnerung an den sechsten Jahrestag der Julirevolution von 1830 und zur Einweihung des Bogens stattfinden sollte.
Jean Navarre, ein Fliegerass im Ersten Weltkrieg, hatte den Plan, am 14. Juli 1919 bei einer Siegesparade durch den Triumphbogen zu fliegen. Navarre stürzte aber am 10. Juli 1919 beim Üben für diesen Flug ab und starb. Am 7. August 1919 durchflog Charles Godefroy mit einer Nieuport 11 „Bébé“ den Triumphbogen. Im Oktober 1981 flog Alain Marchand durch den Triumphbogen.
Der Rundkurs der letzten Kilometer der Schlussetappe der Tour de France, die seit 1975 auf der Avenue des Champs Élysées endet, umrundet den Arc de Triomphe. Bis 2013 führte der Rundkurs direkt vor dem Arc de Triomphe eine Wende aus (und umkreiste ihn somit nicht).
Am Abend des 9. Januar 2015 wurden die Worte „Paris est Charlie“ auf den Triumphbogen projiziert. Die Parole, eine Abwandlung von „Je suis Charlie“, war ein Bekenntnis zu den demokratischen Werten der Meinungs- und Pressefreiheit und eine Solidaritätsbekundung mit den Mitarbeitern des Satiremagazins Charlie Hebdo, die von islamistischen Attentätern erschossen worden waren.
Am 1. Dezember 2018 wurde die Figur der Marianne am Triumphbogen schwer beschädigt, als es im Zuge der Protestaktionen der Gelbwestenbewegung zu schweren Ausschreitungen kam.
Beschreibung
Der Triumphbogen ist 49,54 m hoch, 44,82 m breit und 22,21 m tief. Der große Gewölbebogen misst 29,19 m in der Höhe und 14,62 m in der Breite, der kleine Bogen 18,68 m in der Höhe und 8,44 m in der Breite. Der Entwurf ist im Stil der antiken römischen Architektur gehalten. Die vier Figurengruppen an der Basis des Bogens zeigen Der Auszug der Freiwilligen von 1792, allgemein bekannt als Die Marseillaise (von François Rude), Der Triumph von 1810 (Jean-Pierre Cortot), Der Widerstand von 1814 und Der Frieden von 1815 (Antoine Étex). Oben sind auf den Flächen rund um den Bogen Flachreliefs mit Nachbildungen von wichtigen revolutionären und napoleonischen Siegen eingelassen. Die Innenwände des Triumphbogens beherbergen ein kleines Museum.
Inschriften
Die Innenwände des Triumphbogens führen die Namen von:
660 Militärs – Die meisten davon waren Generäle der Ersten Französischen Republik (1792–1804) und des Ersten Kaiserreichs (1804–1815). Unterstrichene Namen kennzeichnen Personen, die im Kampf gefallen sind.
158 Schlachten – Die 30 bedeutendsten Schlachten Napoleons beginnend mit Valmy sind zuoberst auf dem Fries in fast 50 Metern Höhe zu sehen, während 128 weitere Kriegsereignisse auf den Pfeilern zu finden sind. Verzeichnet sind nur siegreiche Schlachten.
Reliefs
Berühmt ist der Triumphbogen auch wegen der bedeutenden Reliefs, die er trägt. Sie wurden 1833 bei den Bildhauern Antoine Étex, Jean-Pierre Cortot und vor allem François Rude in Auftrag gegeben.
Die Ostfassade zeigt das berühmteste Relief, die Marseillaise (dt. Auszug der Freiwilligen von 1792) von Rude, die auch Le chant du départ, also das Abschiedslied, genannt wird. Es stellt eine Gruppe ausziehender Krieger dar, die in offensichtlich revolutionärer oder erhoben nationaler Gesinnung – zumindest kann man das in dieser Szene vermuten – das neue Revolutionslied der Marseillaise auf den Lippen haben, das erst am 25. April 1792 komponiert worden war.
François Rude übertrifft mit dem heroischen Schwung seiner Darstellung die seiner Konkurrenten auf diesem Triumphbogen bei weitem. Er begann als akademischer Klassizist, aber mit diesem seinem bekanntesten Werk vollzog Rude als einer der ersten die Abkehr vom Klassizismus und die Hinwendung zur Romantik, zu einer neuen heroischen Leidenschaftlichkeit in der Bildhauerei, ähnlich wie Eugène Delacroix in der Malerei.
Interessant ist ein Vergleich der beiden Reliefs dieser Seite. Es handelt sich auf der anderen Seite um den „Triumph Napoleons nach dem Frieden von 1810“ (der „Triumph“ verherrlicht den Frieden von Wien) von Jean-Pierre Cortot. Das Relief von Cortot steht noch ganz in der Tradition der klassizistischen Statik, der gemessenen Heldenverehrung, des symmetrischen, wohlproportionierten Bildaufbaus – mit anderen Worten der „erhabenen Langeweile“.
Auch bei den Reliefs von Antoine Etex auf der Westseite ist diese Atmosphäre deutlich zu spüren, beispielsweise beim „Frieden“. Hier hat man noch den Eindruck, dass die Themen von einer Schauspielertruppe auf einer Theaterbühne dargestellt werden, dass hier Motive aus dem Arsenal zusammengestellt worden sind.
Auf den vier Außenseiten des Bogens befinden sich sechs Flachreliefs, die jeweils berühmte Schlachten zeigen. Unter den sechs Bildhauern ist auch Jean-Jacques Feuchère mit einer Darstellung des Übergangs über die Brücke von Arcole zu sehen.
Kunst
Das Künstlerpaar Christo und Jeanne-Claude beabsichtigte, das Bauwerk im Zeitraum vom 19. September 2020 für 16 Tage bis zum 4. Oktober 2020 für seine Kunstaktion L’Arc de Triomphe, Wrapped (Project for Paris, Place de l’Étoile – Charles de Gaulle) zu verhüllen. Christo verstarb jedoch am 31. Mai 2020. Seinem Wunsch gemäß wurde das Projekt, dessen erste Pläne aus den 1960er Jahren stammten, von seinem Neffen postum umgesetzt. Die Verhüllung war nach zweimonatiger Vorbereitungsarbeit am 18. September fertiggestellt und dauerte bis zum 3. Oktober 2021. Eingesetzt wurden 25.000 Quadratmeter Stoff und 3.000 Meter rote Seile, die jeweils weiterverwendet werden.
Rezeption
Während viele Bauwerke auf der ganzen Welt dem Arc de Triomphe ähneln, wurden einige tatsächlich von ihm inspiriert. Bekannte Beispiele sind der Triumphbogen in Bukarest und der Triumphbogen in Pjöngjang. Zusätzlich zu diesen Nachahmungen gibt es noch weitere Bögen und Denkmäler weltweit, die vom Arc de Triomphe beeinflusst wurden, sei es in Bezug auf das Design, die Größe oder die verwendete Architektur.
(Wikipedia)
A very rare shot from about 1953, maybe 1954.
That's an M1A1 Carbine in the back, probably in original configuration and seemingly without the later-added bayonet lug on the upper band. All the original M1A1 Carbines were by Inland, albeit there's no proof this one is still the original carbine in that wood.
French Army archives.
Keep designs underwent a significant change in the 12th century when square configurations gave way to more rounded forms. But at Chateau Gaillard, Richard the Lionheart’s donjon is in a shape of its own. Its exterior walls are sloped outward. At the front they join and project forward at a sharp angle. This unique form makes it more resistant to projectiles. On the opposite side, the keep backs onto a sheer cliff, making any approach from this side virtually impossible. Inside, Richard I’s last line of defence is a mere eight metres in diameter. The current point of entry is believed to date from a later period, as the original door would have almost certainly been positioned above ground and reached by a ladder or stairway. With no evidence of a fireplace, well, or latrine, it appears that this particular keep was built exclusively for defence.
Battle Castle is an action documentary series starring Dan Snow that is now airing on History Television and is scheduled to premiere on Discovery Knowledge in the UK in Spring 2012 and on various BBC-affiliated channels in the near future.
For the latest air dates, Like us on Facebook (www.battlecastle.com/facebook) or follow us on Twitter (www.twitter.com/battlecastle)
This show brings to life mighty medieval fortifications and the epic sieges they resist: clashes that defy the limits of military technology, turn empires to dust, and transform mortals into legends.
Website: www.battlecastle.tv/
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Castles conjure thoughts of romantic tales, but make no mistake, they are built for war.
Dover: Prince Louis' key to England. Malaga: the Granadans final stronghold. And Crac des Chevaliers: Crown Jewel of Crusader castles. Through dynamic location footage and immersive visual effects, Battle Castle reveals a bloody history of this epic medieval arms race.
As siege weapons and technology become more ruthless, the men who design and built these castles reply ... or perish. Follow host Dan Snow as he explores the military engineering behind these medieval megastructures and the legendary battles that became testaments to their might.
Each episode will climax in the ultimate test of the castle's military engineering -- a siege that will change the course of history. Which castles will be conquered and which will prevail? You'll have to watch to find out.
But the journey doesn't end there --in fact, it's just beginning. Battle Castle extends into a multi-platform quest, taking us deep into the secret world of medieval warfare and strategy. Become the ultimate 'Castle Master'. Stay tuned for more on the Battle Castle experience.
The other side of this one.... its a sllightly different configuration of 2707-200 but generally very similar to the Revell double kit that came with one in landing/takeoff configuration (like this. wings forward, AND nose drooped) and the other in high speed cruise configuration- wings swept, nose up. 1/200 and quick big, this "little" kit is no small potatoes. With the Concorde settled into the Mach 2, dumb-old-aluminum 100+ passenger niche, the airliner makers, airlines, FAA and Congress whipped themselves into a fizz with a titanium airframe, 250+ passengers, Mach 3 or better.
The variable geometry "Swing wing" was meant to provide maximum lift at low speeds and minimum drag at high speeds... In the end, the US fielded two VG airplanes, the F-111 and the F-14, the Soviets built three, the Su-17/22 ("FLANKER"?), an evolution of the Su-11, the MiG-23/27 "FLOGGER" family and the Su-24 "FENCER". Panavia's Tornado 200 multirole aircraft for UK, Germany, Italy and (later) Saudi Arabia rounds out the collection.
The weight penalty for swing wings was larger than hoped, and particularly for a commercial airliner. When the airframe detailed design and the GE engine detailed design were done, Boeing had an airplane that could hold the target number of passengers, and could fly the Atlantic- New York to Paris, as required, but not do both at the same time. The transatlantic flight only worked with no passengers or luggage....
If you don't believe my "treehugger" opinion, check out any competent history of Boeing, say Legend and Legacy. At the end of the day, the 2707-300 had a similar fuselage with a fixed wing, just like the Lockheed bid that was rejected for being not high tech enough.
Ok, but I still think the 2707-200 was a beautiful airplane. To be a successful SST, it would have had to be scaled down- same engines with smaller passenger volume, larger fuel volume and possibly greater wing area. I'm pretty fond of the F-14, MiG-23/27, F-111 and Tornado, but we're unlikely to see another plane along these lines built.
DSC_0048
The top is the standard configuration, bottom is a longer barrelled model with an attempt at a custom red dot sight.
Made in PMG 0.7
Chelsea, Manhattan
These modest rowhouses at 145-147 Eighth Avenue are a pair of highly intact 3 1/2 story Federal style houses constructed 1827 for owner Aaron Dexter, a dry goods merchant, who retained ownership of the property until 1846.
At the time of its completion they were situated between Greenwich Village and Chelsea. They have continuously housed both residential tenants and businesses, reflecting the evolving commercial character of Eighth Avenue. Over the course of centuries, the original storefront configuration of the ground floor has had several alterations, most notably the historic 1940 arcaded shop front.
These row houses are intact above its storefront and exhibits all of the attributes of Federal style houses of the era. The building has a steeply pitched roof with double dormer windows, shares a party wall and central chimney with its neighbor, and a façade clad in Flemish bond brickwork. The windows on the second and third floors have flat stone lintels and sills. No. 145, together with 147 Eighth Avenue is among the rare extant significantly intact Federal style houses with a commercial ground floor that have survived north of 14th Street.
Early History of the Site
Prior to the arrival of European fur traders and the Dutch West India Company, Manhattan and much of the modern-day tri-state area were populated by bands of Lenape Indians. The Lenape traveled from one encampment to another with the seasons. Fishing camps along the river were occupied in the summer and inland camps were used during the fall and winter to harvest crops and hunt. In 1626, Dutch West India Company Director Peter Minuit “purchased” the island from the Lenape for sixty guilders worth of trade goods. Under the Dutch, the area along this portion of the Hudson River shoreline, the current west side of midtown Manhattan, was divided into a series of large farms, which continued through the 18th century. In the 19th century, the area was described as a largely rural space of market gardens, and estates.
During the early 19th century, a vast portion of the area was under the ownership of George Rapelje, son of one of the earliest Dutch settlers of New York, Joris Rapelje. George Rapelje purchased the tract from James Rivington in 1790.2 Rivington according to the 1790 census owned eight slaves. The tract was roughly bounded by 18th Street to the north, 16th Street to the south, Fitzroy Road (Seventh Avenue) to the east, and Tenth Avenue to the west. The Rapelje family owned slaves. George Rapelje mentioned owning two slaves and recalled a man named Shadrach that his family owned in his narratives.
In 1825, the entire population of New York numbered 166,000 and very few people lived north of 14th Street.4 Gradually however, the west side of Manhattan began attracting new residents, many of them new immigrants looking for less expensive places to live. In May 1825, George Rapelje’s grandson - also named George - and his wife Susanna began to sell sections of farm land as development tracts.5
The neighborhood of Chelsea was once a village in Manhattan, in the 18th and 19th centuries the island consisted of a series of small villages, that later, all became an indistinguishable part of the metropolis. No. 145 Eighth Avenue sits in a small area situated between Greenwich Village to the south, the then-suburb of Chelsea to the north and Paisley Place to the east. Today this area is widely considered to be a part of the neighborhood of Chelsea.
Chelsea
Captain Thomas Clarke, veteran of the French and Indian Wars, built a house on a hill overlooking the Hudson, and called it Chelsea---in reference to London’s Royal Chelsea Hospital for old soldiers. The family resided here until fire destroyed the building a short time later. The house was rebuilt by his wife, who lived there until her death in 1802, when the building became the property of her grandson, Clement Clarke Moore, who expanded his estate from 19th Street to 24th Street, from 8th Avenue to the Hudson River.7 Clement Clarke Moore, whose father Benjamin Moore was president of Columbia College, received an advanced degree there in 1801. He inherited the estate in 1809, living the life of the landed gentleman, enjoying his extensive property, and dabbling in politics through the writing of several political pamphlets, as well as the first American-produced lexicon of the Hebrew language. The owner of a large estate, Moore held slaves at this time.
Flourishing domestic and foreign trade brought prosperity and population growth to New York. The population grew from 124,000 in 1820 to 203,000 in 1830. To accommodate this growth, Chelsea’s isolation as a small village ended by 1835, as detached mansions on separate estates were developed with many new, smaller homes. Moore began opening streets and avenues through his Chelsea property, and used covenants and agreements to control the plans and appearance of new houses.8 Moore sought and achieved a pleasing variety of stylistic, detail within a harmonious uniformity of building dimensions, materials, quality of construction, and relations of buildings to each other and to the streetscape. Later covenants gave a detailed list of prohibited uses, including "any kind of manufacturing, trade or business whatever which may in any ways be noxious to the neighboring inhabitants." Still later, the covenant would prohibit the use of a building for "what is generally termed a community or tenement house.”9
By 1830 a community had developed near the General Theological Seminary, around Chelsea Square, including many tenants of Clement Moore.10 The seminary was growing and began to add more buildings. They started a Sunday school for local children, and in 1831 St. Peter’s Church was organized. Clement Moore was a major contributor to St. Peter’s new building, which was constructed in 1836-7. From 18311840 more than 500,000 immigrants came to New York; many settled in Chelsea, and were generally of British descent.11
During the boom years of the early 1830s development started moving north in Manhattan at an unprecedented pace. It was temporarily stopped by the Panic of 1837, but continued again by the early 1840s. Huge numbers of people were moving to the city and speculators began to build long rows of townhouses for well-to-do businessmen.12 As the population increased, commercial activity moved into previously residential areas, forcing residential growth northward. This was the beginning of major development in Chelsea.
As Chelsea developed in the 1840s, it appears that the character of the neighborhood changed from block to block. The Hudson Railroad laid tracks along 10th and 11th Avenues (in 1847), bringing light industry to the area. Factories were locating west of 10th Avenue and those who worked in them settled in tenements nearby. Gradually more and more of the marshy land west of 10th Avenue was filled in, creating more inexpensive land that became home to many of the city’s recent immigrants, including a large group of Irish workers. The city’s first stagecoach line began in 1838 and ran on Broadway from South Ferry to 23rd Street and 9th Avenue, increasing Chelsea’s accessibility. Large estate houses began to give way to smaller homes built along the newly-opened streets.
Although much of Chelsea was developed with an eye toward wealthy and middle-class families, they did not stay long in the area and less-affluent, often Irish-Catholic families took their places.13 A quote from a local newspaper in 1855 stated: “Recent neighborhood changes had not helped make Chelsea the court end of town. Tongues very different from English were heard on its streets.”14
During much of the 20th century, the area became less affluent. With the construction of Pennsylvania Station just to the north, more factories and warehouses located nearby and residential units were taken over by less fortunate residents.
Eighth Avenue
Although Eighth Avenue has different names at different points in Manhattan, it is one uninterrupted span of road. The New York Commissioners adopted a plan that established a street and avenue grid system in 1811. It was not until 1835, however, that the avenues were regulated and extended northward to 155th Street. Eighth Avenue was one of the first avenues under construction; its first section was completed in 1816. This section was initially intended to connect with Hudson Street and run to the Hudson River, however, the Commissioners decided Eighth Avenue would extend from Greenwich Lane to Old Road at 121st Street; it would later be extended approximately to the Harlem River.
As parts of northern Manhattan developed Eighth Avenue became one of the major thoroughfares to the commercial part of the city, allowing citizens that had moved to other parts of the island easy access to jobs and other commercial interests.17 Eighth Avenue developed as a commercial center for the middle west side of Manhattan and was considered the middle west side's "Main Street." During the early 1900s the section of Eighth Avenue between 17th and 23rd Streets was considered “The Bowery of the West Side; because, after dark it was one of the liveliest and noisiest streets in town.”18
Construction, 19th Century Ownership and Tenancy of the 145 Eighth Avenue House19
In 1827, dry goods merchant Aaron Dexter purchased two lots north of 17th Street.20
Dexter constructed 145 Eighth Avenue in 1827-28 and conducted business there for close to twenty years before selling the property in 1846.21 No. 145 Eighth Avenue was built for commercial as well as residential use. Over the years, the property changed hands several times.22 According to census records, there is no evidence that Dexter was ever a slave owner. In 1846 the property was acquired by Elizabeth Montgomery. Dr. C. Dixon Varley purchased the property in 1852. He was a graduate of New York University Medical School, treasurer of the Alumni Association, and a founding member of the Church of the Holy Apostles (Protestant Episcopal). While it is not known whether or not Dr. Varley practiced medicine here, he owned the property for thirty-five years, and upon his death in April of 1887, the property went to his heirs and remained in the family until 1925.23
From the 1850s to the present, 145 Eighth Avenue was rented to a variety of tradesmen and laborers and their families. As noted by Elizabeth Blackmar in her book Manhattan for Rent, 1785-1850, these households often included lodgers who helped pay the rent.24 From 1850 until 1870 it was the address of the studio of renowned portraitist and photographer Fernando Dessaur.25 Another photographer named Roya also rented studio space here in the 1930s.26
Later History
There has been a steady stream of commercial tenants housed in the ground-floor storefront of 145 Eighth Avenue. The original owner operated a shoe store well into the 1840s; Murray’s Shoes occupied the ground floor from 1929 to 1937; Sundial Shoes from 1938 to 1949.27 The earliest known images of the house are a 1937 photograph by an unknown photographer28 and the c.1940 tax photograph. At that time, the red brick building was strikingly similar to the house-shops of the early nineteenth century.
In 1931 Oscar Hanpachian acquired this property, but later lost it to foreclosure. It is listed as his address however, well into the late 1960s. Harry ZaZula leased the property in 1940 and purchased the property in 1944.29 A New York City Buildings Department application was filed in 1940 to alter the storefront. Mr. ZaZula is listed as the lessee and the arcaded shop front is credited to this period.30 He and his wife Anna owned the property until 1975.
No. 145 Eighth Avenue contains an historic arcaded shop front, which was typically found in upscale shops along Fifth Avenue in Manhattan. The arcaded shop front was first introduced in 1925 at the Exposition des Arts Decoratifs in Paris. This new configuration increased the linear amount of show window by recessing the entrance and linking the resulting exterior passageway with display windows.31 The increase in the popularity of the arcaded shop front was fueled by retail businesses trying to attract middle-class buyers, whose tastes for luxury items increased due to a booming economy and expanded European travel. The arcaded shop front was well suited to mass merchandizing establishments, the window shopper could peruse potential purchases from the passage, away from street, yet protected from the elements. Several different type of businesses exploited this display configuration, including booksellers, shoe stores, perfumers, cosmeticians, and beauticians.32
Federal Style Rowhouses in Manhattan
As the city of New York grew in the period after the Revolution, large plots of land in Manhattan were sold and subdivided for the construction of groups of brick-clad houses. Their architectural style has been called “Federal” after the new republic, but in form and detail they continued the Georgian style of Great Britain. Federal style houses were constructed from the Battery as far north as 23rd Street between the 1790s and 1830s.
The size of the lot dictated the size of the house: typically each house lot was 20 or 25 feet wide by 90 to 100 feet deep, which accorded with the rectilinear plan of New York City, laid out in 1807 and adopted as the Commissioners’ Plan in 1811. The rowhouse itself was as wide as the lot, and 35 to 40 feet deep. This allowed for a stoop and small front yard or areaway, and a fairly spacious rear yard, which usually contained a buried cistern to collect fresh water and the privy.
During the early 19th century, several houses were often constructed together, sharing common party walls, chimneys, and roof timbering to form a continuous group. The houses were of load-bearing masonry construction or modified timber-frame construction with brick-clad front facades. With shared structural framing and party walls, each house in a row was dependent on its neighbor for structural stability.
With the increasing availability of pattern books, such as Asher Benjamin’s American Builders Companion (published in six editions between 1806 and 1827), local builders had access to drawings and instructions for exterior and interior plans and details. Federal style rowhouses usually had a three-bay facade with two full stories over a high basement and an additional half story under a peaked roof with the ridge line running parallel to the front facade. (Very modest houses were sometimes two bays wide, while grander houses had three full stories, and could be up to five bays wide). The front (and sometimes rear) facade was usually clad in red brick laid in the Flemish bond pattern, which alternated a stretcher and a header in every row. This system allowed the linking of the more expensive face brick with the cheaper, rougher brick behind. Walls were usually two “wythes,” or eight inches, thick. Because brick was fabricated by hand in molds (rather than by machine), it was relatively porous. To protect the brick surface and slow water penetration, facades were often painted.
The planar quality of Federal style facades was relieved by ornament in the form of lintels, entrances, stoops with iron railings, cornices, and dormers. Doorway and window lintels, seen in a variety of types (flat, incised or molded), were commonly brownstone. The most ornamental feature was the doorway, often framed with columns and sidelights and topped with a rectangular transom or fanlight, and having a single wooden paneled door. The entrance was usually raised and approached by a stoop – a flight of brownstone steps placed to one side of the facade – which created a basement level below the parlor floor. Commercial structures retained the simple detailing but with minor variations. The raised entry was usually eliminated in favor of a ground story entrance which provided access to residential accommodations at the upper stories and ground story shop for customer convenience. Window openings at the parlor and second stories were usually the same height (the size sometimes diminished on the third story) and were aligned and the same width from story to story. The wood-framed sash was double-hung and multi-light (typically six-over-six). Shutters were common on the exterior, a wooden box cornice with a molded fascia extended across the front along the eave, which carried a built-in gutter. A leader head and downspout that drained onto the sidewalk extended down the facade on the opposite side from the doorway. Pedimented or segmental dormers on the front roof slope usually had decorative wood trim, and the top sashes were often arched with decorative muntins. Typically, the roof was covered with continuous wood sheathing over the rafters and clad in slate.
Significant remaining features of the modest 21-foot-wide and 3-1/2-story rowhouse at 145 Eighth Avenue characteristic of the Federal style are its brick cladding, fenestration pattern on the second story, simple brownstone lintels and sills, peaked roof, molded cornice, and pedimented dormer. Given the lack of a raised basement and stoop, it is likely that there was originally a shop on the ground story, common on such modest houses in this period and vicinity.
The earliest known depiction of the house is a c. 1937 photograph; at that time the building had a version of the current ground-story configuration with flanking display window, recessed central entrance, and a secondary entrance to the left to the residential floors. Despite some alterations, 145 Eighth Avenue, notable singly and as part of a pair along with 147 Eighth Avenue, is among the relatively rare surviving and significantly intact Manhattan buildings of the Federal style period. In particular, it is a very rare surviving modest Federal style rowhouse of the 3-1/2-story, 3bay, double-dormers and peaked-roof type, with a commercial ground story. Its survival is particularly noticeable on a commercial thoroughfare north of 14th Street. 34
Description: 145 Eighth Avenue
The modest 21-foot-wide 3 and 1/2 story row house at 145 Eighth Avenue retains characteristics of the Federal style: Flemish bond brick cladding, side entrance and evenly-spaced second-and third-floor windows with simple stone sills, and a steeply pitched roof with two dormer windows. Given the lack of a raised basement and stoop and its location on a historically busy thoroughfare it is likely that there was originally a shop on the ground floor. The current appearance shows the historic 1940 configuration.
The ground floor storefront has a tripartite division including a deeply recessed central store entrance with a single wood-and-glass door with transom reached by a passage-way from the street. Flanking angled display windows that run the depth of the passage-way, feature seamless glazing and metal casing. The left side culminates in a protruding hexagonal display case. Both glass display cases rest on concrete and glazed metal bulkheads, with non-historic metal basement access doors in front of the northern display window.
The floor of the passage-way is clad in alternating light and dark terracotta colored glazed tile, outlined in the darker tile. The entrance to the upper floors at the southern bay is deeply inset within a molded wood reveal. The wood and multi-light door sits on a single stone step and is topped by a denticulated wood cornice and a stained glass transom. The pediment above the door has been removed. A continuous canvas box awning runs the entire width at the top of the ground floor. Throughout the second and third story levels are one-over-one double-hung replacement windows with shaved lintels. Two pedimented dormers are clad in metal siding, with one over-one double-hung replacement windows. The main part of the building is capped by a wood cornice with a plain wide frieze. The building shares a chimney that has been parged, with the building to the north. A metal fire escape extends up the north side of the façade, from the second floor to the dormer window.
Description 147 Eighth Avenue
The modest 21-foot-wide 3 1/2 story row house at 147 Eighth Avenue retains characteristics of the Federal style: Flemish bond brick cladding, side entrance and evenly-spaced second-and third-floor windows with simple stone sills, and a steeply pitched roof with twin dormer windows.
Given the lack of a raised basement and stoop and the buildings location on a historically busy thoroughfare it is likely that there was originally a shop on the ground floor. The store front has had several alterations. In 1914 the storefront was moved flush with the front building line.28 The current modern ground floor storefront has been totally re-configured. The entire storefront is made of seamless glass; the storefront entrance was recessed and relocated to southern part of the facade, and the display window that rests on a wood and concrete bulkhead, with non-historic metal basement access doors in front of a display window.29
The entrance to the upper floors consists of a non-historic wood door up one stone step with a non-historic light fixture above. Above the storefront non-historic metal awning housing contains light boxes and runs the width of the storefront. The northern façade is partially obscured by neighboring buildings at the first and second floors; the upper part of this façade retains the shadow of an earlier building showing eaves and wooden anchors. The stone lintels have been shaved and the one-over-one double-hung windows have been replaced throughout. The roof and two pedimented dormers are clad in tar, with one-over-one double-hung windows. The shared chimney with 145 Eighth Avenue has been parged. A non-historic metal-and-glass skylight sits just above and between the two dormers.
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An Atlas-D rocket in Mercury-Atlas Configuration is on display at Kennedy Space Center.
Atlas LV-3B
The Atlas LV-3B, Atlas D Mercury Launch Vehicle or Mercury-Atlas Launch Vehicle, was a human-rated expendable launch system used as part of the United States Project Mercury to send astronauts into low Earth orbit. Manufactured by American aircraft manufacturing company Convair, it was derived from the SM-65D Atlas missile, and was a member of the Atlas family of rockets.
The Atlas D missile was the natural choice for Project Mercury since it was the only launch vehicle in the US arsenal that could put the spacecraft into orbit and also had a large number of flights to gather data from. But its reliability was far from perfect and Atlas launches ending in explosions were an all-too common sight at Cape Canaveral. Thus, significant steps had to be taken to human-rate the missile and make it safe and reliable unless NASA wished to spend several years developing a dedicated launch vehicle for crewed programs or else wait for the next-generation Titan II ICBM to become operational. Atlas’s stage-and-a-half configuration was seen as somewhat preferable to the two stage Titan in that all engines were ignited at liftoff, making it easier to test for hardware problems during prelaunch checks.
Shortly after being chosen for the program in early 1959, the Mercury astronauts were taken to watch the second D-series Atlas test, which exploded a minute into launch. This was the fifth straight complete or partial Atlas failure and the booster was at this point nowhere near reliable enough to carry a nuclear warhead or an uncrewed satellite, let alone a human passenger. Plans to human-rate Atlas were effectively still on the drawing board and Convair estimated that 75% reliability would be achieved by early 1961 and 85% reliability by the end of the year.
•General Specifications:
oFunction: Crewed Expendable Launch System
oManufacturer: Convair
oCountry of Origin: United States
•Size:
oHeight: 28.7 meters (94.3 ft)
oDiameter: 3.0 meters (10.0 ft); Width Over Boost Fairing: 4.9 meters (16 ft)
oMass: 120,000 kilograms (260,000 lb)
oStages: 1½
•Capacity:
oPayload to LEO: 1,360 kilograms (3,000 lb)
•Launch History:
oStatus: Retired
oLaunch Sites: CCAFS LC-14
oTotal Launches: 9
oSuccesses: 7
oFailures: 2
oFirst Flight: July 29, 1960
oLast Flight: May 15, 1963
•Boosters:
oNumber of Boosters: 1
oEngines: 2
oThrust: 1,517.4 kilonewtons (341,130 lbf)
oBurn Time: 134 seconds
oFuel: RP-1/LOX
•First Stage:
oDiameter: 3.0 meters (10.0 ft)
oEngines: 1
oThrust: 363.22 kilonewtons (81,655 lbf)
oBurn Time: 5 minutes
oFuel: RP-1/LOX
Quality Assurance
Aside from the modifications described below, Convair set aside a separate assembly line dedicated to Mercury-Atlas vehicles which was staffed by personnel who received special orientation and training on the importance of the crewed space program and the need for as high quality workmanship as possible. Components used in the Mercury-Atlas vehicles were given thorough testing to ensure proper manufacturing quality and operating condition, in addition components and subsystems with excessive operating hours, out-of-specification performance, and questionable inspection records would be rejected. All components approved for the Mercury program were earmarked and stored separately from hardware intended for other Atlas programs and special handling procedures were done to protect them from damage.
Propulsion systems used for the Mercury vehicles would be limited to standard D-series Atlas models of the Rocketdyne MA-2 engines which had been tested and found to have performance parameters closely matching NASA’s specifications.
All launch vehicles would have to be complete and fully flight-ready at delivery to Cape Canaveral with no missing components or unscheduled modifications/upgrades. After delivery, a comprehensive inspection of the booster would be undertaken and prior to launch, a flight review board would convene to approve each booster as flight-ready. The review board would conduct an overview of all prelaunch checks, and hardware repairs/modifications. In addition, Atlas flights over the past few months in both NASA and Air Force programs would be reviewed to make sure no failures occurred involving any components or procedures relevant to Project Mercury.
The NASA Quality Assurance Program meant that each Mercury-Atlas vehicle took twice as long to manufacture and assemble as an Atlas designed for uncrewed missions and three times as long to test and verify for flight.
Systems Modified
Abort Sensor
Central to these efforts was the development of the Abort Sensing and Implementation System (ASIS), which would detect malfunctions in the Atlas’s various components and trigger a launch abort if necessary. Added redundancy was built in; if ASIS itself failed, the loss of power would also trigger an abort. The system was tested on a few Atlas ICBM flights prior to Mercury-Atlas 1 in July 1960, where it was operated open-loop (MA-3 in April 1961 would be the first closed-loop flight).
The Mercury launch escape system (LES) used on Redstone and Atlas launches was identical, but the ASIS system varied considerably between the two boosters as Atlas was a much larger, more complex vehicle with five engines, two of which were jettisoned during flight, a more sophisticated guidance system, and inflated balloon tanks that required constant pressure to not collapse.
Atlas flight test data was used to draw up a list of the most likely failure modes for the D-series vehicles, however simplicity reasons dictated that only a limited number of booster parameters could be monitored. An abort could be triggered by the following conditions, all of which could be indicative of a catastrophic failure:
•The booster flight path deviated too far from the planned trajectory
•Engine thrust or hydraulic pressure dropped below a certain level
•Propellant tank pressure dropped below a certain level
•The intermediate tank bulkhead showed signs of losing structural integrity
•The booster electrical system ceased operating
•The ASIS system ceased operating
Some failure modes such as an erroneous flight path did not necessarily pose an immediate danger to the astronaut’s safety and the flight could be terminated via a manual command from the ground (e.g. Mercury-Atlas 3). Other failure modes such as loss of engine thrust in the first few moments of liftoff required an immediate abort signal as there would be little or no time to command a manual abort.
An overview of failed Atlas test flights showed that there were only a few times that malfunctions occurred suddenly and without prior warning, for instance on Missile 6B when one turbopump failed 80 seconds into the launch. Otherwise, most failures were preceded by obvious deviations from the booster’s normal operating parameters. Automatic abort was only necessary in a situation like Atlas 6B where the failure happened so fast that there would be no time for a manual abort and most failure modes left enough time for the astronaut or ground controllers to manually activate the LES. A bigger concern was setting up the abort system so as to not go off when normal, minor performance deviations occurred.
Rate Gyros
The rate gyro package was placed much closer to the forward section of the LOX tank due to the Mercury/LES combination being considerably longer than a warhead and thus producing different aerodynamic characteristics (the standard Atlas D gyro package was still retained on the vehicle for the use of the ASIS). Mercury-Atlas 5 also added a new reliability feature—motion sensors to ensure proper operation of the gyroscopes prior to launch. This idea had originally been conceived when the first Atlas B launch in 1958 went out of control and destroyed itself after ground crews forgot to power on the gyroscope motors during prelaunch preparation, but it was phased into Atlas vehicles only gradually. One other Atlas missile test in 1961 also destroyed itself during launch, in that case because the gyroscope motor speed was too low. The motion sensors would thus eliminate this failure mode.
Range Safety
The range safety system was also modified for the Mercury program. There would be a three-second delay between engine cutoff and activation of the destruct charges so as to give the LES time to pull the capsule to safety. The ASIS system could not terminate engine thrust for the first 30 seconds of flight in order to prevent a malfunctioning launch vehicle from coming down on or around the pad area; during this time only the Range Safety Officer could send a manual cutoff command.
Autopilot
The old-fashioned electromechanical autopilot on the Atlas (known as the “round” autopilot due to the shape of the containers its major components were housed in) was replaced by a solid-state model (the “square” autopilot) that was more compact and easier to service, but it would prove a serious headache to debug and man-rate. On Mercury-Atlas 1, the autopilot system functioned well until launch vehicle destruction a minute into the flight. On Mercury-Atlas 2, there was a fair bit of missile bending and propellant slosh. Mercury-Atlas 3 completely failed and had to be destroyed shortly after launch when the booster did not perform the pitch and roll maneuver. After this debacle, the programmer was recovered and examined. Several causes were proposed including contamination of pins in the programmer or perhaps a transient voltage. The autopilot was extensively redesigned, but Mercury-Atlas 4 still had high vibration levels for the first 20 seconds of launch which led to further modifications. Finally on Mercury-Atlas 5, the autopilot worked perfectly.
Antenna
The guidance antenna was modified to reduce signal interference.
LOX Boil-Off Valve
Mercury-Atlas vehicles utilized the boil-off valve from the C-series Atlas rather than the standard D-series valve for reliability and weight-saving reasons.
Combustion Sensors
Combustion instability was an important problem that needed to be fixed. Although it mostly only occurred in static firing tests of the MA-2 engines, three launches (Missiles 3D, 51D, and 48D) had demonstrated that unstable thrust in one engine could result in immediate, catastrophic failure of the entire missile as the engine backfired and ruptured, leading to a thrust section fire. On Missile 3D, this had occurred in flight after a propellant leak starved one booster engine of LOX and led to reduced, unstable thrust and engine failure. The other two launches suffered rough combustion at engine start, ending in explosions that severely damaged the launch stand. Thus, it was decided to install extra sensors in the engines to monitor combustion levels and the booster would also be held down on the pad for a few moments after ignition to ensure smooth thrust. The engines would also use a “wet start”, meaning that the propellants were injected into the combustion chamber prior to igniter activation as opposed to a “dry start” where the igniter was activated first, which would eliminate rough ignition (51D and 48D had both used dry starts). If the booster failed the check, it would be automatically shut down. Once again, these upgrades required testing on Atlas R&D flights. By late 1961, after a third missile (27E) had exploded on the pad from combustion instability, Convair developed a significantly upgraded propulsion system that featured baffled fuel injectors and a hypergolic igniter in place of the pyrotechnic method, but NASA was unwilling to jeopardize John Glenn’s upcoming flight with these untested modifications and so declined to have them installed in Mercury-Atlas 6’s booster. As such, that and Scott Carpenter’s flight on MA-7 used the old-style Atlas propulsion system and the new variant was not employed until Wally Schirra’s flight late in 1962.
Static testing of Rocketdyne engines had produced high-frequency combustion instability, in what was known as the “racetrack” effect where burning propellant would swirl around the injector head, eventually destroying it from shock waves. On the launches of Atlas 51D and 48D, the failures were caused by low-order rough combustion that ruptured the injector head and LOX dome, causing a thrust section fire that led to eventual complete loss of the missile. The exact reason for the back-to-back combustion instability failures on 51D and 48D was not determined with certainty, although several causes were proposed. This problem was resolved by installing baffles in the injector head to break up swirling propellant, at the expense of some performance as the baffles added additional weight reduced the number of injector holes that propellants were sprayed through. The lessons learned with the Atlas program later proved vital to the development of the much larger Saturn F-1 engine.
Electrical System
Added redundancy was made to the propulsion system electrical circuitry to ensure that SECO would occur on time and when commanded. The LOX fuel feed system received added wiring redundancy to ensure that the propellant valves would open in the proper sequence during engine start.
Tank Bulkhead
Mercury vehicles up to MA-6 had foam insulation in the intermediate bulkhead to prevent the super-chilled LOX from causing the RP-1 to freeze. During repairs to MA-6 prior to John Glenn’s flight, it was decided to remove the insulation for being unnecessary and an impediment during servicing of the boosters in the field. NASA sent out a memo to GD/A requesting that subsequent Mercury-Atlas vehicles not include bulkhead insulation.
LOX Turbopump
In early 1962, two static engine tests and one launch (Missile 11F) fell victim to LOX turbopump explosions caused by the impeller blades rubbing against the metal casing of the pump and creating a friction spark. This happened after over three years of Atlas flights without any turbopump issues and it was not clear why the rubbing occurred, but all episodes of this happened when the sustainer inlet valve was moving to the flight-ready “open” position and while running untested hardware modifications. A plastic liner was added to the LOX turbopump to prevent friction rubbing. In addition Atlas 113D, the booster used for Wally Schirra’s flight, was given a PFRT (Pre-Flight Readiness Test) to verify proper functionality of the propulsion system.
Pneumatic System
Mercury vehicles used a standard D-series Atlas pneumatic system, although studies were conducted over the cause of tank pressure fluctuation which was known to occur under certain payload conditions. These studies found that the helium regulator used on early D-series vehicles had a tendency to induce resonant vibration during launch, but several modifications to the pneumatic system had been made since then, including the use of a newer model regulator that did not produce this effect.
Propellant Utilization System
In the event that the guidance system failed to issue the discreet cutoff command to the sustainer engine and it burned to propellant depletion, there was the possibility of a LOX-rich shutdown which could result in damage to engine components from high temperatures. For safety reasons, the PU system was modified to increase the LOX flow to the sustainer engine ten seconds before SECO. This was to ensure that the LOX supply would be completely exhausted at SECO and prevent a LOX-rich shutdown.
Skin
After MA-1 was destroyed in-flight due to a structural failure, NASA began requesting that Convair deliver Atlases with thicker skin. Atlas 10D (as well as its backup vehicle 20D which was later used for the first Atlas-Able flight), the booster used for the Big Joe test in September 1959, had sported thick skin and verified that this was needed for the heavy Mercury capsule. Atlas 100D would be the first thick-skinned booster delivered while in the meantime, MA-2’s booster (67D) which was still a thin-skinned model, had to be equipped with a steel reinforcement band at the interface between the capsule and the booster. Under original plans, Atlas 77D was to have been the booster used for MA-3. It received its factory rollout inspection in September 1960, but shortly afterwards, the postflight findings for MA-1 came out which led to the thin-skinned 77D being recalled and replaced by 100D.
Guidance
The vernier solo phase, which would be used on ICBMs to fine-tune the missile velocity after sustainer cutoff, was eliminated from the guidance program in the interest of simplicity as well as improved performance and lift capacity. Since orbital flights required an extremely different flight path from missiles, the guidance antennas had to be completely redesigned to ensure maximum signal strength. The posigrade rocket motors on the top of the Atlas, designed to push the spent missile away from the warhead, were moved to the Mercury capsule itself. This also necessitated adding a fiberglass insulation shield to the LOX tank dome so it wouldn’t be ruptured by the rocket motors.
Engine Alignment
A common and normally harmless phenomenon on Atlas vehicles was the tendency of the booster to develop a slight roll in the first few seconds following liftoff due to the autopilot not kicking in yet. On a few flights however, the booster developed enough rolling motion to potentially trigger an abort condition if it had been a crewed launch. Although some roll was naturally imparted by the Atlas’s turbine exhaust, this could not account for the entire problem which instead had more to do with engine alignment. Acceptance data from the engine supplier (Rocketdyne) showed that a group of 81 engines had an average roll movement in the same direction of approximately the same magnitude as that experienced in flight. Although the acceptance test-stand and flight-experience data on individual engines did not correlate, it was determined that offsetting the alignment of the booster engines could counteract this roll motion and minimize the roll tendency at liftoff. After Schirra’s Mercury flight did experience momentary roll problems early in the launch, the change was incorporated into Gordon Cooper’s booster on MA-9.
Launches
Nine LV-3Bs were launched, two on uncrewed suborbital test flights, three on uncrewed orbital test flights, and four with crewed Mercury spacecraft. Atlas LV-3B launches were conducted from Launch Complex 14 at Cape Canaveral Air Force Station, Florida.
It first flew on July 29, 1960, conducting the suborbital Mercury-Atlas 1 test flight. The rocket suffered a structural failure shortly after launch, and as a result failed to place the spacecraft onto its intended trajectory. In addition to the maiden flight, the first orbital launch, Mercury-Atlas 3 also failed. This failure was due to a problem with the guidance system failing to execute pitch and roll commands, necessitating that the Range Safety Officer destroy the vehicle. The spacecraft separated by means of its launch escape system and was recovered 1.8 kilometers (1.1 mi) from the launch pad.
A further series of Mercury launches was planned, which would have used additional LV-3Bs; however these flights were canceled after the success of the initial Mercury missions. The last LV-3B launch was conducted on 15 May 1963, for the launch of Mercury-Atlas 9. NASA originally planned to use leftover LV-3B vehicles to launch Gemini-Agena Target Vehicles, however an increase in funding during 1964 meant that the agency could afford to buy brand-new Atlas SLV-3 vehicles instead, so the idea was scrapped.
Mercury-Atlas Vehicles Built and Eventual Disposition
•10D—Launched Big Joe 9/14/59
•20D—Backup vehicle for Big Joe. Reassigned to Atlas-Able program and launched 11/26/59.
•50D—Launched Mercury-Atlas 1 7/29/60
•67D—Launched Mercury-Atlas 2 2/21/61
•77D—Original launch vehicle for Mercury-Atlas 3, replaced by Atlas 100D after postflight findings from Mercury-Atlas 1
•88D—Launched Mercury-Atlas 4 9/13/61
•93D—Launched Mercury-Atlas 5 11/29/61
•100D—Launched Mercury-Atlas 3 4/25/61
•103D—Cancelled
•107D—Launched Aurora 7 (Mercury-Atlas 7) 5/24/62
•109D—Launched Friendship 7 (Mercury-Atlas 6) 2/21/62
•113D—Launched Sigma 7 (Mercury-Atlas 8) 10/3/62
•130D—Launched Faith 7 (Mercury-Atlas 9) 5/15/63
•144D—Cancelled, was planned launch vehicle for Mercury-Atlas 10
•152D—Cancelled
•167D—Cancelled
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Route: Cavite City or Ternate - Lawton
Shot Location: Saulog Transit, Inc. Cavite City Terminal
The baseline configuration of the Oshkart SMTV (Scalable Medium Tactical Vehicle) family, the Mk601A is the standard two-door 6x6 cargo hauler configuration.
Features include opening doors and top hatch, a cab capable of seating 2 minifigs with body armor and headgear, foldable gunner’s seat, turning front wheels, center-pivoting rear axles, and spare tire with lift arm.
A special thanks needs to be given to Abdullah750Pakistan. This originally started as a project to clean up and make a buildable and more minifig-friendly version of his Ural 63708. As you can see though, it’s turned into a project to create a series of trucks in the same vein of the Oshkosh MTVR, Navistar 7000 MV, and Ural 63704-0010 families.
As with my other builds, all parts used in this are real production pieces.
If you're interested in this build, a file can be found here:
The second configuration sacrifices the ability to engage in melee combat in exchange for increased firepower. It is armed with an arm-mounted twin barreled rapid-fire beam gun, an arm-mounted beam cannon, a shoulder-mounted rapid-fire beam gun, and a shoulder-mounted heavy beam cannon (which is able to fold backwards for storage).
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft.
The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works (which operated as a subsidiary of Vickers-Armstrong from 1928). In accordance with its role as an interceptor, Mitchell designed the Spitfire's distinctive elliptical wing to have the thinnest possible cross-section; this thin wing enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane.
It was the only British fighter to be in continuous production throughout World War II, and remained in service with several air forces around the world for several years. One of its post-war operators was the Lebanese Air Force, or Al Quwwat al-Jawwiya al-Lubnaniyya (لقوات الجوية اللبنانية).
The Lebanese Air Force was established in 1949 under the command of then-Lieutenant Colonel Emile Boustany who later became commander of the army. Soon after its establishment, a number of planes were donated by the British, French, and Italian governments, with additional planes donated by Britain and Italy later that same year.
Britain donated 4 Percival Prentices, 2 World War II-era Percival Proctors and seven trpocailized Supermarine Spitfires (six Mk. XVIe and one TR.8 two-seater), while Italy donated 4 Savoia-Marchetti SM.79 bombers which were mainly used for transportation.
The Mk XVI Spitfire was a WWII design, and the last variant powered by a Merlin engine and based on the original, sleek fuselage. It was basically the same as the Mk IX, except for the engine, a Merlin 266. The Merlin 266 was the Merlin 66 and was built under licence in the USA by the Packard Motor Company. The "2" was added as a prefix in order to avoid confusion with the engines, as they required different tooling.
All Mk XVI aircraft produced (a total of 1,054 Mk XVIs left Castle Bromwich) were of the Low-Altitude Fighter (LF) variety. This was not determined by the length of the wings (clipped wings were fitted to most LF Spitfires), but by the engine, which had been optimised for low-altitude operation. All production Mk XVIs had clipped wings for low altitude work and were fitted with the rear fuselage fuel tanks with a combined capacity of 75 gal. Many XVIs featured cut-down rear fuselages with bubble canopies. On these aircraft the rear fuselage tank capacity was limited to 66 gal.
Because of a slightly taller intercooler and rearranged accessories on the Packard Merlins a new, bulged upper cowling was introduced, a detail that also appeared on late production IXs. For the service in the Middel East region the Lebanese machines received dust filters which considerably changed the aircraft's silhouette.
Armament consisted of two 20 mm Hispano II cannons - each with 120 rpg - and two 0.50 calibre Browning machine guns - each with 250 rpg. 1 × 500 lb (227 kg) bomb could be carried underneath the centre rack, and 1 × 250 lb (114 kg) bomb could be slung under each wing. As a special feature, the wing hardpoints of the Lebanese Spitfires were "wet" so that slipper tanks with 24 gal. each could be carried, compensating for the reduces rear fuselage tank due to the bubble canopy's lowered dorsal spine.
The Lebanese Spitfires only saw a short service, since in 1953, jet fighters were introduced when 16 de Havilland Vampire jets were received, and the first Hawker Hunters arrived in 1959, which replaced the obsolete Spitfires. This initial Hunter batch was followed by more Hunters through 1977.
In 1968, 12 Mirage IIIELs were delivered from France but were grounded in the late 1970s due to lack of funds. In 2000, the grounded Mirages were sold to Pakistan, and four Hunters were even revived in 2008 and served until 2014.
General characteristics:
Crew: one pilot
Length: 29 ft 11 in (9.12 m)
Wingspan: 36 ft 10 in (11.23 m)
Height: 11 ft 5 in (3.86 m)
Wing area: 242.1 ft2 (22.48 m2)
Airfoil: NACA 2209.4(tip)
Empty weight: 5,065 lb (2,297 kg)
Loaded weight: 6,622 lb (3,000 kg)
Max. takeoff weight: 6,700 lb (3,039 kg)
Powerplant:
1× Rolls-Royce Merlin 60 supercharged V12 engine,
rated at 1.470 hp (1.096 kW) at 9.250 ft (2.820 m)
Performance:
Maximum speed: 370 mph, (322 kn, 595 km/h)
Combat radius: 410 nmi (470 mi, 760 km)
Ferry range: 991 nmi (1,135 mi, 1,827 km)
Service ceiling: 36,500 ft (11,125 m)
Rate of climb: 2,600 ft/min (13.2 m/s)
Wing loading: 27.35 lb/ft2 (133.5 kg/m²)
Power/mass: 0.22 hp/lb (0.36 kW/kg)
Armament:
2x 20mm Hispano Mk II cannon (120 RPG)
2x .5 in Browning machine guns (250 RPG)
Three hardpoints (1 ventral, 1 under each outer wing) for up to 1.000 lb (454 kg).
The kit and its assembly:
This whif is based on a simple idea: how did Lebanon's Air Force start? Small countries make a good whif playground, and I guess that nobody has the Lebanon on his/her list...?
Another factor was that I had some Austrian roundels left in store that could, with a green dot, easily be turned into Lebanese markings. So the theme was quickly settled, but the details take some preparation time, so the idea lingered for some time.
After some legwork I deemed a simple Spitfire with a dust filter worthy as an initial aircraft, and the respective Hobby Boss kit of a Spitfire Mk. VB in the stash came handy.
But somehow this was a bit dull, and at the inception of the Lebanon Air Force there were better option available than an early Mk. V. I still wanted a sleek, Merlin-powered Spitfire variant, though, and eventually settled for the Mk. XVI - with its clipped wings and the bubble canopy it has a very distinctive look.
When a "1 Week group Build" at whatifmodelers.com in the Easter Week 2015 was announced, I took this occassion to build the Lebanese Spitfire.
By that time I already had a basis kit at hand (Heller's Spitfire XVI) as well as some donation parts and decals.
Work was strightforward, the Heller kit was built almost OOB. It's a rather old model kit, with raised panel lines, but good detail. The material is thin, so the built item lacks some structural stability! On the other side, this makes some minor mods really easy: I lowered the flaps and moved the tail rudders slightly off of neutral position. I also opened the cockpit "door" on the left side for later static display, even though the cockpit itself was left OOB. It's a bit "flat", but for the kit's age it's pretty good, and the injected canopy is crystal clear and fits perfectly.
I had some major woes concerning the fit for the forward fuselage, and even more when I tried to mate wings and fuselage: there was a 1mm gap(!) on both sides that had to be bridged with putty, and the thin and flexible material did help much...
Other mods concern the propeller (added a styrene tube and a metal axis for free spin), the radiators (these are molded into the lower wings - sounds horrible, but is made very well and thin, I just added some foamed styrene inside as protective mesh because OOB there's just a blank "box" inside) and the kit received a dust filter - a resin piece taken from a Pavla conversion set for Hawker Hurricanes.
Painting and markings:
While a donated RAF Spitfire would certainly have carried a desert paint scheme in Dark Earth/Mid Stone/Azure Blue or a late WWII Dark Green/Ocean Grey/Light Sea Grey livery I settled for something more individual and effective for the rugged Levantine terrain.
In this case I went for the rarely used RAF 'Tropical Scheme' in Mid Stone/Dark Green from above and with Mediterrenean Blue undersides.
The pattern itself is standard RAF, the upper cammo taken down onto the dust filter's flanks was taken over from RAAF Spitfires during WWII (RAF aircraft would carry a higher waterline, with the filter painted completely in the lower surface's tone). Basic paints are RAF Dark Green from Modelmaster and Humbrol 84 (RAF Mid Stone) - rather authentic. But I used Humbrol 87 (Steel Grey) for the undersides - it's rather intense and has a greenish hue, and by far not as dark as the typical RAF Azure Blue or PRU Blue.
Interior surfaces were painted in RAF Cockpit Green (Modelmaster Authentic), while the landing gear and its wells were kept in Aluminum Dope (Humbrol 56).
Decals/markings were puzzled together and improvised. The Lebanese roundels are actually Austrian national markings into which a dark green dot has ben added manually... the fin flash and the roman/arabic codes come from an Xtradecal aftermarket sheet.
Beyond these basic markings I did not add anything flashy - in 1951 things were rather simple,
The kit received a light shading and some dry painting with light grey, plus a light black ink wash. Soot/exhaust stains were created with grinded graphite and around the engine some leaked oil was added with Tamiya's "Smoke", and everything was sealed under a coat of matt acrylic varnish.
I'll admit it's not a spectacular whif, and overall rather simple concerning build and painting. But a proud addition to whatifmodelers.com's "! Week Group Build", even though this was already finished in just three days from sprues to beauty pics...
Contractor crews are moving into a new phase of construction on the I-5 M Street to Portland Avenue HOV project in Tacoma. As early as the morning of Thursday, Feb. 15, drivers may notice that the southbound I-5 collector distributor lanes are in a new configuration.
The SB I-5 c/d lanes will be shifted to the right, and a workzone will be created in-between the southbound c/d lanes and the three mainline southbound lanes.
The new workzone allows crews to continue removing the original concrete of southbound I-5 and replacing it.
More information on this project is found here:
The baseline configuration of the Oshkart SMTV (Scalable Medium Tactical Vehicle) family, the Mk601A is the standard two-door 6x6 cargo hauler configuration.
Features include opening doors and top hatch, a cab capable of seating 2 minifigs with body armor and headgear, foldable gunner’s seat, turning front wheels, center-pivoting rear axles, and spare tire with lift arm.
A special thanks needs to be given to Abdullah750Pakistan. This originally started as a project to clean up and make a buildable and more minifig-friendly version of his Ural 63708. As you can see though, it’s turned into a project to create a series of trucks in the same vein of the Oshkosh MTVR, Navistar 7000 MV, and Ural 63704-0010 families.
As with my other builds, all parts used in this are real production pieces.
If you're interested in this build, a file can be found here:
Keep designs underwent a significant change in the 12th century when square configurations gave way to more rounded forms. But at Chateau Gaillard, Richard the Lionheart’s donjon is in a shape of its own. Its exterior walls are sloped outward. At the front they join and project forward at a sharp angle. This unique form makes it more resistant to projectiles. On the opposite side, the keep backs onto a sheer cliff, making any approach from this side virtually impossible. Inside, Richard I’s last line of defence is a mere eight metres in diameter. The current point of entry is believed to date from a later period, as the original door would have almost certainly been positioned above ground and reached by a ladder or stairway. With no evidence of a fireplace, well, or latrine, it appears that this particular keep was built exclusively for defence.
Battle Castle is an action documentary series starring Dan Snow that is now airing on History Television and is scheduled to premiere on Discovery Knowledge in the UK in Spring 2012 and on various BBC-affiliated channels in the near future.
For the latest air dates, Like us on Facebook (www.battlecastle.com/facebook) or follow us on Twitter (www.twitter.com/battlecastle)
This show brings to life mighty medieval fortifications and the epic sieges they resist: clashes that defy the limits of military technology, turn empires to dust, and transform mortals into legends.
Website: www.battlecastle.tv/
Twitter: www.twitter.com/battlecastle
YouTube: www.youtube.com/battlecastle
Flickr: www.flicker.com/battlecastle
Facebook: www.facebook.com/battlecastle
Castles conjure thoughts of romantic tales, but make no mistake, they are built for war.
Dover: Prince Louis' key to England. Malaga: the Granadans final stronghold. And Crac des Chevaliers: Crown Jewel of Crusader castles. Through dynamic location footage and immersive visual effects, Battle Castle reveals a bloody history of this epic medieval arms race.
As siege weapons and technology become more ruthless, the men who design and built these castles reply ... or perish. Follow host Dan Snow as he explores the military engineering behind these medieval megastructures and the legendary battles that became testaments to their might.
Each episode will climax in the ultimate test of the castle's military engineering -- a siege that will change the course of history. Which castles will be conquered and which will prevail? You'll have to watch to find out.
But the journey doesn't end there --in fact, it's just beginning. Battle Castle extends into a multi-platform quest, taking us deep into the secret world of medieval warfare and strategy. Become the ultimate 'Castle Master'. Stay tuned for more on the Battle Castle experience.
City Centre 1 (to be completed in 2018) will include 5 000m2 of retail space including convenience shops. A residential component consisting of approximately 740 apartments will feature eleven different configurations of one to three bedroom units and penthouses.
An Atlas-D rocket in Mercury-Atlas Configuration is on display at Kennedy Space Center.
Atlas LV-3B
The Atlas LV-3B, Atlas D Mercury Launch Vehicle or Mercury-Atlas Launch Vehicle, was a human-rated expendable launch system used as part of the United States Project Mercury to send astronauts into low Earth orbit. Manufactured by American aircraft manufacturing company Convair, it was derived from the SM-65D Atlas missile, and was a member of the Atlas family of rockets.
The Atlas D missile was the natural choice for Project Mercury since it was the only launch vehicle in the US arsenal that could put the spacecraft into orbit and also had a large number of flights to gather data from. But its reliability was far from perfect and Atlas launches ending in explosions were an all-too common sight at Cape Canaveral. Thus, significant steps had to be taken to human-rate the missile and make it safe and reliable unless NASA wished to spend several years developing a dedicated launch vehicle for crewed programs or else wait for the next-generation Titan II ICBM to become operational. Atlas’s stage-and-a-half configuration was seen as somewhat preferable to the two stage Titan in that all engines were ignited at liftoff, making it easier to test for hardware problems during prelaunch checks.
Shortly after being chosen for the program in early 1959, the Mercury astronauts were taken to watch the second D-series Atlas test, which exploded a minute into launch. This was the fifth straight complete or partial Atlas failure and the booster was at this point nowhere near reliable enough to carry a nuclear warhead or an uncrewed satellite, let alone a human passenger. Plans to human-rate Atlas were effectively still on the drawing board and Convair estimated that 75% reliability would be achieved by early 1961 and 85% reliability by the end of the year.
•General Specifications:
oFunction: Crewed Expendable Launch System
oManufacturer: Convair
oCountry of Origin: United States
•Size:
oHeight: 28.7 meters (94.3 ft)
oDiameter: 3.0 meters (10.0 ft); Width Over Boost Fairing: 4.9 meters (16 ft)
oMass: 120,000 kilograms (260,000 lb)
oStages: 1½
•Capacity:
oPayload to LEO: 1,360 kilograms (3,000 lb)
•Launch History:
oStatus: Retired
oLaunch Sites: CCAFS LC-14
oTotal Launches: 9
oSuccesses: 7
oFailures: 2
oFirst Flight: July 29, 1960
oLast Flight: May 15, 1963
•Boosters:
oNumber of Boosters: 1
oEngines: 2
oThrust: 1,517.4 kilonewtons (341,130 lbf)
oBurn Time: 134 seconds
oFuel: RP-1/LOX
•First Stage:
oDiameter: 3.0 meters (10.0 ft)
oEngines: 1
oThrust: 363.22 kilonewtons (81,655 lbf)
oBurn Time: 5 minutes
oFuel: RP-1/LOX
Quality Assurance
Aside from the modifications described below, Convair set aside a separate assembly line dedicated to Mercury-Atlas vehicles which was staffed by personnel who received special orientation and training on the importance of the crewed space program and the need for as high quality workmanship as possible. Components used in the Mercury-Atlas vehicles were given thorough testing to ensure proper manufacturing quality and operating condition, in addition components and subsystems with excessive operating hours, out-of-specification performance, and questionable inspection records would be rejected. All components approved for the Mercury program were earmarked and stored separately from hardware intended for other Atlas programs and special handling procedures were done to protect them from damage.
Propulsion systems used for the Mercury vehicles would be limited to standard D-series Atlas models of the Rocketdyne MA-2 engines which had been tested and found to have performance parameters closely matching NASA’s specifications.
All launch vehicles would have to be complete and fully flight-ready at delivery to Cape Canaveral with no missing components or unscheduled modifications/upgrades. After delivery, a comprehensive inspection of the booster would be undertaken and prior to launch, a flight review board would convene to approve each booster as flight-ready. The review board would conduct an overview of all prelaunch checks, and hardware repairs/modifications. In addition, Atlas flights over the past few months in both NASA and Air Force programs would be reviewed to make sure no failures occurred involving any components or procedures relevant to Project Mercury.
The NASA Quality Assurance Program meant that each Mercury-Atlas vehicle took twice as long to manufacture and assemble as an Atlas designed for uncrewed missions and three times as long to test and verify for flight.
Systems Modified
Abort Sensor
Central to these efforts was the development of the Abort Sensing and Implementation System (ASIS), which would detect malfunctions in the Atlas’s various components and trigger a launch abort if necessary. Added redundancy was built in; if ASIS itself failed, the loss of power would also trigger an abort. The system was tested on a few Atlas ICBM flights prior to Mercury-Atlas 1 in July 1960, where it was operated open-loop (MA-3 in April 1961 would be the first closed-loop flight).
The Mercury launch escape system (LES) used on Redstone and Atlas launches was identical, but the ASIS system varied considerably between the two boosters as Atlas was a much larger, more complex vehicle with five engines, two of which were jettisoned during flight, a more sophisticated guidance system, and inflated balloon tanks that required constant pressure to not collapse.
Atlas flight test data was used to draw up a list of the most likely failure modes for the D-series vehicles, however simplicity reasons dictated that only a limited number of booster parameters could be monitored. An abort could be triggered by the following conditions, all of which could be indicative of a catastrophic failure:
•The booster flight path deviated too far from the planned trajectory
•Engine thrust or hydraulic pressure dropped below a certain level
•Propellant tank pressure dropped below a certain level
•The intermediate tank bulkhead showed signs of losing structural integrity
•The booster electrical system ceased operating
•The ASIS system ceased operating
Some failure modes such as an erroneous flight path did not necessarily pose an immediate danger to the astronaut’s safety and the flight could be terminated via a manual command from the ground (e.g. Mercury-Atlas 3). Other failure modes such as loss of engine thrust in the first few moments of liftoff required an immediate abort signal as there would be little or no time to command a manual abort.
An overview of failed Atlas test flights showed that there were only a few times that malfunctions occurred suddenly and without prior warning, for instance on Missile 6B when one turbopump failed 80 seconds into the launch. Otherwise, most failures were preceded by obvious deviations from the booster’s normal operating parameters. Automatic abort was only necessary in a situation like Atlas 6B where the failure happened so fast that there would be no time for a manual abort and most failure modes left enough time for the astronaut or ground controllers to manually activate the LES. A bigger concern was setting up the abort system so as to not go off when normal, minor performance deviations occurred.
Rate Gyros
The rate gyro package was placed much closer to the forward section of the LOX tank due to the Mercury/LES combination being considerably longer than a warhead and thus producing different aerodynamic characteristics (the standard Atlas D gyro package was still retained on the vehicle for the use of the ASIS). Mercury-Atlas 5 also added a new reliability feature—motion sensors to ensure proper operation of the gyroscopes prior to launch. This idea had originally been conceived when the first Atlas B launch in 1958 went out of control and destroyed itself after ground crews forgot to power on the gyroscope motors during prelaunch preparation, but it was phased into Atlas vehicles only gradually. One other Atlas missile test in 1961 also destroyed itself during launch, in that case because the gyroscope motor speed was too low. The motion sensors would thus eliminate this failure mode.
Range Safety
The range safety system was also modified for the Mercury program. There would be a three-second delay between engine cutoff and activation of the destruct charges so as to give the LES time to pull the capsule to safety. The ASIS system could not terminate engine thrust for the first 30 seconds of flight in order to prevent a malfunctioning launch vehicle from coming down on or around the pad area; during this time only the Range Safety Officer could send a manual cutoff command.
Autopilot
The old-fashioned electromechanical autopilot on the Atlas (known as the “round” autopilot due to the shape of the containers its major components were housed in) was replaced by a solid-state model (the “square” autopilot) that was more compact and easier to service, but it would prove a serious headache to debug and man-rate. On Mercury-Atlas 1, the autopilot system functioned well until launch vehicle destruction a minute into the flight. On Mercury-Atlas 2, there was a fair bit of missile bending and propellant slosh. Mercury-Atlas 3 completely failed and had to be destroyed shortly after launch when the booster did not perform the pitch and roll maneuver. After this debacle, the programmer was recovered and examined. Several causes were proposed including contamination of pins in the programmer or perhaps a transient voltage. The autopilot was extensively redesigned, but Mercury-Atlas 4 still had high vibration levels for the first 20 seconds of launch which led to further modifications. Finally on Mercury-Atlas 5, the autopilot worked perfectly.
Antenna
The guidance antenna was modified to reduce signal interference.
LOX Boil-Off Valve
Mercury-Atlas vehicles utilized the boil-off valve from the C-series Atlas rather than the standard D-series valve for reliability and weight-saving reasons.
Combustion Sensors
Combustion instability was an important problem that needed to be fixed. Although it mostly only occurred in static firing tests of the MA-2 engines, three launches (Missiles 3D, 51D, and 48D) had demonstrated that unstable thrust in one engine could result in immediate, catastrophic failure of the entire missile as the engine backfired and ruptured, leading to a thrust section fire. On Missile 3D, this had occurred in flight after a propellant leak starved one booster engine of LOX and led to reduced, unstable thrust and engine failure. The other two launches suffered rough combustion at engine start, ending in explosions that severely damaged the launch stand. Thus, it was decided to install extra sensors in the engines to monitor combustion levels and the booster would also be held down on the pad for a few moments after ignition to ensure smooth thrust. The engines would also use a “wet start”, meaning that the propellants were injected into the combustion chamber prior to igniter activation as opposed to a “dry start” where the igniter was activated first, which would eliminate rough ignition (51D and 48D had both used dry starts). If the booster failed the check, it would be automatically shut down. Once again, these upgrades required testing on Atlas R&D flights. By late 1961, after a third missile (27E) had exploded on the pad from combustion instability, Convair developed a significantly upgraded propulsion system that featured baffled fuel injectors and a hypergolic igniter in place of the pyrotechnic method, but NASA was unwilling to jeopardize John Glenn’s upcoming flight with these untested modifications and so declined to have them installed in Mercury-Atlas 6’s booster. As such, that and Scott Carpenter’s flight on MA-7 used the old-style Atlas propulsion system and the new variant was not employed until Wally Schirra’s flight late in 1962.
Static testing of Rocketdyne engines had produced high-frequency combustion instability, in what was known as the “racetrack” effect where burning propellant would swirl around the injector head, eventually destroying it from shock waves. On the launches of Atlas 51D and 48D, the failures were caused by low-order rough combustion that ruptured the injector head and LOX dome, causing a thrust section fire that led to eventual complete loss of the missile. The exact reason for the back-to-back combustion instability failures on 51D and 48D was not determined with certainty, although several causes were proposed. This problem was resolved by installing baffles in the injector head to break up swirling propellant, at the expense of some performance as the baffles added additional weight reduced the number of injector holes that propellants were sprayed through. The lessons learned with the Atlas program later proved vital to the development of the much larger Saturn F-1 engine.
Electrical System
Added redundancy was made to the propulsion system electrical circuitry to ensure that SECO would occur on time and when commanded. The LOX fuel feed system received added wiring redundancy to ensure that the propellant valves would open in the proper sequence during engine start.
Tank Bulkhead
Mercury vehicles up to MA-6 had foam insulation in the intermediate bulkhead to prevent the super-chilled LOX from causing the RP-1 to freeze. During repairs to MA-6 prior to John Glenn’s flight, it was decided to remove the insulation for being unnecessary and an impediment during servicing of the boosters in the field. NASA sent out a memo to GD/A requesting that subsequent Mercury-Atlas vehicles not include bulkhead insulation.
LOX Turbopump
In early 1962, two static engine tests and one launch (Missile 11F) fell victim to LOX turbopump explosions caused by the impeller blades rubbing against the metal casing of the pump and creating a friction spark. This happened after over three years of Atlas flights without any turbopump issues and it was not clear why the rubbing occurred, but all episodes of this happened when the sustainer inlet valve was moving to the flight-ready “open” position and while running untested hardware modifications. A plastic liner was added to the LOX turbopump to prevent friction rubbing. In addition Atlas 113D, the booster used for Wally Schirra’s flight, was given a PFRT (Pre-Flight Readiness Test) to verify proper functionality of the propulsion system.
Pneumatic System
Mercury vehicles used a standard D-series Atlas pneumatic system, although studies were conducted over the cause of tank pressure fluctuation which was known to occur under certain payload conditions. These studies found that the helium regulator used on early D-series vehicles had a tendency to induce resonant vibration during launch, but several modifications to the pneumatic system had been made since then, including the use of a newer model regulator that did not produce this effect.
Propellant Utilization System
In the event that the guidance system failed to issue the discreet cutoff command to the sustainer engine and it burned to propellant depletion, there was the possibility of a LOX-rich shutdown which could result in damage to engine components from high temperatures. For safety reasons, the PU system was modified to increase the LOX flow to the sustainer engine ten seconds before SECO. This was to ensure that the LOX supply would be completely exhausted at SECO and prevent a LOX-rich shutdown.
Skin
After MA-1 was destroyed in-flight due to a structural failure, NASA began requesting that Convair deliver Atlases with thicker skin. Atlas 10D (as well as its backup vehicle 20D which was later used for the first Atlas-Able flight), the booster used for the Big Joe test in September 1959, had sported thick skin and verified that this was needed for the heavy Mercury capsule. Atlas 100D would be the first thick-skinned booster delivered while in the meantime, MA-2’s booster (67D) which was still a thin-skinned model, had to be equipped with a steel reinforcement band at the interface between the capsule and the booster. Under original plans, Atlas 77D was to have been the booster used for MA-3. It received its factory rollout inspection in September 1960, but shortly afterwards, the postflight findings for MA-1 came out which led to the thin-skinned 77D being recalled and replaced by 100D.
Guidance
The vernier solo phase, which would be used on ICBMs to fine-tune the missile velocity after sustainer cutoff, was eliminated from the guidance program in the interest of simplicity as well as improved performance and lift capacity. Since orbital flights required an extremely different flight path from missiles, the guidance antennas had to be completely redesigned to ensure maximum signal strength. The posigrade rocket motors on the top of the Atlas, designed to push the spent missile away from the warhead, were moved to the Mercury capsule itself. This also necessitated adding a fiberglass insulation shield to the LOX tank dome so it wouldn’t be ruptured by the rocket motors.
Engine Alignment
A common and normally harmless phenomenon on Atlas vehicles was the tendency of the booster to develop a slight roll in the first few seconds following liftoff due to the autopilot not kicking in yet. On a few flights however, the booster developed enough rolling motion to potentially trigger an abort condition if it had been a crewed launch. Although some roll was naturally imparted by the Atlas’s turbine exhaust, this could not account for the entire problem which instead had more to do with engine alignment. Acceptance data from the engine supplier (Rocketdyne) showed that a group of 81 engines had an average roll movement in the same direction of approximately the same magnitude as that experienced in flight. Although the acceptance test-stand and flight-experience data on individual engines did not correlate, it was determined that offsetting the alignment of the booster engines could counteract this roll motion and minimize the roll tendency at liftoff. After Schirra’s Mercury flight did experience momentary roll problems early in the launch, the change was incorporated into Gordon Cooper’s booster on MA-9.
Launches
Nine LV-3Bs were launched, two on uncrewed suborbital test flights, three on uncrewed orbital test flights, and four with crewed Mercury spacecraft. Atlas LV-3B launches were conducted from Launch Complex 14 at Cape Canaveral Air Force Station, Florida.
It first flew on July 29, 1960, conducting the suborbital Mercury-Atlas 1 test flight. The rocket suffered a structural failure shortly after launch, and as a result failed to place the spacecraft onto its intended trajectory. In addition to the maiden flight, the first orbital launch, Mercury-Atlas 3 also failed. This failure was due to a problem with the guidance system failing to execute pitch and roll commands, necessitating that the Range Safety Officer destroy the vehicle. The spacecraft separated by means of its launch escape system and was recovered 1.8 kilometers (1.1 mi) from the launch pad.
A further series of Mercury launches was planned, which would have used additional LV-3Bs; however these flights were canceled after the success of the initial Mercury missions. The last LV-3B launch was conducted on 15 May 1963, for the launch of Mercury-Atlas 9. NASA originally planned to use leftover LV-3B vehicles to launch Gemini-Agena Target Vehicles, however an increase in funding during 1964 meant that the agency could afford to buy brand-new Atlas SLV-3 vehicles instead, so the idea was scrapped.
Mercury-Atlas Vehicles Built and Eventual Disposition
•10D—Launched Big Joe 9/14/59
•20D—Backup vehicle for Big Joe. Reassigned to Atlas-Able program and launched 11/26/59.
•50D—Launched Mercury-Atlas 1 7/29/60
•67D—Launched Mercury-Atlas 2 2/21/61
•77D—Original launch vehicle for Mercury-Atlas 3, replaced by Atlas 100D after postflight findings from Mercury-Atlas 1
•88D—Launched Mercury-Atlas 4 9/13/61
•93D—Launched Mercury-Atlas 5 11/29/61
•100D—Launched Mercury-Atlas 3 4/25/61
•103D—Cancelled
•107D—Launched Aurora 7 (Mercury-Atlas 7) 5/24/62
•109D—Launched Friendship 7 (Mercury-Atlas 6) 2/21/62
•113D—Launched Sigma 7 (Mercury-Atlas 8) 10/3/62
•130D—Launched Faith 7 (Mercury-Atlas 9) 5/15/63
•144D—Cancelled, was planned launch vehicle for Mercury-Atlas 10
•152D—Cancelled
•167D—Cancelled
Keep designs underwent a significant change in the 12th century when square configurations gave way to more rounded forms. But at Chateau Gaillard, Richard the Lionheart’s donjon is in a shape of its own. Its exterior walls are sloped outward. At the front they join and project forward at a sharp angle. This unique form makes it more resistant to projectiles. On the opposite side, the keep backs onto a sheer cliff, making any approach from this side virtually impossible. Inside, Richard I’s last line of defence is a mere eight metres in diameter. The current point of entry is believed to date from a later period, as the original door would have almost certainly been positioned above ground and reached by a ladder or stairway. With no evidence of a fireplace, well, or latrine, it appears that this particular keep was built exclusively for defence.
Battle Castle is an action documentary series starring Dan Snow that is now airing on History Television and is scheduled to premiere on Discovery Knowledge in the UK in Spring 2012 and on various BBC-affiliated channels in the near future.
For the latest air dates, Like us on Facebook (www.battlecastle.com/facebook) or follow us on Twitter (www.twitter.com/battlecastle)
This show brings to life mighty medieval fortifications and the epic sieges they resist: clashes that defy the limits of military technology, turn empires to dust, and transform mortals into legends.
Website: www.battlecastle.tv/
Twitter: www.twitter.com/battlecastle
YouTube: www.youtube.com/battlecastle
Flickr: www.flicker.com/battlecastle
Facebook: www.facebook.com/battlecastle
Castles conjure thoughts of romantic tales, but make no mistake, they are built for war.
Dover: Prince Louis' key to England. Malaga: the Granadans final stronghold. And Crac des Chevaliers: Crown Jewel of Crusader castles. Through dynamic location footage and immersive visual effects, Battle Castle reveals a bloody history of this epic medieval arms race.
As siege weapons and technology become more ruthless, the men who design and built these castles reply ... or perish. Follow host Dan Snow as he explores the military engineering behind these medieval megastructures and the legendary battles that became testaments to their might.
Each episode will climax in the ultimate test of the castle's military engineering -- a siege that will change the course of history. Which castles will be conquered and which will prevail? You'll have to watch to find out.
But the journey doesn't end there --in fact, it's just beginning. Battle Castle extends into a multi-platform quest, taking us deep into the secret world of medieval warfare and strategy. Become the ultimate 'Castle Master'. Stay tuned for more on the Battle Castle experience.
This Alexander ALX400 bodied DAF DB250 was new to Arriva London South. Now, post refurbishment, which saw it converted to single door configuration, it has swapped Norwood garage for Arriva Midlands' Wigston depot in Leicestershire.
Keep designs underwent a significant change in the 12th century when square configurations gave way to more rounded forms. But at Chateau Gaillard, Richard the Lionheart’s donjon is in a shape of its own. Its exterior walls are sloped outward. At the front they join and project forward at a sharp angle. This unique form makes it more resistant to projectiles. On the opposite side, the keep backs onto a sheer cliff, making any approach from this side virtually impossible. Inside, Richard I’s last line of defence is a mere eight metres in diameter. The current point of entry is believed to date from a later period, as the original door would have almost certainly been positioned above ground and reached by a ladder or stairway. With no evidence of a fireplace, well, or latrine, it appears that this particular keep was built exclusively for defence.
Battle Castle is an action documentary series starring Dan Snow that is now airing on History Television and is scheduled to premiere on Discovery Knowledge in the UK in Spring 2012 and on various BBC-affiliated channels in the near future.
For the latest air dates, Like us on Facebook (www.battlecastle.com/facebook) or follow us on Twitter (www.twitter.com/battlecastle)
This show brings to life mighty medieval fortifications and the epic sieges they resist: clashes that defy the limits of military technology, turn empires to dust, and transform mortals into legends.
Website: www.battlecastle.tv/
Twitter: www.twitter.com/battlecastle
YouTube: www.youtube.com/battlecastle
Flickr: www.flicker.com/battlecastle
Facebook: www.facebook.com/battlecastle
Castles conjure thoughts of romantic tales, but make no mistake, they are built for war.
Dover: Prince Louis' key to England. Malaga: the Granadans final stronghold. And Crac des Chevaliers: Crown Jewel of Crusader castles. Through dynamic location footage and immersive visual effects, Battle Castle reveals a bloody history of this epic medieval arms race.
As siege weapons and technology become more ruthless, the men who design and built these castles reply ... or perish. Follow host Dan Snow as he explores the military engineering behind these medieval megastructures and the legendary battles that became testaments to their might.
Each episode will climax in the ultimate test of the castle's military engineering -- a siege that will change the course of history. Which castles will be conquered and which will prevail? You'll have to watch to find out.
But the journey doesn't end there --in fact, it's just beginning. Battle Castle extends into a multi-platform quest, taking us deep into the secret world of medieval warfare and strategy. Become the ultimate 'Castle Master'. Stay tuned for more on the Battle Castle experience.
The church dedicated to the Saviour's Configuration ("Metamorfosi tou Sotira") is built in the middle of "Palio Chorio" ("Old Village"). It was constructed in the 16th century (1520) and it has the same architectural style as the other two small churches of the village, that of "Panagia Theotokos" and that of Saint George "Perachoritis". Up until 1994, liturgies were conducted daily since it was considered as the village's main church.
It is a rectangular church of the Basilica style and with elements of the Byzantine style. It can accommodate up to 100-150 faithful. Externally it is made of stone and whitewashed.
The inhabitants built extensions to the church in 1880 and 1960 because the village was continuously growing. When they dug the floor they discovered many pieces of frescoes, which surely came from this church. Indeed, they were able to read the name of the hagiographer who was named Symeon Afxentis. He is known for his frescoes of the "Panagia Theotokos" and "Archangel" churches in the village of Galata.
The icon screen is woodcut, as also are the two Psalters that can be found in the church.
There are various remarkable representations dating back to the 16th and 17th century. The icon screen is of various different chronologies.
www.kakopetriavillage.com/churches.html
The settlement of Kakopetria, although mentioned by the mediaeval annalists, existed -at least- since the Frank domination era. The village's region was inhabited around the 6th - 7th century and the various excavations that have been conducted in 1938 around the old village of Kakopetria (in the Ailades venue) prove this. During the excavations a dispenser of an ancient shrine -most probably belonging to the goddess Athena- came to light. A large number of movable findings were found, mainly terra-cotta, many of which depict the goddess Athena, as well as small, limestone, statues and parts of statues and bronze and iron shafts from spearheads and arrows. The findings most probably date back to the Archaic and Classic eras of Cyprus. Other statuettes represent Hercules and are an indication that he was also worshiped in the area along with the goddess Athena. These findings are found in the Archaeological Museum of Nicosia.
This is the rare "V" configuration shot where the winner (lane 4) is ahead and everyone fans out like a bunch of geese behind him (e.g. the further from the center of the track, the further back you are). I don't know that I have seen this exact phenomenon before.
This was a heat, not the finals.
The Southgate, MI Toys Я Us store in it's final days. The configuration of this site (including parking lot and building) is very dated (1950s) and I don't think that it'll work for reuse. Eureka Rd in Southgate just isn't a good location for retail stores anymore - probably because the road is in bad shape.
A big smile flashed on the face that was staring at me on the portrait that I was looking at. With widened eyes, the owner of the face looked very happy to see me. And without realizing it, I returned the smile. After thinking about it, it might actually just a configuration of facial muscles that looked like a smile. I could not be too sure to judge, because even though I am used to seeing that expression on the people I meet every day, I wasn’t looking at a photo of a human. I was looking at a picture of Tokay and I realized that I didn’t know if Tokay could smile.
In addition to the above photo, there are about three dozens of pictures of other animals that have been created and collected by young photographer, Dwi Putra, in a solo exhibition titled “Familiar Faces”. With various colorful animals, these photos are so fun and easy to enjoy. But as I finally think again when I saw the smile of the Tokay and watch the other faces in this series, it makes me wonder if Dwi Putra just wanted to show us the faces of these animals? I got interested to see further and open up the opportunity of other meanings behind the beautiful visual of these photos.
In Indonesia, one of the countries with the highest biodiversity in the world (estimated at more than 250,000 species of fauna exist here), there are not much variety of photographic works that display and raise issues relating to animals, ironically. One approach commonly used in Indonesia in photographing animals is wildlife photography, which generally shows the lives of various species of fauna in their natural habitat that are not disturbed by humans. Photographer Riza Marlon is probably the most popular example for using this approach, with his book The Living Treasures of Indonesia (2010) that shows his work for 20 years where he went out into the woods and mountains to document the various types of fauna in Indonesia.
Another approach that is also commonly used in photographing animals is through the corridors of photojournalistic, which usually highlights the issues concerning animals of their complex interactions with humans. Journalistic photographs that focus on the fauna are often voicing advocate for animals affected by human activity. For example, the project Orangutan Rhymes and Blues (2012), where photo journalist Regina Safri discusses the conservation of orangutans in Borneo which survival is threatened by massive deforestation for palm oil industry. But we don’t have to go far to see the conflict of interest between human and animals; on a photograph which was awarded 2nd prize singles for Nature category at the prestigious World Press Photo 2013, photo journalist Ali Lutfi showed a monkey trained to put on a show at a busy intersection in the city of Solo, a situation which is not difficult to encounter in other cities in Indonesia.
In the wildlife and photojournalistic approaches above, animals are represented as they are in photographs that convey a narrative that relates directly to the animals shown. Also, I find there are several different approaches that quite interesting in Indonesian photography that do not put the animal as the main character in a story, but position them as symbols of human’s life, with specific functions and purposes. Rama Surya in his photo series Yogyakarta: Street Mythology (1998 - 2000) made the animals he found and took pictures of in the city of Yogyakarta as a symbol of freedom of expression, associated with the changes in Indonesian politics as it entered a period of reform. Artist Edwin Roseno put animal masks on people who posed wearing clothes or costumes that have characteristics commensurate with the masks they wore in the series Animal Mask Collection (2008), referring to the tales and fables that have anthropomorphic animal characters that narrated nature and characteristics like human beings ..
Fantastic visuals presented by Agan Harahap in his series Safari (2009) and Garden Fresh (2012), with digital imaging techniques bringing wild animals into human-made environments such as supermarket and office, commenting on the boundaries between humans and animals that were shifted to the present environment and the complex relationship between art and nature. In these examples, images of animals were not used to tell something about the animals themselves, but rather to represent something else to convey the creator's work.
With that similar tradition of symbolic representation, I think Dwi Putra puts his animal portraits in this series of Familiar Faces. Here, Putra photographing animals that are actually quite easy to find in everyday life, whether they are wild that live among us in an urban environment or that have been domesticated as pets or as live stocks. But Putra is not talking about the lives of chickens, cats, frogs, mice, and other animals that he shows in this series. He merely uses these photos to present ideas on how we view the animals.
Some clues about Putra’s idea can be seen from the way he captured and presented these photos with a method that is very organized and rigid; practically every animal shown only the head, vertically, in front of a white background. Each picture is presented in a square format, with each animal occupies roughly the same area in the frame. There are some things that I can read from here:
First, the presentation of this series showed an obvious uniformity attempt of the subject photographed by Putra, no matter how diverse and varied they are in reality. The placement of each subject in a relatively equal portion of each frame resulted in the emergence of the illusion that all the animals in this series have comparable size. A lizard, for example, seems to be about the size of a goat. Unification that is reinforced by the use of lighting techniques is also identified in each frame and the omission of information about the environment in which the photo was taken, has been replaced with a white background. This equation implies that there is no subject more important than the other in this series.
Furthermore, the absence of other elements in the picture forces us to concentrate solely on the face of each animal, and as a result I also found some interesting things. Although I see these animals quite often, and know their general shapes, perhaps this is the first time I observed their faces in proximity and intensity this high, hence there is a novelty in the experience of observing them like this. Because of the frozen photographic image, every detail can be observed carefully in unlimited time. The facial details form expressions that we can recognize, as we have seen and experienced before in our interactions with our fellow human beings. It then becomes problematic, because we project experience and our knowledge of the human expressions to the creatures that are not human.
Recent studies on animal behavior confirmed that some animals are able to feel primary emotions such as fear and anger. Some animals are even expected to experience secondary emotions such as jealousy and sympathy. However, personification of animals is still considered a taboo in scientific studies. Prompted researchers are always cautioned to only objectively observe animal behavior, and not to attempt to reduce such behavior by giving human attributes to them, because of concerns about inaccurate conclusions. In other words, although it has been proven that animals can feel some emotions similar to humans, it does not mean that these emotions are indicated with an expression similar to that shown in humans.
With that said, Familiar Faces series is not a statement full of certainty from Putra about the animals that he shows (“Look at this frowning frog, shy civet!”), but rather a reflective question about human behavior in seeing things outside themselves, in this case, animals. Is it true that the things that we assume we are familiar with are already known to us, as we think? The mirrors that are projecting our thoughts back to them become ironic: notice how the photo was made like studio portraits that humans often use. Even the uniformity of different subjects was reminiscent of photographic practice that is used to complete identification / identity of the photographed subject.
This is not the first time Putra makes a photography work that flicks perspective issues in the context of animal and human interrelationships. The graduate of the Department of Communication at Pembangunan Nasional Yogyakarta University enjoys photographing animals, especially he really liked them since childhood. Putra admitted he was also interested in photographing animals with wildlife photography approach and actually tried it once, but some constraints makes him cannot fully commit in it. Instead, he tried to observe and photograph the animals around him using some alternative approaches.
One achievement that I think is interesting is Putra’s work made for final exhibition project as one of the first batch of students in Kelas Pagi Yogyakarta. In the series titled “Buaya Darat” (Land Crocodile) (Kelas Pagi Yogyakarta, 2011), inspired by a similar expression in the Indonesian language that means a man who likes changing partners, or a playboy, where he displayed pictures of a small pet alligator with a naked Barbie doll in various poses. There is a tone of humor that is quite critical in the work that tries to show the said literal expression. The man-made phrase refers to members of a species that behave in a certain way using this animal, which in reality has quite the opposite of the behavior. Crocodiles are known to have only one mating partner throughout their lives. From here we can see how people sometimes (or often? always?) look at the animals in their own ways without really knowing and understanding how the animal they see is really like.
In another work, due to the lack of awareness of the problematic way we look at animals from previous work, Putra seemed to do reconciliation by trying to understand the perspective of animals, though he did it literally: he draped a mini video camera on his pet civet and let it record anything according to its motions. The result of three videos entitled “Looking from the Perspective of an Animal” was displayed as part of the workshop exhibition “Meminjam Mata, Melihat Ruang” (Borrowing Eyes, Looking at Space) by Kusuma Yudha Putra in Kedai Kebun Forum, January 2013.
The linkages and continuity of the works created by Putra made me very interested, of which I ended up asking him to show off this series as a logical continuation of what he had previously exhibited. Due to few numbers of photography practitioners in Indonesia who are consistent in using intermediate representations of animals in conveying ideas, it will be interesting to see what he would do with the unique sources of inspiration that he has.
To conclude, it is also interesting to understand how Putra admitted that he did not plan to have a common thread in these works. Again, this may be a proof that any observer, in this case me as a writer, will always have the innate knowledge and previous experience in observing everything that would affect his perspective. Only by constantly being aware that I think we can only begin to try to get a real understanding of who we are and how our relationships are with all the things around us. At least, that's what I can get from observing the works of Dwi Putra.
How to configure Raspberry Pi for the first time
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Team Vandenberg launched a United Launch Alliance Delta IV Medium+ (5,2) from Space Launch Complex-6 here at 4:12 p.m. PDT Tuesday, April 3, 2012. The launch was the Department of Defense's first-ever Delta IV Medium launch vehicle configured with a 5-meter payload fairing and two solid rocket motors.
30th Space Wing
Photo by Staff Sgt. Andrew Satran
Date Taken:04.03.2012
Location:VANDENBERG AFB, CA, US
Read more: www.dvidshub.net/image/555130/first-delta-iv-medium-5-2-c...
I swapped out for a longer stem, and pushed the seat forward 1 cm. I'm more over the pedals now and not so far in front of the bars when standing.
This project is part of the Ars electronica Garden Lima. As we immerse ourselves in the network of alliances, approximations and relationships currently experienced through computers, we are enveloped in an innate need to connect / communicate and stay current in the virtual world; a simulacrum of life itself further established by a pandemic that has confined us to a “flat prison cell”. It is this virtual architecture precisely that makes it possible to place the world at a remove, shortening time and distances thanks to technologies that underpin an ecosystem for discussion and exchange with multiple agents.
For more informations please visit:
ars.electronica.art/keplersgardens/en/lima/
Credit: Edi Hirose
So here is my flight to Kuala Lumpur, Malaysia, from where I'll transit to Sandakan in Eastern Malaysia. And here is my Malaysia Airlines Boeing 777-200 in a dreadful 2-5-2 seat configuration: true cattle class at its worst. I've read of the 2-5-2 configuration before, and, like ghosts or spirits, thought it was mere fantasy and could not really exist. Yikes, it does! Whoever designed this dreadfully uncomfortable 2-5-2 arrangement should be clapped in irons, strapped to the middle seat of the 5-seat middle row and forced to endure a 19 hour flight in a full aircraft! Fortunately, my seat was an aisle seat on the side 2-seat row, and my flight was just 7 hours long. This is my bird just before take off at Dubai International Airport. (Sandakan, Sabah, East Malaysia, Nov.2013)
How to configure Raspberry Pi for the first time
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
This was a fun compartment to design. The map background is a playing card. The skull and crossbones is from a new Tim Holtz die-cut. I printed the merchant ship from a Google image and then carefully fit into one of Tim's mini bottles.
The church dedicated to the Saviour's Configuration ("Metamorfosi tou Sotira") is built in the middle of "Palio Chorio" ("Old Village"). It was constructed in the 16th century (1520) and it has the same architectural style as the other two small churches of the village, that of "Panagia Theotokos" and that of Saint George "Perachoritis". Up until 1994, liturgies were conducted daily since it was considered as the village's main church.
It is a rectangular church of the Basilica style and with elements of the Byzantine style. It can accommodate up to 100-150 faithful. Externally it is made of stone and whitewashed.
The inhabitants built extensions to the church in 1880 and 1960 because the village was continuously growing. When they dug the floor they discovered many pieces of frescoes, which surely came from this church. Indeed, they were able to read the name of the hagiographer who was named Symeon Afxentis. He is known for his frescoes of the "Panagia Theotokos" and "Archangel" churches in the village of Galata.
The icon screen is woodcut, as also are the two Psalters that can be found in the church.
There are various remarkable representations dating back to the 16th and 17th century. The icon screen is of various different chronologies.
www.kakopetriavillage.com/churches.html
The settlement of Kakopetria, although mentioned by the mediaeval annalists, existed -at least- since the Frank domination era. The village's region was inhabited around the 6th - 7th century and the various excavations that have been conducted in 1938 around the old village of Kakopetria (in the Ailades venue) prove this. During the excavations a dispenser of an ancient shrine -most probably belonging to the goddess Athena- came to light. A large number of movable findings were found, mainly terra-cotta, many of which depict the goddess Athena, as well as small, limestone, statues and parts of statues and bronze and iron shafts from spearheads and arrows. The findings most probably date back to the Archaic and Classic eras of Cyprus. Other statuettes represent Hercules and are an indication that he was also worshiped in the area along with the goddess Athena. These findings are found in the Archaeological Museum of Nicosia.