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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.
+++ 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?
+++ 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 became the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres during World War II. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber, carrier-based fighter, and trainer. It was built in many variants, using several wing configurations. Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 1,030 hp (768 kW), it was adaptable enough to use increasingly powerful Merlin and later Rolls-Royce Griffon engines producing up to 2,035 hp (1,520 kW). It was exported and used by many countries, even after WWII, including Chile.
The first step towards the current Chliean Air Force was taken by Teniente Coronel Pedro Pablo Dartnell, when he founded the Servicio de Aviación Militar de Chile (Military Aviation Service of Chile) on December 20, 1910, being trained as a pilot in France. In those early years many aviation milestones were achieved; conquering the height of the Andes was one of the main targets as well as long distance flights. On 21 March 1930, the existing aviation elements of the army and navy were amalgamated into a dedicated department: the Subsecretaria de Aviación (Department of the Air Force) effectively creating the current independent Air Force. Its baptism of fire was in the 1931 sailors' rebellion in Coquimbo, where Air Force attack aircraft and bombers and 2 transport planes converted into bombers contributed to its failure.
The first outlines of the organization of the current air force were visible in 1945 with the inception of Grupo de Transporte No.1 (First Transport Group), later renumbered Grupo 10, with two C-45s and a single T-6 Texan at Los Cerrillos. Beyond that, Chile also sought the modernization of its fighter fleet, and turned towards the USA and overseas for supplies and assistance, primarily in the form of surplus aircraft from WWII.
One of Chile’s initial procurements were 32 Supermarine Spitfire Mk 22 directly from Great Britain, a post-war, Griffon-powered variant of the British fighter.
By early 1942, it was evident that Spitfires powered by the new two-stage supercharged Griffon 61 engine would need a much stronger airframe and wings. The proposed new design was called the Mk 21, which at first displayed poor flight qualities that damaged the excellent Spitfire reputation. The wings were redesigned with a new structure and thicker-gauge light alloy skinning. The new wing was torsionally 47 per cent stiffer, allowing an increased theoretical aileron reversal speed of 825 mph (1,328 km/h). The ailerons were 5 per cent larger and the Frise balanced type were dispensed with, the ailerons being attached by continuous piano-hinges. They were extended by eight inches, meaning that with a straighter trailing edge, the wings were not the same elliptical shape as previous Spitfires. The Mk 21 armament was standardized as four long-barreled 20mm Hispano II cannon with 150 rpg and no machine guns.
The Griffon engine drove an 11 ft (3.4 m)-diameter five-bladed propeller, some 7 in (18 cm) larger than that fitted to the Mk XIV. To ensure sufficient ground clearance for the new propeller, the undercarriage legs were lengthened by 4.5 in (11 cm). The undercarriage legs also had a 7.75 in (19.7 cm) wider track to help improve ground handling. The designers used a system of levers to shorten the undercarriage legs by about 8 in (20 cm) as they retracted, because the longer legs did not have enough space in which to retract; the levers extended the legs as they came down. The larger diameter four-spoke main wheels were strengthened to cope with the greater weights; post-war these were replaced by wider, reinforced three spoke wheels to allow Spitfires to operate from hard concrete or asphalt runways. When retracted the wheels were fully enclosed by triangular doors which were hinged to the outer edge of the wheel wells.
After intensive test flying, the most serious problems were solved by changing the gearing to the trim tabs and other subtle control modifications, such that the Mk 21 was cleared for instrument flying and low level flight during trials in March 1945. Spitfire 21s became operational on 91 Squadron in January 1945, but the squadron had little opportunity to engage the Luftwaffe before the war ended.
The Mk 22 was identical to the Mk 21 in all respects except for the cut-back rear fuselage, with a tear-drop canopy, and a more powerful 24 volt electrical system in place of the 12 volt system of all earlier Spitfires. Most of the Mk 22s were built with enlarged tail surfaces, similar to those of the Supermarine Spiteful, and a few were outfitted with six blade contraprops, too. A total of 287 Mk 22s were built after WWII: 260 at Castle Bromwich and 27 by Supermarine at South Marston.
The Mk 22 was used by only one regular RAF unit, 73 Squadron based on Malta, but twelve squadrons of the Royal Auxiliary Air Force used the variant and continued to do so until March 1951, when they were gradually retired. Many of these Mk 22s were sold back to Vickers-Armstrongs for refurbishment and then sold to foreign air forces including Southern Rhodesia, Egypt and Syria from 1955 onward.
In contrast to this, Chile was an early buyer of the Mk 22, sealing the contract with Vickers Supermarine already in 1946 when production was still running. The first original Mk 22s for Chile arrived, disassembled and transported via ship, in April 1947, and deliveries lasted until late 1948.
In service, the machines received tactical codes in the range from 200 to 230, but there were exceptions. Upon delivery and during their relatively short career, the FACh Spitfires carried the standard RAF livery of Dark Green and Ocean Grey, with Medium Sea Grey undersides. The only exception were two pairs of machines which were painted with different, experimental schemes back at the British factory: two Spitfires (in service carrying the tactical codes “152” and “212”) carried the RAF Tropical scheme (Dark Earth/Mid Stone with Azure Blue undersides) and another pair (“213” and “217”) was delivered in a unique, modified variant in which Dark Earth was replaced with Ocean Grey, inofficially dubbed "Cordillera" or "Desert Mountain" scheme. Neither of these proposals was adopted for service, but, strangely, these four machines retained their unique liveries throughout their service life, even after overhauls and re-paintings.
The fifties meant entry into the jet age for the FACh, and Grupo 7 was the first unit to receive them in 1954. As a consequence, the Chilean Spitfires were soon replaced by Lockheed F-80 fighters, procured from the United States of America, and the last Chilean Spitfire Mk 22s were retired in 1963.
[b][u]General characteristics:[/u][/b]
Crew: 1
Length: 32 ft 11 in (10.04 m)
Wingspan: 36ft 11 in (11.26 m)
Height: 10 ft 0 in (3.05 m)
Wing area: 243.6 sq ft (22.63 m2)
Empty weight: 6,900 lb (3.132 kg)
Gross weight: 8.500 lb (3,860 kg)
Max takeoff weight: 9.200 lb (4,176 kg)
[u]Powerplant:[/u]
1× Rolls-Royce Griffon 61 supercharged V12 with 2,050 hp (1,530 kW) at 8,000 ft (2,438 m)
driving a 5-bladed Jablo-Rotol propeller
[u]Performance:[/u]
Maximum speed: 454 mph (730 km/h; 395 kn.) at 26.000 ft.
420 mph (676 km/h; 365 kn.) at 12.000 ft.
Combat range: 490 mi (788 km; 426 nmi) with internal fuel only
Ferry range: 880 mi (1.417; 766 nmi) with three drop tanks
Service ceiling: 43,500 ft. (13,300 m)
Initial climb: 4,850 ft./min (24.79 m/sec.)
Time to 20.000 ft.: 8 min (at max. weight)
Wing loading: 32.72 lb/ft² (159.8 kg/m²)
Power/mass: 0.24
[u]Armament:[/u]
4× 20 mm (0.787-in) Hispano Mk II cannon, 175 RPG inboard, 150 RPG outboard
1× underfuselage and 2× underwing hardpoints for 1.000 lb (454 kg) and 500 lb (227 kg), respectively;
alternatively 6× underwing launch rails for unguided 60 lbs missiles
The kit and its assembly:
This build was inspired by a series of South American what-if profiles created by fellow member PantherG at whatifmodelers.com, posted there in February 2019. These included, among others, several Chilean Supermarine Spitfire Mk 22s, including exotic livery variants. I found one of them very attractive (yet ugly...), and when I found an appropriate Special Hobby kit in my stash I decided spontaneously to turn the profile into (model) hardware.
The Special Hobby kits for Griffon-powered Spitfires are excellent, and they all actually contain a vast collection of optional parts that allow LOTS of land- and sea-based late Spitfires to be built, including subtle fictional combinations. The parts are crisply molded, the styrene is easy to work with, fit is very good and surface details are just great – the kit almost falls together. The thing is pricy, but you get good value and lots of spares for future projects. In my case it is a proper Mk 22 kit, and this one even came with resin wheels and exhaust stubs as extras, plus a masking set for the canopy.
The kit was built almost 100% OOB as a Mk 22, I just modified the propeller with an axis so that it can spin freely (for the pictures). The drop tank comes from the kit, but otherwise I left the aircraft in clean condition, leaving away optional rocket attachment points under the wings or slipper tanks.
Painting and markings:
As mentioned above, this build was inspired by a profile drawing, and I stuck as close as possible to this benchmark, even though I changed some details or filled some gaps.
The most striking feature of the specific profile (aircraft “213”) I chose was/is the experimental choice of colors: RAF Mid Stone and Ocean Grey on the upper surfaces, and Azure Blue underneath. I just slightly tweaked the pattern on the model, staying closer to the original RAF scheme and resulting in a slightly different pattern on the fuselage. Consequently, I gave the aircraft a different tactical code and “217” was born.
The basic tones I used are Humbrol 106, Modelmaster 2052 and Humbrol 157. The cockpit interior was painted in a post-WWII black (Revell 9) instead of the former pale green-grey. The interior of the landing gear wells became Medium Sea Grey (Humbrol 165); the idea behind this choice is that the late Spitfire types had their landing gear wells painted in the same color as the wings' undersides. In the case of this specific aircraft I thought that it originally carried the standard RAF scheme, but received a superficial overspray in the experimental Chilean colors at the UK workshop. For the same reason, some Dark Green shines through under the Mid Stone on the leading edges and around the cockpit, created through dry-brushing and thinned paint (acrylic Revell 65, Bronze Green). The propeller spinner became black - very simple, and in line with the benchmark profile.
The decals were puzzled together. The Chilean roundels on the wings actually belong to an EE/BAC Canberra, the tactical code was created with black RAF code numbers from an Xtradecal Lightning sheet and another post-war Spitfire (a Special Hobby Mk. 24, IIRC).
The flash on the rudder was created with paint (the blue tone was mixed to match the wing roundels) and a single, white star decal. The squadron emblem, which was not featured on the inspiring profile, was taken from an Xtradecal sheet for D.H. Vampire T.55s, which features two FACh options, one of them operated by Grupo 7. Most stencils come from the Mk 22’s OOB sheet.
Some soot stains were added around the exhaust stubs and very little dry-brushing with aluminum and light grey was done to the wings' leading edges, the propeller (spinner tip and blades) and around the cockpit hatch. And, finally, everything was sealed with matt acrylic varnish (Italeri).
A simple project, and just an "operator travesty" whif. The kit went together easily, and the result is pretty exotic - but not unbelievalbe, despite the weird choice of colors.
Hubert Schillings designed several miniature engines from 1970 to 1980. Configurations vary from 1-cylinder aircraft engines to 2-, 3-, 4-, 6- and 8-cylinder inline and V-type engines for both aircraft and automobiles. Most of his engines were machined from aluminum bar stock (billet), but a few were cast or machined from magnesium.
This V8 Dual Overhead Cam (DOHC) has two rows of cylinders 90 degrees apart and each row has two camshafts to operate the valves; one camshaft operates the intake valves and the other camshaft operates the exhaust valves. It has a cast magnesium crankcase and oil pan, and machined aluminum heads and cam boxes.
Typically, Schillings used belts to drive the cams rather than gears and operated his engines on methanol and glow ignition. It is not known how many of these V8 DOHC engines he produced.
See More Hubert Schillings Engines at: www.flickr.com/photos/15794235@N06/sets/72157650830753031/
See More Miniature V8 Engine Photos at: www.flickr.com/photos/15794235@N06/sets/72157635278348680/
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 Paula and Paula Knapp
Miniature Engineering Museum
New configuration, new category and new factory. "She takes after Auntie Giulia !"
1972 - 1984
1.186 cc
4 Cylinder Boxer
63 cv @ 6.000 rpm
83 Nm @ 3.500 rpm
Vmax : 152 km/h
920 kg
900.925 ex. (Alfasud)
Museo Storico Alfa-Romeo
Viale Alfa-Romeo
Arese
Italy - Italia
November 2018
A standard "Kitsune" configuration Tanuki Corp. modular starfighter is accompanied by a Kitsune/Mujina Droid-controlled fighter variant on a deep space security patrol of a popular shipping lane.
The Tanuki Corp. modular starfighter system is easily adaptable to varying needs. By replacing the cockpit module with a droid control system, this otherwise standard Kitsune configuration becomes a very capable drone fighter.
It's not uncommon for strike wings of up to 6 Kitsune/Mujina Droid-controlled fighter (K/M-DCF) variants accompanying a single human-piloted standard configuration Kitsune fighter to be very effective in attack and defense missions. The AI necessary for such effectiveness is likened to that of a trained police dog, obeying the masters commands and actions with a series of pre-programmed algorithmic responses and analytical reactions to unforeseen situations.
Results of completely un-manned K/M-DCF flight wings have, however, ranged from disappointing to disastrous, depending on the amount of free will the AI is given. One account of a test flight of a group of K/M-DCFs with the standard "police dog" AI ended in a brawl over who would be the pack leader, inciting multiple attempts to "assert dominance" that caused multiple hull breaches and the loss of one Droid Control Module before safety measures could be enacted.
- I'm having a lot of fun coming up with names for these things. The modular nature of the concept makes it hard to pin down actual names, but the idea that certain configurations are popular enough to be 'standard' helped address that. Since the modules can cause the fighters to take on different shapes, I've been playing with shapeshifters of Japanese folklore - "Kitsune" being the Fox, "Mujina" being a type of spirit that can often take the shape of a faceless human (which gave birth to the idea of the droid control module in place of the cockpit). The corporation that builds these is Tanuki, yet another shapeshifter.
LEGO Digital Designer files
New configuration, new category and new factory. "She takes after Auntie Giulia !"
1972 - 1984
1.186 cc
4 Cylinder Boxer
63 cv @ 6.000 rpm
83 Nm @ 3.500 rpm
Vmax : 152 km/h
920 kg
900.925 ex. (Alfasud)
Museo Storico Alfa-Romeo
Viale Alfa-Romeo
Arese
Italy - Italia
November 2018
My new North American diesel engine in the Canadian Nation Railway scheme is the first Lego loco I have built since my childhood days and was strongly inspired by the EMD-GP 7, 9 and 20 diesel engines and other similar types that came in full high hood configuration, but I went on to building the model rather freely, leaving out things I didn’t want and not sticking to any particular real model.
Being 9+ studs wide, it’s quite a beast and fits very well to the “large city minifigure scale” preferred by ER0L and me. It drives on two 9V train motors from the 90s. The lighting is realized with materials from that time as well, energized by a separate battery box in the shorter section of the hood and thus illuminating the two fronts and cabin of the engine independently from the transformer. That way, the light can be on even when the model stands still.
I went for moving pilots, even though they don’t exist on such models in reality. This was mostly due to the prolonged bionicle trucks I wanted to use here, which would otherwise have made the stairs stand out too far from the trucks in curves and switches.
I have nearly finished building the first of several tank cars for it, so consider these pics an “opener” for more train equipment to come from me.
I had no idea what scrum or agile development was at the time, but this configuration of tables and chairs in the hallway of the 3rd floor of Microsoft's Building 114 just made sense to me.
I found these tables abandoned or stuck in hallways from other floors and dragged them here with my new team members. Then I ordered comfortable chairs from Microsoft's internal portal. We were set and took off and developed like mad.
The person, my friend, in the foreground found our environment to her liking, quiet, convenient yet friendly and joined us; as many travelers or consultants did from time to time. This worked for many reasons and gave MS full-timers the ability to find and interact with us without having to search around much.
Due to the location, our rules were straight forward; low tones, quiet, leave nothing in the room when leaving, push in your chair, and police your area. We had one phone for 18 + people. It rarely rang. The person being sought was nearly always there.
Twice in several months there was a slight disagreement about how open or closed the blinds should be but that environment worked very well for the team. We launched our project on time of course.
I absolutely loved working with them.
+++ 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?
+++ 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...
Image Disclaimer - Please note that all of the images shown are for illustrative purposes only. The rooms pictured are not necessarily typical of the accommodation available at Dumfries Hall, which can vary in terms of size, configuration, and finish.
HMMWVs can be designed to your specifications or they can be fitted with kits, depending on the intended use. Click the link to see more goo.gl/RicT3U
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.
Goodyear Corsair FG-1D (G-FGID)
When the Chance Vought FG-1D Corsair was introduced in 1940 it boasted the most powerful engine along with the largest diameter propeller of any fighter aircraft in history. The result of this engine and propeller combination was the first fighter to exceed 400mph. Corsairs were built right up to 1952, giving the type the honour of having the longest production run of any American piston-engined fighter.
The first service engagement for the Corsair was with the US Marine Corps operating from makeshift land bases across the Pacific, and it was not until later that she was operated from aircraft carriers initially with the British Fleet Air Arm. The Corsair proved to be a formidable air superiority fighter during World War II when she was the scourge of the skies across the Pacific, and continued to deliver sterling service in later years during the Korean War.
Our Corsair was built under licence by the Goodyear Aircraft Corporation at their facility in Akron, Ohio and allocated Bu No 88297. She was accepted by the US Navy on 9th April 1945 and delivered a mere two days later. She was initially dispatched to Guam in the Pacific, being allocated to the Aircraft Pool Airwing 2. The next piece of her known history has her at a Repair Depot in the Philippines, possibly Samar, for repairs in October 1945 and following this was returned ‘State-side’. Our Corsair then spent a number of years being allocated to various US Naval Air Reserve squadrons as well as varying periods of storage until she was eventually put up for disposal in March 1956 with a total of 1652 flying hours on the airframe. She was purchased by ALU-MET Smelters in January 1959 and languished in their yard until being rescued a year later by legendary stunt-pilot Frank Tallman. In his book The Great Planes, Frank Tallman calls her his all-time favourite aircraft.
Frank Tallman parted with the Corsair in 1966, and she passed through a number of other civilian owners until joining The Fighter Collection fleet in 1986.
The Fighter Collection’s Corsair is an extremely original example of the type as she has never been restored and has the distinction of being one of the few still flying with fabric wings.
Our Corsair is painted in the colours of a British Fleet Air Arm machine, KD345 of 1850 Squadron during December 1945, when they were embarked on HMS Vengeance of the British Pacific Fleet.
North American TF-51D Mustang 44-84847, Miss Velma, (N251RJ)
Built too late to see combat service in World War Two, P-51D 44-84847 was one of the last Mustangs constructed at North American Aviation’s Dallas, Texas, plant. Details of her post war service career are limited, but there is photographic evidence, from September 1951, of her serving with the 45th Tactical Reconnaissance Squadron at Kimpo, South Korea, during the Korean War.
By late 1951 the 45th TRS were replacing their aging Mustangs with RF-80 Shooting Star jets, and so 44-84847 was shipped back the US to serve with the Air National Guard until around 1956. Around this time she slips off the radar until January 1999 when she re-appears in North Dakota as a restoration project. The airframe joined The Fighter Collection fleet the following year and was moved to Chino, California for a full restoration with the decision made to modify her to two-seat TF-51D configuration.
The restoration culminated in a first flight in May 2007 with Steve Hinton at the controls. Following this our Mustang was painted in the 55th Fighter Group scheme of Capt Frank Birtciel’s P-51D 44-14561, Miss Velma. Following the successful completion of her flight testing, Miss Velma was fitted with external drop tanks and flew across the Atlantic to the UK, where she arrived at Duxford on the 4th July 2007
NAA P-51D “Ferocious Frankie”
The P-51 was the most successful long-range fighter escort of World War II, but it was not an instant success. Designed for the British in only 120 days to meet their requirement to purchase more fighters, the first Mustangs were built with Allison engines; while remarkable at low altitudes, these variants were considered under-powered and disappointing at higher altitudes. Happily, in late 1942 the aircraft was transformed when, in the UK, Rolls Royce Merlin engines were tested in place of the Allison. The Merlin, as used in the Spitfire, was then license-built by Packard in the USA and in 1943 was installed in the P-51B & C models. This near perfect marriage of engine and platform made the 1944 P-51D, with its bubble canopy and six-guns, one of the most iconic and potent fighters of all time.
The P-51D’s range was an incredible 2,055m (3,327km), thanks to its huge fuel capacity of 1,000 litres internally and 815 litres in drop tanks. Equally impressive was a level maximum speed of 437mph (703kph) at 25,000 feet, a max diving speed of 505mph (818kph) and a service ceiling of 41,900 feet (12,800m).
The OFMC Mustang was built at the North American Aviation Factory at Inglewood, California and accepted by the USAAF on 27/02/1945. One month later it was sent to the 8th Air Force, via Newark and Liverpool docks, serving at Leiston in Suffolk among other stations. The aircraft stayed in England for only 11 months before returning to Newark in January 1946. Briefly kept in storage, in January 1947 it was sent to the Royal Canadian Air Force, operating from Suffield, Alberta. In 1953 with only total 433 flying hours it was completely overhauled in Winnipeg and with only an additional 81 hours time thereafter, was put into outside storage in Carberry Manitoba. Happily, in 1957, it was sold into private hands and registered as N6340T. The aircraft was bought for $5,400 in 1962 with a total of 511 airframe hours. Flying in the Unlimited Race at Reno in 1974, the effectively stock (original) aircraft finished second with an average speed of 384mph.
In April 1980 the aircraft flew across the Atlantic to new owners, The Fighter Collection. Re-sprayed, it became known as Candyman / Moose, with the name on one side of the fuselage and the Moose’s head on the other. The Mustang was first displayed in the UK at Biggin Hill in 1981, flown by Ray Hanna, the OFMC’s founder.
In 1989, after filming in ‘Memphis Belle’, the aircraft was given a complete overhaul by The Fighter Collection at Duxford. The airframe was remarkably free of corrosion and damage, but a full strip down and component overhaul was undertaken. An overhauled original flying panel was installed. The rear fuel tank in the fuselage was removed and a wartime style modification made to fit a ‘dickey’ seat. This ‘mod’ in 1944 allowed Eisenhower to survey the D-day beaches from the back of a Mustang. A special 1760hp Merlin engine currently powers the aircraft.
Supermarine Spitfire Mk IXb G-ASJV
• Aircraft Type: Supermarine Spitfire Mk IXb
• Operator: The Old Flying Machine Company
• Year of Manufacture: 1943
• Powered by: Rolls-Royce Merlin
• Colour Scheme: 222 Sqn. RAF 1943
Air tested by the legendary Alex Henshaw in early August 1943, the illustrious history of this much loved aircraft then continued service with 222 Sqn. MH434 was was flown in combat by South African pilot Flt. Lt. Henry Lardner-Burke, DFC, with seven and a half kills, three damaged. On the 27th August 1943 in the St Omar area over France, Lardner-Burke shot down a Focke-Wulf FW-190 and damaged a second during a mission to escort USAAF B-17 bombers. On the 5th September 1943 Lardner-Burke and MH434 shot down another FW-190 in the Nieuport area, and on the 8th September 1943 claimed a half share in the downing of a Messerschmitt Bf-109G in Northern France. Later flown by Flt. Sgt. (later Wing Co) Bill Burge who declared it to be ‘the perfect Spitfire’. Post war service was seen with both the Dutch and Belgian air forces before finally returning home to civilian life. Ray Hanna began his outstanding partnership with MH434 in 1970 and it has been operated by his OFMCo since 1983. She remains the jewel in the company’s crown.
A BK6120N1 12m low floor CNG bus built by the already diminished Jinghua Buses in Beijing
BK6120N1 is the predecessor of the prevailing BK6120N2 and BK6120N3, successor of the rarely-seen three-door novelty BK6120N. BK6120N is the first low floor CNG bus built by Jinghua, but the three-door configuration is not practical at that time. So the successor BK6120N1 retain only two doors, front and middle. Also, the exterior is no longer the outdated pattern; instead, "MAN replica" design, same with its diesel counterpart BK6129K and 11m mid floor BK6111CNGZ3, is applied.
BK6120N1 is of the same age with JNP6120GC (1st version), DD6129S05, XMQ6125G-1, and share the entire power train with them: Iveco F4BE0641A*G 200hp Euro V CNG engine, Allison T270R 6AT gearbox with integrated retarder, and ZF center-lowered axles. While Youngman Neoplan, Huanghai and King Long use their own chassis, Jinghua, unqualified to be a chassis maker, use a Dongfeng (Second Automobiles of China) 11m-based chassis. Similar to its siblings, although 12m-class, BK6120N1 is only 11620mm long.
Although the face is a copy from MAN Lion's City, the body has original side boards, although very plain with a narrow front door, and tail, which is quite stylish, if the "crevice-like" rear windscreen is ignored. The biggest problem of BK6120N1 is its annoying unreliability. The bus seldom stands upright---it either leans to its side or squats. When it brakes, both axles lose suspension air pressure. These problems are due to the chassis maker, but the body builder is not satisfactory either---the exterior paint peels off while the interior falls apart. During summers when the air-conditioning is on, the radiator temperature goes up high until the driver turns off the blessing cool wind and the bus becomes a hot dog. BK6120N1's Break down rate is high among all low floor buses.
In the picture, Fleet No. 57721 (Division 5 CNG bus, code 721) on Line 9 is turning left from west to north at Xiaozhuang Crossing. Although only 19.5km long from Jinjiacun Bridge in the west and Jintai Road in the east, Line 9, most legendary line of Division 5, connects two railway stations and the CBD by only 12m rigid buses. But the fleet size is overwhelming---more than 80 units.
BK6120N1 has only 49 units which are all operated by Division 5 on Line 9. Perhaps taking the unreliability of Dongfeng chassis into account, Jinghua abandoned N1 before shifted to Shanqi chassis N2 and FAW chassis N3, although these two models are not successful either.
Gyeongbokgung (Hangul: 경복궁; hanja: 景福宫), also known as Gyeongbokgung Palace or Gyeongbok Palace, was the main royal palace of the Joseon dynasty. Built in 1395, it is located in northern Seoul, South Korea. The largest of the Five Grand Palaces built by the Joseon dynasty, Gyeongbokgung served as the home of Kings of the Joseon dynasty, the Kings' households, as well as the government of Joseon.
Gyeongbokgung continued to serve as the main palace of the Joseon dynasty until the premises were destroyed by fire during the Imjin War and abandoned for two centuries. However, in the 19th century, all of the palace's 7,700 rooms were later restored under the leadership of Prince Regent Heungseon during the reign of King Gojong. Some 500 buildings were restored on a site of over 40 hectares. The architectural principles of ancient Korea were incorporated into the tradition and appearance of the Joseon royal court.
In the early 20th century, much of the palace was systematically destroyed by Imperial Japan. Since then, the walled palace complex is gradually being reconstructed to its original form. Today, the palace is arguably regarded as being the most beautiful and grandest of all five palaces. It also houses the National Palace Museum of Korea and the National Folk Museum within the premises of the complex.
OVERVIEW
Gyeongbokgung was built three years after the Joseon dynasty was founded and it served as its main palace. With Mount Bugak as a backdrop and the Street of Six Ministries (today's Sejongno) outside Gwanghwamun Gate, the main entrance to the palace, Gyeongbokgung was situated in the heart of the Korean capital city. It was steadily expanded before being reduced to ashes during the Japanese invasion of 1592.
For the next 273 years the palace grounds were left derelict until being rebuilt in 1867 under the leadership of Regent Heungseon Daewongun. The restoration was completed on a grand scale, with 330 buildings crowded together in a labyrinthine configuration. Within the palace walls were the Outer Court (oejeon), offices for the king and state officials, and the Inner Court (naejeon), which included living quarters for the royal family as well as gardens for leisure. Within its extensive precincts were other palaces, large and small, including Junggung (the Queen`s residence) and Donggung (the Crown prince’s residence).
Owing to its status as the symbol of national sovereignty, Gyeongbokgung was demolished during the Japanese occupation of the early 20th century. In 1911, ownership of land at the palace was transferred to the Japanese Governor-General. In 1915, on the pretext of holding an exhibition, more than 90% of the buildings were torn down. Following the exhibition the Japanese leveled whatever still remained and built their colonial headquarters, the Government-General Building (1916–26), on the site.
Restoration efforts have been ongoing since 1990. The Government-General Building was removed in 1996 and Heungnyemun Gate (2001) and Gwanghwamun Gate (2006-2010) were reconstructed in their original locations and forms. Reconstructions of the Inner Court and Crown Prince’s residence have also been completed.
HISTORY
14th—16th CENTURIES
Gyeongbokgung was originally constructed in 1394 by King Taejo, the first king and the founder of the Joseon dynasty, and its name was conceived by an influential government minister named Jeong Do-jeon. Afterwards, the palace was continuously expanded during the reign of King Taejong and King Sejong the Great. It was severely damaged by fire in 1553, and its costly restoration, ordered by King Myeongjong, was completed in the following year.
However, four decades later, the Gyeongbokgung Palace was burnt to the ground during the Japanese invasions of Korea of 1592-1598. The royal court was moved to the Changdeokgung Palace. The Gyeongbokgung palace site was left in ruins for the next three centuries.
19th CENTURY
In 1867, during the regency of Daewongun, the palace buildings were reconstructed and formed a massive complex with 330 buildings and 5,792 rooms. Standing on 4,657,576 square feet (432,703 square meters) of land, Gyeongbokgung again became an iconic symbol for both the Korean nation and the Korean royal family. In 1895, after the assassination of Empress Myeongseong by Japanese agents, her husband, Emperor Gojong, left the palace. The Imperial Family never returned to Gyeongbokgung.
20th—21st CENTURIES
Starting from 1911, the colonial government of the Empire of Japan systemically demolished all but 10 buildings during the Japanese occupation of Korea and hosted numerous exhibitions in Gyeongbokgung. In 1926, the government constructed the massive Japanese General Government Building in front of the throne hall, Geunjeongjeon, in order to eradicate the symbol and heritage of the Joseon dynasty. Gwanghwamun Gate, the main and south gate of Gyeongbokgung, was relocated by the Japanese to the east of the palace, and its wooden structure was completely destroyed during the Korean War.
Gyeongbokgung's original 19th-century palace buildings that survived both the Japanese rule of Colonial Korea and the Korean War include:
- Geunjeongjeon (the Imperial Throne Hall) — National Treasure No. 223.
- Gyeonghoeru Pavilion — National Treasure No. 224.
- Hyangwonjeong Pavilion; Jagyeongjeon Hall; Jibokjae Hall; Sajeongjeon Hall; and Sujeongjeon Hall.
Modern archaeological surveys have brought 330 building foundations to light.
RESTAURATION
In 1989, the South Korean government started a 40-year initiative to rebuild the hundreds of structures that were destroyed by the colonial government of the Empire of Japan, during the period of occupied Colonial Korea (1910-1945).
In 1995, the Japanese General Government Building, after many controversial debates about its fate, was demolished in order to reconstruct Heungnyemun Gate and its cloisters. The National Museum of Korea, then located on the palace grounds, was relocated to Yongsan-gu in 2005.
By the end of 2009, it was estimated that approximately 40 percent of the structures that were standing before the Japanese occupation of Korea were restored or reconstructed. As a part of phase 5 of the Gyeongbokgung restoration initiative, Gwanghwamun, the main gate to the palace, was restored to its original design. Another 20-year restoration project is planned by the South Korean government to restore Gyeongbokgung to its former status.
LAYOUT
MAIN GATES OF GYEONGBOKGUNG
Gwanghwamun (The Main and South Gate)
Heungnyemun (The Second Inner Gate)
Geunjeongmun (The Third Inner Gate)
Sinmumun (The North Gate)
Geonchunmun (The East Gate)
Yeongchumun (The West Gate)
OEJEON (Outer Court)
Geunjeongmun (The Third Inner Gate)
Geunjeongjeon (The Throne Hall)
Sajeongjeon (The Executive Office)
Sujeongjeon
Cheonchujeon
Manchunjeon
NAEJEONG (Inner Court)
Gangnyeongjeon (The King's Quarters)
Gyotaejeon (The Queen's Quarters)
Jagyeongjeon (The Late Queen's Quarters)
DONGGUNG (Palace of the Crown Prince)
Jaseondang (The Crown Prince's and Princesses' Quarters)
Bihyeongak (The Study of the Crown Prince)
PAVILIONS
Gyeonghoeru (The Royal Banquet Hall)
Hyangwonjeong
BRIDGES
Yeongjegyo
Having passed through the initial main gate and secondary gate (Heungnyemun Gate), visitors would pass over a small bridge named Yeongjegyo. Located on the top of the canal right next to the bridge were several imaginary creatures known as Seosu.
Chwihyanggyo
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon Dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
BIHYEONGAK
Bihyeongak (Hangul: 비현각; hanja: 丕顯閣) means big and bright a royal palace where crown prince brush up on his' study with his teacher.
BUILDINGS
GANGNYEONGJEON
Gangnyeongjeon (Hangul: 강녕전; hanja: 康寧殿), also called Gangnyeongjeon Hall, is a building used as the king's main residing quarters. First constructed in 1395, the fourth year of King Taejo, the building contains the king's bed chamber. Destroyed during the Japanese invasions of Korea in 1592, the building was rebuilt when Gyeongbokgung was reconstructed in 1867, but it was again burned down by a major fire on November 1876 and had to be restored in 1888 following the orders of King Gojong.
However, when Huijeongdang of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government dismembered the building and used its construction materials to restore Huijeongdang in 1920. Current Gangnyeongjeon was built in 1994, meticulously restoring the building to its original specifications and design.
Gangnyeongjeon consists of corridors and fourteen rectangular chambers, each seven chambers located to the left and right side of the building in a layout out like a checkerboard. The king used the central chamber while the court attendants occupied the remaining side chambers to protect, assist, and to receive orders. The building rests on top of a tall stone foundation, and a stone deck or veranda is located in front of the building.
The noted feature of the building is an absence of a top white roof ridge called yongmaru (Hangul: 용마루) in Korean. Many theories exist to explain the absence, of which a prominent one states that, since the king was symbolized as the dragon during the Joseon dynasty, the yongmaru, which contains the letter dragon or yong (龍), cannot rest on top of the king when he is asleep.
GEUNJEONGJEON
Geunjeongjeon (Hangul: 근정전; hanja: 勤政殿), also known as Geunjeongjeon Hall, is the throne hall where the king formally granted audiences to his officials, gave declarations of national importance, and greeted foreign envoys and ambassadors during the Joseon dynasty. The building was designated as Korea's National Treasure No. 223 on January 8, 1985.
Geunjeongjeon was originally constructed in 1395 during the reign of King Taejo, but was burned down in 1592 when the Japanese invaded Korea. The present building was built in 1867 when Gyeongbokgung was being reconstructed. The name Geunjeongjeon, created by the minister Jeong Do-jeon, means "diligence helps governance".
Constructed mainly of wood, Geunjeongjeon sits on the center of a large rectangular courtyard, on top of a two-tiered stone platform. This two-tiered platform is lined with detailed balustrades and is decorated with numerous sculptures depicting imaginary and real animals, such as dragons and phoenixes. The stone-paved courtyard is lined with two rows of rank stones, called pumgyeseoks (Hangul: 품계석; hanja: 品階石), indicating where the court officials are to stand according to their ranks. The whole courtyard is fully enclosed by wooden cloisters.
Geunjeongmun (Hangul: 근정문; hanja: 勤政門), aligned and located directly to the south of Geunjeongjeon, is the main gate to the courtyard and to Geunjeongjeon. The gate is divided into three separate aisles, and only the king was allowed to walk through the center.
GWANGHWAMUN
Gwanghwamun (Hangul: 광화문; hanja: 光化門) is the main gate of Gyeongbokgung Palace.
GYEONGHOERU
Gyeonghoeru (Hangul: 경회루; hanja: 慶會樓), also known as Gyeonghoeru Pavilion, is a hall used to hold important and special state banquets during the Joseon Dynasty. It is registered as Korea's National Treasure No. 224 on January 8, 1985.
The first Gyeonghoeru was constructed in 1412, the 12th year of the reign of King Taejong, but was burned down during the Japanese invasions of Korea in 1592. The present building was constructed in 1867 (the 4th year of the reign of King Gojong) on an island of an artificial, rectangular lake that is 128 m wide and 113 m across.
Constructed mainly of wood and stone, Gyeonghoeru has a form where the wooden structure of the building sits on top of 48 massive stone pillars, with wooden stairs connecting the second floor to the first floor. The outer perimeters of Gyeonghoeru are supported by square pillars while the inner columns are cylindrical; they were placed thus to represent the idea of Yin & Yang. When Gyeonghoeru was originally built in 1412, these stone pillars were decorated with sculptures depicting dragons rising to the sky, but these details were not reproduced when the building was rebuilt in the 19th century. Three stone bridges connect the building to the palace grounds, and corners of the balustrades around the island are decorated with sculptures depicting twelve Zodiac animals.
Gyeonghoeru used to be represented on the 10,000 won Korean banknotes (1983-2002 Series).
GYOTAEJEON
Gyotaejeon (Hangul: 교태전; hanja: 交泰殿), also called Gyotaejeon Hall, is a building used as the main residing quarters by the queen during the Joseon Dynasty. The building is located behind Gangnyeongjeon, the king's quarters, and contains the queen's bed chamber. It was first constructed in around 1440, the 22nd year of King Sejong the Great.
King Sejong, who was noted to have a frail health later in his reign, decided to carry out his executive duties in Gangnyeongjeon, where his bed chamber is located, instead of Sajeongjeon. Since this decision meant many government officials routinely needed to visit and intrude Gangnyeongjeon, King Sejong had Gyotaejeon built in consideration of his wife the queen's privacy.
The building was burned down in 1592 when the Japanese invaded Korea, but was reconstructed in 1867. Nevertheless, when Daejojeon of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government disassembled the building and recycled its construction materials to restore Daejojeon. The current building was reconstructed in 1994 according to its original design and specifications. The building, like Gangnyeongjeon, does not have a top roof ridge called yongmaru.
Amisan (Hangul: 아미산; hanja: 峨嵋山), a famous garden created from an artificial mound, is located behind Gyotaejeon. Four hexagonal chimneys, constructed around 1869 in orange bricks and decorative roof tiles, adorn Amisan without showing their utilitarian function and are notable examples of formative art created during the Joseon Dynasty. The chimneys were registered as Korea's Treasure No. 811 on January 8, 1985.
HYANGWONJEONG
Hyangwonjeong (Hangul: 향원정; hanja: 香遠亭), or Hyangwonjeong Pavilion, is a small, two-story hexagonal pavilion built around 1873 by the order of King Gojong when Geoncheonggung residence was built to the north within Gyeongbokgung.
The pavilion was constructed on an artificial island of a lake named Hyangwonji (Hangul: 향원지; hanja: 香遠池), and a bridge named Chwihyanggyo (Hangul: 취향교; hanja: 醉香橋) connects it to the palace grounds. The name Hyangwonjeong is loosely translated as "Pavilion of Far-Reaching Fragrance", while Chwihyanggyo is "Bridge Intoxicated with Fragrance".
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
JAGYEONGJEON
Jagyeongjeon (Hangul: 자경전; hanja: 慈慶殿), also called Jagyeongjeon Hall, is a building used as the main residing quarters by Queen Sinjeong (Hangul: 신정왕후; hanja: 神貞王后), the mother of King Heonjong. First constructed in 1865, it was burned down twice by a fire but was reconstructed in 1888. Jagyeongjeon is the only royal residing quarters in Gyeongbokgung that survived the demolition campaigns of the Japanese government during the Japanese occupation of Korea.
The chimneys of Jagyeongjeon are decorated with ten signs of longevity to wish for a long life for the late queen, while the west walls of the Jagyeongjeon compound are adorned with floral designs. The protruding southeast part of Jagyeongjeon, named Cheongyeollu (Hangul: 청연루; hanja: 清讌樓), is designed to provide a cooler space during the summer, while the northwest part of Jagyeongjeon, named Bokandang (Hangul: 복안당; hanja: 福安堂), is designed for the winter months. The eastern part of Jagyeogjeon, named Hyeopgyeongdang (Hangul: 협경당; hanja: 協慶堂) and distinguished by the building's lower height, was used by the late queen's assistants.
The building and the decorative walls were registered as Korea's Treasure No. 809 on January 8, 1985.
JIBOKJAE
Jibokjae (Hangul: 집옥재; hanja: 集玉齋), located next to Geoncheonggung Residence, is a two-storey private library used by King Gojong. In 1876, a major fire occurred in Gyeongbokgung Palace, and King Gojong, for a brief period, moved and resided in Changdeokgung Palace. He eventually moved back to Gyeongbokgung in 1888, but he had the pre-existing Jibokjae building disassembled and moved from Changdeokgung to the present location in 1891. Its name, Jibokjae, translates loosely in English as the "Hall of Collecting Jade".
The building uniquely shows heavy influence of Chinese architecture instead of traditional Korean palace architecture. Its side walls were entirely constructed in brick, a method commonly employed by the contemporary Chinese, and its roof formations, interior screens, and columns also show Chinese influences. Its architecture possibly was meant to give it an exotic appearance.
Jibokjae is flanked by Parujeong (Hangul: 팔우정; hanja: 八隅亭), an octagonal two-story pavilion, to the left and Hyeopgildang (Hangul: 협길당; hanja: 協吉堂) to the right. Parujeong was constructed to store books, while Hyeopgildang served as a part of Jibokjae. Both of the buildings are internally connected to Jibokjae.
Bohyeondang (Hangul: 보현당; hanja: 寶賢堂) and Gahoejeong (Hangul: 가회정; hanja: 嘉會亭), buildings that also formed a library complex to the south of Jibokjae, were demolished by the Japanese government in the early 20th century.
SAJEONGJEON
Sajeongjeon (Hangul: 사정전; hanja: 思政殿), also called Sajeongjeon Hall, is a building used as the main executive office by the king during the Joseon Dynasty. Located behind Geunjeongjeon Hall, the king carried out his executive duties and held meetings with the top government officials in Sajeongjeon. Two separate side buildings, Cheonchujeon (Hangul: 천추전; hanja: 千秋殿) and Manchunjeon (Hangul: 만춘전; hanja: 萬春殿), flank the west and east of Sajeongjeon, and while Sajeongjeon is not equipped with a heating system, these buildings are equipped with Ondols for their use in the colder months.
SUJEONGJEON
Sujeongjeon (Hangul: 수정전; hanja: 修政殿), a building located to the south of Gyeonghoeru, was constructed in 1867 and used by the cabinet of the Joseon dynasty.
TAEWONJEON
Taewonjeon (Hangul: 태원전; hanja: 泰元殿), or Taewonjeon Shrine, is an ancestral shrine originally built in 1868 to house a portrait of King Taejo, the founder of the Joseon dynasty, and to perform rites to the deceased royalties. Completely destroyed by the Japanese government in the early 20th century, the shrine was accurately restored to its former design in 2005.
DONGGUNG
Donggung (Hangul: 동궁; hanja: 東宮), located south of the Hyangwonjeong pavilion, was the compound where the crown prince and his wife were living. The four main buildings of the compound were Jaseondang and Bihyeongak, Chunbang (lecture hall, where the prince got the education preparing him to the throne), as well as Gyebang (the security building). In the 19th century, the future Emperor Sunjong lived in the compound. Dongdung was razed to the ground during the Japanese occupation. The restoration started in 1999, only Jaseondang and Bihyeongak were restored.
GEONCHEONGGUNG
Geoncheonggung (Hangul: 건청궁; hanja: 乾淸宮), also known as Geoncheonggung Residence, was a private royal residence built by King Gojong within the palace grounds in 1873.
King Gojong resided in Geoncheonggung from 1888 and the residence was continuously expanded, but on October 8, 1895, Empress Myeongseong, the wife of King Gojong, was brutally assassinated by the Japanese agents at the residence. Her body was burned and buried near the residence.
Haunted by the experiences of the incident, the king left the palace in January 1896, and never returned to the residence. Demolished completely by the Japanese government in 1909, the residence was accurately reconstructed to its former design and open to the public in 2007.
GOVERNOR-GENERAL´S RESIDENCE
The back garden of Gyeongbokgung used to contain the main part of the Japanese Governor-General's residence, that was built in the early 20th century during the Japanese occupation. With the establishment of the Republic of Korea in 1948, President Syngman Rhee used it as his office and residence. In 1993, after President Kim Young-sam's civilian administration was launched, the Japanese Governor-General's residence in the Cheongwadae compound was dismantled to remove a major symbol of the Japanese colonialism.
TOURISM
In 2011 in a survey conducted, by Seoul Development Institute, which included 800 residents and 103 urban planners and architects. It listed 39 percent of residents, voted that the palace as the most scenic location in Seoul, following Mount Namsan and Han River in the top spots.
ACCESS
Today, the Gyeongbokgung Palace is open to the public and houses the National Folk Museum of Korea, the National Palace Museum of Korea, and traditional Korean gardens.
TRANSPORTATION
Gyeongbokgung entry is located 22 Sajik-no, Jongno-gu. The nearest subway station is Gyeongbokgung Station (Station #327 on Line 3).
There has been off and on talk to extending the Shinbundang Line near the palace including during a March 2012 campaign promise by Hong Sa-duk to expand the line near Gyeongbok Palace
EVENS
In a poll of nearly 2,000 foreign visitors, conducted by the Seoul Metropolitan Government in November 2011, stated that watching the changing of the guards at the main gate Gwanghwamun as their third favorite activity in Seoul. The royal changing of the guard ceremony is held in front of the main gate every hour from 10:00 to 15:00.
From October, Gyeongbokgung open night season. from 7PM to 10PM. This event is only available to reservation in Inter Park Website.
WIKIPEDIA
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
Ref. V9609.
Chasis Solido nº 23 3-74.
Peugeot 504 Break Dangel (1980-1983).
Escala 1/43.
"Collection Passion".
Verem/Solido.
Made in France (1998-2001).
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Peugeot 504
From Wikipedia, the free encyclopedia
"The Peugeot 504 is a mid-size, front-engine, rear wheel drive automobile manufactured and marketed by Peugeot for model years 1968-1983 over a single generation, primarily in four-door sedan and wagon configurations — but also with two-door coupe, convertible and pickup truck variants.
The 504 was noted for its robust body structure, long suspension travel, and torque tube drive shaft — enclosed in a rigid tube attached at each end to the gearbox housing and differential casing, relieving drive train torque reactions. The 504 ultimately achieved widespread popularity in far-flung rough-terrain countries — including Brazil, Argentina, Australia, Ivory Coast, Ghana, Cameroon, Benin, Kenya and Nigeria.
More than three million 504s were manufactured in its European production, with production continuing globally under various licensing arrangements — including 27,000 assembled in Kenya and 425,000 assembled in Nigeria, using knock-down kits — with production extending into 2006.
Having debuted as Peugeot's flagship at the 1968 Paris Salon, the 504 received the 1969 European Car of the Year.
In 2013, the LA Times called it "Africa's workhorse."
(...)
-------------------
Peugeot 504
Manufacturer
Peugeot SA
Also called
Guangzhou-Peugeot GP 7200
Production
European France: 1968–1983
Argentina: 1969–1999
South Africa: 1970–1985
China: 1989–1997
Nigeria: 1968–2006
Kenya: 1968–2004
Taiwan: 1979–1984
Assembly
Sochaux, France
Buenos Aires, Argentina (Sevel)
Melbourne, Australia (Renault Australia Pty Ltd.)
Los Andes, Chile
Canton, China
Cairo, Egypt (AAV)
Mombasa, Kenya
Thames, New Zealand
Kaduna, Nigeria
Setúbal, Portugal (Movauto)
Natalspruit, Transvaal, South Africa
Pretoria, South Africa (Sigma)
Changhua, Taiwan
La Marsa, Tunisia (STAFIM)
Designer
Aldo Brovarone at Pininfarina
Class
Large family car (D)
Body style
4-door saloon
5-door estate
2-door coupé
2-door convertible
2-door coupé utility (pickup)
Layout
FR layout
Engine
1.8 L I4
2.0 L I4
1.9 L I4 diesel
2.1 L I4 diesel
2.3 L I4 diesel
2.7 L V6
Transmission
4-speed manual
3-speed automatic ZF 3HP12
3-speed automatic ZF 3HP22
3-speed automatic GM 407 (V6)
5-speed manual
Dimensions
Wheelbase
2,740 mm (108 in)
(saloon/berline)
Length
4,486.3 mm (176.63 in)
(saloon/berline)
4,800 mm (190 in)
(break)
Width
1,690 mm (67 in)
Height
1,460 mm (57 in)
Curb weight
1,200–1,300 kg (2,600–2,900 lb)
Chronology
Predecessor
Peugeot 404
Successor
Peugeot 505
Source: en.wikipedia.org/wiki/Peugeot_504
More info:
les-peugeot-mythique.com/la-peugeot-504-berline/
www.autoevolution.com/peugeot/504/
lautomobileancienne.com/peugeot-504-1968-1983/
stubs-auto.fr/peugeot/peugeot-504-1968-1983/
elblogdeautosdenelsonmuntz.blogspot.com.es/2016/08/peugeo...
Midtown Manhattan, New York City, New York, United States
The Forty-Sixth Street Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built during the mid-1920s, the Forty-Sixth Street was among the half-dozen theaters constructed by the Chanin Organization, to the designs of Herbert J. Krapp, that typified the development of the Times Square/Broadway theater district.
Founded by Irwin S. Chanin, the Chanin organization was a major construction company in New York. During the 1920s, Chanin branched out into the building of theaters, and helped create much of the ambience of the heart of the theater district. The Forty-Sixth Street Theater was the organization's first Broadway venture.
Herbert J. Krapp, who designed all the Chanins' theaters, was the most prolific architect of the Broadway theater district. Having worked in the offices of Herts & Tallant, premier theater designers of the pre-war period, Krapp went on to design theaters for the two major builders of the post-war era, the Shubert and Chanin organizations.
As the Chanins' first Broadway theater, the Forty- Sixth Street incorporated a number of his ideas for the improvement of theater design, including a single entrance for all ticket-holders, and an interior designed in the "stadium" configuration. Krapp designed an exceptionally handsome facade for the Chanins' Broadway debut, featuring a glazed terracotta neo-classical arcade.
For half a century the Forty-Sixth Street Theater has served as home to countless numbers of the plays through which the Broadway theater has come to personify American theater, with a special reputation for musical comedy hits. As such, it continues to help define the Broadway theater district, the largest and most famous concentration of legitimate stage theaters in the world.
Herbert J. Krapp
The character of today's Broadway theater district owes more to architect Herbert J. Krapp (1883-1973) than to any other architect. He designed sixteen of the extant Broadway theaters (almost half the total), fourteen of which are in active theatrical use, as well as five that have been demolished. Despite his enormous output, however, little is known today of his life and work.
Herbert Krapp's career coincided with the rise of the Shubert organization as the major force in the New York theater. Upon his graduation from Cooper Union, Krapp joined the office of noted theater architects Henry Herts and Hugh Tallant, who had designed some of the handsomest early twentieth-century theaters in New York, including the Lyceum (1903), New Amsterdam (1902-03), Helen Hayes (1911, demolished), and Longacre (1912-13). According to Krapp's daughter, the partners were becoming increasingly debilitated by morphine addiction, and gradually entrusted Krapp with responsibility for design and office operations. Be that as it may, when the Shuberts next decided to build new theaters, in 1916, they turned to Krapp for designs, and proceeded to commission from him a dozen theaters in Times Square in as many years (1916-1928). Throughout his professional career Krapp remained the preferred Shubert architect. He designed their theaters in New York, Boston, Philadelphia and elsewhere, supervised Shubert theater alterations nationwide, and was even the architect for their private residences.
Besides his twelve Shubert theaters, Krapp designed nine other Times Square houses. Six, built between 1924 and 1927, were for the Chanin Construction Company. Only three, the Alvin, the Hammerstein (now the Ed Sullivan), and the Waldorf (demolished) were designed for independent interests. A brilliant acoustician and gifted architect of great invention, Krapp was responsible for scores of theaters throughout New York City and State (including three movie houses in Queens: the Sunnyside in Woodside and the Jackson and the Boulevard in Jackson Heights) and others
stretching from Palm Beach to Detroit. His office records document alterations to literally hundreds of theaters across the country.
Krapp's Broadway theaters closely reflect the interest and needs of a new breed of theatrical entrepreneur, the large-scale speculative owner/builder. Prior to the rise of the Shuberts as major theater owners, most theaters had been erected for independent impresarios, including Oscar Hammerstein who built the first Times Square theater and whose Victory Theater (1899) still stands on 42nd Street, Daniel Frohman who built the Lyceum (1903), Charles Dillingham who built the Lunt-Fontanne (1910), and David Belasco and John Cort who built the theaters that bear their names (1907 and 1912). At the turn of the century, Klaw and Erlanger's Theatrical Syndicate dominated most of the Times Square theaters, but did not sponsor a unified building campaign as the Shuberts eventually did. Since the Shuberts were building theaters largely as financial ventures, most of their buildings tended to be simpler than those designed for the impresarios who were attempting to draw attention both to their theaters and to themselves.
The theaters that Krapp designed for the Shuberts are relatively restrained on both the exterior and interior, but they reflect Krapp's mastery of theater layout, as well as the general stylistic trends established by the earlier and more elaborate theater designs in the Times Square theater district.
Krapp's earliest theaters, the Plymouth (1916-17) and Broadhurst (1917), were built as a pair located immediately to the west of Henry Herts's earlier Shubert pair, the Shubert and Booth. The designs of the Plymouth and Broadhurst echo those of the earlier theaters. Like the Shubert and Booth, Krapp's houses have rounded corners that face towards Broadway (the direction from which most audience members arrived). Each corner is accented by an entrance with a broken pedimented enframement and by an oval cartouche. These forms imitate, in a simplified manner, the ornamental forms on Herts's buildings. In addition, Krapp's theaters are faced with bricks separated by wide, deeply inset mortar joints in a manner favored by Herts. The Plymouth and Broadhurst facades are simpler than their neighbors, but they were clearly designed to complement Herts's theaters and create a unified group of Shubert houses.
The Plymouth and Broadhurst are not adorned with a great deal of applied stone or terra cotta. This lack of architectural ornament is typical of Krapp's designs for the Shuberts;5 the facades of these theaters are generally enlivened by diaper-patterned brick and occasionally by the use of ornamental iron bal conies. The use of diaper-patterned brick can be seen on the Plymouth and the Broadhurst, but it is most evident on the Morosco (1917, demolished), Ritz (1921), Ambassador (1921), and the 46th-Street facade of the Imperial (1923). Krapp's use of diaperwork might have been inspired by Herts & Tallant's use of an ornate diaper pattern of terra cotta on their Helen Hayes Theater (1911).
After building a large number of new theaters between 1916 and 1923 the Shuberts undertook very little construction in the Times Square area from 1924 through 1927. During these years the Chanin Construction Company emerged as the major theater builder in the area. The Chanins also turned to Krapp for their theater designs. Major New York City builders, the Chanins considered theaters to be sound financial investments from which they could not fail to profit. The six theaters that Krapp designed for
the Chanins are more ornate than those he designed for the Shuberts. One reason may be that the Chanins, new to the theater world, decided that their theaters should project an elegant image; another, that as a building company, they were more concerned than the Shuberts about the exterior appearance of their buildings. Still another factor may have the greater availability of money in the middle of the 1920s as compared to the years during and immediately following World War I when most of the Shubert theaters were erected.
Krapp's first two theaters for the Chanins, the Forty-Sixth Street (1924) and the Biltmore (1925), are neo-Renaissance style structures with extensive terra-cotta detail that includes rusticated bases, monumental Corinthian pilasters, and ornate cornices and balustrades. Krapp's next commission, the Brooks Atkinson (1926), has a facade with the Mediterranean flavor that came to be favored by the Chanins. Referred to at the time as "modern Spanish" in style6, the Brooks Atkinson is a brick building articulated by three Palladian openings supported by twisted columns. Roundel panels and a Spanish-tiled parapet are additional Spanish forms on the facade. Krapp's largest commission from the Chanins was a trio of theaters, the Golden, Royale, and Majestic, all built between 1926 and 1927 in conjunction with the Lincoln Hotel (now the Milford Plaza Hotel). Like the Brooks Atkinson, these three theaters were described as being "modern Spanish in character." All three were constructed of yellow brick and adorned with areas of decorative terja-cotta pilasters, twisted columns, arches, parapets, and columned loggias.
Following his work for the Chanins, Krapp designed three independent houses, all of which were stylistically unusual. The Waldorf (1926, demolished) which stood on West 50th Street was an ornate French neoclassical -style structure; the Alvin (1927, now the Neil Simon) an impressive neo-Federal style red brick building; and the Hammerstein (now the Ed Sullivan) a neo-Gothic theater housed in a tall office building. The latter two were commissioned by theatrical impresarios, hence their more elaborate design as compared to Krapp's work for the Shubert and Chanin theater chains.
In 1928 the Shuberts commissioned their final theater from Krapp. The Ethel Barrymore is among Krapp's finest and most unusual designs. The theater is a monumentally scaled structure combining an extremely ornate rusticated Beaux-Arts-style base with a superstructure boldly modeled after the windowed facade of a Roman bath.
Like the exteriors of his buildings, Krapp's interiors are stylistically varied, reflecting the design eclecticism of the first decades of the twentieth century. On many occasions the style of the interior has little to do with that of the exterior. Most of the theater interiors designed for the Shuberts have Adamesque style ornament, a style deriving from the neo-Classical designs originated by the eighteenth-century English architect Robert Adam. Krapp's Adamesque interiors display the refined, elegant forms common to the style, and such features as delicate garlands, rosettes, and foliate bands. The "Spanish" theaters that Krapp designed for the Chanins have interior details such as twisted columns, arcades, and escutcheons that match the style of the exteriors. All of Krapp's interiors were designed to create a relaxing and comfortable environment for the theatergoer. The decor of the auditoriums is simple yet elegant, and generally complemented by similarly designed lobbies and lounges.
Although Krapp lived to the age of 86, he apparently designed no theaters during the last forty years of his life. Because of the theater glut caused by financial problems during the Depression, theaters ceased being a lucrative architectural specialty. Krapp survived as a building assessor for the City of New York, and turned increasingly to industrial design. A twentieth-century Renaissance man, he supplemented his architectural practice with the patterning of silver- and flatware and especially with his design of mechanical couplings. The theaters he designed in the early decades of this century, however, remain a lasting legacy, and many of his buildings, such as the Majestic, Imperial, Plymouth, and Forty-Sixth Street Theaters, are counted among the most successful and sought-after on Broadway.
Chanin's Forty-Sixth Street Theater
Chanin's Forty-Sixth Street Theater, built in 1924,* was Irwin Chanin's first venture into the Broadway theater business, and he apparently saw it as an opportunity to put his notions about theaters into physical form. Acquiring a site on West 46th Street, between Broadway and Eighth Avenue, Chanin hired Herbert Krapp, whom he knew to have been the architect of the Shuberts' theaters, to design a theater.
Recently built theaters had generally been smaller than the large pre-War houses. The Forty-Sixth Street, however, according to the contemporary architectural press:
...with a seating capacity of 1,500...is a considerably larger theatre than has been employed in recent years for the production of musical comedies.
Smaller theaters had come into vogue in prior decades because of the problems of sight-lines and acoustics of large houses, but the new "stadium" type was "an improvement" in these regards. Krapp laid out the interior of the 46th Street in the stadium-type plan in a manner that Chanin believed would democratize theater seating. The orchestra was raked steeply upwards at the rear, rising over the entrance lobby; there was one large balcony above. All seats were to Jbe entered from the single entrance lobby, whether in the front of the orchestra, the rear ("stadium"), or the balcony.
Krapp and Chanin took special care in the design of the theater's exterior. Where Krapp's designs for the Shubert theaters up to that time had had relatively simple brick fronts, Chanin's Forty-Sixth Street Theater was given an elaborate "Renaissance" style brick and terra-cotta facade. Its triple-arched loggia set within a colonnade of five Corinthian pilasters, supporting an architrave and parapet, was adorned with elaborate classical ornament, including theatrical masks.
The arrangement of the theater's exterior was considered as novel as that of its interior:
The open exits for both the balcony and the orchestra are placed within the building line in an arcade scheme which gives an open exit somewhat protected from the weather and
not objectionable from an architectural point of view____
the wide marquise which extends nearly the width of the front, furnishes a protection of such length that four automobiles may stand in front of the theatre at one time.
(The original marquee, which extended the length of the triple arcade, has
been replaced.)
That this was Chanin's first theater may explain the unusually elaboratetreatment.
The Forty-Sixth Street Theater as a Playhouse
The Forty-Sixth Street Theater has had a distinguished history of musical comedy productions. The theater opened on February 7, 1925, with Is Zat So?, a long-running comedy about boxing that moved here from the Thirty-ninth Street Theater. One of its biggest hits came three years later with Good News, by Laurence Schwab and B.G. De Sylva, which ran for 551 performances. Opening in September 1927, it was called the "quintessential musical of the 1920s." Walter Winchell welcomed the show as "flip, fast, furious, free and flamingly festive."^ Hit songs from the show included "Varsity Drag" and "The Best Things In Life Are Free." It was followed in 1929 by Follow Thru, by the same authors, with Jack Haley and Eleanor Powell (401 performances). Described in its program as "a musical slice of country club life," the show included the hit songs "Button Up Your Overcoat" and "My Lucky Star."5 The Forty-Sixth Street Theater rounded out its 1920s roster of shows with Top Speed, starring Ginger Rogers.
The first hits of the 1930s at the Forty-Sixth Street Theater were Sweet and Low with Fanny Brice and George Jessel (opened November 17, 1930; 184 performances) and You Said It with Lou Holtz (opened January 19, 1931; 190 performances). She Loves Me Not, by Howard Lindsay, opened on November 20, 1933, and played 367 performances, with John Beal, Burgess Meredith and Polly Walters. The following year, Henry Fonda starred in The Farmer Takes a Wife. After a number of short runs during the later 1930s, Ole Olson and Chic Johnson's Hellzapoppin, one of Broadway's most successful reviews, opened at the Forty-Sixth Street Theater in September of 1938, and played a total of 1,404 performances. It moved on to another theater later in 1938, and in 1939 Cole Porter's Du Barry Was A Lady opened
at the Forty-Sixth Street; starring Ethel Merman and Bert Lahr, it played 408 performances.
The 1940s at the Forty-Sixth Street Theater opened with another Cole Porter show, Panama Hattie, with Ethel Merman, which played 501 performances. Described as "a brash brassy musical," it was also "the first book musical since the Depression to run more than 500 performances."' Another hit of that decade, Finian's Rainbow, ran 725 performances. One Touch of Venus opened in January 1944, product of an extraordinary collaboration: book by S.J. Perelman and Ogden Nash, lyrics by Nash, and music by Kurt Weill. It was considered among the "most literate and witty of American musicals,"® and ran for 567 performances. In 1948, the unusual collaboration of Allen Jay Lerner and Kurt Weill produced Love Life, starring Nanette Fabray.
On November 24, 1950, Abe Burrows and Jo Swerling's Guys and Pol Is opened at the Forty-Sixth Street. Based on a story by Damon Runyon, and directed by George S. Kaufman, the musical about Broadway life went on to play 1,194 performances, and won the New York Drama Critic's Circle Award and six Tony awards. Jean Giraudoux's Ondine opened in 1954, directed by Alfred Lunt and starring Audrey Hepburn, both of whom, along with the set designer, won Tony Awards. Damn Yankees starring Gwen Verdon and Ray Walston, opened in 1955, and played over a thousand performances. Gwen Verdon also starred in New Girl in Town, which opened in 1957 and played 431 performances.
The 1960s saw a continuation of major musicals at the Forty-Sixth Street Theater. Frank Loesser's Pulitzer Prize-winning How To Succeed in Business Without Really Trying opened in 1961, played over 1400 performances, and won Tony Awards for Robert Morse and Rudy Vallee. In 1965, the Richard Rodgers/Stephen Sondheim musical, Do I Hear a Waltz? opened; 1966 saw the opening of I Do! I Doi, with Robert Preston and Mary Martin; it played 540 performances. The" Tony-Award winning musical 1776, which opened in 1969, starring William Daniels, Howard Da Silva and Ken Howard, ran for 1217 performances.
In 1971, a revival of the 1925 hit, No, No, Nanette brought Ruby Keeler back to Broadway to star in her biggest smash, running 855 performances. Clare Booth Luce's The Women played the Forty-Sixth Street in 1973, followed by Raisin, a musical version of Lorraine Hansberry's Ra is in in the Sun that played 847 performances. It was followed by a revival of Noel Coward's Private Lives in 1975, and then Bob Fosse's Chicago, with Jerry Ohrbach, Gwen Verdon and Chita Rivera, which played 898 performances. Working, based on Stud Terkel's book, opened in 1978 with Susan Bigelow and Patti Lu Pone, but lasted only 25 performances. It was followed, however, by The Best Little Whorehouse in Texas, which moved from an off-Broadway house for a long run at the Forty-Sixth Street. Nine, starring Raul Julia, opened at the Forty-Sixth Street theater in May 1982, running until 1984.
Description^"
The Forty-Sixth Street Theater has a symmetrically-designed, arcaded Renaissance-inspired facade which is wider than it is high and is faced in glazed white brick and terra cotta above a terrazo water table. The rusticated ground floor is punctuated by five openings with sha 11 ow reveals containing: a stage door above terrazo steps at the west, pairs of metal doors leading from the auditorium above terrazo steps, three pairs of cast aluminum and glass doors leading into the box office lobby, and paired metal doors leading to a service alley. Wood display boxes flank the auditorium doors. The base terminates in a simple cornice. A modern marquee with signs extends out above the three center openings. The facade is dominated by a triple two-story arcade. The arches with console-bracket keystones are flanked by Corinthian pilasters with capitals containing swans, all executed in terra cotta. This trabeated arcade in turn is flanked by brick paneled wall sections, framed by identical Corinthian pilasters.
These brick wall panels are adorned by terra-cotta swags and terra-cotta panels with theatrical masks. An electrical sign with the name of the theater extends from the eastern wall section. A wrought-iron railing extends along the base of the arcade; the designcomplements the design of the railing on the fire stair which is set within the arcade. The brick wal1 behind the arcade is enhanced by decorative terra-cotta panels with lyres, bellf lowers, and swags. The facade is terminated by a ful 1 entablature with a frieze of pane 1 s alternating with rinceaux and shields, and a terra-cotta modillioned cornice. This supports a terra-cotta urn-adorned parapet of three blind lattice motif bays flanked on the extremes by bays containing Roman shields and fo 1 iation in low relief. A secondary brick parapet with a terra-cotta coping rises behind.
The seven-story stagehouse is at the west of the main theater facade. Faced with wire-cut buff brick above a terrazo water table, the upper stories are flanked by brick pilasters. These floors have four window openings per floor; the windows have two-over-two iron sash. At the ground floor terrazo steps provide access to a stage door and large doors for stage property access and removal. The elevation is terminated by a modillioned sheetmetal roof cornice with Adamesque detail.
Conclusion
The Forty-Sixth Street Theater survives today as one of the historic playhouses that symbolize American theater for both New York and the nation. One of the group of theaters constructed for the Chanin Organization during the 1920s, it helped shape the character of the Broadway theater district. Designed for the Chanins by Herbert J. Krapp, the most prolific architect of the Broadway theater district, the Forty-Sixth Street represents a typical and important aspect of the nation's theatrical history. Its facade is an exceptionally handsome design, based on the neo-classical sources which inspired so many of Herbert Krapp's Broadway theaters.
For half a century the Forty-Sixth Street Theater has served as home to countless numbers of the plays through which the Broadway theater has come to personify American theater. As such, it continues to help define the Broadway theater district, the largest and most famous concentration of legitimate stage theaters in the world.
- From the 1987 NYCLPC Landmark Designation Report
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.”
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Gyeongbokgung (Hangul: 경복궁; hanja: 景福宫), also known as Gyeongbokgung Palace or Gyeongbok Palace, was the main royal palace of the Joseon dynasty. Built in 1395, it is located in northern Seoul, South Korea. The largest of the Five Grand Palaces built by the Joseon dynasty, Gyeongbokgung served as the home of Kings of the Joseon dynasty, the Kings' households, as well as the government of Joseon.
Gyeongbokgung continued to serve as the main palace of the Joseon dynasty until the premises were destroyed by fire during the Imjin War and abandoned for two centuries. However, in the 19th century, all of the palace's 7,700 rooms were later restored under the leadership of Prince Regent Heungseon during the reign of King Gojong. Some 500 buildings were restored on a site of over 40 hectares. The architectural principles of ancient Korea were incorporated into the tradition and appearance of the Joseon royal court.
In the early 20th century, much of the palace was systematically destroyed by Imperial Japan. Since then, the walled palace complex is gradually being reconstructed to its original form. Today, the palace is arguably regarded as being the most beautiful and grandest of all five palaces. It also houses the National Palace Museum of Korea and the National Folk Museum within the premises of the complex.
OVERVIEW
Gyeongbokgung was built three years after the Joseon dynasty was founded and it served as its main palace. With Mount Bugak as a backdrop and the Street of Six Ministries (today's Sejongno) outside Gwanghwamun Gate, the main entrance to the palace, Gyeongbokgung was situated in the heart of the Korean capital city. It was steadily expanded before being reduced to ashes during the Japanese invasion of 1592.
For the next 273 years the palace grounds were left derelict until being rebuilt in 1867 under the leadership of Regent Heungseon Daewongun. The restoration was completed on a grand scale, with 330 buildings crowded together in a labyrinthine configuration. Within the palace walls were the Outer Court (oejeon), offices for the king and state officials, and the Inner Court (naejeon), which included living quarters for the royal family as well as gardens for leisure. Within its extensive precincts were other palaces, large and small, including Junggung (the Queen`s residence) and Donggung (the Crown prince’s residence).
Owing to its status as the symbol of national sovereignty, Gyeongbokgung was demolished during the Japanese occupation of the early 20th century. In 1911, ownership of land at the palace was transferred to the Japanese Governor-General. In 1915, on the pretext of holding an exhibition, more than 90% of the buildings were torn down. Following the exhibition the Japanese leveled whatever still remained and built their colonial headquarters, the Government-General Building (1916–26), on the site.
Restoration efforts have been ongoing since 1990. The Government-General Building was removed in 1996 and Heungnyemun Gate (2001) and Gwanghwamun Gate (2006-2010) were reconstructed in their original locations and forms. Reconstructions of the Inner Court and Crown Prince’s residence have also been completed.
HISTORY
14th—16th CENTURIES
Gyeongbokgung was originally constructed in 1394 by King Taejo, the first king and the founder of the Joseon dynasty, and its name was conceived by an influential government minister named Jeong Do-jeon. Afterwards, the palace was continuously expanded during the reign of King Taejong and King Sejong the Great. It was severely damaged by fire in 1553, and its costly restoration, ordered by King Myeongjong, was completed in the following year.
However, four decades later, the Gyeongbokgung Palace was burnt to the ground during the Japanese invasions of Korea of 1592-1598. The royal court was moved to the Changdeokgung Palace. The Gyeongbokgung palace site was left in ruins for the next three centuries.
19th CENTURY
In 1867, during the regency of Daewongun, the palace buildings were reconstructed and formed a massive complex with 330 buildings and 5,792 rooms. Standing on 4,657,576 square feet (432,703 square meters) of land, Gyeongbokgung again became an iconic symbol for both the Korean nation and the Korean royal family. In 1895, after the assassination of Empress Myeongseong by Japanese agents, her husband, Emperor Gojong, left the palace. The Imperial Family never returned to Gyeongbokgung.
20th—21st CENTURIES
Starting from 1911, the colonial government of the Empire of Japan systemically demolished all but 10 buildings during the Japanese occupation of Korea and hosted numerous exhibitions in Gyeongbokgung. In 1926, the government constructed the massive Japanese General Government Building in front of the throne hall, Geunjeongjeon, in order to eradicate the symbol and heritage of the Joseon dynasty. Gwanghwamun Gate, the main and south gate of Gyeongbokgung, was relocated by the Japanese to the east of the palace, and its wooden structure was completely destroyed during the Korean War.
Gyeongbokgung's original 19th-century palace buildings that survived both the Japanese rule of Colonial Korea and the Korean War include:
- Geunjeongjeon (the Imperial Throne Hall) — National Treasure No. 223.
- Gyeonghoeru Pavilion — National Treasure No. 224.
- Hyangwonjeong Pavilion; Jagyeongjeon Hall; Jibokjae Hall; Sajeongjeon Hall; and Sujeongjeon Hall.
Modern archaeological surveys have brought 330 building foundations to light.
RESTAURATION
In 1989, the South Korean government started a 40-year initiative to rebuild the hundreds of structures that were destroyed by the colonial government of the Empire of Japan, during the period of occupied Colonial Korea (1910-1945).
In 1995, the Japanese General Government Building, after many controversial debates about its fate, was demolished in order to reconstruct Heungnyemun Gate and its cloisters. The National Museum of Korea, then located on the palace grounds, was relocated to Yongsan-gu in 2005.
By the end of 2009, it was estimated that approximately 40 percent of the structures that were standing before the Japanese occupation of Korea were restored or reconstructed. As a part of phase 5 of the Gyeongbokgung restoration initiative, Gwanghwamun, the main gate to the palace, was restored to its original design. Another 20-year restoration project is planned by the South Korean government to restore Gyeongbokgung to its former status.
LAYOUT
MAIN GATES OF GYEONGBOKGUNG
Gwanghwamun (The Main and South Gate)
Heungnyemun (The Second Inner Gate)
Geunjeongmun (The Third Inner Gate)
Sinmumun (The North Gate)
Geonchunmun (The East Gate)
Yeongchumun (The West Gate)
OEJEON (Outer Court)
Geunjeongmun (The Third Inner Gate)
Geunjeongjeon (The Throne Hall)
Sajeongjeon (The Executive Office)
Sujeongjeon
Cheonchujeon
Manchunjeon
NAEJEONG (Inner Court)
Gangnyeongjeon (The King's Quarters)
Gyotaejeon (The Queen's Quarters)
Jagyeongjeon (The Late Queen's Quarters)
DONGGUNG (Palace of the Crown Prince)
Jaseondang (The Crown Prince's and Princesses' Quarters)
Bihyeongak (The Study of the Crown Prince)
PAVILIONS
Gyeonghoeru (The Royal Banquet Hall)
Hyangwonjeong
BRIDGES
Yeongjegyo
Having passed through the initial main gate and secondary gate (Heungnyemun Gate), visitors would pass over a small bridge named Yeongjegyo. Located on the top of the canal right next to the bridge were several imaginary creatures known as Seosu.
Chwihyanggyo
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon Dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
BIHYEONGAK
Bihyeongak (Hangul: 비현각; hanja: 丕顯閣) means big and bright a royal palace where crown prince brush up on his' study with his teacher.
BUILDINGS
GANGNYEONGJEON
Gangnyeongjeon (Hangul: 강녕전; hanja: 康寧殿), also called Gangnyeongjeon Hall, is a building used as the king's main residing quarters. First constructed in 1395, the fourth year of King Taejo, the building contains the king's bed chamber. Destroyed during the Japanese invasions of Korea in 1592, the building was rebuilt when Gyeongbokgung was reconstructed in 1867, but it was again burned down by a major fire on November 1876 and had to be restored in 1888 following the orders of King Gojong.
However, when Huijeongdang of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government dismembered the building and used its construction materials to restore Huijeongdang in 1920. Current Gangnyeongjeon was built in 1994, meticulously restoring the building to its original specifications and design.
Gangnyeongjeon consists of corridors and fourteen rectangular chambers, each seven chambers located to the left and right side of the building in a layout out like a checkerboard. The king used the central chamber while the court attendants occupied the remaining side chambers to protect, assist, and to receive orders. The building rests on top of a tall stone foundation, and a stone deck or veranda is located in front of the building.
The noted feature of the building is an absence of a top white roof ridge called yongmaru (Hangul: 용마루) in Korean. Many theories exist to explain the absence, of which a prominent one states that, since the king was symbolized as the dragon during the Joseon dynasty, the yongmaru, which contains the letter dragon or yong (龍), cannot rest on top of the king when he is asleep.
GEUNJEONGJEON
Geunjeongjeon (Hangul: 근정전; hanja: 勤政殿), also known as Geunjeongjeon Hall, is the throne hall where the king formally granted audiences to his officials, gave declarations of national importance, and greeted foreign envoys and ambassadors during the Joseon dynasty. The building was designated as Korea's National Treasure No. 223 on January 8, 1985.
Geunjeongjeon was originally constructed in 1395 during the reign of King Taejo, but was burned down in 1592 when the Japanese invaded Korea. The present building was built in 1867 when Gyeongbokgung was being reconstructed. The name Geunjeongjeon, created by the minister Jeong Do-jeon, means "diligence helps governance".
Constructed mainly of wood, Geunjeongjeon sits on the center of a large rectangular courtyard, on top of a two-tiered stone platform. This two-tiered platform is lined with detailed balustrades and is decorated with numerous sculptures depicting imaginary and real animals, such as dragons and phoenixes. The stone-paved courtyard is lined with two rows of rank stones, called pumgyeseoks (Hangul: 품계석; hanja: 品階石), indicating where the court officials are to stand according to their ranks. The whole courtyard is fully enclosed by wooden cloisters.
Geunjeongmun (Hangul: 근정문; hanja: 勤政門), aligned and located directly to the south of Geunjeongjeon, is the main gate to the courtyard and to Geunjeongjeon. The gate is divided into three separate aisles, and only the king was allowed to walk through the center.
GWANGHWAMUN
Gwanghwamun (Hangul: 광화문; hanja: 光化門) is the main gate of Gyeongbokgung Palace.
GYEONGHOERU
Gyeonghoeru (Hangul: 경회루; hanja: 慶會樓), also known as Gyeonghoeru Pavilion, is a hall used to hold important and special state banquets during the Joseon Dynasty. It is registered as Korea's National Treasure No. 224 on January 8, 1985.
The first Gyeonghoeru was constructed in 1412, the 12th year of the reign of King Taejong, but was burned down during the Japanese invasions of Korea in 1592. The present building was constructed in 1867 (the 4th year of the reign of King Gojong) on an island of an artificial, rectangular lake that is 128 m wide and 113 m across.
Constructed mainly of wood and stone, Gyeonghoeru has a form where the wooden structure of the building sits on top of 48 massive stone pillars, with wooden stairs connecting the second floor to the first floor. The outer perimeters of Gyeonghoeru are supported by square pillars while the inner columns are cylindrical; they were placed thus to represent the idea of Yin & Yang. When Gyeonghoeru was originally built in 1412, these stone pillars were decorated with sculptures depicting dragons rising to the sky, but these details were not reproduced when the building was rebuilt in the 19th century. Three stone bridges connect the building to the palace grounds, and corners of the balustrades around the island are decorated with sculptures depicting twelve Zodiac animals.
Gyeonghoeru used to be represented on the 10,000 won Korean banknotes (1983-2002 Series).
GYOTAEJEON
Gyotaejeon (Hangul: 교태전; hanja: 交泰殿), also called Gyotaejeon Hall, is a building used as the main residing quarters by the queen during the Joseon Dynasty. The building is located behind Gangnyeongjeon, the king's quarters, and contains the queen's bed chamber. It was first constructed in around 1440, the 22nd year of King Sejong the Great.
King Sejong, who was noted to have a frail health later in his reign, decided to carry out his executive duties in Gangnyeongjeon, where his bed chamber is located, instead of Sajeongjeon. Since this decision meant many government officials routinely needed to visit and intrude Gangnyeongjeon, King Sejong had Gyotaejeon built in consideration of his wife the queen's privacy.
The building was burned down in 1592 when the Japanese invaded Korea, but was reconstructed in 1867. Nevertheless, when Daejojeon of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government disassembled the building and recycled its construction materials to restore Daejojeon. The current building was reconstructed in 1994 according to its original design and specifications. The building, like Gangnyeongjeon, does not have a top roof ridge called yongmaru.
Amisan (Hangul: 아미산; hanja: 峨嵋山), a famous garden created from an artificial mound, is located behind Gyotaejeon. Four hexagonal chimneys, constructed around 1869 in orange bricks and decorative roof tiles, adorn Amisan without showing their utilitarian function and are notable examples of formative art created during the Joseon Dynasty. The chimneys were registered as Korea's Treasure No. 811 on January 8, 1985.
HYANGWONJEONG
Hyangwonjeong (Hangul: 향원정; hanja: 香遠亭), or Hyangwonjeong Pavilion, is a small, two-story hexagonal pavilion built around 1873 by the order of King Gojong when Geoncheonggung residence was built to the north within Gyeongbokgung.
The pavilion was constructed on an artificial island of a lake named Hyangwonji (Hangul: 향원지; hanja: 香遠池), and a bridge named Chwihyanggyo (Hangul: 취향교; hanja: 醉香橋) connects it to the palace grounds. The name Hyangwonjeong is loosely translated as "Pavilion of Far-Reaching Fragrance", while Chwihyanggyo is "Bridge Intoxicated with Fragrance".
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
JAGYEONGJEON
Jagyeongjeon (Hangul: 자경전; hanja: 慈慶殿), also called Jagyeongjeon Hall, is a building used as the main residing quarters by Queen Sinjeong (Hangul: 신정왕후; hanja: 神貞王后), the mother of King Heonjong. First constructed in 1865, it was burned down twice by a fire but was reconstructed in 1888. Jagyeongjeon is the only royal residing quarters in Gyeongbokgung that survived the demolition campaigns of the Japanese government during the Japanese occupation of Korea.
The chimneys of Jagyeongjeon are decorated with ten signs of longevity to wish for a long life for the late queen, while the west walls of the Jagyeongjeon compound are adorned with floral designs. The protruding southeast part of Jagyeongjeon, named Cheongyeollu (Hangul: 청연루; hanja: 清讌樓), is designed to provide a cooler space during the summer, while the northwest part of Jagyeongjeon, named Bokandang (Hangul: 복안당; hanja: 福安堂), is designed for the winter months. The eastern part of Jagyeogjeon, named Hyeopgyeongdang (Hangul: 협경당; hanja: 協慶堂) and distinguished by the building's lower height, was used by the late queen's assistants.
The building and the decorative walls were registered as Korea's Treasure No. 809 on January 8, 1985.
JIBOKJAE
Jibokjae (Hangul: 집옥재; hanja: 集玉齋), located next to Geoncheonggung Residence, is a two-storey private library used by King Gojong. In 1876, a major fire occurred in Gyeongbokgung Palace, and King Gojong, for a brief period, moved and resided in Changdeokgung Palace. He eventually moved back to Gyeongbokgung in 1888, but he had the pre-existing Jibokjae building disassembled and moved from Changdeokgung to the present location in 1891. Its name, Jibokjae, translates loosely in English as the "Hall of Collecting Jade".
The building uniquely shows heavy influence of Chinese architecture instead of traditional Korean palace architecture. Its side walls were entirely constructed in brick, a method commonly employed by the contemporary Chinese, and its roof formations, interior screens, and columns also show Chinese influences. Its architecture possibly was meant to give it an exotic appearance.
Jibokjae is flanked by Parujeong (Hangul: 팔우정; hanja: 八隅亭), an octagonal two-story pavilion, to the left and Hyeopgildang (Hangul: 협길당; hanja: 協吉堂) to the right. Parujeong was constructed to store books, while Hyeopgildang served as a part of Jibokjae. Both of the buildings are internally connected to Jibokjae.
Bohyeondang (Hangul: 보현당; hanja: 寶賢堂) and Gahoejeong (Hangul: 가회정; hanja: 嘉會亭), buildings that also formed a library complex to the south of Jibokjae, were demolished by the Japanese government in the early 20th century.
SAJEONGJEON
Sajeongjeon (Hangul: 사정전; hanja: 思政殿), also called Sajeongjeon Hall, is a building used as the main executive office by the king during the Joseon Dynasty. Located behind Geunjeongjeon Hall, the king carried out his executive duties and held meetings with the top government officials in Sajeongjeon. Two separate side buildings, Cheonchujeon (Hangul: 천추전; hanja: 千秋殿) and Manchunjeon (Hangul: 만춘전; hanja: 萬春殿), flank the west and east of Sajeongjeon, and while Sajeongjeon is not equipped with a heating system, these buildings are equipped with Ondols for their use in the colder months.
SUJEONGJEON
Sujeongjeon (Hangul: 수정전; hanja: 修政殿), a building located to the south of Gyeonghoeru, was constructed in 1867 and used by the cabinet of the Joseon dynasty.
TAEWONJEON
Taewonjeon (Hangul: 태원전; hanja: 泰元殿), or Taewonjeon Shrine, is an ancestral shrine originally built in 1868 to house a portrait of King Taejo, the founder of the Joseon dynasty, and to perform rites to the deceased royalties. Completely destroyed by the Japanese government in the early 20th century, the shrine was accurately restored to its former design in 2005.
DONGGUNG
Donggung (Hangul: 동궁; hanja: 東宮), located south of the Hyangwonjeong pavilion, was the compound where the crown prince and his wife were living. The four main buildings of the compound were Jaseondang and Bihyeongak, Chunbang (lecture hall, where the prince got the education preparing him to the throne), as well as Gyebang (the security building). In the 19th century, the future Emperor Sunjong lived in the compound. Dongdung was razed to the ground during the Japanese occupation. The restoration started in 1999, only Jaseondang and Bihyeongak were restored.
GEONCHEONGGUNG
Geoncheonggung (Hangul: 건청궁; hanja: 乾淸宮), also known as Geoncheonggung Residence, was a private royal residence built by King Gojong within the palace grounds in 1873.
King Gojong resided in Geoncheonggung from 1888 and the residence was continuously expanded, but on October 8, 1895, Empress Myeongseong, the wife of King Gojong, was brutally assassinated by the Japanese agents at the residence. Her body was burned and buried near the residence.
Haunted by the experiences of the incident, the king left the palace in January 1896, and never returned to the residence. Demolished completely by the Japanese government in 1909, the residence was accurately reconstructed to its former design and open to the public in 2007.
GOVERNOR-GENERAL´S RESIDENCE
The back garden of Gyeongbokgung used to contain the main part of the Japanese Governor-General's residence, that was built in the early 20th century during the Japanese occupation. With the establishment of the Republic of Korea in 1948, President Syngman Rhee used it as his office and residence. In 1993, after President Kim Young-sam's civilian administration was launched, the Japanese Governor-General's residence in the Cheongwadae compound was dismantled to remove a major symbol of the Japanese colonialism.
TOURISM
In 2011 in a survey conducted, by Seoul Development Institute, which included 800 residents and 103 urban planners and architects. It listed 39 percent of residents, voted that the palace as the most scenic location in Seoul, following Mount Namsan and Han River in the top spots.
ACCESS
Today, the Gyeongbokgung Palace is open to the public and houses the National Folk Museum of Korea, the National Palace Museum of Korea, and traditional Korean gardens.
TRANSPORTATION
Gyeongbokgung entry is located 22 Sajik-no, Jongno-gu. The nearest subway station is Gyeongbokgung Station (Station #327 on Line 3).
There has been off and on talk to extending the Shinbundang Line near the palace including during a March 2012 campaign promise by Hong Sa-duk to expand the line near Gyeongbok Palace
EVENS
In a poll of nearly 2,000 foreign visitors, conducted by the Seoul Metropolitan Government in November 2011, stated that watching the changing of the guards at the main gate Gwanghwamun as their third favorite activity in Seoul. The royal changing of the guard ceremony is held in front of the main gate every hour from 10:00 to 15:00.
From October, Gyeongbokgung open night season. from 7PM to 10PM. This event is only available to reservation in Inter Park Website.
WIKIPEDIA
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
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 Honeycombs Wilderness Study Area (WSA) is located in Malheur County, Oregon, east of the Owyhee Reservoir and approximately 31 miles south of Vale. Oregon State Highway 201 is approximately 15 miles northeast of this WSA. The WSA includes 39,000 acres of Bureau of Land Management (BLM) land.
The WSA has an oblong configuration and is bounded on the south, east, and north by high standard BLM roads. The west border abuts public land administered by the Bureau of Reclamation and the State of Oregon along Owyhee Reservoir. A 40 acre plot of private land is located along the southern border. Three dead end roads enter the WSA, forming part of the boundary. A 1.75 mile road to a horse trap in the Sheephead Basin area enters the WSA from the north. A 3 mile road enters the WSA at Craig Gulch and terminates at Three Fingers Gulch. A 2.5 mile branch of this road crosses Shadscale Flat and ends at Shadscale Spring. The third road, 0.75 mile long, enters the WSA 1 mile north of Craig Gulch and ends at a mining claim.
The Honeycombs WSA is adjacent to three other WSAs south of Wild Horse Basin WSA and north of Upper Leslie Gulch and Slocum Creek WSAs. It is separated from these three other by high standard dirt roads. Across from the Honeycombs WSA and located on the west side of the Owyhee Reservoir is Dry Creek Buttes WSA.
Topography in the WSA is rugged. A thick deposit of volcanic tuff is cut by numerous intermittent streams, resulting in a broken surface of ridges, hills, and drainages, with frequent outcrops and pinnacles. Several areas of relatively level land can be found in Shadscale Flat and Sheephead Basin.
In the northern portion of the WSA is an area of approximately 12,000 acres called the Honeycombs. The Honeycombs is a very scenic area of steep walled canyons with sculpted, multi-colored rock formations of volcanic origin.
The Honeycombs WSA offers primitive recreation opportunities, especially hiking. The most popular locations are the more easily accessible and very scenic area off Leslie Gulch Road such as Juniper Gulch, Timber Gulch, and several unnamed drainages. The WSA also contains other attractions, including bighorn sheep, raptor habitat, and endemic plants.
The WSA was studied under Section 603 of the Federal Land Policy and Management Act and was included in the Final Oregon Wilderness Environmental Impact Statement filed in February 1990.
www.blm.gov/programs/national-conservation-lands/oregon-w...
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:
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/
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.
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.
Gyeongbokgung (Hangul: 경복궁; hanja: 景福宫), also known as Gyeongbokgung Palace or Gyeongbok Palace, was the main royal palace of the Joseon dynasty. Built in 1395, it is located in northern Seoul, South Korea. The largest of the Five Grand Palaces built by the Joseon dynasty, Gyeongbokgung served as the home of Kings of the Joseon dynasty, the Kings' households, as well as the government of Joseon.
Gyeongbokgung continued to serve as the main palace of the Joseon dynasty until the premises were destroyed by fire during the Imjin War and abandoned for two centuries. However, in the 19th century, all of the palace's 7,700 rooms were later restored under the leadership of Prince Regent Heungseon during the reign of King Gojong. Some 500 buildings were restored on a site of over 40 hectares. The architectural principles of ancient Korea were incorporated into the tradition and appearance of the Joseon royal court.
In the early 20th century, much of the palace was systematically destroyed by Imperial Japan. Since then, the walled palace complex is gradually being reconstructed to its original form. Today, the palace is arguably regarded as being the most beautiful and grandest of all five palaces. It also houses the National Palace Museum of Korea and the National Folk Museum within the premises of the complex.
OVERVIEW
Gyeongbokgung was built three years after the Joseon dynasty was founded and it served as its main palace. With Mount Bugak as a backdrop and the Street of Six Ministries (today's Sejongno) outside Gwanghwamun Gate, the main entrance to the palace, Gyeongbokgung was situated in the heart of the Korean capital city. It was steadily expanded before being reduced to ashes during the Japanese invasion of 1592.
For the next 273 years the palace grounds were left derelict until being rebuilt in 1867 under the leadership of Regent Heungseon Daewongun. The restoration was completed on a grand scale, with 330 buildings crowded together in a labyrinthine configuration. Within the palace walls were the Outer Court (oejeon), offices for the king and state officials, and the Inner Court (naejeon), which included living quarters for the royal family as well as gardens for leisure. Within its extensive precincts were other palaces, large and small, including Junggung (the Queen`s residence) and Donggung (the Crown prince’s residence).
Owing to its status as the symbol of national sovereignty, Gyeongbokgung was demolished during the Japanese occupation of the early 20th century. In 1911, ownership of land at the palace was transferred to the Japanese Governor-General. In 1915, on the pretext of holding an exhibition, more than 90% of the buildings were torn down. Following the exhibition the Japanese leveled whatever still remained and built their colonial headquarters, the Government-General Building (1916–26), on the site.
Restoration efforts have been ongoing since 1990. The Government-General Building was removed in 1996 and Heungnyemun Gate (2001) and Gwanghwamun Gate (2006-2010) were reconstructed in their original locations and forms. Reconstructions of the Inner Court and Crown Prince’s residence have also been completed.
HISTORY
14th—16th CENTURIES
Gyeongbokgung was originally constructed in 1394 by King Taejo, the first king and the founder of the Joseon dynasty, and its name was conceived by an influential government minister named Jeong Do-jeon. Afterwards, the palace was continuously expanded during the reign of King Taejong and King Sejong the Great. It was severely damaged by fire in 1553, and its costly restoration, ordered by King Myeongjong, was completed in the following year.
However, four decades later, the Gyeongbokgung Palace was burnt to the ground during the Japanese invasions of Korea of 1592-1598. The royal court was moved to the Changdeokgung Palace. The Gyeongbokgung palace site was left in ruins for the next three centuries.
19th CENTURY
In 1867, during the regency of Daewongun, the palace buildings were reconstructed and formed a massive complex with 330 buildings and 5,792 rooms. Standing on 4,657,576 square feet (432,703 square meters) of land, Gyeongbokgung again became an iconic symbol for both the Korean nation and the Korean royal family. In 1895, after the assassination of Empress Myeongseong by Japanese agents, her husband, Emperor Gojong, left the palace. The Imperial Family never returned to Gyeongbokgung.
20th—21st CENTURIES
Starting from 1911, the colonial government of the Empire of Japan systemically demolished all but 10 buildings during the Japanese occupation of Korea and hosted numerous exhibitions in Gyeongbokgung. In 1926, the government constructed the massive Japanese General Government Building in front of the throne hall, Geunjeongjeon, in order to eradicate the symbol and heritage of the Joseon dynasty. Gwanghwamun Gate, the main and south gate of Gyeongbokgung, was relocated by the Japanese to the east of the palace, and its wooden structure was completely destroyed during the Korean War.
Gyeongbokgung's original 19th-century palace buildings that survived both the Japanese rule of Colonial Korea and the Korean War include:
- Geunjeongjeon (the Imperial Throne Hall) — National Treasure No. 223.
- Gyeonghoeru Pavilion — National Treasure No. 224.
- Hyangwonjeong Pavilion; Jagyeongjeon Hall; Jibokjae Hall; Sajeongjeon Hall; and Sujeongjeon Hall.
Modern archaeological surveys have brought 330 building foundations to light.
RESTAURATION
In 1989, the South Korean government started a 40-year initiative to rebuild the hundreds of structures that were destroyed by the colonial government of the Empire of Japan, during the period of occupied Colonial Korea (1910-1945).
In 1995, the Japanese General Government Building, after many controversial debates about its fate, was demolished in order to reconstruct Heungnyemun Gate and its cloisters. The National Museum of Korea, then located on the palace grounds, was relocated to Yongsan-gu in 2005.
By the end of 2009, it was estimated that approximately 40 percent of the structures that were standing before the Japanese occupation of Korea were restored or reconstructed. As a part of phase 5 of the Gyeongbokgung restoration initiative, Gwanghwamun, the main gate to the palace, was restored to its original design. Another 20-year restoration project is planned by the South Korean government to restore Gyeongbokgung to its former status.
LAYOUT
MAIN GATES OF GYEONGBOKGUNG
Gwanghwamun (The Main and South Gate)
Heungnyemun (The Second Inner Gate)
Geunjeongmun (The Third Inner Gate)
Sinmumun (The North Gate)
Geonchunmun (The East Gate)
Yeongchumun (The West Gate)
OEJEON (Outer Court)
Geunjeongmun (The Third Inner Gate)
Geunjeongjeon (The Throne Hall)
Sajeongjeon (The Executive Office)
Sujeongjeon
Cheonchujeon
Manchunjeon
NAEJEONG (Inner Court)
Gangnyeongjeon (The King's Quarters)
Gyotaejeon (The Queen's Quarters)
Jagyeongjeon (The Late Queen's Quarters)
DONGGUNG (Palace of the Crown Prince)
Jaseondang (The Crown Prince's and Princesses' Quarters)
Bihyeongak (The Study of the Crown Prince)
PAVILIONS
Gyeonghoeru (The Royal Banquet Hall)
Hyangwonjeong
BRIDGES
Yeongjegyo
Having passed through the initial main gate and secondary gate (Heungnyemun Gate), visitors would pass over a small bridge named Yeongjegyo. Located on the top of the canal right next to the bridge were several imaginary creatures known as Seosu.
Chwihyanggyo
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon Dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
BIHYEONGAK
Bihyeongak (Hangul: 비현각; hanja: 丕顯閣) means big and bright a royal palace where crown prince brush up on his' study with his teacher.
BUILDINGS
GANGNYEONGJEON
Gangnyeongjeon (Hangul: 강녕전; hanja: 康寧殿), also called Gangnyeongjeon Hall, is a building used as the king's main residing quarters. First constructed in 1395, the fourth year of King Taejo, the building contains the king's bed chamber. Destroyed during the Japanese invasions of Korea in 1592, the building was rebuilt when Gyeongbokgung was reconstructed in 1867, but it was again burned down by a major fire on November 1876 and had to be restored in 1888 following the orders of King Gojong.
However, when Huijeongdang of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government dismembered the building and used its construction materials to restore Huijeongdang in 1920. Current Gangnyeongjeon was built in 1994, meticulously restoring the building to its original specifications and design.
Gangnyeongjeon consists of corridors and fourteen rectangular chambers, each seven chambers located to the left and right side of the building in a layout out like a checkerboard. The king used the central chamber while the court attendants occupied the remaining side chambers to protect, assist, and to receive orders. The building rests on top of a tall stone foundation, and a stone deck or veranda is located in front of the building.
The noted feature of the building is an absence of a top white roof ridge called yongmaru (Hangul: 용마루) in Korean. Many theories exist to explain the absence, of which a prominent one states that, since the king was symbolized as the dragon during the Joseon dynasty, the yongmaru, which contains the letter dragon or yong (龍), cannot rest on top of the king when he is asleep.
GEUNJEONGJEON
Geunjeongjeon (Hangul: 근정전; hanja: 勤政殿), also known as Geunjeongjeon Hall, is the throne hall where the king formally granted audiences to his officials, gave declarations of national importance, and greeted foreign envoys and ambassadors during the Joseon dynasty. The building was designated as Korea's National Treasure No. 223 on January 8, 1985.
Geunjeongjeon was originally constructed in 1395 during the reign of King Taejo, but was burned down in 1592 when the Japanese invaded Korea. The present building was built in 1867 when Gyeongbokgung was being reconstructed. The name Geunjeongjeon, created by the minister Jeong Do-jeon, means "diligence helps governance".
Constructed mainly of wood, Geunjeongjeon sits on the center of a large rectangular courtyard, on top of a two-tiered stone platform. This two-tiered platform is lined with detailed balustrades and is decorated with numerous sculptures depicting imaginary and real animals, such as dragons and phoenixes. The stone-paved courtyard is lined with two rows of rank stones, called pumgyeseoks (Hangul: 품계석; hanja: 品階石), indicating where the court officials are to stand according to their ranks. The whole courtyard is fully enclosed by wooden cloisters.
Geunjeongmun (Hangul: 근정문; hanja: 勤政門), aligned and located directly to the south of Geunjeongjeon, is the main gate to the courtyard and to Geunjeongjeon. The gate is divided into three separate aisles, and only the king was allowed to walk through the center.
GWANGHWAMUN
Gwanghwamun (Hangul: 광화문; hanja: 光化門) is the main gate of Gyeongbokgung Palace.
GYEONGHOERU
Gyeonghoeru (Hangul: 경회루; hanja: 慶會樓), also known as Gyeonghoeru Pavilion, is a hall used to hold important and special state banquets during the Joseon Dynasty. It is registered as Korea's National Treasure No. 224 on January 8, 1985.
The first Gyeonghoeru was constructed in 1412, the 12th year of the reign of King Taejong, but was burned down during the Japanese invasions of Korea in 1592. The present building was constructed in 1867 (the 4th year of the reign of King Gojong) on an island of an artificial, rectangular lake that is 128 m wide and 113 m across.
Constructed mainly of wood and stone, Gyeonghoeru has a form where the wooden structure of the building sits on top of 48 massive stone pillars, with wooden stairs connecting the second floor to the first floor. The outer perimeters of Gyeonghoeru are supported by square pillars while the inner columns are cylindrical; they were placed thus to represent the idea of Yin & Yang. When Gyeonghoeru was originally built in 1412, these stone pillars were decorated with sculptures depicting dragons rising to the sky, but these details were not reproduced when the building was rebuilt in the 19th century. Three stone bridges connect the building to the palace grounds, and corners of the balustrades around the island are decorated with sculptures depicting twelve Zodiac animals.
Gyeonghoeru used to be represented on the 10,000 won Korean banknotes (1983-2002 Series).
GYOTAEJEON
Gyotaejeon (Hangul: 교태전; hanja: 交泰殿), also called Gyotaejeon Hall, is a building used as the main residing quarters by the queen during the Joseon Dynasty. The building is located behind Gangnyeongjeon, the king's quarters, and contains the queen's bed chamber. It was first constructed in around 1440, the 22nd year of King Sejong the Great.
King Sejong, who was noted to have a frail health later in his reign, decided to carry out his executive duties in Gangnyeongjeon, where his bed chamber is located, instead of Sajeongjeon. Since this decision meant many government officials routinely needed to visit and intrude Gangnyeongjeon, King Sejong had Gyotaejeon built in consideration of his wife the queen's privacy.
The building was burned down in 1592 when the Japanese invaded Korea, but was reconstructed in 1867. Nevertheless, when Daejojeon of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government disassembled the building and recycled its construction materials to restore Daejojeon. The current building was reconstructed in 1994 according to its original design and specifications. The building, like Gangnyeongjeon, does not have a top roof ridge called yongmaru.
Amisan (Hangul: 아미산; hanja: 峨嵋山), a famous garden created from an artificial mound, is located behind Gyotaejeon. Four hexagonal chimneys, constructed around 1869 in orange bricks and decorative roof tiles, adorn Amisan without showing their utilitarian function and are notable examples of formative art created during the Joseon Dynasty. The chimneys were registered as Korea's Treasure No. 811 on January 8, 1985.
HYANGWONJEONG
Hyangwonjeong (Hangul: 향원정; hanja: 香遠亭), or Hyangwonjeong Pavilion, is a small, two-story hexagonal pavilion built around 1873 by the order of King Gojong when Geoncheonggung residence was built to the north within Gyeongbokgung.
The pavilion was constructed on an artificial island of a lake named Hyangwonji (Hangul: 향원지; hanja: 香遠池), and a bridge named Chwihyanggyo (Hangul: 취향교; hanja: 醉香橋) connects it to the palace grounds. The name Hyangwonjeong is loosely translated as "Pavilion of Far-Reaching Fragrance", while Chwihyanggyo is "Bridge Intoxicated with Fragrance".
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
JAGYEONGJEON
Jagyeongjeon (Hangul: 자경전; hanja: 慈慶殿), also called Jagyeongjeon Hall, is a building used as the main residing quarters by Queen Sinjeong (Hangul: 신정왕후; hanja: 神貞王后), the mother of King Heonjong. First constructed in 1865, it was burned down twice by a fire but was reconstructed in 1888. Jagyeongjeon is the only royal residing quarters in Gyeongbokgung that survived the demolition campaigns of the Japanese government during the Japanese occupation of Korea.
The chimneys of Jagyeongjeon are decorated with ten signs of longevity to wish for a long life for the late queen, while the west walls of the Jagyeongjeon compound are adorned with floral designs. The protruding southeast part of Jagyeongjeon, named Cheongyeollu (Hangul: 청연루; hanja: 清讌樓), is designed to provide a cooler space during the summer, while the northwest part of Jagyeongjeon, named Bokandang (Hangul: 복안당; hanja: 福安堂), is designed for the winter months. The eastern part of Jagyeogjeon, named Hyeopgyeongdang (Hangul: 협경당; hanja: 協慶堂) and distinguished by the building's lower height, was used by the late queen's assistants.
The building and the decorative walls were registered as Korea's Treasure No. 809 on January 8, 1985.
JIBOKJAE
Jibokjae (Hangul: 집옥재; hanja: 集玉齋), located next to Geoncheonggung Residence, is a two-storey private library used by King Gojong. In 1876, a major fire occurred in Gyeongbokgung Palace, and King Gojong, for a brief period, moved and resided in Changdeokgung Palace. He eventually moved back to Gyeongbokgung in 1888, but he had the pre-existing Jibokjae building disassembled and moved from Changdeokgung to the present location in 1891. Its name, Jibokjae, translates loosely in English as the "Hall of Collecting Jade".
The building uniquely shows heavy influence of Chinese architecture instead of traditional Korean palace architecture. Its side walls were entirely constructed in brick, a method commonly employed by the contemporary Chinese, and its roof formations, interior screens, and columns also show Chinese influences. Its architecture possibly was meant to give it an exotic appearance.
Jibokjae is flanked by Parujeong (Hangul: 팔우정; hanja: 八隅亭), an octagonal two-story pavilion, to the left and Hyeopgildang (Hangul: 협길당; hanja: 協吉堂) to the right. Parujeong was constructed to store books, while Hyeopgildang served as a part of Jibokjae. Both of the buildings are internally connected to Jibokjae.
Bohyeondang (Hangul: 보현당; hanja: 寶賢堂) and Gahoejeong (Hangul: 가회정; hanja: 嘉會亭), buildings that also formed a library complex to the south of Jibokjae, were demolished by the Japanese government in the early 20th century.
SAJEONGJEON
Sajeongjeon (Hangul: 사정전; hanja: 思政殿), also called Sajeongjeon Hall, is a building used as the main executive office by the king during the Joseon Dynasty. Located behind Geunjeongjeon Hall, the king carried out his executive duties and held meetings with the top government officials in Sajeongjeon. Two separate side buildings, Cheonchujeon (Hangul: 천추전; hanja: 千秋殿) and Manchunjeon (Hangul: 만춘전; hanja: 萬春殿), flank the west and east of Sajeongjeon, and while Sajeongjeon is not equipped with a heating system, these buildings are equipped with Ondols for their use in the colder months.
SUJEONGJEON
Sujeongjeon (Hangul: 수정전; hanja: 修政殿), a building located to the south of Gyeonghoeru, was constructed in 1867 and used by the cabinet of the Joseon dynasty.
TAEWONJEON
Taewonjeon (Hangul: 태원전; hanja: 泰元殿), or Taewonjeon Shrine, is an ancestral shrine originally built in 1868 to house a portrait of King Taejo, the founder of the Joseon dynasty, and to perform rites to the deceased royalties. Completely destroyed by the Japanese government in the early 20th century, the shrine was accurately restored to its former design in 2005.
DONGGUNG
Donggung (Hangul: 동궁; hanja: 東宮), located south of the Hyangwonjeong pavilion, was the compound where the crown prince and his wife were living. The four main buildings of the compound were Jaseondang and Bihyeongak, Chunbang (lecture hall, where the prince got the education preparing him to the throne), as well as Gyebang (the security building). In the 19th century, the future Emperor Sunjong lived in the compound. Dongdung was razed to the ground during the Japanese occupation. The restoration started in 1999, only Jaseondang and Bihyeongak were restored.
GEONCHEONGGUNG
Geoncheonggung (Hangul: 건청궁; hanja: 乾淸宮), also known as Geoncheonggung Residence, was a private royal residence built by King Gojong within the palace grounds in 1873.
King Gojong resided in Geoncheonggung from 1888 and the residence was continuously expanded, but on October 8, 1895, Empress Myeongseong, the wife of King Gojong, was brutally assassinated by the Japanese agents at the residence. Her body was burned and buried near the residence.
Haunted by the experiences of the incident, the king left the palace in January 1896, and never returned to the residence. Demolished completely by the Japanese government in 1909, the residence was accurately reconstructed to its former design and open to the public in 2007.
GOVERNOR-GENERAL´S RESIDENCE
The back garden of Gyeongbokgung used to contain the main part of the Japanese Governor-General's residence, that was built in the early 20th century during the Japanese occupation. With the establishment of the Republic of Korea in 1948, President Syngman Rhee used it as his office and residence. In 1993, after President Kim Young-sam's civilian administration was launched, the Japanese Governor-General's residence in the Cheongwadae compound was dismantled to remove a major symbol of the Japanese colonialism.
TOURISM
In 2011 in a survey conducted, by Seoul Development Institute, which included 800 residents and 103 urban planners and architects. It listed 39 percent of residents, voted that the palace as the most scenic location in Seoul, following Mount Namsan and Han River in the top spots.
ACCESS
Today, the Gyeongbokgung Palace is open to the public and houses the National Folk Museum of Korea, the National Palace Museum of Korea, and traditional Korean gardens.
TRANSPORTATION
Gyeongbokgung entry is located 22 Sajik-no, Jongno-gu. The nearest subway station is Gyeongbokgung Station (Station #327 on Line 3).
There has been off and on talk to extending the Shinbundang Line near the palace including during a March 2012 campaign promise by Hong Sa-duk to expand the line near Gyeongbok Palace
EVENS
In a poll of nearly 2,000 foreign visitors, conducted by the Seoul Metropolitan Government in November 2011, stated that watching the changing of the guards at the main gate Gwanghwamun as their third favorite activity in Seoul. The royal changing of the guard ceremony is held in front of the main gate every hour from 10:00 to 15:00.
From October, Gyeongbokgung open night season. from 7PM to 10PM. This event is only available to reservation in Inter Park Website.
WIKIPEDIA
Boeing 787
Prototype Airliner
2009-present
The Boeing 787 Dreamliner is a long-range, mid-size wide-body, twin-engine jet airliner developed by Boeing Commercial Airplanes. Its variants seat 242 to 335 passengers in typical 3-class seating configurations. It is Boeing's most fuel-efficient airliner and is a pioneering airliner with the use of composite materials as the primary material in the construction of its airframe. The 787 was designed to be 20% more fuel efficient than the 767 it is replacing. The 787 Dreamliner's distinguishing features include mostly electrical flight systems, a four-panel windshield, and noise-reducing chevrons on its engine nacelles. It shares a common type rating with the larger Boeing 777 to allow qualified pilots to operate both models.
The aircraft's initial designation was the 7E7, prior to its renaming in January 2005. The first 787 was unveiled in a roll-out ceremony on July 8, 2007 at Boeing's factory in Everett, Washington. Development and production of the 787 has involved a large-scale collaboration with numerous suppliers worldwide. Final assembly takes place at the Boeing Everett Factory in Everett, Washington, and at the Boeing South Carolina factory in North Charleston, South Carolina. Originally planned to enter service in May 2008, the project experienced multiple delays. The airliner's maiden flight took place on December 15, 2009, and completed flight testing in mid-2011.
Final Federal Aviation Administration (FAA) and European Aviation Safety Agency (EASA) type certification was received in August 2011 and the first 787-8 was delivered in September 2011. It entered commercial service on October 26, 2011 with launch customer All Nippon Airways. The stretched 787-9 variant, which is 20 feet (6.1 m) longer and can fly 450 nautical miles (830 km) farther than the -8, first flew in September 2013. Deliveries of the 787-9 began in July 2014; it entered commercial service on August 7, 2014 with All Nippon Airways, with 787-9 launch customer Air New Zealand following two days later. In March 2015, the 787 has orders for 1,071 aircraft from 58 customers, with All Nippon Airways having the largest number on order.[1]
The aircraft has suffered from several in-service problems, notably fires on board related to its lithium-ion batteries. These systems were reviewed by both the FAA and the Japanese aviation agency. On January 16, 2013, the FAA issued an emergency airworthiness directive that grounded all 787s in the United States. Other civil aviation authorities followed suit and grounded the other Dreamliners. After Boeing completed tests on a revised battery design, the FAA approved the revised design on April 19, 2013, and lifted the grounding on April 26, 2013; the 787 returned to passenger service later that month.
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
All Velos Designwerks forged wheel styles are available in 1, 2, and 3-piece configurations. The Velos XX wheel is the latest addition to their lineup of custom-made forged wheels. As the anchor for their luxury line, the XX implements 3D-like geometry and unique features that are consistent w...
www.vividracing.com/blog/vividracing-client-cars/bmw-f85-...
Operator: Saulog Transit, Inc.
Bus body no.: 71782, 71785, 71784
Manufacturer: BAR (Daewoo Surplus)
Model: Golden Dragon Marcopolo
A/C System: Overhead
Seating Configuration: 2 x 3
Seating Capacity: 56
Route: Cavite City or Ternate - Lawton
Shot Location: Saulog Transit, Inc. Cavite City Terminal
This is a photograph from the 4th and final round of the 2017 Pat Finnerty Memorial 5KM Road League which was held in Belvedere House and Gardens, Mullingar, Co. Westmeath, Ireland on Wednesday 24th May 2017 at 20:00. This is the final round and consequently some of the decisions around the final configuration of the category prizes are still open for resolution. The Road League is promoted and organised by Mulligar Harriers Athletic Club and sponsored by local sponsors including O'Brien's Renault dealership. This is a very well established as an annual event which takes place on every Wednesday night in the month of May. Tonight's weather was absolutely wonderful. Warm summer air filled the Belvedere area as the runners were treated to perfect summer weather. Just under 200 participants took part in the race which runs a traffic free course over a mix of road and hilly forest trail. Congratulations are due to all of the Mullingar Harriers club who put this excellent series together.
Timing and event management was provided by http://www.myrunresults.com/. Their website will contain the results to today's race.
The full set of photographs is available at: www.flickr.com/photos/peterm7/albums/72157684232399025
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Instagram, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Turbo windmill, or Jet Wind Mill [JWM] / JWM is nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.
By now, saving this planet is priority number one, and still all industries and all governments around the world do not see the windsurf formula, which makes it possible to harvest the high winds too.
Windsurfing, forerunner on turbo windmill, same formula, stabilitiy: Even a child can see that windsurfing is sensational. Just look at windsurfing from above. The waves make pipelines, and the only safe course in high winds falls parrallel with them. These pipelines lay, notably per definition, perpendicular on the wind's direction and windsurfing is always done half wind, so that the windsurfers automatically go as fast as possible and have a relatively safe ride between the waves. All in all, the windsurf formula implies that a given sail area is optimally used, that the waves are helping in making speed, that the half wind course is always leading to gliding along with the waves, that windsurfing is therefore relatively safe, that a stable configuration is the condition to make big structures, so that former dangerous windy circumstances at open ocean are just perfect to move a significant amount of mass with high speed. The kinetic energy is measured by the formula: 1/2 times the mass of the composition times the square of the speed. This world is dying for energy. So, please, understand the windsurf formula and please make Spailboats for over water, and turbo wind mills for on land.
The blades -rotors- are at their ends mantled by a ring. The ring is born within wheels in the housing. Because turbo wind mills use high winds, this mantle piece can be placed at/near the ground, so that there is no significant vibrating occurring at the ends of the blades.
In order to use high winds, the blades have to be hold firmly in place, leaving only the opportunity open for the blades to turn, or to move, perpendicular on the winds direction with as a consequence that Pythagoras' law comes in as foundation to calculate the angle of attack in the blades. Further on, one will see that windsurfing is done in the half wind sailing course and waves are swept by the wind, so that wave riding is falling with sailing half wind. Perfect.
High speed, directed perpendicular on the wind, leads also to the fact that a given sail area will be used optimally. And because cavitation, air bubbles around the swords, are restricting the windsurfers' speed, spailboat has wheels for swords. You, as reader, have to take it from here, because I can not force you to swallow dry food. Please, take one step at the time. To get started, you firstly need to understand that when a plate is placed flat -perpendicular- on the wind, there is maximum blockage of the wind by that plate. Next step. We imaginary move this plate with for instance 300 m/s in the direction flat on the wind. Now we'll see that the actual wind speed, S, that hits the blade is to be calculated by Pathagoras' law, S^2 =W^2+V^2, in where, V, is the speed of the blade perpendicular on the winds' direction and W is the wind speed. If now the original wind speed is very low, say, 1 m/s, than we might as well assume that the actual wind speed that hits the blade is still 300 m/s. In other words, when an almost flat on the wind positioned blade is moving with very high speed, perpendicular on the original wind's direction, then the actual wind speed that hits the blades, comes almost from the front. A blade end of a windmill moves faster than that blade does near the center, so that blade ends are almost positioned flat on the wind. The same counts for windsurf sails, although the sails are hold almost flat on the wind, the actual wind flow that hits the sails is coming more or less from the front. This means that we want high speed, in order to get maximum conversion of a given sail area. High speed implies high lift forces, and therefore we need stable and strong configurations that hold the blades.
I worked on stable sailing machines for twenty years now, because the capsizing and the catapulting with my catamaran scared the ........ out off me. Oh, I sailed from six years old, and won in 1988 the second biggest cat race in the world, together with my nephew, Ruud Goudriaan, who still is a class-A cat sailor. I went to college, and later to the technical university in Delft, and therefore I sold my cat, but continued windsurfing on cheap gear. However, windsurfing on old wave boards with old gear is still going much faster than the fastest cat. I kept on wondering why and when I figured it out [in 1994], I started to create a mechanically operated windsurf boat.
Sailing and windsurfing are very much like music, a well written song can be played live on stage over and over again, and every time this song improves itself. I can only ensure you, that the windsurf formula is an outstanding song, in the way to speak. Everything comes together, with as result that the windy circumstances on earth are perfect to use sails, wings, for making axles spin, as well on the oceans, by means of windsurfing -a combination of surfing and sailing stable half wind-, as on land, by means of using turbo windmills.
The only limitations in using the high winds are now caused by preoccupation of the existing economy. For instance, the car industries, the airplane industries, wind turbine industries, sailing boats industries, et cetera, keep our engineers in hostage. If we only could stop the production and the developing of the car making, airplane making et cetera, for just one week, and bring this way all the engineers to one imaginary table then the formula of windsurfing is understood. Once the leading engineers understand the windsurf formula, then the building of the prototypes is a year away. Some floors of the car industries and the airplanes industries can make room for new production lines.
And to make an even bigger example. When the second world war broke out, suddenly all floors of the car industries and airplane industries were making room for the production of tanks, jeeps, fighter planes, bombers et cetera. So, it is just a matter of priorities.
I mean, did you ever see a professor, 60 years old, windsurfing on large waves with 10 bft at open sea? No, that is the problem. These kind of persons rule the world.
Just go on the Internet, and see for yourself that the formula, for calculating the maximum sailing speed, is still only counting for non flying sailing boats. This means that they assume that the hull is still always dragging through water. For the cavitation speed they still assume always that a sword is not moving with respect to the hull. In Spailboats, on the other hand, the water cutting part of a sword does move along with respect to the hull, so that the speed of the hull and the speed of through water dragging sword have two different values. Here in Holland at the university of Delft, a leading professor -who works on his own sailing boat, off course-, once told me in person that no matter what kind of sailing boat, or windsurfer, it could never over top the 100km/hr barrier, because of cavitation around the swords. I came to him, at one of those appointments, to inform him about the new rigging, so that spailboats are almost flying above the water and to inform him about the reason -to overcome cavitation around the water cutting profile of the sword wheels- for using circle shaped spinning swords. So, I walked through his door, showed him my work, and in stead letting me talk about my work, he did not look at my work at all. He talked for half an hour, and by the time he finished, I wanted to reply, but then he said, your time is up, leave, please. I have tried to make another appointment, but in vain. A few months later, he had a full page in one of Holland's main newspapers, the Saturday edition, in where he presented his own sailing boat. The public was misled. This sailing boat was so-called state of the art, but, it did not fly, it did still capsize, it could not operate in high seas, people, it was a worthless piece of ....... . So, I came in, and he asked, what did you study,? I said: civil engineering, and that answer was apparently wrong, because he worked at the aircraft and space department. Pyramids, remember, people, we still build them. The only thing that matters, is that I am a good sailor and windsurfer , and that I made windsurf robot. Even if I did not have any masters degree at the technical university at all, he should have asked me what my work was, and not what my title was. This story goes on, because before I talked to him, the boss so to speak, I had several meetings with his students and they were impressed. But at the moment they found out that I was working outside the university they boycotted me, right away. I had to give earlier given nice 3D pictures of wings back, and also my usb stick with several drawings had to be erased. Since then I am not welcome anymore. My own professor, Marcel Donze, then always brings calm to me, with this: Who would be the worst enemy of the Pope? Jesus Christ. No rank and bare footed, and closer to God as him.
It is therefore that these two new inventions fall under: the environmental revolution.
We, the hard working people, can easily see that windsurfers go faster than the good old sailing boats. And still, billions and billions are spend on sailing boats for the happy few, like the rich men's toys for the Volvo Ocean Race, America's cup, the immense yachts et cetera. The same thing counts for the swallowing up of our best engineers for the car industries, formula 1 racing, jet fighter plane making et cetera.
If only the engineers and the people who rule the world want to save this planet, then the prototypes of the turbo windmills and the spailboats will be operating within a year.
In the past seven years I really tried endlessly to talk with professors around the world. They are just not at home. On the phone it goes like this. Who are you? What did you study, and I say, civil engineering. Oh, that has nothing to do with planes and/or mills, we are not interested.
Off course, I do not talk like them, every error in the conversation means the final cut of the conversation and once such a door is closed, it never opens again.
So, you as reader will never read or hear about windsurf machines and turbo windmills, which can save the planet, other than in this slide show.
I was a good cat sailor and a good windsurfer in the eighties. From childhood on I was at sea. Above that fact, I was born in Zaandam, the place where a cluster of windmills is stacked in an open air museum. I had the kite surfing formula on the drawing board, long before it took off, because the kites are hold just the same as windsurf sails are hold, only now on wires and further away from the board. In fact, I actually kite surfed on a small wooden plank on the beach in the eighties of the past century when I was ten years old. My nephews tried it, but were to heavy, and logically, I had to try. And it worked. Kite surfing is nothing more than using a big kite to move yourself. So, who do you want to believe, me, or the universities?
Get úp, stand up, get up for your right. Bob Marley. He believed that music unites all people one day. Wind sounds like music, doesn't it? No more nuclear power, no more burning fossil fuels.
Turbo windmill, or Jet Wind Mill [JWM] / JWM is a nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.
Stability: only when stability is firstly established, then a structure might be built tall. A sailing boat might be made endlessly strong, still, it capsizes, so that it is useless to make endlessly strong masts. A Spailboat however is stable, and therefore a Spailboat can be made big, very big, as big oceanliners, with 100 meter long masts. This is part of the windsurf formula. And remember, mass in motion implies the kinetic energy.
We need energy. For making fresh drinking water, for irrigation, for making electricity, making hydrogen, for moving cars, trains, planes and so on.
The windsurf formula is here, for everyone to use in the world, because I dropped my patents. It is free, for you, Africa, Asia, America, Europe, the south pacific continents and islands. Just have a look and run this show a few times. It is like the wheel itself, it is normal, revolutionary and it will change the world. No nuclear power is needed any longer, just usage of high winds and swell on the oceans. And the turbo windmill is spin off, because these blades are in fact circular moving steady in positioned hold windsurf sails.
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).
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 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: