View allAll Photos Tagged Convex
Nº 24U.
Simca 9 Aronde (1951-1955).
Grey body and grey convex hubs with white tyres.
Escala 1/43.
Dinky Toys.
Made in France by Meccano.
"Issued between 1953-55."
More info:
fr.wikipedia.org/wiki/Liste_des_mod%C3%A8les_Dinky_Toys
www.qualitydiecasttoys.com/products/search?utf8=%E2%9C%93...
patrick.miniatures.free.fr/dinky/serie24.htm
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De la Simca Neuf à l’Aronde
"C'est le jeudi 31 mai 1951 qu'est dévoilée à la presse spécialisée la nouvelle berline Simca Neuf, plus connue sous le nom d'Aronde. Cette nouvelle, dans les deux sens du terme, fait littéralement I’ effet d’une bombe dont I’ aronde de choc se ressent jusqu'à Bobigny
Dès 1953, Meccano s'empresse ainsi d'en sortir une copie au 1/43. La miniature, mesurant 95 millimètres, est réalisée d'une seule pièce en zamak et possède, comme toutes ses consœurs, un plancher en tôle riveté. Les roues, convexes, sont toujours chaussées de pneumatiques blancs.
Sous la référence 24 U.
Meccano produit en fait deux modèles bien distincts.
Le premier type se reconnaît à sa calandre anguleuse ainsi qu'à sa carrosserie et ses roues peintes en gris clair, vert olive moyen ou vert olive foncé.
Le deuxième type possède une calandre allongée conforme à celle adoptée par Simca au salon d’octobre 1953.
Deux variantes de finition de peinture sont utilisées sur ce modèle équipé invariablement de roues chromées La première est uniformément gris clair, gris verdâtre ou bleu ciel tandis que la seconde est bleu ciel avec un toit ivoire, bleu moyen avec un toit ivoire et gris clair avec un toit vert foncé avec des nuances assez prononcées.
Cette dernière version est produite jusqu'en 1959 année où elle reçoit la référence 536."
Source: www.aquitaine33.com/dinky/simca/simca1.htm
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Simca Aronde
From Wikipedia, the free encyclopedia
"The Simca Aronde is an automobile which was manufactured by the French automaker Simca from 1951 to 1963.
It was Simca's first original design (earlier models were all to a greater or lesser extent based on Fiats), as well as the company's first unibody car.
"/ Aronde -hirondelle" means "swallow" in Old French and it was chosen as the name for the model because Simca's logo at that time was a stylized swallow."
The three generations
"There were three generations of the model: the 9 Aronde, made from 1951 to 1955, the 90A Aronde, made from 1955 to 1958, and the Aronde P60 , which debuted in 1958 and continued until the model was dropped in 1964.
Some 1.4 million Arondes were made in total, and this model alone is largely responsible for Simca becoming the second-biggest French automaker at the end of the 1950s."
- Simca 9 Aronde (1951–1955)
"The first Aronde debuted in the spring of 1951 but initially only a few hundred pre-production cars were distributed to carefully selected "guinea-pig" buyers, and the full production version was finalised only in time for the Paris Motor Show, becoming available for sale in October 1951.
The full production version incorporated various detailed changed when compared to the pre-volume production cars, including a changed material for the seat covers and a moulded plastic dash-board which at the time appeared very modern when compared to the metal dashboard on the Aronde's most obvious competitor, the Peugeot 203.
A few months later, at the start of 1952, space was found to position the battery under the bonnet/hood: in the original cars the battery was stowed under the front seat.
The Aronde was fitted with a front-mounted 1221 cc 44.5 bhp (33.2 kW) engine from the previous Simca model, the Simca 8, fuel feed being provided by a Solex 32 carburetor. Power was delivered to the rear wheels via a traditional four-speed manual gear box incorporating synchromesh on the top three ratios. The car had independent suspension at the front using coil springs, with a live axle at the rear, suspended using semi-elliptic leaf springs. Hydraulically operated 9.85 in (250 mm) drum brakes were used all round.
The only body style offered at the October 1951 launch was a four-door saloon/sedan/berline, but other configurations very soon became available such as the three-door estate (branded initially as the "Aronde commerciale" and later as the "Châtelaine") with a horizontally split tailgate.
There was also a van, called the "Messagère", and a "commerciale semi-vitrée" - part panel van and part estate - became available in 1953.
Of more interest to collectors is the two-door coupé coachbuilt by Facel. The Facel-built coupé was replaced for 1953 by a coupé based on the saloon Aronde body, called Grand Large, featuring a large three piece wrap-around rear window and a "pillarless" side window effect when both side windows were wound down.
A two-door cabriolet conversion, prepared by the coachbuilder Figoni, was presented to the public for the 1953 model year in a display involving ballerinas, but it proved impossible to confer sufficient structural rigidity on this car without unacceptable cost and weight penalties, and Figoni's Aronde cabriolet was never produced for sale.
(...)
The 9 Aronde was well received, especially in France. It took only until 17 March 1953 before total production of this model at the Nanterre plant passed 100,000.
The company's flamboyant boss. Henri Pigozzi, was keenly aware of the publicity that could be gleaned from the craze for record breaking runs.
In May 1952 an Aronde broke five international records by covering a distance of 50,000 km (31,000 mi) at an average speed of 117 km/h (73 mph), and in August 1953 another Aronde, selected at random from the production line, returned to the Montlhéry circuit for a new record attempt whereby during the course of forty days and forty nights the car covered 39,242 laps which represented 100,000 km (62,000 mi) at an average speed of more than 104 km/h (65 mph).
This achievement, which involved breaking more than 30 international records, was undertaken under the supervision of the ACF."
- Simca 90A Aronde (1955–1958)
- Simca Aronde P60 (1958–1964)
Predecessor
Simca 8
Successor
Simca 1300/1500
Capitol Reef Formations - Some concave convex or Ying Yang shapes found in the sandstone and rock formations found in CPNP.
Capitol Reef National Park is located in southern Utah in the United States of America. Capitol Reef National Park is in Utah's south-central desert.
It surrounds a long wrinkle in the earth known as the Waterpocket Fold, with layers of golden sandstone, canyons and striking rock formations.
This image is also available as a black and white.
To view additional images please visit www.susancandelario.com
Thank You,
Susan Candelario
Colourful toy bowling pins transformed by a piece of convex glass. SOOC, looks better in lightbox
macro mondays: transformation
BODEGAS YSIOS. Finca de Carravacas. Laguardia. Rioja alavesa. Álava
Arquitecto: Santiago Calatrava: 1998-2001
Ysios evoca el mundo mágico de Ysis, la diosa egipcia que velaba por el cuidado del proceso de transformación de la uva en vino. La bodega se sitúa en la mejor zona de Laguardia (Rioja Alavesa) con la Sierra de Cantabría de fondo. Una gran escultura integrada entre viñedos, una delicada silueta alada que remonta el vuelo. Pensada, a través de una arquitectura singular tan en boga en la nuevas bodegas -que rivalizan en la contratación de arquitectos de prestigio para singularizar sus nuevas construcciones-, tanto para la mejora del proceso de elaboración del vino, como para hacerlo atractivo y servir de foco de captación de visitantes
Se conforma mediante dos muros portantes de hormigón armado, separados 26 metros, revestidos por lamas verticales de madera tratada con sales de cobre. Los muros, de planta sinusoidal y una longitud total de 196 metros, se rematan superiormente por dos líneas también sinusoidales, frontalmente desplazadas, que generan, para la cubierta, una superficie reglada ondulada a modo de sucesión de conoides, combinando superficies cóncavas y convexas, a lo largo del eje longitudinal. Calatrava adoptó la estrategia de dar un tratamiento volumétrico a todas las fachadas, cubierta incluida, - límites físicos del paisaje exterior y dentro de la bodega - de modo que la continuidad entre ambos espacios se logra a través del "movimiento estático" de los recintos. La cubierta está formada por vigas de madera laminada que apoyan sobre los muros laterales, y se acaba exterior en aluminio, contrastando con el tratamiento en madera del resto del edificio. La fachada principal, sur, es ciega, salvo en su cuerpo central, donde se sitúa el Centro de Visitantes, que presenta un singular mirador de madera tanto hacia el interior de la bodega como al exterior, sobre los viñedos y el pueblo de Laguardia al fondo. Está revestida con listones de cedro colocado horizontalmente, y se acompaña, a ras de suelo, de dos láminas de agua, forradas con azulejo de color blanco en trencadís, que reflejan los muros aparentando de grandes toneles. La fachada norte es de paneles prefabricados de hormigón con estrechas aberturas. Las fachadas laterales, por las que se accede al proceso lineal de producción, están chapadas en placas de aluminio
Funcionalmente el edificio se ajusta al proceso lineal de fabricación, envejecimiento y embotellado del vino, mediante un pabellón alargado en el que la uva entra por uno de los lados, pasa por distintos procesos de prensado, decantado, reposo y envejecimiento, y acaba en el embotellado y almacenaje, correspondiéndose la zona central, la más representativa, accesible visualmente desde el recinto destinado a Centro de Visitantes, con el envejecimiento en barricas de madera.
A simple wireframe design with a convex hull of a truncated tetrahedron.
It is the sketch of something bigger and more sophisticated... Four Interlocking Hexagonal Prisms.
Designer: Me.
Paper: Kami.
Unit count: 24.
Paper's size: 1:3 rectangle.
Convex Exercise IAEA - Hungary
The International Atomic Energy Agency (IAEA) and Hungary conducts a two-day exercise that started today 21st till the 22nd of June involving 82 Member States and 11 international organizations to test the global emergency response to a simulated accident at a nuclear power plant. IAEA Vienna, Austria.
Photo Credit: Dean Calma / IAEA
This is a beautiful mericlone. The flowers have a natural spread of five inches. The substance is very firm. The lip and flares are very dark fuschia. This is a clone that I obtained from Orchid Center a few years ago.
Convex Exercise IAEA - Hungary
The International Atomic Energy Agency (IAEA) and Hungary conducts a two-day exercise that started today 21st till the 22nd of June involving 82 Member States and 11 international organizations to test the global emergency response to a simulated accident at a nuclear power plant. IAEA Vienna, Austria.
Photo Credit: Dean Calma / IAEA
Nº 24B.
Peugeot 403 Berline (1955-1966).
Blue, chrome convex hubs with repro black tyres (originally with white tyres).
Escala 1/43.
Dinky Toys.
Made in France by Meccano.
"Issued in june 1956 as 24 b, the Dinky 403 has been renumbered 521 in 1959 and deleted in 1961."
More info:
www.talkmodeltoys.com/discus/messages/27668/33411.html?11...
patrick.miniatures.free.fr/peugeot/peugeot 403.htm
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LES 403 DINKY TOYS
"C'est au salon de l'automobile d'octobre 1955 que le public, sans cesse plus nombreux, découvre le nouveau modèle phare de Peugeot : la 403.
La sortie de la 403 donne à l'époque un sacré coup de vieux à la 203. Pour répondre à la concurrence sans cesse plus mordante de l'Aronde, le constructeur franc-comtois dévoile cette berline à l'esthétique aussi sage.
Son moteur de 1500 cm3 développant 58 chevaux ne fait pas d'elle un foudre de guerre, mais qu'importe, Peugeot mise sur sa robustesse et sa fiabilité qui permettent de fidéliser sa clientèle. Malgré la sortie de ce nouveau modèle, Peugeot décide de poursuivre la production de la 203.
Encore une fois dans un temps record, Bobigny comble les voeux des jeunes amateurs en sortant la reproduction de la 403. La berline mesure 104 millimètres.
La carrosserie finement moulée en Zamak, possède un plancher en tôle, riveté, maintenant en place les essieux aux roues convexes chromés et chaussées de pneumatiques blancs.
La référence 24B, commercialisée en boîte individuelle jaune illustrée, est , dans premier temps disponible en bleu et noir.
De nouvelles teintes, gris clair et jaune paille, font rapidement leur apparition pour le plus grand bonheur des collectionneurs."
(...)
Source: www.aquitaine33.com/dinky/403/403.htm
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Peugeot 403
From Wikipedia, the free encyclopedia
"The Peugeot 403 is a car produced by French automobile manufacturer Peugeot between May 1955 and October 1966.
A total of 1,214,121 of all types, including commercial models, were produced, making it the first Peugeot to break through the one million barrier."
"The 403 made its debut in saloon body style on 20 April 1955 at the Trocadéro Palace in Paris.
For several months before it was launched numerous 403s, their badges removed, were circulating on the local roads near the manufacturer's PSA Sochaux factory, (...)"
"Styled by Pininfarina, the 403 featured ponton, three-box styling incorporating, except on the most basic models, an opening roof panel.
The collaboration with Pininfarina marked the start of a partnership which would see the Italian designer producing designs for Peugeot, including those many mainstream volume models, for more than fifty years.
Regarding the 403 itself there were persistent rumours that the design was one originally intended for a replacement Fiat 1900 which had been rejected when Turin had decided to defer replacement of the Fiat for another four years.
Unusual in Europe at the time, but appreciated by customers, was the way that the rear doors opened wide - to a full 90 degrees. Also unusual were the windows in the rear doors that opened fully into the door frame to the point where they disappeared, (...)"
"Superseded by the Peugeot 404 in 1960, the 403 remained in production as a budget alternative until 1966."
(...)
Peugeot 403
Manufacturer
Peugeot SA
Production
1955–1966
1,014,111 cars
Assembly
France
Australia
Argentina
New Zealand (Motor Holdings)
Class
Large family car (D)
Body style
4-door sedan
5-door estate
2-door convertible (1956-1961)
2-door pickup
3-door van
Engine
1290 cc TM5 I4
1468 cc TN3 I4
1816 cc TMD85/XDP85 diesel I4
Successor
Peugeot 404
Distorted version of “Self Portrait in a Convex Mirror” by Parmigianino.
Parmigianino as Narcissus. The mirror as a pool of insight, introspection and self-knowledge. The world as a mirror. And art as a mirror of the world. But there exists no pool or mirror depicting the individual as it really is. That is the modern or at least my own sad realization. Every image is a distorted image.
“I used to tell my friends that the inventor of painting, according to the poets, was Narcissus, who was turned to a flower; for, as painting is the flower of all the arts, so the tale of Narcissus fits our purpose perfectly. What is painting but the act of embracing by means of art the surface of the pool?”
Leon Battista Alberti. On Painting (De pictura), Book II.
William Alexander Månesøn. Prince of the Blue Moon.
Taken with a home made lens made from one of the plastic plano-convex elements from a battery powered slide viewer. The lens was selotaped onto a piece of plastic tube, which in turn was placed over a narrower tube which fitted snugly into an extension tube mounted on a digital SLR. An old sock completed the assembly, providing just the right amount of friction between the two tubes to allow the outer tube to be slid backward and forward to focus. The focal length is approximately 280mm, so with the inner tube having a diameter of 40mm, this gives an aperture of around f7.
BODEGAS YSIOS. Finca de Carravacas. Laguardia. Rioja alavesa. Álava
Arquitecto: Santiago Calatrava: 1998-2001
Ysios evoca el mundo mágico de Ysis, la diosa egipcia que velaba por el cuidado del proceso de transformación de la uva en vino. La bodega se sitúa en la mejor zona de Laguardia (Rioja Alavesa) con la Sierra de Cantabría de fondo. Una gran escultura integrada entre viñedos, una delicada silueta alada que remonta el vuelo. Pensada, a través de una arquitectura singular tan en boga en la nuevas bodegas -que rivalizan en la contratación de arquitectos de prestigio para singularizar sus nuevas construcciones-, tanto para la mejora del proceso de elaboración del vino, como para hacerlo atractivo y servir de foco de captación de visitantes
Se conforma mediante dos muros portantes de hormigón armado, separados 26 metros, revestidos por lamas verticales de madera tratada con sales de cobre. Los muros, de planta sinusoidal y una longitud total de 196 metros, se rematan superiormente por dos líneas también sinusoidales, frontalmente desplazadas, que generan, para la cubierta, una superficie reglada ondulada a modo de sucesión de conoides, combinando superficies cóncavas y convexas, a lo largo del eje longitudinal. Calatrava adoptó la estrategia de dar un tratamiento volumétrico a todas las fachadas, cubierta incluida, - límites físicos del paisaje exterior y dentro de la bodega - de modo que la continuidad entre ambos espacios se logra a través del "movimiento estático" de los recintos. La cubierta está formada por vigas de madera laminada que apoyan sobre los muros laterales, y se acaba exterior en aluminio, contrastando con el tratamiento en madera del resto del edificio. La fachada principal, sur, es ciega, salvo en su cuerpo central, donde se sitúa el Centro de Visitantes, que presenta un singular mirador de madera tanto hacia el interior de la bodega como al exterior, sobre los viñedos y el pueblo de Laguardia al fondo. Está revestida con listones de cedro colocado horizontalmente, y se acompaña, a ras de suelo, de dos láminas de agua, forradas con azulejo de color blanco en trencadís, que reflejan los muros aparentando de grandes toneles. La fachada norte es de paneles prefabricados de hormigón con estrechas aberturas. Las fachadas laterales, por las que se accede al proceso lineal de producción, están chapadas en placas de aluminio
Funcionalmente el edificio se ajusta al proceso lineal de fabricación, envejecimiento y embotellado del vino, mediante un pabellón alargado en el que la uva entra por uno de los lados, pasa por distintos procesos de prensado, decantado, reposo y envejecimiento, y acaba en el embotellado y almacenaje, correspondiéndose la zona central, la más representativa, accesible visualmente desde el recinto destinado a Centro de Visitantes, con el envejecimiento en barricas de madera.
Rusophycus cryptolithi Osgood, 1970 - trilobite burrow (convex hyporelief) in limestone from the Ordovician of Kentucky, USA.
This is a rare trilobite trace fossil from the famous Cincinnatian Series of the tristate area of southwestern Ohio-southeastern Indiana-northern Kentucky. Trilobites are extinct marine arthropods in Cambrian to Permian rocks. They have a head (cephalon), a multisegmented thorax, and a tail (pygidium). The body is subdivided longitudinally into three lobes - a central axial lobe and two pleural lobes at the sides.
Trilobite walking behavior resulted in trace fossils called Diplichnites. Burrowing behavior, presumably done in the search for food, resulted in distinctive-looking traces called Rusophycus (some consider Rusophycus to be a "resting" burrow). The fossil seen here is a Rusophycus trace made by a Cryptolithus bellulus trilobite (formerly known as Crypolithus tessellatus) (see: www.drydredgers.org/fragcrp1.htm and stratigrafia.org/cincy/fauna/trilobita/Cryptolithus.html ), a "lace collar trilobite".
Stratigraphy: Kope Formation, Edenian Stage, lower Cincinnatian Series, Upper Ordovician
Locality: undisclosed roadcut along Route 547, Campbell County, far-northern Kentucky, USA
As children, they crossed the overpass every day. They congregated near the 'tin tabernacle' as each of them arrived. They swung their schoolbags, pulled up their white knee-high socks, and lingered as long as they could by the entrance to the overpass.
They talked about antics in the schoolyard the previous day. They gossiped about the boys they liked and the girls they didn't. They compared their bruises and blisters from swinging and twirling on the monkey bars the day before.
Sarah would always have some sweets to share, but she doled them out like party favours to each girl in turn. You knew whether you were Sarah's 'favourite' today by the order in which you received your chocolate drop or musk stick. Or if you got stuck with a black jelly-baby. No one else liked the liquorice-flavoured jelly-babies, but she did. So she didn't mind if she was last in line for sweets from time to time.
They didn't have to catch the train to school. In truth, they didn't actually have to pass the station at all to get there. But they detoured by the station to watch the trains pass by, thinking of where it might take them away from here. They thought the men and women in their suits were so sophisticated and stylish. They wondered at what they might find at the other end of the line, in the city. A destination that seemed so magical and far away from their suburban homes.
They stood on tiptoe trying to see the train as it pulled in to the station and then pulled away. The shorter girls warped the plastic sides of their lunchboxes as they stood on them to see. The steel barriers were set so high they could barely see the train until it was almost gone.
They talked non-stop about how different their lives would be if they lived in the city. How much more exciting and glamorous their lives would be then. Because, of course, one day they would live in the city. One day they would meet nice boys, get married, and be swept away from the dull part of town in which they now lived. But not the boys from their school. None of them were nice. Well, except that one boy.
They skipped across the overpass, realising they'd lingered and chattered too long. They had mere minutes before the school bell would ring out across the train tracks to tell them they were late again. Their teachers would give them stern looks, knowing they'd dawdled, not been attentive. Too distracted by other things to arrive on time and avoid disruption to the class, again. Their skipping accelerated to a run as they imagined the stern words they'd hear as they found their seats in class.
As she stood at the end of the overpass, her mind ran over those memories. In her mind's eye she watched the girls laugh and wave their arms as they ran down the other side of the overpass. Girls full of hopeful dreams of moving on. Girls too caught up in the small things to mind too much about the big things. Yet always wanting the big things. Not the small-mindedness of the neighbourhood they'd grown up in.
The laughter of a group of children approaching brought her back to the moment. She realised her mind had wandered. Waiting for the train, she'd let her mind slip back into the past, not for the first time, and no doubt not for the last.
She caught sight of her reflection in the convex mirror at the end of the overpass, in front of the 'tin tabernacle'. Once again the sight was a little unnerving. She was still becoming accustomed to the change of tone in her hair as she'd let the last of the dye grow out. As her hair colour faded from red to brown then to a light silver, she found herself fascinated by its new colour when she caught sight of it in mirrors. She knew it was her reflected in the mirrored surface, but it seemed like someone else altogether.
Her mind brought back into the moment by her reflection, her ear caught the sound of the bells at the level crossing announcing the arrival of the train from the city. She straightened her sweater; ran a hand through her hair to smooth it. She walked along the overpass. She was still not tall enough to see the train over the barrier as it pulled in. Nevertheless, she raised herself onto tiptoes in the attempt before walking along the overpass to wait for passengers to alight at the end of their journey from the city.
Nº 24B.
Peugeot 403 Berline (1955-1966).
Blue, chrome convex hubs with repro black tyres (originally with white tyres).
Escala 1/43.
Dinky Toys.
Made in France by Meccano.
"Issued in june 1956 as 24 b, the Dinky 403 has been renumbered 521 in 1959 and deleted in 1961."
More info:
www.talkmodeltoys.com/discus/messages/27668/33411.html?11...
patrick.miniatures.free.fr/peugeot/peugeot 403.htm
---------------------------------------------------------------------------------------
LES 403 DINKY TOYS
"C'est au salon de l'automobile d'octobre 1955 que le public, sans cesse plus nombreux, découvre le nouveau modèle phare de Peugeot : la 403.
La sortie de la 403 donne à l'époque un sacré coup de vieux à la 203. Pour répondre à la concurrence sans cesse plus mordante de l'Aronde, le constructeur franc-comtois dévoile cette berline à l'esthétique aussi sage.
Son moteur de 1500 cm3 développant 58 chevaux ne fait pas d'elle un foudre de guerre, mais qu'importe, Peugeot mise sur sa robustesse et sa fiabilité qui permettent de fidéliser sa clientèle. Malgré la sortie de ce nouveau modèle, Peugeot décide de poursuivre la production de la 203.
Encore une fois dans un temps record, Bobigny comble les voeux des jeunes amateurs en sortant la reproduction de la 403. La berline mesure 104 millimètres.
La carrosserie finement moulée en Zamak, possède un plancher en tôle, riveté, maintenant en place les essieux aux roues convexes chromés et chaussées de pneumatiques blancs.
La référence 24B, commercialisée en boîte individuelle jaune illustrée, est , dans premier temps disponible en bleu et noir.
De nouvelles teintes, gris clair et jaune paille, font rapidement leur apparition pour le plus grand bonheur des collectionneurs."
(...)
Source: www.aquitaine33.com/dinky/403/403.htm
-----------------------------------------------------------------------------------------------
Peugeot 403
From Wikipedia, the free encyclopedia
"The Peugeot 403 is a car produced by French automobile manufacturer Peugeot between May 1955 and October 1966.
A total of 1,214,121 of all types, including commercial models, were produced, making it the first Peugeot to break through the one million barrier."
"The 403 made its debut in saloon body style on 20 April 1955 at the Trocadéro Palace in Paris.
For several months before it was launched numerous 403s, their badges removed, were circulating on the local roads near the manufacturer's PSA Sochaux factory, (...)"
"Styled by Pininfarina, the 403 featured ponton, three-box styling incorporating, except on the most basic models, an opening roof panel.
The collaboration with Pininfarina marked the start of a partnership which would see the Italian designer producing designs for Peugeot, including those many mainstream volume models, for more than fifty years.
Regarding the 403 itself there were persistent rumours that the design was one originally intended for a replacement Fiat 1900 which had been rejected when Turin had decided to defer replacement of the Fiat for another four years.
Unusual in Europe at the time, but appreciated by customers, was the way that the rear doors opened wide - to a full 90 degrees. Also unusual were the windows in the rear doors that opened fully into the door frame to the point where they disappeared, (...)"
"Superseded by the Peugeot 404 in 1960, the 403 remained in production as a budget alternative until 1966."
(...)
Peugeot 403
Manufacturer
Peugeot SA
Production
1955–1966
1,014,111 cars
Assembly
France
Australia
Argentina
New Zealand (Motor Holdings)
Class
Large family car (D)
Body style
4-door sedan
5-door estate
2-door convertible (1956-1961)
2-door pickup
3-door van
Engine
1290 cc TM5 I4
1468 cc TN3 I4
1816 cc TMD85/XDP85 diesel I4
Successor
Peugeot 404
Eglise romane ; commune d'Echillais, Charente-Maritime 17, Poitou-Charentes, France
Une nef simple, terminée par un chœur en hémicycle à cinq fenêtres, définit l'ensemble. Au xve siècle, deux salles latérales ont été ajoutées au Sud et remaniées depuis. Les voûtes en berceau ont été refaites au XVIIe siècle, comme le clocher détruit aux guerres anglaises. Seules les trois fenêtres centrales du chœur sont, à l'intérieur, encadrées de colonnettes à chapiteaux soignés dont les tailloirs, ornés de demi-besants opposés par le côté convexe et réunis par un filet, se continuent sur la partie tournante. Les corbeilles vigoureusement sculptées sont ornées de motifs végétaux ou de sujets au sens obscur. L'un présente un personnage chevelu assis sur un siège en X, portant une croix et tenant un livre ouvert. Il est accolé de deux hommes debout, qui paraissent vêtus d'habits sacerdotaux. Celui de droite appuie un livre fermé sur sa poitrine. Son pendant tient une masse à deux mains; sous la volute de la crosse un reste indéterminé : exhortation ou scène d'hommage. Le chapiteau qui fait pendant montre deux sujets : sur une face, un homme à bonnet, debout, se défend avec un galet contre un chien qui lui engoule le bras gauche. A côté, un autre lutteur couché au-dessus, saisit un second chien dont il écarte les mâchoires. Des colliers soigneusement soulignés spécifient qu'il s'agit bien de chiens, mais le thème est aussi énigmatique.
Ailleurs des rapaces grimpés sur des lions les attaquent suivant un modèle oriental bien connu.
La façade rectangulaire a conservé au rez-de-chaussée le type des divisions tripartites, mais le premier étage n'est qu'une galerie continue de neuf arcades, celle du milieu légèrement plus importante pour loger une fenêtre. Le schéma est donc très saintongeais, mais souligné avec vigueur, car en bas les quatre colonnes principales s'imposent à l'examen et font ressortir l'importance et le relief du portail principal, dont le centre a malheureusement été diminué par une porte classique qui rompt l'harmonie des trois voussures autrefois richement sculptées, mais tellement rongées par les embruns, qu'on hésite à donner un sens à l'ensemble. Au rouleau supérieur, le mot iesvs, déchiffrable sur le personnage du sommet couché dans le cintre, désigne le Christ qui doit être entouré de deux anges thuriféraires, au-dessus, à droite d'un joueur de viole dominant une statue de femme de face avec une guimpe et de longues manches, un bras sur la hanche. Au rouleau médian, sous le Christ, un personnage nimbé qui serait saint Etienne, couché dans l'arc, tend deux mains jointes : il est menacé par un bourreau en face de lui qui le frappe à la tête de la main droite et tient de la gauche une pierre pour le lapider. Deux autres hommes aux gestes menaçants aideraient à la lapidation du premier diacre, et les silhouettes rongées des deux autres font leur pendant. Les dernières figures de la voussure inférieure laissent deviner trois personnages; deux en partie côte à côte et un autre au-dessous portant un sceptre (?). Tout le côté Nord du portail n'est plus aujourd'hui qu'un calcaire d'apparence spongieuse. Le sujet le plus connu est bien le masque démoniaque engoulant la colonne gauche de la porte. C'est un sujet courant de la sculpture de l'Ouest, fréquent en Saintonge. Les autres chapiteaux de feuillages délimitent les petits arcs latéraux dont les fonds de muraille se diversifient par un appareil en chevrons fréquent à cette place dans la région. Deux colonnettes posées sur de larges tailloirs supportent la corniche qui reçoit l'étage. Leurs chapiteaux étroits et annelés se retrouvent souvent dans la région. L'arcature du premier étage, bien mieux conservée, est richement ciselée de motifs végétaux, marguerites rectangulaires, acanthes groupées en S ou en gerbes, bref toute une fantaisie qui se retrouve aux tailloirs comme au-dessus, aux métopes de la corniche haute, où les sujets sont encore variés par la représentation d'échiquiers, ou de roues de charrette. Les petits chapiteaux, comme souvent les modillons très divers, sont soigneusement sculptés avec humour et fantaisie. Ici un prêtre bénit, la main levée, là un chasseur sonne de la trompe, plus loin un archer vise un basilic et, derrière, un joueur de vielle gratte ses cordes. Puis ce sont lions ou chimères ou des têtes d'hommes et de monstres; l'un d'eux a dévoré une victime, dont la main sort de sa gueule. Les parties hautes sont plus finies ou moins usées que la corniche basse, mais de même type. On y voit un oiseau aux ailes ouvertes, des têtes, un baril.
L'abside présente les mêmes caractères raisonnables et la même solidité, avec ses quatre colonnes assises sur de belles bases dont les moulures se poursuivent autour du chœur, comme la ceinture à demi-besants qui délimite la partie basse des ouvertures à chapiteaux ornés, soutenant les voussures moulurées, enrichies ici et là d'archivoltes à pointes de diamant. La corniche simple, soutenue par des modillons variés (avec le petit tonneau) et les gros chapiteaux à monstres et feuilles, a été fortifiée à la guerre de Cent ans. Il n'en reste qu'une muraille d'appareil moyen sur laquelle repose la charpente du chœur. Le passage de l'hémicycle à la nef droite est souligné par un pilastre contre lequel s'appuie l'un des montants d'un enfeu sous la première fenêtre Sud de la nef.
(extrait de : "Saintonge romane" ; François Eygun ; Coll. Nuit des Temps, Ed. du Zodiaque, pp. 237-239)
Autre source : chapiteaux.free.fr/TXT_echillais.html
Convex Exercise IAEA - Hungary
The International Atomic Energy Agency (IAEA) and Hungary conducts a two-day exercise that started today 21st till the 22nd of June involving 82 Member States and 11 international organizations to test the global emergency response to a simulated accident at a nuclear power plant. IAEA Vienna, Austria.
Photo Credit: Dean Calma / IAEA
Nº 24B.
Peugeot 403 Berline (1955-1966).
Blue, chrome convex hubs with repro black tyres (originally with white tyres).
Escala 1/43.
Dinky Toys.
Made in France by Meccano.
"Issued in june 1956 as 24 b, the Dinky 403 has been renumbered 521 in 1959 and deleted in 1961."
More info:
www.talkmodeltoys.com/discus/messages/27668/33411.html?11...
patrick.miniatures.free.fr/peugeot/peugeot 403.htm
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LES 403 DINKY TOYS
"C'est au salon de l'automobile d'octobre 1955 que le public, sans cesse plus nombreux, découvre le nouveau modèle phare de Peugeot : la 403.
La sortie de la 403 donne à l'époque un sacré coup de vieux à la 203. Pour répondre à la concurrence sans cesse plus mordante de l'Aronde, le constructeur franc-comtois dévoile cette berline à l'esthétique aussi sage.
Son moteur de 1500 cm3 développant 58 chevaux ne fait pas d'elle un foudre de guerre, mais qu'importe, Peugeot mise sur sa robustesse et sa fiabilité qui permettent de fidéliser sa clientèle. Malgré la sortie de ce nouveau modèle, Peugeot décide de poursuivre la production de la 203.
Encore une fois dans un temps record, Bobigny comble les voeux des jeunes amateurs en sortant la reproduction de la 403. La berline mesure 104 millimètres.
La carrosserie finement moulée en Zamak, possède un plancher en tôle, riveté, maintenant en place les essieux aux roues convexes chromés et chaussées de pneumatiques blancs.
La référence 24B, commercialisée en boîte individuelle jaune illustrée, est , dans premier temps disponible en bleu et noir.
De nouvelles teintes, gris clair et jaune paille, font rapidement leur apparition pour le plus grand bonheur des collectionneurs."
(...)
Source: www.aquitaine33.com/dinky/403/403.htm
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Peugeot 403
From Wikipedia, the free encyclopedia
"The Peugeot 403 is a car produced by French automobile manufacturer Peugeot between May 1955 and October 1966.
A total of 1,214,121 of all types, including commercial models, were produced, making it the first Peugeot to break through the one million barrier."
"The 403 made its debut in saloon body style on 20 April 1955 at the Trocadéro Palace in Paris.
For several months before it was launched numerous 403s, their badges removed, were circulating on the local roads near the manufacturer's PSA Sochaux factory, (...)"
"Styled by Pininfarina, the 403 featured ponton, three-box styling incorporating, except on the most basic models, an opening roof panel.
The collaboration with Pininfarina marked the start of a partnership which would see the Italian designer producing designs for Peugeot, including those many mainstream volume models, for more than fifty years.
Regarding the 403 itself there were persistent rumours that the design was one originally intended for a replacement Fiat 1900 which had been rejected when Turin had decided to defer replacement of the Fiat for another four years.
Unusual in Europe at the time, but appreciated by customers, was the way that the rear doors opened wide - to a full 90 degrees. Also unusual were the windows in the rear doors that opened fully into the door frame to the point where they disappeared, (...)"
"Superseded by the Peugeot 404 in 1960, the 403 remained in production as a budget alternative until 1966."
(...)
Peugeot 403
Manufacturer
Peugeot SA
Production
1955–1966
1,014,111 cars
Assembly
France
Australia
Argentina
New Zealand (Motor Holdings)
Class
Large family car (D)
Body style
4-door sedan
5-door estate
2-door convertible (1956-1961)
2-door pickup
3-door van
Engine
1290 cc TM5 I4
1468 cc TN3 I4
1816 cc TMD85/XDP85 diesel I4
Successor
Peugeot 404
Convex Exercise IAEA - Hungary
The International Atomic Energy Agency (IAEA) and Hungary conducts a two-day exercise that started today 21st till the 22nd of June involving 82 Member States and 11 international organizations to test the global emergency response to a simulated accident at a nuclear power plant. IAEA Vienna, Austria.
Photo Credit: Dean Calma / IAEA
Convex Exercise IAEA - Hungary
The International Atomic Energy Agency (IAEA) and Hungary conducts a two-day exercise that started today 21st till the 22nd of June involving 82 Member States and 11 international organizations to test the global emergency response to a simulated accident at a nuclear power plant. IAEA Vienna, Austria.
Photo Credit: Dean Calma / IAEA
BODEGAS YSIOS. Finca de Carravacas. Laguardia. Rioja alavesa. Álava
Arquitecto: Santiago Calatrava: 1998-2001
Ysios evoca el mundo mágico de Ysis, la diosa egipcia que velaba por el cuidado del proceso de transformación de la uva en vino. La bodega se sitúa en la mejor zona de Laguardia (Rioja Alavesa) con la Sierra de Cantabría de fondo. Una gran escultura integrada entre viñedos, una delicada silueta alada que remonta el vuelo. Pensada, a través de una arquitectura singular tan en boga en la nuevas bodegas -que rivalizan en la contratación de arquitectos de prestigio para singularizar sus nuevas construcciones-, tanto para la mejora del proceso de elaboración del vino, como para hacerlo atractivo y servir de foco de captación de visitantes
Se conforma mediante dos muros portantes de hormigón armado, separados 26 metros, revestidos por lamas verticales de madera tratada con sales de cobre. Los muros, de planta sinusoidal y una longitud total de 196 metros, se rematan superiormente por dos líneas también sinusoidales, frontalmente desplazadas, que generan, para la cubierta, una superficie reglada ondulada a modo de sucesión de conoides, combinando superficies cóncavas y convexas, a lo largo del eje longitudinal. Calatrava adoptó la estrategia de dar un tratamiento volumétrico a todas las fachadas, cubierta incluida, - límites físicos del paisaje exterior y dentro de la bodega - de modo que la continuidad entre ambos espacios se logra a través del "movimiento estático" de los recintos. La cubierta está formada por vigas de madera laminada que apoyan sobre los muros laterales, y se acaba exterior en aluminio, contrastando con el tratamiento en madera del resto del edificio. La fachada principal, sur, es ciega, salvo en su cuerpo central, donde se sitúa el Centro de Visitantes, que presenta un singular mirador de madera tanto hacia el interior de la bodega como al exterior, sobre los viñedos y el pueblo de Laguardia al fondo. Está revestida con listones de cedro colocado horizontalmente, y se acompaña, a ras de suelo, de dos láminas de agua, forradas con azulejo de color blanco en trencadís, que reflejan los muros aparentando de grandes toneles. La fachada norte es de paneles prefabricados de hormigón con estrechas aberturas. Las fachadas laterales, por las que se accede al proceso lineal de producción, están chapadas en placas de aluminio
Funcionalmente el edificio se ajusta al proceso lineal de fabricación, envejecimiento y embotellado del vino, mediante un pabellón alargado en el que la uva entra por uno de los lados, pasa por distintos procesos de prensado, decantado, reposo y envejecimiento, y acaba en el embotellado y almacenaje, correspondiéndose la zona central, la más representativa, accesible visualmente desde el recinto destinado a Centro de Visitantes, con el envejecimiento en barricas de madera.
Convex Exercise IAEA - Hungary
The International Atomic Energy Agency (IAEA) and Hungary conducts a two-day exercise that started today 21st till the 22nd of June involving 82 Member States and 11 international organizations to test the global emergency response to a simulated accident at a nuclear power plant. IAEA Vienna, Austria.
Photo Credit: Dean Calma / IAEA
Convex Exercise IAEA - Hungary
The International Atomic Energy Agency (IAEA) and Hungary conducts a two-day exercise that started today 21st till the 22nd of June involving 82 Member States and 11 international organizations to test the global emergency response to a simulated accident at a nuclear power plant. IAEA Vienna, Austria.
Photo Credit: Dean Calma / IAEA
Convex Exercise IAEA - Hungary
The International Atomic Energy Agency (IAEA) and Hungary conducts a two-day exercise that started today 21st till the 22nd of June involving 82 Member States and 11 international organizations to test the global emergency response to a simulated accident at a nuclear power plant. IAEA Vienna, Austria.
Photo Credit: Dean Calma / IAEA