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Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our fourth class, they previewed what their city looks like when we bring all their futuristic homes together, then designed the city they envision for this project. They have chosen to create a floating city that they see as a vacation resort for rich old snobs, mutant sharks, human clones, robot maids and aliens.
This week, they kept refining their characters and wonderboxes with art supplies and everyday objects -- and many students added lights and motors to bring them to life. When they return from spring break, they will form teams to start building some of the public spaces they have in mind: a space elevator to the moon, a tropical beach and underwater scene.
Through this course, students are developing a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
View more photos of our Maker Art course at the Lycée:
www.flickr.com/photos/fabola/albums/72157662999871980
Here is our design plan for their City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
Learn more about our Maker Art courses:
(Nissan) Figaro (1991) Engine 987cc S4 Turbocharged Production 20,000
Registration number J 756 WAX (Caerdydd - Cardiff )
NISSAN ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
Built for the Japanese markets only, though popular in the UK and Ireland via personal import. introduced at the 1989 Tokyo Motor, Show under the slogan Back to the Future, designed by Shoji Takahashi the Figaro was and built by the Nissan special project group Pike, also responsible for the Be-1, Pao and S-Cargo.
Based on a Nissan Micra K10 and available in only four colours - Topaz Mist, Emerald Green, Pale Aqua and Lapis Grey, each representing a season of the year.
The Figaro was available with leather seats, air conditioning, CD player and an open roof.
Originally there was a limited production number of 8000 with an additional 12000 produced to meet demand .
The Figaro was sold without the Nissan name
Diolch am 84,804,642 o olygfeydd anhygoel, mae pob un yn 90cael ei werthfawrogi'n fawr.
Thanks for 84,804,642 amazing views, every one is greatly appreciated.
Shot 01.08-2021 exiting the Silverstone Festival 01.08.2021 Ref 149-340
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our fourth class, they previewed what their city looks like when we bring all their futuristic homes together, then designed the city they envision for this project. They have chosen to create a floating city that they see as a vacation resort for rich old snobs, mutant sharks, human clones, robot maids and aliens.
This week, they kept refining their characters and wonderboxes with art supplies and everyday objects -- and many students added lights and motors to bring them to life. When they return from spring break, they will form teams to start building some of the public spaces they have in mind: a space elevator to the moon, a tropical beach and underwater scene.
Through this course, students are developing a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
View more photos of our Maker Art course at the Lycée:
www.flickr.com/photos/fabola/albums/72157662999871980
Here is our design plan for their City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
Learn more about our Maker Art courses:
The financial success enjoyed by the Southern Railway during the 1930s was based on the completion of its London suburban electrification scheme in 1929 and the subsequent electrification of the main lines to Brighton and the Sussex Coast and to Guildford and Portsmouth. Despite electrification plans, the Southern Railway's less heavily used lines in the West Country beyond Salisbury did not merit the cost. Lines in Devon and Cornwall were meandering, heavily graded, and although with heavy summer holiday traffic were lightly used during the winter months. The seasonality of railway traffic meant that the West Country branches were worked by the ageing T9 class 4-4-0 and the versatile N class 2-6-0, which could be better utilised on mixed-traffic services elsewhere. As a result, an order was placed with Brighton railway works in April 1941 for twenty passenger locomotives of a type to be determined.
During 1943, Bulleid began planning for the post-war locomotive requirements of the railway and identified the need for a stop-gap steam locomotive design for those main lines in South East England scheduled for electrification, had the Second World War not taken place. Although the new Merchant Navy class was available for the heaviest Continental expresses, the resumption of frequent passenger services over poorly maintained infrastructure, following the war, would require a lighter locomotive with wider route availability.
At the same time, there would be a continuing need for fast freight locomotives, capable of operating on both electrified and non-electrified routes, without impeding the intensive use of the system by passenger trains. Suburban electrification used electric multiple units, which had no equivalent freight design. Although Bulleid built two prototype electric locomotives in 1941, these were, as yet, unproven, and freight haulage would be undertaken by steam traction for the foreseeable future.
Design
The detailed design work for the new mixed-traffic locomotives was undertaken at Brighton railway works where they were scheduled to be constructed. The earliest drawings were for a moderately sized 2-6-0 with similarities to the London and North Eastern Railway K4 class, which Bulleid had helped design for the West Highland Line when he was Nigel Gresley's assistant. However, such a design would have been inadequate for the Kent Coast lines, which required a powerful 2-6-2 or 4-6-0 class. It is not clear why the design was subsequently enlarged to become a smaller version of the Merchant Navy class 4-6-2 as the likely traffic requirement did not warrant such lavish provision, but the incorporation of components from that class enabled standardisation during wartime production difficulties.
Weight reduction and reduced loading gauge
In order to improve on the route availability of the Merchant Navy class with its 21-ton axle loading, the weight was reduced by 5 tons. This allowed the design to operate on routes where the Maunsell 2-6-0s were the largest permitted
and came mainly from several changes:
reduced overall length
smaller boiler
more fabricated assemblies
smaller tender (West Country only)
Also the cab was reduced in width and remodelled to comply with reduced loading gauge over some routes.
Bulleid's features
An almost solid disc (not spoked) locomotive wheel with a series of cast-in radial indentations and prominent round holes intended to reduce its weight.
The distinctive Bulleid Firth Brown wheels, seen here on 34072 257 Squadron
Based on the mechanical experience gained from the Merchant Navy locomotives, Bulleid incorporated his chain-driven valve gear into what became the new design. This now-infamous component was unique in British locomotive design. It gained notoriety because it was difficult to access when things went wrong and, in tandem with the fast-moving Bulleid steam reverser, could cause irregular valve movements. The entire system was in a sealed oil bath, another unique design, that provided constant lubrication to the moving parts.
The locomotive also carried a similar "air-smoothed" casing to the Merchant Navy class. This was not regarded as streamlining by Bulleid, a fact demonstrated by the flat front end. Authorities differ as to the purpose of the casing. According to Creer it was intended to be an aid in cleaning the locomotive with carriage washers to reduce labour requirements during the post-war period, whereas Bradley asserts that the intention was to lift the steam and exhaust gases away from the cab. As with the Merchant Navies, the class soon gained the nickname "Spam Cans", due to the resemblance to the distinctive tin cans in which "SPAM" was sold.
The smokebox was an integral part of the air-smoothed casing, being a sheet metal fabrication to the same profile as the firebox that acted as a former to maintain the shape of the casing. In between, the casing was supported by channel-section steel crinolines (strengtheners used to maintain the shape) attached to the frames. The smokebox housed the five-nozzle Lemaître blastpipe arranged in a circle within a large-diameter chimney.
As with the Merchant Navy class, electric lighting was provided on both locomotive and footplate, powered by a steam-powered generator below the footplate. The gauges were lit by ultra-violet light. This enabled clearer night-time vision of the boiler steam pressure gauge and the brake pipe vacuum pressure gauge whilst eliminating dazzle, making it easier for the crew to see signals along the track.Close attention was paid to the ergonomics of the cab, which was designed with the controls required for operation grouped according to the needs of both driver and fireman, thus promoting safe operation. As an aid to the fireman, a treadle used steam pressure to open the firehole doors, where the coal is shovelled into the firebox. The footplate was entirely enclosed, improving crew working conditions in winter. Other refinements and innovations used on the Merchant Navy class included steam-powered clasp brakes and the unusual 6 ft 2 in (1.88 m) Bulleid Firth Brown (BFB) wheels.
Frames, boiler, cylinders
Compared with the Merchant Navy class, shorter overall length led to shorter frames and reduced the wheelbase to 35 ft 6 in (10.820 m).
The boiler was also shorter and of smaller diameter at the smokebox end, but retaining the 280 psi (1.93 MPa) operating pressure.
The inner and outer Belpaire firebox was also smaller than the Merchant Navy class also constructed using welded steel.
The cylinders were smaller at 16.375 in × 24 in (416 mm × 610 mm).
Tender
34016 Bodmin taking water at Alton
Bulleid designed a reduced capacity tender based upon the Merchant Navy version. It could carry 4,500 imp gal (20,460 L; 5,400 US gal) water and 5.00 long tons (5.1 t) of coal on a six-wheel underframe. It retained the BFB wheels and streamlining panels, or "raves", that gave the top of the tender a similar cross-sectional outline to carriages. As with the Merchant Navy class, the water tank was of welded sheet construction to save weight, and the tender was fitted with vacuum braking equipment of a clasp-type similar to that on the locomotive. Four train-brake vacuum reservoirs of cylindrical construction were grouped on the tank top, behind the coal space.
Construction
For construction history of the class, see: List of SR West Country and Battle of Britain class locomotives
The first batch of twenty locomotives was ordered in April 1941, although the changes in design to the Light Pacific arrangement meant that production was delayed until late 1944. Due to wartime contract work at Brighton works, the boilers were built under contract at the North British Locomotive Company. Before the first of the class had been delivered, the order was increased to thirty, with a second batch of ten ordered in September 1944. Deliveries from Brighton works began in May 1945 with prototype No. 21C101 Exeter, and proceeded at the rate of about two locomotives per month. The class was gradually run in on the Central Section until October 1945, when they were successfully trialled on Plymouth and Kentish services. By the time the first fifteen had entered traffic a further order of fifteen was placed, with these entering service between June and October 1946. From this batch onwards, traction was improved by the addition of steam sanding to the front driving wheel, with covers added to protect the motion from sand falling from the filler pipes.
A third batch of twenty-five was ordered and designated the Battle of Britain class. These were identical to the West Country class and the new designation was purely concerned with giving the locomotives names that befitted their intended allocation to the Eastern Section. By the time of the nationalisation of British Railways in January 1948, seventy Light Pacifics had been built at Brighton Works, with a fourth batch of twenty on order. There was a delay in production during the first three months of British Railways control but the last twenty ordered by the Southern Railway entered traffic between April 1948 and February 1949.
In March 1949, British Railways ordered a final 20 from Brighton works despite a pressing need for smaller tank locomotives. This imbalance was rectified by building forty-one examples of the LMS Fairburn 2-6-4T for the Southern Region. Also at this time Brighton works staff were embroiled in the difficulties associated with Bulleid's experimental and problematic Leader class. As a result, Brighton sought assistance from the other Southern Region works to complete this final order. Ashford works cut the frames and constructed the tenders, and Eastleigh works constructed six of the final batch of locomotives.
34110 66 Squadron, the last of the class built, leaving Salisbury in 1963
The completion of the final locomotive, No. 34110 66 Squadron, in January 1951 was delayed for several months pending consideration of proposals from British Railways management for a major modification to a standard two-cylinder design without the chain-driven valve gear., but the locomotive entered service as Bulleid intended.
Subsequent modifications
The first six locomotives were initially fitted with plywood sheeting over the cab-side windows as a wartime material-saving measure, with No. 21C107 Wadebridge the first to receive glass windows. Two of the front route indicator irons (of which there are five) were originally located on the smoke deflectors, which meant that the indicator discs stood proud of the casing. This necessitated a trial relocation to the smokebox door at the three and nine o'clock positions on No. 21C109 Lyme Regis, and fitted as standard from No. 21C118 Axminster onwards. The batch constructed between June and October 1946 received a modified steam regulator and LMS-style parallel buffer casings.
As with the Merchant Navy class, they were fitted with a new design of cab front spectacle plates from mid–1947 due to poor forward visibility. The small windows on the front face of the cab were redesigned to an angled profile, giving improved visibility to the driver. This was a feature fitted to all Bulleid-designed locomotives post-nationalisation. They were introduced in Britain in 1934 with the Gresley-designed Cock o' the North. Over the next decade the revised design was fitted to existing members of the class. Another modification was the reduction of boiler pressure to 250 psi (1.72 MPa) to reduce maintenance costs.
The Southern Railway-built batches had a narrow 8 ft 6 in (2.591 m) footplate due to the width-restricted Hastings Line between Tonbridge and Hastings but these were never used on this duty and the cab was widened to 9 ft (2.743 m) on the British Railways batch. The tenders of Nos. 21C166–21C170 were fitted with TIA ("Traitement Integral Armand") chemical feed-water equipment that precipitated scale-forming constituents in the hard water of southern England into a non-adhesive mud that could be cleared using a manual "blow-down" valve. This equipment was retrospectively fitted to earlier members of the class. In 1948 the tender design was enlarged to provide a water capacity of 5,500-imperial-gallon (25,000 L; 6,610 US gal).
To ease maintenance and lubrication, panels of air-smoothed casing ahead of the cylinders were removed from 1952, and the front sanders were blanked off. This coincided with the removal of the tender "raves" on all but five locomotives, as they obstructed the packing of coal into the bunker and restricted the driver's view when reversing. The resultant "cut-down" tender included new, enclosed storage for fire-irons and glass spectacle plates to protect the crew from flying coal dust when running tender-first.
When the rebuilding programme (see below) was halted in 1961, further modifications were made to the unrebuilt locomotives. The most notable was on No. 34064 Fighter Command, which was fitted with a Giesl ejector in 1962 on the grounds that a desired spark arrestor would "suffocate" an ordinary blastpipe. Following some adjustment, the ejector improved smoke deflection and fuel consumption, allowing it to steam well with low-grade coal. As a consequence of the positive experience with No. 34064, preserved No. 34092 City of Wells was similarly fitted in the mid-1980s.
Numbering and naming the locomotives
See also: List of SR West Country and Battle of Britain class locomotives
Bulleid employed the same idiosyncratic numbering scheme that he had used for the Merchant Navy class, beginning at No. 21C101 and reaching No. 21C170 at the time of nationalisation. His scheme was abolished by British Railways, which renumbered existing these 34001-34070 and new locomotives 34071-34110.
A 'West Country' class enamelled metal nameplate and shield mounted on flat metal casing covering the locomotive boiler. The nameplate comprises a scroll, and below this is a shield containing a picture of a coat-of-arms. A second scroll is below the shield, allowing identification as a member of the 'West Country class'.
Nameplate configuration 1:
West Country (34007 Wadebridge)
The first 48 members of the class were named after places in the West Country served by its trains or close to its lines. This represented a publicity success due to many of the locomotives being able to visit their namesake areas. Many 'West Country' locomotives sported an additional plaque with the coat of arms of the town or region the locomotive was named after. This plaque was mounted on the casing between the gunmetal locomotive nameplate and the West Country Class scroll, above the middle driving wheel. Several members of the class had only the nameplate and the "West Country Class" scroll, a gap being left where a crest would have been mounted. The background of the nameplate was usually painted red, though sometimes examples could be found in black if the locomotive works undertaking overhaul of the engine could not locate the correct colour paint.
A 'Battle of Britain' class enamelled metal nameplate and crest mounted on flat metal casing covering the locomotive boiler. The nameplate forms a representation of aircraft wings, with a small rectangle attached to the middle-lower edge allowing identification as a member of the 'Battle of Briain' class. Below this is an oval-shaped plate with a crest.
Nameplate configuration 2:
Battle of Britain (34081 92 Squadron)
Once it became clear that the locomotives would be used further afield than the West Country, a decision was made to name the remainder after RAF squadrons, airfields, commanders and aircraft that had participated in the Battle of Britain over Kent, Surrey and Sussex. 'Battle of Britain' nameplates incorporated the name of the locomotive with the class name below, in a design that resembled the wings of an aircraft. This was painted Air Force blue, though other colours were sometimes substituted for the same reasons as above. An enamelled crest of the aircraft, personality or squadron was placed below the nameplate, in the same position as the West Country class equivalent.
The first locomotives constructed by British Railways were of the Battle of Britain class, but the naming policy reverted to the West Country for Nos. 34091–34108. The final two locomotives were Battle of Britain class, No. 34109 Sir Trafford Leigh-Mallory and No. 34110 66 Squadron. The result of the delay in completing was that the squadron crest for 66 Squadron was never made, as the manufacturer had retired during the intervening period. Thus 66 Squadron was the only Battle of Britain class member not to have a crest.
Operational details
The original intention was to base the first batch of locomotives at Exmouth Junction depot at Exeter for use on the West of England Main Line to Salisbury and Plymouth, and secondary lines to Barnstaple, Bude and other holiday resorts in Devon and Cornwall. By the winter of 1945, there was a more pressing need for them on Kent Coast services. The class also began to be used on Continental Boat Trains to and from Dover and Folkestone once these were resumed in 1946. Later batches were used on cross-country services such as the Brighton to Bournemouth, Cardiff and Plymouth trains or the Somerset and Dorset Joint Railway trains from Bournemouth to Wells and Bath.
Because of the good route availability the locomotives could be used on non-electrified lines between London and Brighton. These included the Oxted Line, and occasionally the Bluebell Line between East Grinstead and Lewes, where they were also used for freight and parcels traffic, and excursion trains over electrified lines. Thus the original intention for the West Country class locomotives to work in South West England and the Battle of Britain class in Kent, Hampshire, Sussex and Surrey was never operationally practical and both classes were to be found all over the network. The most important journey undertaken by a member of the class occurred on 30 January 1965, when No.34051 Winston Churchill hauled the funeral train of its namesake from Waterloo station to his final resting place, close to Blenheim Palace in Oxfordshire.
Performance of the unrebuilt locomotives
34067 Tangmere working a Poole-Cardiff charter train west of Bath on 11 June 2011
As with the Merchant Navy class, they could generate great power using mediocre quality fuel, due largely to Bulleid's excellent boiler. They also ran smoothly at high speed, but they were also beset with the same technical problems of their larger sisters. These may be summarised as follows:
Adhesion problems. The lighter loading on their driving axles meant that they were even more prone to wheelslip than the Merchant Navy class, requiring very careful control when starting a heavy train. Once underway they were noted for their free running, excellent steam production and rapid turn of speed.
Maintenance problems. The chain-driven valve gear proved to be expensive to maintain and subject to rapid wear. Leaks from the oil bath onto the wheels caused oil to splash onto the boiler lagging. Once saturated with oil, the lagging attracted coal dust and ash, which provided combustible material, and sparks from heavy braking would set the lagging on fire underneath the air-smoothed casing. The fires were also attributed to oil overflowing from axlebox lubricators onto the wheels when stationary, to be flung upwards into the boiler lagging in service. In either case, the local fire brigade would be called to put the fire out, with cold water coming into contact with the hot boiler causing stress to the casings. Many photographs show an un-rebuilt locomotive with warped casings, the result of a lagging fire.
High fuel consumption. This was highlighted during the 1948 locomotive exchanges undertaken by British Railways, and very apparent at Exmouth Junction shed where the Light Pacifics burned 47.9 lb (21.73 kg) of coal per mile (13.5 kg/km) compared to 32 lb (14.51 kg) (9.02 kg/km) for the T9 class that they replaced.
Restricted driver visibility due to the air-smoothed casing and soft steam exhaust from the multiple-jet blastpipe. The exhaust problem was never adequately resolved, and smoke continued to beat down onto the casing while moving, obscuring the driver's vision. There was much experimentation in order to resolve this problem, with varying degrees of success, and photographic evidence shows the many guises of this project
en.wikipedia.org/wiki/SR_West_Country_and_Battle_of_Brita...
A New Vision for the Future
Making its debut at the 2017 Geneva International Motor Show, the EXP 12 Speed 6e concept represents a bold statement on the future of electric cars – and of luxury mobility.
Designed to transform the EV sector in both concept and execution, the EXP 12 Speed 6e fuses the unrivalled hand craftsmanship for which Bentley is famous, with electric performance, heart-stopping design and the range of a true grand tourer.
The EXP 12 Speed 6e is a statement of Bentley’s intention to create the world’s first true luxury electric sports car – and an overt invitation for the public to feed back on Bentley’s vision for the road ahead.
Exterior Design
The EXP 12 Speed 6e is not just an opportunity to envision an electric Bentley. It represents the future of Bentley design, both inside and out.
The exterior body shell is a sleek expression of sports car design, inspired by contemporary architecture, aircraft fuselages and the geometry of the natural world.
A natural evolution of Bentley’s design DNA, it takes the marque’s trademark muscular haunch and powerline to exhilarating new heights. The short front overhang, long bonnet and wide, planted rear aspect all contribute to an unmistakable sense of speed, while the iconic matrix grille features an exquisite smoked stainless steel finish. Contrasting copper highlights offer subtle acknowledgement of the car’s status as a fully electric vehicle, while an illuminated ‘6’ logo can be seen through the grille.
Throughout the car, form coexists with function to support a more sustainable future. The twin bonnet scoops, for example, double as heat sinks, keeping down the temperature of the car’s batteries and drivetrain, without the need for additional cooling technology.
Interior Design
Bentley’s future is one of innovative materials as well as inventive technology. The entire central tunnel, for example, is hewn from a solid piece of glass, encompassing a high-definition OLED curved display. All principle onboard controls are accessible from here, including navigation, entertainment and climate control.
Just as they do on the outside of the car, copper details provide visual interest throughout the cabin, adorning the gear selector and Bentley Dynamic Drive dial control. Even the veneer panels inside the doors feature copper accents, drawing the eye to the handcrafted, natural wood finish.
Tomorrow’s luxury customers will expect intuitive technology and traditional craftsmanship to be integrated seamlessly – a demand that has dictated much of the car’s groundbreaking design. The wing mirrors dispense with the usual reflective glass in favour of cameras, feeding visual input directly to the dash. It’s one more example of Bentley’s future design direction – and the company’s ongoing commitment to exceeding customer expectations in everything it does.
Electric Performance
Luxury is only one side of the Bentley equation. That’s why the EXP 12 Speed 6e has been conceived as more than just a showcase of design and craftsmanship. It is an entirely new format for both urban and open-road driving.
Electric power provides an opportunity to exceed the performance limits of cars built on the conventional combustion engine. From a standing start, electric motors deliver phenomenal levels of torque, which translates into heart-stopping acceleration.
In order to deliver a true grand touring experience, the EXP 12 Speed 6e would be built with the capacity to drive from London to Paris or Milan to Monaco on a single charge. This impressive range would be supported by fast recharging, thanks to inductive technology.
New Technology, New Thinking
Not all new concept cars are truly innovative. The EXP 12 Speed 6e is about much more than a car, however. It represents a first step on a journey that will change the way today’s drivers think about mobility and what it can be. From rapid charging and fast acceleration to a world of connected lifestyle services, where onboard concierge software responds to complex voice input, the world of luxury transport is set to change immeasurably.
For Bentley’s design team, this means looking beyond the horizon, to a day when drivers become passengers and car ownership gives way to transport as a service. The car of the future will be more luxurious, more sustainable and more autonomous than ever before.
87th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2017
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our fourth class, they previewed what their city looks like when we bring all their futuristic homes together, then designed the city they envision for this project. They have chosen to create a floating city that they see as a vacation resort for rich old snobs, mutant sharks, human clones, robot maids and aliens.
This week, they kept refining their characters and wonderboxes with art supplies and everyday objects -- and many students added lights and motors to bring them to life. When they return from spring break, they will form teams to start building some of the public spaces they have in mind: a space elevator to the moon, a tropical beach and underwater scene.
Through this course, students are developing a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
View more photos of our Maker Art course at the Lycée:
www.flickr.com/photos/fabola/albums/72157662999871980
Here is our design plan for their City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
Learn more about our Maker Art courses:
Jaguar C-X75 (2010)
JAGUAR SET
www.flickr.com/photos/45676495@N05/sets/72157623671588245...
Jaguar C-X75 is a hybrid-electric, two-seat, concept car from Jaguar which debuted at the 2010 Paris Motor Show. The C-X75 concept produces 778 horsepower through four electric motors, each of which drives one of the four wheels. The batteries driving these motors are recharged using two diesel-fed micro gas turbines instead of a conventional four-stroke engine. It is described as an ideas model that will influence future design and technology
Jaguar announced in May 2011 intentions of building a limited production of C-X75's from 2013 to 2015, with a downsized boosted petrol engine instead of the micro gas turbines in the concept model. The plug-in hybrid supercar price was estimated between GB£700,000 - GB£900,000 depending on local markets differing taxations. A maximum of 250 cars were planned to be built in partnership with Formula One team Williams F1. The production version was expected to have an all-electric range of 50 km.
] In December 2012 the carmaker announced the cancellation of production due to the ongoing global economic crisis, saying that now was not the time to launch an £ 800,000 Supercar.
Jaguar announced its decision to continue working on five prototypes to be developed until May 2013. Up to three of these will then be sold at auction, while one will go into a future Jaguar museum, and the other will be kept by Jaguar for running demonstrations
Shot at the Goodwood Festival of Speed 30:06:2012 Ref: 87-219
I want to build in purple more. This was a very fun MOC to put together! I think this needs more purple, but I can amend that on a future design.
The front look is especially satisfying. The wings at the back are fun, and overall this is one of the most fun car MOCs I've ever built.
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our fifth class, we previewed what their city might look like based on their designs, which we composited together into a final model. They have chosen to create a floating city that they see as a vacation resort for rich old snobs, mutant sharks, human clones, robot maids and aliens.
This week, we started working on public spaces for their city: underwater cove, sandy beach, skyscrapers and the space elevator. Students formed teams to design each space, and prepared for next week’s construction. Then they kept improving their characters and wonderboxes with more color, light and motion.
Through this course, students are developing a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
View more photos of our Maker Art course at the Lycée:
www.flickr.com/photos/fabola/albums/72157662999871980
Here is our design plan for their City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
Learn more about our Maker Art courses:
The Aston Martin DB10 is a bespoke grand tourer specially developed for the James Bond film Spectre by the British luxury car manufacturer Aston Martin.
The car was unveiled by Sam Mendes and Barbara Broccoli, the director and producer of Spectre respectively, the 24th James Bond film produced by Eon Productions. The unveiling took place as part of the official press launch of the film on the 007 Stage at Pinewood Studios, near London, on 4 December 2014.
The design of the DB10 was led by Aston Martin's chief creative officer Marek Reichman, with the film's director Mendes working closely with the team. Original concept and sketch by Sam Holgate, a 30-year-old man from Foston whose design the DB10 was based upon. Only 10 units were hand-built in-house by the company's design and engineering teams in Gaydon. Eight of those 10 cars were featured in the movie, and two more were built for promotional purposes. Aston Martin stated that "the DB10 gives a glimpse to the future design direction for the next generation of Aston Martins." It was later revealed that the DB10 was based on the newly introduced V8 Vantage that made its debut in 2017 and had a modified design so that the design of the new Vantage didn't come to public notice while the car was in development.
As of December 2014, Aston Martin had released few of the technical details of the car, the DB10 used the company's 6-speed manual transmission unit that is used on their V8-engined cars. The car's chassis is based on a modified version of the VH Generation II platform that underpins the V8 Vantage. However the DB10 has a longer wheelbase and is nearly as wide as the One-77. It is powered by the same 4.7-litre AJ37 V8 engine found in the V8 Vantage S, which has a power output of 436 PS (321 kW; 430 hp) and 490 N⋅m (361 lb⋅ft) of torque. The DB10 can accelerate from 0 to 100 km/h (62 mph) in 4.3 seconds and has a top speed of 310 km/h (193 mph).
Being October, which had always been the LUGNuts anniversary month, this James Bond Aston Martin DB10 has been built to the 5th challenge theme 'Heros and Villians'.
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years. They are creating a floating city that is partly underwater, partly above water. It will be a vacation resort for rich people, with luxurious cruises and entertainment.
In our fourth class, children created some of the first inhabitants of their city, including alien visitors, mutant sharks, rich old snobs and robot maids. They designed their characters, made bodies and stands, then decorated them. Some added a motor to make their characters move, turning them on and off with a switch. And they learned to use glue guns to art up their creations.
Students are making good progress with their city, as shown in this photo set. (Note that children photos are kept private until we get permission from their parents to share them here.)
Through this course, students will develop a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
View more photos of the City of the Future:
www.flickr.com/photos/fabola/albums/72157664935502899
Here is our design plan for the City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our Maker Art courses:
What characteristics define a car from the 1950's US to that of a car from the 1960's?
Even a casual observer could probably create a good definition, even though they may not be able to pinpoint the year(s) in which the changes occurred.
Fins, chrome, multi-tone paint, dogleg windscreens, (more chrome). As a body progression, the form went from bathtub to winged rockets bearing a large, chrome ladden nose.
New to the 60's saw the elimination of almost all these forms.
No clearer was the demarcation of this change, than for the 1960 Ford Galaxie, replacing the 1959 Ford (for which a trim level 'Galaxie' had first been introduced).
A similar 'form' change had occured at GM the year before, and created the 'batwing' 1959 Chevrolet Impala, and the iconic 1959 Cadillac, with its rocket-pod fins. The GM 'language' still contained much of the 1950's lexicon, however. The 1960 Ford though, adopted the new form, and dressed it it 1960's era subtlety. Low set, quad-headlamps, discrete mini-batwing fins (one last vestige lost the following year), a graceful, arcing chrome trim, delineating the topside of the bodyside form, large, glassed cabin windows, and a new cigar-profile overall form. A similar level of graceful, simplistic form was seen on the folowing year, 1961, Thunderbird and Lincoln - both to become future design classics.
But you saw it first on the 1960 Galaxie.
It only lasted one year in this precise form though. In 1961, the Galaxie adopted a more conservative form still, which more accurately set the template for a standard form during the 1960's. There could be reasons for this; the 1961 sedan was less cohesive, and the level of change may have been considered to be just a little to radical. Perhaps the success of the prosaic Falcon signalled a more conservative path was to be chosen. The GM products had suffered the same fate, 1959 had been a one-year wonder, and the following year's models had become more boxed and less interesting.
The 1960 Ford was seen in its loveliest form in the two bodystyles that exuded the greatest amount of glamour - the convertible and the 2-door hardtop. For these two models, Ford assigned the special nameplates (used also in the 1950's) - Sunliner and Starliner. Though members of the common 'Galaxie' family, which also included Fairlane and Custom trims, the two glamour cars are still predominently recognised by their unique nameplates.
The car that exhibited the greatest change in form was the new Starliner. This model adopted a large wrap-around rear screen, graced by sweeping C-pillars (again, like a Hardtop 1959 Chevrolet). The pillars featured an array of stars down its arc. One benefit of the design was the aerodynamic profile for stock-car racing (NASCAR), and many Starliners were purchased with racing in mind.
The Sunliner was perhaps a more obvious definition, an open-top two-door convertible - a 'popluar' style, even if sales were not strong. The remaining flamboyance of the 1960 Ford sitting well with the glamorous convertible style.
Presented here are the two forms, Starliner and Sunliners, in Lego form designed for Flickr LUGNuts 62nd Build Challenge, - 'Space is the Place', - celebrating vehicles with Space related names. In this case, the 'Galaxie' nameplate for the entire full-size Ford lineup, and the two 'Starliner' and 'Sunliner' model designations.
What characteristics define a car from the 1950's US to that of a car from the 1960's?
Even a casual observer could probably create a good definition, even though they may not be able to pinpoint the year(s) in which the changes occurred.
Fins, chrome, multi-tone paint, dogleg windscreens, (more chrome). As a body progression, the form went from bathtub to winged rockets bearing a large, chrome ladden nose.
New to the 60's saw the elimination of almost all these forms.
No clearer was the demarcation of this change, than for the 1960 Ford Galaxie, replacing the 1959 Ford (for which a trim level 'Galaxie' had first been introduced).
A similar 'form' change had occured at GM the year before, and created the 'batwing' 1959 Chevrolet Impala, and the iconic 1959 Cadillac, with its rocket-pod fins. The GM 'language' still contained much of the 1950's lexicon, however. The 1960 Ford though, adopted the new form, and dressed it it 1960's era subtlety. Low set, quad-headlamps, discrete mini-batwing fins (one last vestige lost the following year), a graceful, arcing chrome trim, delineating the topside of the bodyside form, large, glassed cabin windows, and a new cigar-profile overall form. A similar level of graceful, simplistic form was seen on the folowing year, 1961, Thunderbird and Lincoln - both to become future design classics.
But you saw it first on the 1960 Galaxie.
It only lasted one year in this precise form though. In 1961, the Galaxie adopted a more conservative form still, which more accurately set the template for a standard form during the 1960's. There could be reasons for this; the 1961 sedan was less cohesive, and the level of change may have been considered to be just a little to radical. Perhaps the success of the prosaic Falcon signalled a more conservative path was to be chosen. The GM products had suffered the same fate, 1959 had been a one-year wonder, and the following year's models had become more boxed and less interesting.
The 1960 Ford was seen in its loveliest form in the two bodystyles that exuded the greatest amount of glamour - the convertible and the 2-door hardtop. For these two models, Ford assigned the special nameplates (used also in the 1950's) - Sunliner and Starliner. Though members of the common 'Galaxie' family, which also included Fairlane and Custom trims, the two glamour cars are still predominently recognised by their unique nameplates.
The car that exhibited the greatest change in form was the new Starliner. This model adopted a large wrap-around rear screen, graced by sweeping C-pillars (again, like a Hardtop 1959 Chevrolet). The pillars featured an array of stars down its arc. One benefit of the design was the aerodynamic profile for stock-car racing (NASCAR), and many Starliners were purchased with racing in mind.
The Sunliner was perhaps a more obvious definition, an open-top two-door convertible - a 'popluar' style, even if sales were not strong. The remaining flamboyance of the 1960 Ford sitting well with the glamorous convertible style.
Presented here are the two forms, Starliner and Sunliners, in Lego form designed for Flickr LUGNuts 62nd Build Challenge, - 'Space is the Place', - celebrating vehicles with Space related names. In this case, the 'Galaxie' nameplate for the entire full-size Ford lineup, and the two 'Starliner' and 'Sunliner' model designations.
What will San Francisco look like in 100 years? That was the question that 8 teams competed to answer in The History Channel's City of the Future design competition. This year's cities included San Francisco, Washington DC, and Atlanta (last year's were NYC, Los Angeles, and Chicago).
Faculty from the California College of the Arts were involved in five out of the eight architectural teams competing to design the futuristic San Francisco. IwamotoScott Architecture, a firm co-owned by CCA's Craig Scott won the San Francisco competition with their Hydro-Net design.
The teams had 1 week to envision what their city would look like in 100 years, 3 hours to build the design, and 15 minutes to present their vision to a panel of judges.
All eight of the futuristic San Francisco designs were on display this past week at CCA. More details here.
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our third class, children developed their own futuristic home with a cardboard ‘wonderbox’, wrapping paper, art supplies and everyday objects. Next class, they will create characters for their boxes -- and bring them to life with lights, sounds and motion.
The class wants to build a floating city that is partly underwater, partly above water. It will be a vacation resort for rich people, with luxurious cruises and entertainment. Inhabitants will include old rich snobs, mutant sharks, human clones, robot maids, green aliens and magic dolphins.
Students made good progress decorating their boxes, as shown in this photo set. (Note that children photos are kept private until we get permission from their parents to share them here.)
Through this course, students will develop a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
View more photos of the City of the Future:
www.flickr.com/photos/fabola/albums/72157664935502899
Here is our design plan for the City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our Maker Art courses:
6 Intersecting Irregular Hyperboloidal Dodecahedra 196 units
3-fold view.
I have long thought that the 6-compounds which have been discovered in the past (6 Irregular Tetrahedra, 6 Irregular Cubes, 6 Irregular Octahedra, etc.) could be extended to larger shapes. I rendered this compound on POV-ray a month or two back and finally got around to folding it. Models like this require a considerable amount of prep work, since all of the paper proportions and pocket angles are approximated on the basis of calculations. The dodecahedral faces consist of three different types of extremely irregular hyperboloidal pentagons. Three pairs of two dodecahedra have modelled intersections at the center of opposite 4-fold axes, but unlike some of the compounds of 6 irregular cubes I have folded previously, the 3 sets of 2 frames do not share any modelled intersections with each other. The interior edges have some very wide (and hence somewhat weaker) pocket angles, but the tension imposed by the exterior units holds the interior edges very rigidly in place. I really appreciate the 4-sided pseudo-axes that appear on all four sides of each actual 4-fold axis.
I remember when I first folded Daniel Kwan’s 6 Irregular Dodecahedra (with dodecahedral symmetry).I always loved its structure and irregularity, and hoped that I could design another compound of exactly 6 Irregular Dodecahedra at some point in the future.
Designed by me.
Folded out of copy paper. (9 different paper proportions.)
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our fifth class, we previewed what their city might look like based on their designs, which we composited together into a final model. They have chosen to create a floating city that they see as a vacation resort for rich old snobs, mutant sharks, human clones, robot maids and aliens.
This week, we started working on public spaces for their city: underwater cove, sandy beach, skyscrapers and the space elevator. Students formed teams to design each space, and prepared for next week’s construction. Then they kept improving their characters and wonderboxes with more color, light and motion.
Through this course, students are developing a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
View more photos of our Maker Art course at the Lycée:
www.flickr.com/photos/fabola/albums/72157662999871980
Here is our design plan for their City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
Learn more about our Maker Art courses:
#models #created by #me #fashion #couture #drawing #sketch #tissue #drawings #men #modèles #créés par #moi #mode #hautecouture #dessin #croquis #tissus #dessins #hommes #création #creation #MichaelJackson #mj #concept #futur #future #design #badguy
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danielrieu: #25062009
Scientists track electrochemical reactions in cutting-edge battery materials in real time using "in-operando" synchrotron techniques at Brookhaven's National Synchrotron Light Source II. This work reveals important clues for the future design and development of more powerful, longer-lasting lithium-ion batteries. Read more...
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our fourth class, they previewed what their city looks like when we bring all their futuristic homes together, then designed the city they envision for this project. They have chosen to create a floating city that they see as a vacation resort for rich old snobs, mutant sharks, human clones, robot maids and aliens.
This week, they kept refining their characters and wonderboxes with art supplies and everyday objects -- and many students added lights and motors to bring them to life. When they return from spring break, they will form teams to start building some of the public spaces they have in mind: a space elevator to the moon, a tropical beach and underwater scene.
Through this course, students are developing a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
View more photos of our Maker Art course at the Lycée:
www.flickr.com/photos/fabola/albums/72157662999871980
Here is our design plan for their City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
Learn more about our Maker Art courses:
The resource of water is taken for granted by many of us. It is still possible for you to run into problems if there is an unforeseen best water storage container shortage.
Your water storage container will ensure that this will not be an issue in the future. Designed to preserve water so it remains fresh and drinkable, these containers need not be disposed of.
Therefore, we will review a few of the most popular water storage containers available today, so that we can find you the one that is perfect for you...
From what was originally two very poor wardrobe spaces serving two adjacent bedrooms, a compact ensuite bathroom has been created. Although the floor plan was extended slightly in to the 2nd bedroom, impact was minimal and the planned replacement wardrobes still leave a good sized room for a double bed and a feature desk area, which was incorporated in to the reclaimed brick additions.
The brief was for an ensuite bathroom that would be suitable for use by all age groups, particularly bathing young children. The automated systems are simple to learn and operate and can be set up so that the maximum water temperature will never get to a scald point. Clean lines, clutter free but with spaces to place wash bags to hand, was essential. The choice of materials and method of installation must give many years of trouble-free service whilst maintaining style and quality of finish.
The use of a square 'P bath' to give a decent shower option was enhanced by reversing the conventional layout and keeping the flat side of the bath on the outer side. This made way for the ledge feature that grows out of the basin plinth.
This was a requirement to enable the fitting of the Aqualisa digital bath filler control unit and associated handshower/selector valve as the broad ledge of the bath is now on the 'wrong' side (The narrow side being too small to accept taps etc).
I prefer the look this creates, with good proportions and pleasing geometry, plus it makes for ready access for any valve servicing in the future.
Design - my own
Tiles - Honed & Filled Travertine - Premier Stone - Topps Tiles
Tanking membrane - Homelux - Topps Tiles
Underloor heating and mirror heater - Warmup - Topps Tiles
Bath and Bathscreen - B&Q
Basin, Tapset, WC and Mirror - The Bath Store
Digital Bath and Shower systems - Aqualisa HiQu
Shower Head and Square Feed Arm - Bristan
Selector Valve and Handshower - Sagittarius Blade - www.chrome-tapshower.co.uk
Lighting - B&Q
Mirror Lighting -
IP rated PIR - Danlers
LED Rope Light - TLC-Direct
Plumbing - JG Speedfit - Screwfix
Drains - The Plumb Centre
ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA 2021: NEWS FROM ROME - Update: "Right Said Fred / I am Too Virgi!" (2021). New Cat Fight between Italian Senator Margherita Corrado and Mayor Virginia Raggi over the design plans for the New Cat Walk in the Archaeological Ruins of the Largo Argentina. Senator Margherita Corrado & Mayor Virginia Raggi / Facebook (14-15 April 2021). wp.me/pbMWvy-1lK
Foto: Muppet the Cat & the Cats in the Torre Argentina Cat Sanctuary in Rome (2021).
www.flickr.com/photos/imperial_fora_of_rome/51116613367
On 14, April 2021, the Mayor of Rome briefly outlined the ongoing progress for the visitors to access the ruins of the Area Sacra di Largo Argentina in Rome (see below: V. Raggi / Fb [04/2001]). The site is also the home to many cats cared for by the dedicated volunteers of the Torre Argentina Cat Sanctuary. As the picture here shows, the sight at night will be illuminated in bright multi-colored lights along the catwalk pathways among the ruins. Likewise, on the following day (15 Apr. 2021), Italian Senator Margherita Corrado, commented on the new plans by Mayor Raggi for the archaeological site, referring to its future design plans as being tacky American tourists [my emphasis] Las Vegas style venue (see below: M. Corrado / Fb [04/2021]).
1). ROMA - "A quando l'ologramma di Giulio Cesare che esala l'ultimo respiro pugnalato dai congiurati?! E' ora di finirla con il simil-Las Vegas nelle aree archeologiche." Senator Margherita Corrado / Facebook (15 April 2021).
www.facebook.com/Margherita-Corrado-169047813727232/?ref=...
Foto: Mayor Virginia Raggi / Facebook (14 April 2021).
www.flickr.com/photos/imperial_fora_of_rome/51117163931
2). ROMA - "Immaginate un viaggio nel tempo: è esattamente l’effetto che farà il percorso dedicato ai visitatori dell’Area Sacra di Largo Argentina!" Mayor Virginia Raggi / Facebook (14 April 2021).
www.facebook.com/virginia.raggi.m5sroma
In many ways, Italian Senator Margherita Corrado as well any Roman, Italian & international reader who values the ruins Area Sacra di Largo Argentina / Torre Argentina Cat Sanctuary in Rome, might see Mayor Raggi & the City of Rome's future design plans as questionable? But in reality after following the progress / or the lack of progress (i.e., June 2016 to the present) of Mayor Raggi & the City of Rome's administration of Rome's local archaeological and museum sites. Personally, I don't think Mayor Raggi has the slightest idea of what archaeological or museum projects are being conducted throughout the historic center of Rome. But, to be fair it is difficult for her as the Mayor of Rome to follow the progress of any archaeological / museum etc., when considering the overwhelming & useless immense volume of paperwork the Sovrintendenza Capitolina ai Beni Culturali and Zetema srl produces for each project in Rome, notably the official design plans for Area Sacra di Largo Argentina is probably 500 pages or more of nonsense (in countless PDF's); and you would need an Italian attorney to read them and understand the redundant details. But, wait, then again Mayor Raggi, is a certified lawyer by profession.
Likewise, now that Mayor Raggi and the recently appointed Ms. Lorenza Fruci, the town-council of Rome's member as the director of Cultural heritage (i.e., whose [very limited] professional skills are that of an "Expert of Italian Burlesque"). Maybe Mayor Raggi and Ms. Lorenza Fruci will in the future hold Las Vegas style / Burlesque-like shows on the brightly multi-colored catwalk. This way Ms. Lorenza Fruci, can show what talents she has to really offer to Rome as an Italian Burlesque expert / possible dancer; but more it important, maybe Mayor Raggi and Ms. Fruci walking / dancing along the new catwalk might bring greatly needed funding for the Torre Argentina Cat Sanctuary?
With this in mind, in honor of Mayor Raggi's and Ms. Fruci's design plans for the new Area Sacra di Largo Argentina new catwalk (i.e., for Mayor Raggi and Ms. Fruci walking / dancing along the new catwalk), it would be a perfect setting to add new music for their future showing.
Mayor Virginia Raggi in Rome, is commonly affectionately referred to as 'Virgi'. So if you take the now famous song: Right Said Fred, "I am Too Sexy” (1991) / on You-Tube Video (2021) and replacing the words "Sexy" with "Virgi"and "Model" with "Mayor", it fits perfectly in the original lyrics of the song as cited here below, now revised as: Right Said Fred, "I am Too Virgi"(2021). Enjoy, need a good laugh!
Thanks Martin and Muppet (15 April, 2021).
Remember, the Torre Argentina Cat Sanctuary in Rome, always needs your help caring for the cats!
Foto: Muppet the Cat & the Cats in the Torre Argentina Cat Sanctuary in Rome (2021).
www.flickr.com/photos/imperial_fora_of_rome/51116917199
New Lyrics for:
Right Said Fred, "I am Too Sexy "(1991).
Now:
Right Said Fred, "I am Too Virgi"(2021).
www.youtube.com/watch?v=P5mtclwloEQ
[Intro]
I'm too Virgi for my Rome
Too Virgi for my Rome
Rome's going to leave me
[Verse 1]
I'm too Virgi for my shirt
Too Virgi for my shirt
So Virgi it hurts
And I'm too sexy for Milan
Too Virgi for Milan
New York, and Japan
And I'm too Virgi for your party
Too Virgi for your party
No way I'm filling pot holes
[Chorus 1]
I'm a Mayor, you know what I mean
And I do my little turn on the catwalk
Yeah, on the catwalk, on the catwalk, yeah
I do my little turn on the catwalk
[Verse 2]
I'm too Virgi for my car
Too Virgi for my car
Too Virgi by far
And I'm too Virgi for my hat
Too Virgi for my hat
What ya think about that?
[Chorus 2]
I'm a Mayor, you know what I mean
And I do my little turn on the catwalk
Yeah, on the catwalk, on the catwalk, yeah
I shake my little tush on the catwalk
[Bridge]
Too Virgi for my
Too Virgi for my
Too Virgi for my
Cut!
[Chorus 2]
I'm a Mayor, you know what I mean
And I do my little turn on the catwalk
Yeah, on the catwalk, yeah, on the catwalk, yeah
I shake my little tush on the catwalk
[Verse 3]
I'm too Virgi for my cat
Too Virgi for my cat
Poor pussy, poor pussy cat
I'm too Virgi for my Rome
Too Virgi for my Rome
Rome going to leave me
And I'm too Virgi for this song
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our fourth class, they previewed what their city looks like when we bring all their futuristic homes together, then designed the city they envision for this project. They have chosen to create a floating city that they see as a vacation resort for rich old snobs, mutant sharks, human clones, robot maids and aliens.
This week, they kept refining their characters and wonderboxes with art supplies and everyday objects -- and many students added lights and motors to bring them to life. When they return from spring break, they will form teams to start building some of the public spaces they have in mind: a space elevator to the moon, a tropical beach and underwater scene.
Through this course, students are developing a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
View more photos of our Maker Art course at the Lycée:
www.flickr.com/photos/fabola/albums/72157662999871980
Here is our design plan for their City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
Learn more about our Maker Art courses:
6 Intersecting Irregular Hyperboloidal Dodecahedra 196 units
2-fold view.
I have long thought that the 6-compounds which have been discovered in the past (6 Irregular Tetrahedra, 6 Irregular Cubes, 6 Irregular Octahedra, etc.) could be extended to larger shapes. I rendered this compound on POV-ray a month or two back and finally got around to folding it. Models like this require a considerable amount of prep work, since all of the paper proportions and pocket angles are approximated on the basis of calculations. The dodecahedral faces consist of three different types of extremely irregular hyperboloidal pentagons. Three pairs of two dodecahedra have modelled intersections at the center of opposite 4-fold axes, but unlike some of the compounds of 6 irregular cubes I have folded previously, the 3 sets of 2 frames do not share any modelled intersections with each other. The interior edges have some very wide (and hence somewhat weaker) pocket angles, but the tension imposed by the exterior units holds the interior edges very rigidly in place. I really appreciate the 4-sided pseudo-axes that appear on all four sides of each actual 4-fold axis.
I remember when I first folded Daniel Kwan’s 6 Irregular Dodecahedra (with dodecahedral symmetry).I always loved its structure and irregularity, and hoped that I could design another compound of exactly 6 Irregular Dodecahedra at some point in the future.
Designed by me.
Folded out of copy paper. (9 different paper proportions.)
Charles Black (left), director of Brookhaven Lab's Center for Functional Nanomaterials (CFN), and Andreas Liapis (right), a former CFN postdoc and current research fellow at Massachusetts General Hospital's Wellman Center for Photomedicine, are co-developers of invisible glass. The nanotexturing technique that the scientists developed to eliminate optical reflections from glass surfaces was selected as the Grand Prize winner of Tech Briefs' 2018 Create the Future Design Contest. Here, Black holds a piece of regular glass and Liapis a piece of invisible glass for comparison.
A NOTE FROM IMMORTALIS ABOUT THE NEW POSES ...
Hello everyone!
This week I begin exploration of the late Victorian era and the poses used in art and photography of the time.
The period of the mid to late Victorian era is an age of eroticism that I admire. When the subject is a woman in early erotica, I often marvel at the juxtaposition of the coquettish virgin and the femme fatale, and find myself hyponotised simply designing the poses. There is such depth of sensuality in the motions of the body of this era that it's easy to be obsessed with capturing it.
With this collection I offer 10 poses that deliver vixens and virgins, ready for hours of enjoyable photography. My influences are French erotic postcards from the late 19th - early 20th centuries. Each of these poses is recreated from vintage photography.
In the coming months I will be exploring my appetite for the art of the Pre-raphaelite Brotherhood, Sir Lawrence Alma-Tadema, the social fascination of Victorian Opium dens, infamous women such as Mata-Hari, Little Egypt and Salome.
I welcome requests for pose collections and couple pose sets. Please send them directly to
Immortalis Cyannis in the form of a notecard. I cannot promise personal answers, but all requests will be written down and will influence future design. Thank you!
Behind the camera,
Immortalis Cyannis.
If you drop by the new pose department at "Alchemy Immortalis" to play with our balls (pose balls of course ;) be sure to grab the free zombie pose from our participation in the "Hunt of the Living Dead" grid wide event all throughout October. It's hiding right there in plain sight if you really use your brains ;)
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our third class, children developed their own futuristic home with a cardboard ‘wonderbox’, wrapping paper, art supplies and everyday objects. Next class, they will create characters for their boxes -- and bring them to life with lights, sounds and motion.
The class wants to build a floating city that is partly underwater, partly above water. It will be a vacation resort for rich people, with luxurious cruises and entertainment. Inhabitants will include old rich snobs, mutant sharks, human clones, robot maids, green aliens and magic dolphins.
Students made good progress decorating their boxes, as shown in this photo set. (Note that children photos are kept private until we get permission from their parents to share them here.)
Through this course, students will develop a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
View more photos of the City of the Future:
www.flickr.com/photos/fabola/albums/72157664935502899
Here is our design plan for the City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our Maker Art courses:
What characteristics define a car from the 1950's US to that of a car from the 1960's?
Even a casual observer could probably create a good definition, even though they may not be able to pinpoint the year(s) in which the changes occurred.
Fins, chrome, multi-tone paint, dogleg windscreens, (more chrome). As a body progression, the form went from bathtub to winged rockets bearing a large, chrome ladden nose.
New to the 60's saw the elimination of almost all these forms.
No clearer was the demarcation of this change, than for the 1960 Ford Galaxie, replacing the 1959 Ford (for which a trim level 'Galaxie' had first been introduced).
A similar 'form' change had occured at GM the year before, and created the 'batwing' 1959 Chevrolet Impala, and the iconic 1959 Cadillac, with its rocket-pod fins. The GM 'language' still contained much of the 1950's lexicon, however. The 1960 Ford though, adopted the new form, and dressed it it 1960's era subtlety. Low set, quad-headlamps, discrete mini-batwing fins (one last vestige lost the following year), a graceful, arcing chrome trim, delineating the topside of the bodyside form, large, glassed cabin windows, and a new cigar-profile overall form. A similar level of graceful, simplistic form was seen on the folowing year, 1961, Thunderbird and Lincoln - both to become future design classics.
But you saw it first on the 1960 Galaxie.
It only lasted one year in this precise form though. In 1961, the Galaxie adopted a more conservative form still, which more accurately set the template for a standard form during the 1960's. There could be reasons for this; the 1961 sedan was less cohesive, and the level of change may have been considered to be just a little to radical. Perhaps the success of the prosaic Falcon signalled a more conservative path was to be chosen. The GM products had suffered the same fate, 1959 had been a one-year wonder, and the following year's models had become more boxed and less interesting.
The 1960 Ford was seen in its loveliest form in the two bodystyles that exuded the greatest amount of glamour - the convertible and the 2-door hardtop. For these two models, Ford assigned the special nameplates (used also in the 1950's) - Sunliner and Starliner. Though members of the common 'Galaxie' family, which also included Fairlane and Custom trims, the two glamour cars are still predominently recognised by their unique nameplates.
The car that exhibited the greatest change in form was the new Starliner. This model adopted a large wrap-around rear screen, graced by sweeping C-pillars (again, like a Hardtop 1959 Chevrolet). The pillars featured an array of stars down its arc. One benefit of the design was the aerodynamic profile for stock-car racing (NASCAR), and many Starliners were purchased with racing in mind.
The Sunliner was perhaps a more obvious definition, an open-top two-door convertible - a 'popluar' style, even if sales were not strong. The remaining flamboyance of the 1960 Ford sitting well with the glamorous convertible style.
Presented here are the two forms, Starliner and Sunliners, in Lego form designed for Flickr LUGNuts 62nd Build Challenge, - 'Space is the Place', - celebrating vehicles with Space related names. In this case, the 'Galaxie' nameplate for the entire full-size Ford lineup, and the two 'Starliner' and 'Sunliner' model designations.
What characteristics define a car from the 1950's US to that of a car from the 1960's?
Even a casual observer could probably create a good definition, even though they may not be able to pinpoint the year(s) in which the changes occurred.
Fins, chrome, multi-tone paint, dogleg windscreens, (more chrome). As a body progression, the form went from bathtub to winged rockets bearing a large, chrome ladden nose.
New to the 60's saw the elimination of almost all these forms.
No clearer was the demarcation of this change, than for the 1960 Ford Galaxie, replacing the 1959 Ford (for which a trim level 'Galaxie' had first been introduced).
A similar 'form' change had occured at GM the year before, and created the 'batwing' 1959 Chevrolet Impala, and the iconic 1959 Cadillac, with its rocket-pod fins. The GM 'language' still contained much of the 1950's lexicon, however. The 1960 Ford though, adopted the new form, and dressed it it 1960's era subtlety. Low set, quad-headlamps, discrete mini-batwing fins (one last vestige lost the following year), a graceful, arcing chrome trim, delineating the topside of the bodyside form, large, glassed cabin windows, and a new cigar-profile overall form. A similar level of graceful, simplistic form was seen on the folowing year, 1961, Thunderbird and Lincoln - both to become future design classics.
But you saw it first on the 1960 Galaxie.
It only lasted one year in this precise form though. In 1961, the Galaxie adopted a more conservative form still, which more accurately set the template for a standard form during the 1960's. There could be reasons for this; the 1961 sedan was less cohesive, and the level of change may have been considered to be just a little to radical. Perhaps the success of the prosaic Falcon signalled a more conservative path was to be chosen. The GM products had suffered the same fate, 1959 had been a one-year wonder, and the following year's models had become more boxed and less interesting.
The 1960 Ford was seen in its loveliest form in the two bodystyles that exuded the greatest amount of glamour - the convertible and the 2-door hardtop. For these two models, Ford assigned the special nameplates (used also in the 1950's) - Sunliner and Starliner. Though members of the common 'Galaxie' family, which also included Fairlane and Custom trims, the two glamour cars are still predominently recognised by their unique nameplates.
The car that exhibited the greatest change in form was the new Starliner. This model adopted a large wrap-around rear screen, graced by sweeping C-pillars (again, like a Hardtop 1959 Chevrolet). The pillars featured an array of stars down its arc. One benefit of the design was the aerodynamic profile for stock-car racing (NASCAR), and many Starliners were purchased with racing in mind.
The Sunliner was perhaps a more obvious definition, an open-top two-door convertible - a 'popluar' style, even if sales were not strong. The remaining flamboyance of the 1960 Ford sitting well with the glamorous convertible style.
Presented here are the two forms, Starliner and Sunliners, in Lego form designed for Flickr LUGNuts 62nd Build Challenge, - 'Space is the Place', - celebrating vehicles with Space related names. In this case, the 'Galaxie' nameplate for the entire full-size Ford lineup, and the two 'Starliner' and 'Sunliner' model designations.
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years. They are creating a floating city that is partly underwater, partly above water. It will be a vacation resort for rich people, with luxurious cruises and entertainment.
In our fourth class, children created some of the first inhabitants of their city, including alien visitors, mutant sharks, rich old snobs and robot maids. They designed their characters, made bodies and stands, then decorated them. Some added a motor to make their characters move, turning them on and off with a switch. And they learned to use glue guns to art up their creations.
Students are making good progress with their city, as shown in this photo set. (Note that children photos are kept private until we get permission from their parents to share them here.)
Through this course, students will develop a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
View more photos of the City of the Future:
www.flickr.com/photos/fabola/albums/72157664935502899
Here is our design plan for the City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our Maker Art courses:
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our fourth class, they previewed what their city looks like when we bring all their futuristic homes together, then designed the city they envision for this project. They have chosen to create a floating city that they see as a vacation resort for rich old snobs, mutant sharks, human clones, robot maids and aliens.
This week, they kept refining their characters and wonderboxes with art supplies and everyday objects -- and many students added lights and motors to bring them to life. When they return from spring break, they will form teams to start building some of the public spaces they have in mind: a space elevator to the moon, a tropical beach and underwater scene.
Through this course, students are developing a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
View more photos of our Maker Art course at the Lycée:
www.flickr.com/photos/fabola/albums/72157662999871980
Here is our design plan for their City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
Learn more about our Maker Art courses:
Follow my 100 Strangers project on: My Website | Twitter | Facebook or view the whole set here on flickr. COMMENTS & FAVOURITES very much appreciated. **No sparkley banners or awards please.
My next stranger profile is of a man whom I can learn a lot from in the near future, both for my current design work and also for future projects that I have planned. Stranger #29 is Michael, curator at the Melbourne Museum of Printing (MMoP).
As I work in the design industry everyday, typography is something that I have always been excited by – and hand set typography, particularly with processes like letterpress and linotype is something I have always wanted to learn more about. Ever since I was a young boy growing up on a farm, pulling apart old machinery and rebuilding it again was something I loved to do. I was always fascinated with the way the machinery worked, some of them were just pure magic to watch. I remember my grandmother showing me an old Binder Machine in action - it was simply amazing, and its the same feeling I get when I see a machine such as the Heidelberg Windmill wooshing and swooshing in its movements. Its something I can see myself doing for a long time in the future and thats exciting!
Anyway, thats where Michael comes into the picture. I was yearning to learn even more and start getting my hands dirty with the wonderful world of printing, so after some google research and plenty of people recommending me to check out the MMoP I was off on a sunday drive. Thats when I met Michael and his amazing collection of printing machines. I was in heaven.
Michael started his interest in printing when he was just 9 years old and now at the young age of 71, he still has a burning passion for the craft and is willing to pass on his knowledge to anyone who is willing to learn at the MMoP through tours, workshops and access to their Letterpress Studio that is made available to the public. As the website states, MMoP's mission is
"To preserve and operate a wide range of machines and processes relating to the craft and business of printing, so providing an ambience in which persons with knowledge and experience of traditional aspects of the craft and its related skills will be motivated to retain their skills and pass them on."
On this particular day at the museum, I had hand-set my own paragraph of type, casted my own 'slug' of type using the Ludlow Typograph machine (a hot-metal linecasting system), took in a wealth of information from Michael's talks, and even discovered a new way to enjoy Scotch Finger biscuits with my tea (I can't tell you too much about that as its Michael's secret). So it was only fitting that I took his portrait for this series.
The lighting was a bit dim and without a flash I just moved him into an area which had an even coverage of light. I also wanted to place Michael in-front of one of the original hand typesetting cases to put the shot in context. Michael is a bit of a smiler by nature, but I really like the grin he gave in this pose. Now, when I say 'pose' this is exactly what it was, "I've been photographed a few times in the past" he said with a chuckle – such a pro!
Some photographers who have participated in this project have mentioned becoming friends with certain strangers after their initial encounters. Michael is one of those people for me and having already met up with him a couple of times since this encounter, I hope he can continue to fill my mind with all his knowledge about these wonderful printing processes and machines so that my future design project's can help showcase the talented people in the world, just like Michael, who have dedicated so much of their time and life to such a beautiful craft.
Thank you Michael for being a part of this project, I hope you enjoy this portrait and I have a feeling this wont be the last photograph you see me snapping at your museum. If your ever in Melbourne and want to learn and practice real typesetting and printing, then be sure to make a visit to the Museum to make sure this venue remains. There is also a new documentary film that premiered in Australia this week called "Linotype: The Film" which I highly recommend to anyone interested in this craft.
.......................................................................................................................
This picture is #29 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at www.100strangers.com/ or the 100 Strangers Flickr Group page
From Wikipedia....
The Lincoln MKR concept car is a premium four-door coupe design, introduced during the 2007 North American International Auto Show. It is based on the Ford Mustang's D2C platform. The MKR signals the next-generation of premium Lincoln vehicles, and launches a new TwinForce engine family. Ford Motor Company first unveiled the concept car to the media and the public in a press release on 1 January 2007.
The Lincoln concept features an independent rear suspension, with MacPherson Struts up front.
The engine selected for the MKR concept introduces a new generation TwinForce 3.5L twin-turbo, direct-injection gasoline V6, that is also capable of running on E85 ethanol. It is capable of producing 415-hp, and 400 foot-pounds force (540 N·m) of torque.
The interior design includes environmentally-friendly and renewable materials, such as cashmere leather, oak instrument panel engineered from recycled wood, mohair carpet, and seat cushion foam made from soy. The concept car also features the THX II-certified car audio system.
Special Projects Inc. located in Plymouth, MI was hired to be responsible for the building of the MKR. Special Projects has previously built many other concept vehicles for Ford including Ford 24/7 and Lincoln Blackwood.
Lincoln’s next flagship sedan, the Lincoln MKS, is due for launch in 2008, and the MKR concept borrows heavily from it. The MKR represents an expression of Lincoln’s future design strategy, which includes seven primary design features:
* Clean and uncluttered body surfaces
* High beltlines
* Chamfered surfaces which run parallel to the beltline
* Twin-port “bow-wave” double-wing front grille - inspired by the 1941 Lincoln Continental Cabriolet
* Thin horizontal headlamps, and thin LED tailamps that run the width of the vehicle
* Thick C-pillar that smoothly transitions into the cantilevered roof
* Pronounced cantrail / roofrails
If approved, a production version of the MKR would be launched in the 2011 time frame, most likely being assembled at Auto Alliance International in Flat Rock, Michigan alongside the Mustang, with which it shares a platform.
* Powertrain: 3.5-liter V-6 TwinForce engine - 415 hp (309 kW) / 400 lb·ft (540 N·m)
* Chassis Dimensions:
o Overall length: 195.7 in (4971 mm).
o Wheelbase: 112.9 in (2868 mm).
o Overall width: 75.4 in (1915 mm).
o Overall height at curb: 52.7 in (1339 mm).
o Front track width: 63.7 in (1618 mm).
o Rear track width: 63.8 in (1621 mm).
* Brakes: Brembo power 4-wheel disc with ABS and traction control
* Front Suspension: MacPherson struts with rear-facing L-shaped lower control arms and stabilizer bar
* Rear Suspension: Independent rear suspension
* Interior:
o Front headroom: 37.8 in (960 mm).
o Rear headroom: 36.9 in (937 mm).
o Front legroom: 42.7 in (1085 mm).
o Rear legroom: 33.7 in (856 mm).
* Luggage capacity: 13.0 cu ft (370 L)
What characteristics define a car from the 1950's US to that of a car from the 1960's?
Even a casual observer could probably create a good definition, even though they may not be able to pinpoint the year(s) in which the changes occurred.
Fins, chrome, multi-tone paint, dogleg windscreens, (more chrome). As a body progression, the form went from bathtub to winged rockets bearing a large, chrome ladden nose.
New to the 60's saw the elimination of almost all these forms.
No clearer was the demarcation of this change, than for the 1960 Ford Galaxie, replacing the 1959 Ford (for which a trim level 'Galaxie' had first been introduced).
A similar 'form' change had occured at GM the year before, and created the 'batwing' 1959 Chevrolet Impala, and the iconic 1959 Cadillac, with its rocket-pod fins. The GM 'language' still contained much of the 1950's lexicon, however. The 1960 Ford though, adopted the new form, and dressed it it 1960's era subtlety. Low set, quad-headlamps, discrete mini-batwing fins (one last vestige lost the following year), a graceful, arcing chrome trim, delineating the topside of the bodyside form, large, glassed cabin windows, and a new cigar-profile overall form. A similar level of graceful, simplistic form was seen on the folowing year, 1961, Thunderbird and Lincoln - both to become future design classics.
But you saw it first on the 1960 Galaxie.
It only lasted one year in this precise form though. In 1961, the Galaxie adopted a more conservative form still, which more accurately set the template for a standard form during the 1960's. There could be reasons for this; the 1961 sedan was less cohesive, and the level of change may have been considered to be just a little to radical. Perhaps the success of the prosaic Falcon signalled a more conservative path was to be chosen. The GM products had suffered the same fate, 1959 had been a one-year wonder, and the following year's models had become more boxed and less interesting.
The 1960 Ford was seen in its loveliest form in the two bodystyles that exuded the greatest amount of glamour - the convertible and the 2-door hardtop. For these two models, Ford assigned the special nameplates (used also in the 1950's) - Sunliner and Starliner. Though members of the common 'Galaxie' family, which also included Fairlane and Custom trims, the two glamour cars are still predominently recognised by their unique nameplates.
The car that exhibited the greatest change in form was the new Starliner. This model adopted a large wrap-around rear screen, graced by sweeping C-pillars (again, like a Hardtop 1959 Chevrolet). The pillars featured an array of stars down its arc. One benefit of the design was the aerodynamic profile for stock-car racing (NASCAR), and many Starliners were purchased with racing in mind.
The Sunliner was perhaps a more obvious definition, an open-top two-door convertible - a 'popluar' style, even if sales were not strong. The remaining flamboyance of the 1960 Ford sitting well with the glamorous convertible style.
Presented here are the two forms, Starliner and Sunliners, in Lego form designed for Flickr LUGNuts 62nd Build Challenge, - 'Space is the Place', - celebrating vehicles with Space related names. In this case, the 'Galaxie' nameplate for the entire full-size Ford lineup, and the two 'Starliner' and 'Sunliner' model designations.
One of the most amazing SingleBe bike so far. The Concept is simple and low maintenance commuter with future design.
Whether you're making big parts or small parts you always need the right tool for the job. Sometimes that takes a bit of ingenuity to keep the production line moving. When larger sides are being fabricated, like on this O scale steam locomotive tender, then more pressure and larger dies are required to punch out the larger pieces of brass. That necessitates use of much larger and more powerful electric punches.
When parts are so large that they can't be punched in house then they are farmed out to the Kia automobile factory down the street. It doesn't happen very often, but it does happen. And that creates another level of expenditure to make larger models. Overland made a brass tugboat model. The hull was stamped out at the Kia factory and the manufacturer had to pay Kia's prices to use that equipment to make those models. Sometimes the high price of a model stems from extraordinary expenses that are incurred to make it happen. Such was the case with those tugboats.
When I started working for Overland one of my first jobs there was to repair that entire run of models because they weren't packed properly. Overland ate all of that extra expense and in the future designed better packaging to prevent larger and heavier models from being damaged in transit. Frankly, the ride from Korea to the USA was a gentle one. So it was a shock to see so many damaged models when they were inspected here.
It was usually the post-sale shipping through UPS and the Post Office that caused the most damage to brass models account the rough handling that came from conveyor belts at the large sorting facilities. It's worse today than it ever was. Back in the 1960s brass models came in boxes packed in nothing but straw and meat wrappers. Those made it to dealers safely because EVERYTHING back in those days was handled by hand. Not any more, as so many buyers on eBay are finding out when they buy old brass models, only to have them destroyed in transit because unwary sellers think that the old packing material will still protect models going through these modern shipping centers.
It definitely will not. So buyer beware!
You can follow my story about Building Brass Model Trains in the order it was meant to be told in my album: www.flickr.com/photos/jeff_lemke/albums/72157664865492920
Our Maker Art students at the Lycée Français in Sausalito are building a City of the Future together, using arts and electronics to make a model of what our world may be like in 100 years.
In our fourth class, they previewed what their city looks like when we bring all their futuristic homes together, then designed the city they envision for this project. They have chosen to create a floating city that they see as a vacation resort for rich old snobs, mutant sharks, human clones, robot maids and aliens.
This week, they kept refining their characters and wonderboxes with art supplies and everyday objects -- and many students added lights and motors to bring them to life. When they return from spring break, they will form teams to start building some of the public spaces they have in mind: a space elevator to the moon, a tropical beach and underwater scene.
Through this course, students are developing a range of skills, from creative expression to science and engineering (STEAM). And they will learn to create their own interactive art with simple electronics, in a playful way that makes learning more fun.
View more photos of our Maker Art course at the Lycée:
www.flickr.com/photos/fabola/albums/72157662999871980
Here is our design plan for their City of the Future:
bit.ly/city-of-future-design-lycee-1
Learn more about our City of the Future course: fabriceflorin.com/2016/02/23/city-of-the-future/
Learn more about our Maker Art courses:
The Aston Martin DB10 is a bespoke grand tourer specially developed for the James Bond film Spectre by the British luxury car manufacturer Aston Martin.
The car was unveiled by Sam Mendes and Barbara Broccoli, the director and producer of Spectre respectively, the 24th James Bond film produced by Eon Productions. The unveiling took place as part of the official press launch of the film on the 007 Stage at Pinewood Studios, near London, on 4 December 2014.
The design of the DB10 was led by Aston Martin's chief creative officer Marek Reichman, with the film's director Mendes working closely with the team. Original concept and sketch by Sam Holgate, a 30-year-old man from Foston whose design the DB10 was based upon. Only 10 units were hand-built in-house by the company's design and engineering teams in Gaydon. Eight of those 10 cars were featured in the movie, and two more were built for promotional purposes. Aston Martin stated that "the DB10 gives a glimpse to the future design direction for the next generation of Aston Martins." It was later revealed that the DB10 was based on the newly introduced V8 Vantage that made its debut in 2017 and had a modified design so that the design of the new Vantage didn't come to public notice while the car was in development.
As of December 2014, Aston Martin had released few of the technical details of the car, the DB10 used the company's 6-speed manual transmission unit that is used on their V8-engined cars. The car's chassis is based on a modified version of the VH Generation II platform that underpins the V8 Vantage. However the DB10 has a longer wheelbase and is nearly as wide as the One-77. It is powered by the same 4.7-litre AJ37 V8 engine found in the V8 Vantage S, which has a power output of 436 PS (321 kW; 430 hp) and 490 N⋅m (361 lb⋅ft) of torque. The DB10 can accelerate from 0 to 100 km/h (62 mph) in 4.3 seconds and has a top speed of 310 km/h (193 mph).
Being October, which had always been the LUGNuts anniversary month, this James Bond Aston Martin DB10 has been built to the 5th challenge theme 'Heros and Villians'.
What characteristics define a car from the 1950's US to that of a car from the 1960's?
Even a casual observer could probably create a good definition, even though they may not be able to pinpoint the year(s) in which the changes occurred.
Fins, chrome, multi-tone paint, dogleg windscreens, (more chrome). As a body progression, the form went from bathtub to winged rockets bearing a large, chrome ladden nose.
New to the 60's saw the elimination of almost all these forms.
No clearer was the demarcation of this change, than for the 1960 Ford Galaxie, replacing the 1959 Ford (for which a trim level 'Galaxie' had first been introduced).
A similar 'form' change had occured at GM the year before, and created the 'batwing' 1959 Chevrolet Impala, and the iconic 1959 Cadillac, with its rocket-pod fins. The GM 'language' still contained much of the 1950's lexicon, however. The 1960 Ford though, adopted the new form, and dressed it it 1960's era subtlety. Low set, quad-headlamps, discrete mini-batwing fins (one last vestige lost the following year), a graceful, arcing chrome trim, delineating the topside of the bodyside form, large, glassed cabin windows, and a new cigar-profile overall form. A similar level of graceful, simplistic form was seen on the folowing year, 1961, Thunderbird and Lincoln - both to become future design classics.
But you saw it first on the 1960 Galaxie.
It only lasted one year in this precise form though. In 1961, the Galaxie adopted a more conservative form still, which more accurately set the template for a standard form during the 1960's. There could be reasons for this; the 1961 sedan was less cohesive, and the level of change may have been considered to be just a little to radical. Perhaps the success of the prosaic Falcon signalled a more conservative path was to be chosen. The GM products had suffered the same fate, 1959 had been a one-year wonder, and the following year's models had become more boxed and less interesting.
The 1960 Ford was seen in its loveliest form in the two bodystyles that exuded the greatest amount of glamour - the convertible and the 2-door hardtop. For these two models, Ford assigned the special nameplates (used also in the 1950's) - Sunliner and Starliner. Though members of the common 'Galaxie' family, which also included Fairlane and Custom trims, the two glamour cars are still predominently recognised by their unique nameplates.
The car that exhibited the greatest change in form was the new Starliner. This model adopted a large wrap-around rear screen, graced by sweeping C-pillars (again, like a Hardtop 1959 Chevrolet). The pillars featured an array of stars down its arc. One benefit of the design was the aerodynamic profile for stock-car racing (NASCAR), and many Starliners were purchased with racing in mind.
The Sunliner was perhaps a more obvious definition, an open-top two-door convertible - a 'popluar' style, even if sales were not strong. The remaining flamboyance of the 1960 Ford sitting well with the glamorous convertible style.
Presented here are the two forms, Starliner and Sunliners, in Lego form designed for Flickr LUGNuts 62nd Build Challenge, - 'Space is the Place', - celebrating vehicles with Space related names. In this case, the 'Galaxie' nameplate for the entire full-size Ford lineup, and the two 'Starliner' and 'Sunliner' model designations.
A New Vision for the Future
Making its debut at the 2017 Geneva International Motor Show, the EXP 12 Speed 6e concept represents a bold statement on the future of electric cars – and of luxury mobility.
Designed to transform the EV sector in both concept and execution, the EXP 12 Speed 6e fuses the unrivalled hand craftsmanship for which Bentley is famous, with electric performance, heart-stopping design and the range of a true grand tourer.
The EXP 12 Speed 6e is a statement of Bentley’s intention to create the world’s first true luxury electric sports car – and an overt invitation for the public to feed back on Bentley’s vision for the road ahead.
Exterior Design
The EXP 12 Speed 6e is not just an opportunity to envision an electric Bentley. It represents the future of Bentley design, both inside and out.
The exterior body shell is a sleek expression of sports car design, inspired by contemporary architecture, aircraft fuselages and the geometry of the natural world.
A natural evolution of Bentley’s design DNA, it takes the marque’s trademark muscular haunch and powerline to exhilarating new heights. The short front overhang, long bonnet and wide, planted rear aspect all contribute to an unmistakable sense of speed, while the iconic matrix grille features an exquisite smoked stainless steel finish. Contrasting copper highlights offer subtle acknowledgement of the car’s status as a fully electric vehicle, while an illuminated ‘6’ logo can be seen through the grille.
Throughout the car, form coexists with function to support a more sustainable future. The twin bonnet scoops, for example, double as heat sinks, keeping down the temperature of the car’s batteries and drivetrain, without the need for additional cooling technology.
Interior Design
Bentley’s future is one of innovative materials as well as inventive technology. The entire central tunnel, for example, is hewn from a solid piece of glass, encompassing a high-definition OLED curved display. All principle onboard controls are accessible from here, including navigation, entertainment and climate control.
Just as they do on the outside of the car, copper details provide visual interest throughout the cabin, adorning the gear selector and Bentley Dynamic Drive dial control. Even the veneer panels inside the doors feature copper accents, drawing the eye to the handcrafted, natural wood finish.
Tomorrow’s luxury customers will expect intuitive technology and traditional craftsmanship to be integrated seamlessly – a demand that has dictated much of the car’s groundbreaking design. The wing mirrors dispense with the usual reflective glass in favour of cameras, feeding visual input directly to the dash. It’s one more example of Bentley’s future design direction – and the company’s ongoing commitment to exceeding customer expectations in everything it does.
Electric Performance
Luxury is only one side of the Bentley equation. That’s why the EXP 12 Speed 6e has been conceived as more than just a showcase of design and craftsmanship. It is an entirely new format for both urban and open-road driving.
Electric power provides an opportunity to exceed the performance limits of cars built on the conventional combustion engine. From a standing start, electric motors deliver phenomenal levels of torque, which translates into heart-stopping acceleration.
In order to deliver a true grand touring experience, the EXP 12 Speed 6e would be built with the capacity to drive from London to Paris or Milan to Monaco on a single charge. This impressive range would be supported by fast recharging, thanks to inductive technology.
New Technology, New Thinking
Not all new concept cars are truly innovative. The EXP 12 Speed 6e is about much more than a car, however. It represents a first step on a journey that will change the way today’s drivers think about mobility and what it can be. From rapid charging and fast acceleration to a world of connected lifestyle services, where onboard concierge software responds to complex voice input, the world of luxury transport is set to change immeasurably.
For Bentley’s design team, this means looking beyond the horizon, to a day when drivers become passengers and car ownership gives way to transport as a service. The car of the future will be more luxurious, more sustainable and more autonomous than ever before.
87th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2017
What characteristics define a car from the 1950's US to that of a car from the 1960's?
Even a casual observer could probably create a good definition, even though they may not be able to pinpoint the year(s) in which the changes occurred.
Fins, chrome, multi-tone paint, dogleg windscreens, (more chrome). As a body progression, the form went from bathtub to winged rockets bearing a large, chrome ladden nose.
New to the 60's saw the elimination of almost all these forms.
No clearer was the demarcation of this change, than for the 1960 Ford Galaxie, replacing the 1959 Ford (for which a trim level 'Galaxie' had first been introduced).
A similar 'form' change had occured at GM the year before, and created the 'batwing' 1959 Chevrolet Impala, and the iconic 1959 Cadillac, with its rocket-pod fins. The GM 'language' still contained much of the 1950's lexicon, however. The 1960 Ford though, adopted the new form, and dressed it it 1960's era subtlety. Low set, quad-headlamps, discrete mini-batwing fins (one last vestige lost the following year), a graceful, arcing chrome trim, delineating the topside of the bodyside form, large, glassed cabin windows, and a new cigar-profile overall form. A similar level of graceful, simplistic form was seen on the folowing year, 1961, Thunderbird and Lincoln - both to become future design classics.
But you saw it first on the 1960 Galaxie.
It only lasted one year in this precise form though. In 1961, the Galaxie adopted a more conservative form still, which more accurately set the template for a standard form during the 1960's. There could be reasons for this; the 1961 sedan was less cohesive, and the level of change may have been considered to be just a little to radical. Perhaps the success of the prosaic Falcon signalled a more conservative path was to be chosen. The GM products had suffered the same fate, 1959 had been a one-year wonder, and the following year's models had become more boxed and less interesting.
The 1960 Ford was seen in its loveliest form in the two bodystyles that exuded the greatest amount of glamour - the convertible and the 2-door hardtop. For these two models, Ford assigned the special nameplates (used also in the 1950's) - Sunliner and Starliner. Though members of the common 'Galaxie' family, which also included Fairlane and Custom trims, the two glamour cars are still predominently recognised by their unique nameplates.
The car that exhibited the greatest change in form was the new Starliner. This model adopted a large wrap-around rear screen, graced by sweeping C-pillars (again, like a Hardtop 1959 Chevrolet). The pillars featured an array of stars down its arc. One benefit of the design was the aerodynamic profile for stock-car racing (NASCAR), and many Starliners were purchased with racing in mind.
The Sunliner was perhaps a more obvious definition, an open-top two-door convertible - a 'popluar' style, even if sales were not strong. The remaining flamboyance of the 1960 Ford sitting well with the glamorous convertible style.
Presented here are the two forms, Starliner and Sunliners, in Lego form designed for Flickr LUGNuts 62nd Build Challenge, - 'Space is the Place', - celebrating vehicles with Space related names. In this case, the 'Galaxie' nameplate for the entire full-size Ford lineup, and the two 'Starliner' and 'Sunliner' model designations.
What characteristics define a car from the 1950's US to that of a car from the 1960's?
Even a casual observer could probably create a good definition, even though they may not be able to pinpoint the year(s) in which the changes occurred.
Fins, chrome, multi-tone paint, dogleg windscreens, (more chrome). As a body progression, the form went from bathtub to winged rockets bearing a large, chrome ladden nose.
New to the 60's saw the elimination of almost all these forms.
No clearer was the demarcation of this change, than for the 1960 Ford Galaxie, replacing the 1959 Ford (for which a trim level 'Galaxie' had first been introduced).
A similar 'form' change had occured at GM the year before, and created the 'batwing' 1959 Chevrolet Impala, and the iconic 1959 Cadillac, with its rocket-pod fins. The GM 'language' still contained much of the 1950's lexicon, however. The 1960 Ford though, adopted the new form, and dressed it it 1960's era subtlety. Low set, quad-headlamps, discrete mini-batwing fins (one last vestige lost the following year), a graceful, arcing chrome trim, delineating the topside of the bodyside form, large, glassed cabin windows, and a new cigar-profile overall form. A similar level of graceful, simplistic form was seen on the folowing year, 1961, Thunderbird and Lincoln - both to become future design classics.
But you saw it first on the 1960 Galaxie.
It only lasted one year in this precise form though. In 1961, the Galaxie adopted a more conservative form still, which more accurately set the template for a standard form during the 1960's. There could be reasons for this; the 1961 sedan was less cohesive, and the level of change may have been considered to be just a little to radical. Perhaps the success of the prosaic Falcon signalled a more conservative path was to be chosen. The GM products had suffered the same fate, 1959 had been a one-year wonder, and the following year's models had become more boxed and less interesting.
The 1960 Ford was seen in its loveliest form in the two bodystyles that exuded the greatest amount of glamour - the convertible and the 2-door hardtop. For these two models, Ford assigned the special nameplates (used also in the 1950's) - Sunliner and Starliner. Though members of the common 'Galaxie' family, which also included Fairlane and Custom trims, the two glamour cars are still predominently recognised by their unique nameplates.
The car that exhibited the greatest change in form was the new Starliner. This model adopted a large wrap-around rear screen, graced by sweeping C-pillars (again, like a Hardtop 1959 Chevrolet). The pillars featured an array of stars down its arc. One benefit of the design was the aerodynamic profile for stock-car racing (NASCAR), and many Starliners were purchased with racing in mind.
The Sunliner was perhaps a more obvious definition, an open-top two-door convertible - a 'popluar' style, even if sales were not strong. The remaining flamboyance of the 1960 Ford sitting well with the glamorous convertible style.
Presented here are the two forms, Starliner and Sunliners, in Lego form designed for Flickr LUGNuts 62nd Build Challenge, - 'Space is the Place', - celebrating vehicles with Space related names. In this case, the 'Galaxie' nameplate for the entire full-size Ford lineup, and the two 'Starliner' and 'Sunliner' model designations.
A New Vision for the Future
Making its debut at the 2017 Geneva International Motor Show, the EXP 12 Speed 6e concept represents a bold statement on the future of electric cars – and of luxury mobility.
Designed to transform the EV sector in both concept and execution, the EXP 12 Speed 6e fuses the unrivalled hand craftsmanship for which Bentley is famous, with electric performance, heart-stopping design and the range of a true grand tourer.
The EXP 12 Speed 6e is a statement of Bentley’s intention to create the world’s first true luxury electric sports car – and an overt invitation for the public to feed back on Bentley’s vision for the road ahead.
Exterior Design
The EXP 12 Speed 6e is not just an opportunity to envision an electric Bentley. It represents the future of Bentley design, both inside and out.
The exterior body shell is a sleek expression of sports car design, inspired by contemporary architecture, aircraft fuselages and the geometry of the natural world.
A natural evolution of Bentley’s design DNA, it takes the marque’s trademark muscular haunch and powerline to exhilarating new heights. The short front overhang, long bonnet and wide, planted rear aspect all contribute to an unmistakable sense of speed, while the iconic matrix grille features an exquisite smoked stainless steel finish. Contrasting copper highlights offer subtle acknowledgement of the car’s status as a fully electric vehicle, while an illuminated ‘6’ logo can be seen through the grille.
Throughout the car, form coexists with function to support a more sustainable future. The twin bonnet scoops, for example, double as heat sinks, keeping down the temperature of the car’s batteries and drivetrain, without the need for additional cooling technology.
Interior Design
Bentley’s future is one of innovative materials as well as inventive technology. The entire central tunnel, for example, is hewn from a solid piece of glass, encompassing a high-definition OLED curved display. All principle onboard controls are accessible from here, including navigation, entertainment and climate control.
Just as they do on the outside of the car, copper details provide visual interest throughout the cabin, adorning the gear selector and Bentley Dynamic Drive dial control. Even the veneer panels inside the doors feature copper accents, drawing the eye to the handcrafted, natural wood finish.
Tomorrow’s luxury customers will expect intuitive technology and traditional craftsmanship to be integrated seamlessly – a demand that has dictated much of the car’s groundbreaking design. The wing mirrors dispense with the usual reflective glass in favour of cameras, feeding visual input directly to the dash. It’s one more example of Bentley’s future design direction – and the company’s ongoing commitment to exceeding customer expectations in everything it does.
Electric Performance
Luxury is only one side of the Bentley equation. That’s why the EXP 12 Speed 6e has been conceived as more than just a showcase of design and craftsmanship. It is an entirely new format for both urban and open-road driving.
Electric power provides an opportunity to exceed the performance limits of cars built on the conventional combustion engine. From a standing start, electric motors deliver phenomenal levels of torque, which translates into heart-stopping acceleration.
In order to deliver a true grand touring experience, the EXP 12 Speed 6e would be built with the capacity to drive from London to Paris or Milan to Monaco on a single charge. This impressive range would be supported by fast recharging, thanks to inductive technology.
New Technology, New Thinking
Not all new concept cars are truly innovative. The EXP 12 Speed 6e is about much more than a car, however. It represents a first step on a journey that will change the way today’s drivers think about mobility and what it can be. From rapid charging and fast acceleration to a world of connected lifestyle services, where onboard concierge software responds to complex voice input, the world of luxury transport is set to change immeasurably.
For Bentley’s design team, this means looking beyond the horizon, to a day when drivers become passengers and car ownership gives way to transport as a service. The car of the future will be more luxurious, more sustainable and more autonomous than ever before.
87th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2017
What characteristics define a car from the 1950's US to that of a car from the 1960's?
Even a casual observer could probably create a good definition, even though they may not be able to pinpoint the year(s) in which the changes occurred.
Fins, chrome, multi-tone paint, dogleg windscreens, (more chrome). As a body progression, the form went from bathtub to winged rockets bearing a large, chrome ladden nose.
New to the 60's saw the elimination of almost all these forms.
No clearer was the demarcation of this change, than for the 1960 Ford Galaxie, replacing the 1959 Ford (for which a trim level 'Galaxie' had first been introduced).
A similar 'form' change had occured at GM the year before, and created the 'batwing' 1959 Chevrolet Impala, and the iconic 1959 Cadillac, with its rocket-pod fins. The GM 'language' still contained much of the 1950's lexicon, however. The 1960 Ford though, adopted the new form, and dressed it it 1960's era subtlety. Low set, quad-headlamps, discrete mini-batwing fins (one last vestige lost the following year), a graceful, arcing chrome trim, delineating the topside of the bodyside form, large, glassed cabin windows, and a new cigar-profile overall form. A similar level of graceful, simplistic form was seen on the folowing year, 1961, Thunderbird and Lincoln - both to become future design classics.
But you saw it first on the 1960 Galaxie.
It only lasted one year in this precise form though. In 1961, the Galaxie adopted a more conservative form still, which more accurately set the template for a standard form during the 1960's. There could be reasons for this; the 1961 sedan was less cohesive, and the level of change may have been considered to be just a little to radical. Perhaps the success of the prosaic Falcon signalled a more conservative path was to be chosen. The GM products had suffered the same fate, 1959 had been a one-year wonder, and the following year's models had become more boxed and less interesting.
The 1960 Ford was seen in its loveliest form in the two bodystyles that exuded the greatest amount of glamour - the convertible and the 2-door hardtop. For these two models, Ford assigned the special nameplates (used also in the 1950's) - Sunliner and Starliner. Though members of the common 'Galaxie' family, which also included Fairlane and Custom trims, the two glamour cars are still predominently recognised by their unique nameplates.
The car that exhibited the greatest change in form was the new Starliner. This model adopted a large wrap-around rear screen, graced by sweeping C-pillars (again, like a Hardtop 1959 Chevrolet). The pillars featured an array of stars down its arc. One benefit of the design was the aerodynamic profile for stock-car racing (NASCAR), and many Starliners were purchased with racing in mind.
The Sunliner was perhaps a more obvious definition, an open-top two-door convertible - a 'popluar' style, even if sales were not strong. The remaining flamboyance of the 1960 Ford sitting well with the glamorous convertible style.
Presented here are the two forms, Starliner and Sunliners, in Lego form designed for Flickr LUGNuts 62nd Build Challenge, - 'Space is the Place', - celebrating vehicles with Space related names. In this case, the 'Galaxie' nameplate for the entire full-size Ford lineup, and the two 'Starliner' and 'Sunliner' model designations.