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During the 1930s, many new Enterprises started to develop and build new and unique designs in an effort to surpass it´s rivals. Bell had recently started building Planes in the US and had a concept for a heavy fighter (also called a "Mobile anti-aircraft Platform") that could intercept enemy bombers at much longer ranges than conventional single engine fighters.
At the time, the Bell YFM-1 Airacuda was a truly futuristic design featuring three separate cockpits facing forward, two of them housing one Allison V-1710-9 liquid-cooled turbosupercharged V-12, 1,090 hp (810 kW) engine each on a pusher configuration and armed with a 37mm M4 cannon and one 7,62mm machine gun.
Although capable of aiming the cannons from the nacelles, the gunners' primary purpose was simply to load them with the 110 rounds of ammunition stored. This incredible firepower was further reinforced with two 12,7mm heavy machine guns firing from the sides and it also featured the ability to carry a small number of bombs on wing bays.
Although revolutionary in many ways, the Airacuda was plagued with many different problems which never allowed it to enter full operational service.
To know more about the Aircraft History, click here for the next picture:
www.flickr.com/photos/einon/53059570293
Eínon
We used to look up at the sky and wonder at our place in the stars✨️
The enchanting wonders of space and the cosmos inspire me and captivate my imagination. The dance of stars, the vastness of galaxies, and the mysteries of space and time fill me with awe and curiosity. This fascination with the universe often fuels my creativity and reminds me of the limitless potential that exists beyond our world. The cosmos serves as a metaphor for wandering, exploration of new horizons and embracing the beauty of the unknown✨️🌙
A quick photo I made a couple of years ago at High Line Park in New York. There's this building with a futuristic design that inspired me to make this photo. I used the space suit I made for my "I Need More Space" image several years ago. The glowing moon is a lamp from Amazon I've used quite a lot in my images.
"A serene moment captured at sunrise, with a silhouette against Dubai's cityscape. The soft light enhances the futuristic design of the observatory."
Descrizione in Italiano: "Un momento sereno catturato all'alba, con una silhouette contro il panorama urbano di Dubai. La luce soffusa esalta il design futuristico dell'osservatorio."
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ERF KV Series Flatbed (1961)
Livery J T Evans, Welsh Border Transport, Chirk
Registration Number 968 HTU (Cheshire)
ERF ALBUM
www.flickr.com/photos/45676495@N05/albums/72157623665035629
The KV was a radical change for ERF, designed by Dennis Foden who had recenctly become Managing Director, along with Gerald Broadben of Sandbach coachbuilders J H Jennings and the ERF Chief Engineer Ernest Sherratt the new Kleer Vue cab (KV) was heralded as a futuristic design with its use of curved glass, on of the first applications in the truck industry and one that created challenges for glass manufacturer Triplex.. It prove popular with operatorswith its rounded shape and trusty Gardner engine
Thanks for a stunning 59,743,000 views
Diolch am 59,743,000 gwych, golygfeydd, mwy na phoblogaeth y Lloegr honno yn y Gorllewin
Shot 28.05.2017 at the Smallwood Vintage Rally, Love Lane Farm, Betchton, Sandbach REF 127-088
The Expedition 70 patch is designed around the central yin-yang symbol representing balance; first and foremost, the balance of our beautiful planet Earth that is encircled by the yin-yang symbol and which forms part of the Expedition number. In our exploration of space, we are reminded of the uniqueness of Earth; the further we push the boundaries of human existence, the stronger our longing for our home planet grows. As our understanding of the cosmos expands, so does our understanding of Earth, and although we live in an ever-changing world, we recognize the need for a planet in balance to ensure our future.
Space exploration is also about creating the future of our dreams. The tentative first steps we take today will hopefully become a well-trodden path in the future. This is represented stylistically by the “retro-futuristic” design of the patch, which mimics the design of the posters depicting the future from the early days of the space age. It is also emphasized by the yellow, orange, and red colors suggesting a sunrise. Lastly, the dynamism in the depiction of the number 7 suggests not only the physical launch into space, but also humanity’s progress towards the future.
Singapore New National Indoor stadium on the extreme left to be completed soon!
Haze was pretty heavy since the last 2 days as well as today, the usual unstoppable crops burning phenomena from our neighboring Indonesia has once again cause health cycle concern once the unfavorable wind instantly envelope eastern part of our city.
After preaching all the repeated little hazy thingy, I did not manage to seize any favorable shot of the new site (national stadium) n hope to make another recovery shot in the nearest coming weeks when the construction came to a halt .
Obviously, from on site experience, the architecture design is non-substantial world breaking state of art or truly futuristic design, personally i feel is distinctively insufficient to inherit astonish records for Singapore from the present stage formation without adding visual quality streamline impact blend with surrounding. Is yet still not conveying any strong interestingness to call pilot project of the hype for the anticipating world, more alike our plain jane Singapore flyers .
How to get there? Just a minute walk with our Mass rapid train station or head across from the Tanjong Rhu or the Bebble Bay condominium . It would be more excited to overview the stadium at a greater height from any existing condo for visual majestic result. Can any potential residence offer a vantage point space for me...? It would be very helpful to assist the URA project and the Singapore's sport council to have this fulfillment project done soon.
The Shape of Speed
Streamlined Automobiles and Motorcycles, 1930–1942
JUN 16 – SEP 16, 2018
Portland Art Museum
The Portland Art Museum is pleased to announce The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942, a special exhibition debuting at the Museum in Summer 2018. Featuring 19 rare streamlined automobiles and motorcycles, The Shape of Speed opens June 16 and will be on view through September 16, 2018.
The concept of streamlining has fascinated people for generations. Beginning in the 1930s and extending until the outbreak of the World War II, automotive designers embraced the challenge of styling and building truly streamlined cars that were fast and fuel-efficient. They were encouraged by the confluence of aircraft design with the sleek shapes of fast railroad locomotives; new advanced highways such as the Autobahns; and events like the 1939 New York City World’s Fair, which showcased futuristic design.
The Shape of Speed presents a select group of rare automobiles and motorcycles that demonstrate how auto designers translated the concept of aerodynamic efficiency into exciting machines that in many cases, looked as though they were moving while at rest.
The Museum will display 17 cars and two motorcycles—the best of that era’s streamlined offerings—from Europe and the United States. Engineering drawings and period photographs will show some of the aircraft, railroad, ship and yacht designs that influenced the automakers.
Featured designers and engineers include European streamlining pioneer Paul Jaray, along with Richard Buckminster Fuller, Norman Bel Geddes, Raymond Loewy, Harley J. Earl, Hermann Ahrens, Georges Paulin, Joseph Figoni, Dr. Wunibald Kamm, Otto Kuhler, Jean Bugatti, Hans Ledwinka, Gordon Buehrig, and others.
"Hotel Futura" is an illustration for the Seagram's Whisky advertising campaign, “Men Who Plan Beyond Tomorrow”
The 1956 Oldsmobile Golden Rocket was a show car designed by Harley Earl and introduced to the public at the 1956 General Motors Motorama held at the Warner Bros. Theater in New York City. The Golden Rocket was a one-off prototype to showcase futuristic design and technology. Also known as the XP-400, the car resembled a rocket on wheels, with a sleek, aerodynamic fiberglass body finished in metallic bronze paint. It featured innovative design elements like a button-controlled tilt steering wheel, a split-window fastback roof, and a two-piece roof panel that rose automatically when the door was opened.
The Golden Rocket was powered by an upgraded 324-cubic inch Rocket V8 engine producing 275 horsepower and had a Hydra-Matic automatic transmission. Its interior was equally impressive, with blue and gold leather upholstery and a futuristic center console inspired by aircraft cockpits. The car was later displayed at various auto shows, including the 1957 Paris Motor Show, where it generated significant fanfare. Its radical design and advanced features, while impressive, were not practical or cost-effective for mass production at the time.
A customer requested that we design a bullpup semi-auto sniper rifle. So we did just that. We designed the rifle with ergonomics in mind. The ideal cartridge in mind was the .308 Win, for power, availability and speed. One of our designers came back with a futuristic design. We loved it and gave it the ok. Two weeks later a prototype is built and ready for field testing. So we sent another member who loves sniper rifles to do the testing. 100 shots, 3 inch grouping at one mile. With that data the rifle would go into mass production stages. Our customer would get the first order of 20 rifles.
Rifle Statistics:
Materiel: Titanium Alloy with polycarbonate accents
Length: 1100mm (1300mm incl. silencer)
Weight: 9 kilos
Caliber: .308 Win
Configuration: Bullpup
Mag Cap: 25 round box mag
Cost: $30,000 or €20.785
Reserve order only.
I really don't have anything better to do, so I remade it. The additions may look like crap, since I had to shoop them on. The pastie I have is fucked up, since it spawns an M200 in the top right corner, which I can't remove from the pastie or I'll get error #1085.
PLEASE VIEW ALL SIZES, IT HAS SOME GREAT DETAILS ON IT
Credits:
Duke for his bipod which I should've recolored more.
Jake for the description.
Please note that this is NOT my design, it was made by Lemon's Revenge, AKA Athena32. www.halofanon.wikia.com/wiki/User:Athena32
Feel free to comment.
Amy
1969 Chevrolet Astro III Concept
Inspired by Aircraft
The influence of jet aircraft that characterized many concept cars of the 1950s continued into the following decades, including with this innovative offering from GM. Unveiled at the 1969 Chicago Auto Show, the Astro III was one of several mid-engine concepts devised by Bill Mitchell with Corvette chief engineer Larry Shinoda in a study of futuristic design combined with low-drag forms. The three-wheeler was powered by a gas turbine engine originally developed for use in military and civilian helicopters paired with a two-speed Hydramatic transmission.
Engine: Allison 250-C18 gas turbine
Horsepower: 317hp
Top Speed: N/A
Collection of General Motors
This Vehicle featured in ‘Eyes on the Road’ Exhibit at The Petersen Automotive Museum
The Donald C. Tillman Water Reclamation Plant is a water and sewage treatment plant located in Van Nuys, California.
With it's futuristic design, the building and surrounding Japanese Gardens have been used in a dozen or so motion pictures and television shows...most notably Star Trek:The Next Generation, Star Trek:Deep Space Nine, and Star Trek:Voyager.
For the Trek series, the building was augmented with filming-miniature additions and digital matte paintings extensions to create both the Starfleet Headquarters and Starfleet Academy locations.
Copyright © 2023 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
KCMA 06/03/19 Built 1984
The Avtek 400A was a prototype turboprop-powered business aircraft developed in the United States in the early 1980s. It was of unusual and distinctive configuration - a low-wing monoplane with two pusher engines mounted above the wings, and a large canard mounted atop the forward fuselage. The aircraft's sleek, futuristic design earned it a guest appearance on the Airwolf TV series as the X-400, the plane used by the villain Lou Stappleford in the episode Eagles.
The Avtek's structure made extensive use of advanced composite materials throughout.
In 1998, Avtek declared bankruptcy without the prototype having completed the testing required for US FAA type certification. The company's assets were purchased by AvtekAir, who as of 2004 were planning to revive the project under the designation AvtekAir 9000T.
Taska5 slipped across to the Tos’ma-Dae dimension. The sky shifted from blue into a pale orange haze, and within moments Taska5 descended toward a vast city unfurling in concentric rings.
As the crew prepared to disembark, an escort arrived bearing two packages, placing them in Bext’s hands. She passed one to Kayla, the other to Adrienne. “New clothes. Change inside the ship.”
The girls complied. When they returned, K’hall was waiting, his tone grave. “There will be a Supreme Council session regarding the destruction of the lizard nest. None of the proceedings from Axiom5 reached command. You must accompany us.”
Kayla answered without hesitation. “Of course.” Adrienne gave a silent nod.
They moved down the walkway, where an escort guided them to a waiting shuttle. It carried them to a towering structure of gleaming, futuristic design. At its steps, escorts froze at the sight of two humans, their shock barely concealed. “This way,” one said, leading them inside.
Massive doors swung open. Silence fell. “Your supreme chairman and council,” the escort announced, “Commander K’hall, his crew—and two humans.”
The chairman’s voice rang out. “Enter. Be seated.”
His gaze fixed on K’hall. “Commander, you are aware the Lizards have breached surrounding dimensions—an unprecedented act. They have invaded Camdyn-ka and Gwynid, striking villages. Our forces are deployed to destroy them. And you know the detonation you unleashed has triggered tectonic upheaval, volcanic surges across all dimensions. Fleet council reports you acted without orders. Explain your actions.”
K’hall recounted the mission on Axiom5 in detail: the portals discovered and destroyed, the revelation that the lizards had reached the end of their reproductive cycle, and the decision to annihilate their eggs.
Kayla spoke softly. “If I may, Chairman—”
The chairman cut in. “Commander, explain these humans. Never before have humans stood in this chamber.”
“Honorable chairman, these humans are of the Ikon bloodline. That have proven to be valuable assets,” K’hall replied. “This one comes from the distant past, where she studied the lizards. Let her speak.”
Murmurs rippled through the council. The chairman relented. “Very well. Speak human.”
Kayla rose. She explained the reptilian reproduction cycle, how only a decisive strike could ensure every egg was destroyed.
“And how do you know this was the only nest?” the chairman pressed.
“That is their way,” Kayla answered. “My kin tried many times across countless millennia. Never before has the entire egg nest been eradicated. This time nothing remains. The cycle is broken. They will all die within two weeks.”
K’hall added, “Time was against us. With command and communications severed and destruction of the nest approved by the council on Axion5, I chose to deploy the plasma generators, the only means at our disposal. An explosion was inevitable. Without prior testing, we could only estimate its magnitude.”
The chairman’s eyes swept the chamber. “Questions for the commander—or the humans?” None spoke.
“Very well. The lizard menace is dire. Though the damage is regrettable, ending them takes precedence. Commander, you all may go.”
Outside the chamber, Adrienne turned to K’hall. “That’s it? No thanks for ending the reptile threat? No recognition?”
K’hall’s reply was quiet, unyielding. “It is not our way.”
~~~~~~~~~~~~~~~~
You can view Quantum Fold episodes in order from the beginning in her album titled, Quantum Fold:
www.flickr.com/photos/199076397@N02/albums/72177720326169...
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The ever-inventive Buckminster Fuller (1895-1983) stands beside one his less well-known inventions, an aerodynamic car, which he called the ‘Dymaxion’. Compared with what was on the roads at the time of its unveiling in 1933, it is a remarkably futuristic design. It was also lethal. This is the second prototype of just three that were built, and is the sole original survivor today.
Fuller’s fame today rests on his geodesic dome lattice shell structures, which have been constructed over the years as military radar stations, exposition buildings and private residences. The Dymaxion car embodied similar lattice shell construction. Powered by a rear-mounted Ford V8, the car was front-wheel drive and was steered by a single rear wheel. The car looked spectacular, a harbinger of future travel, but it proved unstable at speed. A fatal accident involved the first prototype, when it was rammed by another car whose driver was at fault, and that took the sheen off the Dymaxion project. The established automobile industry took no interest in taking up the Dymaxion concept, and Fuller moved on to other projects.
The Tampa Bay Automobile Museum, which showcases innovative car technology over the years, pays tribute to Buckminster Fuller’s restless genius.
The photo was used in a January 10, 1965 news article titled “The Family Car of the Future? It may have a stereo, a TV, an oven, and a refrigerator. . .”
Firebird IV was developed by General Motors and showcased at the 1964 New York World’s Fair. It was the fourth in a series of Firebird concept cars engineered to display technological prowess and futuristic design.
Firebird IV was designed for a world where cars would be guided automatically by “programmed guidance systems,” ensuring safety at high speeds on expressways. It was more of a rolling concept than a functional vehicle, as it never actually ran and drove. It was a symbol of GM’s vision for the future of transportation and included features like in-vehicle television, which was the latest in infotainment at the time, an oven and a refrigerator.
The Firebird series began with the Firebird I (XP-21) in 1953, which was a gas turbine-powered car resembling a jet plane on wheels. It continued with the Firebird II in 1956 and the Firebird III in 1959, each with their own unique features and design inspired by innovations in fighter aircraft of that era. They are preserved at the GM Heritage Center in Sterling Heights, Michigan, and models of the cars are part of the permanent collection at the Henry Ford Museum in Dearborn, Michigan. Firebird I even crowns the Harley J. Earl Trophy, awarded to the winner of the Daytona 500.
[Sources: Bing Copilot, Wikipedia, The Henry Ford Museum and AutoEvolution.com]
This retro futuristic design really stands out. It's a shame we don't get them in NL, because probably about 4 would be sold here...
El Gran Teatro Nacional de China, también conocido como «El Huevo», es un teatro de ópera en Pekín (República Popular China). Abrió sus puertas en junio de 2007. El arquitecto francés Paul Andreu fue el encargado de diseñarlo, con una planificación de coste inicial de unos 2.688 millones de yuanes. El teatro puede acoger hasta 6.500 personas en sus 200.000 m² de superficie.
El exterior del teatro es una cúpula de titanio y cristal completamente rodeada por un lago artificial. Se dice que parece un huevo flotando en el agua. Los invitados acceden al edificio después de caminar a través de un vestíbulo que discurre por debajo del lago. Fue diseñado como un icono, algo que fuese inmediatamente reconocible, como la Ópera de Sídney en Australia.
La ubicación, inmediatamente al oeste del Gran Salón del Pueblo y cerca de la Ciudad Prohibida, no era la opción más popular. Algunos piensan que el diseño general es demasiado moderno. Paul Andreu contestó que aunque en China existe un sentimiento especial acerca de la arquitectura tradicional, Pekín debe incluir diseños de arquitectura modernos debido a su condición capital del país y ciudad internacional de gran importancia. Su diseño, de gran superficie, agua, árboles y otros elementos, fue confeccionado para ser complementario a las paredes rojas de los antiguos edificios y del Gran Salón del Pueblo, además de fundirse bien con los alrededores. Aun así, muchos ciudadanos creen que el contraste es demasiado grande y no pega con los alrededores.
Se anunció que el 70% de las entradas se venderán a bajo precio para los ciudadanos corrientes, mientras que un 10% de las entradas se venderá a precios relativamente caros para diferentes segmentos del mercado. Para su funcionamiento, el 60% del alto coste de operación se debe subvencionar entre el Gobierno chino y las autoridades municipales de Pekín.
es.wikipedia.org/wiki/Gran_Teatro_Nacional_de_China
The National Centre for the Performing Arts (NCPA) (simplified Chinese: 国家大剧院; traditional Chinese: 國家大劇院; pinyin: Guójiā dà jùyuàn; literally: National Grand Theatre), and colloquially described as The Giant Egg (巨蛋), is an arts centre containing an opera house in Beijing, People's Republic of China. The Centre, an ellipsoid dome of titanium and glass surrounded by an artificial lake, seats 5,452 people in three halls and is almost 12,000 m² in size. It was designed by French architect Paul Andreu. Construction started in December 2001 and the inaugural concert was held in December 2007.
The exterior of the theater is a titanium-accented glass dome that is completely surrounded by a man-made lake. It is said to look like an egg floating on water, or a water drop. It was designed as an iconic feature, something that would be immediately recognizable.
The dome measures 212 meters in east–west direction, 144 meters in north–south direction, and is 46 meters high. The main entrance is at the north side. Guests arrive in the building after walking through a hallway that goes underneath the lake. The titanium shell is broken by a glass curtain in north–south direction that gradually widens from top to bottom.
The location, immediately to the west of Tiananmen Square and the Great Hall of the People, and near the Forbidden City, combined with the theatre's futuristic design, created considerable controversy.[3] Paul Andreu countered that although there is indeed value in ancient traditional Chinese architecture, Beijing must also include modern architecture, as the capital of the country and an international city of great importance. His design, with large open space, water, trees, was specially designed to complement the red walls of ancient buildings and the Great Hall of the People, in order to melt into the surroundings as opposed to standing out against them.
The director of the art committee of the National Centre for the Performing Arts and the standing committee member of the Standing Committee of the Chinese People's Political Consultative Conference, Mr Wu Zuqiang (吴祖强) and the publicist / deputy director of the National Centre for the Performing Arts Mr Deng (邓一江) have announced that 70 percent of the tickets would be sold at low price for ordinary citizens, while 10% of the tickets would be sold at relatively expensive prices for separate market segments, and the 60% of annual operational cost needed to be subsidized by the government would be divided between the central government and the Beijing municipal government.
en.wikipedia.org/wiki/National_Centre_for_the_Performing_...(China)
1970 Lancia Stratos Zero
Curious to see it moving on the streets? Watch my video here: www.youtube.com/watch?v=Rr0YSZZ-FYg
Kathedra - Architectural Landscapes - Eoxys Stairs by Daniel Arrhakis (2024/2025)
A New creative architectural landscapes abstract series with a futuristic design mood.
The Grand Theatre in Jianggan surrounded by some rather confusing land/cityscape design.
© Andy Brandl (2016) // PhotonMix Photography
--> Andy Brandl @ Robert Harding
Slumping sales of the 911 in the mid-1970s seemed to confirm that the model was approaching the end of its economic life cycle. Fuhrmann envisioned the new range-topping grand tourer model as being the best possible combination of a sports coupé and a luxury sedan. This would set it apart from the 911, with its relatively spartan interior and true sports car performance. The targets were that the car had to compete on par with offerings from Mercedes-Benz and BMW while also being successful in the United States, Porsche's main market at the time.
Ordered by Ferdinand Porsche to design a production-feasible concept for the new model, Fuhrmann initiated a design study in 1971, eventually yielding the 928 which was the first clean sheet design by the company for its own model.
The finished car debuted at the 1977 Geneva Motor Show before going on sale later that year as a 1978 model. Although it won early acclaim for its comfort, power and futuristic design, sales were slow. Base prices were much higher than that of the previous range-topping 911 model and the 928's front-engined, water-cooled design alienated many Porsche purists.
Porsche introduced a refreshed 928 S into the European market in the 1980 model year, although it was the summer of 1982 and MY 1983 before the model reached North America. Externally, the S wore new front and rear spoilers and sported wider wheels and tires than the older variant, but the main change for the 928 S was under the hood, where a revised 4.7 L engine was used. European versions debuted with 221 kW; 296 hp (300 PS), and were upgraded to 228 kW; 306 hp (310 PS) for the 1984 model year.
From the LT collections I amassed when I was at LU - a sketch by John Harvey showing what the original plans for the New Works Programme 1935-40 reconstruction of Newbury Park station in east London could have looked like. Newbury Park had originally been constructed and opened in 1903 as part of the ambitious and not wholly successful loop line that linked the GER's main line at Ilford with the Epping/Ongar branch at Woodford. Suburban development was slow and several of the stations closed during WW1 as an economy measure such was the paucity of passengers. Then, in the 1930s, the newly formed London Transport under pressure to extend their tube services to north east London (and particularly the vociferous residents of North Ilford) developed a scheme to built a new tube tunnel under Eastern Ave, swing to the surface just to the south of Newbury Park and, along with the Epping/Ongar branch, link it to the Central line. In essence that is what happened although WW2 had a major impact on both timescales and infrastructure improvements. Essentially several major station reconstructions were canned, never to be resurrected (such as the proposed Holden style station at Theydon Bois) and indeed much forecast traffic, even on the loop, did not materialise thanks to the Green Belt legislation. Goodness, Fairlop, just up the line could have become one of London's major airports! Newbury Park was 'altered' for LT's use. The original 1903 style station building, same design as Chigwell, was demolished for road widening not railway works, and this futuristic bus station was indeed constructed to the designs of Oliver Hill in 1949. It won a Festival of Britain award in 1951, one of two LT sites to do so although the company now scandalously proposes to demolish the other winner, White City, that HE won't List even though this is. The rest of the station wasn't built but surface buildings adapted in a weak Festival of Britian/Austerity style and the original 1903 platforms now survive. So this post-Holden futuristic design never saw the light of Ilford.
Had this laying around for a month now and finally decided to finish it! Wanted to mix a futuristic design with some retro elements.
If you look closely you might see a face in the helmet.
Used in Steven.s - Tonight's On Fire
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Tokyo Skytree, a beacon of modern engineering, towers over the vibrant district of Sumida in Tokyo, Japan. Standing at an impressive 634 meters, it is the tallest structure in Japan and the second tallest in the world, completed in 2012. This broadcasting and observation tower is a testament to Japan’s cutting-edge architectural prowess and resilience, designed to withstand earthquakes and typhoons. The structure's design is inspired by traditional Japanese architecture, with a sleek, futuristic twist. Its base features a tripod structure that gradually transforms into a cylindrical shape as it ascends, symbolizing the seamless fusion of old and new.
The tower is adorned with LED lights that change colors, creating a mesmerizing spectacle against the night sky. This captivating illumination draws both locals and tourists, making it a popular destination in the city. The surrounding area, known as Tokyo Skytree Town, is a bustling hub of activity, featuring shopping malls, an aquarium, and a planetarium. The tower's observation decks offer breathtaking panoramic views of Tokyo, extending as far as Mount Fuji on clear days. The lower deck, situated at 350 meters, provides a 360-degree view, while the upper deck, at 450 meters, features a thrilling glass floor.
Tokyo Skytree is more than just an architectural wonder; it is a cultural landmark that hosts various events and exhibitions throughout the year. Its strategic location near Asakusa, a historic district known for the Senso-ji Temple, makes it a perfect blend of tradition and modernity. Visiting Tokyo Skytree offers a unique opportunity to experience the essence of Tokyo's vibrant culture and cutting-edge architecture, making it a must-visit destination.
Slumping sales of the 911 in the mid-1970s seemed to confirm that the model was approaching the end of its economic life cycle. Fuhrmann envisioned the new range-topping grand tourer model as being the best possible combination of a sports coupé and a luxury sedan. This would set it apart from the 911, with its relatively spartan interior and true sports car performance. The targets were that the car had to compete on par with offerings from Mercedes-Benz and BMW while also being successful in the United States, Porsche's main market at the time.
Ordered by Ferdinand Porsche to design a production-feasible concept for the new model, Fuhrmann initiated a design study in 1971, eventually yielding the 928 which was the first clean sheet design by the company for its own model.
The finished car debuted at the 1977 Geneva Motor Show before going on sale later that year as a 1978 model. Although it won early acclaim for its comfort, power and futuristic design, sales were slow. Base prices were much higher than that of the previous range-topping 911 model and the 928's front-engined, water-cooled design alienated many Porsche purists.
Porsche introduced a refreshed 928 S into the European market in the 1980 model year, although it was the summer of 1982 and MY 1983 before the model reached North America. Externally, the S wore new front and rear spoilers and sported wider wheels and tires than the older variant, but the main change for the 928 S was under the hood, where a revised 4.7 L engine was used. European versions debuted with 221 kW; 296 hp (300 PS), and were upgraded to 228 kW; 306 hp (310 PS) for the 1984 model year.
"The Oculus NYC by Calatrava"
The Oculus, a new train station in New York City (NYC, USA) is a remarkable landmark. The station opens in March 2016. Although it is not fully completed, it starts already its services as a connection hub between New Jersey’s PATH trains and New York City’s subways. There will be shops and restaurants inside the Oculus that make it a combination of a shopping center and transportation hub. A perfect hub for commuters.
The Oculus NYC
Sincerely, I had not known of the Oculus in New York until I visited the 9/11 Memorial Site. When passing the unfinished complex of the Oculus, I thought the design reminded me of a Spanish architect whose works mostly in modern and futuristic design, Santiago Calatrava. And, yup, the Oculus is his masterpiece. The architecture design of the Oculus has his trademark that reminds me to some of his works such as Valencia’s City of Arts and Sciences and The Zubizuri Bridge in Bilbao. I returned to the complex of Oculus on the following day to enter the building because I love Calatrava’s unusual design and I should not miss it when in New York!
Following are some interesting facts about the Oculus that I gathered from news media:
It took 12 years to open the Oculus finally in 2016, that included the seven years of delay in the plan, design, and construction.
The Oculus costs $4 billion! It was perhaps the world’s most expensive train station as suggested here.
The Oculus is the third largest train station in New York City after the Grand Central Terminal and Pennsylvania Station.
It is projected that the station will be used by 250,000 daily commuters and millions of annual visitors from around the world.
Calavatra’s design idea of the Oculus conveys a bird spreads its wings to take the flight.
Magnificent Main Hall of The Oculus NYC
The Oculus is located in the complex of World Trade Center. At this moment, the Oculus NYC entrance can be accessed through 4 World Trade Center from Liberty Street. Nearest metro train (subway) stations are Cortland St., Fulton St. and Chambers Street.
Map of the Oculus NYC Entrance to the Oculus NYC
I was lucky that during my visit, the Oculus was almost empty, except few visitors and security guards. At the same time, I found it as a weird situation since the outside of the Oculus was quite busy with the tourists who were going to visit the 9/11 Memorial Site. I am not sure whether the tourists were aware or not about this new landmark, but if you were in New York City, do take your time to visit this impressive building.
"Like Scott Heins had reported in his article"
it’s a new Selfie Mecca in NYC.Critics have blasted the But its existence is significant, if only because the hub represents the type of ambitious open spaces that used to exemplify public transit in the US. Grotesquely expensive, sure. Tough on the eyes, no question. But at least we all get to share in the spectacle.
The Hurricane was designed by Holden, General Motors’ Australian division. It featured a rear mid-engine, rear-wheel drive layout and stood just 39 inches tall. The car had a sleek, futuristic design with a hydraulically powered canopy that swung forward over the front wheels, allowing access to the interior. It was powered by a high compression 253 cubic inch (4.2 liter) Holden V8 engine producing 259 horsepower.
The Hurricane was packed with cutting-edge technology, including the automatic control of cabin temperature, one of the earliest uses of digital instrument displays, a rear-view camera connected to a CCTV screen in the center console, and an early navigation system using magnets embedded in the road to guide the driver, a precursor to GPS.
After being stored for many years, the Hurricane was fully restored by Holden in 2011 and displayed at the “Motorclassica” car show in Melbourne in October 2011. It was also featured at the National Motor Museum in Birdwood, South Australia in 2013, where it garnered significant media attention.
[Sources: Wikipedia, HotCars.com and AmazingClassicCars.com]
A stunning view of the Walt Disney Concert Hall in downtown Los Angeles, showcasing its striking, futuristic design. The iconic stainless steel curves glisten under the sunlight, reflecting the vibrant urban landscape. Designed by Frank Gehry, the building's sweeping, dynamic lines exude a sense of movement and innovation. The surrounding plaza is dotted with lush greenery, offering a stark contrast to the sleek metallic façade. This architectural marvel is both a cultural and artistic centerpiece of LA, standing tall against a backdrop of a bright blue sky.
El Gran Teatro Nacional de China, también conocido como «El Huevo», es un teatro de ópera en Pekín (República Popular China). Abrió sus puertas en junio de 2007. El arquitecto francés Paul Andreu fue el encargado de diseñarlo, con una planificación de coste inicial de unos 2.688 millones de yuanes. El teatro puede acoger hasta 6.500 personas en sus 200.000 m² de superficie.
El exterior del teatro es una cúpula de titanio y cristal completamente rodeada por un lago artificial. Se dice que parece un huevo flotando en el agua. Los invitados acceden al edificio después de caminar a través de un vestíbulo que discurre por debajo del lago. Fue diseñado como un icono, algo que fuese inmediatamente reconocible, como la Ópera de Sídney en Australia.
La ubicación, inmediatamente al oeste del Gran Salón del Pueblo y cerca de la Ciudad Prohibida, no era la opción más popular. Algunos piensan que el diseño general es demasiado moderno. Paul Andreu contestó que aunque en China existe un sentimiento especial acerca de la arquitectura tradicional, Pekín debe incluir diseños de arquitectura modernos debido a su condición capital del país y ciudad internacional de gran importancia. Su diseño, de gran superficie, agua, árboles y otros elementos, fue confeccionado para ser complementario a las paredes rojas de los antiguos edificios y del Gran Salón del Pueblo, además de fundirse bien con los alrededores. Aun así, muchos ciudadanos creen que el contraste es demasiado grande y no pega con los alrededores.
Se anunció que el 70% de las entradas se venderán a bajo precio para los ciudadanos corrientes, mientras que un 10% de las entradas se venderá a precios relativamente caros para diferentes segmentos del mercado. Para su funcionamiento, el 60% del alto coste de operación se debe subvencionar entre el Gobierno chino y las autoridades municipales de Pekín.
es.wikipedia.org/wiki/Gran_Teatro_Nacional_de_China
The National Centre for the Performing Arts (NCPA) (simplified Chinese: 国家大剧院; traditional Chinese: 國家大劇院; pinyin: Guójiā dà jùyuàn; literally: National Grand Theatre), and colloquially described as The Giant Egg (巨蛋), is an arts centre containing an opera house in Beijing, People's Republic of China. The Centre, an ellipsoid dome of titanium and glass surrounded by an artificial lake, seats 5,452 people in three halls and is almost 12,000 m² in size. It was designed by French architect Paul Andreu. Construction started in December 2001 and the inaugural concert was held in December 2007.
The exterior of the theater is a titanium-accented glass dome that is completely surrounded by a man-made lake. It is said to look like an egg floating on water, or a water drop. It was designed as an iconic feature, something that would be immediately recognizable.
The dome measures 212 meters in east–west direction, 144 meters in north–south direction, and is 46 meters high. The main entrance is at the north side. Guests arrive in the building after walking through a hallway that goes underneath the lake. The titanium shell is broken by a glass curtain in north–south direction that gradually widens from top to bottom.
The location, immediately to the west of Tiananmen Square and the Great Hall of the People, and near the Forbidden City, combined with the theatre's futuristic design, created considerable controversy.[3] Paul Andreu countered that although there is indeed value in ancient traditional Chinese architecture, Beijing must also include modern architecture, as the capital of the country and an international city of great importance. His design, with large open space, water, trees, was specially designed to complement the red walls of ancient buildings and the Great Hall of the People, in order to melt into the surroundings as opposed to standing out against them.
The director of the art committee of the National Centre for the Performing Arts and the standing committee member of the Standing Committee of the Chinese People's Political Consultative Conference, Mr Wu Zuqiang (吴祖强) and the publicist / deputy director of the National Centre for the Performing Arts Mr Deng (邓一江) have announced that 70 percent of the tickets would be sold at low price for ordinary citizens, while 10% of the tickets would be sold at relatively expensive prices for separate market segments, and the 60% of annual operational cost needed to be subsidized by the government would be divided between the central government and the Beijing municipal government.
en.wikipedia.org/wiki/National_Centre_for_the_Performing_...(China)
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London | Architecture | Night Photography | London Underground
"No matter how many new skyscrapers are built in London, it will be very difficult to match the futuristic design of Richard Rogers Lloyd's building..."
Inside Out
Das Fahrzeug zeichnet sich durch sein futuristisches Design, fortschrittliche Technologie und hohe Leistung aus. 😎👌
The vehicle is distinguished by its futuristic design, advanced technology, and high performance. 😎👌
This futuristic design would look right at home on the Enterprise 1701-D, but it’s actually a window panel at Star Tours.
The Shape of Speed
Streamlined Automobiles and Motorcycles, 1930–1942
JUN 16 – SEP 16, 2018
Portland Art Museum
The Portland Art Museum is pleased to announce The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942, a special exhibition debuting at the Museum in Summer 2018. Featuring 19 rare streamlined automobiles and motorcycles, The Shape of Speed opens June 16 and will be on view through September 16, 2018.
The concept of streamlining has fascinated people for generations. Beginning in the 1930s and extending until the outbreak of the World War II, automotive designers embraced the challenge of styling and building truly streamlined cars that were fast and fuel-efficient. They were encouraged by the confluence of aircraft design with the sleek shapes of fast railroad locomotives; new advanced highways such as the Autobahns; and events like the 1939 New York City World’s Fair, which showcased futuristic design.
The Shape of Speed presents a select group of rare automobiles and motorcycles that demonstrate how auto designers translated the concept of aerodynamic efficiency into exciting machines that in many cases, looked as though they were moving while at rest.
The Museum will display 17 cars and two motorcycles—the best of that era’s streamlined offerings—from Europe and the United States. Engineering drawings and period photographs will show some of the aircraft, railroad, ship and yacht designs that influenced the automakers.
Featured designers and engineers include European streamlining pioneer Paul Jaray, along with Richard Buckminster Fuller, Norman Bel Geddes, Raymond Loewy, Harley J. Earl, Hermann Ahrens, Georges Paulin, Joseph Figoni, Dr. Wunibald Kamm, Otto Kuhler, Jean Bugatti, Hans Ledwinka, Gordon Buehrig, and others.
Picture: Sunset at Grand National Theatre of China
Location: Beijing, China
The National Centre for the Performing Arts (Chinese: 国家大剧院), formerly known as the National Grand Theatre[1], and colloquially described as The Egg, is an opera house in Beijing, China. The Centre, an ellipsoid dome of titanium and glass surrounded by an artificial lake, seats 6,500 people in three halls and is 200,000 m² in size. It was designed by French architect Paul Andreu. Construction started in December 2001 and the inaugural concert was held in December 2007.
The exterior of the theater is a titanium accented glass dome that is completely surrounded by a man-made lake. It is said to look like an egg floating on water. It was designed as an iconic feature, something that would be immediately recognizable, like the Sydney Opera House.
The dome measures 212 meters in east-west direction, 144 meters in north-south direction, and is 46 meters high. The main entrance is at the north side. Guests arrive in the building after walking through a hallway that goes underneath the lake. The titanium shell is broken by a glass curtain in north-south direction that gradually widens from top to bottom.
The location, immediately to the west of Tiananmen Square and the Great Hall of the People, and near the Forbidden City, combined with the theatre's futuristic design, created considerable controversy.[1] Paul Andreu countered that although there is indeed value in ancient traditional Chinese architecture, Beijing must also include modern architecture, as the capital of the country and an international city of great importance. His design, with large open space, water, trees, was specially designed to complement the red walls of ancient buildings and the Great Hall of the People, in order to melt into the surroundings as opposed to standing out against them.
Source from Wikipedia: en.wikipedia.org/wiki/National_Centre_for_the_Performing_...
A serene valley is crossed by three bridges, each a unique blend of past, present, and future. Ancient stone meets modern steel and futuristic design in a captivating fusion of styles and textures.
Created by Diney on Apr 27, 2025 using the Flux Schnell AI image generator model.
Ferrari P 4/5 Designed by Pininfarina at the Pebble Beach Concours d'Elegance.
The Ferrari P 4/5, designed and built by Pininfarina's Special Projects Division, pays homage to Ferrari's great sports racing prototypes while simultaneously glancing ahead toward the marque's boundless feature.
Commissioned by New York Ferrari collector James Glickenhaus and built on the mechanicals of the exclusive Ferrari Enzo supercar, the P 4/5 is a unique one-off automobile that rekindles Pininfarina's storied tradition as the premier creator of the bespoke carrozzeria.
While the car's main influence is the immortal championship-winning Ferrari P 3/4 Le Mans racer of 1967, the thoroughly futuristic design draws equal inspiration from modern aerospace technology and Ferrari Formula 1 racing cars. The P 4/5's sensual yet technical design is tightly shrunk to its race-bred mechanicals. Regardless of viewing angle, the car's muscular converging fenders seem to leap forward, tightly hugging the unique 20-inch wheel and tire package and giving the car a planted and solid stance. Staying true to it's racing roots, the meter-tall P 4/5 has been finely tuned in Pininfarina's full scale moving belt wind tunnel, assuring superior aerodynamic performance.
(exerpted from the Pebble Beach Concours d'Elegance program)
Flickr Explore'd
The Lincoln Futura made its official public debut on January 8, 1955, at the Chicago Auto Show, after being shown to the press earlier that week. Beyond auto shows, the Futura had a significant impact on pop culture. It was modified by Hollywood customizer George Barris into the Batmobile for the 1966 TV series “Batman.” The car was also featured in the 1959 movie “It Started with a Kiss,” starring Debbie Reynolds and Glenn Ford.
The Lincoln Futura was designed by Ford’s lead stylists, Bill Schmidt and John Najjar, and was hand-built by Ghia in Turin, Italy. It boasted a 300-horsepower V-8 engine, push-button transmission controls, and a distinctive double-dome canopy roof. Its body style was a 2-door coupe with a front engine, rear-wheel-drive layout. Its original pearlescent finish was created using ground fish scales to achieve a shimmering effect.
The styling elements of the Futura, such as its headlights and tailfins, influenced the design of production Lincolns in the following years, and its concave front grille inspired the grille on the 1960 Mercury Monterey and the 1960 Ford Galaxie. [Sources: Wikipedia and Bing Copilot]
This is the retro and futuristic design. Copper-gold Tube Dress, upper body matches leather kynodesme, lower body matches fringe lace.
‘Where is the front?’ people asked themselves in 1950 when the new Studebaker Champion was introduced.
The rather futuristic design was by Raymond Loewy, and compared to its predecessor the new car had a bold, redesigned front end which became known as the ‘bullet nose’. Note the panoramic rear window, which is sub-divided; back then it was not possible to manufacture a window like this in one piece.
Parisian-born Raymond Loewy (1893-1986) was one of the greatest industrial designers of the 20th century. In 1919 he emigrated to New York and was amazed by the large gap between the high quality of American products and their poor design. In 1929 he set up his own design studio, and was responsible for the restyling of the Coca-Cola bottle and for the Lucky Strike logo (cigarettes), as well as the design of the Frigidaire refrigerator, the Dutch Sprinter train and Concorde’s initial interior. In the 1950s and 1960s Loewy was chief stylist at Studebaker, where he designed the Champion, the Hawk and the Avanti.
Louwman Museum
Den Haag - The Hague
Nederland - Netherlands
March 2013
El Gran Teatro Nacional de China, también conocido como «El Huevo», es un teatro de ópera en Pekín (República Popular China). Abrió sus puertas en junio de 2007. El arquitecto francés Paul Andreu fue el encargado de diseñarlo, con una planificación de coste inicial de unos 2.688 millones de yuanes. El teatro puede acoger hasta 6.500 personas en sus 200.000 m² de superficie.
El exterior del teatro es una cúpula de titanio y cristal completamente rodeada por un lago artificial. Se dice que parece un huevo flotando en el agua. Los invitados acceden al edificio después de caminar a través de un vestíbulo que discurre por debajo del lago. Fue diseñado como un icono, algo que fuese inmediatamente reconocible, como la Ópera de Sídney en Australia.
La ubicación, inmediatamente al oeste del Gran Salón del Pueblo y cerca de la Ciudad Prohibida, no era la opción más popular. Algunos piensan que el diseño general es demasiado moderno. Paul Andreu contestó que aunque en China existe un sentimiento especial acerca de la arquitectura tradicional, Pekín debe incluir diseños de arquitectura modernos debido a su condición capital del país y ciudad internacional de gran importancia. Su diseño, de gran superficie, agua, árboles y otros elementos, fue confeccionado para ser complementario a las paredes rojas de los antiguos edificios y del Gran Salón del Pueblo, además de fundirse bien con los alrededores. Aun así, muchos ciudadanos creen que el contraste es demasiado grande y no pega con los alrededores.
Se anunció que el 70% de las entradas se venderán a bajo precio para los ciudadanos corrientes, mientras que un 10% de las entradas se venderá a precios relativamente caros para diferentes segmentos del mercado. Para su funcionamiento, el 60% del alto coste de operación se debe subvencionar entre el Gobierno chino y las autoridades municipales de Pekín.
es.wikipedia.org/wiki/Gran_Teatro_Nacional_de_China
The National Centre for the Performing Arts (NCPA) (simplified Chinese: 国家大剧院; traditional Chinese: 國家大劇院; pinyin: Guójiā dà jùyuàn; literally: National Grand Theatre), and colloquially described as The Giant Egg (巨蛋), is an arts centre containing an opera house in Beijing, People's Republic of China. The Centre, an ellipsoid dome of titanium and glass surrounded by an artificial lake, seats 5,452 people in three halls and is almost 12,000 m² in size. It was designed by French architect Paul Andreu. Construction started in December 2001 and the inaugural concert was held in December 2007.
The exterior of the theater is a titanium-accented glass dome that is completely surrounded by a man-made lake. It is said to look like an egg floating on water, or a water drop. It was designed as an iconic feature, something that would be immediately recognizable.
The dome measures 212 meters in east–west direction, 144 meters in north–south direction, and is 46 meters high. The main entrance is at the north side. Guests arrive in the building after walking through a hallway that goes underneath the lake. The titanium shell is broken by a glass curtain in north–south direction that gradually widens from top to bottom.
The location, immediately to the west of Tiananmen Square and the Great Hall of the People, and near the Forbidden City, combined with the theatre's futuristic design, created considerable controversy.[3] Paul Andreu countered that although there is indeed value in ancient traditional Chinese architecture, Beijing must also include modern architecture, as the capital of the country and an international city of great importance. His design, with large open space, water, trees, was specially designed to complement the red walls of ancient buildings and the Great Hall of the People, in order to melt into the surroundings as opposed to standing out against them.
The director of the art committee of the National Centre for the Performing Arts and the standing committee member of the Standing Committee of the Chinese People's Political Consultative Conference, Mr Wu Zuqiang (吴祖强) and the publicist / deputy director of the National Centre for the Performing Arts Mr Deng (邓一江) have announced that 70 percent of the tickets would be sold at low price for ordinary citizens, while 10% of the tickets would be sold at relatively expensive prices for separate market segments, and the 60% of annual operational cost needed to be subsidized by the government would be divided between the central government and the Beijing municipal government.
en.wikipedia.org/wiki/National_Centre_for_the_Performing_...(China)