A big success by any standard both in and out of competition, the Lancia Stratos was developed as a homologation Special for European rallying. After production ceased it became a cult car and is now highly priced as the ‘modern classis' it is. Conceived strictly for rallying, the Lancia Stratos however makes an exciting road car, though it is very far from GT standards in both luxury and refinement.

The concept vehicle responsible for providing the inspiration for the Lancia Stratos Rally car is the Lancia (Bertone) Stratos. The Stratos featured a 1584 cc V4 DOHC with 115 bhp horsepower at 200 rpm. Designed by Marcello Gandini, the same designer responsible for the Lamborghini Countach and Lamborghini Miura, the Stratos concept was a development of the Bertone designed Alfa Romeo Carabo concept from 1968. The Carabo concept was also a Gandini creation.

First revealed at the Turin Motor Show in October of 1970, the Lancia Stratos HF prototype was a styling exercise for Bertone. A futuristic design, the Stratos featured a wedge shaped profile that stood just 33 inches from the ground. Since the vehicle was so low, conventional doors could not be used and instead one accessed the interior of the Stratos by a hinged windscreen. Drivers had to flip up the windscreen and walk into the vehicle. Once inside, visibility was quite restricted since the front windscreen was narrow. The cockpit of the Lancia Stratos was designed specifically for fast forest flying.

The body design was predictably minimal to hold down weight and bulk with its most distinctive features being semi-concealed A-pillars and a door beltline that sharply upswept to the top of the daylight opening. The shape of the resulting unbroken expanse of glass gave the tunnelback roof the appearance of a futuristic crash helmet.

The main body structure was steel, like the chassis, and weight-saving fiberglass was used for tilt-up nose and tail sections. A small box above and behind the powertrain was where cargo space was held. Bins were also molded into the interior door panels for storing helmets.

The same engine utilized on the Lancia 1600 HF Fulvia was used on the Bertone designed Lancia Stratos Zero prototype. A triangular shaped panel hinged upwards to allow access to the mid-mounted engine. Developed for rallying purposes, the legendary Lancia Stratos was unveiled in 1974. The production vehicle Stratos was powered by a 2.4 liter mid-mounted V6 from the Ferrari Dino.

Like no other Lancia before or after, the Lancia Stratos was a shock that left enthusiasts and rally fans breathless. For almost a decade the Stratos streaked across the rally landscape much like a brilliant comet, while discarding past principles, it also fearlessly represented something undeniably new. A phenomenal rally car, the Lancia Stratos set an example to every other car manufacturer in the world. The first viable purpose-built rally car ever built, the Stratos was probably the last purpose-built rally car.

Created by the Bertone coachbuilding company, the Stratos was both radical, yet fully functional. Fiorio realized that for Lancia to continue to compete in the World Rally Championship, the Fulvia HF would need a much more powerful replacement. A the time, four-wheel drive was not an option, so a mid-engined configuration seemed ideal. To reinforce Fiori's convictions, the Bertone show car was featured soon after with a mid-engine Fulvia V4.

The introduction of the Ford mid-engine purpose-built GT70 rally car at the 1971Brussels Motor Show was what truly inspired the impetus behind the Stratos proect. It was after this appearance that Lancia's general manager, Pierugo Gobbato contacted Nuccio Bertone. Though the GT70 was actually never put in production by Ford, it was this that sparked the inspiration of the Lancia Stratos.

As always, there was a minimum production requirement, 500 units for the Lancia Stratos. This was an awkward figure that would necessitate funds for at least semi-permanent tooling as well as design and development. This was a job well suited to the Italian industry. Fiorio masterminded the project, and he envisioned a short, wide coupe with transverse midships drivetrain. Bertone was immediately contracted to style the vehicle and built its unit body/chassis structure.

43 months passed in between the time of conception to the actual birth of the Lancia Stratos. The vehicle was developed to take over and make Lancia the outright world rally champ. The Stratos was both short and wide, with a wheelbase of only 7 feet 1.8 inches, the width of the vehicle was only 5 feet 8.9 inches. Weighing only 1958 lbs, the Stratos was only 3 feet 7.9 inches high. Able to easily exceed 140 mph, the Stratos featured 190 horsepower in roadgoing trim.

Having studied every possible powerteam in the Fiat/Lancia group, Fiorio secured 2.4 liter V-6s and 5-speed transaxles from Ferrari, which was an ideal chouse as they'd be installed exactly as the Dino 246. All-independent suspension, rack-and-pinion steering and four-wheel disc brakes were all specifically designed for the Lancia Stratos.

After 1978 the Stratos was officially retired and no longer was officially entered by the Lancia factory, the vehicle was still going strong. The Lancia team was headed by by Sandro Munari who won its first event as a homologated entry in October of 1974. Mun ari entered alone 40 events with the Lancia Stratos and won 14. The Stratos also won the World Rally Championship in 1974, 1975, and 1976 and remained competitive for another four years. The final major win came in 1979 when a Lancia Stratos entered by the Monaco importer won the famed Monte Carlo Rally. Finally the factory retired the Stratos.

By Jessica Donaldson

[Text from ConceptCarz.com]

www.conceptcarz.com/z21737/Lancia-Stratos-HF.aspx

This Lego miniland-scale Lancia Stratos Rally Racer has been created for Flickr LUGNuts' 100th Build Challenge - our Centenary, titled 'One Hundred Ways to Win!'. In this challenge, a list of 100 challenges is available, kept by the admins. Individuals wishing to enter, request a number from 1-100 (so long as it has not already been requested) - and the admins assign the individual build challenge associated with that number.

In the case of admins entering models - they request that a general LUGNuts member assigns a number - and the admin must build to that challenge number.

In this case, the number 78 was chosen for me, corresponding to the challenge: '78.Any vehicle from the year you were born'. I was born in 1972, the year that the first Stratos rally cars were built, entering in the Rally Championship as Group 5 (un-homologated) entries.

The road cars required to homologate for Group 4 were built through 1973 to 1978.

The 1980 Turin Motor Show marked the 50th anniversary of Pininfarina, and rumours abounded that the celebrated company was going to unveil a unique concept car for Ferrari. To great fanfare the first ever four-door Ferrari was duly unveiled. Sergio Pininfarina, now head of the legendary design firm, named the car in honour of his father and founder of the company, Battista ‘Pinin’ Farina.

The Ferrari Pinin had a wheelbase five centimetres longer than the Ferrari 400 and the 365 GT4 2+2. The futuristic design was the work of Diego Ottina under the direction of Leonardo Fioravanti, who had also been responsible for some of Pininfarina’s greatest Ferrari designs since the ’60s.

Aside from the four-door body style, one of the most notable features of the car was the very low height of the hood. Strikingly, the windows were tinted and mounted flush to hide the A- and B-pillars, giving the impression of a single piece of glass wrapping all the way around from C-pillar to C-pillar. Other unique features of this concept car included ‘multi-parabolic’ lights. Designed in conjunction with Lucas, they were incorporated into the body and utilised three lenses, with the middle one the same colour as the bodywork. The windscreen wipers retracted under a panel to help with streamlining, and the five-spoke wheels were angled like the blades of a turbine.

Interior appointments were given a high priority; special tan Connolly leather wraps most surfaces, and onboard computerisation controls all the passenger comfort features. Along with the extra legroom, afforded by the Pinin’s lengthened wheelbase, the rear-seated passengers also have their own controls as well as a second radio to be used with headphones (much like modern passenger cars).

Though the Pinin concept certainly appeared extremely advanced for the early ’80s, much of the technology was only a conceptualisation of what may have been. Sadly, the Pinin was never to make it into production. FIAT, Ferrari’s parent company, was busy developing smaller cars, such as the Uno, and wasn’t about to spend its precious resources on the first four-door Ferrari. The concept was featured at a number of shows, including the 1980 Los Angeles Auto Show and Carrozzeria Italiana in Pasadena in 1981, however, the Pinin would remain a static show car.

After being displayed at the 2005 Essen Motor Show to celebrate Pininfarina's 75th anniversary, the car was sold in 2008 by RM Auctions on behalf of Swaters for €176,000. The new owner send the Pinin to former Ferrari chief engineer Mauro Forghieri's firm Oral Engineering with the brief to make it a running vehicle. The Oral Engineering team made multiple modifications to the Pinin, installing a Tipo F102 B flat 12 engine from a Ferrari BB 512 as well as other components either taken from other Ferrari models or custom-made. In order to fit the engine, the chassis was modified and strengthened. The original engine mounts were moved up and forward. A gearbox and differential from a 400 GT were installed. A bespoke fuel tank and wiring loom were also commissioned. Although the car had front and rear double wishbone independent suspension from a 400 GT installed from the beginning, suspension modifications were required to make it road-usable, including adjustment of ground clearance and replacement of non-functional springs. The conversion process took approximately 1.5 years.

These odd looking apartments always seemed to me like a futuristic design from the 1950s. They were built as a public housing cooperative in 2010 but that model was unsuccessful and dropped in 2015. The building deteriorated quickly and was deemed impractical. Manitoba Housing is looking for a new buyer to either renovate the units or, more likely, to demolish the buildings and construct a large complex on the property.

Liverpool 201222 #4 Liverpool’s Roman Catholic Cathedral.

Before I post my photographs tomorrow of the cathedral’s interior, I attach my shots of the crypt below which was used as an air-raid shelter during the second world war.

Sir Edin Lutyens design for Liverpool’s Metropolitan Cathedral of Christ the King would have resulted in the largest cathedral in the world had building not been abandoned after World War ll. The Lutyens crypt remains however and has recently re-opened its doors. Its four large neo-classical halls with vaulted ceilings and lead-light windows are in stark contrast to the futuristic design of the Sir Frederick Gibbert-designed cathedral above.

The crypt also contains Treasury section – a priceless and beautiful collection of sacred vessels. Photography of these is forbidden. Though I did take a shot of the spiral staircase at the entrance to the Treasury hall.

A big success by any standard both in and out of competition, the Lancia Stratos was developed as a homologation Special for European rallying. After production ceased it became a cult car and is now highly priced as the ‘modern classis' it is. Conceived strictly for rallying, the Lancia Stratos however makes an exciting road car, though it is very far from GT standards in both luxury and refinement.

The concept vehicle responsible for providing the inspiration for the Lancia Stratos Rally car is the Lancia (Bertone) Stratos. The Stratos featured a 1584 cc V4 DOHC with 115 bhp horsepower at 200 rpm. Designed by Marcello Gandini, the same designer responsible for the Lamborghini Countach and Lamborghini Miura, the Stratos concept was a development of the Bertone designed Alfa Romeo Carabo concept from 1968. The Carabo concept was also a Gandini creation.

First revealed at the Turin Motor Show in October of 1970, the Lancia Stratos HF prototype was a styling exercise for Bertone. A futuristic design, the Stratos featured a wedge shaped profile that stood just 33 inches from the ground. Since the vehicle was so low, conventional doors could not be used and instead one accessed the interior of the Stratos by a hinged windscreen. Drivers had to flip up the windscreen and walk into the vehicle. Once inside, visibility was quite restricted since the front windscreen was narrow. The cockpit of the Lancia Stratos was designed specifically for fast forest flying.

The body design was predictably minimal to hold down weight and bulk with its most distinctive features being semi-concealed A-pillars and a door beltline that sharply upswept to the top of the daylight opening. The shape of the resulting unbroken expanse of glass gave the tunnelback roof the appearance of a futuristic crash helmet.

The main body structure was steel, like the chassis, and weight-saving fiberglass was used for tilt-up nose and tail sections. A small box above and behind the powertrain was where cargo space was held. Bins were also molded into the interior door panels for storing helmets.

The same engine utilized on the Lancia 1600 HF Fulvia was used on the Bertone designed Lancia Stratos Zero prototype. A triangular shaped panel hinged upwards to allow access to the mid-mounted engine. Developed for rallying purposes, the legendary Lancia Stratos was unveiled in 1974. The production vehicle Stratos was powered by a 2.4 liter mid-mounted V6 from the Ferrari Dino.

Like no other Lancia before or after, the Lancia Stratos was a shock that left enthusiasts and rally fans breathless. For almost a decade the Stratos streaked across the rally landscape much like a brilliant comet, while discarding past principles, it also fearlessly represented something undeniably new. A phenomenal rally car, the Lancia Stratos set an example to every other car manufacturer in the world. The first viable purpose-built rally car ever built, the Stratos was probably the last purpose-built rally car.

Created by the Bertone coachbuilding company, the Stratos was both radical, yet fully functional. Fiorio realized that for Lancia to continue to compete in the World Rally Championship, the Fulvia HF would need a much more powerful replacement. A the time, four-wheel drive was not an option, so a mid-engined configuration seemed ideal. To reinforce Fiori's convictions, the Bertone show car was featured soon after with a mid-engine Fulvia V4.

The introduction of the Ford mid-engine purpose-built GT70 rally car at the 1971Brussels Motor Show was what truly inspired the impetus behind the Stratos proect. It was after this appearance that Lancia's general manager, Pierugo Gobbato contacted Nuccio Bertone. Though the GT70 was actually never put in production by Ford, it was this that sparked the inspiration of the Lancia Stratos.

As always, there was a minimum production requirement, 500 units for the Lancia Stratos. This was an awkward figure that would necessitate funds for at least semi-permanent tooling as well as design and development. This was a job well suited to the Italian industry. Fiorio masterminded the project, and he envisioned a short, wide coupe with transverse midships drivetrain. Bertone was immediately contracted to style the vehicle and built its unit body/chassis structure.

43 months passed in between the time of conception to the actual birth of the Lancia Stratos. The vehicle was developed to take over and make Lancia the outright world rally champ. The Stratos was both short and wide, with a wheelbase of only 7 feet 1.8 inches, the width of the vehicle was only 5 feet 8.9 inches. Weighing only 1958 lbs, the Stratos was only 3 feet 7.9 inches high. Able to easily exceed 140 mph, the Stratos featured 190 horsepower in roadgoing trim.

Having studied every possible powerteam in the Fiat/Lancia group, Fiorio secured 2.4 liter V-6s and 5-speed transaxles from Ferrari, which was an ideal chouse as they'd be installed exactly as the Dino 246. All-independent suspension, rack-and-pinion steering and four-wheel disc brakes were all specifically designed for the Lancia Stratos.

After 1978 the Stratos was officially retired and no longer was officially entered by the Lancia factory, the vehicle was still going strong. The Lancia team was headed by by Sandro Munari who won its first event as a homologated entry in October of 1974. Mun ari entered alone 40 events with the Lancia Stratos and won 14. The Stratos also won the World Rally Championship in 1974, 1975, and 1976 and remained competitive for another four years. The final major win came in 1979 when a Lancia Stratos entered by the Monaco importer won the famed Monte Carlo Rally. Finally the factory retired the Stratos.

By Jessica Donaldson

[Text from ConceptCarz.com]

www.conceptcarz.com/z21737/Lancia-Stratos-HF.aspx

This Lego miniland-scale Lancia Stratos Rally Racer has been created for Flickr LUGNuts' 100th Build Challenge - our Centenary, titled 'One Hundred Ways to Win!'. In this challenge, a list of 100 challenges is available, kept by the admins. Individuals wishing to enter, request a number from 1-100 (so long as it has not already been requested) - and the admins assign the individual build challenge associated with that number.

In the case of admins entering models - they request that a general LUGNuts member assigns a number - and the admin must build to that challenge number.

In this case, the number 78 was chosen for me, corresponding to the challenge: '78.Any vehicle from the year you were born'. I was born in 1972, the year that the first Stratos rally cars were built, entering in the Rally Championship as Group 5 (un-homologated) entries.

The road cars required to homologate for Group 4 were built through 1973 to 1978.

As can be seen in some of the images here, not only does the car open and close (a real challenge when you look at the chassis), but it also uses the Lego Group RC Rollerskate - so it can zoom around under its own power.

"The Phoenix Trotting Park, was a horse racing track built in 1964 in Goodyear, Arizona. It opened in 1965 and was run for about two and a half seasons. The large, futuristically designed structure gave an optimistic look for the 1960s.

Originally planned to be built for a cost of about $3 million, the facility ended up costing around $10 million. One of the proprietors and visionaries behind the park was James Dunnigan, the renowned New York horseracing financier. Various incentives during the events that were held, such as free parking and admission did initially lead to decent attendance, including an opening day showing of 12,000 people. However, a variety of factors led to the inevitable closing of the track. The hot weather of the desert caused events to be uncomfortable to attendees. The location provided limited means to control rain, leading to floods that caused accessibility problems. The park is also located about 20 miles outside of Phoenix and was built long before any major roads made the area easily accessible to those in the city or its suburbs.

Though closed in 1966, the 194-acre property had been continuously owned by either individuals or corporations/businesses. And with the exception of a brief use for a movie, the property had sat abandoned since its closure. As such, without any care, maintenance, or upkeep, the property showed its age.

The main building of the park was used in the 1998 Charlie/Martin Sheen movie No Code of Conduct. Part of the feature involved a large explosion occurring at the track.

In December 2015, the property was put on the market for $16.5 million. The structure was demolished in 2017.

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 Australian Academy of Science's Shine Dome and its custom-designed furniture were created to reflect the inquiring and innovative nature of science. It was the first Canberra building to be added to the National Heritage List, for its historical and architectural significance. A Canberra landmark since its construction in 1959, the Shine Dome has received numerous awards and is one of seven projects the Royal Australian Institute of Architects has nominated to the World Register of Significant Twentieth Century Architecture.

The Academy of Science project was Roy Grounds’ first large building: its brief called for a large conference hall with raked seating, council room, offices and a fellows’ room being the second-largest space. Grounds rather deftly moulded all of this into a simple circular plan with circumferential circulation inside and out, and housed it all in a concrete, copper-clad dome. To contain the dome’s lateral spreading he devised a massive concrete ring beam (built as a moat) that straps everything together like the hoop on a wine barrel.

This building is part of a rash of domes built internationally in the 1950s and 1960s like Saarinen’s Kresge Auditorium at MIT and later, Nveri’s large stadiums in Italy. In historical terms Grounds’ dome was one of the early ones and today it functions precisely as designed. All of the interior details and materials have somehow managed to stand the test of time and yes it still works.

- See more at: www.science.org.au/node/29#sthash.iCqtZ4kv.dpuf

Description: A shallow arcaded concrete dome, sheeted in copper. Peripheral arches in the dome spring from a moat which serves as a ring beam. Integral, formed plywood seating reflects the circular interior. Auditorium (Becker Hall) [renamed the Wark Theatre] seats approximately 156. The Adolph Basser Library is situated in the top of the dome. The copper-sheathed concrete dome, 46 meters in diameter, weighs 710 tonnes and rests on 16 arches. When opened, the building was described as being of "unconventional, futuristic design". The Academy of Science was established by Royal Charter in 1954. Its Fellows are eminent scientists in physical or biological sciences. An original notice described the building as 'Conference Chamber and Offices'. - See more at: www.science.org.au/node/29#sthash.iCqtZ4kv.dpuf

The exhibition 'CUTE' at Kunsthal Rotterdam explores the global rise and evolution of the concept of "cuteness," from Japanese kawaii culture to modern internet memes and futuristic design. Created in collaboration with Somerset House in London, the exhibition demonstrates how cuteness can be a powerful tool for comfort, manipulation, or provocation. Visitors can experience interactive installations, such as a Hello Kitty disco and a game arcade with digital monsters, and immerse themselves in the multi-layered world of CUTE.

Kunsthal Rotterdam: CUTE exhibition from July 5 to November 23, 2025.

Have been offline for a couple of weeks with limited internet, so hoping to catch up over the next few days...here's a couple of Underground shots to kick things back off...this one is Southwark, one of the more impressive stations with great interior architecture and futuristic design

Picture from the net, description from Wickipedia

The Scarab was unlike most cars of the era. Virtually all production cars at the time used a separate chassis and body, with a long compartment in the front, housing the engine, longitudinally placed behind the front axle, and a rearward passenger compartment. The front-mounted engine would typically drive the rear axle through a connecting drive shaft running underneath the floor of the vehicle. This layout worked very well, but had severe limitations where space utilization was concerned.

Instead, the Scarab did away with the chassis and drive-shaft, to create a low, flat floor for the interior, by using a unitized body structure, and by placing the Ford-built V8 engine in the rear of the vehicle. The car’s creator, motorcar and aviation engineer and journalist William B. Stout, envisioned his traveling machine to be an office on wheels. To that end, the Scarab's body, styled by John Tjaarda, a well known Dutch automobile engineer,[3] closely followed the construction of an aluminium aircraft fuselage.

Featuring a very short, streamlined nose and tapering upper body at the rear, it foreshadowed the contemporary monospace (or one-box) MPV or Minivan design — featuring a removable table and second row seats that turn 180 degrees to face the rear — a feature that Chrysler currently markets as Swivel ’n Go.[4]

Although reminiscent of the Chrysler Airflow, streamliner, and the slightly later (1938) KdF-Wagen — all aerodynamically efficient in appearance, the Stout Scarab was generally considered ugly at the time. Today its futuristic design and curvaceous, finely detailed nose earn it respect as an Art Deco icon

Seattle Central Library in Seattle, Washington. A stunning example of postmodern architecture.

As a reminder, keep in mind that this picture is available only for non-commercial use and that visible attribution is required. If you'd like to use this photo outside these terms, please contact me ahead of time to arrange for a paid license.

Liverpool 201222 #4 Liverpool’s Roman Catholic Cathedral.

Before I post my photographs tomorrow of the cathedral’s interior, I attach my shots of the crypt below which was used as an air-raid shelter during the second world war.

Sir Edin Lutyens design for Liverpool’s Metropolitan Cathedral of Christ the King would have resulted in the largest cathedral in the world had building not been abandoned after World War ll. The Lutyens crypt remains however and has recently re-opened its doors. Its four large neo-classical halls with vaulted ceilings and lead-light windows are in stark contrast to the futuristic design of the Sir Frederick Gibbert-designed cathedral above.

The crypt also contains Treasury section – a priceless and beautiful collection of sacred vessels. Photography of these is forbidden. Though I did take a shot of the spiral staircase at the entrance to the Treasury hall.

Futuristic design from Infiniti.

A three-story structure, the Hall of Education with 90,000 square feet of floor area, appears light and airy through a futuristic design featuring a sculptured, multi-colored, three dimensional screen, 100 feet in width and 25 feet high, which will suggest the wide range of subjects in the field of education. With a new symbol of education as a main floor attraction, the building will house a convention hall equipped for television broadcasting, and a number of other halls with moving walls for flexibility in showing instructional materials. A "School of Tomorrow" is located on the second floor.

1961-63 New York World's Fair 1964-1965 Corp.

CAPA-010068

The 1960 Plymouth XNR is a unique and notable concept car designed by Virgil Exner, an influential automotive designer known for his work at Chrysler during the 1950s and 1960s. The XNR was unveiled at the 1960 International Automobile Show in New York and was intended to showcase Plymouth's design and engineering capabilities.

Automobile designer Virgil Exner left Studebaker to join Chrysler in 1949. Chrysler's previous designers favored conservative, upright body styles, but sales were declining. At Chrysler, one of his first challenges was to wrest final say over design away from the engineering department.

Exner commissioned a range of concept cars that were built in Italy by Carrozzeria Ghia.[4] Among these were several sporty, open-top, two-seat cars, including three out of four of the cars in the Dodge Firearrow series, and the Chrysler Falcon. These studies were Chrysler's answer to the Ford Thunderbird and Chevrolet Corvette.

The XNR went through several name changes during development. Some early drawings label it the "Falcon". This was also the development name of the car that became the production Valiant, until Ford registered it for their own new compact. Later the car was called the Asymmetrica, and later still renamed "XNR", a disemvoweled, pseudo-acronym of the designer's own last name.

The shape of the XNR was influenced by a Studebaker Indianapolis race car that Exner owned, as well as by the later asymmetrical Watson Indy Roadster, and the Jaguar D-Type.

As originally built, the car reached a speed of 146 mph (235 km/h) on Chrysler's test track. Exner is said to have personally driven the car on the track at speeds up to 142 mph (229 km/h). Later, after being fitted with a fiberglass nosecone fabricated by Dick Burke and receiving additional engine modifications, the car reached a top speed of 153 mph (246 km/h).

In May 1960, the XNR appeared on the covers of both Road & Track and Motor Trend magazines, then in May 1961 on the cover of Today's Motor Sports magazine.

The car made its first public appearance at the 1960 New York Auto Show.

Chrysler did not put the Plymouth XNR into production. Exner wanted to buy the car from Chrysler, but was unsuccessful and the XNR was shipped back to Ghia in Italy to prevent it from being destroyed.

Key features and characteristics of the 1960 Plymouth XNR Concept include:

Design: The XNR featured a distinctive and futuristic design for its time, with a low-slung, aerodynamic body. It had a prominent front grille, quad headlights, and a sleek, elongated profile. The car had a single "targa" roof panel that could be removed for open-air driving.

Color: The XNR was painted in a vibrant shade of red, known as "Plymouth Fire-Red," which further accentuated its unique design.

Engine: Under the hood, the XNR was equipped with a high-performance 2.8-liter slant-six engine that produced around 250 horsepower. This engine choice highlighted Plymouth's commitment to performance and innovation.

Interior: The XNR's interior featured a driver-focused cockpit with a futuristic dashboard layout. It had a two-seat configuration with a center console that housed various controls and instruments.

Innovations: The XNR incorporated several innovative design elements for its time, such as the wraparound windshield, adjustable steering column, and the removal of the B-pillars for a cleaner side profile.

Public Reception: The Plymouth XNR Concept garnered significant attention and praise for its avant-garde design and engineering. It was admired for its uniqueness and forward-looking styling cues.

Single Prototype: Unlike some other concept cars, only one Plymouth XNR was ever built. It was intended to be a design statement and a showcase of Plymouth's capabilities rather than a vehicle intended for mass production.

Ownership: After its debut at the 1960 International Automobile Show, the XNR concept car was sold to a private collector. Over the years, it changed hands several times and became a sought-after collector's item.

The 1960 Plymouth XNR remains an iconic piece of automotive history, representing a period of design experimentation and innovation within the American automotive industry. Its striking design and unique features continue to captivate enthusiasts and historians alike, making it a memorable symbol of automotive creativity from the early 1960s.

Taken at its 1st Concours showing after restoration at the 2011 Amelia Island Concours.

#theamelia #ameliaconcours

ERF KV Series Flatbed (1962)

Livery A K Taylor and Son, Mow Cop (Staffordshire)

Registration Number 8512 DD (Middlesborough)

ERF ALBUM

www.flickr.com/photos/45676495@N05/albums/72157623665035629

The KV was a radical change for ERF, designed by Dennis Foden who had recently become Managing Director, along with Gerald Broadbent 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 operators with its rounded shape and trusty Gardner engine

Diolch am 94,108,591 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.

Thanks for 94,108,591 amazing views, every one is greatly appreciated.

Shot 28.05.2022 at Smallwood Steam Rally. Cheshire REF 160-143

My Website : Twitter : Facebook : Instagram : Photocrowd

As always when I visit the Brick Lane area I make sure I have a wander into the yard of the former Seven Star Pub. Whilst some of the best walls have been taken down as part of a development at the rear, the main side elevation of the pub is often covered in interesting pasteups. This large collage pasteup by LdashD was one of a number of pieces criticising Vladimar Putin for his 'special operation' in the Ukraine.

Click here to see more graffiti / street art : www.flickr.com/photos/darrellg/albums/72157628800256941

You can more of his stuff here : twitter.com/subdudelondon?lang=en

From his website : LdashD is a multi-talented musician and artist whose life revolves around creating unique, uncompromising music. As a self-taught multi-instrumentalist, LdashD is a solo production powerhouse, dedicating countless hours to perfecting his craft. When he's not working on his music, he can be found exploring Brick Lane in London, leaving his mark through his graffiti, pasteups, sculptures, and plaques. In fact, his 'Passport Tiles/Masks' have become highly sought-after collectors' items. You might even spot one of his mini-LdashD logo bags hanging from a wall or railing, filled with free collectables like branded wristbands, stickers, and cards, all featuring his unique, often futuristic design style."

© D.Godliman

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.

= = = = = = = = = = = = = = = = = = = = = = = = = = = =

Francisco Aragão © 2014. All Rights Reserved.

Use without permission is illegal.

Attention please !

If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.

Many images are available for license on Getty Images

= = = = = = = = = = = = = = = = = = = = = = = = = = = =

Spanish

La Torre de Collserola es una torre de comunicaciones situada en el Pico de la Vilana, cerca del Tibidabo (sierra de Collserola), en el municipio de Barcelona. Fue construida desde febrero de 1990 a julio de 1992 con motivo de los Juegos Olímpicos de Barcelona 1992 y desde ahí se realizan la mayoría de los enlaces audiovisuales del área metropolitana y la provincia. Esta torre de diseño futurista dispone de un mirador público en el nivel 10 desde donde se divisa la ciudad de Barcelona. Tiene una altura de 288,4 metros y fue diseñada por el arquitecto británico Norman Foster y los ingenieros de caminos Julio Martínez Calzón y Manuel Julià Vilardell, y construida por Cubiertas y MZOV, S.A..

Como peculiaridad cabe destacar que la Torre de Collserola posee también servicios de cátering para empresas, donde se puede celebrar cualquier evento. Dispone de una sala de recepción y aperitivo, una sala polivalente donde se pueden participar en reuniones de negocios o empresariales y la planta mirador tiene una cabida de hasta 100 comensales, donde cualquiera puede deleitarse con sus vistas hacia Barcelona o la comarca del Vallés Occidental.

La Torre de Collserola es miembro de la Federación Mundial de Grandes Torres.

English

Torre de Collserola (Catalan pronunciation: [ˈtorə ðə kuʎsəˈɾɔɫə]) is a uniquely designed tower located on the Tibidabo hill in the Serra de Collserola, in Barcelona, Catalonia, Spain. It was designed by architect Sir Norman Foster and by Spanish civil engineers Julio Martínez Calzón and Manuel Julià Vilardell, and built in 1991 by construction company Cubiertas y MZOV S.A. for the 1992 Summer Olympics. It features a pod for floor space like many towers but uses guy wires for lateral support like a mast. Mainly used as a TV and radio transmitter, this futuristic design provides the highest viewpoint over the city. The top antenna reaches 288.4 m (946 ft) and the top of the pod, which has thirteen floors, reaches 152 m (499 ft).

The tenth floor of the pod is open to the public.

Wikipedia

The Hyatt Regency San Francisco Embarcadero is not just a hotel; it’s an architectural landmark. Completed in 1973, this iconic building was designed by renowned architect John Portman. The highlight? Its jaw-dropping atrium, which, for a time, held the record as the world’s largest. The soaring space features geometric lines and futuristic design elements, drawing you into a scene that feels both grand and intimate. This atrium became a symbol of Portman’s signature style, integrating sweeping internal vistas with functional luxury, and has been featured in numerous films, including High Anxiety and The Towering Inferno.

The atrium is a visual feast, with its glass-walled elevators offering panoramic views of the space and beyond to the San Francisco waterfront. A playful mix of natural light and shadow dances across the interior throughout the day, giving guests a new experience every time they look up. The expansive openness of the atrium reflects the optimism of the early 1970s, blending brutalist architecture with modern aesthetics in a way that still feels contemporary.

Beyond its striking design, the Hyatt Regency Embarcadero is also celebrated for its prime location at the foot of Market Street, steps from the Ferry Building and the iconic Embarcadero waterfront. It’s a favorite spot for both travelers and architecture aficionados alike, offering not only stylish accommodations but also a living piece of San Francisco’s design history.

For those with a love of unique spaces and bold architectural statements, the Hyatt Regency Embarcadero’s atrium is a must-see, representing the best of 20th-century innovation in hospitality design.

♥ Avaible at GothCore Event from aug. 25th to sept. 12th ♥

Demo : youtu.be/ys3_GklIPRc

Unleash your dark side with our new Cybergoth doll, featuring a sleek, futuristic design and a mesmerizing swinging backbone that adds an edgy, dynamic twist to your allure.

Fatpack 10 colors and variants also sold individually.

15% off with VIP group.

Taxi :

- GothCore Event : tinyurl.com/2w2h2p2n

- & SynRJ Mainstore : linktr.ee/SynRJ.SL

Second Life High Quality Original PBR Animesh creation from SynRJ.

Join us : www.facebook.com/groups/synrj

= = = = = = = = = = = = = = = = = = = = = = = = = = = =

Francisco Aragão © 2013. All Rights Reserved.

Use without permission is illegal.

Attention please !

If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.

Many images are available for license on Getty Images

= = = = = = = = = = = = = = = = = = = = = = = = = = = =

Spanish

La Torre de Collserola es una torre de comunicaciones situada en el Pico de la Vilana, cerca del Tibidabo (sierra de Collserola), en el municipio de Barcelona. Fue construida desde febrero de 1990 a julio de 1992 con motivo de los Juegos Olímpicos de Barcelona 1992 y desde ahí se realizan la mayoría de los enlaces audiovisuales del área metropolitana y la provincia. Esta torre de diseño futurista dispone de un mirador público en el nivel 10 desde donde se divisa la ciudad de Barcelona. Tiene una altura de 288,4 metros y fue diseñada por el arquitecto británico Norman Foster y los ingenieros de caminos Julio Martínez Calzón y Manuel Julià Vilardell, y construida por Cubiertas y MZOV, S.A..

Como peculiaridad cabe destacar que la Torre de Collserola posee también servicios de cátering para empresas, donde se puede celebrar cualquier evento. Dispone de una sala de recepción y aperitivo, una sala polivalente donde se pueden participar en reuniones de negocios o empresariales y la planta mirador tiene una cabida de hasta 100 comensales, donde cualquiera puede deleitarse con sus vistas hacia Barcelona o la comarca del Vallés Occidental.

La Torre de Collserola es miembro de la Federación Mundial de Grandes Torres.

English

Torre de Collserola (Catalan pronunciation: [ˈtorə ðə kuʎsəˈɾɔɫə]) is a uniquely designed tower located on the Tibidabo hill in the Serra de Collserola, in Barcelona, Catalonia, Spain. It was designed by architect Sir Norman Foster and by Spanish civil engineers Julio Martínez Calzón and Manuel Julià Vilardell, and built in 1991 by construction company Cubiertas y MZOV S.A. for the 1992 Summer Olympics. It features a pod for floor space like many towers but uses guy wires for lateral support like a mast. Mainly used as a TV and radio transmitter, this futuristic design provides the highest viewpoint over the city. The top antenna reaches 288.4 m (946 ft) and the top of the pod, which has thirteen floors, reaches 152 m (499 ft).

The tenth floor of the pod is open to the public.

Wikipedia

The 1980 Turin Motor Show marked the 50th anniversary of Pininfarina, and rumours abounded that the celebrated company was going to unveil a unique concept car for Ferrari. To great fanfare the first ever four-door Ferrari was duly unveiled. Sergio Pininfarina, now head of the legendary design firm, named the car in honour of his father and founder of the company, Battista ‘Pinin’ Farina.

The Ferrari Pinin had a wheelbase five centimetres longer than the Ferrari 400 and the 365 GT4 2+2. The futuristic design was the work of Diego Ottina under the direction of Leonardo Fioravanti, who had also been responsible for some of Pininfarina’s greatest Ferrari designs since the ’60s.

Aside from the four-door body style, one of the most notable features of the car was the very low height of the hood. Strikingly, the windows were tinted and mounted flush to hide the A- and B-pillars, giving the impression of a single piece of glass wrapping all the way around from C-pillar to C-pillar. Other unique features of this concept car included ‘multi-parabolic’ lights. Designed in conjunction with Lucas, they were incorporated into the body and utilised three lenses, with the middle one the same colour as the bodywork. The windscreen wipers retracted under a panel to help with streamlining, and the five-spoke wheels were angled like the blades of a turbine.

Interior appointments were given a high priority; special tan Connolly leather wraps most surfaces, and onboard computerisation controls all the passenger comfort features. Along with the extra legroom, afforded by the Pinin’s lengthened wheelbase, the rear-seated passengers also have their own controls as well as a second radio to be used with headphones (much like modern passenger cars).

Though the Pinin concept certainly appeared extremely advanced for the early ’80s, much of the technology was only a conceptualisation of what may have been. Sadly, the Pinin was never to make it into production. FIAT, Ferrari’s parent company, was busy developing smaller cars, such as the Uno, and wasn’t about to spend its precious resources on the first four-door Ferrari. The concept was featured at a number of shows, including the 1980 Los Angeles Auto Show and Carrozzeria Italiana in Pasadena in 1981, however, the Pinin would remain a static show car.

After being displayed at the 2005 Essen Motor Show to celebrate Pininfarina's 75th anniversary, the car was sold in 2008 by RM Auctions on behalf of Swaters for €176,000. The new owner send the Pinin to former Ferrari chief engineer Mauro Forghieri's firm Oral Engineering with the brief to make it a running vehicle. The Oral Engineering team made multiple modifications to the Pinin, installing a Tipo F102 B flat 12 engine from a Ferrari BB 512 as well as other components either taken from other Ferrari models or custom-made. In order to fit the engine, the chassis was modified and strengthened. The original engine mounts were moved up and forward. A gearbox and differential from a 400 GT were installed. A bespoke fuel tank and wiring loom were also commissioned. Although the car had front and rear double wishbone independent suspension from a 400 GT installed from the beginning, suspension modifications were required to make it road-usable, including adjustment of ground clearance and replacement of non-functional springs. The conversion process took approximately 1.5 years.

The Hyatt Regency San Francisco Embarcadero is not just a hotel; it’s an architectural landmark. Completed in 1973, this iconic building was designed by renowned architect John Portman. The highlight? Its jaw-dropping atrium, which, for a time, held the record as the world’s largest. The soaring space features geometric lines and futuristic design elements, drawing you into a scene that feels both grand and intimate. This atrium became a symbol of Portman’s signature style, integrating sweeping internal vistas with functional luxury, and has been featured in numerous films, including High Anxiety and The Towering Inferno.

The atrium is a visual feast, with its glass-walled elevators offering panoramic views of the space and beyond to the San Francisco waterfront. A playful mix of natural light and shadow dances across the interior throughout the day, giving guests a new experience every time they look up. The expansive openness of the atrium reflects the optimism of the early 1970s, blending brutalist architecture with modern aesthetics in a way that still feels contemporary.

Beyond its striking design, the Hyatt Regency Embarcadero is also celebrated for its prime location at the foot of Market Street, steps from the Ferry Building and the iconic Embarcadero waterfront. It’s a favorite spot for both travelers and architecture aficionados alike, offering not only stylish accommodations but also a living piece of San Francisco’s design history.

For those with a love of unique spaces and bold architectural statements, the Hyatt Regency Embarcadero’s atrium is a must-see, representing the best of 20th-century innovation in hospitality design.

In the 1960s Ferrari's Prototipo 'P series' sports car racers proved highly successful in terms of races won and imaginations captured. Of course speed rather than beauty was the goal of these cars, yet the two were seemingly inexorable at a time when intuition was a guiding principle. The P4, designed by Mauro Forghieri and William Casoli was both a zenith and nadir of the genre – perhaps the most beautiful, yet also increasingly outdated at a time when aerodynamics were coming to the fore.

And so Ferrari commissioned Pininfarina to explore advanced aerodynamics for the 250 P5. Young recruit Leonardo Fioravanti was chosen to design the car because of his mechanical engineering education at the Politecnico di Milano where his studies focused on aerodynamics and car body design.

Revealed at the 1968 Geneva motor show, the P5 won immediate acclaim for its futuristic design, even if some Ferrari purists grumbled at its perceived departure from Ferrari design orthodoxy. Built on P4 chassis number 0862, the two-seat coupe featured a three-litre V12 engine mounted in its tail. A walk around the brilliant white car (later repainted red) revealed a design composed of intersecting convex and concave volumes, its ovoid masses contrasting with deeply scalloped recesses for vents and wheel wells.

Revealed at the 1968 Geneva motor show, the P5 won immediate acclaim for its futuristic design, even if some Ferrari purists grumbled at its perceived departure from Ferrari design orthodoxy. Built on P4 chassis number 0862, the two-seat coupe featured a three-litre V12 engine mounted in its tail. A walk around the brilliant white car (later repainted red) revealed a design composed of intersecting convex and concave volumes, its ovoid masses contrasting with deeply scalloped recesses for vents and wheel wells.

The design featured a low, concave front fascia with a narrow slot for ventilation for the radiator. Just above this, integrated into the hood, was a bank of headlamps. Flanking this front assembly were pontoon-like fairings for the front wheels. It seems Enzo Ferrari was not overly impressed with this, referring to it as the “suppository”.

More successful were the Dino-like ventilation scoops with flow vanes integrated into the openings while at the rear a strong character line outlines the top of the wheel opening and then ascends and curves across the deck lid. Underneath this somewhat duck-tailed assembly, a strong composition of horizontal vanes covers the tail-lights and engine ventilation openings. It's clearly a theme Fioravanti was proud of as it was to reappear on his later Testarossa.

The upper body was almost entirely formed of a transparent teardrop canopy, its gullwing doors revealing a spartan composition of two seats, driving controls and little else. Seats were minimally ergonomic and the headrests are built into the firewall that separates the cabin from the engine compartment.

A Gentlemen’s Agreement

As popular as the P5 was on the car show circuit, changing racing rules and the complex and ever-developing programmes at Ferrari soon meant the P5 would not be developed further. Indeed, Fioravanti and his team were already working on a successor, the P6.

As it slowly became public knowledge that P5 was not to be a part of Modena’s future, an unusual request came to Enzo Ferrari from his longtime friend and associate, Dr. Giuseppe Luraghi, Chairman of Alfa Romeo. If Ferrari was not to continue the development of the P5, would he cede the project to his company to develop further? In a move that would be unheard of today, Il Commendatore granted the request.

[Text from CarDesignNews.com]

cardesignnews.com/articles/concept-car-of-the-week/2016/0...

Morning traffic on Place de la Concorde, one of the busiest squares in Paris. I went across Paris early in the day to photograph the traffic, which I considered impressive at the time. The closest car is a Citroën 2CV, now a classic (or anti-classic). The Citroën DS (white roof), a luxury car with a futuristic design, is just to the left of the obelisk. The closest parked car is probably a Renault 4CV, which I thought a little about buying when I went to Germany with the U.S. Army.

The two buildings in the background were begun in the late 1750s, during the reigh of Louis XV. They are Hôtel de Crillon, a posh hotel (left), and Hôtel de la Marine (right). The U.S. Embassy is at the far left. The Church of the Madeleine is in the far background.

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.

ERF KV Series Flatbed (1962)

Livery Chandler Transport. Radnorshire, Mid-Wales

Owner M Chadler, Llandrindod Wells

Registration Number 7240 SV (Edinburgh)

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

Thankyou for a massive 54,531,272 views

Shot 29.08.2016 at the Shrewesbury Steam Fair REF 121-021

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.

In contrast with the decades following World War II—when advanced aircraft and rocket designs propelled carmakers toward fanciful and impractical designs—the automobile designs in the pre-war period were more organic, emulating the classic teardrop shape thought, at that time, to be perfect for cheating the wind. The results were brought to life in cars with then-startling shapes that looked as though they were ready to be embraced and caressed. Even if they weren’t noticeably faster than their predecessors, they looked fast. In a few cases, the conservative public balked. Sales of well-known brands slipped, then recovered as consumers tentatively embraced and then accepted this brave new look.

The design influence of streamlining was felt far beyond automobile styling in this period. The school of architecture now known as Streamline Moderne had an effect on the shape of radios, appliances, transport trucks, and railroad locomotives, along with such disparate items as table flatware, water pitchers, toasters, pencil sharpeners, and cocktail shakers.

A few of the automotive marques featured in The Shape of Speed include Mercedes-Benz, who have restored one of the carmaker’s Stromlinienwagens (streamlined cars) from 1938, along with Bugatti, BMW, Alfa Romeo, Voisin, Talbot-Lago, Delahaye, Cord and Chrysler. In addition, The Shape of Speed includes two motorcycles: a radically streamlined Henderson KJ and a BMW concept R7 motorcycle that was developed in the mid-1930s, lost for decades in a missing crate, recovered in 2005, and completely restored.

The latest exhibition in the Portland Art Museum’s design series, The Shape of Speed is guest curated by Ken Gross, former director of the Petersen Automotive Museum in Los Angeles. Gross previously curated the Museum’s 2011 exhibition The Allure of the Automobile, which enthralled visitors with its lavish presentation of automobiles as kinetic art—a form of rolling sculpture. With this new exhibition, the Museum opens the door to another fascinating exploration of automotive design.

“The Shape of Speed celebrates great design that moves us,” said Brian Ferriso, The Marilyn H. and Dr. Robert B. Pamplin Jr. Director and Chief Curator of the Portland Art Museum. “During the Great Depression, the forward-leaning, beautiful designs of streamlined vehicles were aspirational, inspiring a sense of hope for the future. We look forward to bringing that excitement to Portland again.”

The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942 is accompanied by a range of related programs and events, as well as a catalogue. For more information and updates, please visit portlandartmuseum.org.

Organized by the Portland Art Museum. Guest curated by Ken Gross.

Designs by John Tjaarda of Briggs Mfg. Co. Article from January 1939 MOTOR magazine.

Note the single spoked steering wheel in the futuristically designed Trident.

Stands out a lot compared to the cars in the background.

Operating one of the longest Class 158 journeys is Arriva Trains Wales' 158827 and a fellow classmate, operating the 1G25 Aberystwyth to Birmingham International.

The Class 158's have become one of the most important part of the semi-fast and inter-regional services of the UK passenger network, operating a variety of local and intercity trains pretty much across the entire length and breadth of the country.

The Class 158's were conceived to replace many of the elderly heritage DMU's from the 1950's that continued to soldier on into the 1980's. Desperate to improve the somewhat archaic reputation of British Rail regional passenger sector Regional Railways, the company began design of units that had a more express-passenger design rather than the previous Class 150 based units which were built largely for the purpose of high capacity suburban use. With a futuristic design, lower density intercity style seating, and being powered by Cummins NTA855R1, these units were the fastest of BREL (British Rail Engineering Limited) units of the 1980's, with a top speed of 90mph.

In all, 182 sets were constructed between 1989 and 1992, with two variations created for differing regional purposes. The first 165 sets were built as two-car units for a majority of the UK network, whilst 17 were built as three-car sets primarily for the higher density West Yorkshire networks around Leeds, York and Sheffield. Distribution of these units was widespread across the entire UK network apart from the South East. Scotrail were the first to receive their units on express services to the Highlands and to replace Push/Pull Loco-hauled services between Glasgow and Edinburgh. Other locations included services across Wales and the South West of England under the brand Alphaline, as well as working on Trans-Pennine operations between Blackpool, Manchester, Liverpool, Leeds, York and Hull. Some units were also hired out by InterCity to operate shorter distance cross country services in the North West of England and on the Southern Region around Portsmouth.

So popular was the design of these units, that Regional Railways ordered too many, and thus had many of the later 3-car sets left as spares. These were sold to Network SouthEast and used on express services between London Waterloo and Exeter to replace ageing loco-hauled stock from 1994. State Railway of Thailand also took an interest, ordering a set of 12 three-car units in 1990 to operate express services in Southeast Asia, these units differing in design with metre-gauge, differing end gangways, additional air conditioning and hinged doors instead of automatic plug-doors. These units continue to operate today, and have recently undergone a major refurbishment in 2011.

Upon privatisation, the fleet has remained largely where it was originally, but with some changes to the fleets and their usage. The class is still the mainstay of long-distance operations in Scotland under Scotrail, whilst Arriva Trains Wales works these units around Wales and the Midlands. First Great Western employ these units on operations between Cardiff, Bristol and Portsmouth, converting several sets into 3-cars by splitting some sets into centre carriages. First Trans-Pennine Express replaced their Class 158's with Class 185 Desiro units in 2006, sending their fleet south to Southwest Trains where 30 sets were converted to Class 159's. Northern Rail continue to operate sets on their Trans-Pennine services between Blackpool and York, as well as on the South and West Yorkshire passenger network. Probably the most lengthy uses of these trains is with East Midlands Trains, who work the sets between Liverpool and Norwich via Manchester and Peterborough, as well as on a variety of routes around Nottingham and Lincoln.

All units are today still in use, and provide an important part of the UK railway network, maintaining a busy but useful life.

The Ford Mystere was a fascinating concept car created in the mid-twentieth century, specifically for the 1955 January Detroit Auto Show. Here are some key details about this innovative vehicle:

DESIGN AND FEATURES: The Mystere was designed by Bill Boyer at Ford's Advanced Styling Studio in the summer of 1954. It featured a futuristic design with a large bubble of glass serving as the roof, windows, and windshield. The canopy could be opened up to 70 degrees, and the front seats swiveled outward to allow easy entry and exit through half-doors.

INNOVATIVE ELEMENTS: The Mystere showcased several advanced features for its time, including a push-button ignition switch, a padded dash, and a television set behind the front seat. It also had a throw-over steering wheel, which could be used from either front seat.

ENGINE AND LAYOUT: Interestingly, the Mystere was designed to be propelled by a gas turbine powerplant and had its engine placed in the rear. The front hood housed cargo and a spare tire, similar to today's trunks.

INFLUENCE ON FUTURE MODELS: Although the Mystere was not a working model and was primarily a showpiece, it influenced the design of Ford's 1957 models. The 'swash' bodyside molding of the 1957 Fairlane 500 and the fins, quad headlights, and taillights of the 1957 models were inspired by the Mystere.

The Ford Mystere remains a remarkable example of mid-twentieth-century automotive innovation and design, reflecting the era's fascination with futuristic concepts and advanced technology.

[Sources: Bing Copilot, HotCars.com, Kustomrama.com, TheHenryFord.org, DeansGarage.com

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.

Futuristische ontwerptekening uit 1989 bij het 150-jarig bestaan van de spoorwegen in Nederland. De tekening werd voor de NS gemaakt door de beroemde striptekenaar Don Lawrence.

_______________________________________

[English] Futuristic design from 1989 on the occasion of the 150th anniversary of railways in the Netherlands. The drawing was produced for Dutch Railways by the famous cartoonist Don Lawrence.

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.

Library and ideology

The First World War marked a turning point for the Court library. With the downfall of the Habsburg Empire, the Central Library of the Austrian Empire became the National Library of the First Republic, the invetory of the library passed into the possession of the Austrian State and the former Family Entailed State Library of the House of Habsburg-Lorraine as a "portrait collection" to the National Library affiliated.

In the 1920s, this national library defined itself as a symbolic representative of the German-speaking minorities of the successor states of Austria-Hungary - it should "beyond its framework as the main library of Austria be a collection point for the national literature of those German tribes [...], which now have come under foreign national rule". The integration of the Esperanto Museum into the National Library in 1928 - represented in the exhibition by selected objects on the Esperanto art language - can symbolically be seen as a sign that the library, despite its German nationalist self-positioning, has not completely abandoned its transnational tradition.

With the "Anschluss" of Austria on March 12, 1938, one of the darkest chapters in the history of the Austrian National Library began. Paul Heigl, a convinced National Socialist, was commissioned with the provisional management of the National Library, his predecessor Josef Bick imprisoned. Heigl headed the house until his suicide in April 1945. His good relations with the Gestapo, SS and SD allowed him an aggressive acquisition policy. The confiscated holdings came from Jewish individuals or Jewish institutions, but also from clubs classified as anti-government.

Despite extensive restitution in the post-war years, substantial parts of these looted collections remained in the library after 1945. The Provenance Report 2003 lists more than 52,000 objects that have since been returned to almost all the legal heirs - or the National Fund of the Republic of Austria for Victims of National Socialism. Representative of this period are a letter of Paul Heigl to Adolf Eichmann and a photo of the dismantling of the statue of Charles VI, which was transported in 1943 as a precautionary measure from the State Hall.

The revival of the library after 1945 not only shows the renaming of the house to "Österreichische Nationalbibliothek", but also the founding of the in-house restoration institute, which has been advocating the preservation and restoration of the library's holdings since these days. One of the showcases documents how the valuable inventory is preserved and the historical condition of the original is kept.

The library, the Heroes' Square and the extension around the Hofburg

In the famous handwriting of Emperor Franz Joseph I for the construction of the Ring Road the construction of a new Court library was planned. However, this construction was just as little realized as the plan of the architect Werner Theiss from the 1930s for a central library, which should unite the TU Library (Technical University), the University and National Library - the futuristic design of a library skyscraper is one of the many surprising objects in the exhibition, on the other hand, the extension of the Austrian National Library towards New Castle on Heroes' square was realized with the opening of the reading rooms in 1966. In 1992 the library was "under the earth". The newly built book storage facilities under the Burggarten/Castle garden Terrace houses since then all books published after 1850 on four floors. Further milestones in spatial development are the relocation of the Globe and Esperanto museum as well as two collections in 2005 to the Palais Mollard in street of the Lords and the establishment of the literary museum in the "Grillparzerhaus" 2015 in Johannes alley. Most of the objects of the Museum of Literature come from the Literature Archive of the Austrian National Library, which is represented in the exhibition by the novels of central Austrian works of the 20th century: Robert Musil's The Man Without Qualities, Heimito von Doderer's Die Strudelhofstiege, and Ingeborg Bachmann's "Malina" - as well as a letter on birch bark by Peter Handke.

1368 - 2018 - 2668

The fundamental tasks of the Austrian National Library have remained the same (with different emphases) across history: collecting, preserving, documenting, mediating and researching. What has changed again and again massively, that is the publication media themselves, the organizational shell and the social framework. A look into the past also raises questions about the future: are libraries still needed in the age of the Internet? The big jubilee exhibition "Treasury of Knowledge" answers this question with a clear yes. The library of the future will be a hybrid library that combines the many benefits of the old "analog" library with the benefits of the new virtual library. The exhibition features selected objects that exude the "aura of the original" and can be accessed for free on the website today, such as historical newspapers that are searchable in full text in the ANNO digital newspaper reading room, or 19th-century postcards which interested parties can share from the postcards portal AKON via social media channels. Of course, the library of the future also includes the documentation of the "Austrian Internet", which takes place in the Web Archive Austria so that future generations can even explore this fleeting part of reality. The big jubilee exhibition thus follows the same motto as the jubilee year itself: "Our history lives on".

As a longtime and generous sponsor partner, the Wiener Städtische Versicherungsverein supports the anniversary exhibition. Chairman of the Board Günter Geyer: "During its now 650-year history, the Austrian National Library has developed into a true treasure trove of knowledge. Historic exhibits dating back to the Middle Ages are just as much a part of its treasures as today's digital cultural assets - an invaluable achievement for our society. I am proud that the Wiener Städtische Versicherungsverein has accompanied this commitment for many years as a reliable partner and contributes to ensuring that the Austrian National Library not only receives unique pieces of our history, but also stands out internationally in terms of archiving new media content. "

Bibliothek und Ideologie

Der Erste Weltkrieg bedeutete eine Zäsur für die Hofbibliothek. Mit dem Untergang des Habsburgerreiches wurde aus der zentralen Bibliothek des österreichischen Kaiserreiches die Nationalbibliothek der Ersten Republik, der Bestand der Bibliothek in Staatsbesitz übernommen und die ehemalige Familien-Fideikommissbibliothek des Hauses Habsburg-Lothringen als „Porträtsammlung“ der Nationalbibliothek angegliedert.

In den 1920er-Jahren definierte sich diese Nationalbibliothek als symbolische Vertreterin der deutschsprachigen Minderheiten der Nachfolgestaaten Österreich-Ungarns – sie müsse „über ihren Rahmen als Hauptbibliothek Oesterreichs hinaus ein Sammelpunkt für die nationale Literatur jener deutschen Stämme sein […], die jetzt unter fremdnationale Herrschaft gekommen sind“. Die Integration des Esperantomuseums in die Nationalbibliothek 1928 – in der Ausstellung repräsentiert durch ausgewählte Objekte zur Kunstsprache Esperanto – kann symbolisch als Zeichen gesehen werden, dass die Bibliothek trotz ihrer deutschnationalen Selbstpositionierung ihre transnationale Tradition nicht gänzlich aufgegegen hat.

Mit dem „Anschluss“ Österreichs am 12. März 1938 begann eines der dunkelsten Kapitel in der Geschichte der Österreichischen Nationalbibliothek. Paul Heigl, ein überzeugter Nationalsozialist, wurde mit der kommissarischen Leitung der Nationalbibliothek beauftragt, sein Vorgänger Josef Bick inhaftiert. Heigl leitete das Haus bis zu seinem Selbstmord im April 1945. Seine guten Beziehungen zu Gestapo, SS und SD ermöglichten ihm eine aggressive Erwerbungspolitik. Die beschlagnahmten Bestände stammten von jüdischen Privatpersonen bzw. jüdischen Einrichtungen, aber auch von als regimefeindlich eingestuften Vereinen.

Trotz umfangreicher Restitutionen in den Nachkriegsjahren verblieben wesentliche Teile dieser geraubten Sammlungen nach 1945 in der Bibliothek. Im Provenienzbericht 2003 sind über 52.000 Objekte aufgelistet, die mittlerweile nahezu vollständig an die rechtmäßigen ErbInnen – bzw. an den Nationalfonds der Republik Österreich für Opfer des Nationalsozialismus – zurückgegeben werden konnten. Repräsentativ für diese Zeit sind ein Schreiben Paul Heigls an Adolf Eichmann und ein Foto von der Demontage der Statue Karls VI., die 1943 als Vorsichtsmaßnahme aus dem Prunksaal transportiert wurde.

Den bibliothekarischen Aufbruch nach 1945 zeigt nicht nur die Umbenennung des Hauses in „Österreichische Nationalbibliothek“, sondern auch die Gründung des hauseigenen Instituts für Restaurierung, das sich seit diesen Tagen für die Konservierung und Restaurierung der Bibliotheksbestände einsetzt. Eine der Vitrinen dokumentiert, wie der wertvolle Bestand erhalten und der historische Zustand des Originals bewahrt wird.

Die Bibliothek, der Heldenplatz und die Erweiterung rund um die Hofburg

Im berühmten Handschreiben Kaiser Franz Josephs I. zur Errichtung der Ringstraße war der Bau einer neuen Hofbibliothek vorgesehen. Dieser Bau wurde allerdings genauso wenig realisiert wie der Plan des Architekten Werner Theiss aus den 1930er Jahren für eine Zentralbibliothek, die die TU-Bibliothek, die Universitäts- und Nationalbibliothek vereinen sollte – der futuristische Entwurf eines Bibliothekswolkenkratzers ist eines der vielen überraschenden Objekte in der Ausstellung. Realisiert wurde hingegen die Erweiterung der Österreichischen Nationalbibliothek in Richtung Neue Burg am Heldenplatz mit der Eröffnung der Lesesäle 1966. 1992 ging die Bibliothek „unter die Erde“, der neu errichtete Bücherspeicher unter der Burggartenterrasse beherbergt seitdem auf vier Etagen alle Bücher, die nach 1850 erschienen sind. Weitere Meilensteine in der räumlichen Entwicklung sind die Übersiedlung des Globen- und des Esperantomuseums sowie zweier Sammlungen 2005 in das Palais Mollard in der Herrengasse sowie die Einrichtung des Literaturmuseums im „Grillparzerhaus“ 2015 in der Johannesgasse. Die Objekte des Literaturmuseums stammen dabei großteils aus dem Literaturarchiv der Österreichischen Nationalbibliothek, das in der Ausstellung durch die Romananfänge von zentralen österreichischen Werken des 20. Jahrhunderts vertreten ist: Robert Musils „Der Mann ohne Eigenschaften“, Heimito von Doderers „Die Strudelhofstiege“ und Ingeborg Bachmanns „Malina“ – sowie durch einen auf Birkenrinde geschriebenen Brief von Peter Handke.

1368 – 2018 – 2668

Die grundsätzlichen Aufgaben der Österreichischen Nationalbibliothek sind (mit unterschiedlichen Schwerpunkten) über die Geschichte hinweg gleich geblieben: Sammeln, Bewahren, Dokumentieren, Vermitteln und Forschen. Was sich immer wieder massiv geändert hat, das sind die Publikationsmedien selbst, die organisatorische Hülle und die gesellschaftlichen Rahmenbedingungen. Der Blick in die Vergangenheit wirft daher auch Fragen zur Zukunft auf: Werden Bibliotheken im Zeitalter des Internets überhaupt noch gebraucht? Die große Jubiläumsausstellung „Schatzkammer des Wissens“ beantwortet diese Frage mit einem klaren Ja. Die Bibliothek der Zukunft wird eine Hybrid-Bibliothek sein, die die vielen Vorteile der alten „analogen“ Bibliothek mit den Vorteilen der neuen virtuellen Bibliothek verbindet. Dafür stehen in der Ausstellung ausgewählte Objekte, die die „Aura des Originals“ verströmen und heute kostenlos über die Website abgerufen werden können, etwa historische Zeitungen, die im Volltext im digitalen Zeitungslesesaal ANNO durchsuchbar sind, oder Ansichtskarten aus dem 19. Jahrhundert, die alle Interessierten vom Ansichtskartenportal AKON aus über Social-Media-Kanäle teilen können. Zur Bibliothek der Zukunft gehört natürlich auch die Dokumentation des „österreichischen Internets“, die im Webarchiv Austria erfolgt, damit zukünftige Generationen selbst diesen flüchtigen Teil der Wirklichkeit noch erkunden können. Die große Jubiläumsausstellung steht damit unter dem gleichen Motto wie das Jubiläumsjahr selbst: „Unsere Geschichte lebt“.

Als langjähriger und großzügiger Sponsorpartner unterstützt der Wiener Städtische Versicherungsverein die Jubiläumsausstellung. Vorstandsvorsitzender Dr. Günter Geyer: „Während ihrer mittlerweile 650-jährigen Geschichte hat sich die Österreichische Nationalbibliothek zu einer wahren Schatzkammer des Wissens entwickelt. Historische Exponate bis zurück ins Mittelalter zählen ebenso zu ihren Kostbarkeiten wie digitales Kulturgut von heute – eine unschätzbare Leistung, die für unsere Gesellschaft erbracht wird. Ich bin stolz, dass der Wiener Städtische Versicherungsverein dieses Engagement seit vielen Jahren als verlässlicher Partner begleitet und einen Beitrag dazu leistet, dass die Österreichische Nationalbibliothek nicht nur einzigartige Stücke unserer Geschichte erhält, sondern auch hinsichtlich der Archivierung von Inhalten neuer Medien international herausragt.“

Pressekontakt:

Mag. Thomas Zauner

Kommunikation und Marketing

Josefsplatz 1

1015 Wien

Tel.: +43 (1) 534 10-270

Fax: +43 (1) 534 10-257

thomas.zauner@onb.ac.at

Torre de Collserola is a uniquely designed tower located on the Tibidabo hill in the Serra de Collserola, in Barcelona, Catalonia, Spain. It was designed by architect Sir Norman Foster, and built in 1991 for the 1992 Summer Olympics. It features a pod for floor space like many towers but uses guy wires for lateral support like a mast. Mainly used as a TV and radio transmitter, this futuristic design provides the highest viewpoint over the city. The top antenna reaches 288.4 m (946 ft) and the top of the pod, which has thirteen floors, reaches 152 m (499 ft).

The tower has a hollow slip-formed, reinforced concrete main shaft of only 4.5 m diameter, which reduces to a mere 3 m to hold a radio mast which telescopes from 2.7 m to 0,7m. The thirteen floors are surrounded by a perimeter of open stainless steel grilles and suspended from the shaft by three primary vertical steel trusses.

The total weight of the tower is 3,000 tons.

I remember seeing the first Previas and thinking that they were a rather outlandish design. It seems somewhat strange to have what was once a futuristic design, once quite popular, now dwindling in numbers in my lifetime. Far from rare yet of course, and with numbers being boosted by imports such as this Estima Lucida version coming here in 2004

♥ Avaible at GothCore Event from aug. 25th to sept. 12th ♥

Demo : youtu.be/ys3_GklIPRc

Unleash your dark side with our new Cybergoth doll, featuring a sleek, futuristic design and a mesmerizing swinging backbone that adds an edgy, dynamic twist to your allure.

Fatpack 10 colors and variants also sold individually.

15% off with VIP group.

Taxi :

- GothCore Event : tinyurl.com/2w2h2p2n

- & SynRJ Mainstore : linktr.ee/SynRJ.SL

Second Life High Quality Original PBR Animesh creation from SynRJ.

Join us : www.facebook.com/groups/synrj

The Mode Gakuen Cocoon Tower, located in the bustling Shinjuku district of Tokyo, stands as a stunning symbol of modern architectural innovation. Completed in 2008 and designed by Tange Associates, this iconic skyscraper redefines Tokyo’s skyline with its sleek, cocoon-inspired design. Rising to a height of 204 meters (669 feet), the building's unique form and lattice-like exterior symbolize growth and learning, befitting its role as a vertical campus housing three educational institutions: Tokyo Mode Gakuen (fashion design), HAL Tokyo (IT and technology), and Shuto Ikō (medical training).

The tower’s architectural brilliance lies in its blend of aesthetics and functionality. The elliptical shape minimizes shadows cast on the surrounding area, while the glass and aluminum latticework not only enhances the building’s visual appeal but also reduces heat absorption. The structure is as environmentally conscious as it is striking, with design elements that prioritize energy efficiency.

What sets the Cocoon Tower apart is its departure from traditional block-like educational buildings. Its futuristic design represents Tokyo's constant push toward innovation and creativity. Situated amidst Shinjuku’s towering office buildings and bustling streets, the Cocoon Tower adds a touch of elegance and artistic flair to the urban environment.

Visitors can marvel at the tower from various vantage points in Shinjuku, making it a favorite subject for photographers and architecture enthusiasts alike. The Mode Gakuen Cocoon Tower encapsulates Tokyo’s spirit: a harmonious blend of tradition, progress, and visionary design.

The new Aviva Stadium at Landsdowne Road, Dublin which officially opened in Aug 2010. The old stadium which opened in 1872 was home to the Irish football and rugby teams has been replaced by this futuristic design following demolition of the old stands in 2007. The stadium will host the 2011 UEFA Europa League final.

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.

ift.tt/21KTaka

30 Hudson Yards, also known as the North Tower, is a 90-story, 1,295-foot-tall skyscraper completed in to the neo-futuristic design of Kohn Pedersen Fox for Tishman Construction. The Edge, a 1,100-foot high cantilevered outdoor terrace jutting 80-feet outward south from the 100th floor, is the second highest outdoor observation deck in the Western Hemisphere behind Toronto's CN Tower. Visitors can lean into the nine-foot high clear glass barricade slanted 6.6 degrees outward to safely check out the street and rooftops below or peer down to the street through a 225 sq ft glass triangle in the floor.