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

Another vision from the future - or at last of futuristic design. Yet again from Valencia's Ciudad de las artes y las ciencias.

This is actually an elevator but that might be tough to identify from this angle :-) I looks a bit out of a sci-fi-movie...

You can see more of my photos from Valencia and other parts of Spain in my Spain set

You should really watch this Large On Black since that brings out more details. My pictures aren't balanced for a white background and a lot of the finer details are lost in this small format. the large version is a sixth of the original - The medium size shown here even smaller...

This is an copyrighted image with all rights reserved and may not be reproduced, transmitted, copied or used in any way in any media(blogs included) without the written permission from the photographer.

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

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.

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

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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.

Modern Bergisel Ski Jump stands on a forested hill against a backdrop of snow-capped mountains in Innsbruck, Tyrol, Austria. The sleek, futuristic design features a cantilevered observation deck with a striking red light. The surrounding landscape is lush with dense green trees, while the distant mountain peaks display patches of snow, indicating an alpine setting. The sky is partially clouded, suggesting a cool, tranquil day in the region. The architectural contrast highlights human innovation amidst natural beauty.

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...

A visit to London yesterday...never seen this building before...made a bee-line for it...very futuristic design.

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.

Aldar headquarters building is the first circular building of its kind in the Middle East. It is located in Al Raha, Abu Dhabi (emirate), United Arab Emirates. The distinctive building was voted the “Best Futuristic Design” by The Building Exchange (BEX) Conference held in Spain. The shape of this building is achieved through the use of structural diagrid, a diagonal grid of steel.

E.N.A.S.A. - Barcelona

(Empresa Nacional de Autocamiones S.A.)

Chassis n° 0102.150.0121

The shape of this Spanish Pegaso was inspired by the hype surrounding UFOs and flying saucers at the time. The aluminium coachwork envelops the car as it were. There are no bumpers, just overriders with rubber insert. The most remarkable design feature is the dome, or cupula-shaped rear window, hence Cúpula in the name.

The futuristic design was created by ENASA, Pegaso's parent company. The car was displayed at the New York Auto Show in 1953. It was not just the design, but also the spectacular color scheme that caught everyone's attention, including that of Rafael Trujillo, President of the Dominican Republic. Trujillo bought the Pegaso and kept it until his death in 1961. Since Trujillo owned the car, it has also been known as 'El Dominicano'.

The Louwman Museum acquired the Pegaso in 2006 and three years later commenced an extensive restoration tht lasted until 2015. The car won at the 2016 Concours d'Elegance at Amelia Island, where the Pegaso was highly acclaimed, the special jury prize as 'Best of Show'.

2,5 Liter

V8

165 HP

Louwman Museum

Den Haag - The Hague

Nederland - Netherlands

Augustus 2016

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.

'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', reflecting its strong aviation undertones. Note the panoramic rear window, which is sub-divided; back then it was not possible to manufacture a window like this in one piece.

The 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, 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

第31回なにわ淀川花火大会から、「 未来のデザイン」。

"Futuristic design" in 31st Naniwa Yodogawa Fireworks Festival.

Stunningly futuristic design, although the other first generation CD players had designs which now look much more interesting...this design became standardised.

www.adrian-kingston.com/CDP-101.htm

Talk about making an entrance. Over a decade on from the Renault Avantime making its debut, it still looks like a concept car that could so easily be unveiled in 2015. The Avantime is Le Quement's edgiest design. It is a two-door sportminivan with sliding glass roof whose shape is assembled from triangles: a triangular finned area above the headlights, a triangular back end, even triangular tail and side marker lights. Nothing about the Avantine is on the square. “Modern and daring," Renault's literature described it.

COUPESPACE

Renault Paris first presented at 1999 Geneva Motor Show its idea for a uniquely French "Coupéspace" and the styling of the Avantime was the height of modern design. Remember, this is the same country that brought us the 'Citroën SM'.

MATRA

The minivan involved was the Espace III, Europe's original multipurpose vehicle, which is made for Renault by Matra Automobile. The Avantime is front-wheel drive and shares most of its parts with the Espace. As three-door cars go, it is spacious. Its doors are astonishingly long (and have to be double-hinged to allow entry and exit in confined spaces), and the pillarless sides, frameless windows, and huge glass sunroof give it an unusually light and airy feel.

CURIOUS

I'm interested in the Avantime. I'm curious about it! Perhaps I am one of those odd customers Renault was hoping to target, right? So let's find out if there's anything of value here.

EXTRAORDINARY

The Renault Avantime is an extraordinary car: no doubt about that. Renault was rather unhappy its excellent and very stylish Avantime of 2001 was badly received. Thierry Metroz, Matra design project manager, said, "We wanted someone walking around the car to be continually astonished. Avantime plays on opposites, between the animal, almost feline front end and the stronger, squat and propulsive rear."

IMPRESSIVE

Can something this shape and this tall be even slightly sporting and satisfying to drive? Surprisingly, it can. This is an impressive achievement and makes the Avantime fun for the driver and calm and secure for the passengers. Matra's engineers have avoided the top-heaviness of a minivan by fitting a lightweight aluminum superstructure to the Espace chassis. The track has been widened, the suspension lowered, and the wheels and brakes enlarged.

DIFFERENT

Whatever your view, in an increasingly uniform world, I give Renault credit for daring to be different. I'd rather see someone take a chance with something radical, instead of offering yet another boring design.

FORWARD-THINKING

What exactly the Avantime is supposed to be? What is its purpose? Who's going to buy it? Its name actually lends us a clue. "Avant" is the French word for "ahead", and Avant is followed by "time". The English word "time" is self-explanatory. Renault (and original Avantime designer Matra) thought they had a futuristic product, basically. One that in press-releases "forward-thinking, maverick types who go against the grain" (my words) would buy.

TODAY

Today the avant garde style of the Avantime (2001-2003) associates perfect with my minimalist House (photo). As you can see, my 2002 Avantime still looks striking, modern and uncluttered yet with a marked character of its own. If you compare the 2001 Avantime and the new 2015 Espace V you can see echoes of the former in the latter: the window line, proportions and stance. Personally, I would argue the 2001 Avantime is the more appealing of the two. It was futuristic and still so while the Espace V, seems very much a sideways move.

YOUNGEST CLASSIC-CAR EVER

Renault Avantime is a guaranteed classic, with strong values hopefully ensuring many of them survive. Our children need to know what the French were capable of at the turn of the millennium. The sleek lines of the body, bright glass roof with two hatches, original air intakes above the headlights, futuristic design of the rear allow the Renault Avantime to be one of the most exciting new products early XXI century.

TOMORROW

Perhaps, when a small number of carefully preserved, vaguely familiar and unusual-looking cars emerge from padlocked garages and appear at various Concours d'Elégances, ever-larger amounts of money might begin to change hands as the value of these once-ridiculed big French coupés climbs steadily higher.

Surely not? Two words: 'Citroën SM'.

HDRtist HDR - www.ohanaware.com/hdrtist/

The Futuristic designed Whitfield Shore Condo building in Guilford,Connecticut

30 Hudson Yards (right), also known as the North Tower, is a 90-story, 1,295-foot-tall skyscraper completed in 2019 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.

10 Hudson Yards (left), also known as the South Tower, was completed in 2016 to the design of Pedersen Fox as part of the master plan for the Hudson Yards urban renewal project, a plan to redevelop the Metropolitan Transportation Authority's West Side Yard. The 52-floor, 878-foot tall skyscraper was the first to be completed in the complex as it is also the only one not sitting on the artificial platform over the West Side yards. The southern facade of 10 Hudson Yards cantilevers over the 30th Street spur of the High Line, and one of the building's entrances is located on the High Line.

Another shot from my day trip to London last weekend. This is a much photographed location, the Lloyds Insurance Building with its futuristic design.

We went there to take some night shots and as we arrived we could feel a few drops of rain in the air. It wasn't till after I took this, with the lens pointing directly up, that I noticed that the drops had landed on the lens and caused these light effects - which I think add to the photo (especially the purple flare).

Again, it looks equally as good in B&W so i've posted a version below in the comments.

I've also found out that some of my photos are on the award winning littlelondonobservationist blog today. Check it out if you love all things London, it really is an excellent source of information and contains many articles and photographs.

第31回なにわ淀川花火大会から、「 未来のデザイン」。

"Futuristic design" in 31st Naniwa Yodogawa Fireworks Festival.

A visit to London yesterday...never seen this building before...made a bee-line for it...very futuristic design.

The Shinjuku cityscape captures Tokyo’s iconic fusion of cutting-edge modernity and thoughtful urban design. At the heart of this dynamic scene is the Mode Gakuen Cocoon Tower, a striking example of neo-futuristic architecture. Completed in 2008 and standing 204 meters tall, the tower's unique cocoon-like design represents growth, encapsulating its primary function as a hub for education. Housing three prestigious vocational schools, the structure is clad in a lattice-like facade of diagonal lines and glass panels, creating an illusion of depth and movement.

Adjacent to the Cocoon Tower is the Tokyo Metropolitan Government Building, an architectural marvel by Kenzo Tange, offering panoramic views of the city. The spherical structure in the foreground further emphasizes Shinjuku's reputation as an innovation hub. Its geometric design contrasts beautifully with the tower's sleek verticality, reflecting Tokyo’s ability to balance boldness and functionality in its urban spaces.

Shinjuku has long been a symbol of Tokyo’s post-war rebirth, evolving into a district where towering skyscrapers coexist with bustling alleyways and entertainment hubs. The ongoing construction in the image speaks to Tokyo’s ceaseless evolution, a city that never stops reinventing itself.

A visit to Shinjuku offers more than just awe-inspiring architecture—it’s a journey through the layers of Tokyo’s identity, where innovation and tradition meet. The Mode Gakuen Cocoon Tower and its surrounding landmarks epitomize this blend, making Shinjuku an unmissable part of any Tokyo adventure.

From Wikipedia:

en.wikipedia.org/wiki/Hotel_Valley_Ho

Hotel Valley Ho is a historic hotel in Scottsdale, Arizona. Also called the Valley Ho and, for 28 years, the Ramada Valley Ho, the hotel was originally designed by Edward L. Varney, a student of Frank Lloyd Wright. It first opened in 1956 with a forward-looking and futuristic design. Movie stars and famous baseball players stayed, and the building quickly became known for its trendsetting guests and its fashionable atmosphere. The success of the venture resulted in expansion in 1958, with two additional two-story wings of guest rooms extending to the north. Though initially proposed by Varney, a central tower of guest rooms, rising over the lobby, was not built.

The property was bought by the Ramada hotel chain in 1973, and was redecorated to cover the 1950s design, seen at the time as outdated. No longer in vogue, but centrally located, the hotel remained prominent for years, and hosted conferences, business meetings, and vacationers. Under Ramada management, however, the property began to show a lack of maintenance, and its popularity declined. It closed in 2001 and its demolition was considered when no purchase offers were received. Admirers of the hotel's exemplary architecture and its local history rallied to save it, and it was placed on the Scottsdale Historic Register.

In 2002, the hotel was bought by Westroc Hotels & Resorts and underwent a renovation, which was completed in 2005. Conceived anew by the architectural firm Allen+Philp, a seven-story tower with guest rooms and condominiums was built above the lobby, in the spirit of Varney's proposal. New restaurants were incorporated, including a retro-chic seasonal-American restaurant (ZuZu), and a Trader Vic's franchise at the northeast end of the property (closed in 2011). The hotel's original jet-age design was restored as much as possible, augmented with 2000s-era fixtures.

The Hotel Valley Ho is a AAA "Four Diamond Award" winner and a member of "Preferred Hotels & Resorts". Author and architect Alan Hess called the hotel "one of the best-preserved mid-century hotels in the country".

History

Robert and Evelyn Foehl were the first to conceive of the hotel. Robert Foehl trained at the Biltmore Hotel in Los Angeles, California. He then bought the Hotel San Marcos in Chandler, Arizona. Following that, he managed the Jokake Inn in Scottsdale. Evelyn Foehl managed the Hacienda del Sol in Tucson as one of the few women in the hotel business. The two established a core of investors to build a new hotel on an 8.86-acre (3.59 ha) site in Scottsdale and to design it, they hired Edward L. Varney, one of the most prominent local architects of the time. Varney set the hotel around a central pool lounge and used extended horizontal lines in the wings where rooms included air conditioning for year-round operation, a first for Scottsdale. A curving porte-cochere with abstract Southwestern designs in cast concrete opened onto a high-ceiling lobby which gave guests a "sense of arrival", a feature often used by Frank Lloyd Wright. The tall lobby connected the guests to a restaurant, a lounge, a nightclub, and the central pool. The interior design was conceived and executed by interior architect Thelma Hawkins, the director of Barker Bros. Phoenix Studio of Interior Design. The construction contract was awarded to Kitchell-Phillips Contractors Inc. The project was completed on December 20, 1956 at a cost of $1.5 million, an amount equivalent to $14.1 million in current value.

Varney added an unusual feature for a hotel of the time: a parking lot. The parking lot afforded guests the personal comfort and freedom of pulling their car up very close to their rooms. This was the first motor resort in Scottsdale.

The Foehls held a contest in March 1956 to name the as-yet-uncompleted hotel. They specified that the name should have a "westward flavor" like its parent, the Westward Ho in Phoenix. The winning name "Valley Ho" was selected because the location was at the periphery of Paradise Valley, an affluent area, and because the identical "Ho" connected the new hotel with the older one in Phoenix. Later, it was discovered that ho means "you are welcomed here, this is a friendly place" in a local aboriginal American language.

The Foehls knew many in the Hollywood film industry, and a number of film stars stayed at the hotel. In late December 1957, Robert Wagner and Natalie Wood celebrated their wedding reception at the hotel. Bette Davis, Roy Rogers, Bing Crosby, Frankie Avalon, Humphrey Bogart, Betty Grable, Janet Leigh, Marilyn Monroe, Zsa Zsa Gabor, Ingrid Bergman, Cary Grant, and Tony Curtis were known to have stayed there. Sometimes late at night, Jimmy Durante would come down from his room to play the piano in the lounge for other sleepless guests. The Foehls ran the hotel very closely—they lived on the premises.

Local Scottsdale corporation Motorola used the hotel to house its transferred employees while they looked for permanent residences. Some of the baseball players, coaches, and managers taking part in the spring training Cactus League of Arizona stayed at the hotel, including Joe DiMaggio, Ted Williams, and Leo Durocher, the latter requesting Room 103 every time he visited, for its nearness to the lobby. Chicago-based sports reporter Dave Hoekstra writes that he and his "Bleacher Bum" colleagues did not have enough money to stay under the same roof as the baseball players they were watching, and instead crowded into rooms at the nearby Safari Hotel. Hoekstra notes that, throughout the 1960s, "the Ho was the high-roller place in the Sun Valley".

The Valley Ho competed favorably with the Safari Hotel, erected about the same time east of Scottsdale Fashion Square. Both hotels offered premium hospitality, and helped Scottsdale expand its public image. With the Valley Ho an immediate financial success, in 1958 Varney designed and built two more wings of guest rooms to the northwest of the original complex. The same materials and style were employed on the expansion buildings, but instead of single exterior corridors with rooms to one side, the added wings loaded central corridors with rooms on both sides. Another Scottsdale landmark hotel, the Mountain Shadows Resort, opened the following year, in 1959. These three tourist havens reflected a desired cosmopolitan and exotic feel on Scottsdale.

In 1973, Robert Foehl died and Evelyn Foehl sold the hotel to Ramada, a hotel chain. The Ramada managers remodeled the hotel, stripping out and covering much of what they considered an outdated interior. The hotel was named Ramada Valley Ho. Though it remained a fashionable location for a while, its original character was largely absent and it began to suffer from neglect and disrepair. It continued to host conferences and business meetings, such as the Natural Health, Aromatherapy and Herb Conference & Trade Show in early 2000, and the Arizona LANBasher's League party in early 2001. Later that year, the hotel closed and was put on the market. Plans for its demolition were considered when no offers were made. To protect it, Alan Hess wrote a letter detailing its importance, and a successful campaign was mounted in Scottsdale to place it on the Scottsdale Historic Register in recognition of its significance to city history and its architectural connection to the past. To save it from demolition, business partners Scott Lyon and Bill Nassikas of Westroc Hotels & Resorts bought the property and undertook an extensive renovation and building addition that eventually cost $80M. Evelyn Foehl died in August 2003, two years after the hotel was closed for renovation.

The local Scottsdale architectural firm Allen+Philp accepted the task of renovation, and in researching the hotel's history, they found that in the 1950s, Varney had originally intended a tower of guest rooms to rise above the central lobby, a feature that was not built at the time. Allen+Philp designed a seven-story tower for the purpose of giving the new hotel owners a chance of greater financial viability. Architect Mark Philp said of the project, "We worked to stay true to the spirit of the original." Interior designer Cole-Martinez carefully updated the decorations and furnishings with "one foot firmly in the present with subtle salutes to the past". Chicago reporter Hoekstra happily noted that the renovation retained the original "Jetsons-in-the-desert flavor". The hotel re-opened on December 20, 2005, exactly 49 years after its first grand opening.

The hotel operates one restaurant and has a wide selection of guest rooms and suites in addition to over 30 luxury condominiums for permanent residents. The condos range from 1,450 to 2,400 square feet (135 to 223 m2). The location is 15 minutes by car from Phoenix Sky Harbor International Airport and from Arizona State University. Hotel Valley Ho earned a "Four Diamond Award" from AAA each year 2007–2009, and after passing the "Standards of Excellence" was invited to join Preferred Hotels and Resorts in 2006. The Valley Ho is a top-ten-ranked Scottsdale property on TripAdvisor.com, topping even the renowned five-star Phoenician Resort. In a nod to "Mad Men," the widely acclaimed television series that takes place largely during the Valley Ho's original heyday, one TripAdvisor reviewer noted: "Don Draper would approve."

Centrally placed in the main lobby, ZuZu is a restaurant that offers seasonal American food. Executive Chef Charles Wiley compared the hotel restaurant renovation project with its long, curving counter, soda fountain and pie case to the careful rebuilding of "an old Harley-Davidson," with new features complementing vintage ones. Food and drinks are also served at the OH Pool Bar + Cabanas.

There are 21 large studio rooms which feature a bathroom separated only by a curtain. Eleven cabana rooms overlooking the pool come with a double-sized patio. Two executive suites and three terrace suites include an 800-square-foot (74 m2) balcony or patio.

Architectural style

The Hotel Valley Ho is a striking example of the mid-century modern architectural style. Varney's use of masonry, cast and poured concrete, natural stone, and wide expanses of glass make for a close connection between the building and its environment. Stone floor and wall patterns link the exterior entry and the lobby, as does the extension of the redwood ceiling. The hotel is now considered one of the finest examples of organic architecture. Rooms in the two adjacent wings added in the late 1950s are unusual, and remarkably forward-thinking even by mid-century design standards, for their high nine-foot-ceilings. The prevailing trend at the time of original construction was low-ceilinged rooms, in some cases with ceilings only seven feet above ground level, but the Valley Ho's rooms feel exceptionally roomy and airy thanks to its original decision to buck design trends.

More than one mile (1.6 km) of reddish concrete forms are used as a repeating motif along the balconies.

The repeated horizontal rows of V-shaped burnished red concrete forms resemble abstract arrowheads. These precast forms, extending horizontally, give a modest "Southwestern" or "American Indian" flavor to the building.

During the renovation, walls and coverings were stripped away to reveal 1950s features. Drywall was removed from guest room walls to highlight the original masonry bricks. Walls partitioning the central lobby were torn down to open up Varney's intended connection between the indoor and outdoor public spaces. Concrete columns in the lobby were stripped of mirrors added by Ramada so as to show their original design.

The hotel offers a 90-minute architectural tour, available by appointment and led by experts from Ultimate Art & Cultural Tours of Scottsdale. The tour is focused on the hotel's design and Hollywood past, and includes a look inside some of the restored rooms, a walk around the grounds, and a stop at the Sky Line Rooftop for wonderful views of Phoenix and Scottsdale.

Photo by Eric Friedebach

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.

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 Aldar headquarters building is the first circular building of its kind in the Middle East. It is located in Al Raha, Abu Dhabi, United Arab Emirates. The distinctive building was voted the “Best Futuristic Design” by The Building Exchange Conference held in Spain. The shape of this building is achieved through the use of structural diagrid, a diagonal grid of steel.

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.

Futuristic designed riverboat, Tokyo.

Hotaluna is the second futuristic vessel produced by anime master Leiji Matsumoto. It runs from Azumabashi Bridge, in Asakusa, via the Hinode Pier to Odaiba Seaside Park. Beyond the Sumidagawa River, the roof converts into a promenade deck where passengers can enjoy a view of the Port of Tokyo area.

After the Delta, came the Excel. Although another futuristic design, the bus wasn't as popular as it should have been. Trent were good Optare customers, so bought the Excel. 194 (V194DRC) is in the famous, and recently demolished, Derby Bus Station on 20 March 2000.

ER Foden & Son (ERF) was an offshoot from the legendary truck builder Foden of Sandbach. At a time when the latter was still wedded to steam technology, ERF set about building the 'finest oil-engine lorries in the world'. It did so by buying it proven and trusted components such as Gardner diesel engines and outsourcing cab construction to a local firm, Jennings of Sandbach, whom it later acquired. The 1954 Kleer Vue (KV) cab , illustrated here, was designed jointly by ERF and Jennings. Its futuristic design incorporated one of the very first applications of curved glass in a commercial vehicle and one which reputedly caused manufacturer Triplex many production difficulties. It became hugely popular; so much so that the letters KV were commonly used to describe the model range as a whole. The KV cab was replaced in 1966 by the LV (Long Vue), which had been introduced in 1962. This fictional image represents the much-missed Robson's Border Transport of Carlisle. A distinctive feature of Robson's fleet was the individual names beginning with the word 'Border'. This image is based on a preserved vehicle that carries the grey livery of Gestetner Duplicators (20-Jun-14).

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Arriving at Birmingham New Street with the 1J15 Birmingham New Street to Aberystwyth & Pwllheli is Arriva Trains Wales Class 158, 158833, and an unidentified Classmate.

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.

Would you dare to cross over these , the worlds most dangerous Bridges ? Did you know some people have a fear of Bridges and can not cross over them ? Lets look at the worlds most Dangerous and Scary Bridges !

10. Eshima Ohashi Bridge, Japan

This futuristically designed bridge connects the c...

slanderin.info/top-10-scariest-craziest-bridges-world/

My transparent glass windows car illustration

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Şeffaf camlı araba illustrasyonum. Yonumu buldum !.. :)

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 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.