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642 Seat Badge - History by Robert Knight

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Seat Badge

AUTOMOTIVE BADGES ALBUM

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Seat is a Spanish automobile manufacturer with its head office in Martorell, Spain It was founded on May 9, 1950, by the Instituto Nacional de Industria (INI), a Spanish state-owned industrial holding company. Following the ravages of the Spannish Civil War (1936-39) Spain's economy was relatively underdeveloped compared to most other Western European countries and had a limited automobile market with production limited to a few small motor manufacturers, the largest of which was Hispano-Suiza producing vehicles for the high end of the market. with the supply of most mass market vehicles imported or vehicles imported in CKD form, to a weak market. SEAT dates its origins back to June 22, 1940 when the Spanish bank 'Banco Urquijo', with the support of a group of industrial companies, with the aim of not to be only another licensee car maker assembling foreign designs and parts in Spain, but of developing the whole manufacturing process from design to assembly. But first an overseas partner was required that would contribute technically and with its own models in the early years. Other European countries manufacturing plants and economies had also suffered the cost and effect of World War II and the project was shelved for time being.SEAT under its current name was founded on May 9, 1950, under the denomination 'Sociedad Española de Automóviles de Turismo, S.A.' was founded with a capital of 600 million pesetas and an alliance was announced with Fiat. along the same model as Fiat existing alliance with Simca in France. The manufacturing plant opened in 1953, by which time and almost from scratch a local supplier metwork was established

The first car in the marque's history to be produced was a SEAT 1400 model that came off the production line on November 13, 1953, growth was rapid aided by a protectionist policy of the Franco Government. By 1954 Spannish components made up almost 93 per cent of parts During these early years the model range consisted of rebadged or restyled models from the Fiat range until the launch of the the SEAT 1200 Sport in 1975 the first example of a SEAT-exclusive derivative would arrive on September 1963 with the launch of the SEAT 800, a car developed in-house by SEAT with no equivalent model in Fiat's range on the basis of the SEAT 600, as Fiats stake increased the banks became less involved. In 1970s the two companies agreed that Seat would start building separate infrastructures aimed at developing new technologies

In the early 1980 and with Seats growth slowing due in part to the oil crisis but largely due to the earlier protectionist policies being lifted, and Seat sought major capital investment from Fiat who were reluctant to oblige. The long term agreement was terminated in 1982. The end of the co-operation with the Italian firm was marked by a change in SEAT's logo in 1982, and the first car under the new SEAT logo the SEAT Ronda appeared later that year, which sparked litigation from Fiat claiming the new car was to close to their Ritmo model, the case went to litigation which found sufficient differances between the two cars to warrant the Ronda a seperate model.

Later in 1982 the VAG came courting and an agreement was struck to begin Spannish production of the Volkswagen Passat-Santana and Polo-Derby models in SEAT's Zona Franca and Landaben factories with Seat holding the distribuition rights.

In 1984 Seat launched the Giugiaro-styled Ibiza and Malaga beginig exports to the UK and other markets.

In June 1986 VAG became majorty shareholders, first with a stake of 51 per cent increasing to 70 and by December 18, 1990, the Volkswagen Group acquired 99.99% ownership of the company, thus making SEAT the first non-German wholly owned subsidiary of the group. In February 1993 the Martprell plant was opened becoming one of the most modern and efficient car plants in Europe initially building the new e SEAT Ibiza Mk2 and its saloon version, the SEAT Córdoba Mk1 which greatly expanding its market share, particularly on export markets. From 2011 onwards, this plant also produces the Audi Q3 small SUV

Many thanks for a fantabulous

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Shot at Weston Park Classic Car Show 27.03.2016 - Ref 111-642

500 Fifth Avenue Building by Emilio Guerra

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Midtown Manhattan, Manhattan, New York City, New York, United States

Built in 1929-31, Shreve, Lamb & Harmon’s 500 Fifth Avenue Building is a soaring 59-story Art Deco skyscraper, located at the northwest corner of 42nd Street and Fifth Avenue. The building was constructed concurrently with the Empire State Building. Because the site was so valuable and so small, measuring only 100 feet by 208 feet, the building was designed to the maximum height and floor area allowable under the 1916 zoning code. Located in two zoning districts with differing setback requirements, it is asymmetrically massed with setbacks at the 18th, 22nd, and 25th stories on Fifth Avenue and a recessed light court beginning at the eighth story and setbacks at the 23rd, 28th, and 34th stories on West 42nd Street. Sheathed in limestone, terra cotta, and buff brick, the facades are enriched with carefully scaled Art Deco motifs, which accentuate the building’s sculptural massing and emphasize its verticality.

On Fifth Avenue the limestone and black granite main entrance is treated as a pylon framed by stylized gilded palmettos and capped by an allegorical relief by sculptor Edmond Amateis “symbolizing the genius of the modern skyscraper.” Capping the setbacks and tower are a series of angled brick and terra-cotta panels decorated with chevrons that read as pleated cresting against the skyline. When it opened in March 1931, 500 Fifth Avenue was the crowning achievement of real estate developer Walter J. Salmon, who was responsible for rebuilding the north side of West 42nd Street between Fifth and Sixth Avenues in the first decades of the 20th century. Shreve, Lamb & Harmon was one of the leading architectural firms in the country specializing in skyscraper design. In addition to 500 Fifth Avenue, Shreve Lamb & Harmon designed the Empire State Building . 500 Fifth Avenue continues to be used as an office building with street-level stores.

DESCRIPTION AND ANALYSIS

History and Development of Midtown and the 500 Fifth Avenue Site

The area surrounding Fifth Avenue between 42nd Street and the southern end of Central Park remained rural in character until the second half of the nineteenth century, when speculative residences and mansions began to be constructed on lots newly mapped by the city. By 1900, the character of the neighborhood on the blocks north of 42nd Street began to change with the construction of, or the conversion of private residences to, exclusive retail shops, restaurants, and office buildings. By 1923, so many banks and trust companies had established uptown branches near the intersection of Park Avenue and 42nd Street and on the blocks of Fifth Avenue north of 42nd Street, that Rider’s New York City guide reported the area was popularly known as “Little Wall Street.” 42nd Street, which linked this business district to Times Square, became one of the busiest thoroughfares in New York while Fifth Avenue remained the most fashionable shopping street in the city, leading Real Estate Record & Guide to declare the parcel at 500 Fifth Avenue, at the northwest corner of 42nd Street, as “the most valuable building site on Manhattan Island north of Wall Street.”

In 1903 a young and ambitious real estate entrepreneur named Walter J. Salomon , who later changed his surname to Salmon, leased the corner lot and the adjacent L-shaped lot, which fronted on Fifth Avenue and West 42nd Street. Salmon then converted the existing building, the eight-story Hotel Bristol, into a commercial and office building and renamed it the Bristol Building. This property was to form the core of Salmon’s redevelopment plan for 500 Fifth Avenue, his crowning achievement as a real estate man and the final puzzle piece in the transformation of the entire block front into an imposing wall of modern commercial structures.

New York’s Art Deco Skyscrapers

America’s involvement in World War I, followed by a recession in the early 1920s, caused a construction lull in New York City, as in other parts of the country. By the mid 1920s, the economy had bounced back, and demand for new and larger commercial buildings was booming. Fifteen new office skyscrapers were erected in New York in 1925, and 1926 saw the construction of 30 more. This building frenzy lasted through the 1929 stock market crash, as construction went forward in the early 1930s on buildings that had already been planned and financed; although largely finished by 1932, the boom left behind a “rich array of towers,” many of them executed in what is known today as the Art Deco style. Indeed, several of New York’s most spectacular skyscrapers from this period—including the Chanin Building , the Chrysler Building , the Empire State Building and the General Electric Building , all designated New York City Landmarks, are among the country’s most significant examples of Art Deco design.

Into the 1910s, no limits on building height or bulk existed in New York City. In 1916, New York implemented the nation’s first zoning regulations, which permitted unrestricted height on one quarter of a building site, but required skyscrapers to taper as they rose to allow light and air to reach the street. Six years later, architect and critic Harvey Wiley Corbett and architectural delineator Hugh Ferriss published a group of influential renderings that explored zoning’s impact on the shape of tall buildings. Presented as a series of illustrations progressing from the abstract, pyramidal shape of the zoning envelope to a stepped-back practicable building form, these drawings catalyzed a trend in which “buildings endeavored to take on the feeling of sculpted mountains, their shape suddenly more important than their historical detail or even their style.” So pervasive were the new stepped-back skyscrapers that by the mid-1920s, architects and critics spoke of an emerging “setback style”.

Another important influence on 1920s skyscraper design was Eliel Saarinen’s 1922 competition entry for the Chicago Tribune’s new tower. With its straightforward shape, vertical emphasis, and limited ornament, Saarinen’s ahistorical design was “taken to be style-less and was thought in the twenties to have freed architects from what seemed the inevitable alternatives in skyscraper design, Gothic solutions on the one hand and vertically stretched Classicism on the other.”

The issue of what constituted “modern” design was expounded upon in the press and occupied many architects, who sought an appropriate means of expressing the societal changes brought about by new technology and manufacturing processes. A dichotomy existed, according to Ada Louise Huxtable, between the “modern” architecture of Europe and the “modernistic” new skyscrapers of New York:

‘Modern’ was radical, reductive, and reformist; ‘modernistic’ was richly decorative and attached to conservative and hedonistic values. ‘Modern’ was the austere, abstract, elite, avant-garde work of … [Walter] Gropius, Mies [van der Rohe], and Le Corbusier, united in its early days under the rubric of the International Style. ‘Modernistic’ was neither pure nor revolutionary; it fused the ornamental and the exotic for what was really the last great decorative style.

Only a handful of International Style skyscrapers were constructed in the United States before World War II. Far more popular was the “modernistic” style, which was later termed “Art Deco” based on its debt to the 1925 Paris Exposition Internationale des Arts Decoratifs et Industriels Modernes. Flamboyant, dynamic, and dazzling to the eye, Art Deco’s primary characteristic was its “sumptuous ornament, and the lush textures and colors achieved by combining several materials, such as stone, brick, terra cotta, and metal.” Gilding and shiny materials were frequently used, and favorite decorative motifs, drawn from the natural world and geometric forms, included “spirals, sunflowers, steps, zigzags, triangles, double triangles, hexagons, fragmented circles, and seashells.” Frequently, facades were given a woven fabric treatment, in buildings including One Wall Street and the 21 West Street Building . Wall surfaces read as thin decorative veneers, as “stage sets” to a public infatuated with movies and the theater.

As Art Deco was conquering New York, a new skyscraper form, the slab, emerged. Into the 1920s, the city’s tallest skyscrapers were typically constructed on enormous lots. These sites were big enough, as with the Chrysler Building, to allow for “geometrically pure” square, needle-like towers that broke free of their bases and pierced the sky. But as large lots became rarer and developers sought to construct tall office buildings on narrow lots, this approach became unfeasible; the square tower, if made too small, lost too much of its internal space to elevators. As a result, new skyscrapers on narrower lots took on a slab-like form, their long and rectangular upper stories seemingly extruded from their bases. The pioneering slab skyscraper was H. Douglas Ives’ and Sloan & Robertson’s 38-story Fred F. French Building at Fifth Avenue and 45th Street, which was constructed on a relatively small lot.

But the master of the slab at the end of the 1920s was Raymond Hood, whose Daily News Building marked the most radical departure of any tall building from previous skyscraper form. Despite the rich Art Deco bas-relief over its main entrance, Hood’s building, with its artfully planned setbacks and flat, unornamented roofline, came closer to abstract sculpture than any skyscraper before; falling, in style, “between modern and modernistic,” it forsook the decorated crown of the Art Deco skyscraper and approached the purity of the International Style. Hood built upon his experience with the Daily News Building in designing another of the city’s great slab skyscrapers, the RCA Building at Rockefeller Center , which was completed in 1933.

Located just three blocks from the French Building, and similar in design and materials to the Daily News Building, 500 Fifth Avenue’s slender, slab-form tower situated the building within this group of transitional skyscrapers, precursors to the postwar office building. But with the Depression remaining entrenched and money for office buildings drying up, few Art Deco skyscrapers were completed in New York after Rockefeller Center, and the style, increasingly employed for government and institutional buildings, became considerably more restrained.

Shreve, Lamb & Harmon

Richmond Harold Shreve

William Frederick Lamb

The architectural firm of Shreve, Lamb & Harmon, formed in 1929, was one of New York City’s premier design teams, known primarily for their modern office buildings and especially the Empire State Building . The three principal designers had traditional architectural educations and experience with important New York firms before they joined together and created buildings specifically adapted to the design requirements and technological advances of the modern era.

Richmond Harold Shreve was born in Cornwallis, Nova Scotia. He studied architecture at Cornell University, graduating in 1902, and spent the next four years on the faculty of the School of Architecture there. While at Cornell, he supervised the construction of Goldwin Smith Hall, designed by the New York firm of Carrère & Hastings, and at the conclusion of the project he joined the firm. William Frederick Lamb, son of New York builder William Lamb, was born in Brooklyn. Graduating from Williams College in 1904, Shreve subsequently studied at the Columbia University School of Architecture, and then went to Paris to study at the Atelier Deglane. After receiving his diploma from the École des Beaux Arts in 1911, Lamb returned to New York and joined the firm of Carrère & Hastings where he met Shreve. In 1920, Shreve and Lamb became partners in the new firm of Carrère & Hastings, Shreve & Lamb.

By 1924, they decided to establish their own partnership, and five years later they were joined by Arthur Loomis Harmon to form Shreve, Lamb & Harmon. Harmon, who had been born in Chicago, studied at the Art Institute there and graduated from Columbia University School of Architecture in 1901. He worked as a designer in the firm of McKim, Mead & White between 1902 and 1911. From 1912 to 1913, he was an associate in the firm of Wallis & Goodwillie, and then practiced alone until joining Shreve and Lamb. His works from that period include battle monuments at Tours, Cantigny and Somme-Py in France, a YMCA in Jerusalem, and the award-winning Shelton Hotel in New York.

Of the three architects in the firm, Lamb was generally acknowledged to be the designer, and Shreve the administrator. For the Empire State Building, the firm’s most famous work, Lamb was the designer, but Shreve’s organizational skills were generally credited with enabling the building to be constructed in just one year. Shreve was also active as a planner beyond the firm’s work; he was the director of the Slum Clearance Committee of New York after its formation in 1933, and chief architect of the group preparing plans for the Williamsburg Housing Project, as well as chief architect of the Vladeck Houses on the Lower East Side and also of Parkchester in the Bronx.

Shreve, Lamb & Harmon worked principally on commercial office buildings, although they also designed a number of estates and residences in the New York suburbs, and a few apartment houses in Manhattan . Their residential work was largely in the neo-Tudor and other popular historical styles of the 1920s, while their commercial work tended to be spare and functional, reflecting little of the Beaux Arts ornament for which Carrère & Hastings had been famous. Their other buildings in New York included the L.P. Hollander & Company Building at 3 East 57th Street , a 1931-33 addition to 14 Wall Street , the Best & Company store at Fifth Avenue and 51st Street , an addition to the New York Times Annex on West 43rd Street, the Lefcourt National Building, and the Mutual of New York Building. Outside of New York City, their work includes the Standard Oil Building in Albany, the Reynolds Tobacco Company building in Winston-Salem, North Carolina, and the Chimes Building in Syracuse, NY. These tend to be similar to their New York City work, with unadorned limestone cladding, metal-framed windows and simple, set-back massing, occasionally with Art Deco or Streamlined ornamental motifs.

Edmond R. Amateis

Edmond R. Amateis was an American sculptor born in Rome and trained at the Beaux-Arts Institute of Design in New York. Working in the U.S. and Europe, Amateis created monumental public sculpture of a heroic-classical nature. Early in his career he won recognition with his award of the Prix de Rome , the Avery Prize of the Architectural League of New York , and the McCleese Prize of the Pennsylvania Academy of Fine Arts . For the New York World’s Fair of 1939, Amateis sculpted a monumental allegorical group based on American folklore, with figures depicting Johnny Appleseed as Benevolence, Paul Bunyan as Efficiency, and Strap Buckner as Humility. Amateis’s other major commissions included a sculptural frieze for the Liberty Memorial in Kansas City, Missouri, completed in 1938, and a memorial to American soldiers who died in France during World War II, located in Draguignan, France.

Design and Construction of the 500 Fifth Avenue Building

With his acquisition of the properties at nos. 3, 5, 7, and 9 West 42nd Street in 1915, Walter J. Salmon had assembled a parcel of 20,900 square feet at 500 Fifth Avenue, about the minimum size necessary for profitable redevelopment. In 1922, Gerry Estates, Inc. entered into an agreement with Salmon to redevelop the site. With other projects in the works, including the adjacent Salmon Tower at 11-27 West 42nd Street, Salmon delayed beginning work on the corner site until the summer of 1929. At that time he announced plans for a fifty-eight story building with frontage of 100 feet on Fifth Avenue and 208 feet on 42nd Street to be built to the design of Shreve, Lamb & Harmon. Given its status as the second most valuable piece of real estate in Manhattan, redevelopment of this site was greatly anticipated among the real estate community and by the public at large. An article in the Real Estate Record & Guide described the high-profile nature of the project:

For years residents of the city and out-of-town visitors alike have speculated as to the future of this corner, wondering that so prominent a location—at “the crossroads of the world”—should have been neglected in the modern development of Fifth Avenue as the leading shopping street of the world and of the Grand Central area as the midtown financial and business district…With the fashionable shopping district definitely extending its limits above Forty-second Street; with the north and south flow of automobile and pedestrian traffic and the cross flow between Grand Central Station and Times Square making the intersection one of the busiest in the world, and with other building under way, the time appeared ripe for an improvement on this corner.

The construction of the office building at 500 Fifth Avenue had a significant impact on the eventual development of the adjacent parcels, because its planning affected the zoning of the entire Fifth Avenue block front. The zoning code permitted a taller building on 42nd Street than on Fifth Avenue, so Salmon acquired a long-term lease on the adjacent four-story converted dwelling at 508 Fifth Avenue in 1927; by merging the zoning lots of this 25 by 102-foot building and that of 500 Fifth Avenue, he was able to build a higher tower than would have otherwise been possible.

The program for 500 Fifth Avenue called for street-level stores, banking facilities on the second and third floors, and office units on the floors above, totaling approximately 450,000 square feet of rentable area. Plans were submitted to the Buildings Department in October 1929, and excavation began in February of 1930; the estimated cost of the project was $4,000,000. Charles T. Wills, Inc. was the general contractor, and McClintic-Marshall Co. the steel contractor. Erection of the skyscraper’s steel skeleton began at the end of March, and was completed in a mere four months owing to a highly efficient system whereby the steel arrived on site and was hoisted by derricks to the 36th floor, where it was assembled and continuously distributed by a relay derrick to other floors. The exterior brickwork was completed in early September 1930, and the general contract for the building was completed in January 1931. At the height of the building project nearly 2,200 workers were employed.

The construction of 500 Fifth Avenue and its sister skyscraper the Empire State Building set a new standard for speed and efficiency in building construction. Each component of 500 Fifth Avenue’s structure was planned, mapped, and measured in advance, in what historian Christopher Gray called a “tight ballet of scheduling.” This strategic approach to construction planning and oversight was successfully realized at 500 Fifth Avenue through the close collaboration of the architect, building owner, real estate advisers, operating managers, and builder throughout the entire process of planning and construction. Architect Richmond Shreve was a great proponent of rationalized building construction, and expounded on his ideas in an essay titled “The Economic Design of Office Buildings”:

To set up properly an income-producing building the control of its design and construction should be in the hands of a Board on which sit Owner, Banker, Builder, Architect, Engineers, and Real Estate Men. The record of their decisions finds place in plans, specifications and contracts, financial transactions and leases, and the outcome of their work, if it is to be successful, must have been foreseen far in advance of its realization.

500 Fifth Avenue was completed in just over a year without accident or serious injury, and opened in March 1931 in time for the traditional renewal date for business leases of May 1. William F. Lamb called 500 Fifth Avenue “a thoroughly frank expression of the requirements of an up-to-date office building.” These requirements included modern, well lit and properly ventilated office units near elevators and bathrooms; fast and efficient elevator service; and maximum rentable floor space. Despite its relatively small lot and constricted building envelope, 500 Fifth Avenue offered all of these things; moreover, its unusually advantageous corner location across from the New York Public Library and Bryant Park afforded ample natural light, cross-ventilation, and unobstructed views for two blocks to the south.

Effectively, Shreve, Lamb & Harmon designed 500 Fifth Avenue from the top down, determining the placement of the building’s service core within the tower and then the base, and from the inside out, determining the ideal office unit as a basis for formulating the overall plan and circulation. The building’s set-back configuration, which allowed for an unusually high window-to-wall ratio, as well as a 25-foot wide light court on the west side of the building beginning at the sixth floor, ensured that no office unit would be more than 30 feet from natural light; a distance of 28 feet or less was considered optimal for modern office buildings before the development of air-conditioning. Floor areas ranged from 2,150 to 18,000 square feet, with office units as small as 9 feet in width and as large as an entire floor. The typical floor plan for the building’s base had 21 office units, while the typical floor plan for the tower had nine office units.

The main entrance to the building was placed on the Fifth Avenue facade, about 70 feet from 42nd Street and on center with the sheer tower rising above the setbacks, and the remainder of the ground floor on both the east and south facades was dominated by an unbroken line of bronze-framed, plate-glass storefronts. The main entrance was framed dramatically by pylons and crowned with the highly stylized bas-relief figure of a Grecian woman holding a staff with a winged sun disc and kneeling beside a model of the building itself, an allegorical representation of the “genius of the modern skyscraper,” sculpted from a single block of limestone by Edward Amateis.

The dramatically massed exterior of 500 Fifth Avenue expressed the constraints of the zoning code, which allowed more bulk on the 42nd Street side than on the Fifth Avenue side and thus determined the positioning of the tower on the base. The building’s tight footprint, which limited the size of the base, and the imperative of maximizing profits with top-quality office and retail space in a relatively small building envelope, resulted in the complex geometry of setbacks stepping up asymmetrically to the slender tower. With regards to the height of office buildings in a competitive real estate market, “…there is a point where the balance begins to swing back and the rate of return on capital investment begins to diminish as the building goes higher.” At 500 Fifth Avenue, the projected height of 58 stories , or 697 feet, was considered the limit of economic feasibility for a 100- by 208-foot lot. In his essay on tall office buildings, Shreve summed up the design problem inherent in the 1916 zoning ordinance, describing the modern tall office building as

“a geometrical form consisting of a base enclosed by vertical walls, an intermediate section defined by sloping limits, and a tower…[and]…practical usable office floor area, supported and enclosed by structural forms, served by mechanical equipment, and reached through public spaces which are not directly sources of revenue.”

Shreve went on to offer this thought:

The demands of time, cost, and practicability need not be hostile to the aesthetic side of the work. Indeed, may it not be fairly said that character is improved and greater success of pure design assured if sound reasoning as to value, and honest recognition of function, accompany and guide our struggle to attain architectural beauty?

Shreve, Lamb & Harmon’s completed building was noted in the press for its height, its zoning conditions, and its real estate value; it was among the city’s notable tall buildings of the time and remains a distinguished example of Art Deco skyscraper design. Stylized geometrical ornament, a restrained color palette, and the “vertical accent” created by spandrels and channeling all contributed to the building’s “modern architectural treatment”, in the words of partner William Lamb. On the second, third, and fourth stories, limestone piers decorated with channeling and abstracted frond and scroll motifs and light-green metal spandrels decorated with folds and chevrons reflect Art Deco’s affinity for stylized geometric forms. Around the main entrance the carved limestone pylons and allegorical bas-relief are picked out in gilding, and on the 42nd Street facade a pair of eagles carved in profile enhance the figural quality of the ornamental scheme. Rising above the base is 500 Fifth Avenue’s flat-roofed, slab-form tower.

The tower’s vertical buff-brick stripes are likely inspired by Hood’s Daily News Building, which bridged Art Deco and the emerging International Style when it opened in 1930. As with the Daily News Building—where Hood sought to conceal the windows to avoid the effect of a wall “shot full of holes”—these stripes alternate with dark window bands. In the center bays on 42nd Street and in the two window bays over the main entry, 500 Fifth Avenue’s terra-cotta spandrel panels are dark gray in color and angle forward. Seen from a distance the dark color of the spandrels merges with the dark color of the window frames to create a series of vertical stripes that rise unbroken to the roofline. This striped effect is continued on the north elevation, where the large expanse of brick wall enclosing the elevators and utilities is articulated with three uninterrupted channels filled with strips of dark gray terra cotta.

Above its base, 500 Fifth Avenue is virtually free of ornament, except at the tower, where a series of angled brick and terra-cotta panels decorated with chevrons read as pleated cresting against the skyline.

Subsequent History

A year after the stock market crash and three months before the opening of 500 Fifth Avenue, Walter J. Salmon was quoted in the papers on the subject of his prospects for an immediate return on his investment: “We feel that it will take some time to absorb the approximately 500,000 square feet of office space in the building, but the enterprise was undertaken with the greatest faith in the future of midtown expansion and development.” By May 1931, three months after its opening, the 15th, 16th and 20th floors of the building had been fully rented ; by the end of the year, several prestigious tenants had signed leases, including the Electrolux Corporation, no less than ten railroad corporations, and the Western Universities Club, which used the penthouse and the three floors below for its club facilities. An article in the New York Times from January 1932 reported a consistent demand for business space in the midtown area, calling business renting “brisk.”

Later tenants of 500 Fifth Avenue included the Austrian and Japanese consulates, and in the mid-1930s the building became the target of Communist protests directed at the Japanese consulate, which had offices on the 40th floor.

In 1944, when the Manufacturers Trust Company—then located at 513 Fifth Avenue–and the Mutual Insurance Company entered into a lease in which Mutual Life agreed to construct a new bank building on the property at nos. 508 and 510-514 Fifth Avenue, a corollary agreement with Walter Salmon permitted Manufacturers Trust Company to sublease, and ultimately redevelop, 508 Fifth Avenue. An important stipulation in this agreement was that during the time Salmon’s lease remained in effect , any building erected on the portion of the lot at No. 508 would not exceed the height of the then-existing building or otherwise interfere with 500 Fifth Avenue. Thus, the height of the new bank building was effectively limited to four or five stories, and light and ventilation levels on the north wall of 500 Fifth Avenue were preserved.

In 1955, the land under 500 Fifth Avenue was sold by Gerry Brothers & Co., whose principals were descendents of the original ownership, to the Metropolitan Life Insurance Co. 500 Fifth Avenue was again the site of political disturbance in 1980, when Croatian nationalists bombed a Yugoslavian bank located on the 30th floor of the building; there were no injuries, and only minor damage to the interior spaces. In the mid-1990s, the facade of 500 Fifth Avenue was repaired, ornament was restored or selectively refabricated, and replacement windows were installed. The building continues to be used as an office building with street-level stores.

Description

500 Fifth Avenue is an asymmetrically massed skyscraper with setbacks at the 18th, 22nd, and 25th stories on the Fifth Avenue facade and a recessed light court beginning at the eighth story and setbacks at the 23rd, 28th, and 34th stories on the 42nd Street facade; the side facade is partially visible from street; sheathed in limestone, terra cotta, and buff brick, the facades are enriched with carefully scaled Art Deco motifs, which accentuate the building’s sculptural massing and emphasize its verticality; on the Fifth Avenue facade the limestone and black granite main entrance is treated as a pylon framed by stylized gilded palmettos and capped by an allegorical bas-relief; the metal-and-glass main entrance door is deeply recessed and has returns of polished stone or metal; possibly historic pendant and wall-mounted light fixtures within recess of main entrance; possibly historic light fixtures and flag poles flank the main entrance; freight entrance in seventh bay of ground floor on 42nd Street facade; ground-floor storefronts on the Fifth Avenue and 42nd Street facades retain the original patinated metal cornice with chevron motifs; the three commercial stories above the storefronts have large show-window openings set between limestone piers decorated with channeling and abstracted frond and scroll motifs and patinated metal spandrels decorated with stylized folds and chevrons; the majority of the show windows on the 2nd Street facade are historic multi-pane metal sash; on the Fifth Avenue facade only a few of these historic show windows remain; on the buff-brick mid-section and tower the windows are arranged into paired and triple groups separated by projecting piers, with the major piers enhanced by vertical channeling; in the center bays on 42nd Street and in the two window bays over the main entry, the terra-cotta spandrel panels are dark gray in color and angle forward; seen from a distance the dark color of the spandrels merges with the dark color of the window frames to create a series of vertical stripes that rise unbroken to the roofline; this striped effect is continued on the back elevation where the large expanse of brick wall enclosing the elevators and utilities is articulated with three uninterrupted channels filled with strips of dark gray terra cotta; crowning the setbacks and tower are a series of angled brick and terra-cotta panels decorated with chevrons that read as pleated cresting against the skyline.

Alterations: non-historic metal-and-glass storefront infill on ground story; several non-historic plate-glass windows with metal frames on second through fourth stories of Fifth Avenue and 42nd Street facades; metal plaques and security lights at main entrance on Fifth Avenue facade; four utility boxes affixed to southeast corner of building above fifth story; double-hung metal replacement windows in all openings above the fourth story; louvers or vents in several window openings or as replacement window panes on Fifth Avenue and 42nd Street facades; brick replaced at corners of building; dunnage/cooling tower and antennas visible on roof.

- From the 2010 NYCLPC Landmark Designation Report

494 Ford Puma 16v V-VCT (2000) M 7 FRP by Robert Knight

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Ford Puma 1.7 16v (1999-01) Engine 1679cc S4 DOHC 16v 123bhp

Production 133,000 (all models)

Registration Number M 7 FRP (Cherished number, first allocated for Northampton)

FORD (UK) SET

www.flickr.com/photos/45676495@N05/sets/72157623665118181...

The Ford Puma is a sport compact coupé that was produced by Ford Europe from September 1997 to July 2002. and built exclusively at Ford's Niehl plant in Cologne, Germany. The Ford Puma follows common design cues with other Ford cars at the time, and is in the New Edge family of vehicles. All Pumas are front-engined, front-wheel-drive, three-door coupés with four seats and was based on the Mark 4 Ford Fiesta, with new engines (codeveloped with Yamaha), a new body, stiffer suspension, wider track and close-ratio gearbox, among other changes

The Puma was available with four engine options: 1.4-litre (1997-2000) of 90bhp, 1.6-litre (2000-2001) 104 bhp, this 1.7 litre VCT (only used in the Puma) 125bhp and the limited edition Ford Racing Puma with a Tickford tuned 1.7-litre VCT of 153bhp. , the 1.7-litre engines used Nikasil cylinder plating, which required a specific grade of oil (5W30 semisynthetic) to minimise mechanical wear. The 1.7 litre engine covered many miles in its manufacturing process, the cylinder blocks were machined at Fords Valencia (Spain) plant then shipped to Yamaha in Japan for Nikasil coating and completion, before shipment to Ford's Cologne plant where the Puma was assembled

The Puma was only sold in Europe. Production ended in 2001, although sale of stock vehicles continued into 2002.

Thankyou for a massive 55,618,846 views

Shot 17.07.2016 at Shelsey Walsh Classic Nostalgia Meeting, Worcestershire REF 121-494

Antigravity Caldermobile : White Night / Nuit Blanche Brighton by Dominic Alves

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duration: 25 secs. - with audio

Jubilee Square.

Even on White Night, boring old "noise abatement" laws apply. After the InCANdescent event was smartly cleared away by the City's cleaning crew, this "proof of concept" kinetic light sculpture was installed in the early hours. The organisers were not keen on photography.

What is said in hotel bars should stay in hotel bars (especially when said over breakfast sake / nihonshu), but really - this is so interesting. Named after Alexander Calder, the inventor of the mobile, the structure follows similar dynamics - except upside down! Stability is of course aided by myriad gyroscopes embedded in the structure, and balance maintained by internal weights, continuously adjusted by stepper motors - hence the odd buzzing sounds. Each major component (arm or egg-flower) has a processor running a complete real time model of the structure. (This is done at a very sophisticated level. A library of air resistance and slight aerofoil lift behaviours for 58,000 different variations of petal positions is accessible by the software, for instance.) Accelerometers and accurate force measurement at the joints of the structure enable any deviation between predicted and actual behaviour to be instantly detected. Typically this will be caused by either wind currents, or incredulous drunk people poking the structure. The distributed processing enables near instantaneous compensatory correction for these events. (The stability is of course partially illusory. Designed to be displayed primarily in an indoor environment, a strong enough air current, or a hard enough shove will cause catastrophic failure, and collapse of the structure - in a manner perhaps analogous to ABS related accidents.) The project was created to showcase the video display panels, the product a secretive joint venture by a Consortium in response to (as generally perceived within the industry) an "over dominance" in the sector by a large South Korean manufacturer of OLED displays. Based also on OLED technolgy, there is no addressing matrix. Instead, video data "bumbles" or "pinballs" between pixel units using very high frequency, very short range radio - the data being stored or passed on as required. (The pixel units can also interpolate and extrapolate missing data - both spatially and temporally - but in practice, despite the haphazard data distribution method, there is a high level of reliability, and thus seldom the need for this function to be invoked.) Accordingly, the panels can be cut, and the edges planed and sanded to any shape, a boon to artists. Power is distributed via two fine fibrous conducting planes just below each surface. The material of the conductors is "self-healing". On exposure to both water vapour and oxygen in the air, the fibres react to become an insulator to prevent shorting and power leakage. The fibres also swell during the reaction, forming a seal, and preventing further ingress of water or oxygen molecules, and thus preventing deeper deterioration of the conducting layers from the cut edges. Intentional power connections - to transfer power between the light panels and also to power the electric motors - are made using vampire connectors that bite into opposites sides of the sheets, through to the conducting layers. A small amount of conductive hydrophobic gel must be used in these situations, to inhibit the self healing properties of the conducting layers, and to prevent the power connections thus failing. (This method is anticipated to ensure securely conductive connections "for at least 80 years", although with a material that has only been in production for 5 weeks, it is difficult to be sure for certain!) The cigar shaped pixel units are aligned at right angles to the surfaces (apparently by simple buoyancy during the manufacturing process when the resin substrate is still liquid and thinly spread horizontally by gravity), with the ends touching and drawing power from the embedded conducting fibrous mesh. The thermoplastic resin base can also be heated and then bent or moulded by presses into curved surfaces without affecting operation. Acoustic transducers in the pixel units automatically determine the geometry of the panels (including any curvature) and the placement of adjacent pixel units by generating and timing the travel time of a chatter of clicks, each time a panel is powered up. This information is used to assist in placing the projection of the video. (In the example above, the video images of "coloured walls of flame" are wrapped using a cylindrical projection around each of the egg-flowers in their closed positions.) Each pixel unit can generate colours using a palate of seven colours - as opposed to the usual (RGB) three. This provides an ultra rich gamut easily capable of accommodating tetrachromacy. Unfortunately this richness of colour is not reproduced in this set, because obviously standard bayer filtered CCD cameras were used, and so the colours appear blandly oversaturated. When the South Korean manufacturer eventually found out about the project, they got very cross and decided to throw a spanner in the works big time and in an act of monstrous hypocrisy they lodged an "anti-trust" complaint with the European Commission, and the Consortium was embarrassed into taking the route of scoundrels and bounders everywhere by filing for bankruptcy in a court in Texas on the weekend of the festival, to contain any contingent liabilities. (Hence the sudden reluctance to have the installation photographed.) This caused problems for the Installation Engineers, because their Hotel's hyper sharp credit agency service flagged up a problem. Fortunately the Hotel's manager was by then an ecstatic fan of the sculpture, even helping out with assembly and disassembly - a process that requires many hands. (Once powered up the structure is reasonably stable - but getting there is tricky - think about it.) In the best grand tradition of arts patronage the Hotel manager cheerily faxed off a Japanese Language Only Purchase Order to the Hotel group's Director of Finance to puzzle over when he eventually came back from holiday, and continued to buy everyone drinks. With high production investment and development costs, poor yield rates, low margins, near commodity prices and very short technology life cycles, who would get involved in electronic displays?

See also enhanced video details of the spherical fulcrum connectors and egg-flower petal mechanisms.

Part of a set / slideshow documenting in photographs and video the White Night / Nuit Blanche festival held in Brighton and Hove at the end of October 2010.

See also these related flickr galleries: White Night Brighton +Silhouettes +Light +Colours +People and from the sister festival in Picardie Nuit Blanche Amiens.

The set description contains additional related external links.

Art Deco Bakelite and Catalin Objects by Artdecodude

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Here's an assortment of various bakelite and catalin objects from my Art Deco collection, circa 1930's. Both bakelite and catalin were types of new age plastics used during the Machine Age era. Catalin has a different manufacturing process than bakelite and could be dyed bright colors and marbled.

Shown here is a Taylor Stormguide in the center, which measures temperature and humidity. The bright red and butterscotch catalin combination is very rare.

The half-round, bright red vanity box with brass knobs and feet is also very rare and was manufactured by the General Electric Company. This box is typically seen with a black base and a variety of colored lids (such as the similar green lidded vanity box in the back).

The black, circular box in the back has a very streamlined appearance. It was made by the American Insulator Corporation, and used either as a cigarette or jewelry box.

The arching, molded green and black bakelite box in the front is American made and most likely manufactured by Lady Lillian as a nail polish holder.

The marbled, caramel catalin box in the back is an ingenious cigarette holder. It has a chrome stepped lid and base, and the interior mechanism holds and displays cigarettes in a fanned design when open.

Eveready Hot Shot Battery. Abandoned Barber-Colman factory in Rockford, Illinois by In Memoriam: slworking2

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History of the Barber-Colman Company

Historically one of Rockford’s largest manufacturers.

Began with the founding of the Barber & Colman Company in 1894 – partnership between Howard Colman, an inventor and entrepreneur, and W. A. Barber, an investor. [Today he would probably be considered a venture capitalist.] Colman’s first patent and marketable invention was the Creamery Check Pump used to separate buttermilk and dispense skimmed milk.

Colman’s textile production inventions led the company on its rapid rise as a worldwide leader in the design and manufacture of diversified products. Specific items designed for the textile industry included the Hand Knotter and the Warp Tying Machine. Through these innovations, Barber & Colman was able to build its first plant on Rock Street in Rockford’s Water Power District, and to establish branch offices in Boston MA and Manchester, England.

Incorporated as Barber-Colman in 1904 and built 5 new major structures on their site by 1907.

Later innovations for the textile industry included an Automatic Winder, High Speed Warper and Automatic Spoolers. By 1931, the textile machinery division had branch production facilities in Framingham MA; Greenville SC; Munich, Germany; and Manchester. This part of the business flourished through the mid-1960s but then declined as other divisions expanded.

Branched out from the textile industry into machine tools in 1908 with Milling Cutters. Barber-Colman created machines used at the Fiat plant in Italy (1927) and the Royal Typewriter Co. outside Hartford CT. By 1931, the Machine Tool and Small Tool Division of Barber-Colman listed branch offices in Chicago, Cincinnati and Rochester NY.

As part of its commitment to developing a skilled work force, Barber-Colman began the Barber-Colman Continuation School for boys 16 and older shortly after the company was founded. It was a 3-year apprentice program that trained them for manufacturing jobs at Barber-Colman and paid them hourly for their work at rate that increased as their proficiency improved. The program was operated in conjunction with the Rockford Vocational School.

To foster continued inventions, an Experimental Department was established with the responsibility of continually developing new machines. A lab was first installed in 1914 and was divided into two parts – a chemistry lab to provide thorough analysis of all metals and their component properties, and a metallurgical lab to test the effectiveness of heat treatment for hardening materials. Innovations in the Experimental Department laid the groundwork for the company’s movement into the design and development of electrical and electronic products, and energy management controls.

BARBER-COLMAN became involved in the electrical and electronics industry in 1924 with the founding of the Electrical Division. First product was a radio operated electric garage door opener controlled from the dashboard of a car. Unfortunately, it was too expensive to be practical at the time. The division’s major product in its early years was Barcol OVERdoors, a paneled wood garage door that opened on an overhead track. Several designs were offered in 1931, some of which had the appearance of wood hinged doors. This division eventually expanded into four separate ones that designed and produced electronic control instruments and systems for manufacturing processes; small motors and gear motors used in products such as vending machines, antennas and X-ray machines; electronic and pneumatic controls for aircraft and marine operations; and electrical and electronic controls for engine-powered systems.

In the late 1920s, the Experimental Department began conducting experiments with temperature control instruments to be used in homes and other buildings and the Temperature Control Division was born. Over time, BARBER-COLMAN became known worldwide leader in electronic controls for heating, ventilating and air conditioning. These are the products that continue its name and reputation today.

The death of founder Howard Colman in 1942 was sudden but the company continued to expand its operations under changing leadership. Ground was broken in 1953 for a manufacturing building in neighboring Loves Park IL to house the overhead door division and the Uni-Flow division. Three later additions were made to that plant.

The divestiture of BARBER-COLMAN divisions began in 1984 with the sale of the textile division to Reed-Chatwood Inc which remained at BARBER-COLMAN’s original site on Rock Street until 2001. The machine tooldivision, the company’s second oldest unit, was spun off in 1985 to Bourn and Koch, another Rockfordcompany. At that time, it was announced that the remaining divisions of the BARBER-COLMAN Company would concentrate their efforts on process controls and cutting tools. These moves reduced local employment at BARBER-COLMAN’s several locations to about 2200. The remaining divisions were eventually sold as well, but the BARBER-COLMAN Company name continues to exist today as one of five subsidiaries of Eurotherm Controls Inc whose worldwide headquarters are in Leesburg VA. The Aerospace Division and the Industrial Instruments Division still operate at the Loves Park plant, employing 1100 workers in 2000. The historic complex on Rock Street was vacated in 2001 and the property purchased by the City of Rockford in 2002.

Extensive documentation from the Experimental Department was left at the Rock Street plant when the company moved out and was still there when the site was purchased by the City of Rockford. These documents are now housed at the Midway Village Museum.

VTOL - Hypersonic Plane - High Supersonic - Scramjet - IO Aircraft - Iteration 4 by IO Aircraft

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VTOL - Hypersonic Plane - High Supersonic - Scramjet - IO Aircraft - Iteration 4

Early preview (Iteration 4) of an entirely new type of aircraft, no info is on the net yet and won't be for a while. RANGER - 2 Passenger VTOL Hypersonic Plane

www.ioaircraft.com

Drew Blair

www.linkedin.com/in/drew-b-25485312/

Vertical take off and landing - High Supersonic into Hypersonic Realm. Economy cruise above Mach 4, and can accelerate to beyond Mach 8. Non VTOL, could reach LEO. With a range of 5,000+ nm (8,000-10,000nm non vtol). Fuel H2, reducing fuel weight 95%.

Length, 35ft (10.67m), span 18ft (6m).

Propulsion, 2 Unified Turbine Based Combined Cycle. 2 Unified thrust producing gas turbine generators that provide the power for the central lifting fan (electric, not shaft driven) and the rear VTOL.

Estimated market price, $25-$30 million in production. New York to Dubai in an hour.

All based on my own technology advances in Hypersonics which make Lockheed and Boeing look ancient.

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Advanced Additive Manufacturing for Hypersonic Aircraft

Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.

Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.

*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.

What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.

Unified Turbine Based Combined Cycle (U-TBCC)

To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5

However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.

Enhanced Dynamic Cavitation

Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.

Dynamic Scramjet Ignition Processes

For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.

Hydrogen vs Kerosene Fuel Sources

Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.

Conforming High Pressure Tank Technology for CNG and H2.

As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.

As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).

Enhanced Fuel Mixture During Shock Train Interaction

Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.

Improved Bow Shock Interaction

Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.

6,000+ Fahrenheit Thermal Resistance

To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.

*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope

Scramjet Propulsion Side Wall Cooling

With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.

Lower Threshold for Hypersonic Ignition

Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.

Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities

Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.

Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)

To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.

A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.

The Incredible Hulk punched a hole in the wall. Abandoned Barber-Colman factory in Rockford, Illinois by In Memoriam: slworking2

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