View allAll Photos Tagged Propelled
Villager from Taga, Savai'i throws coconuts into the blowhole so when a wave hits the jet shoots the coconut 60ft into the air. You can see the coconut in this photo as a dot halfway up the water jet.
Shirebrook
Having propelled down the siding 4Z19 1438 To Belmont waits the signal. this service ran approx 60 mins early today
66082 slowly eases onto Knottingley depot. 4 Mk2 Fs will be split off on the wagon road while the rest get put inside for maintenance. The mk2s look stunning for there age.
An AS90 Self-Propelled Gun is pictured during an exercise in the North of England.
The AS90 is a 155mm self-propelled gun that equips six field regiments of the Royal Horse Artillery and Royal Artillery.
The AS90 is fitted with a 155mm, 39 or 52-calibre gun barrel. In trials, two AS90 guns were able to deliver a total payload of 261kg on to a single target in less than ten seconds.
An automated loading system enables the gun to fire with a burst rate of three rounds in fewer than ten seconds, an intense rate of six rounds a minute for three minutes and a sustained rate of two rounds a minute.
The gun is equipped with a recoil and hydrogas suspension system, which allows the turret to traverse and fire through a full 360°.
The range is 24.7km using conventional ammunition. The AS90 also fires assisted rounds, which provide an extended range to 30km. Fitting a 52-calibre barrel instead of the standard 39 calibre extends the range beyond 40km.
-------------------------------------------------------
© Crown Copyright 2013
Photographer: Richard Watt
Image 45155082.jpg from www.defenceimages.mod.uk
This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/. Search for image number 45155082.jpg
For latest news visit www.gov.uk/government/organisations/ministry-of-defence
Follow us:
An M109A4+ Self-Propelled Howitzer on the grounds of Veterans Way Memorial Park in Kemptville, Ontario, Canada.
It held a crew of 6 featuring as its primary armament a 155 millimeter cannon with a rate of fire of 1 - 2 rounds per minute with a range of 18,000 metres (18 kilometres).
Its secondary armament was a .50 calibre M2B machine gun. This type of mechanized artillery was used by the Canadian Armed Forces between 1968 - 2005.
Fifty-five years ago this month, the first zero-length launch of an USAF/North American F-100D Super Sabre took place at Edwards Air Force Base, California. North American Test Pilot Albert R. Blackburn was at the controls of the experimental rocket-propelled test aircraft.
Zero-Length Launch (ZLL) was a concept pioneered by the United States Air Force for quickly getting aircraft into the air without the need for a conventional runway take-off. The idea was to launch the aircraft via rocket power from a standing start. Shortly after launch, the aircraft was at flight speed and the dead rocket booster was jettisoned.
The ZLL concept was typical of attempts by USAF to gain tactical advantage over the Soviet Union in any way possible during the Cold War era. ZLL held the promise of getting nuclear-armed combat aircraft airborne in the event that airfield runways were rendered useless due to enemy attack.
The ZLL mission was envisioned as one-way trip. Once airborne, a pilot was expected to fly to the target, deliver his nuclear weapon and then fend for himself. Survival options included finding a friendly field to land at or eject over non-hostile territory. Either way, the pilot’s chances of things working out well were not good.
The first attempt to test the ZLL concept dates back to 1953 when USAF employed the straight-wing USAF/Republic F-84G Thunderjet in the ZELMAL Program. ZELMAL stood for Zero Length Launch/ Mat Landing. This last part involved the aircraft making a wheels-up landing on an inflatable rubber mat that measured 800 ft x 80 ft x 3 ft.
Piloted ZELMEL flight tests were conducted at Edwards Air Force Base in 1954. The results were not particularly encouraging. Understandably, the mat landing was a rough go. The landing mat was heavily damaged on the first test and the pilot sustained back injuries that required months of recovery time. Subsequent flight tests showed ZELMAL to be essentially unworkable as then conceived.
USAF reprised the ZLL concept in 1958 with the F-100D Super Sabre. Gone was the mat landing part of the operation. The aircraft would make a normal wheels down landing if it got airborne successfully. Launch motive power was provided by a single Rocketdyne XM-34 solid rocket booster that generated 132,000 lbs of thrust for 4 seconds. At burnout of the boost motor, the F-100D was 400 feet above ground level and traveling at 275 mph. The booster was then jettisoned and the aircraft continued to accelerate under turbojet power.
The first flight test of the F-100 ZLL aircraft (S/N 56-2904) took place on Wednesday, 26 March 1958. The aircraft was launched from the south end of Rogers Dry Lake at Edwards Air Force Base, California. The test aircraft carried a pylon-mounted 275-gallon fuel tank on the right wing and a simulated nuclear store on a pylon under the left wing. North American’s Albert “Al” R. Blackburn served as the test pilot.
The first F-100 ZLL flight was entirely successful. Blackburn reported an exceptionally smooth ride on the rocket and an uneventful transition to turbojet-powered flight. While the boost motor struck the belly of the aircraft during departure and caused some superficial damage, the separation was otherwise successful. After a brief flight, Blackburn safely landed his steed on the concrete.
The first flight success of the ZLL Super Sabre was followed several weeks later by loss of aircraft 56-2904. Although the launch phase was proper, the boost motor hung-up on its support bolts and could not be jettisoned following burnout. Blackburn’s attempts to shake the dead motor free from the aircraft proved futile. Since a successful landing was not possible, he had to eject.
A total of fourteen (14) more F-100D ZLL flights took place at Edwards through October of 1958. Although these flights proved ZLL to be a viable means for getting a combat aircraft airborne without the use of a conventional runway take-off, USAF ultimately judged the concept to be too impractical and logistically burdensome to field. This in spite of the fact that a total of 148 F-100D Super Sabre aircraft were eventually modified for the ZLL mission.
...........................................................................................................
AMERICAN AEROSPACE
First Super Sabre ZLL Flight
By J. Terry White on March 18, 2013 at 7:56 PM
Fifty-five years ago this month, the first zero-length launch of an USAF/North American F-100D Super Sabre took place at Edwards Air Force Base, California. North American Test Pilot Albert R. Blackburn was at the controls of the experimental rocket-propelled test aircraft.
Zero-Length Launch (ZLL) was a concept pioneered by the United States Air Force for quickly getting aircraft into the air without the need for a conventional runway take-off. The idea was to launch the aircraft via rocket power from a standing start. Shortly after launch, the aircraft was at flight speed and the dead rocket booster was jettisoned.
The ZLL concept was typical of attempts by USAF to gain tactical advantage over the Soviet Union in any way possible during the Cold War era. ZLL held the promise of getting nuclear-armed combat aircraft airborne in the event that airfield runways were rendered useless due to enemy attack.
The ZLL mission was envisioned as one-way trip. Once airborne, a pilot was expected to fly to the target, deliver his nuclear weapon and then fend for himself. Survival options included finding a friendly field to land at or eject over non-hostile territory. Either way, the pilot’s chances of things working out well were not good.
The first attempt to test the ZLL concept dates back to 1953 when USAF employed the straight-wing USAF/Republic F-84G Thunderjet in the ZELMAL Program. ZELMAL stood for Zero Length Launch/ Mat Landing. This last part involved the aircraft making a wheels-up landing on an inflatable rubber mat that measured 800 ft x 80 ft x 3 ft.
Piloted ZELMEL flight tests were conducted at Edwards Air Force Base in 1954. The results were not particularly encouraging. Understandably, the mat landing was a rough go. The landing mat was heavily damaged on the first test and the pilot sustained back injuries that required months of recovery time. Subsequent flight tests showed ZELMAL to be essentially unworkable as then conceived.
USAF reprised the ZLL concept in 1958 with the F-100D Super Sabre. Gone was the mat landing part of the operation. The aircraft would make a normal wheels down landing if it got airborne successfully. Launch motive power was provided by a single Rocketdyne XM-34 solid rocket booster that generated 132,000 lbs of thrust for 4 seconds. At burnout of the boost motor, the F-100D was 400 feet above ground level and traveling at 275 mph. The booster was then jettisoned and the aircraft continued to accelerate under turbojet power.
The first flight test of the F-100 ZLL aircraft (S/N 56-2904) took place on Wednesday, 26 March 1958. The aircraft was launched from the south end of Rogers Dry Lake at Edwards Air Force Base, California. The test aircraft carried a pylon-mounted 275-gallon fuel tank on the right wing and a simulated nuclear store on a pylon under the left wing. North American’s Albert “Al” R. Blackburn served as the test pilot.
The first F-100 ZLL flight was entirely successful. Blackburn reported an exceptionally smooth ride on the rocket and an uneventful transition to turbojet-powered flight. While the boost motor struck the belly of the aircraft during departure and caused some superficial damage, the separation was otherwise successful. After a brief flight, Blackburn safely landed his steed on the concrete.
The first flight success of the ZLL Super Sabre was followed several weeks later by loss of aircraft 56-2904. Although the launch phase was proper, the boost motor hung-up on its support bolts and could not be jettisoned following burnout. Blackburn’s attempts to shake the dead motor free from the aircraft proved futile. Since a successful landing was not possible, he had to eject.
A total of fourteen (14) more F-100D ZLL flights took place at Edwards through October of 1958. Although these flights proved ZLL to be a viable means for getting a combat aircraft airborne without the use of a conventional runway take-off, USAF ultimately judged the concept to be too impractical and logistically burdensome to field. This in spite of the fact that a total of 148 F-100D Super Sabre aircraft were eventually modified for the ZLL mission.
Another image from the Calgary Museum of the Regiments on Remembrance Day, this awesome giant propellor exhibit stands tall and eye-catching in a large outdoor display area near tanks, APC's and jets.
It was so shiny and cool, I really liked it!
Have an excellent Monday and upcoming week, my friends!
The need for a National Gallery
With a vision of becoming a global city for the arts, Singapore has carefully nurtured its arts and culture scene over the past two decades. The island city has witnessed increasing attendance and participation in key events and festivals such as the Singapore Biennale, Singapore Arts Festival and Singapore Art Show. These events have helped propel Singapore onto the international scene, highlighting her prominence as an international arts hub – a place where the global arts community can come together for exchange and collaboration.
At his National Day Rally speech on 21 August 2005, Prime Minister Lee Hsien Loong mentioned the government's plan to convert the former Supreme Court building and City Hall into a new national gallery. On 2 September 2006, Dr. Lee Boon Yang, Minister for Information, Communications and the Arts officially announced the setting up of the National Gallery Singapore during the Singapore Biennale 2006 at the National Museum of Singapore.
The then Ministry of Information, Communications and the Arts (MICA) proceeded to implement a process designed to enable stakeholders and interested parties to contribute their expertise and their views to the project. A steering committee, initially chaired by Dr. Balaji Sadasivan, Senior Minister of State for the Ministry of Foreign Affairs and MICA, oversaw the art gallery's implementation plan. The steering committee was supported by an executive committee and four advisory groups. The advisory groups provided advice on museology, architectural conservation, finance and communications.
Design competition
On 23 February 2007, MICA, together with the Singapore Institute of Architects, launched a two-stage architectural design competition to identify the most suitable architect and design for the National Gallery. The first stage of the competition called for design and concept proposals, and began on 19 March with a site tour of the two buildings for competing architects to get design concepts and ideas.[9] It drew 111 entries from 29 countries worldwide, with five proposals shortlisted in May 2007. Members of the jury consisted of a panel of eminent local and international professionals headed by Tommy Koh, Singapore's Ambassador-at-Large and chairman of the National Heritage Board, and included officials from the Urban Redevelopment Authority, Musée national des Arts asiatiques-Guimet in France and the Asian Civilisations Museum.
For the second stage, the shortlisted candidates had to develop their designs, from which the winning proposal would be selected by the jury. Due to the status of the former Supreme Court Building and City Hall as national monuments, certain aspects of the buildings could not be altered, such as the façade, the Surrender Chamber, the office of Singapore's founding Prime Minister and the panelling in four rooms of the Supreme Court. However, this still left many design options open such as the addition of roof and basement floors. The participants also had to submit entries within a budget of S$320 million.
On 29 August 2007, the seven-member international jury panel named the top three designs out of the five shortlisted.[11] The three firms – Studio Milou Architecture from France, Ho + Hou Architects from Taiwan, and Chan Sau Yan Associates from Singapore – each received $150,000. The jury made their decision after appraising models and digital mock-ups, as well as engaging the five finalists in a presentation and question-and-answer session. The other two firms that were shortlisted in the first stage were DP Architects and Australia's Smart Design Studio.
An exhibition of the five finalists' proposals was held at City Hall in October 2007, and the public were invited to give feedback on the designs, programmes and events. The jury's decision was presented to MICA, which then decided on who to commission to design and build the art gallery. An announcement on the final design was made in the first quarter of 2008.
Competition winner and appointed contractor
In May 2008, Studio Milou Singapore, in partnership with CPG Consultants (Singapore), was appointed to design and build the Gallery.
Studio Milou Architecture is a French architectural firm, with branches in Paris and Singapore that specialise in the design of museums and cultural spaces. Led by principal architect and lead partner Jean-Francois Milou, the firm has a reputation for working with adaptive reuse of historical buildings, seeking imaginative solutions while respecting the building's historical fabric, meaning and surroundings.
CPG Consultants, a subsidiary of CPG Corporation, is a multi-disciplinary design consultancy firm. Headquartered in Singapore, CPG Consultants has extensive expertise in conservation and preservation of buildings. To date, the company has completed over 20 such projects in Singapore, most of which are gazetted monuments.
Studio Milou Architecture’s design consisted of a linear draped canopy supported by tree-like columns to link the former Supreme Court Building and City Hall at the roof level. The design incorporated an extended staircase linking the basement to the upper levels, making use of solar energy to provide electricity. Fine metal mesh had been proposed to cover most of City Hall. Panel members agreed it had "the most delightful design and appeal", and was ranked first among the top three designs.
On 21 December 2010, the Gallery appointed Takenaka-Singapore Piling Joint Venture as the main construction contractor for the new Gallery. The construction works on the buildings began in January 2011 and is predicted to be completed in about 44 months.
The buildings
City Hall[19] and the former Supreme Court buildings are national monuments and have played a significant role in Singapore's history. The buildings face an open field known as the Padang, which is a Malay word meaning "flat field". Through link bridges and a new basement level, the design for the new Gallery integrates the City Hall and former Supreme Court buildings, combining both old and new architecture.
Former Supreme Court
The Former Supreme Court building was built on the site of the former Grand Hotel de l'Europe, one of the most palatial hotels in Southeast Asia that was demolished in 1936. Designed by Frank Dorrington Ward, Chief Architect of the Public Works Department, the former Supreme Court building was built to house Supreme Court offices and courtrooms and was declared open on 3 August 1939.
This building is the former courthouse of the Supreme Court of Singapore, before it moved out and commenced operations in the new building on 20 June 2005.
The architecture of the former Supreme Court building is in harmony with that of its neighbour, City Hall. The general layout of the building exemplifies British colonial architecture, comprising four blocks of offices and courtrooms surrounding a central rotunda with a dome that was originally used to house a circular law library. It was to be the last classical building to be built in Singapore. United Engineers Ltd was the building contractor.
The Corinthian and Ionic columns, sculptures and relief panels were the works of Italian artist, Cavaliere Rudolfo Nolli.
City Hall
The City Hall building was built between 1926 and 1929 and was originally known as the Municipal Building. Designed by the British Municipal architects A. Gordon and S. D. Meadows, it was used to house the offices of the Municipal Council, which was responsible for the provision of water, electricity, gas, roads, bridges and street lighting.[19] From 1963 to 1991, City Hall came to house offices of several government departments and courtrooms. The building was vacated in 2006.
City Hall has been the focal point of many important events in the history of Singapore. It was in the City Hall building that Admiral Lord Louis Mountbatten, on behalf of the Allied forces, accepted the surrender of the Japanese forces on 12 September 1945.[23] The building also housed the office of Mr. Lee Kuan Yew, the first prime minister of Singapore. Mr. Lee and members of his Cabinet took their Oaths of Allegiance and Oaths of Office on 5 June 1959 in the City Hall Chamber. It was gazetted on 14 February 1992 as a national monument. The original layout of City Hall is a typical example of neoclassical British architecture. The building's interior is modestly proportioned, but its front façade is distinguished by 18 three-storey-high Corinthian columns facing the Padang.
The Galleries
Consisting of modern and contemporary art, National Gallery Singapore focuses on displaying Singapore and Southeast Asian art from the 19th century to present day. It will be home to two permanent galleries: the DBS Singapore Gallery and the UOB Southeast Asia Gallery. Through its collection, the Gallery will present the development of Singaporean and regional cultures – telling the story of their social, economic and political histories.
The Gallery mainly draws from Singapore’s National Collection, the world's largest public collection of modern and contemporary Southeast Asian art. The National Collection started with an original bequest of 93 works made to the National Museum in 1976, by the well-known cinema magnate and art patron, Dato Loke Wan Tho. Through careful nurturing over the years, this collection has grown significantly to approximately 8,000 pieces in 2010. The National Heritage Board is presently the custodian of this collection. National Gallery Singapore will feature works by major Singaporean artists such as Georgette Chen, Chen Chong Swee, Chen Wen Hsi, Cheong Soo Pieng and Liu Kang. The collection now spans from early-20th-century naturalistic paintings to contemporary video installations. The collection also holds pieces from Southeast Asian artists of international standing, such as Affandi (Indonesia), Latiff Mohidin (Malaysia), Le Pho (Vietnam), Montien Boonma (Thailand) and Fernando Cueto Amorsolo (Philippines).
DBS Singapore Gallery
The DBS Singapore Gallery will be an important platform for studying and presenting the cultural and aesthetic identity of Singapore from the colonial period to present day.
Starting from the 19th century, the narrative traces how local and regional contexts, international influences and individual creativity have shaped and transformed the development of Singapore art. The display will highlight the multiple facets of Singapore art, derived from the interweaving of diverse cultural values and expressions, fluid exchange of new ideas, and continuous experimentation by local artists.
UOB Southeast Asia Gallery
Housed in the former Supreme Court building, the UOB Southeast Asia Gallery will present the history of Southeast Asian art through artistic impulses shared across the region. Starting in the 19th century, the history of Southeast Asian art is characterised by negotiations between the region’s traditions and modernity. Art was conceived as an expanded field whereby Southeast Asian artists sought to incorporate and reinvent local expressions and aesthetic traditions as they approached the age of modern art.
The UOB Southeast Asia Gallery will share a compelling story of human culture, as seen through a region that has been the meeting point of major civilisations, religions, colonial powers, and the focus of struggles towards national independence and modernisation.
Special set of Research Galleries
These galleries will complement the core galleries, providing space for curators and researchers to experiment with ways of presenting materials from the Gallery's permanent collection, and to encourage greater dialogue between Singapore's national collection and those of other regional institutions.
Changing gallery spaces
The gallery has approximately 6,000 square metres (65,000 sq ft) of spaces to host international travelling exhibitions.
Facilities and programmes
Facilities
By day, the Gallery will offer learning and education opportunities for all, through its exhibition displays, artist talks, children's programmes and other related activities. By night, the Gallery will transform into a venue, with restaurants and cafés, as well as outdoor programmes, events, film screenings and concerts. The Gallery will provide venues for hire for conferences, seminars, film screenings, performances and private functions. It will house a 200-seat auditorium, function and seminar room spaces for various types of events and corporate functions.
Schools and families
National Gallery Singapore will offer learning programmes for students, ranging from pre-school to tertiary education level, to develop their observational and interpretative skills and appreciation for visual arts. Learning opportunities from the Gallery are also available for Educators, with a focus on professional development or planning a museum-based experience for their students. A Teachers’ Club will be established for educators in order to foster a culture of sharing and appreciation of art. The Gallery, in partnership with art practitioners from various disciplines, will hold a wide variety of programmes for families and children. Such activities include a monthly Family Weekend and School Holiday Specials.
Adult learning and community
Opportunities for adults to explore and learn about the arts will be provided by the Gallery through programmes inspired by its collections and resources. These include regular film screenings featuring Southeast Asian stories, theatrical and dance performances, guided tours in both English and Mandarin, art workshops and lectures. From a broader perspective, the Gallery’s Communities and Access initiatives will offer programmes to make art accessible for all audiences through community outreach, workshops and festivals.
Docents
One of the public programmes offered by the Gallery is the Docent Programme, a training workshop for individuals who have a passion in art, history and culture and wish to share this with visitors to the Gallery. The programme seeks to cultivate a pool of volunteer guides to act as the Gallery’s “ambassadors”. They are trained in public speaking and have extensive knowledge of Singaporean and Southeast Asian art, and the architecture and history of the Gallery buildings. Docents will serve as art educators by leading scheduled public tours, and will play a vital role in providing a personal Gallery experience by showing visitors the link between the rich history and collections of the Gallery.
Keppel Centre for Art Education
The Keppel Centre for Art Education [24] is a learning facility for families and schools. The Centre will provide an artistic environment that stimulates imagination, encourages active play and supports independent learning. Children and younger students will experience and interact with original artworks that are specially created to develop observation skills and tactile exploration.
The Centre will be located on the ground level of the Gallery's City Hall wing and occupy a total floor area of 910 square metres. It will comprise four distinct art spaces including a Children's Museum and an interactive Art Playscape. The theme for 2015 and 2016 is Homes: Present and Future. Invited artists will share their creative ideas and personal stories in response to the theme, creating new original artworks that encourage open interpretation and dialogue amongst visitors. A spectrum of art activities developed by the Gallery’s educators will provide learning experiences to support different learners and different age groups.
The Keppel Centre for Art Education will also offer programmes including a regular series of Studio-based workshops, artist talks, curator’s presentations, as well as complimentary Drop-in programmes conducted by artists, curators and museum educators.
The agave is always an inviting visual.
Normally I can describe exactly how an edit came about, but this one is more of a hodgepodge than usual. Jpeg sent from camera to phone, some sort of BW emulation applied on phone, then to LR, additional tonal adjustments, and finished with a toning preset I created that's intended to combine characteristics of X-Chrome's selenium 1 and 2 tonings.
FIE003, FIE002 & FIE001 have arrived at Botany yard with Fletcher's 8148 Freight from Dubbo, and are seen propelling their train back into the container terminals to unload after running around their train.
The 31 appears to be propelling the preserved Deltic and brake van judging by those aboard looking back. 'Royal Scots Grey' is going back to the Nene Valley Railway where it was based at the time following an appearance at the Open Day.
Photo by Dave Ware.
This is my 3rd and probably last application of the trapezoid-propellor hub...
I wanted to work in more empty-space than the previous version here:
www.flickr.com/photos/8303956@N08/2673571508/
But have a much cleaner look, and more iterations than this one:
www.flickr.com/photos/8303956@N08/2696566843/
To start with, this is folded from a piece of hand-made abaca, leftover from my papermaking class... The final paper is actually a SLIGHTLY irregular hexagon. The edge lengths alternate between 54 and 56. To accomplish this I "cheated"... I divided a regular hexagon into 112ths (7 * 16) and then cut off a strip of width 2 from 3 adjacent edges. The purpose of this irregularity is to center the tessellation...
Since the starting sheet of paper was about 8 1/4" edge to edge, the grid width is about 1/16 of an inch... or 2 mm... making the grid about half the size of any other tessellation I've made...
Anyhow, despite it taking me almost a week to finish, I like the end result... This tessellation emphasizes the parallel pleats moreso than either of the previous versions.
Propelling NOVA 3 set TP04 through Acton Bridge platform 1, 68031 'Felix' on the rear of the 0812 Carlisle to Crewe Down Refuge Siding on 14th June 2019. Note the different side profiles of the loco and the coaching stock. I am thinking my focus point was wrong on this shot.
DBSO 9701 being propelled by 37057 on a Derby RTC to Euston carriage sidings passes Northampton...Jan 11 2015.
Keraniganj, Shipyard, 2011
Workers inside a shipyard are working with a propellor. They made this type of gigantic propellor by their own hand using liquified iron.
Ship building is a promising business in bangladesh now. We are now building very gigantic ship for both the home and abroad clients. But safety is the main concern in this business. Peoples working very low precautions.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Uruguay, like several other countries in South America, has been a traditional customer of US military hardware. In Uruguay’s case, this first example were 40 M3A1 Stuart light tanks delivered in 1944-1945. In the years following the Second World War and the Korean War, obsolete armored vehicles which were no longer deemed as required for the current situation of the US military were given as military aid to US allies, particularly in Latin America. It was in this context that Uruguay would receive 17 M24 Chaffee light tanks and 12 M4A3E8 Sherman medium tanks in 1957-1958 from American surplus stock.
Deliveries were completed on September 30th, 1958. This was part of the American Military Assistance Program (MAP), under which the US provided military equipment to aligned nations within the context of the Cold War. These tanks did not come from the mainland US but were instead delivered from US Army stocks in Japan and Korea. A considerable number of spare parts were likely delivered along with these, too, as well as in the coming years. Along with the Chaffees and Shermans, Uruguay furthermore received a single Sherman-based M74 Armored Recovery Vehicle.
By the time of the Korean War, the M4 series had evolved into its final form, often referred to as the M4A3E8, and this was the Sherman version that was also delivered to Uruguay. To the Marines in Korea, they were known as the “Old Reliables”. Entering service late in the Second World War, this model featured an improved Horizontal Volute Spring Suspension (HVSS) that replaced the iconic Vertical Volute Spring Suspension (VVSS) of earlier models. This suspension allowed for a wider track, improving grip and lower ground pressure on softer ground.
Propulsion was provided by the Ford GAA all-aluminum 32-valve DOHC 60-degree, 500 hp, V8 gasoline/petrol engine. This could propel the tank to a top speed of 40 – 48 km/h (25 – 30 mph). Armor on the vehicle was up to 76 mm (3 in) thick. The tank had a crew of five, consisting of a commander, driver, co-driver/bow machine gunner, gunner, and loader.
Even though a large number of newer 90mm gun armed M26 Pershings and M46 Pattons were dispatched to the Korean Peninsula, multiple variants of the HVSS Sherman were also used in the Korean War. These included the regular M4A3(76)W HVSS, which was armed with the 76mm Tank Gun M1A1 or M1A2, the M4A3(105) HVSS, armed with the 105mm Howitzer M4, and finally, the POA-CWS-H5, a specialist version armed with both a 105mm Howitzer and a coaxial flamethrower.
The ex-American tanks were delivered to Uruguay’s Batallón de Infantería Nº 13 (13th Infantry Battalion), founded in 1904, and with the arrival of the new equipment at the Durazno Arsenal in central Uruguay the regiment was aptly renamed Batallón de Infantería Blindado Nº 13 (13th Armored Infantry Battalion). The tanks formed two Compañías Blindada de Tanques (Armored Tanks Companies), formally created on 12 July 1958. In each company, two tanks formed a command section while the remaining were divided into platoons of five. Each platoon was coded with an individual color and the command tanks received colored shields as background to their tactical codes. Additionally, the command tanks received individual names, beginning with letters corresponding to their respective commanded platoons, e. g. “Ceasar” for one of the 3rd platoon’s commanding M4s, which carried the tactical code "2" on a green background, the 3rd platoon’s color.
The tanks were delivered in a unicolor camouflage, likely U.S. Army olive drab. They received prominent Uruguayan army roundels on the turret flanks, comprising a blue roundel in the center, circled by white and then further circled by blue again, with a red bar going through the roundel diagonally. Later, likely in the 1960s, the tanks were given a disruptive four-color scheme, comprising medium green, dark green, tan and a dark brown bordering on black.
The first months of the new tanks’ service were marked by several instances of ceremonial use in foreign presidential visits to Uruguay, during which the tanks would perform a parade in the streets of Montevideo, the Uruguayan capital – often in the company of the vintage M3A1 Stuarts which were still retained in service by this point for training.
The 1960s were a decade of turmoil in Uruguay, with an economic crisis caused by struggling Uruguayan exports causing significant unrest and political uproar. This led to the rise of an armed revolutionary left-wing movement known as the Tupamaros or MLN-T (Movimiento de Liberación Nacional-Tupamaros, Tupamaros National Liberation Movement) which would progressively grow more violent. In 1968, the Uruguayan president, Jorge Pachero, declared a state of emergency that would see the military largely deployed in the streets. The following president, Juan María Bordaberry, would continue authoritarian policies and suspend civil liberties. In June 1973, he dissolved the Uruguayan congress and became a de facto dictator sponsored by the Uruguayan military.
During this time, the Tupamaros fought in an urban guerilla war against the Uruguayan military. The Uruguayan tanks, especially the compact M24s, were regularly employed in the streets as a show of force, being a very intimidating presence to potential insurgents. For this mission, a few M4s and M24s, primarily command tanks, were outfitted with locally developed hydraulic dozer blades. These were detachable, though, and the tanks should retain the installations for the rest of their career.
By mid-1972, the Tupamaros had largely been defeated, killed, captured, or forced into exile, as many other Uruguayans had been. The Uruguayan dictatorship would maintain itself all the way to 1985 however, engaging in repressive policies which, while often overshadowed by some employed by other regimes, such as Augusto Pinochet’s Chile, would see many Uruguayans exiled, and many assassinations performed against political opponents, even though most of which took place outside of Uruguay’s borders. The M4s and M24s would continue to regularly be used for intimidation purposes during this era, though Uruguay would also purchase more modern tanks in 1982, including twenty-two M41 Walker Bulldog light tanks from Belgium. These didn’t replace the vintage WWII vehicles, though.
In 1984, elections were finally held, seeing Uruguay return to civilian rule from this point onward. Though amnesty for human rights abusers would be declared, Uruguay would move back towards being one of the more democratic and stable countries in South America in the next decades, which would culminate in a former Tupamaros, who had spent fifteen years in prison, José Mujica, being elected president in 2009.
At the same time as Uruguay was transitioning back to democracy, the M4s and M24s the country had now operated for about thirty years were becoming increasingly obsolete. The tanks’ engines were worn out after 30 years of constant use and useful ammunition for the M4s 76 mm gun was not available anymore. Funds for new/more modern tanks were not available at that time, therefore, it was decided to modernize the powerplants and drivetrains of the tanks and outfit the Shermans with a modern, bigger main gun.
For this purpose, the Brazilian company Bernardini was contracted. The Bernardini S/A Industria e Comercio (Bernardini Industrial and Commerce Company), based at São Paulo, was originally a safe manufacturer which operated from 1912, but during its later years it branched out into vehicle production, too, and created several conversions and indigenous tanks for the Brazilian Army.
Bernardini outfitted the light M24s with a Saab-Scania DN11 220-230 hp engine, a Swedish industrial truck engine manufactured in Brazil. This was a commercially available engine for which parts could be very easily sourced, and it was coupled with a new GAV 762 automatic gearbox. Mounting these totally different engines called for considerable modifications, including a completely new raised engine deck with integrated coolers.
The Shermans received new Continental AOS-895-3 six-cylinder air-cooled petrol engines, which had been procured together with the Belgian M41s as part of a spares deal and directly delivered to Brazil for the conversions. This engine delivered 500 bhp (370 kW), the same as the former Ford GAA V8, but provided more torque, was lighter and more compact, and had a considerably lower fuel consumption. It was coupled with a new gearbox, an Allison CD-500-3, with 2 ranges forward, 1 reverse.
For the planned armament upgrade, the modern 90 mm Cockerill Mk. 7 gun was chosen, another item procured from Belgium. Weighing less than ¾ of a ton and with a length of 4.365 m, the 90 mm Cockerill operated at a pressure of just 310 MPa and produced a recoil stroke of only 350 to 370 mm. Ammunition for the Cockerill gun was made by MECAR (another Belgian arms company) and included a potent Armor-Piercing Fin-Stabilised Discarding Sabot – Tracer (APFSDS-T) round with a muzzle velocity of 1,500 m/s, able to defeat even heavy targets. Furthermore, there were High Explosive Plastic rounds (HEP) to defeat bunkers, structures, light armor and also for indirect fire use, smoke, canister, High Explosive Anti-Tank (HEAT), and training rounds.
However, the plan to simply exchange the old 76 mm gun in the original M4A3 turret turned out to be impossible, so that Bernardini offered to adapt one of the company’s own turret designs, a cast turret for an upgrade for the indigenous CCL X1A2 “Carcará” tank that never materialized due to low Brazilian funds, to the M4’s very similar hull. The Uruguayan government agreed and the deal for the conversion of all M4s left in service was closed in late 1982. Some sources refer to this modernization as having occurred in 1983, while some others mention 1987.
The new Bernardini turret resembled the earlier Sherman turret, but it was overall larger and featured a long, characteristic jutty as a counterweight for the bigger and longer gun. It also offered ample space for a radio set and ammunition. The turret had a maximum armor strength of 114 mm (4.5 in) at the front, instead of the former 76 mm (3 in); traverse was full 360° (manual and electric-hydraulic) at a rate of 36°/sec. The turret’s higher overall weight was compensated for by the relatively light gun and the lighter engine – even though this raised the tank’s center of gravity and somewhat reduced its handling quality. The commander and gunner sat in the turret on the right side, with the commander provided with a domed U.S.-style cupola. The gunner did not have a hatch and was seated forward of the commander. A loading assistant was placed on the left side of the gun, with a separate hatch that was also used to board the tank by the crew and to load ammunition. A tool storage box was normally mounted externally on the rear of the already long bustle, and smoke grenade launchers could be mounted on each side of the turret – even though this never happened, and Uruguay apparently never procured such devices. A large radio antenna was mounted to the turret roof and at the rear of the jutty, command tanks had a second antenna for a dedicated inter-tank communication radio set next to the cupola.
The 90 mm Cockerill Mk. 7 gun had a rifled L/52 barrel and was outfitted with a light T-shaped muzzle brake and a smoke ejector. The secondary armament was changed to two 7.62 mm Browning M1919 machine guns (which were able to fire 7.62×51 mm NATO standard ammunition), one coaxial with the main gun and the other in the hull. A manually operated 12.7 mm Browning M2HB machine gun was mounted in an anti-aircraft position on the turret roof, in front of the commander cupola. A total of 55 rounds for the 90 mm gun were carried, plus 4,750 rounds for the 7.62 mm machine guns and 600 rounds for the 12.7 mm gun. This ammunition was mostly stored in the hull, the turret jutty held a new ammunition-ready rack with 11 rounds.
At some point following their modernization, during the late Eighties, all Uruguayan tanks were given a new, more subdued camouflage scheme, vaguely resembling the American woodland scheme, consisting of a very dark brown/black, light brown, and dark green. The prominent roundel was removed, too, an the vehicles’ tactical code was now either retained in a dark color on the turret side or completely omitted.
The 1990s saw the 13th Armored Infantry Battalion receive a fleet of fifteen BVP-1s purchased from the Czech Republic; ten more were delivered in 1996, with a further five in 1998, plus three vehicles for spare parts in 1999. These more modern infantry fighting vehicles would be operated alongside the M4s and M24s within the battalion’s fleet during the coming decades. Other purchases from the 1990s included, for example, Tiran-5Sh main battle tanks (revamped captured T-55s from Israel) and 2S1 self-propelled artillery pieces.
Uruguay retired its M4 fleet around 2012, but the light M24s soldiered on until 2019, when the last WWII type in Uruguayan service was eventually sorted out, after a long process that was delayed by a lack of an export permission for M41s as replacement from the United States for no less than six years.
Specifications:
Crew: Five (commander, gunner, loader, driver, radio operator/hull machine gun operator)
Weight: 33.7 tons combat loaded
Length: 6.87 m (22 ft 6 in) hull only
8.21 m (26 ft 10 1/2 in) overall with gun forward
Width: 3.42 m (11 ft 3 in) hull only
Height: 3,45 m (11 ft 3 3/4 in) w/o AA machine gun
Tread: 89 in
Ground clearance: 17 in (0.43 m)
Fire Height: 90 in (2.29 m)
Suspension: Horizontal volute spring
Fuel capacity: 168 gallons 80 Octane gasoline
Armor:
0.5 – 4.5 in (13 – 114 mm)
Performance:
Maximum speed: 30 mph (48 km/h) in a dash
26 mph (42 km/h) sustained on road
Operational range: 120 mi (193 km) on roads
Maximum grade: 60 percent
Maximum trench: 7.5 feet
Maximum vertical Wall: 24 inches
Maximum fording depth: 36 inches
Minimum turning circle: (diameter) 62 feet
Power/weight: 13.5 hp/ton
Ground pressure: Zero penetration 11.0 psi
Engine & transmission:
Continental AOS-895-3 six-cylinder air-cooled petrol engine with 500 bhp (370 kW),
coupled with an Allison CD-500-3 gearbox with 2 ranges forward, 1 reverse
Armament:
1× 90 mm (L/52) Cockerill Mk. 7 gun with 55 rounds
2× 7.62 mm Browning M1919 machine guns with a total of 4,750 rounds,
one co-axial with the main gun, another in the front glacis plate
1× 12.7 mm Browning M2HB anti-aircraft machine gun on the commander cupola with 600 rounds
The kit and its assembly:
This whiffy M4 Sherman was inspired by two things: one was that I have so far never built a fictional M4 before, despite the type’s large number in WWII and thereafter. And I had a surplus turret from a Japanese 1:72 Type 61 tank (Trumpeter kit) in the donor bank, which frequently grinned at me – but I never had a proper idea how to use it.
This changed when I combined both, and the idea of a post-WWII M4 conversion/modernization was born, inspired by the successful Israeli M50/51 upgrades. I also settled for an M4A3E8 chassis, because I wanted a relatively modern Sherman with a welded hull and the new running gear as the basis – and the choice fell on the respective Hasegawa kit (which has its fundamental scale and proportions flaws, but it was cheap and readily available). Using an alternative Trumpeter kit might have been a better choice from a detail point of view, but I think that the Hasegawa kit’s weaknesses are negligible – and this here is whifworld, after all.
The next conceptual problem arose quickly, though: who’d be the operator of this tank? A natural choice was Japan’s JGSDF, because they received M4A3E8s from the USA (the Hasegawa kit even provides decals for such a vehicle), and the Type 61 was its successor. But the Sherman was not very popular in Japan – it was quite big, with logistics problems (tunnel sizes, train transport), and the interior was not suited to the smaller Japanese crews. The JGSDF was quite happy to get rid of the vintage Shermans.
The IDF was another candidate, but the M50/51s were “already there”. After long further research I went across Middle and South America. Chile, for instance, operated a highly modified M4A3E8 upgrade with a 60 mm high-velocity gun called “M-60”. And Paraguay decided to re-activate its M3 and M4 fleet in 2014, even though only for training purposes.
I eventually settled for a small and rather exotic operator: Uruguay! I found a very good article about the M24 Chaffee’s active duty in this country, which lasted from 1958 until 2019(!), and these Chaffees underwent massive conversions and upgrades during their long career – and some M4s would be a nice and plausible company. Another selling point was that the Uruguayan Army’s roundel was easy to replicate, and, as a bonus, the M24s carried a very attractive camouflage early in their career.
With this concept, the build was straightforward: The M4A3E8 was basically built OOB, it went together with no trouble, even though its details appear rather clumsy and almost toylike these days. A good thing about the kit is, though, that you can paint the small road wheels separately, while the HVSS suspension can be attached to the hull. This makes painting quite easy and convenient.
Trumpeter’s Type 61 turret was another matter, though, because its fit was rather dubious and called for some PSR. Furthermore, it was incomplete: some small parts of it had already been used in other projects, so that I had to improvise.
First, I had to create an adapter so that it could be combined with the Sherman hull – it was created from styrene sheet and profiles, together with a “floor” for the turret with 0.5 mm sheet. But now the turret can be mounted into the original opening, and it fits like a glove into the intended space. Even the low deflector walls that protect its base fit snuggly around it, it’s a very natural combo (at least on the Hasegawa hull!).
Biggest problem was the missing original commander cupola. The spare box did not yield a proper replacement, so I ordered M48/M60 cupolas from Bulgaria-based OKB Grigorovich – very crisp stuff, the set comes with four pieces and the cupolas are even made from clear resin so that the periscopes have a natural look on the model. As a lucky coincidence, the cupola’s diameter perfectly matched the respective hole in the turret, so that the implant looks very natural. Because the cupola came with a separate hatch, I fixed it in an open position and added a crew figure from the Hasegawa Sherman.
The dozer blade was a late addition, inspired by equipment carried by some real Uruguayan M24s. However, in this case the device was scratched from the remains of a dozer blade from a WWII Bergehetzer. Hydraulic rams to lift it and some hoses were scratched from steel wire and various bits and pieces. Improvised, but it looks the part, and it’s a nice detail that fits well into the model’s real world historic background.
Painting and markings:
The camouflage is based on a single-color picture I was able to find of a Uruguayan M24 wearing it, providing a guesstimate basis for the four tones, and a profile drawing of the same vehicle, just from the other side. I settled upon Humbrol 63, 75, and mix of 150 with 63 and 10 with 85 for the respective tan (which appears very yellow-ish), dark green, light green and the very dark brown tone. The pattern is a free interpretation of what could be discerned on the reference material, with guesstimates for front, back and upper surfaces. As it is a retrofitted piece, the dozer shield became all dark green.
The model then received an overall washing with a highly thinned mix of black and dark brown acrylic artist paint. The vinyl tracks were painted, too, with a mix of grey, red brown and iron, all acrylic paints, too, that do not interact chemically with the soft vinyl in the long run.
Markings are minimal; the Uruguayan Army roundel is an Argentinian cocarde from an Airfix Skyhawk (and a bit pale) with a separate red decal stripe placed over it – unfortunately it’s a bit obscured by the handles running along the turret. The tactical code number came from an Israeli tank, and it had to be placed quite high because of the handles/rails.
Uruguayan tanks from the Eighties and earlier seem to have carried additional registration numbers, too, and I gave the Sherman the fictional code "A 247" on the glacis plate and its flanks. The nickname "Caesar" is a personal twist.
Dry-brushing with earth brown to further emphasize edges and details followed. Finally, the model was sealed with matt acrylic vanish (Italeri) overall, and some very light extra dry-brushing with silver and light grey was done to simulate flaked paint, esp. on the dozer blade. Dirt and rust residues were added here and there. After final assembly (the vinyl tracks refused to stick to the road wheels!), the lower areas of the model were powdered with mineral pigments to simulate dust.
All in all, this fictional Uruguayan Sherman update looks very natural and convincing. The Type 61 turret matched the M4A3E8 hull in an almost unnatural fashion, and the dozer blade adds a certain twist to the tank, even though this detail is rooted in Uruguay’s tank operations history. The disruptive “tiger stripes” paint scheme is also very attractive, and together with the unusual roundels the whole thing has a very exotic look – but it’s not unbelievable. :D
While shunting Night Riviera Sleeper stock, 57605 having propelled the coach from the Yard sidings, being uncoupled
This fast, single-seat racer is inspired by the pre-war racers such as the Supermarine S.6B, precursor to the Spitfire. however, two machine guns have been fitted, so that this plane can easily be modified to a fighter if war threatens. Here, the pilot poses next to his plane.
GNER 91115 'Blaydon Races' propels the 1E23 1630 Edinburgh - Peterborough over the partly illuminated Royal Border Bridge at Berwick-upon-Tweed on 25 January 2020. The actual England - Scotland border is a couple of miles north of Berwick.
37506 and 37512 propel a trainload of pipes from Leith on 12 December 1992 down Cavendish dock road on 12 December 1992. (The first three bogie bolsters were empty on this occasion).
In the foreground is the Cavendish dock with Ramsden and Buccleuch Docks behind the train. In the background, Barrow town hall clock tower is seen just left of centre and on the extreme left is Cumbria’s tallest building - at just 51 metres - is the Devonshire Dock Hall for the indoor construction of submarines.
A few of the dockyard cranes that once dominated the Barrow skyline had survived at this time and were still operational. However, their use was diminishing as the BAE owned shipyard moved from surface shipbuilding to submarine construction.
The last remaining "Hammerhead" crane was demolished in 2011, such a shame that none of them were listed or preserved like the smaller Titan crane at Clydebank.
designed and made for the Michael Miller Spring Couture Modern Quilt Guild Challenge. Read more about it here: www.persimondreams.blogspot.ca/2014/11/tgiff-link-up-prop...
Pieced by Kim Lapacek, PersimonDreams
Quilted by Barb Rasibeck, QuiltsbyBarb