Japanese kimono silks in reds and purples set off by modern Japanese indigo cottons. Bento Box from "Successful scrap quilts" with refinements.

Side profile, with hopefully final color changes. Thanks JPascal for your design. It was a fun build and I ordered more parts last night to build 5 more.

Probable NAA artist's concept that demonstrates the changing/evolving development of the Apollo spacecraft.

When compared to a predecessor depiction (63-Apollo-120), some of the subtle changes are evident...the addition of "corrugation", ullage rockets? and/or fairings?, refinement of S-IVB & CSM external appearance (like the addition of RCS thrusters to the SM). To me, pretty cool shit, but then again, I’m easily amused.

Caption for 63-Apollo-120:

“Artist Drawing by N.A. - The second stage (S-II) engines burn about 6½ minutes, then the stage will be separated and fall away. The S-IV B third stage ignites a single J-2 engine, total thrust 200,000 pounds. The third stage will burn for 2 3/4 minutes placing the configuration in earth orbit.”

My pointless previous observations regarding it:

Note the retrorockets at the forward end of the spent S-II stage firing to ensure a proper and clean separation from the S-IVB stage. Excellent diagram, apparently from page 5-27 of the AS-506 (Apollo 11) Saturn V Flight Manual:

web.archive.org/web/20010223045948/www.apollosaturn.com/s...

With what I’m assuming to be the extracted text:

“At the forward end of the S-II stage was the conical interstage connecting to the S-IVB stage. After S-II burnout, the interstage would be severed at the base of the S-IVB, and would remain attached to the S-II. Four retrorockets assured that the S-II would move backwards relative to the S-IVB. Each rocket had 268.2 pounds of solid propellant and produced 34,810 pounds of thrust for 1.52 seconds.”

All courtesy/credit:

UP-SHIP.com website at:

up-ship.com/blog/?p=18233

The Canyon Diablo meteorites include the many fragments of the asteroid that created the Barringer Crater (Meteor Crater), Arizona, USA. Meteorites have been found around the crater rim, and are named for nearby Canyon Diablo, which lies about three to four miles west of the crater.

The asteroid fell about 50,000 years ago. The meteorites have been known and collected since the mid-19th century and were known and used by pre-historic Native Americans. The Barringer Crater, from the late 19th to the mid-20th century, was the center of a long dispute over the origin of craters that showed little evidence of volcanism. That debate was settled in the 1950s thanks to Eugene Shoemaker's study of the crater.

In 1953, Clair Cameron Patterson measured ratios of the lead isotopes in samples of the meteorite. The result permitted a refinement of the estimate of the age of the Earth to 4.550 billion years (± 70 million years).

Hill Aerospace Museum

The AIRS (Advanced Inertial Reference Sphere) is the most accurate inertial navigation (INS) system ever developed, and perhaps marks the end of a long process of continuous refinement of INS technology. The AIRS was designed for use in the LGM-118A Peacekeeper ICBM.

The most novel aspect of the AIRS is that it has no gimbals. Gimbals are pivots that are provided for each of three spatial axes so that the guidance platform can move freely in all directions (and thus maintain its absolute alignment with the outside world). The AIRS consists of a beryllium sphere that floats in a fluorocarbon fluid within an outer shell and can thus rotate in any direction. The importance of this innovation is that it eliminates the possibility of gimbal lock (where the axes of two gimbals line up and destroy the three-dimensional freedom of motion), and is free from arbitrary limits to range of motion found in some gimbal designs.

The temperature of the fluid is controlled with extreme accuracy by transfer of heat from the fluid through "Power shells" to freon-cooled heat exchangers. The alignment of the sphere is controlled by three hydraulic thrust valves directed by the inertial sensors in the sphere.

Like other INS systems, the sphere houses three accelerometers and three gyroscopes. The accelerometer design is called a SFIR (specific force integrating reciever). This is essentially the same approach as the pendulous integrating gyro accelerometer (of PIGA) used in the Minuteman II. The SFIR/PIGA works by measuring the rate of precession (and thus force applied) to a gyroscope at right angles to its axis of rotation. The gyroscope is a floated gas bearing gyroscope design.

The Taj Mahal (/ˌtɑːdʒ məˈhɑːl/, more often /ˈtɑːʒ/; from Persian and Arabic, "crown of palaces", pronounced [ˈt̪aːdʒ mɛˈɦɛl]) is a white marble mausoleum located on the southern bank of Yamuna River in the Indian city of Agra. It was commissioned in 1632 by the Mughal emperor Shah Jahan (reigned 1628–1658) to house the tomb of his favorite wife of three, Mumtaz Mahal.

Construction of the mausoleum was essentially completed in 1643 but work continued on other phases of the project for an additional ten years. The Taj Mahal complex is believed to have been completed in its entirety in 1653 at a cost estimated at the time to be around 32 million Indian rupees, which in 2015 would be valued at around 52.8 billion Indian rupees ($827 million US). The construction project employed around 20,000 artisans under the guidance of a board of architects led by Ustad Ahmad Lahauri. The domed marble tomb is part of an integrated complex consisting of gardens and two red-sandstone buildings surrounded by a crenellated wall on three sides.

The Taj Mahal is regarded by many as the best example of Mughal architecture and is widely recognized as "the jewel of Muslim art in India". It is one of the world’s most celebrated structures and a symbol of India’s rich history. Designated a UNESCO World Heritage Site in 1983, the Taj Mahal attracts some 3 million visitors a year.

INSPIRATION

In 1631, Shah Jahan, emperor during the Mughal empire's period of greatest prosperity, was grief-stricken when his favorite of three wives and beloved companion, Mumtaz Mahal, a Persian princess, died during the birth of their 14th child, Gauhara Begum. Construction of the Taj Mahal began in 1632. The court chronicles of Shah Jahan's grief illustrate the love story traditionally held as an inspiration for Taj Mahal. The principal mausoleum was completed in 1643 and the surrounding buildings and garden were finished about five years later.

ARCHITECTURE AND DESIGN

The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones. Buildings under his patronage reached new levels of refinement.

TOMB

The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin.

The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately 55 metres on each of the four long sides. Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.

The most spectacular feature is the marble dome that surmounts the tomb. The dome is nearly 35 metres high which is close in measurement to the length of the base, and accentuated by the cylindrical "drum" it sits on which is approximately 7 metres high. Because of its shape, the dome is often called an onion dome or amrud (guava dome). The top is decorated with a lotus design which also serves to accentuate its height. The shape of the dome is emphasized by four smaller domed chattris (kiosks) placed at its corners, which replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial which mixes traditional Persian and Hindustani decorative elements.

The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif whose horns point heavenward.

The minarets, which are each more than 40 metres tall, display the designer's penchant for symmetry. They were designed as working minarets - a traditional element of mosques, used by the muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.

EXTERIOR DECORATIONS

The exterior decorations of the Taj Mahal are among the finest in Mughal architecture. As the surface area changes, the decorations are refined proportionally. The decorative elements were created by applying paint, stucco, stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. Throughout the complex are passages from the Qur'an that comprise some of the decorative elements. Recent scholarship suggests that the passages were chosen by Amanat Khan.

The calligraphy on the Great Gate reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you." The calligraphy was created in 1609 by a calligrapher named Abdul Haq. Shah Jahan conferred the title of "Amanat Khan" upon him as a reward for his "dazzling virtuosity". Near the lines from the Qur'an at the base of the interior dome is the inscription, "Written by the insignificant being, Amanat Khan Shirazi." Much of the calligraphy is composed of florid thuluth script made of jasper or black marble inlaid in white marble panels. Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below. The calligraphy found on the marble cenotaphs in the tomb is particularly detailed and delicate.

Abstract forms are used throughout, especially in the plinth, minarets, gateway, mosque, jawab and, to a lesser extent, on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. Herringbone inlays define the space between many of the adjoining elements. White inlays are used in sandstone buildings, and dark or black inlays on the white marbles. Mortared areas of the marble buildings have been stained or painted in a contrasting color which creates a complex array of geometric patterns. Floors and walkways use contrasting tiles or blocks in tessellation patterns.

On the lower walls of the tomb are white marble dados sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of the carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are of yellow marble, jasper and jade, polished and levelled to the surface of the walls.

INTERIOR DECORATION

The interior chamber of the Taj Mahal reaches far beyond traditional decorative elements. The inlay work is not pietra dura, but a lapidary of precious and semiprecious gemstones. The inner chamber is an octagon with the design allowing for entry from each face, although only the door facing the garden to the south is used. The interior walls are about 25 metres high and are topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level and, as with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas, and each balcony's exterior window has an intricate screen or jali cut from marble. In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. The octagonal marble screen or jali bordering the cenotaphs is made from eight marble panels carved through with intricate pierce work. The remaining surfaces are inlaid in delicate detail with semi-precious stones forming twining vines, fruits and flowers. Each chamber wall is highly decorated with dado bas-relief, intricate lapidary inlay and refined calligraphy panels which reflect, in miniature detail, the design elements seen throughout the exterior of the complex.

Muslim tradition forbids elaborate decoration of graves. Hence, the bodies of Mumtaz and Shah Jahan were put in a relatively plain crypt beneath the inner chamber with their faces turned right, towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise centre of the inner chamber on a rectangular marble base of 1.5 by 2.5 metres. Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet. Shah Jahan's cenotaph is beside Mumtaz's to the western side, and is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on a slightly taller base precisely decorated with lapidary and calligraphy that identifies him. On the lid of the casket is a traditional sculpture of a small pen box.

The pen box and writing tablet are traditional Mughal funerary icons decorating the caskets of men and women respectively. The Ninety Nine Names of God are calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal. Other inscriptions inside the crypt include, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He travelled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri."

GARDEN

The complex is set around a large 300-metre square charbagh or Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. Halfway between the tomb and gateway in the center of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The raised marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad.

Elsewhere, the garden is laid out with avenues of trees and fountains. The charbagh garden, a design inspired by Persian gardens, was introduced to India by Babur, the first Mughal emperor. It symbolises the four flowing rivers of Jannah (Paradise) and reflects the Paradise garden derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of the Mughal period, Paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.

Most Mughal charbaghs are rectangular with a tomb or pavilion in the center. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, the interpretation of the Archaeological Survey of India is that the Yamuna river itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise. Similarities in layout and architectural features with the Shalimar Gardens suggests both gardens may have been designed by the same architect, Ali Mardan. Early accounts of the garden describe its profusion of vegetation, including abundant roses, daffodils, and fruit trees. As the Mughal Empire declined, the Taj Mahal and its gardens also declined. By the end of the 19th century, the British Empire controlled more than three-fifths of India, and assumed management of the Taj Mahal. They changed the landscaping to their liking which more closely resembled the formal lawns of London.

OUTLYING BUILDINGS

The Taj Mahal complex is bordered on three sides by crenellated red sandstone walls; the side facing the river is open. Outside the walls are several additional mausoleums, including those of Shah Jahan's other wives, and a larger tomb for Mumtaz's favourite servant.

The main gateway (darwaza) is a monumental structure built primarily of marble, and reminiscent of the Mughal architecture of earlier emperors. Its archways mirror the shape of the tomb's archways, and its pishtaq arches incorporate the calligraphy that decorates the tomb. The vaulted ceilings and walls have elaborate geometric designs like those found in the other sandstone buildings in the complex.

At the far end of the complex are two grand red sandstone buildings that mirror each other, and face the sides of the tomb. The backs of the buildings parallel the western and eastern walls. The western building is a mosque and the other is the jawab (answer), thought to have been constructed for architectural balance although it may have been used as a guesthouse. Distinctions between the two buildings include the jawab's lack of a mihrab (a niche in a mosque's wall facing Mecca), and its floors of geometric design whereas the floor of the mosque is laid with outlines of 569 prayer rugs in black marble. The mosque's basic design of a long hall surmounted by three domes is similar to others built by Shah Jahan, particularly the Masjid-i Jahān-Numā, or Jama Masjid, Delhi. The Mughal mosques of this period divide the sanctuary hall into three areas comprising a main sanctuary and slightly smaller sanctuaries on either side. At the Taj Mahal, each sanctuary opens onto an expansive vaulting dome. The outlying buildings were completed in 1643.

CONSTRUCTION

The Taj Mahal is built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the center of Agra in exchange for the land. An area of roughly three acres was excavated, filled with dirt to reduce seepage, and leveled at 50 metres above riverbank. In the tomb area, wells were dug and filled with stone and rubble to form the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle.

The Taj Mahal was constructed using materials from all over India and Asia. It is believed over 1,000 elephants were used to transport building materials. The translucent white marble was brought from Makrana, Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble.

According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A fifteen kilometer tamped-earth ramp was built to transport marble and materials to the construction site and teams of twenty or thirty oxen pulled the blocks on specially constructed wagons. An elaborate post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to a large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.

The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab, and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". Construction of the mausoleum itself was essentially completed by 1643 while work continued on the outlying buildings. Estimates of the cost of construction vary due to difficulties in estimating costs across time. The total cost has been estimated to be about 32 million Indian rupees, which is around 52.8 billion Indian rupees ($827 million US) based on 2015 values.

LATER DAYS

Abdul Hamid Lahauri in his book Badshahnama refers to Taj Mahal as rauza-i munawwara, meaning the illumined or illustrious tomb. Soon after the Taj Mahal's completion, Shah Jahan was deposed by his son Aurangzeb and put under house arrest at nearby Agra Fort. Upon Shah Jahan's death, Aurangzeb buried him in the mausoleum next to his wife. In the 18th century, the Jat rulers of Bharatpur invaded Agra and attacked the Taj Mahal, the two chandeliers, one of agate and another of silver, which were hung over the main cenotaph, were taken away by them, along with the gold and silver screen. Kanbo, a Mughal historian, said the gold shield which covered the 15-foot high finial at the top of the main dome was also removed during the Jat despoliation.

By the late 19th century, parts of the buildings had fallen into disrepair. During the time of the Indian rebellion of 1857, the Taj Mahal was defaced by British soldiers and government officials, who chiselled out precious stones and lapis lazuli from its walls. At the end of the 19th century, British viceroy Lord Curzon ordered a sweeping restoration project, which was completed in 1908. He also commissioned the large lamp in the interior chamber, modelled after one in a Cairo mosque. During this time the garden was remodelled with British-style lawns that are still in place today.

THREATS

In 1942, the government erected a scaffolding to disguise the building in anticipation of air attacks by the Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were again erected to mislead bomber pilots.

More recent threats have come from environmental pollution on the banks of Yamuna River including acid rain due to the Mathura Oil Refinery, which was opposed by Supreme Court of India directives. The pollution has been turning the Taj Mahal yellow. To help control the pollution, the Indian government has set up the Taj Trapezium Zone (TTZ), a 10,400-square-kilometre area around the monument where strict emissions standards are in place.

Concerns for the tomb's structural integrity have recently been raised because of a decline in the groundwater level in the Yamuna river basin which is falling at a rate of around 5 feet a year. In 2010, cracks appeared in parts of the tomb, and the minarets which surround the monument were showing signs of tilting, as the wooden foundation of the tomb may be rotting due to lack of water. In 2011 it was reported that some predictions indicated that the tomb could collapse within 5 years.

TOURISM

The Taj Mahal attracts a large number of tourists. UNESCO documented more than 2 million visitors in 2001, which increased to about 3 million in 2015. A two tier pricing system is in place, with a significantly lower entrance fee for Indian citizens and a more expensive one for foreigners. Most tourists visit in the cooler months of October, November and February. Polluting traffic is not allowed near the complex and tourists must either walk from parking lots or catch an electric bus. The Khawasspuras (northern courtyards) are currently being restored for use as a new visitor center.

The small town to the south of the Taj, known as Taj Ganji or Mumtazabad, was originally constructed with caravanserais, bazaars and markets to serve the needs of visitors and workmen. Lists of recommended travel destinations often feature the Taj Mahal, which also appears in several listings of seven wonders of the modern world, including the recently announced New Seven Wonders of the World, a recent poll with 100 million votes.

The grounds are open from 06:00 to 19:00 weekdays, except for Friday when the complex is open for prayers at the mosque between 12:00 and 14:00. The complex is open for night viewing on the day of the full moon and two days before and after, excluding Fridays and the month of Ramadan. For security reasons only five items - water in transparent bottles, small video cameras, still cameras, mobile phones and small ladies' purses - are allowed inside the Taj Mahal.

MYTHS

Ever since its construction, the building has been the source of an admiration transcending culture and geography, and so personal and emotional responses have consistently eclipsed scholastic appraisals of the monument. A longstanding myth holds that Shah Jahan planned a mausoleum to be built in black marble as a Black Taj Mahal across the Yamuna river. The idea originates from fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. It was suggested that Shah Jahan was overthrown by his son Aurangzeb before it could be built. Ruins of blackened marble across the river in Moonlight Garden, Mahtab Bagh, seemed to support this legend. However, excavations carried out in the 1990s found that they were discolored white stones that had turned black. A more credible theory for the origins of the black mausoleum was demonstrated in 2006 by archaeologists who reconstructed part of the pool in the Moonlight Garden. A dark reflection of the white mausoleum could clearly be seen, befitting Shah Jahan's obsession with symmetry and the positioning of the pool itself.

No evidence exists for claims that describe, often in horrific detail, the deaths, dismemberments and mutilations which Shah Jahan supposedly inflicted on various architects and craftsmen associated with the tomb. Some stories claim that those involved in construction signed contracts committing themselves to have no part in any similar design. Similar claims are made for many famous buildings. No evidence exists for claims that Lord William Bentinck, governor-general of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.

Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette.

In 2000, India's Supreme Court dismissed P. N. Oak's petition to declare that a Hindu king built the Taj Mahal. In 2005 a similar petition was dismissed by the Allahabad High Court. This case was brought by Amar Nath Mishra, a social worker and preacher who says that the Taj Mahal was built by the Hindu King Parmar Dev in 1196.

WIKIPEDIA

Land Rover and renowned Magnum photographer Jonas Bendiksen have revealed the first in a series of unique works entitled ‘Ultimate Vistas’, extraordinary landscape photographs captured with help from the world’s ultimate SUV: the Range Rover.

The Kawasaki Ninja 300 is a sport bike made by Kawasaki in 2012, for the 2013 model year. It is sold in Europe, North America, Australia and elsewhere. The bike has a 296 cc (18.1 cu in) straight-twin engine.

The new 2013 Ninja 300 thoroughly dominates its lightweight sportbike competition on the performance front, while significantly upping the ante for refinement, ease of use and overall practicality. Thanks to a new digital fuel injection system, a new F.C.C. clutch with assist and slipper functions, and the world’s smallest and lightest motorcycle ABS brake system, this new 300 is the best lightweight sportbike, by far, when it comes to street riding and overall usability.

The new Ninja 300 sportbike is powered by a larger 296cc liquid-cooled, parallel twin that’s tuned to deliver smooth and predictable power around town, plus excellent high-rpm performance on the highway. This upgraded engine offers significantly more performance than the old 250, while its new digital fuel injection (DFI®) system provides improved cold starting, crisper throttle response and better fuel economy than last year’s bike.

This new engine has nearly 50% of its parts upgraded from the previous model. In addition to its new long-stroke 296cc displacement, other engine upgrades include: new intake ports that taper from 1mm wider at the throttle body to .5mm wider at the valve seat, new 23.6mm intake valves that are 1mm larger than last year, a new cam chain that offers reduced friction, a revised 10.6:1 compression ratio that allows the use of regular gasoline and lowers operating temperatures, and new lighter pistons that feature a hard anodized coating for reduced friction and increased performance at all rpms. The underside of the pistons was also revised to more efficiently route cooling oil across their surface. Further highlighting changes for this model, it features new, lighter piston pins to further reduce reciprocating weight and help preserve a high redline, new shorter connecting rods to offset new longer crank throws, and new sleeveless “open-deck” die-cast aluminum cylinders that are 800 grams lighter and feature a friction-reducing “T-treatment” plating. Additional improvements include new thicker crankshaft balancer webs to offset the new longer crank throws, new crank journal bearings made from a stronger alloy for increased durability, new crank cases that feature improved oil passages, a new large-volume 2.4 liter oil pan with cooling fins and more ground clearance than the previous model. Topping-off the changes, a new easy-to-access cartridge type spin-on oil filter helps simplify maintenance.

A revised six-speed transmission features thicker gears to help cope with the extra torque from the 300’s new engine. The transmission also features Kawasaki’s positive neutral finder to make finding neutral a cinch when stopped. This efficient engine and transmission help the Ninja 300 provide plenty of enjoyment from the initial learning curve, all the way through advanced sport riding, track days, and club racing.

Operating that transmission is now easier than ever, thanks to a new F.C.C. clutch with assist and slipper functions. This new clutch reduces lever effort by up to 25%, while increasing the clutch’s ability to handle the extra torque generated by the 300’s more powerful engine. The new clutch’s slipper design also helps reduce rear wheel-hop that can be caused by aggressive downshifting.

The Ninja 300’s extra “go” is complimented by the extra stopping power offered by its anti-lock front and rear disc brakes equipped with a lightweight Nissin ABS system for extra piece of mind when road conditions are questionable. This new system uses the smallest ABS unit of any production motorcycle in the world! Its 290mm front and 220mm petal-type rear brake rotors are gripped by powerful two-piston hydraulic calipers. Like all Kawasaki Ninjas, the new 300 is equipped with high-quality components and was tuned using feedback from professional riders at Kawasaki’s incredible Autopolis race circuit, to help ensure class-leading performance and an entertaining ride for even the most advanced riders.

The Ninja 250 was always known as one of the best handling sportbikes on the market. To uphold the family honor, the 2013 Ninja 300 features a new frame that uses new high-tensile steel main tubes that are 150% more rigid than the tubes in last year’s model. Revised tube shapes and additional gusseting also help provide better longitudinal stiffness for better feel during extreme sport riding. Though the main frame is more rigid for better handling, not all rigidity is positive; that’s why Kawasaki engineers designed new rubber front engine mounts that help make this model noticeably smoother, despite the extra power produced by its new 296cc engine.

Front and rear suspension tuning has been adjusted to compliment the new, more-rigid frame. Softer spring rates provide a more comfortable ride on rough city streets, without compromising sport handling characteristics.

Aggressive new bodywork features a sharp-edged design. It also offers effective heat management and superb aerodynamics. The Ninja 300 not only looks great, but also features a new floating windscreen design to help minimize buffeting and provide smooth airflow around the rider’s helmet.

The Ninja 300’s all-new instrument panel features a large easy-to-read analog tachometer and a digital multifunction display with speedometer, odometer, dual trip meters, fuel gauge, and digital clock functions. The new instrument panel also features indicator lights, while the digital screen incorporates a handy economical riding indicator (ECO) that illuminates to alert riders when they are operating the Ninja 300 in a manner that will maximize fuel economy.

A natural riding position and comfortable ergonomics combine with lightweight handling and nimble response to deliver pure pleasure everywhere from city streets and highways, to twisty backroads and even racetracks. Contributing to this great handling package are the new full-size, 17-inch, 10-spoke wheels.

A further refinement of a design poster some months earlier, with the tracks modeled in more true-to-life detail.

It was brilliant for about 2.3 seconds...

...then there was a kind of whoompf noise that appeared to correspond with the drop in air pressure, that I think caused the subtle slurping noise that reminded me of the feeling you get when your brain shrinks, and then... well... that was when I heard the distinct sound of something popping.

Now I come to think of that, that seemed to be around the time I lost visibility in my right eye and my cheek felt a bit wet.

*sobs*

Back to the drawing board...

Yup.

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Strobist:

Two Bowens Gemini Pro 500's with big softboxes camera left and right, at 90 degrees, both set on 3.5. Triggered by PC cord cable. Still can't wait for my third light to be repaired... :-(

Charity

Guido Reni (Italian, Bolognese, 1575-1642)

Oil on canvas; 54 x 41 3/4 in. (137.2 x 106 cm)

This exceptionally beautiful picture exemplifies the refinement of Reni's much admired style. The variously colored complexions of the three infants was intentional. The picture comes from the Liechtenstein collection, Vienna, where it is recorded in 1767. It may have been bought or commissioned in Italy by Prince Karl Eusebius von Liechtenstein (1611-1684), who travelled in Italy in 1629-30. While not exactly datable, it has much in common with works by Reni executed about 1630.

Gift of Mr. and Mrs. Charles Wrightsman, 1974 (1974.348)

**

The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

I can no longer work here at Lumon.

The way my eyes continuously linger over Mr Milchick's body,

how I fantasize about riding his mustache --

the way I constantly fantasize about riding him like his motorcycle --

I cannot concentrate or contribute

to whatever the hell it is we're doing down here

in this bizarre hellhole.

Please accept my immediate resignation.

Instead of severance pay,

I would like an hour (or 2) alone with Mr. Milchick -

in the Wellness Room, Leather Room, Passport Lounge, Library, Cafeteria, conference room

or storage/supply closet--whatever is available.

Thank you.

Vincent H.

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

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

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

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

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

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

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

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

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

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

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

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

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

By Jessica Donaldson

[Text from ConceptCarz.com]

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

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

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

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

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

Sunrise scence of Oil Refinery factory industry with blue sky and clouds. Petrochemical plant , Petroleum , Industrial-plant.

Bonhams : The Autumn Sale 2020

Estimated : € 90.000 - 130.000

Sold for € 92.000

Autoworld

www.autoworld.be

Brussels - Belgium

September 2020

"For 1955, Jaguar present a range of models incorporating not only added refinements, but mechanical advances directly derived from their many outstanding successes in international competitive events. All the wealth of experience gained on the race-tracks of the world and in record-breaking speed and endurance tests is built into every Jaguar to provide for discriminating motorists the highest degree of efficient performance allied to comfort and safety." - Jaguar Cars Ltd.

Launched in 1954, the Jaguar XK140 was broadly similar to, though more refined than, its sensational XK120 predecessor, major engineering changes being confined to the repositioning of the engine 3" (76mm) further forward and the adoption of rack-and-pinion steering as used on the racing C-Type. The suspension and brakes remained much as before, though with stiffer torsion bars at the front and telescopic shock absorbers replacing the previous lever type at the rear. Like its forbear, the XK140 was built in three model types: roadster, coupé and drophead coupé, the latter two offering usefully increased cabin space and occasional rear seats. Outwardly the newcomer was distinguishable by its revised radiator grille, rear lights incorporating flashing indicators, and larger bumpers - the latter adopted to withstand the cut and thrust of urban parking.

The power unit remained Jaguar's well-tried, 3.4-litre, twin-cam six, which now produced 190bhp in standard trim thanks to higher-lift camshafts and revised porting. To ensure reliability, steel bearing-caps replaced the previous cast-iron type. A close-ratio gearbox enabled better use to be made of the increased performance while Laycock-de Normanville overdrive became an option for the first time. Special Equipment (SE) XK140s came with wire wheels and Lucas fog lamps and could be ordered with an engine developing 210bhp courtesy of the C-type cylinder head. XK140 performance was well up to the standards set by its exemplary predecessor, contemporary magazine road-tests regularly recording top speed figures in excess of 120mph. Tested by Road & Track magazine, a USA-specification XK140 MC (as the C-type head-equipped SE version was known there) recorded a 0-60mph time of 8.4 seconds on the way to a top speed of 121.1mph (195km/h).

According to its accompanying Jaguar Daimler Heritage Trust Certificate, this beautifully restored XK 140 SE Roadster left the factory on 23rd November 1956 and was despatched to Jaguar Cars, New York on 6th December of that same year. Importantly, this is a Special Equipment model with the C-type cylinder head. The certificate also confirms the matching-number engine ('G 9611-8S') and lists centre-lock wire wheels and twin fog lamps as items of original equipment. The original colour combination was black with matching interior.

The first owner is not known, but the car later spent time in Englewood, Colorado with another owner (from 1975 to 1994). In 1996 the Jaguar was imported into Italy where it is believed to have remained, awaiting restoration, for some 18 years. In 2014 the car was purchased by the current owner, who commissioned a comprehensive, frame-off, bare metal restoration, which was finished in 2018. Judging the original all-black colour combination to be too sombre for his taste, he opted for a contrasting magnolia leather interior, while the wire wheels were painted black to match the body. Most importantly, this car retains not only retains its original engine block but also its original cylinder head, which both correspond correctly to the numbers on the Heritage Certificate.

The XK is offered with the aforementioned Heritage Certificate; photocopy of old US title; EU customs documentation; a German TüV certificate issued April 2019, classifying the car as sound; and German registration documents. Full weather equipment as well as sundry photographs documenting the restoration are present also. An unmissable opportunity to purchase a beautifully restored XK 140 SE Roadster that ticks all the boxes.

NOVITEC ROSSO refines the Ferrari 488 Spider with carbon, forged wheels, tuning rated at 568 kW / 772 hp and a top speed of 342 km/h

Haute couture and high performance: NOVITEC ROSSO now also offers an exclusive refinement program for the Ferrari 488 Spider. A sporty designer outfit from naked...

3d-car-shows.com/122020-2/

Designed by pirates, the Sulenko class is completely illegal, ignores all design rules and specifications and lacks much refinement.

Spanning the role of fighter and bomber quite neatly, the three man ship is vacuum and at-mo capable and rather rugged, to boot.

Forward facing ion cannons can disable and make inert all but the largest of freighters. Wing-mounted dumbfire 'Stinger' rocket pods give the ship a destructive ability rarely rivalled.

Faster than similar sized ships, the Sulenko class has a complicated engine suite, and the power core is especially fuel hungry.

Only two ships of this design, owned by the Pirate Lord Deckard, are known to exist. Never venturing to the Core Worlds, there are no complete scans of the ship. Rumours abound as to any hidden gadgets, devices or surprises specific to either ship.

Crew: 3 (with room for 4 more passengers/prisoners)

Weaponry: 2 x Ion Cannons, forward facing. 2 x 'Stinger' Rocket pods, wing-mounted.

Defence: Sensor-phobic, heat absorbing durasteel plating. Self-cycling PriTek shields.

This allows a great deal of refinement for the positioning of the sloped tile. It can be moved forwards and backwards along with up and down, and obviously also angled.

Roses are a classic symbol of love and romance, giving voice to feelings of tenderness and passion without the need for saying a word. Red roses have long been synonymous with true love, but did you know that in Victorian times, the symbolism of flowers and their meanings was taken so seriously there were many published dictionaries of "The Language of Flowers?" The meaning of pink roses is as beautiful & as graceful as the delicate blossom. They're often seen in bridal arrangements, thank you or congratulations bouquets. Considering the word "rose" brings to mind the faint blush of a fair maiden's cheeks, it's not surprising these blooms are a favorite to give and receive. Pink is not just for girls, and it is not just a pretty color. Pink roses have deep significance when it comes to affections given and received. The most widely accepted interpretation of pink roses is grace and gentility. An admiration for beauty, refinement & enduring grace is what the pink rose connotes. The receiver of the pink rose can rest assured that he or she is admired for possessing a certain respectability and decorum not commonly found in others. The meaning of pink roses, as expressed by their lovely color is happiness and joy. Being themselves a joy to behold, pink roses express fun and happiness. The pink rose denotes that the receiver is a pleasure to behold, a pleasure to have in company. Thus, it is an indication of deep joy. They indicate happiness or pride, a heart-felt appreciation. Pink roses are generally looked upon as the flower of sweet thoughts and gentle emotions. It indicates an affection that may turn into deeper love. Innocent love that has not yet blossomed into passion, a deep affection that has not yet reached its pinnacle is what the pink rose expresses. There are many different variations of pink, from a pale blush to a gentle medium pink to a vibrant pink, each having its own meaning and implication. The palest pink roses are a sign of gentleness, joy and grace. Recent historical evidence shows pink roses were grown in China’s Imperial rose gardens about 5,000 years ago and they have continued to play a part in history ever since. Horticulturally speaking, pink roses are a classic. They were the first color rose cultivated, since pink roses are most common in the wild. During the Victorian era, the pink rose was used to decorate everything from wallpaper to greeting cards. Today, the pink rose has been cultivated in more contemporary treatments showing off its different shades of pink. Here’s a quick shade-by-shade guide for choosing the perfect pink to convey your feelings:

Dark Pink Roses: If you want to express appreciation, gratitude, or to say thank you.

Medium Pink Roses: If you have a first love, want to congratulate someone or want to cheer up a friend who’s grieving or healing.

Light Pink Roses: If you want to show gentleness and admiration.

Chassis n° ZFFCW56A130134594

Estimated : CHF 1.800.000 - 2.000.000

Sold for CHF 3.105.000 - € 2.833.804

The Bonmont Sale

Collectors' Motor Cars - Bonhams

Golf & Country Club de Bonmont

Chéserex

Switzerland - Suisse - Schweiz

September 2019

"In 1999 we won the manufacturers' championship; in 2000 we added the drivers' championship for the first time in 21 years. We won the last championship of the 20th Century, and the first of the 21st Century. I wanted to celebrate this with a car very much like a Formula 1. After honouring Modena and Maranello, we felt this was the right car to honour the name of our founder." – Luca di Montezemolo, President of Ferrari.

Fortuitously, the Enzo's announcement in mid-summer 2002 coincided with Michael Schumacher clinching that year's Formula 1 drivers' championship for Ferrari, his third in a row for the Italian manufacturer. Indeed, the German superstar had been instrumental in the Enzo's development, contributing much valuable input to the refinement of its driving manners.

Formula 1-derived technology abounded in the Enzo. Its electro-hydraulic six-speed manual transmission had already been seen in other Ferraris and was further refined, changing ratios in a lightning-fast 150 milliseconds, while the steering wheel with its plethora of buttons, lights and switches was guaranteed to make any F1 driver feel at home. Carbon brake discs had been standard F1 equipment for many years, but the Enzo's carbon-ceramic rotors represented a 'first' for a production road car. Double wishbone suspension, or variations thereof, is to be found on virtually every modern supercar, but the Enzo's incorporated pushrod-operated shock absorbers all round, just like a racing car's. In one important respect Ferrari's new sports car was superior to its F1 cousin, incorporating Skyhook adaptive suspension, a type of technology banned from the racetrack since the late 1990s. Constructed entirely from carbon fibre and Kevlar, the monocoque chassis tub was immensely stiff, a necessary requirement of the adaptive suspension.

It may not look like a Formula 1 car but the Enzo benefited from aerodynamic developments made in motor sport's premier category, enabling it to dispense with the rear wing of its F40 and F50 predecessors, employing a state-of-the-art under-body diffuser instead. Harking back to another landmark Ferrari - a Group 5 sports-racer this time - the doors opened upwards and forwards, just like those of the Tipo 512 of 1970. Although not as stark as that of an out-and-out competition car, the Enzo's interior was more functional than that of previous Ferrari road cars, boasting a mix of red leather trim and carbon-fibre panelling. There was not even a stereo system, the (optional) air conditioning being just about the only concession to creature comforts.

The heart of any car though, and especially of a Ferrari, is its engine; that of the Enzo being a 60-degree V12, a configuration long associated with the Italian marque and so the natural choice for a model bearing the name of the company's founder. Deploying four valves per cylinder, variable valve timing, and variable length intake trumpets (the latter another Formula 1 spin-off) this 6.0-litre unit produced a mighty 660bhp, 33 horsepower more than its BMW-powered McLaren F1 rival.

Unleashing all this power in a straight line produced acceleration figures of 0-100km/h (62mph) in a little over 3.5 seconds, with 200km/h (124mph) achievable in 9.5 seconds. Yet applying the brakes hard enough could bring the Enzo back to a standstill in only an additional 5.7 seconds - impressive stuff. The top speed? A little over 350km/h (218mph). Hitherto, Ferrari had shied away from providing 'driver aids' on this type of car but perhaps not surprisingly given this level of performance, opted to fit traction control, anti-lock brakes, and power-assisted steering to the Enzo.

A mere 349 examples of this 'legend in the making' were scheduled for production at a price of around $650,000 (approximately £450,000) apiece, making it the most expensive Ferrari ever made. As it happened, Ferrari ended up making 400 and, needless to say, had no trouble whatsoever in selling them all, one going to His Holiness Pope Benedict XVI.

Testing an Enzo at Ferrari's Fiorano track soon after its announcement in 2002, Car magazine's Mark Walton enthused: "On the move, the Enzo is something else. It sounds absolutely unbelievable – so loud and crisp I can imagine farmers three miles outside Maranello looking up from their fields. It doesn't scream like an F1 car; it howls and bellows like a big-capacity Group C racer..." and that was before he had even sat in the car. Once out on the track, it did not disappoint: "The Enzo lunges forwards so violently that it feels like it could cause brain damage – a big, muscular punch that makes your stomach lurch and your head reel with blood loss.

"As if that crushing power wasn't enough, the steering is unbelievably light, yet still pointy and full of feel. It feels so willing, so utterly in your control as you turn in..." Clearly, the next owner of the pristine example offered here has much to look forward to.

Built for the Canadian market and completed on 10th October 2003, the car offered here is the penultimate Enzo of the 400 cars produced. Finished in yellow with black interior, it has covered a mere 21km from new and in May 2016 was extensively serviced by Modena Cars, Geneva, whose detailed invoice for CHF 79,317 is on file. A detailed specification listing supplied by Ferrari is on file and the car also comes with Equatorial Guinea registration papers and technical inspection. This wonderful Enzo is presented in very good condition throughout; indeed, it is one of the nicest of its kind we have seen.

As is so often the case with limited edition 'instant classics', Ferraris in particular, values have continued to rise since the Enzo's introduction and show no signs of slowing down. An opportunity not to be missed.

[...] I'm becoming more and more myself with time. I guess that's what grace is. The refinement of your soul through time [...]

-- Quote by Jewel (American Singer, Songwriter and Guitarist, b.1974)

Nikon D200, Tokina 28-70, f/2.8, 50mm - f/8 - 1/125s

Rome, Italy (November, 2016)

www.riccardocuppini.com

www.facebook.com/RiccardoCuppini.photography

We're Here - .Almost Faces: covered up! (molded?) [but seen...]

Put some zing into your 365! Join We're Here!

Folded from an uncut square of Kami. the design started out as a model I hadn't fully developed. After some cleaning up and refinement I'm happy with the end result.

SONY A7sii: amzn.to/2bWRZJp Canon 5D Mark IV: amzn.to/2czBG6W The EOS 5D Mark IV camera builds on the powerful legacy of the 5D series, offering amazing refinements in image quality, performance and versatility. Canon’s commitment to imaging excellence is the soul of the EOS 5D Mark IV. Wedding and portrait photographers, nature and landscape shooters, as well as creative videographers will appreciate the brilliance and power that the EOS 5D Mark IV delivers. From the Manufacturer See Legendary EOS 5D Mark IV The EOS 5D Mark IV camera builds on the powerful legacy of the 5D series, offering amazing refinements in image quality, performance and versatility. Canon’s commitment to imaging excellence is the soul of the EOS 5D Mark IV. Wedding and portrait photographers, nature and landscape shooters, as well as creative videographers will appreciate the brilliance and power that the EOS 5D Mark IV delivers. Superb image quality is achieved with Canon’s all-new 30.4 Megapixel full-frame sensor, and highly-detailed 4K video is captured with ease. Focus accuracy has been improved with a refined 61-point AF system and Canon’s revolutionary Dual Pixel CMOS AF for quick, smooth AF for both video and Live View shooting. Fast operation is enhanced with Canon’s DIGIC 6+ Image Processor, which provides continuous shooting at up to 7.0 fps*. Built-in Wi-Fi**, GPS*** and an easy-to-navigate touch-panel LCD allow the camera to become an extension of you. When quality matters, the EOS 5D Mark IV helps deliver results to inspire even the most discerning imagemaker. EOS 5D Mark IV 30.4 Megapixel Full-frame CMOS Sensor The EOS 5D Mark IV camera boasts a full-frame, high-speed CMOS sensor that’s ideal for a broad range of applications with its remarkable high-resolution abilities. Measuring approximately 36.0mm x 24.0mm, the same size and ratio as a 35mm film frame, it records 30.4 effective Megapixels at normal ISOs of up to 32000. It also captures incredible still and 4K video clips suitable for significant post-processing, retouching and cropping. Versatile in virtually all kinds of light and any shooting situation from print and wedding to full-bleed magazine spreads and other commercial or fine art use, the EOS 5D Mark IV consistently produces high-resolution 4K video and image files that are easily compatible with any number of diverse workflows. EOS 5D Mark IV ISO 100–32000 (expandable to 50–102400) Featuring an ISO range of 100–32000 (expandable to 50–102400), the EOS 5D Mark IV camera is incredibly well-suited for low-light photography. Its sensor has an improved S/N ratio plus an improved noise-processing algorithm to help deliver high-level light sensitivity along with its high resolution, with virtually no compromise in image quality. Whether working in a dimly lit auditorium, trying to capture the action at night, photographing at the fastest possible shutter speed or simply suppressing camera shake blur, the EOS 5D Mark IV has an extended ISO range that contributes to its ability to excel in nearly every situation it faces. 4K Motion JPEG video (DCI cinema-type 4096 x 2160) at 30p or 24p; in-camera still frame grab* of 4K 8.8-Megapixel images; multiple video options include Full HD up to 60p, and HD up to 120p. Superb Dual Pixel CMOS AF for responsive and smooth AF during video or Live View shooting; LCD monitor has full touch-screen interface, including selection of AF area. EOS 5D Mark IV DIGIC 6+ Image Processor The powerful DIGIC 6+ Image Processor increases the EOS 5D Mark IV camera’s in-camera capabilities, enabling fast operation across the board and helping to ensure that high-quality still image and 4K video recording is achieved no matter the shooting environment. It has a noise-processing algorithm that helps reduce noise at high ISO settings, and features a Digital Lens Optimizer that can automatically apply a variety of aberration and diffraction corrections as well as other corrective measures specific to the lens in use. The EOS 5D Mark IV’s power to perform numerous operations with ease is made possible in large part thanks to the amazing DIGIC 6+ Image Processor. 61 AF points with expanded vertical coverage with 41 cross-points, and AF possible at all 61 AF points with many lens + extender combinations effective at f/8. hunter.report

I integrated in a variety of techniques and colours the vanitas theme into my work as I associate the ephemeral flowers and the macabre symbols of death to the fashion industry and its evolution and revolution along the years. I chose to mostly represent female figures as I consider the dark undertones and the grotesque details to embody the elegance and refinement worth of representing femininity. However, the tribal and folkloric masks denote masculinity through the harsh lines and the stoic, savage atmosphere they instil upon the wearer in contrast to the feminine extravagance. The bee wing patterns and the flower theme generated through printmaking show the fugacious way of life. The works presented in this set are interpretations of the feeling provoked by the certainty of death and uncertainty about what follows. In Renascence art, vanitas was represented through motifs such as skulls, dead flowers, rotten fruits, smoke, watches or hourglasses. Perhaps the most iconic example of vanitas in art is Holbein’s work of art, “The ambassadors”, where an anamorphic skull in front of the characters represents the different perspectives from which death could be seen. Upon reading “Ways of seeing” by John Berger I became fascinated with death’s significance in art and I began researching this theme as it spread in all branches of creativity, among which fashion. I reckoned myself in the grotesque yet intricate style of Iris van Herpen and observed her creations, the way the exquisite dresses and costumes veiled the feminine figures, as well as the fine details which evoke within me a sense of turmoil. Thus, I came up with concepts which for me encapsulate the idea of vanitas: dark tones mixed with bright colours which I associate with specks of “life” in the void that represents death, abstract patterns reminiscent of flowers, sinister masks and dresses I consider to represent the peak of femininity through the flower petal appearance. Technically speaking, I worked in an array of mediums, from the patterns painted in acrylic or watercolour, to marker, printmaking, stamping, knitted wool stuck showing the physicality of the material, transferred images and collage. Through the slender, androgynous figures I express my opinion about how fashion does not have to be divided by gender, that men could be feminine and women masculine, that clothes are more than two categories – “pink” and “blue”. In death, we are all united. This collection appeals to inquisitive, open-minded individuals who keep questioning the surroundings, who are tortured by the existentialist wonder. This collection is dedicated to everyone open to new, fresh approaches to fashion and its limitless possibilities.

At the Ritz-Carlton in San Francisco, you're not just entering a hotel; you're stepping into a realm where architectural elegance meets unparalleled luxury. As someone deeply entrenched in San Francisco's architectural scene, I've seen how this iconic establishment shapes the city's skyline and cultural landscape.

Located in the heart of Nob Hill, the Ritz-Carlton exudes sophistication & charm. Its historic facade, combined with modern amenities, creates an atmosphere that captivates guests from near and far.

From the moment you arrive, you're enveloped in a world where every detail tells a story of opulence and refinement. The Ritz-Carlton isn’t just a place to stay; it's an experience that leaves a lasting impression.

Politically, the hotel has played a role in hosting influential figures and events, making it a cornerstone of San Francisco's social and political fabric.

With its commitment to excellence and timeless appeal, the Ritz-Carlton remains a beacon of luxury in the City by the Bay.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

It took China long way to develop and produce a true supersonic fighter aircraft: in March, 1964, Shenyang Aircraft Factory began the first domestic production of the J-7 jet fighter. However, the mass production of the aircraft, which had been developed through Soviet help, license production and reverse-engineering, was severely hindered by an unexpected problem—the Cultural Revolution. This incident and its consequences resulted in poor initial quality and slow progress.

Production was still continuing in small numbers in late 2016, but the number of built specimen is uncertain. About 150 J-7DH are supposed to be in active service, mostly with PLANAF Northern and East Fleet units. Unlike many former J-7 variants (including its ancestor, the PLAAF's more or less stillborn C and D variants), the J-7DH was not offered for export.

General characteristics:

Crew: 1

Length: 14.61 m (47 ft 10½ in)

15.69 m (51 ft 5 in) with pitot

Wingspan: 7,41 m (24 ft 3½ in)

Height: 4.78 m (15 ft 8½ in)

Wing area: 28.88 m² (309.8 ft²)

Aspect ratio: 2.8:1

Empty weight: 5,892 kg (12.977 lb)

Loaded weight: 8,240 kg (18.150 lb)

Max. take-off weight: 9,800 kg (21.585 lb)

Powerplant:

1× Guizhou WS-13 turbofan with a dry thrust of 51.2 kN (11,510 lbf)

and 84.6 kN (19,000 lbf) with afterburner

Performance

Maximum speed: Mach 2.0, 2,200 km/h (1.189 knots, 1.375 mph)

Stall speed: 210 km/h (114 knots, 131 mph) IAS

Combat radius: 1.050 km (568 nmi, 652 mi) (air superiority, two AAMs and three drop tanks)

Ferry range: 2,500 km (1.350 nmi, 1.550 mi)

Service ceiling: 17,500 m (57.420 ft)

Rate of climb: 195 m/s (38.386 ft/min)

Armament:

1× Type 30-I 30mm (1.18") cannon with 150 rounds in the port forward fuselage;

7× hardpoints (6× under-wing, 1× centerline under-fuselage) with a capacity of 3,000 kg maximum (up to 500 kg each); Ordnance primarily comprises air-to-air missiles, including PL-2, PL-5, PL-7, PL-8, PL-9 and PL-11 AAMs, but in a secondary CAS role various rocket pods an unguided bombs of up to 500kg caliber can be carried

The kit and its assembly:

Another Chinese whif, and again a MiG-21 derivative - a fruitful source of inspiration. The J-7DH is not based ona real world project, though, but was rather inspired by an article about a Chinese 2020 update for the MiG-21 from Japan, including some drawings and artwork.

The latter depicted a late MiG-21 with some minor mods, but also some characteristic F-16 parts like the chines and the BWB flanks grafted to it - and it looked good!

Since I recently butchered an Intech F-16 for my Academy T-50 conversion (primariliy donation the whole landing gear, including the wells), I had a donor kit at ahnd, and I also found a Mastercraft MiG-21MF in my stash without a true plan. So I combined both for "something Chinese"...

The build was pretty starightforward - except for the fact that the Intech F-16 is a rather clumsy affair (donating the fin and the fuselage flanks) and that no part from the Mastercraft MiG-21 matches with another one! Lots of improvisation and mods were necessary.

On the other side, the F-16 parts were just glued onto the MiG-21 fuselage and blended into one with putty (in several layers, though).

The fin was taken wholesale from the F-16, but clipped by about 5mm at the top. I originally wanted to use F-16 wings with wing tip launch rails and the stabilizers, too, but when I held them to the model it looked wacky - so I reverted to the Fishbed parts. The stabilizers were taken OOB, but the wing span was reduced at the roots, so that the original MiG-21 wing span was retained. Only the landing gear wells had to be adapted accordingly, but that was easier than expected and the result looks very organic.

With more wing area, I added a third pair of hardpoints under the wing roots, and I kept the gun under the cockpit in the LERX. That offered room inside of the fuselage, filled by a laser rangefinder in a canoe fairing where the original gun used to be.

On the tail, a new jet nozzle was mounted, on the fuselage some air scoops and antennae were added an an IR sensor on the nose. A new seat was used in the cockpit instead of the poor L-shaped OOB thing. The PL-2 & -11 ordnance consists of simple AIM-9Bs and slightly modified AIM-120, plus some launch rails from the scrap box.

Paintings and markings:

Modern Chinese military aircraft are hardly benchmarks for creative paint schemes - and the only "realistic" option in this case would have been a uniform grey livery. The original J-7C PLAAF night fighters carried a high contrast sand/dark green/light blue livery, similar to the MiG-21 export scheme (a.k.a. "Pumpkin"), but I found the latter not suitabel for a naval operator.

I eventually found a compromise, using one of the J-7C schemes as pattern but using grey tones instead - still not very colorful, but the "clover" patterns would help disrupt the aircraft's outlines and support the modern look and feel of this whif.

Basic colors are Humbrol 140 (Dark Gull Grey, FS 36231) and 165 (RAF Medium Sea Grey) from above, plus 122 (IAF Pale Blue, FS 35622) on the undersides. With the dark grey pattern placed with no direct connection to the Pale Blue undersides, there's even a blending effect between the tones - not spectacular, but IMHO effective.

The cockpit interior became pale teal (a mix of Soviet Cockpit Blue and white), while the landing gear wells were painted with a mix of Humbrol 56, 119 and 225 - for a yellow-ish, dull metallic brown. The wheel discs became bright green (Humbrol 131), and any di-electric panel and the radome became deep green (Humbrol 2).

The decals come from a Begemot MiG-21 sheet (roundels), while the tactical 5-digit code comes from an Airfix 1:72 B-17 sheet. The yellow code is a bit unusual, as well as its place on the fin, but both occur on Chinese fighters.

The code itself is based on the information published in the 2010 book “Chinese Air Power” by Yefim Gordon und Dmitriy Komissarov, where the Chinese code system is explained – I hope that it is more or less authentic.

The kit received a light black ink wash and some dry painting with lighter blue-grey shades, but no weathering, since modern Chinese aircraft tend to look pretty clean and pristine. Since the kits both did not feature much surface details, and a lot of the few OOB details got lost during the PSR process for the BWB wing sections, I painted some details and panel lines with a soft pencil - a compromise, though. Finally, the kit was sealed with matt acrylic varnish.

The result is a pretty subtle whif, and with the F-16 parts added the result even looks very conclusive! From above, the extra fuselage width makes the Fishbed look very massive, which is underlined by the extended stabilizer span. But I think that retailing the original MiG-21 delta wing was a good decision, because it helps retaining the Fishbed's "fast" look.

I am just not 100% happy with the finish - but for the crappy kits I used as basis it's O.K.

The Royal Chapel is the architectural jewel of the Norman kings’ palace in Palermo. One of the fullest and finest expressions of the Siculo-Norman cultural and artistic heritage, it reflects shared aesthetic, symbolic and religious canons of great refinement and an ecumenical outlook much to be desired at a time that was dramatically similar to our own. The coffered wooden ceiling is composed of groups of four eight-pointed stars (Islamic symbols), arranged in such a way as to form a cross (symbol of Christianity). The paintings with which the ceiling is decorated – rare in a Christian church and even rarer in an Islamic setting – symbolise life after death, a concept shared by these two monotheistic religions.

The chapel is in the form of a basilica, divided into three by recycled classical columns. The three-apsed chancel merges with the transept, in the centre of which four powerful and harmonious arches, supported by columns with tall dosserets, form a skilfully balanced structure bearing a dome. Dominated by the figure of Christ Pantocrator, the mosaics of the large hemispherical cupola, with those of the apse, are the focal point of the programme of decoration.

The mosaic cycles of the side aisles illustrate scenes from the Old and New Testaments, particularly the Acts of the Apostles. The raised royal throne, situated at the junction of nave and sanctuary, is Carolingian in inspiration, overshadowed by a mosaic depicting Christ enthroned. Also illustrated are details of the mosaic cycles, masterpieces of the Byzantine and Siculo-Byzantine schools; the candlestick made to hold the paschal candle, a fine example of 12th-century sculpture.

(from: www.mondes-normands.caen.fr/)

Explore #457 Nov 20, 2006

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The Gloster Glaive was basically a modernized and re-engined variant of the successful, British-built Gloster Gladiator (or Gloster SS.37), the RAF’s final biplane fighter to enter service. The Gladiator was not only widely used by the RAF at the dawn of WWII and in almost every theatre of operations, but also by many other nations. Operators included Norway, Belgium, Sweden, Greece, Latvia, Lithuania or Nationalist China, and while the RAF already opted for more modern monoplanes, Gloster saw the opportunity to sell an updated Gladiator to countries which were not as progressive.

Originally designated Gladiator Mk. IV, the machine received many aerodynamic refinements and the motor was changed from a draggy radial to a liquid-cooled inline engine. The latter was the new Rolls Royce Peregrine, a development of the Kestrel. It was, in its original form, a 21-litre (1,300 cu in) liquid-cooled V-12 aero engine ), delivering 885-horsepower (660 kW). The engine was housed under a streamlined cowling, driving a three blade metal propeller, and was coupled with a ventral radiator bath, reminiscent of the Hawker Fury biplane’s arrangement.

By April 1941, however, lack of spares and attrition had forced the Hellenic Air Force to merge the surviving seven Glaives with five leftover PZL.24s into one understrength squadron supported by five Gloster Gladiators Mk I & II and the two surviving MB.151s. These fought hopelessly against the Luftwaffe onslaught, and most aircraft were eventually lost on the ground. None of the Hellenic Gloster Glaives survived the conflict.

General characteristics:

Crew: two

Length: 8.92m (29 ft 3 in)

Wingspan: 34 ft 0 in (10.36 m)

Height: 11 ft 9 in (3.58 m)

Wing area: 317 ft² (29.4 m²)

Empty weight: 1,295 kg (2,855 lb)

Max takeoff weight: 1,700 kg (3,748 lb)

Powerplant:

1× Rolls Royce Peregrine II liquid-cooled V12 inline engine, rated at 940 hp (700 kw)

Performance:

Maximum speed: 405 km/h (252 mph; 219 kn) at 4,400 m (14,436 ft)

Cruise speed: 345 km/h (214 mph; 186 kn)

Stall speed: 60 mph (52 knots, 96 km/h)

Range: 373 mi (600 km; 324 nmi)

Endurance: 2 hours

Service ceiling: 10,600 m (34,800 ft)

Rate of climb: 2,982 ft/min (15.15 m/s)

Time to altitude: 10.000 ft (3.050 m) in 3 minutes 20 seconds

Armament:

4× 0.303 calibre (7.7 mm) M1919 Browning machine guns in the fuselage

Provisions for 6× 10 kg (22 lb) or 4x 20 kg (44 lb) bombs under the lower wings

The kit and its assembly:

The fictional Gloster Glaive started quite simple with the idea of replacing the Gladiator’s radial with an inline engine. But this soon did not appear enough for an update – the Peregrine hardly delivered much more power than the former Mercury, so I considered some structural updates, too. Most of them comprised the replacement of former fabric-covered structures, and this led conceptually to a kitbash with only some Gladiator fuselage and tail parts left.

The basis is (once more) the very nice Matchbox Gloster Gladiator, but it was heavily modified. As an initial step, fuselage, fin and stabilizers (all OOB parts) lost their rib-and-fabric structure, simply sanded away. A minor detail, but it changes the overall look of the aircraft a lot, making it appear much more modern.

The fuselage was left without the OOB radial, and instead a leftover Merlin front end from an Airfix Hurricane (ca. 1cm long, left over from one of my first whif builds ever, a Hurricane with a radial engine!) was added. The lines match pretty well: the side profile looks sleek, if not elegant, but the Gladiator fuselage turned out to be wider than expected. Some major body work/PSR was necessary to integrate the new nose, but the result looks very good.

The liquid-cooled engine necessitated a radiator somewhere on the airframe…! Since I wanted the nose to remain slim and streamlined I eventually placed the radiator bath under the fuselage, much like the arrangement of the Hawker Fury biplane. The radiator itself comes from a late Spitfire (FROG kit).

The exhaust was taken from the Hurricane kit, too, and matching slits dug into the putty nose to take them. The three blade propeller is a mash-up, too: the spinner belongs, IIRC, to an early Spitfire (left over from an AZ Models kit) while the blades came from a damaged Matchbox Brewster Buffalo.

The Gladiator’s fuselage flank machine guns were kept and their “bullet channels” extrapolated along the new cowling, running under the new exhaust pipes. Another pair of machine guns were placed on top of the engine – for these, openings were carved into the upper hull and small fairings (similar to the Browning guns in the flanks) added. This arrangement appeared plausible to me, since the Gladiator’s oil cooler was not necessary anymore and the new lower wings (see below) were not big enough anymore to take the Gladiator’s underwing guns. Four MGs in the fuselage appears massive – but there were other types with such an arrangement, e.g. the Avia B-534 with four guns in the flanks and an inline engine.

The wings are complete replacements: the upper wing comes from a Heller Curtiss SBC4, while the lower wings as well as the spats (on shortened OOB Gladiator struts) come from an ICM Polikarpov I-153. All struts were scratched. Once the lower wings were in place and the relative position of the upper wing clear, the outer struts were carved from 1mm styrene sheet, using the I-153 design as benchmark. These were glued to the lower wing first, and, once totally dry after 24h, the upper wing was simply glued onto the top and the wing position adjusted. This was left to dry another 24h, and as a final step the four struts above the cowling (using the OOB struts, but as single parts and trimmed for proper fit) were placed. This way, a stable connection is guaranteed – and the result is surprisingly sturdy.

Rigging was done with heated sprue material – my personal favorite for this delicate task, and executed before painting the kit started so that the glue could cure and bond well.

Painting and markings:

The reason why this aircraft ended in Greek service is a color photograph of a crashed Hellenic Bloch M.B. 152 (coded ‘D 177’, to be specific). I guess that the picture was post-colored, though, because the aircraft of French origin sports rather weird colors: the picture shows a two-tone scheme in a deep, rather reddish chestnut brown and a light green that almost looks like teal. Unique, to say the least... Underside colors couldn’t be identified with certainty in the picture, but appeared like a pale but not too light blue grey.

Anyway, I assume that these colors are pure fiction and exaggerated Photoshop work, since the few M.B. 152s delivered to Greece carried AFAIK standard French camouflage (in French Khaki, Chestnut Brown and Blue-Grey on the upper surfaces, and a very light blue-grey from below). I’d assume that the contrast between the grey and green tones was not very obvious in the original photograph, so that the artist, not familiar with WWII paint schemes, replaced both colors with the strange teal tone and massively overmodulated the brown.

As weird as it looked, I liked this design and used it as an inspirational benchmark for my Hellenic Glaive build. After all, it’s a fictional aircraft… Upper basic colors are Humbrol 31 (RAF Slate Grey) and 160 (German Camouflage Red Brown), while the undersides became French Dark Blue Grey (ModelMaster Authentics 2105). The result looks rather odd…

Representing a combat-worn aircraft, I applied a thorough black ink wash and did heavier panel shading and dry-brushing on the leading edges, along with some visible touches of aluminum.

The Hellenic roundels come from a TL Modellbau aftermarket sheet. The tactical code was puzzled together from single letters, and the Greek “D” was created from single decal strips. For better contrast I used white decals – most Hellenic aircraft of the time had black codes, but the contrast is much better, and I found evidence that some machines actually carried white codes. The small fin flash is another free interpretation. Not every Hellenic aircraft carried these markings, and instead of painting the whole rudder in Greek colors I just applied a small fin flash. This was created with white and blue decal strips, closely matching the roundels’ colors.

Finally, after some soot stains around the guns and the exhausts, the kit was sealed with matt acrylic varnish.

Modified beyond recognition, perhaps…? The fictional Gloster Glaive looks IMHO good and very modern, just like one of those final biplane designs that were about to be outrun by monoplanes at the brink of WWII.

Experience the exquisite craftsmanship of Jacobean interior architecture at Crewe Hall in Cheshire, England. Admire the intricate beauty of highly carved woodwork, a hallmark of this historic period. From ornate paneling to elaborate ceiling beams, every detail showcases the skilled artistry of the era. Marvel at the intricate motifs and delicate filigree that adorn the grand halls and intimate chambers, transporting you to a bygone age of opulence and refinement. Explore the timeless elegance of Crewe Hall and immerse yourself in the rich heritage of Jacobean design, where every carving tells a story of craftsmanship and tradition.

n° 57 of 100

Chassis n° ZA9H12EAYYSF76077

Bonhams

Les Grandes Marques du Monde à Paris

The Grand Palais Éphémère

Place Joffre

Parijs - Paris

Frankrijk - France

February 2023

Estimated : € 2.300.000 - 2.700.000

Unsold

"It's a car with its own personality – or rather its own split personality. Beyond refinement and ease of use is a demon with one eye open waiting for its turn, a car that is scintillatingly fast and hugely demanding, a car that can thrill and terrify in equal measure, a supercar in every sense of the word." – evo.

One of the more fascinating aspects of the modern motoring scene is the recent emergence of the small independent supercar manufacturer, many of which have gone from relative obscurity to the status of household names in just a few short years, usually on the back of a product range offering hitherto almost unimaginable levels of performance. Whereas at one time established manufacturers such as Ferrari, Lamborghini, Porsche, Mercedes-Benz, and Aston Martin only had one another to worry about, they now have to contend with the likes of Koenigsegg, De Tomaso and, of course, Pagani.

Succeeding the Zonda, Pagani's latest offering is the Huayra, a mid-engined coupé hailed by Top Gear magazine as 'Hypercar of the Year 2012'. Horacio Pagani was no newcomer to the world of automotive engineering when he built the first Zonda in 1999, for the Argentine-born industrial design graduate had been working with Lamborghini since the mid-1980s, developing the Countach and Diablo road cars and assisting with the Italian manufacturer's Formula 1 engine programme. The Zonda C12 debuted in coupé form at the 1999 Geneva Motor Show, its maker freely acknowledging that its styling had been inspired by the Mercedes-Benz Group C 'Silver Arrow' sports-racers. Mercedes-Benz's influence was more than just skin deep, for the German firm's AMG performance division was responsible for the Zonda's 6.0-litre V12 engine, which was mounted longitudinally amidships in the predominantly carbon fibre body tub. With some 408 horsepower on tap, the C12 was always going to be quick, but performance figures of 0-60mph in 4.2 seconds and 0-100 in 8.2 were simply staggering plus, of course, that all important 200mph (or thereabouts) top speed.

Seemingly small from the outside yet endowed with a comfortable cabin, the C12 provided the basis for a host of derivatives, which emerged from Pagani's factory at San Cesario sul Panaro near Modena (where else?) in strictly limited numbers over the next 11 years.

Its successor, the Huayra - named after a wind god of the South American Quechua people - made its public debut at the Geneva Motor Show in March 2011. Once again, AMG provided the engine, on this occasion a twin-turbocharged 6.0-litre V12 producing a mighty 620bhp and a titanic 737lb/ft of torque. A mind-boggling top speed of around 238mph (383km/h) was claimed for the Huayra, with the 0-60mph dash accomplished in a neck-snapping 2.8 seconds. Power reaches the road via a transversely-mounted Xtrac seven-speed sequential semi-automatic transmission, while the stupendous performance is kept in check by Brembo carbon ceramic disc brakes featuring four-pot callipers all round. It is worthwhile noting the Horacio Pagani chose to stick with a conventional single clutch rather than the more complex and heavier twin-clutch technology favoured by some rivals, reasoning that the considerable saving in weight would result in a better balanced car.

The most significant difference between the Huayra and its Zonda predecessor is the former's use of active aerodynamic aids. These consist of variable front ride height and moveable spoilers at front and rear, their deployment being managed by a dedicated control unit to minimise drag or maximise downforce as required. Under hard braking, the rear spoiler flaps function as an air brake, the front ride height being increased at the same time to counteract weight transfer to the front wheels and thus maintain stability. Cleverly, this system is also used to limit body roll when cornering by raising the 'inside' flaps to generate increased down force on that side only. As had been the case with the Zonda, an open roadster and various limited edition variants followed.

Testing a Huayra in 2013, evo magazine found that even before the ignition key had been turned, the experience of just sitting in the cockpit was almost overwhelming. 'Inside a leather, carbonfibre and aluminium cocoon of obsession, every detail agonised over and beautifully thought out, every material used sympathetically and expertly integrated into this stunning sculpture. The driving position is superb.' Needless to say, the driving experience did not disappoint: 'the engine is just phenomenally powerful and when it's delivering the full 737lb/ft of torque, it scrambles your brain. This is the sort of performance that doesn't dull even with prolonged exposure'.

Pagani's agreement with AMG limited the supply of engines to 100 units, restricting production to only 100 cars, thus guaranteeing the Huayra's instant exclusivity and future collectible status.

Number '57' of the 100 Huayra Roadsters built, this car was delivered new to Denmark and registered in July 2020. The car had been ordered and specified by a Danish car collector, who took delivery but never drove it. He then sold the car to another Danish collector, in whose hands it has covered fewer than 800 kilometres.

Rail plate hold the front cockpit windscreen in place, quite snuggly and with no wiggle.

She is gorgeous :)

Attention to fact

Exquisite refinement

Shade of difference

Land Rover and renowned Magnum photographer Jonas Bendiksen have revealed the first in a series of unique works entitled ‘Ultimate Vistas’, extraordinary landscape photographs captured with help from the world’s ultimate SUV: the Range Rover.

The Peugeot 504 is a large family car manufactured by French automaker Peugeot between 1968 and 1983, with licensed production continuing until 2006.

Peugeot's flagship, the 504 made its public debut on 12 September 1968 at the Paris Salon. The press launch which had been scheduled for June 1968 was at the last minute deferred by three months, and production got off to a similarly delayed start because of the political and industrial disruption which exploded across France in May 1968.

The 504 was a sunroof-equipped four-door saloon, introduced with a carbureted 1,796 cc four-cylinder petrol engine 79 bhp (59 kW; 80 PS) with optional fuel injection. A column-mounted four-speed manual transmission was standard; a three-speed ZF 3HP12 automatic available as an upgrade.

The 504 was European Car of the Year in 1969, praised for its styling, quality, chassis, ride, visibility, strong engine and refinement.

The 504 Injection two-door coupé and two-door cabriolet were introduced at the Salon de Geneva in March 1969. The engine produced the same 97 bhp (72 kW; 98 PS) of output as in the fuel-injected saloon, but the final drive ratio was slightly revised to give a slightly higher road speed of 20.6 mph (33.2 km/h) at 1,000 rpm.

The 504 received a new four-cylinder 1971 cc engine, rated at 96 bhp (72 kW; 97 PS) (carburated) and 104 bhp (78 kW; 105 PS) (fuel-injected), and a four-cylinder 2112 cc diesel rated at 65 bhp (48 kW; 66 PS). The 1796 cc engine remained available.

In September 1970 an estate was added, featuring a higher rear roof, lengthened wheel base and solid rear axle with four coil springs. It was joined by the 7-seat "Familiale", which had all its occupants facing forward in three rows of seats.

In April 1973, because of the oil crisis Peugeot presented the 504 L. It featured a live rear axle and a smaller 1,796 cc engine rated at 79 bhp (59 kW; 80 PS) (81 bhp (60 kW; 82 PS) for Automatic).

At the 1974 October Motor Show Peugeot presented a more powerful engine for the 504 coupé and cabriolet, now fitted with a 2664 cc V6 unit developed in collaboration with Volvo and Renault. This was the same engine that would be used for the 604 berline, to be introduced at Geneva five months later, in March 1975. The engine incorporated various innovative features such as an aluminium cylinder block, and a fuel-feed system that employed carburetors of differing type, one (type 34 TBIA) featuring a single chamber controlled directly according to the movement of the accelerator pedal, and the second being a twin chamber carburetor (type 35 CEEI) designed to operate simultaneously with the first, using a pneumatic linkage. Maximum output for the 504 coupé and cabriolet fitted with this new V6 engine was given as 136 bhp (101 kW; 138 PS), supporting a top speed of 186 km/h (116 mph). During 1975, the first full year of production, 2,643 of these 6 cylinder 504 coupés and cabriolet were produced, which was considered a respectable number, although dwarfed by the 236,733 4 cylinder 504 "berlines" (saloons/sedans) and "breaks" (estates/station wagons) produced by Peugeot in France in the same year. Following launch of the six cylinder cars, the four cylinder versions of the coupé and cabriolet 504s were delisted: they returned to the showrooms in 1978 in response, it was reported, to customer demand.

At the Paris Motor Show of October 1976 the option of an enlarged diesel engine was introduced. The stroke of 83 mm (3.3 in) remained the same as that of the existing 2,112 cc diesel motor, but for the larger engine the bore was increased to 94 mm (3.7 in), giving an overall 2,304 cc along with an increase in claimed power output from 65 to 70 bhp (48 to 52 kW; 66 to 71 PS). The 2,112 cc diesel engine would also find its way into the Ford Granada since Ford did not at the time produce a sufficient volume of diesel sedans in this class to justify the development of their own diesel engine.

Peugeot 504 production in Europe was pruned back in 1979 with the launch of the Peugeot 505, and the last European example rolled off the production line in 1983, although the pick up version continued in production, and was available in Europe until 1993. Chinese production of the 504 pickup (more information below) only ceased in 2009. The 505 shared most of the Peugeot 504 mechanical parts, similarly to the Peugeot 604 and Talbot Tagora.

More than three million 504s were produced in Europe, ending in 1983. Manufacturing continued in Nigeria and Kenya until 2006, utilising the Peugeot knock down kits. Kenya production was 27,000 units and the car remained on sale to 2007, being described as "King of the African road". Egypt also had its own production facilities.

Redesigned Argentinian version of the 504

The car was assembled in various countries, under license of Peugeot. In Australia it was assembled by Peugeot's arch-rival Renault, and sold through Renault Australia's dealer network.

The Peugeot 504 is also one of the most common vehicles employed as a bush taxi in Africa. In China, the 504 was produced until 2009 in pickup form, with a four-door crew cab combination fitted, on an extended estate platform. These were built by Guangzhou Peugeot Automobile Company.

The Peugeot 504 was also produced in Argentina until 1999 by Sevel in El Palomar near Buenos Aires, in sedan, estate and pickup forms. The pickup was manufactured in single and double cab with payload of over 1 tonne (1.300 kg) from 1983-1997, and exported mainly to bordering countries. In 1991 the later models were slightly restyled at the front and rear, with the lamps and bumpers changing design. These cars were also given a new interior. Argentinian 504s offered the 1,971 cc petrol four-cylinder, or the 2,304 cc diesel.

The French company Dangel also produced Peugeot approved four-wheel drive Break (estate/station wagon) and pickup models.

Its engines and suspension were used in later models of the Paykan, the Iranian version of the Hillman Hunter.

[Text taken from Wikipedia]

This Lego miniland-scale Peugeot 504 Berline has been created for Flickr LUGNuts' 84th Build Challenge, our 7th birthday, to the theme, - "LUGNuts Turns 7…or 49 in Dog Years", - where all the previous challenge themes are available to build to, in this case challenge 69, - "The Summer of '69", - where vehicles from all through the 1960's can be built to the challenge theme.

Cape Cod

American Waterfront

Tokyo DisneySea

[Warning: Lots of words]

Cutting to the chase: believe the hype.

The level of detail throughout is amazing. You'll find none of the blatant corner cutting that characterized early California Adventure. Each area of the park is fully realized and engrossing. Even the areas that are obviously meant to be cheaper to execute, like the kid-focused Mermaid Lagoon, are still lavish. Even better, the parts that are meant to impress do so in spades.

At the same time, there's no sense that things were left unfinished as one gets with Disney's Animal Kingdom. Make no mistake, the park is a full day park. Sure it doesn't have the sheer number of attractions that one will find at Disneyland or the Magic Kingdom, but that's hardly surprising considering those parks are building off over 55 years of momentum and refinement while Disney Sea is a spritely 10 years old. If one got lucky and came on the least crowded day and did some militant park opening to closing fastpass strategizing, then it's theoretically possible that one could experience every attraction, but even then you're unlikely to see the various shows (which will soon include Fantasmic), and you'll probably be hurrying by details and rushing through meals. The park is engrossing but tight, never feeling insurmountable yet never feeling small.

Side note: that this park chose to add Fantasmic rather than World of Color makes total sense to me now. This park is very much rooted in the distant past and is very story oriented: World of Color's technological spectacle with would have felt odd and out of place here.

Conceptually the park is a winner in that it lives up to its name. The park literally is a Disneyland that takes its thematic inspiration from bodies of water, effectively replacing the "land" with "sea." In a sense the Disneyland approach to theme parks is to represent idealized times and places, with the choice of which times and places characterizing the park as a whole. The classic Disneyland itself is hard to define in terms of an overall theme, but it somehow hits on a winning formula. Disney Sea takes this same approach but adds the overarching concept of the sea and the various incarnations it takes. In this regard one could argue that Disney Sea is a more conceptually cohesive park than Disneyland itself. I don't know if this cohesion make it better per se, but there's no denying that the message of Disney Sea is probably the strongest and clearest of any Disney Park (Animal Kingdom being a close second). Unlike California Adventure, the theme works throughout the park and you never have to jump through mental hoops to justify the presence of a particular area of the park. The sense of purpose is confident and adhesion to this purpose is total.

I didn't have a chance to eat much of the food during my not-quite-a-day visit, but I liked what I tried and was intrigued by what I didn't. Quick service meals (read: fast food) at Disneyland/Magic Kingdom parks range from okay to horrid, but Disney Sea seems to buck this trend in both variety and quality. I had quick service curry for lunch and it ended up being the best curry I ate while in Japan, and Japan is very fond of its curry. The Italian restaurant Ristorante di Canaletto seemed very nice for dinner, but it's hard for me to judge how it compares to other Italian in Japan. The other food options throughout the park certainly looked good, and that didn't even touch on the higher class food found in the hotels, an area where Disney World absolutely shines. It definitely seemed a step above Disneyland's/Magic Kingdom's less than stellar options and more akin to Epcot's culinary delights. We can't talk food without talking drink: we stopped by one bar in the American Waterfront located in a scale steam ship and themed after the life of Teddy Roosevelt. The place was opulent in a Club 33 sort of way, the drinks were solid and proper, and the ambiance perfectly fits the 20s chic style that's so popular in trendier areas right now. This place could make a killing in LA and is much nicer than the club-esque bar called Teddy's Los Angeles. In DisneySea you can go from munching popcorn to refined opulence one after the other. Disney Sea gets it: appeal to everybody and all sensibilities, from playful to refined.

The thing that probably struck me the most about Disney Sea was the quality of the rides. Each ride has that full-on Disney quality that you usually only get from specific AAA attractions in the other parks. Even when Disney Sea has a clone of an existing ride, it's better. Their Indiana Jones is more detailed, has more effects, and is just generally more impressive than the one in Anaheim. The Voyage of Sinbad is an almost Small World esque ride in theory, but the execution in terms of detail and technology makes it more akin to Pirates of the Caribbean. Stormrider is a simulator ride, a sort of hybrid of Soarin' and Star Tours, but Stormrider's effects and execution go light years beyond what at least the original Star Tours was doing. Hell, even their carrousel is a double-decker. Things are executed properly at Disney Sea, plain and simple. There's always some little bit that will impress you, especially if you're used to American parks. Everything is executed with 21st century standards. You don't have to tell yourself that a ride is kind of hokey but it's okay because it's a 1955 original: at Disney Sea the rides aren't hokey, and nothing feels like it was built in 1955. Disney Sea manages to feel as engrossing and "Disney" as Disneyland, but a Disneyland that doesn't rely on nostalgia to gloss over its weaker moments. Disney Sea is something Walt would build if he were alive today, not something he would build back in the 50s. The park's not perfect of course, there's still the odd quickie ride you can tell was put in because it was cheaper than something else, but even those rides seem to have leaps and bounds more care and wonder than their equivalents in other parks. At Walt Disney World you get a Dumbo Spinner for the umpteenth time, but at Disney Sea you get Aquatopia using a completely unique ride system and offering a simple yet uniquely enjoyable experience. This park just operates at a different level of expectation.

Disneyland is a unique event, an entertainment venture like no other that defined an art form. Its originality will likely never be duplicated, but Disney hasn't let that stop them from trying. When Walt's dream of the perfect city died with him they tried a new, more adult theme park with Epcot in 1982 and largely succeeded. While Disneyland has been cloned around the world, Epcot is a different conceptual approach to a theme park, high quality but nothing like any other Disney park. Unfortunately Disney has left that park in a state of suspended animation, never pushing the concept forward since 1982 and mostly making changes that seem to lose the park's focus. After that Disney has went back to spins on their Disneyland formula, but they all have various problems. The Hollywood Studios parks are conceptually ill-conceived, Animal Kingdom has yet to flesh itself out, and California Adventure was initially executed so cheaply it hardly felt Disney at all. That leaves Disney Sea: a fully realized, fully executed Disney park built in the 21st century. One of a kind, it's Disney's only modern theme park, building on their experience and winning formula, but starting from scratch in a modern age. It's definitely the best thing Disney has done since 1982, and arguably the best original thing they've done since 1955. Disney Sea is the lighthouse that should be guiding imagineering from here on out*.

If you're the kind who will carve out a couple of Disney World/land trips a year, I urge you to perhaps combine them into one trip to the Tokyo Disney Resort instead. You're only doing yourself a disservice by missing Disney Sea. If this review doesn't sell you then maybe this will: the whole day I was at Disney Sea I only saw one stroller and one ECV. Yes, you read that right: just one.

*Look at the photo: see what I did there?