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The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT
The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT
Though the Mikoyan-Gurevich design bureau had put the excellent MiG-15 fighter in production, giving the Soviet Union one of the best fighters of the early 1950s, MiG felt it could further improve on the design. The MiG-15 had shown itself to be unstable as it neared the speed of sound, and it was anticipated that further refinement could be done to the aircraft. As a result, MiG OKB began work on an improved MiG-15, referred to as the MiG-15-45 because of its primary characteristic, an improved swept wing. This new wing was thinner than that on the MiG-15, included wing fences for improved aerodynamics, and was swept at 45 degrees near the wingroot and to a slightly lesser degree at the wingtip, giving the new variant a distinctive “banana-wing” shape.
The fuselage was extended to incorporate an afterburner on the VK-1F turbojet, while a small ventral fin was added beneath the tail to further improve stability. While the MiG-17 could not quite break the sound barrier, it was very stable in most respects and kept the heavy armament and good all-around visibility of the MiG-15. The design changes were enough to warrant a new designation, so it became the MiG-17.
The first MiG-17 flew in January 1950, and despite the loss of the prototype to a fatal crash, low-level production soon began—low-level due to the urgent need for MiG-15s to fight in the Korean War. Not until after the war had ended did full-scale production begin on the MiG-17. By then, it was considered somewhat obsolescent: the supersonic MiG-19 was placed in production alongside the MiG-17, while work had begun on the MiG-21. Nonetheless, it was kept in production for the rest of the decade as the MiG-19 proved to be a bit of a disappointment. The MiG-17 was updated in 1953 after the Soviet Union captured a F-86F Sabre, and copied elements of the Sabre’s ejection seat and gunsight into the new fighter. It was dubbed “Fresco” by NATO. Attempts were made to build all-weather versions of the MiG-17 with mixed results; the all-missile MiG-17PM was reviled by its pilots due to a poor radar and worse missiles. The most common version was the day fighter MiG-17F.
The MiG-17’s combat debut was not auspicious, seeing action in the 1956 Suez War and the 1958 Quemoy Crisis. In the former, Egypt’s few MiG-17s were outnumbered and outflown by French and Israeli Mystere IV and Super Mystere fighters, while over the Taiwan Straits, People’s Republic of China MiG-17s were ambushed by Republic of China F-86Fs equipped with Sidewinder missiles. By 1960, production had ended, and the Soviet Union sold off most of its stock to client states, reequipping with more modern MiG-21s.
In 1962, the Soviet Union supplied the nascent North Vietnamese People’s Air Force with 36 MiG-17Fs as the nucleus of a new air force, and to offset the American-supplied Thai and South Vietnamese air forces. By 1965, when Operation Rolling Thunder began, these aircraft were sent against US Air Force and Navy fighters attacking the Thanh Hoa bridge. On 4 April 1965, a force of four MiG-17s shot down two F-105 Thunderchiefs to score the VPAF’s first victories of the war, but paid a heavy price, losing three out of the four to escorting F-100 Super Sabres and their own antiaircraft fire. The MiG-17 would remain the primary VPAF aircraft throughout Rolling Thunder, though it was gradually supplemented by the MiG-21. Since the MiG-17 was subsonic and lacked radar, it depended on ground radar to guide the pilot to the target, but once in a dogfight, the small, very manueverable, cannon-armed MiG had a definite advantage over American aircraft; only the F-8 Crusader came remotely close to matching it. A favorite tactic of MiG-17 pilots was to hide “in the grass” at low level and pick off any unwary American pilot, or attack during a bomb run when their opponents were at their weakest. It came as a rude surprise to American pilots that semi-obsolete aircraft were still capable of destroying the latest word in military equipment, and it pointed up the deficiencies in American air combat training.
MiG-17s accounted for about 50 USAF and Navy aircraft during Rolling Thunder, enough that when the Top Gun program was formed in 1969, A-4 Skyhawks were assigned specifically to simulate them. This was also secretly supplemented by two ex-Syrian MiG-17Fs captured by Israel in 1968 and given to the United States under Project Have Drill. One deficiency that was found in the MiG-17 was that, at high speeds and low altitudes, compressibility would set in and the aircraft became unresponsive to the controls. These lessons were put to good use when American strikes resumed in 1972. By this time, the VPAF had largely withdrawn its MiG-17s to training units, preferring the more modern MiG-19 and MiG-21. While the MiG-17 did account for a few more kills, they mostly ended up being shot down by better trained US Navy pilots and USAF F-4E pilots, who now had internal guns themselves. In the right hands, a MiG-17 was still a formidable opponent, as US Navy aces Randy Cunningham and William Driscoll found out on 10 May 1972, when a MiG-17 dueled in the vertical with their F-4J for nearly ten minutes before it was finally shot down.
After Vietnam, the MiG-17 had outlived its usefulness, and though it would see limited service in African brushfire wars and in the Yom Kippur War of 1973, what few air forces retained them relegated them to second-line and training units. A few persisted in the Albanian and North Korean air forces until 2000. 10,603 MiG-17s were built by the Soviet Union, Poland, and China, serving in 40 air forces; today, several hundred still remain in museums and in flyable condition, including 27 in the United States alone.
This MiG-17 is a Lim-5, a MiG-17F built under license by PZL of Poland; it served with the Polish Air Force from 1959 until probably the late 1970s. In the early 1990s, it was purchased by an American warbird collector, and flew as part of the Commemorative Air Force's collection at Amarillo, Texas. In 2009, it was obtained by the Western Sky Aviation Warbird Museum in St. George, Utah, where it's remained ever since. I saw it in August 2020.
Most operational Soviet MiG-17s were bare metal, but this aircraft wears overall light gray--which is much easier to maintain. It is still flyable.
1939 Bugatti Type 57C Aravis Special Cabriolet by Gangloff
$1,545,000 USD | Sold
From Sotheby's:
GANGLOFF AND BUGATTI’S TYPE 57C
The Type 57 is one of the most celebrated of all non-racing Bugatti chassis. Its unbeatable combination of style and performance made it an instant success, and from its introduction it provided Jean Bugatti with a final, lasting legacy for the automotive history books.
Prior to its introduction in 1934, Bugatti had set the lofty goal of creating an automobile that exuded the excitement and racing heritage of the company, while incorporating the refinement and drivability of a road car. The Type 57 was successful in combining some of the temperament of the racing chassis while offering a level of comfort that even the most polished of European elite appreciated.
Some of the most memorable designs on this chassis carry the Bugatti name, as many came from the creative mind of Jean Bugatti and were offered as factory catalog body styles. Although a number of Type 57 convertible bodies in his catalog were dignified and pleasing to the eye, they lacked the flair of his racy closed cars, such as the Atalante or Atlantic. As a result, Bugatti envisioned a more exotic open car that would set a new standard for styling; the coachbuilding firm of Gangloff was entrusted with the task of crafting the new model. The results were nothing less than spectacular.
Chassis 57798 is one of only three extant examples of the Aravis body style by Gangloff, which were built in 1938 and 1939. Like other Bugatti bodies, the Aravis was named after a beautiful mountain range, and it was designated as a 2/3-seater cabriolet when it was first offered in the 1938 catalogue. Only Gangloff and Letourneur et Marchand were allowed to dub their 2/3-seater cabriolets “Aravis,” and it is believed that each coachbuilder produced six of these bodies.
LE ARAVIS DU DR. CHAUVENET
This Type 57C was originally ordered from Bugatti in the fall of 1938 by Dr. André Charles Chauvenet of Thouars, France via the local dealer J.B. Arnaud. Chauvenet, who had owned no less than five previous Bugattis over the years, further specified a dual-overhead-cam engine with supercharger, Rudge wheels, electric starter, Stromberg carburetor, and Aravis Convertible Coupe body by Gangloff; the car’s final retail price was an eye-watering 135,000 Francs.
Correspondence on file between Gangloff and Arnaud show that this particular Aravis “Special Cabriolet” body is derived from a synthesis of Bugatti style drawings 3888 (8 August 1938), and 3942 (25 November 1938) which were subsequently refined with modifications including headlamp guards, a foam-stuffed rear seat, black top with red leatherette piping, chrome side molding, and three sets of vertical hood louvres. Its original color is reported to have been black, or an exceedingly dark shade of blue or purple, over a red leather interior.
According to a report on file from marque expert Pierre-Yves Laugier, Gangloff had completed the body for the car by mid-November 1938, although Bugatti apparently did not send the coachworks the rolling chassis until late December. The union of the two did not occur until the new year, and chassis 57798 was finally delivered to Chauvenet in January 1939. At the time of his purchase, Dr. Chauvenet was a decorated World War I veteran, leading surgeon at the Thouars hospital, and a repeat Bugatti customer; he only enjoyed a few short months with the car before he was called back into service as a medical officer for the French Army.
Less than a year after accepting delivery of this striking Bugatti he would become a leading resistance coordinator against the Nazi-Vichy regime in Western France. By July 1941, his resistance cell had been infiltrated by a Vichy double-agent and all were imprisoned or executed. Chauvenet himself was kept in France, and later, German, prisons until early 1945 when he was then sent to the infamous Buchenwald concentration camp. Miraculously, both Chauvenet and his collection of Bugatti automobiles survived the war; all were reunited in early May 1945.
TO SWITZERLAND
In February 1946, 57798 was sold to Didier Soriano of Bordeaux via the originating dealer J.B. Arnaud. It then passed to the hotelier, restauranteur, and amateur racer Hermann Trümpy of Glarus, Switzerland in October 1947. Interestingly, Trümpy was also one of the financiers for the famous post-war sports car company Veritas GmbH. Period photos on file show that Trümpy raced the car quite spiritedly in several amateur hill climb events throughout Switzerland. By the time he was powering this Bugatti sideways through the Alps, its original body, top, color combination, headlamp guards, rear spats, bumpers, and Rudge wheels were still present.
Circa 1951, Trümpy sold 57798 onward to André Turrettini of Geneva. Much like its first owner, Turrettini was a doctor (in his case, a noted obstetrician and gynecologist) and dedicate Bugatti enthusiast, owning at least three over the years. He would retain this chassis until 1959; photos on file dated 12 October 1951 indicate that he was involved in an incident with the car that damaged the front driver’s side fender, but this speed bump clearly did not put him off ownership of this beautiful machine. Its next custodian was Geneva-based collector Pierre Strinati who, in 1959, commissioned the coachbuilder Graber to mount a solid steel roof to the body—thereby converting this Aravis Cabriolet into a fixed head coupe. At this time, Strinati also had the car sympathetically redone in a two-tone red and black paintjob over maroon leather.
The car remained on display in the Strinati Collection until 1984, when it was subsequently exported from Switzerland. After briefly passing through the impressive stables of the late Bill Serri, Jr. of Cherry Hill, New Jersey and then the late Myron Schuster of Bedford, New York, this remarkable Type 57C was acquired by Oscar Davis in August 1993.
WITH OSCAR DAVIS
Upon acquiring this fine Bugatti, Oscar Davis immediately set about researching its history in preparation for an accurate and complete restoration to its original specifications. Gathering information from disparate sources including marque historians, previous owners, and the car’s extensive history file, he revealed much about its early appearance; by late 1995, the car’s restoration was starting to take shape.
The full restoration of the Bugatti's bodywork was entrusted to Classic Coach Repair of Elizabeth, New Jersey in order to return the car to its original 1939 cabriolet configuration. A full binder of photos documenting the disassembly and body restoration illustrate that, although much of the car’s structure and body was intact and original, its original split bumpers, spats, and other unique details were gone or altogether in need of correction. As a measure of remediation, new wood framing was masterfully installed throughout, and the body modifications by Graber were also carefully reversed to bring back Gangloff’s signature Aravis styling.
Concurrently, the chassis and drivetrain were delivered to Leydon Restorations of Lahaska, Pennsylvania to be restored as a complete running chassis. The car’s correct-type 3.3-liter dual-overhead-cam straight-eight engine was entirely rebuilt and returned to its original supercharged configuration. It should be noted that Bugatti owner registry listings on file indicate this engine was previously installed in a 1937 57C Stelvio (57619). Put simply, absolutely no cosmetic or mechanical component escaped redress during the course of this seven-year restoration.
Davis also had 57798’s exterior returned to a dark shade that more closely resembled its original livery, which was once again paired with a red leather interior—a handsome black soft top was provided, and a set of chrome Borrani wire wheels was installed, perfectly complementing Chauvenet’s specified chrome trim.
Since emerging from this impressive restoration in 2001, 57798 has lived a lavish life of public exhibition at many of the world’s preeminent automotive concours. Showings at the Pebble Beach Concours d’Elegance (and Tour), Louis Vuitton Classic Concours, Greenwich Concours d’Elegance, and other leading events have rightfully elevated the provenance and public appreciation for this remarkable Aravis Special Cabriolet.
This Type 57C offers its next owner membership into a fantastic community of enthusiasts—one that holds events and rallies which celebrate the Molsheim marque worldwide. The other two surviving Bugatti Aravis examples by Gangloff are in the hands of long-term collections, making the offering of this particularly flamboyant car a special opportunity indeed.
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Kristina and I headed over to RM Sotheby's at the Monterey Conference Center to view some glorious cars at their auction preview.
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Had a blast with our auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2022.
Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.
The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.
The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.
The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.
NATO will continue the process of testing and refinement of the Very High Readiness Joint Task Force (VJTF) during part two of Exercise NOBLE JUMP, from 9 to 19 June 2015 in Zagan, Poland.
Die NATO setzt die Erprobung und Weiterentwicklung des Very High Readiness Joint Task Force (VJTF) während Teil zwei der Übung NOBLE JUMP in Zagan, Polen fort.
The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT
Nimble, power, and refinement.
When one thinks of the Audi RS3, these words are likely to come in mind.
We figure styling should also be up on that list too, unfortunately, the factory wheels leaves much to be desired for the 400HP rocket. Thankfully, our V801’s are here to save the day.
A full face mesh design with a modern twist, the V801’s thinly milled spokes and diamond windows creates a delicate and sophisticated look that’s brimming with detail. Finished in Hyper Silver, the V801’s not only compliment the color of the RS3’s ground effects kit, but its angular lines as well.
But, don’t be fooled by the svelte appearance of the V801’s either; thanks to its flow form construction, the V801’s remain lightweight, yet incredibly strong. Engineered and tested to exceed VIA, JWL, and TUV standards, our V801’s are more than capable of handling whatever abuse the RS3 will put them through.
For sales and more information, be sure to contact us at sales@velocitymotoring.com
The open end of the strut is now plugged with a Problem Solvers "Bub". It has a cleaner look than the vinyl end cap. While it was apart, I reshaped the clamp.
How should man love God during refinement?
By using the resolve to love God to accept His refinement: During refinement you are tormented inside, as if a knife were being twisted in your heart, yet you are willing to satisfy God using your heart, which loves Him, and you are unwilling to care for the flesh. This is what is meant by practicing the love of God. You hurt inside, and your suffering has reached a certain point, yet you are still willing to come before God and pray, saying: “O God! I cannot leave You. Although there is darkness within me, I wish to satisfy You; You know my heart, and I would that You invest more of Your love within me.”
This is practice during refinement. If you use the love of God as the foundation, refinement can bring you closer to God and make you more intimate with God. Since you believe in God, you must hand over your heart before God. If you offer up and lay your heart before God, then during refinement it will be impossible for you to deny God, or leave God. In this way your relationship with God will become ever closer, and ever more normal, and your communion with God will become ever more frequent. If you always practice in this way, then you will spend more time in God’s light, and more time under the guidance of His words, there will also be more and more changes in your disposition, and your knowledge will increase day by day. When the day comes and God’s trials suddenly befall you, you will not only be able to stand by God’s side, but will also be able to bear testimony to God. At that time, you will be like Job, and Peter. Having borne testimony to God you will truly love Him, and will gladly lay down your life for Him; you will be God’s witness, and one who is beloved by God. Love that has experienced refinement is strong, and not weak. Regardless of when or how God subjects you to His trials, you are able to care not whether you live or die, to gladly cast aside everything for God, and to happily endure anything for God—and thus your love will be pure, and your faith real. Only then will you be someone who is truly loved by God, and who has truly been made perfect by God.
from "Only by Experiencing Refinement Can Man Truly Love God" in The Word Appears in the Flesh
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT
Made some further progress on the bench over the past couple of days, building out the dust/shavings collection bin which can also double as a handy tool pit to keep a few gadgets at the ready.
Cheers! :)
Glenn H. Curtiss is considered the "Father of the Flying Boat," having developed the first practical and highly successful flying boat in 1913. His interest in aircraft that could operate from water was spurred almost as soon as he entered the nascent field of aeronautics. In 1911, Curtiss was awarded the prestigious Collier Trophy for the development of the hydroaeroplane (a land airplane mounted on floats) and he won the Trophy again the following year in recognition of his continued refinement of the design. In 1913, the Smithsonian Institution bestowed its Langley Medal upon Curtiss for these contributions to flight.
In January 1911 Curtiss flew one of his standard Model D pusher biplanes fitted with floats from the waters off San Diego, California. He later modified this airplane with the addition of wingtip floats for lateral balance. This aircraft was the basis of the early Curtiss Model E hydroaeroplane.
In 1911, Curtiss offered his standard Model E land airplane with engines ranging from a 40-horsepower four-cylinder to a 75-horsepower V8. The 75-horsepower version was also offered as a hydroaeroplane. Floats for the hydro version weighed 125 pounds and could be installed by trained mechanics in two hours.
The first airplane purchased by the U.S. Navy was a Curtiss Model E hydroaeroplane and was given the Navy designation A-1 in early 1911. The Navy purchased a second Model E in July 1911, with a more powerful 80-horsepower Curtiss OX engine, and designated it the A-2. It was also known as the OWL, standing for Over Water and Land. Modifications of the A-2 by the Navy led to re-designations of E-1 and later AX-1. These modifications, done at the Curtiss plant at Hammondsport, New York, included moving the seats from the lower wing to the float and enclosing the crew area with a fabric-covered framework, giving the aircraft the appearance of a short-hull flying boat.
The OWL, with its modified float, was developed into a true flying boat (the entire fuselage being a hull as opposed to mounting the aircraft on a separate float) by Curtiss in 1912, first with the Model D Flying Boat, and then a refined version, the Model E. The Model E Flying Boat was the first truly practical flying boat. It was powered by either a 60- or a 75-horsepower Curtiss V8 engine. Both the U.S. Army and Navy purchased Curtiss Model E Flying Boats, the Navy designating it the C-1.
The most successful version of the pre-war Curtiss flying boats was the Model F, which was produced in far greater numbers than any of the other models. It was offered in many variants and continued in production until 1919. The Navy designated it the C-2. The Model F perfected the flying boat design with the incorporation of a V hull, supplanting the less efficient flat-bottomed hull of the Model E. The Model F was well received by U.S. military and civilian markets, and with the onset of the First World War, Curtiss enjoyed substantial success abroad as well with sales of the Model F to England, Germany, France, Italy, Russia, and Japan.
During the course of his hydroaeroplane and flying boat development, Glenn Curtiss incorporated design innovations that made the seaplane a practical reality, beginning with the enclose hull, covered with fabric for strength and water tightness. Curtiss, with assistance from Royal Navy engineer Lt. John Cyril Porte, further enhanced the ability of waterborne aircraft to get off the water by constructing a mid-way "step" on the bottom of the float or hull. Water has adhesive qualities, especially when running over a curved surface, and early seaplanes had difficulty getting "unstuck" from the water, especially in calm seas. The addition of the step helped break up the water flow under the hull enabling the flying boat to get airborne more easily. Curtiss also added breather tubes to the flying boat hull. These were small copper tubes that ran from the inside of the hull to the undersurface step to relieve the low pressure under the hull and assisted the aircraft in becoming airborne.
Among the Curtiss Model E Flying Boats produced in 1913 was one sold to Logan A. "Jack" Vilas of Chicago. Vilas' Model E was powered by a 90-horsepower Curtiss OX engine. With this aircraft, Vilas made the first crossing of Lake Michigan, flying from St. Joseph, Michigan, to Grant Park on Chicago's waterfront in July 1913. Vilas donated the hull of his Model E Flying Boat to the Smithsonian Institution in 1949. Nothing else of the aircraft survives.
Botticelli was renowned for the refinement and sweet delicacy of his figures. Patronized by the leading families of Florence, he also received important public commissions and ran a large workshop with many assistants. This painting, intended for private devotion, possesses characteristics of Botticelli's later manner-a certain stiffness in the profiles and drapery folds, a continued elegance as in the hands of the Virgin and Saint John, and such improvised details as the free painting of roses on top of the lilies originally sketched at right. (MFA, BOSTON)
The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT
My old gas BBQ was one of the earlier Genesis models.
The three burners went from side to side and ignition was piezo electric with a burner tube that ran front to back to light the back two burners. It didn't have a side burner nor a fourth burner to sear meat.
On the latest model, the burners run front to back and there are four of them. Ignition uses an AA battery and ignites each burner separately.
I went for the stainless steel model, not simply for its looks but for the fact that the grills and flavouriser bars are stainless rather than stove enamelled steel and cast iron which I know from experience has a shorter life.
The circular centre of the grill is removable to accommodate so called "gourmet" accessories like a pizza stone.
Alex had a unique approach to the production of his design folio work. Alex was constantly drawing. He spent most of his classtime just drawing, even when he was supposed to be doing something else. He needed to draw to think. So what you see here isn't necessarily pretty but this folio is stuffed with ideas. Alex's approach demonstrates precisely and accurately the method of idea generation and refinement promoted by the department. Note the large number of drawings on eachpage. this allows the student to easily cross reference and tag from one idea to the next. Extensive annotation also helps to reveal design thinking and comments should always be relevant and refer back to the specification. It is clear that Alex has a thorough understanding of the more technical aspects of the course and he repeatedly suggests ways in which his concepts might be made.
Alex went on to do very well at Higher Product Design. Some of his work also features on this site. He's now studying maths at Warwick University.
NATO will continue the process of testing and refinement of the Very High Readiness Joint Task Force (VJTF) during part two of Exercise NOBLE JUMP, from 9 to 19 June 2015 in Zagan, Poland.
Die NATO setzt die Erprobung und Weiterentwicklung des Very High Readiness Joint Task Force (VJTF) während Teil zwei der Übung NOBLE JUMP in Zagan, Polen fort.
The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT
...his "proper" aesthetic era, Guimard threw himself into automotive innovations with a fervor of invention that he hadn't experienced since before the Great War. Spoilers and wide tires were seen as bizarre, or merely aesthetic refinements in the 1930's, and their practical worth was never put to the test, because the Panhard's temperamental engine never allowed the former architect's visionary technology to be vindicated with racing victories. The journalists barely contained their contempt, and not at all their amusement, the temperamental engine having not allowed a single start in the début season of 1935, while the Mercedes-Benz and Auto Union engineers were more guarded and curious.
The Belgian Grand Prix had been particularly ignominious, as an engine fire had quickly engulfed the bonnet as the V12 engine was started up, singeing Bernard Compère's eyebrows as he extricated himself from the vehicle and ran for safety. A ludicrous photograph was widely reproduced. The German press were quick to point out that the French designer was married to an American Jewish heiress.
The tuned exhaust with separate tailpipes for each of the twelve cylinders - another invention that anticipated the future practice of high-performance vehicles by decades - was shown in cartoons as a plate of noodles, and Varzi, who by then was driving for Auto Union, was duly photographed wearing a neck napkin (thoughtfully stained with engine oil) and holding a knife and fork, poised as though to eat it. The German Propaganda Ministry photographer had placed him so that the knife appeared to pierce the French tricolor that Guimard had artfully placed just in front of the rear wheel (the monocoque frame was yet another product of his fertile imagination) - nor was the significance of this gesture missed by the avid German readership of the racing periodicals, and the image was duly reprinted in the popular press for a more general audience.
By the German Grand Prix the problems seemed to have been solved. The practice runs at that point were being made before dawn, both as a matter of secrecy and as a precaution against further public humiliations. On the morning before the race, the car, with only its crew and Guimard himself in attendance, unofficially broke the track record - the journalists having quickly lost interest in what by that time appeared to be a pathetic sideshow in the Wagnerian drama of the German versus German "silver arrows". The elated inventor slept that night, briefly, rising before first light in a state of intense anticipation; but he arrived at the track to find the mechanics gloomy and the engine laid out in pieces, like a sumptuous but unappetizing buffet, on the shed floor.
He watched the race from the stands, impeccable in gloves and fedora, with cane, an incongruous Belle Epoque figure surrounded by the New Men of fascism, looking neither to right nor left, expressionless, as the drama of the race unfolded. His car was nowhere to be seen; nor was it to be, sadly, for the rest of the season - or indeed ever again. Perhaps he already knew that as he sat, silent, his posture erect, impassive, and yet somehow languid, a serene expression on his face, amid the animal cries of the spectators and the howling of the engines.
Goebbels, it was rumored, had wagered with the Führer himself about which German team would win, and was seated in the stands exactly in the middle, two-thirds of the way up, where he could fully enjoy the national triumph. A bald man in a dark suit sat beside him, the only one in civilian clothes in the crowd of black uniforms surrounding the Minister, talking animatedly, occasionally eliciting a smile. He pointed to the back of the lone figure of Guimard, situated below them, and mimed dramatically; only then did Goebbels look back at his companion and laugh.
The Frenchman's vindication, if he felt any at all, was private, incomplete, belonging uncertainly and precariously to a future that might never come (as his art must have seemed at that moment as well - at least the Hôtel Nozal, it may have occurred to him, had survived...); the only consolation in the present was the wholly inconceivable victory that day of Nuvolari in his Alfa Romeo P3.
The visual impact of L-finesse design is also applied inside the CT 200h. Here, simplicity of form harmonises with Lexus quality to create a uniquely calm, efficient and elegant space. Seated behind the sports steering wheel, drivers enjoy an ergonomically-refined cockpit.
And setting new standards for comfort and refinement in the luxury compact class, the modern five-seat cabin can be equipped with innovative Lexus Hard Disk Drive (HDD) Navigation, Mark Levinson® Premium Surround System and Electronic Climate Control.
The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT
The city’s architecture is typified by Nordic minimalism and refinement. Modernism, functionalism and the largest concentration of Art Nouveau buildings in Northern Europe make Helsinki a major city of architecture.
Many architects in Finland were greatly influenced by the Art Nouveau movement, but they added their own nationalistic favour to it. Finnish Art Nouveau buildings celebrate Finnish nature with nature themes (animals, pine cones, trees, plants, granite), and some have statues influenced by national folklore or the Kalevala.
Sources: visithelsinki & Tripadvisor websites
The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT
After about 5 refinement passes, the touch weight is usually pretty sweet and uniform. This may be further modified if the piano's owner/principal player requests over all changes.
Before modifying the key lead patterns, it is essential that the mechanical parts are in good uniform condition, well regulated, no rubbing parts, tight or loose action centers of key bushings causing irregular friction.
The Launch 22v is the perfect combination of size, refinement and performance. This 22.5-foot wakeboard boat welcomes a crew of 15 with room for gear and an interior geared toward luxurious accommodation. Completely redesigned for 2012, the 22V interior brings together intricate sections of multi-textured Syntec Nanoblock vinyls with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the Launch interior as comfortable as it is eye-catching. Supra has made the high-traffic path from the lounge to the swim step worry-free with a newly tooled rear seat step and transom walk-over covered in SeaDeck no-slip padding. The wakes are pro caliber and controllable with cockpit switch or the VISION dash, but the 22V is as much about the drive as it is the ride. Slicing through rough water with flat precise turns, the 22V is exhilarating to drive. The high and slow speed maneuvers are almost as impressive as you will look pulling them off. Available with a walk-through bow as a Sunsport or with the Launch playpen, the 22V captures your water sports boating lifestyle.
Overall Length w/o Platform: 22'6"
Overall Length w/ Platform: 24'6"
Overall Length w/ Platform & Trailer: 26' 4"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3900 lbs
Weight - Boat and Trailer: 5000 lbs
Capacity - Passenger: 15
Capacity - Weight: 2,100 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1450 lbs
Engine - Electronic Fuel Injection: 330 HP 5.7 L MPI w/ CAT