DeSoto Automobiles / USA: 1929 - 1961
View allAll Photos Tagged airflow
The Chrysler Airflow from 1934 was the first American production car to make use of streamlining to reduce air resistance.
Unfortunately it did lack sales due to it's appearance and therefore was a commercial failure.
Found in the Shanghai Auto Museum.
© All Rights Reserved - you may not use this image in any form without my prior permission.
This old cargo ship is a so called "Tjalk", a ship type dated from the 17th century.
This ship type has a round bow and is relatively narrow with a small shallow draft, because they were used to navigate the shallow water of the former Dutch "Zuiderzee" and the Wadden sea.
Because of this shallow it was not possible to use a ship's keel and to prevent the ship from drifting, the so called "swords" were placed on bothsides amidships that could be lowered into the water.
The ropes on the sides of the mainsail and jib serve to visualize the airflow on the sails.
These ships are in principle sailing museum pieces.
This photo was shot at Bay Trail in San Mateo City, where is located about 18 miles south of Downtown San Francisco. And the image was stacked with six shots including the distance downtown buildings. I ever tried my best to sharp the detail of those architectures, unfortunately the airflow was blurry and not so clear, which didn’t give me a helping hand. 😅
Took this shot of last night's 'Vibrant' sunset at 20.30pm, just before the sun dipped below the horizon, from the front of my home in the village of Betws yn Rhos, Conwy, North Wales looking West towards the hamlet of Cefin Isaf.
I used a Tamron 28-300mm lens at 50mm and a polarising filter, on a high setting, to mitigate the glare.
Once again, we're in a Northerly Artic Airflow - dry and sunny by day - albeit a cold breeze too and overnight frosts when calmer - resulting in such clear and colourful sunsets.
Compositionally, luckily I was able to use the rapidly moving Cumulus Clouds to good effect not only as an encircling frame but also to further diffuse the sun's brightness.
Well, maybe not. The Science Museum (London) have a display highlighting mathematics and aviation in the Winton Gallery. The display has a biplane flying through a large construct to represent mathematical shape of the airflow designed by Dame Zaha Hadid. This is just a tiny portion as I looked up from underneath.
Once I get the kink out of my neck, you can find me on Twitter
Another in the series on Egrets.
It was quite an experience to sit on the boat on the Daintree River in the later afternoon and watch hundreds of Egrets fly past, skimming the water on the way further down the river to roost.
"Skimming permits the birds to take advantage of an aerodynamic phenomenon known as "ground effect." The patterns of airflow around a wing that is operating close to a surface are modified by that surface in a manner that reduces drag, the resistance of the air to the progress of the wing"
The second images shows the birds flying even lower, almost touching the surface of the water not long after this image was taken.
Let the beautiful rose of Happiness bloom for all of us, the people of the Earth...The rose is a symbol of perfection,
Wisdom, and purity.
Recognized its supremacy,
Among the floral diversity.
In the petals, the queen keeps,
The secret of tenderness, love.
Everyone can enjoy,
The standard of beauty.
Roses bouquet - charm,
Gives the symbol of each color:
Red - the path to love, recognition,
White - purity covenant....I wish everyone a successful week! Let the days of the week be full of pleasant surprises, bringing something beautiful and unusual into your lives, my friends. I wish you happiness and good health for the entire week, as well as good weather and a great mood!
or is it a hornet'? I don't even know, I just know they let you come really close, although they watch you intently it seems. The first 3 images taken on the phone. I had to take the nest off (after observing the interesting process for a while) because I needed to get into that space. The last one taken indoors on my proper camera, together with a previously found nest. The 3rd image shows the wasp/hornet being perfectly still but moving the wings, not sure if it was creating an airflow and if so why. I created a bw image because the WB was all over the place.
Long since gone are the days of 'Scarecrows' and other 'Bird Scaring Devices'.
In recent years, farmers have made increasing use of Bio-degradable ventilated polythene films to protect and provide optimum growing conditions for their vegetable crops. The sheeting also has small holes providing airflow to ensure maximum quality yield.
Took this early morning shot from the rear of my home in Betws yn Rhos, Conwy, North Wales overlooking adjacent farmland. The farmer has recently planted a Sweet Corn crop after last week ploughing and tilling the field. The sheeting will remain in place as the crop grows until its harvested.
Compositionally several factors attracted me in taking this shot...the polythene's lines enhancing perspective, the side light glistening and reflecting on it, the tree silhouettes and framing. In taking the shot with a Tamron 28-300mm lens, I also used a polarising filter to mitigate the reflecting light.
The scene also evoked childhood memories of my singing one of the most performed hymns in the United Kingdom - especially at School and Church Harvest Festivals...." We plough the fields and scatter the good seed on the land"....
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Au centre de l’image, un **jeune couple asiatique profondément amoureux** s’enlace sur une terrasse impériale dominant une immense cité orientale nocturne. Leurs corps sont proches, leurs fronts presque joints, dans un instant suspendu d’intimité absolue. La scène exprime simultanément passion, tendresse, mystère, monumentalité et merveilleux.
La jeune femme possède de longs **cheveux noirs profonds**, emportés spectaculairement vers la gauche par le vent. Chevelure abondante et majestueuse mais physiquement crédible : regroupements naturels de mèches, diamètres différents, courbures irrégulières, chevauchements organiques, quelques cheveux fins isolés et véritable profondeur entre les différentes couches. Les cheveux réagissent au même courant d’air que sa longue traîne et les pétales.
Son visage est délicat, naturel et expressif, avec une peau humaine crédible : pores extrêmement fins, microreliefs cutanés irréguliers, légères variations naturelles de carnation, minuscules imperfections presque imperceptibles et transitions organiques entre lumière rouge, lumière chaude et ombres. Aucun effet de porcelaine, plastique, cire ou lissage numérique.
Le jeune homme possède également un visage naturel et crédible, avec microtextures cutanées fines, variations subtiles de carnation et transitions lumineuses organiques. Son expression est tendre, protectrice et profondément absorbée par la jeune femme.
Leurs fronts sont presque joints, leurs visages extrêmement proches. La main de la jeune femme repose délicatement sur le torse du jeune homme tandis que son bras entoure sa taille. Anatomie naturelle, mains correctement proportionnées, contacts physiques crédibles et aucune pose artificielle.
Les deux personnages portent de somptueux **costumes cérémoniels impériaux rouge, noir et or**. La jeune femme est vêtue d’une robe rouge sombre et noire richement brodée d’or, prolongée par une **immense traîne rouge translucide et brodée** emportée vers la gauche par le vent. Le jeune homme porte une longue tenue noire impériale ornée de broderies dorées complexes.
Les textiles présentent poids, épaisseur, plis, tensions et mouvements physiquement cohérents avec les corps et le vent. Les broderies dorées possèdent de légères irrégularités artisanales et réagissent différemment à la lumière selon leur orientation : certains fils brillants, d’autres satinés ou presque mats. Aucun motif artificiellement répété.
Derrière le couple domine une **lune rouge gigantesque et surnaturelle**, absolument monumentale, occupant une immense partie du ciel. Elle constitue le deuxième grand point focal après les personnages. Son intensité rouge est spectaculaire : écarlate, cramoisie et rouge sang, avec une présence presque écrasante mais harmonieusement intégrée à la scène.
Sa surface présente une crédibilité physique remarquable : cratères de tailles et profondeurs variées, reliefs organiques, différences subtiles de rugosité, zones légèrement plus sombres, fractures et structures minérales naturelles. Aucune surface uniformément détaillée ou artificiellement lumineuse.
Les contours de la lune sont légèrement adoucis par les couches atmosphériques. Sa lumière rouge se diffuse naturellement dans les nuages, la brume et l’atmosphère de la cité, créant une présence surnaturelle mais physiquement intégrée au monde.
Sous la lune s’étend une **gigantesque cité impériale orientale nocturne**, composée d’innombrables pagodes, toitures sombres, tours, temples et milliers de petites lumières rouge-or. Les architectures proches sont détaillées, les quartiers intermédiaires progressivement moins contrastés, tandis que les structures les plus lointaines disparaissent subtilement dans une brume rouge nocturne.
De grandes **lanternes rouges richement ouvragées** encadrent la scène sur les côtés. Leur lumière est chaude et localisée, avec structures métalliques crédibles, verre légèrement irrégulier et variations naturelles d’intensité. Aucun halo excessif.
Des branches couvertes de **fleurs rouges profondes** encadrent le ciel et renforcent naturellement la composition sans masquer la lune.
Plusieurs **pétales rouges sont transportés par le vent**, avec tailles, distances, orientations et trajectoires différentes. Certains sont parfaitement nets, d’autres légèrement flous par la vitesse ou la profondeur de champ, quelques-uns vus sur la tranche. Leur mouvement suit exactement le même courant d’air que les cheveux et la longue traîne de la jeune femme.
L’éclairage mélange la lumière rouge surnaturelle de la lune, la chaleur des lanternes et de subtils reflets dorés sur les broderies. Les visages restent lisibles et naturels, avec de véritables zones d’ombre et aucune illumination rouge uniforme.
**Palette rouge-noir-or** : rouges écarlates, cramoisis, rubis et rouge sang ; noirs profonds et riches ; or chaud, satiné et légèrement vieilli. Les noirs conservent leurs détails et empêchent le rouge de recouvrir uniformément toute l’image.
Profondeur cinématographique exceptionnelle : quelques pétales proches légèrement flous → couple parfaitement défini → terrasse et lanternes → cité monumentale → lune gigantesque et ciel. Chaque plan perd progressivement détails et contraste avec la distance.
Composition monumentale et romantique : **couple central → immense lune rouge → cité impériale**. La lune forme une présence presque sacrée derrière les deux personnages tandis que la traîne et les cheveux ouvrent la composition vers la gauche. Lanternes, fleurs et architecture encadrent naturellement le couple.
Atmosphère générale : **passion éternelle, amour interdit, nuit impériale, sensualité élégante, poésie sombre, romantisme monumental, mystère et puissance surnaturelle**.
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At the center of the image, a **young Asian couple deeply in love** embraces on an imperial terrace overlooking an immense nocturnal East Asian city. Their bodies are close, their foreheads nearly touching, suspended in a moment of absolute intimacy. The scene conveys passion, tenderness, mystery, monumentality, and wonder simultaneously.
The young woman has long, **deep-black hair**, swept dramatically toward the left by the wind. Her hair is abundant and majestic yet physically credible: naturally grouped strands, varying diameters, irregular curves, organic overlaps, a few isolated fine hairs, and genuine depth between the different layers. Her hair reacts to the same airflow as her long train and the drifting petals.
Her face is delicate, natural, and expressive, with credible human skin: extremely fine pores, irregular skin micro-relief, subtle natural variations in complexion, almost imperceptible tiny imperfections, and organic transitions between red light, warm illumination, and shadow. No porcelain, plastic, waxy, or digitally smoothed appearance.
The young man also has a natural and credible face, with fine skin microtextures, subtle variations in complexion, and organic lighting transitions. His expression is tender, protective, and completely absorbed by the young woman.
Their foreheads are almost touching, their faces extremely close. The young woman’s hand rests delicately against the young man’s chest while his arm wraps around her waist. Natural anatomy, correctly proportioned hands, physically credible contact, and no artificial posing.
Both characters wear sumptuous **imperial ceremonial garments in red, black, and gold**. The young woman wears a dark red and black gown richly embroidered with gold, extending into an **immense translucent embroidered crimson train** swept dramatically toward the left by the wind. The young man wears a long black imperial robe decorated with intricate golden embroidery.
The textiles display physically coherent weight, thickness, folds, tension, and movement in relation to the bodies and the wind. The golden embroidery contains subtle handcrafted irregularities and reacts differently to the light according to its orientation: some threads gleaming, others satin-finished or almost matte. No artificially repeated patterns.
Behind the couple rises a **gigantic supernatural red moon**, absolutely monumental and occupying an immense portion of the sky. It forms the second major focal point after the characters. Its red intensity is spectacular: scarlet, crimson, and blood-red, with an almost overwhelming presence that remains harmoniously integrated into the scene.
Its surface displays remarkable physical credibility: craters of varied sizes and depths, organic relief, subtle differences in roughness, slightly darker regions, fractures, and natural mineral structures. No uniformly detailed or artificially luminous surface.
The moon’s edges are slightly softened by atmospheric layers. Its red light naturally diffuses through clouds, mist, and the atmosphere above the city, creating a supernatural presence that nevertheless feels physically integrated into the world.
Beneath the moon stretches a **gigantic nocturnal imperial East Asian city**, composed of countless pagodas, dark rooftops, towers, temples, and thousands of tiny red-and-gold lights. Nearby architecture remains highly detailed, intermediate districts gradually lose contrast, while the most distant structures subtly disappear into the red nocturnal haze.
Large **elaborately crafted red lanterns** frame the scene on both sides. Their illumination is warm and localized, with credible metallic structures, subtly irregular glass, and natural variations in brightness. No excessive halos.
Branches covered with **deep red blossoms** frame the sky and naturally reinforce the composition without obscuring the moon.
Numerous **red petals drift through the wind**, varying in size, distance, orientation, and trajectory. Some are perfectly sharp, others slightly blurred by speed or depth of field, with a few seen edge-on. Their movement follows exactly the same airflow affecting the woman’s hair and sweeping train.
The lighting combines the supernatural red glow of the moon, the warmth of the lanterns, and subtle golden reflections across the embroidery. The faces remain readable and natural, with genuine shadow regions and no uniform red illumination.
**Red-black-gold palette**: scarlet, crimson, ruby, and blood-red tones; rich, profound blacks; warm, satin-finished, subtly aged gold. The blacks retain visible detail and prevent the red from uniformly covering the entire image.
Exceptional cinematic depth: a few nearby petals slightly blurred → perfectly defined couple → terrace and lanterns → monumental city → gigantic moon and sky. Each successive plane progressively loses detail and contrast with distance.
Monumental romantic composition: **central couple → immense red moon → imperial city**. The moon forms an almost sacred presence behind the two characters, while the woman’s train and hair open the composition toward the left. Lanterns, flowers, and architecture naturally frame the couple.
Overall atmosphere: **eternal passion, forbidden love, imperial night, elegant sensuality, dark poetry, monumental romance, mystery, and supernatural power**.
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`--ar 16:9 --v 8.2 --style raw --q 2 --s 450 --chaos 3 --exp 25`
12 days after my earlier post of 29.4.2021, sees the sun setting one half hour later at 21.00pm.
Took this shot of last night's 'Vibrant Sky' at 21.15pm, just after the sun had dipped below the horizon, from the front of my home in the village of Betws yn Rhos, Conwy, North Wales looking West towards the hamlet of Cefin Isaf.
I used a Canon EOS 1200D camera with a Tokina 11-16mm wide angle lens set at 16mm, F5.6, ISO 100 and 1/40second exposure.
Now, we're in a warmer South Westerly Airflow - with blustery winds and intermittent squally rain - but still resulting in such colourful sunsets.
Compositionally, luckily I was able to use the rapidly moving Cumulus Clouds(to the left and bottom) contrasting with the Alto Cumulus Clouds (above and to the right) to good effect not only as an encircling frame but also to further diffuse the sun's brightness.
This White Pelican was flying very low over the water at Frank Lake, Alberta.
When birds flies less than a wingpsan’s distance from the ground, flight is much more efficient due to slight changes in airflow patterns around the wing. Land is usually too cluttered with grass and trees and whatnot to permit such flight, but calm waters are perfect for it.
-Pelecanus erythrorhynchos
With a dominant airflow from the southwest the west coast of New Zealand is a place of wild beaches exposed to almost continuous onshore oceanic swells from the Tasman Sea. Northlands's Ripiro Beach is 107 km long from Maunganui Bluff in the north (barely visible through the sea spray) to the Kaipara Harbour entrance in the south. It is a lonely beach with just 3 small settlements along its length, an ideal place for landyachting, kite buggying or surfcasting. The brown patches in the surf are plankton, a crucial source of food to many small and large aquatic organisms.
Another in the series on Egrets.
It was quite an experience to sit on the boat on the Daintree River in the later afternoon and watch hundreds of Egrets fly past, skimming the water on the way further down the river to roost.
"Skimming permits the birds to take advantage of an aerodynamic phenomenon known as "ground effect." The patterns of airflow around a wing that is operating close to a surface are modified by that surface in a manner that reduces drag, the resistance of the air to the progress of the wing"
One of the few to survive the Great Depression, and although the Imperial is long gone, Chrysler still limps along. In the Art Deco era, they produced some magnificent cars, and, depending on your view of the Airflows...some 'interesting' cars.
Enlarge for details of the Badge. Hand Held
Tillandsia recurvata, commonly known as small ballmoss or ball moss, is a flowering plant (not a true moss) in the family Bromeliaceae that grows upon larger host plants. It grows well in areas with low light, little airflow, and high humidity, which is commonly provided by southern shade trees, often the southern live oak (Quercus virginiana). It is not a parasite like mistletoe, but an epiphyte like its relative Spanish moss.
-Wikipedia
These things are pretty in the late afteroon sun -
In 1902, the first production Franklin was sold. Now in the Smithsonian, it had a 4-cylinder overhead valve engine mounted crosswise in the front, along with the first float carburetor and the first throttle control. It depended on forward motion to provide airflow for cooling, just as airplanes do today.
A new 1928 line, labeled the “Airman”, was introduced at the beginning of Oct. 1927, well in advance of the National Auto Show scheduled for January 1928. In May of the same year, Charles A. Lindbergh flew the first successful solo trans-Atlantic flight from New York to Paris in the plane known as the “Spirit of St. Louis”. Capitalizing on this, Franklin’s “Airman” was quickly associated with Charles A. Lindbergh as the company offered one as a gift.
This 1932 five passenger Franklin “Airman” Sedan houses a supercharged 6 cylinder, 100 Hp, 4.49 liter, 274 cubic inch engine and has a 3.25 bore and 4.75 stroke. The 4-door Sedan sits on a 132 in. wheelbase with full elliptical springs and had a factory price of $2,345. 1,905 examples of 1932 Series 16-A, Model 163 Airman, were built in 1932. Franklins ceased production in 1934.
Auto World Museum
Beautifully presented in desert camouflage, this aircraft was built in 1943 and saw service in Malta and Italy.
Pilot Andy Monk is flying this Spitfire Mk.IX, serial LZ842. The landing flaps are down, and again we can see how they block the airflow through the underwing radiators.
A very 'orange' looking picture, but the white lettering and grey of the bare metal wheels looks correct. The grass is brown from lack of rain, and it was captured in the late afternoon as the sun was starting to go down. Planes always seem to bounce a few times on landing here, and we can see that although the aircraft is not touching the ground, the wheel is spinning, indicating that it is in mid-bounce. Shuttleworth Summer Air Show at Old Warden, where the infamous Shed just managed to sneak into the frame.
www.holyspiritspeaks.org/videos/god-himself-the-unique-vi...
Introduction
God’s words in this video are from the book “Continuation of The Word Appears in the Flesh”.
The content of this video:
1. The Basic Living Environment God Creates for Mankind
3) Sound
4) Light
5) Airflow
Terms of Use： en.godfootsteps.org/disclaimer.html
The top of the gap is 1,250 meters above sea level. It is located near the 54th kilometer of the Alishan Highway. It is the closest foggy spot on the Alishan Highway (54-56K). At the same time, it is also a place to look at the sunrise. Therefore, it used to be called "The Dome". From Longmei to the top of the road, as the road climbs with the mountain, the airflow of Bazhangxi and the upper reaches of Zengwenxi meets here, forming a unique cloud waterfall landscape. From the observation deck of the Second Yanpingshan Trail, the cloud can be felt most. The dynamics of the waterfall, in addition, whenever the snow falls in the winter of Yushan, the white snow of the mountain can be seen at the top of the gap and along the Shantou.
Originally, in order to rush to Alishan, the tourists came to the top of the gap. Nowadays, local farmers and artists organize leisure agriculture areas, and strive to promote the top of the Alishan front yard. Not only can you view the mountain scenery such as sunrise and cloud sea, but also local flavor meals and tea gardens and coffee fragrance. This attraction, which has gradually attracted the attention of tourists, has indeed had a rich history of humanities in the past. It turns out that the gap top belongs to Gongtian Village in Fanlu Township. In the history of Taiwan's development, in the early days, carbon, medicine, vine, sawing, cutting, brain peeling, palm peeling and papermaking were the mainstays. The place names are derived from the high-rise confrontation between the Gengdingshan and the Eryanping Mountain. The ancestors took the pores into the mountains. According to the topographical features, the name was “Gap”.
Thank you for stopping by !!
From this angle the curved structure looks like an owl to me, but it actually represents airflow around the Handley Page aircraft suspended nearby. The design was driven by equations of airflow used in the aviation industry, which are still an important area of mathematical research. Dame Zaha Hadid trained first in mathematics before studying architecture, and the work of her practice is strongly informed by ideas about geometry.
What you see here is a classic example of how even ugly cars (IMO) can have interesting, and sometimes even beautiful details that are worth highlighting in a photo. The car, a 1939 "sharknose" Graham was one of those cars that had very limited success, and was widely not accepted by the 1938-1940 buying public. And, probably even less than the controversial designs of Chrysler's Airflow models of the middle thirties. It's unique design, for the times, with it's protruding hood and front fenders gave it it's shark like looks, and it's subsequent moniker, "sharknose Graham." Most would agree that it was a diving catch for the Graham-Paige automobile company at the time that was significantly suffering financially far greater than most of it's competitors. Unlike some company's that had rebounded some from the Great Depression Graham had not been one of them. And this was in spite of having some very good earlier successes with their early thirties Blue Streak models, a car that had also been designed by the talented Amos Northrup who had penned and designed the sharknose above. But, by the end of the decade the country was entrenched in a deep recession that impacted the overall auto industry, and that had car sales off by slightly over 50%. However, that was still somewhat better than what Graham was experiencing at the time with it's sales by 1939 being off slightly more than 70%. Needless to say Graham-Paige Company did not survive long into the 1940's, and the sharknose was it's final nail in the coffin! Ironically, and also sadly, Amos Northrup did not live to see his final design effort go into production. He had taken a bad fall on ice and died from a fractured skull before production on the car had begun.
My shot above, as I noted, is a detail of just a small portion of the hood, grill, and headlight on the subject car. As what's often the case it's hood was open which only proved to minimize it's bizarre shark nosed appearance so I managed to find a photo off the internet in the inset so that you can see a bit of the looks, and style of the front of the car.
Vince
There was a strong cross-wind that day, and I believe the tail-high attitude enables the pilot to keep the rudder in the airflow for longer and control the aircraft's direction with more authority.
Many times people comment that the Marble Canyon area can look like Mars ... even with daytime images there. I agree with them.
This one here in the night ... could have been taken on Mars ;)
The green airflow in the night was strong at this time.
By 1935 Art Deco designs already in it's 25th year were starting to be on the downside of the curve, although it still was a major design influence in the United States. Although still quite popular the looming war in Europe was about to bring that trend to an end by 1939.
The style became popular in Paris, around 1910, and over the following 10 years it had crossed the shores to America where it became a popular design style in architecture, furnishings, visual arts, and many other things, including automobiles. And to this day, the style still appeals to many, and to me included. However, Art Deco, albeit popular in it's day, surely was not the case for Chrysler Corporation with it's new, sleek, streamlined Airflow models, which were heavily influenced with Art Deco design elements, but that quickly became the Edsel of that period! In spite of it's new and modern wind tunnel designed body with headlights molded into the body, and probably a first for that period when most others were still standalones mounted above the fenders, it just never grabbed the attention of the buying public. Yes, at first there was a lot of enthusiastic bluster and hoopla, but it died as quickly as it started. Arguably, some would say "ahead of it's time," but Art Deco designs were quite solidly entrenched and accepted at the time. Or, was it the shape of the car with it's headlights now integrated into the body that the buying public was just not ready for? We can all agree that the buying public is a fickle lot, and it doesn't take long for them to spread the news on a product, whether good, or bad. I suppose it looks like "An Olds sucking a lemon" became the catchphrase and possible death knell for Edsel?
When most of the US auto manufacturers were still pumping out six figure, or near six figure production numbers with their cars Chrysler's Airflow designs was quite the antithesis of those figures. In 1935, the Chrysler Airflow sold a paltry and abysmal number at under 7800 units, and the above survivor was one of them. And, when it comes to the appeal, or lack of on this car, I don't believe it's changed much since "it's day!" People still either love them, or hate them, regardless of the reason! But, I suppose you could say kudo's to Chrysler for trying to jump ahead of the pack. But, kudo's do not help to pay the bills.
Vince
NYS&W 3618 sits at the Oakland Steam pedestrian crossing while spotting cars at Astro/Plastic Express. Its a humid Summer night long after dark as the crew still has the door propped open for airflow.
By 1935 Art Deco designs already in it's 25th year were starting to be on the downside of the curve, although it still was a major design influence in the United States. Although still quite popular the looming war in Europe was about to bring that trend to an end by 1939.
The style became popular in Paris, around 1910, and over the following 10 years it had crossed the shores to America where it became a popular design style in architecture, furnishings, visual arts, and many other things, including automobiles. And to this day, the style still appeals to many, and to me included. However, Art Deco, albeit popular in it's day, surely was not the case for Chrysler Corporation with it's new, sleek, streamlined Airflow models, which were heavily influenced with Art Deco design elements, but that quickly became the Edsel of that period! In spite of it's new and modern wind tunnel designed body with headlights molded into the body, and probably a first for that period when most others were still standalones mounted above the fenders, it just never grabbed the attention of the buying public. Yes, at first there was a lot of enthusiastic bluster and hoopla, but it died as quickly as it started. Arguably, some would say "ahead of it's time," but Art Deco designs were quite solidly entrenched and accepted at the time. Or, was it the shape of the car with it's headlights now integrated into the body that the buying public was just not ready for? We can all agree that the buying public is a fickle lot, and it doesn't take long for them to spread the news on a product, whether good, or bad. I suppose it looks like "An Olds sucking a lemon" became the catchphrase and possible death knell for Edsel?
When most of the US auto manufacturers were still pumping out six figure, or near six figure production numbers with their cars Chrysler's Airflow designs was quite the antithesis of those figures. In 1935, the Chrysler Airflow sold a paltry and abysmal number at under 7800 units, and the above survivor was one of them. And, when it comes to the appeal, or lack of on this car, I don't believe it's changed much since "it's day!" People still either love them, or hate them, regardless of the reason! But, I suppose you could say kudo's to Chrysler for trying to jump ahead of the pack. But, kudo's do not help to pay the bills.
Vince
www.holyspiritspeaks.org/videos/god-himself-the-unique-vi...
Introduction
God’s words in this video are from the book “Continuation of The Word Appears in the Flesh”.
The content of this video:
1. The Basic Living Environment God Creates for Mankind
3) Sound
4) Light
5) Airflow
1937 Chrysler Royal C-16 4 door sedan.
The "Royal" nameplate was used for one year in 1933 when the Airflow replaced the Royal in 1934, then brought back in 1937 when the Airflow sold poorly, and was sold alongside the Airflow which continued to offer the Chrysler Straight Eight.
A November 1936 advertisement listed the 1937 Royal as available in ten body types, starting at US$715 ($13,335 in 2020 dollars), with the four door sedan at US$815 ($15,200 in 2020 dollars). The 1937 Royal Series C-16 was installed with the Chrysler Straight Six and took the entry-level position in the Chrysler hierarchy, while being shared with the DeSoto Airstream.
In 1939 the Series C-22 Royal introduced the "Royal Windsor" nameplate as a trim package, then in 1941, the "Royal", "Windsor" and "Highlander" became separate nameplates sharing the same wheelbase but only using the Straight Six, with "Windsor" models offering more standard features and a higher standard interior over the "Royal".
The Chrysler Airflow is a full-size car produced by Chrysler from 1934 to 1937. The Airflow was the first full-size American production car to use streamlining as a basis for building a sleeker automobile, one less susceptible to air resistance. Chrysler made a significant effort at a fundamental change in automotive design with the Chrysler Airflow, but it was ultimately a commercial failure due to a lack of market acceptance and controversial appearance. en.wikipedia.org/wiki/Chrysler_Airflow
We're in the middle of car show season. I've been to two already, going to another one tomorrow, and at least three more by the fall. So, buckle up! You're gonna see a lot more car-related pictures for a while. I'll try to throw in the occasional murder shack, wall, and flower shot just to mix it up. Maybe even a train picture!!!
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Geneva Car Show
Geneva, Illinois 41.886569, -88.309462
July 31, 2025
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