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Chitty Chitty Bang Bang 1968
This car is the final road version used in the "truly scrumptious" 1968 film, Chitty Chitty Bang Bang. From Ian Fleming's story, the Chitty car was brought to life by Ken Adam - famous for his production designs for James Bond films and cartoonist/sculptor Frederick Rowland Emett.
As racing car number 3, Chitty is seen at the start of the film at the 1908 German Grand Prix during which it crashes.
The car was reconstructed by W.G,. Grant using original components from the number 3 racing car. Fitted with a Ford 3000 V6 engine and automatic transmission, the car was allocated the genuine British registration number 11 GEN.
Five other car props were built for the film including the hover and flying versions.
Chitty Chitty Bang Bang car, 1967
Originally built by Alan Mann Racing, Hertfordshire
Restored by W.G. Grant
Lent by Gordon Grant until early 2017
Fundraising for Strathcarron Hospice ▼
strathcarronhospice.net/fundraising/
INTERNET & DIGITAL WEB▼
Lavorazione meccanica di tornitura su tornio verticale Morando VHN 30 e fresatura di cassa esterna per compressore.
This is my MeKeVoRkA costume I made a few years ago. The chest plate is using an EL sequencer that has been modified to use a larger inverter. Unfortunately the photos don't show all the strands lit at once. There is a Basic Stamp microcontroller that is used to activiate a laser module and the red eyes in the mask. The mask also has a microphone that goes to a voice changer box and 10W audio amplifier. All the EL wire interferes with the audio, but I think it sounds kinda cool. There's a video with sound on YouTube, see above for the link.
The belt pack contains the audio amplifier + voice changer circuits, the Basic Stamp board, the hacked sequencer, three EL wire drivers and two sets of eight AA rechargable batteries to power it all for about 3 - 4 hours.
An equipment room houses the “head-end” components that include the Base Station Interface Unit or BIU, and Optical Distribution Unit or ODU and a DAS Management System.
Photo Credit: SoLID Technologies
Because a lot of my sculptural work comes under the umbrella of assemblage I tend to collect large quantities of found objects and materials - always being drawn the things and forms that have a certain resonance, but not always knowing what I will eventually use them in.
In this drawing I have taken a few of these items and, without trying to concern myself too much over matters of how the individual forms relate to each other, I've attempted to morph them all together. This proved to be more easily said than done, as a life time of drawing, awareness of perspective and of trying to accurately create the illusion of 3D forms in a 2D plain can hard wire the brain to following certain rules. None the less I'm quite happy with how it turned out - there are some interesting connections going on. A friend recently said that there was a lot of sexual imagery in the piece. I'm not sure if that says something about him or me.
Anyway - this work has just gone on display in Vamalgam 4, the Victoria and Albert Museum's new staff show. This year's exhibition is the biggest of the four shows, with some of the best work yet. The work ranges from painting, to photography, to drawing, to mixed media and showcases the diverse creative abilities of the people who make up the V and A Museum.
Upper West Side, Manhattan, New York City, New York, United States
Summary
The 354 Central Park West House is one of a group of five neo -Renaissance style houses, designed by Gilbert Schellenger and built in 1892-93 for Edward Kilpatrick. It is a component of one of two surviving rows of houses on Central Park West and the only one of the two that is intact, recalling a period when there were still many undeveloped blockfronts along Central Park West and the adjacent side street parcels were still only sparsely developed. This house is a rare survivor of the earliest development of Central Park West where there was a mixture of many building types ranging from small wooden shacks to small apartment houses and flats to individual single family houses.
The construction of this house and the others of the row was the result of a restrictive agreement between the developer Edward Kilpatrick and the adjacent Scotch Presbyterian Church, an agreement which helped insure the survival of the houses. The use of light-colored Roman brick, stone and terra cotta and neo-Renaissance detail reflects the fashion for simplicity and discretely applied ornament, as in the classically-inspired carved ornament of the oriels.
The overall design composition of the house is part of an A-B pattern with an alternating rhythm of oriels. This treatment adheres to a tradition set with the houses Henry Hardenburgh designed for Edward Clark in 1882 on West 73rd Street.
Development of Central Park West
Central Park West, the northern continuation of Eighth Avenue bordering on the park, is today one of New York's finest residential streets, but in the mid-nineteenth century it was a rural and inhospitable outpost, notable for its rocky terrain, browsing goats and ramshackle shanties.
With the creation of Central Park in the 1860s, according to the 1857 design of Frederick Law Olmstead and Calvert Vaux, followed by Riverside Park , as well as a series of transportation improvements such as the Ninth Avenue Elevated Railroad , the Upper West Side experienced a period of intense real estate speculation. The 1880s were the first decade of major development, and generally set the pattern for the Upper West Side, where rowhouses line the side streets, and multiple dwellings, commercial and institutional structures are sited on the avenues, although Central Park West was an exception
Not surprisingly, those avenues closest to the parks, Central Park West and Riverside Drive, were immediately considered the most desirable.
The potential of the parkside avenues for development as prime locations led to an anticipatory increase in land values; prices rose to such extravagant heights that many speculative builders shied away from row house and tenement construction, from which they would realize relatively meager returns, while the very wealthy, who could afford to build mansions, for the most part remained on the more fashionable East Side.
As a result, the development of Central Park West, as well as immediately adjacent side street parcels, lagged behind the general development of the Upper West Side. In early 1893, Central Park West was described as another of the undeveloped avenues on the West Side. It fell asleep waiting for its possibilities. Scarcely anything was done on the avenue during [1891 - 92], certainly nothing of a determining nature. High prices and the lack of restrictions hold the thoroughfare from the builder's hand.
The stage had been set by two great monuments, the American Museum of Natural History between 77th and 81st Streets, , and the Dakota, the pioneering luxury apartments at 72nd Street . Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses.^
A few rather unprepossessing apartment hotels were constructed, among them the San Remo at 75th Street, designed in 1890 by architect Edward Angell, the Beresford at 81st Street, and the Majestic just south of the Dakota. Five-story flathouses were another residential building type. The same 1893 commentary suggested: "The improvements on the avenue thus far seem to point to its being occupied, from a residence point of view, mainly by first-class flats and apartment hotels. . . . A number of handsome residences will no doubt also creep in here and there."
Among the "handsome residences" built on Central Park West during this period were three group of rowhouses -- 235-239 Central Park West, five houses at the southwest corner of 84th Street, none of which survive; 241-249 Central Park West , nine houses between 84th and 85th Streets of which three survive; and 351-355 Central Park West , all of which survive. It was not until the turn of the century that Central Park West's construction boom began and it emerged as a boulevard of elegant tall apartments punctuated by impressive institutional buildings, thus making the five houses at 351-355 Central Park West -- constructed before the avenue's future was determined and when large sections of the avenue and the Upper West Side were still open land - - rare survivors of the earliest development of Central Park West.
The Development of the Houses at 351-355 Central Park West
Like many rowhouses built on the Upper West Side and other rapidly developing areas of the city in the 19th c entury, the five rowhouses at the northwest corner of Central Park West and 95th Street were constructed as a speculative development, in this case for sale to prosperous middle-class families.
The builder-developer Edward Kilpatrick , born in Ireland, immigrated to the United States at the age of 11 and learned the carpenter's trade. In the late 1860s Kilpatrick worked as a building subcontractor, establishing himself as a builder and developer on the Upper West Side by the 1880s. In the early 1890s Kilpatrick set up a lumber yard and factory for the making of interior trim at 42 West 67th Street. By this time he had under construction ten houses on the south side of 96th Street between Central Park West and Columbus and thirteen houses on West End Avenue between 97th and 98th Streets.
Kilpatrick's 96th Street site was adjacent to a parcel of land on Central Park West which extended along the blockfront between 95th and 96th streets, 201 feet, 4 inches long and 100 feet deep.
The Scotch Presbyterian Church was interested in the site and wished to build both a new church building and a school building. The church and Kilpatrick entered into an agreement in July 1892 to allow him to develop the southern portion of the Central Park West frontage with the proviso that as long as nothing was built on the church's Central Park West parcel except the church edifice and one private one-family dwelling , Kilpatrick would restrict construction on his parcel to "private dwelling houses of not more height than four stories with basement and designed for the use of one family."^
Because of these restrictions the houses would be lower than the adjacent church tower. The rowhouse commission was given to Gilbert A. Schellenger, who also worked with Kilpatrick on other Upper West Side projects, and construction was completed in June 1893.
Kilpatrick began to sell the houses in March 1894: No. 351 to John G. Gerken, sold again to tobacco merchant and manufacturer Solomon Schinasi in 1903; No. 352 to Emilie Schumacher; No. 353 to James P. Cahen; No. 354 to Julius P. Cahen; and No. 355 to Catherine C. Carroll. The restrictions governing the church and Kilpatrick were also contained in the deeds and ultimately helped insure the survival of the houses.
Gilbert A. Schellenger
The education, training, and background of Gilbert A. Schellenger are obscure, but he was a major contributor to the development of the Upper West Side. Based on records of his work as listed in the Department of Buildings he was active between about 1882 and 1904 and specialized in residential architecture, designing rowhouses, tenements, flathouses, and small apartment buildings.
A skilled designer, he followed contemporary stylistic trends: Romanesque Revival in the 1880s and early 1890s; Queen Anne in the late 1880s; neo-Renaissance in the 1890s; and Beaux-Arts at the turn of the century. His rowhouse designs may be found on the Upper East Side, in Carnegie Hill and Harlem, while examples of his apartment houses may be seen in Greenwich Village. He was particularly active on the Upper West Side; over 200 buildings designed by him remain extant.
These were usually not single buildings designed in isolation but rows of houses or groups of tenements. Occasionally, as in the group of eight houses and three tenements seen at the southeast corner of 69th Street and Columbus Avenue, he designed the two building types in conjunction. Four houses of Schellenger's design, Nos. 17-23 West 95th Street, were under construction when he received the Central Park West commission.
These 95th Street houses employ both Romanesque Revival and neo-Renaissance detail , are faced in brownstone, and have facades dominated by their oriels. Other examples of his work designed in 1891/92 are similar. These include a group of tenements at 448-454 Amsterdam, and rows of houses at 27-51 West 70th Street, 8-20 West 71st Street, and 14-16 West 82nd Street.
The Design of the Houses at 351-355 Central Park West
Schel lenger's Central Park West group may be seen as a continuation and outgrowth of his earlier rowhouse designs. There is a shift in materials, light-colored Roman brick rather than brownstone, , in keeping with the new contemporary preference for lighter material palates in the wake of the World's Columbian Exposition.
The detail is neo-Renaissance, not used in combination with Romanes que Revival, again reflecting the current fashion for simplicity and discretely applied ornament, as seen in the classically-inspired carved ornament of the oriels and double-arched corner house entrance. All of the houses feature prominent oriels. Four of the five houses were designed to be four stories above high basements with entrance stoops from Central Park West . In their overall design composition, they are grouped in an A-B pattern with an alternating rhythm of oriels.
This treatment adheres to a tradition set with the houses Henry Hardenburgh designed for Edward Clark on West 73rd Street between Central Park West and Columbus Avenue in 1882. The fifth, corner house, No. 351, is five stories with a low American basement and a ground level entranceway on West 95th Street. This kind of corner entrance is rare on the Upper West Side because of the commercial nature of Columbus and Amsterdam, and the redevelopment of many corner sites on West End Avenue with apartment buildings.
Description
This house, an example of the "A" type in the group of four at Nos. 352-355 Central Park West, was designed with four stories above a high basement which was later converted to a ground floor. The ground floor is faced with rusticated limestone and contains two low window openings and a non-original entrance.
The limestone-faced parlor floor contains three arches outlined by a drip molding with foliate corbels, each arch with an arched opening. The one to the right originally contained the entrance and was later converted to a window. The upper three stories are faced with buff-colored Roman brick and dominated by three-sided angled oriel of terra cotta placed in the left portion of the facade.
The oriel rises two stories from a full-width foliate corbel, terminating in a parapet with foliate panels at the base of a wide terra-cotta framed a fourth story window. Single terra-cotta framed window openings are placed to the right of the oriel and the fourth story window. A deep modillioned cornice above a rosette-paneled frieze terminates the facade.
- From the 1987 NYCLPC Landmark Designation Report
AN ENGINEER TESTS THE COMPONENTS OF A THERMAL CALORIMETER IN THE ENGINEERING LAB AT THE INDUSTRIAL CENTER BUILDING.
FERMI LAB'S CENTRAL HELIUM LIQUEFIER - ONE OF THE WORLD'S LARGEST - COOLS THE TEVATRON'S MAGNETS TO LIQUID HELIUM TEMPERATURES, REQUIRING THE USE OF THERMAL CALORIMETERS TO CALIBRATE THERMOMETERS USED IN THE MAGNETS AND IN OTHER CRYOGENIC APPLICATIONS.
For more information or additional images, please contact 202-586-5251.
Belgian Land Component Jankel LTTV (Light Troop Transport Vehicle) of the Special Forces, July 21, 2023
M42 Orion Nebula central region photographed in 3 emission lines: Ha at 656nm (900 seconds), SII at 672nm (1560 seconds) and OIII at 501nm (2220 seconds). Night of 28 January 2019, London UK.
Scope: SW 150mm/F5 achromat refractor at prime focus
Camera: 1004x monochrome PAL board camera, long exposure modified
Imges aligned, stacked and stretched in registax, further processed in Photoshop Elements
Maru Menendez, Rosa Alcalá y Tomás Gómez, entre otros, junto a los componentes de la lista de la Agrupación Socialista de Parla.
Description: Connecting Rod
Application: Rod for Hydraulic Hedge Mowers
Materials:Alloy Steel Q345
Specification:GB
Function:connecting rod for bar
Finish:Investment Casting
http://castingmanufacturers.com/products-552/china-Agricultural-Machinery-Components-Bracket.html
http://castingmanufacturers.com/products-552/china-Agricultural-Machinery-Components-Bracket.html
http://castingmanufacturers.com/products-550/china-Agricultural-Machinery-Components-Spacer-.html
http://castingmanufacturers.com/products-54E/china-Agricultural-Machinery-Components-Pipe-Clamp.html
Global Power Components plant, formerly part of Allis-Chalmers factory complex. Located off the West Allis Belt.
Woman flashing peace sign as she participates in the bicycling component of the 2008 Nation's Triathlon.
Washington, DC / September 14, 2008
Fotos de stands y productos de la edición de octubre 2015, donde se presentaron las novedades para Otoño-Invierno 2016
First the image was converted into a set data vectors in format (x,y,r,g,b), one for each pixel in image.
Then this 5D-data was projected to 4D-space using principal component analysis, The resulting image was rebuilt based on that reduced information.
Here are the components I used to form the 'what lies within' image below. cool huh?
Photographer: Dave Ormerod
model: Kasia Bober www.modelmayhem.com/1006931
costume: Kate Williams www.katewilliams.net/
hair: Kaylee Yasmin
make-up: Grace Gray www.modelmayhem.com/882571
stylist: Upesh 'Pash' Mistry @ StyleCreative www.stylecreative.co.uk/ www.modelmayhem.com/1931187