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External Affairs Minister Shri S.M. Krishna and Delhi Chief Minister Smt. Sheila Dikshit unveiling the 50th PSK at Herald House, New Delhi
Mortality 2002 for various causes of death, organised hierarchically in a pie diagram (with constant area for each segment). Data originally from munnecke.com/papers/lse.htm
A PDF version can be found at www.aleph.se/andart/archives/images/death [Converted].pdf
This table is hinged on the right, locks on the left. Unlock and swing from 90 to 180 degrees, drop the adjustable legs, then open the hatch.
A cute little pigeon perched on the external metal structure outside the back of my office.
The title comes from the catch cry of the protagonist in a cartoon called "Pigeon Boy".
An external flash is part of the package, with interesting design, but pretty weak and not really compact. It´s powered by two AAA batteries, and has a weird form of connecting to the camera.
The USB Wifi receiver at the top of the "pole" protected by its plastic bag and secured using cable ties.
Detail of the bottom of the ariel showing how it was cut and bent to make an effective hook for Ernest's hopper windows.
Note also the way the USB extension cable is secured using cable ties.
This and one other photo [update 2011: three others!] by me are now on Getty! :D I submitted the required 10 pics to their Flickr group and got the reply "Thanks but we don't need this stuff right now", sometime in January 2010. I assumed that was it, forever and ever, and even quit the group while cleaning out my group list. Then on March 5 I scrolled down my Flickr activity and found "An invitation from Getty Images."
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!!!!!!!!!!!!!!!! 8D
I had forgotten all about the "not right now" in their first reply. I also hadn't read their group rules properly... You get to submit 10 photos per month, not per lifetime! AHA! We'll see what happens. :B I do believe the two pics I have on Getty now are really among my best though, so maybe that's all there will ever be. STILL - WIN!!! XD
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Vegan FAQ! :)
The Web Site the Meat Industry Doesn't Want You to See.
Please watch Earthlings.
An external flash is part of the package, with interesting design, but pretty weak and not really compact. It´s powered by two AAA batteries, and has a weird form of connecting to the camera.
A project for renovation of a property in Cuffley. Visit : www.allweathercoating.co.uk/case-studies/cuffley-2/
The Volkswagen Beetle (officially the Volkswagen Type 1, informally in Germany the Volkswagen Käfer, in Poland the Volkswagen Garbus and in the U.S. the Volkswagen Bug) is a two-door, four passenger, rear-engine economy car manufactured and marketed by German automaker Volkswagen (VW) from 1938 until 2003.
The need for this kind of car, and its functional objectives, was formulated by the leader of Nazi Germany, Adolf Hitler, who wanted a cheap, simple car to be mass-produced for his country's new road network. Hitler contracted Ferdinand Porsche in 1934 to design and build it. Porsche and his team took until 1938 to finalise the design. The influence on Porsche's design of other contemporary cars, such as the Tatra V570 and the work of Josef Ganz remains a subject of dispute. The result was one of the first rear-engined cars since the Brass Era. With 21,529,464 produced, the Beetle is the longest-running and most-manufactured car of a single platform ever made.
Although designed in the 1930s, the Beetle was only produced in significant numbers from 1945 on (mass production had been put on hold during the Second World War) when the model was internally designated the Volkswagen Type 1, and marketed simply as the Volkswagen (or "People's Car"). Later models were designated Volkswagen 1200, 1300, 1500, 1302 or 1303, the former three indicating engine displacement, the latter two derived from the type number. The model became widely known in its home country as the Käfer (German for "beetle") and was later marketed as such in Germany, and as the Volkswagen in other countries. For example, in France it was known as the Coccinelle (French for ladybug).
The original 25 hp Beetle was designed for a top speed around 100 km/h, which would be a viable speed on the Reichsautobahn system. As Autobahn speeds increased in the postwar years, its output was boosted to 36, then 40 hp, the configuration that lasted through 1966 and became the "classic" Volkswagen motor. The Beetle ultimately gave rise to variants, including the Karmann Ghia, Type 2 and external coachbuilders. The Beetle marked a significant trend, led by Volkswagen, Fiat, and Renault, whereby the rear-engine, rear-wheel drive layout increased from 2.6 percent of continental Western Europe's car production in 1946 to 26.6 percent in 1956. The 1948 Citroën 2CV and other European models marked a later trend to front-wheel drive in the European small car market, a trend that would come to dominate that market. In 1974, Volkswagen's own front-wheel drive Golf model succeeded the Beetle. In 1994, Volkswagen unveiled the Concept One, a "retro"-themed concept car with a resemblance to the original Beetle, and in 1998 introduced the "New Beetle", built on the contemporary Golf platform with styling recalling the original Type 1. It remained in production through 2010, being succeeded in 2011 by the more aggressively styled Beetle (A5).
In the 1999 Car of the Century competition, to determine the world's most influential car in the 20th century, the Type 1 came fourth, after the Ford Model T, the Mini, and the Citroën DS.
HISTORY
THE PEOPLES CAR
In April 1934, Adolf Hitler gave the order to Ferdinand Porsche to develop a Volkswagen (literally, "people's car" in German, pronounced [ˈfɔlksvaːɡən]). The epithet Volks- literally, "people's-" had been applied to other Nazi-sponsored consumer goods such as the Volksempfänger ("people's radio").
In May 1934, at a meeting at Berlin’s Kaiserhof Hotel, Chancellor Hitler insisted on a basic vehicle that could transport two adults and three children at 100 km/h while not using more than 7 litres of fuel per 100 km (32 mpg US/39 mpg UK). The engine had to be powerful for sustained cruising on Germany’s new Autobahnen. Everything had to be designed to ensure parts could be quickly and inexpensively exchanged. The engine had to be air-cooled because, as Hitler explained, not every country doctor had his own garage (ethylene glycol antifreeze was only just beginning to be used in high-performance liquid-cooled aircraft engines. In general, radiators filled with water would freeze unless the vehicle was kept in a heated building overnight or drained and refilled each morning).
The "People's Car" would be available to citizens of Nazi Germany through a savings scheme, or Sparkarte (savings booklet), at 990 Reichsmark, about the price of a small motorcycle. (The average weekly income was then around 32RM.)
DEVELOPMENT
Ferdinand Porsche developed the Type 12, or "Auto für Jedermann" (car for everybody) for Zündapp in 1931. Porsche already preferred the flat-four engine, and selected a swing axle rear suspension (invented by Edmund Rumpler), while Zündapp insisted on a water-cooled five-cylinder radial engine. In 1932, three prototypes were running. All of those cars were lost during World War II, the last in a bombing raid in Stuttgart in 1945.
The Zündapp prototypes were followed by the Porsche Type 32, designed in 1933 for NSU Motorenwerke AG, another motorcycle company. The Type 32 was similar in design to the Type 12, but it had a flat-four engine. NSU's exit from car manufacturing resulted in the Type 32 being abandoned at the prototype stage.
Initially designated Type 60 by Porsche, the design team included Erwin Komenda and Karl Rabe. In October 1935, the first two Type 60 prototypes, known as the V1 and V2 (V for Versuchswagen, or "test car"), were ready. In 1936, testing began of three further V3 prototypes, built in Porsche's Stuttgart shop. A batch of thirty W30 development models, produced for Porsche by Daimler-Benz, underwent 2,900,000 km of further testing in 1937. All cars had the distinctive round shape and the air-cooled, rear-mounted engine. Included in this batch was a rollback soft top called the Cabrio Limousine. A further batch of 44 VW38 pre-production cars produced in 1938 introduced split rear windows; both the split window and the dash were retained on production Type 1s until 1953. The VW38 cars were followed by another batch of 50 VW39 cars, completed in July 1939.
The car was designed to be as simple as possible mechanically. The air-cooled 25 hp (19 kW) 995 cc motors' built-in oil cooler and flat-four engine configuration's superior performance was also effective for the German Afrika Korps in Africa's desert heat. The suspension design used compact torsion bars instead of coil or leaf springs. The Beetle is nearly airtight and will briefly float.
THE FACTORY
On 26 May 1938, Hitler laid the cornerstone for the Volkswagen factory in Fallersleben. He gave a speech, in which he named the car Kraft-durch-Freude-Wagen ("Strength Through Joy Car", usually abbreviated to KdF-Wagen). The name refers to Kraft durch Freude ('Strength Through Joy'), the official leisure organization of Nazi Germany. The model village of Stadt des KdF-Wagens was created near Fallersleben in Lower Saxony in 1938 for the benefit of the workers at the newly built factory.
The factory had only produced a handful of cars by the start of the war in 1939; the first volume-produced versions of the car's chassis were military vehicles, the Type 82 Kübelwagen (approximately 52,000 built) and the amphibious Type 166 Schwimmwagen (about 14,000 built).
The first Beetles were produced on a small scale in 1941.
WARTIME PRODUCTION
A handful of KdF-Wagen (Typ 60) were produced primarily for the Nazi elite from 1941 to 1944, but production figures were small because the factories were concentrating on production of the Kübelwagen (Typ 82), the beetle for the Wehrmacht (Typ 82 E), the Schwimmwagen (Typ 166), and a handful of other variants. The factory produced another wartime vehicle: the Kommandeurswagen (Typ 87); a Beetle body mounted on a 4WD Schwimmwagen chassis. The Kommandeurswagen had widened fenders to accommodate its Kronprinz all-terrain tires. 564 Kommandeurswagen were produced up to 1944, when all production was halted because of heavy damage to the factory by Allied air raids. Much of the essential equipment had already been moved to underground bunkers for protection, which let production resume quickly after hostilities ended. Due to gasoline shortages late in the war, a few "Holzbrenner" Beetles were built powered by pyrolysis gas producers located under the front hood.
POST-WAR PRODUCTION AND BOOM
In occupied Germany, the Allies followed the Morgenthau plan to remove all German war potential by complete or partial pastoralization. As part of this, in the Industrial plans for Germany, the rules for which industry Germany was to be allowed to retain were set out. German car production was set at a maximum of 10% of the 1936 car production numbers.
Mass production of civilian VW cars did not start until post-war occupation. The Volkswagen factory was handed over by the Americans to British control in 1945; it was to be dismantled and shipped to Britain. Thankfully for Volkswagen, no British car manufacturer was interested in the factory; an official report included the phrases "the vehicle does not meet the fundamental technical requirement of a motor-car ... it is quite unattractive to the average buyer ... To build the car commercially would be a completely uneconomic enterprise." The factory survived by producing cars for the British Army instead. Allied dismantling policy changed in late 1946 to mid-1947, although heavy industry continued to be dismantled until 1951. In March 1947, Herbert Hoover helped change policy by stating
There is the illusion that the New Germany left after the annexations can be reduced to a "pastoral state". It cannot be done unless we exterminate or move 25,000,000 people out of it.
The re-opening of the factory is largely accredited to British Army officer Major Ivan Hirst. Hirst was ordered to take control of the heavily bombed factory, which the Americans had captured. His first task was to remove an unexploded bomb that had fallen through the roof and lodged itself between some pieces of irreplaceable production equipment; if the bomb had exploded, the Beetle's fate would have been sealed. Knowing Germany needed jobs and the British Army needed vehicles. Hirst persuaded the British military to order 20,000 cars, and by March 1946 the factory was producing 1,000 cars a month (in Army khaki, under the name Volkswagen Type 1), which Hirst said "was the limit set by the availability of materials". During this period, the car reverted to its original name of Volkswagen and the town was renamed Wolfsburg. The first 1,785 Type 1s were made in 1945.
After World War II, it was officially designated the Volkswagen Type 1, but was more commonly known as the Beetle.Following the British Army-led restart of production and Hirst's establishment of sales network and exports to Netherlands, former Opel manager (and formerly a detractor of the Volkswagen) Heinz Nordhoff was appointed director of the Volkswagen factory in 1949. Under Nordhoff, production increased dramatically over the following decade, with the one-millionth car coming off the assembly line by 1955. During this post-war period, the Beetle had superior performance in its category with a top speed of 115 km/h and 0–100 km/h in 27.5 seconds with fuel consumption of 6.7 l/100 km (36 mpg) for the standard 25 kW (34 hp) engine. This was far superior to the Citroën 2CV, which was aimed at a low speed/poor road rural peasant market, and Morris Minor, designed for a market with no motorways / freeways; it was even competitive with more advanced small city cars like the Austin Mini.
In Small Wonder, Walter Henry Nelson wrote:
"The engine fires up immediately without a choke. It has tolerable road-handling and is economical to maintain. Although a small car, the engine has great elasticity and gave the feeling of better output than its small nominal size."
There were other, less-numerous models, as well. The Hebmüller cabriolet (officially Type 14A), a sporty two-seater, was built between 1949 and 1953; it numbered 696. The Type 18A, a fixed-top cabriolet, was produced by Austro-Tatra as a police and fire unit; 203 were assembled between January 1950 and March 1953.
The chassis became a technological and parts donor to Volkswagen Type 2 (also known as Bulli) and external coachbuilders like Rometsch, Dannenhauer & Stauss, Wilhelm Karmann, Enzmann, Beutler, Ghia-Aigle, Hebmüller & Söhne, Drews, Wendler.
On 17 February 1972, when Beetle No. 15,007,034 was produced, Beetle production surpassed that of the previous record holder, the Ford Model T. By 1973, total production was over 16 million, and by 23 June 1992, over 21 million had been produced.
DECLINE
Though extremely successful in the 1960s, the Beetle was increasingly faced with stiff competition from more modern designs globally. The Japanese had refined rear-wheel-drive, water-cooled, front-engine small cars including the Datsun 510 and Toyota Corona, whose sales in the North American market grew rapidly at the expense of Volkswagen in the late 1960s. Honda introduced the N600, based on the space-efficient transverse-engine, front-wheel-drive layout of the original Austin Mini, to the North American market in late 1969, and upgraded the model to the Honda Civic in 1972. The Japanese "big three" would soon dominate compact auto sales in North America. In 1971 Ford introduced its Pinto, which had some market impact as a low cost alternative. As the 1960s came to a close, Volkswagen faced increasingly stiff competition from European cars as well. The Beetle was faced with competition from new designs like the Fiat 127 and Renault 5, and more robust designs based on the Austin Mini layout such as the Superminis. German competitors, Ford and Opel also enjoyed strong sales of modern smaller cars like the Ford Escort and Opel Kadett. Volkswagen's attempts to boost the power of their air-cooled motor to meet the demands of higher highway speeds in the late 1960s, then comply with new pollution control regulations, caused problems for reliability and fuel efficiency that impaired the reputation of the aging design. Safety issues with the Beetle came under increasing scrutiny, culminating in the 1972 release of a rather scathing report. During the early 1970s, sales of the Beetle in Europe and North America plummeted.
There were other models introduced to supplement the Beetle in the VW product line throughout the 1960s; the Type 3, Type 4, and the NSU-based and larger K70. None of these models, aimed at more upscale markets, achieved the level of success as the Beetle. The over-reliance on a single model, now in decline, meant that Volkswagen was in financial crisis by 1974. It needed German government funding to produce the Beetle's replacement.
Production lines at Wolfsburg switched to the new water-cooled, front-engined, front-wheel drive Golf designed by Giorgetto Giugiaro in 1974, sold in North America at the time as the "Rabbit". The Golf would eventually become Volkswagen's most successful model since the Beetle. The Golf would be periodically redesigned over its lifetime, entering its seventh generation in 2012, with only a few components carried over between generations, while the Beetle had only minor refinements of its original design.
The Golf did not kill Beetle production, nor did the smaller Polo which was launched a year later. Production of the Beetle continued in smaller numbers at other German factories until 19 January 1978, when mainstream production shifted to Brazil and Mexico: markets where low operating cost was an important factor. However, this shift in production did not completely end sales of the Beetle in Europe, although after this date sales of the Beetle in Europe were very low. Beetle sedans were produced for U.S. markets until July 1977 and for European markets until 1985, with private companies continuing to import cars produced in Mexico after 1985. The Beetle convertible/Cabriolet ended production (as 1979 models) as of January 31, 1980.
The last Beetle was produced in Puebla, Mexico, in July 2003. The final batch of 3,000 Beetles were sold as 2004 models and badged as the Última Edición, with whitewall tires, a host of previously discontinued chrome trim, and the choice of two special paint colors taken from the New Beetle. Production in Brazil ended in 1986, then started again in 1993 and continued until 1996.
The Beetle outlasted most other cars which had adopted the rear air-cooled engine layout such as those by Subaru, Fiat, and General Motors. Porsche's 356 series which originally used some Volkswagen sourced parts, continued to use the classic rear engine layout (which later became water-cooled) in the Porsche 911 996 series, which remains competitive in the second decade of the 21st century.
WORLDWIDE END OF PRODUCTION
By 2002, over 21 million Type 1s had been produced, but by 2003, annual production had dropped to 30,000 from a peak of 1.3 million in 1971. VW announced the end of production in June 2003, citing decreasing demand, and the final original Type 1 VW Beetle (No. 21,529,464) rolled off the production line at Puebla, Mexico, on 30 July 2003 65 years after its original launch. This last Beetle, nicknamed El Rey (Spanish for "The King" after a legendary Mexican song by José Alfredo Jiménez) was delivered to the company's museum in Wolfsburg, Germany.
To celebrate the occasion, Volkswagen marketed a final special series of 3,000 Beetles marketed as "Última Edición" (Final Edition) in light blue (Aquarius Blue) or beige (Harvest Moon Beige). Each car included the 1.6 engine, whitewall tires, a CD player with four speakers, chrome bumpers, trim, hub caps and exterior mirrors, a Wolfsburg emblem above the front trunk's handle, chrome glove box badge, body coloured wheels, tinted glass, a rear parcel shelf, and VW Última Edición plaque.
A mariachi band serenaded production of the last car. In Mexico, there was an advertising campaign as a goodbye for the Beetle. In one of the ads was a very small parking space on the street, and many big cars tried to use it, but could not. After a while, a sign appears in that parking space saying: "Es increíble que un auto tan pequeño deje un vacío tan grande" (It is incredible that a car so small can leave such a large void). Another depicted the rear end of a 1954 Beetle (the year Volkswagen was established in Mexico) in the left side of the ad, reading "Erase una vez..." (Once upon a time...) and the last 2003 Beetle in the right side, reading "Fin" (The end). There were other ads with the same nostalgic tone.
- Engine: Fuel-injected (Bosch Digifant) four-cylinder horizontally opposed, 1,584 cc, 50 hp (37 kW), 98.1 N·m (72.4 lb·ft) @ 2,200 rpm, three-way catalytic converter
- Rated fuel mileage: 32.5 mpg-US (7.2 L/100 km; 39.0 mpg-imp)
- Max cruising speed: 130 km/h
- Brakes: front disc, rear drum
- Passengers: Five
- Tank: 40 L (11 US gal; 9 imp gal)
- Colours: Aquarius blue, Harvest Moon beige.
PROTOTYPES
DIESEL
In 1951, Volkswagen prototyped a 1.3 L diesel engine. Volkswagen made only two of these air-cooled boxer diesel engines (not turbocharged), and installed one engine in a Type 1 and another in a Type 2. The diesel Beetle was time tested on the Nürburgring and achieved 0–100 km/h in 60 seconds.
DESIGN
The Beetle featured a rear-located, rear-wheel drive, air-cooled four-cylinder, boxer engine in a two-door bodywork featuring a flat front windscreen, accommodating four passengers and providing luggage storage under the front bonnet and behind the rear seat – and offering a coefficient of drag of 0.41; to this relatively good CD, the also streamlined rear of car was of help. The bodywork attached with eighteen bolts to its nearly flat chassis which featured a central structural tunnel. Front and rear suspension featured torsion bars along with front stabilizer bar – providing independent suspension at all wheels. Certain initial features were subsequently revised, including mechanical drum brakes, split-window rear windows, mechanical direction-indicators and the non-synchronized gearbox. Other features, including its distinctive overall shape, endured.
Its engine, transmission, and cylinder heads were constructed of light alloy. An engine oil cooler (located in the engine fan's shroud) ensured optimal engine operating temperature and long engine life, optimized by a thermostat that bypassed the oil cooler when the engine was cold. Later models of the carburetor featured an automatic choke. Engine intake air passed through a metallic filter, while heavier particles were captured by an oil bath. After 1960, steering featured a hydraulic damper that absorbed steering irregularities.
Indicative of the car's utilitarian design, the interior featured painted metal surfaces, a metal dash consolidating instruments in a single, circular binnacle, adjustable front seats, a fold-down rear seat, optional swing-out rear windows, front windows with pivoting vent windows, heating via air-to-air exchange manifolds operating off the engine's heat, and a windshield washer system that eschewed the complexity and cost of an additional electric pump and instead received its pressurization from the car's spare tire (located in the front luggage compartment) which was accordingly overinflated to accommodate the washer function.
Throughout its production, VW marketed the Beetle with a four-speed manual transmission. From 1961 (and almost exclusively in Europe), VW offered an optional version of the Saxomat semi-automatic transmission: a regular 4-speed manual transaxle coupled to an electromagnetic clutch with a centrifugal clutch used for idle. Subsequently (beginning in 1967 in Europe and 1968 in the United States), VW offered an optional semi-automatic transmission (marketed as Automatic Stick Shift and also called AutoStick[citation needed]), which was a 3-speed manual coupled to an electro-pneumatic clutch and torque converter.
While the overall appearance of the Beetle changed little over its life span, it received over 78,000 incremental changes during its production.
EVOLUTION AND DESIGN CHANGES
BEETLE CABRIOLET
It was in 1948 that Wilhelm Karmann first bought a VW Beetle sedan and converted it into a four-seated convertible. The Beetle Cabriolet began production in 1949 by Karmann in Osnabrück. After successfully presenting it at VW in Wolfsburg, production started in 1949.
The convertible was more than a Beetle with a folding top. To compensate for the strength lost in removing the roof, the sills were reinforced with welded U-channel rails, a transverse beam was fitted below the front edge of the rear seat cushion, and the side cowl-panels below the instrument panel were double-wall. In addition, the lower corners of the door apertures had welded-in curved gussets, and the doors had secondary alignment wedges at the B-pillar.
The top was cabriolet-style with a full inner headliner hiding the folding mechanism and crossbars. In between the two top layers was 25 mm of insulation. The rear window was tempered safety glass, and after 1968, heated. Due to the thickness of the top, it remained quite tall when folded. To enable the driver to see over the lowered top, the inside rearview was mounted on an offset pivot. By twisting the mirror 180 degrees on a longitudinal axis, the mirror glass would raise approximately 5.1 cm.
The convertible was generally more lavishly equipped than the sedan with dual rear ashtrays, twin map pockets, a visor vanity mirror on the passenger side, rear stone shields, and through 1969, wheel trim rings. Many of these items did not become available on other Beetles until the advent of the optional "L" (Luxus) Package of 1970.
After a number of stylistic and technical alterations made to the Karmann cabriolet, (corresponding to the many changes VW made to the Beetle throughout its history), the last of 331,847 cabriolets came off the production line on 10 January 1980.
1950–1959 MODELS
During this period, a myriad of changes were made throughout the vehicle beginning with the availability of hydraulic brakes and a folding fabric sunroof in 1950. The rear window of the VW Beetle evolved from a divided or "split" oval, to a singular oval. The change occurred between October 1952 and March 1953. Beetles built during this time were known as a "Zwitter", or "hybrid", as they used the split-window bodyshell with oval-model chrome trim, vent windows and dashboard.
1953 models received a redesigned instrument panel. The one-piece “Pope's Nose” combination license plate/brake light was replaced by a smaller flat-bottomed license plate light. The brake light function was transferred to new heart-shaped lamps located in the top of the taillight housings.
In 1954, Volkswagen added 2 mm to the cylinder bore, increasing the displacement from 1,131 (1100) cc to 1,192 (1200) cc. This coincided with upgrades to various key components including a redesign of the crankshaft. This increased power from 30 hp (22 kW; 30 PS) to 36 hp (27 kW; 36 PS) and improved the engine's free revving abilities without compromising torque at lower engine speeds. At the same time, compression ratios were progressively raised as, little by little, the octane ratings of available fuel was raised in major markets during the 1950s and 1960s.
In 1955, the separate brake lights were discontinued and were combined into a new larger taillight housing. The traditional VW semaphore turn signals were replaced by conventional flashing directional indicator lamps for North America.
For 1956, the Beetle received what would become one of its more distinctive features, a set of twin chrome tailpipes. Models for North America gained taller bumper guards and tubular overrider bars.
For 1958, the Beetle received a revised instrument panel, and a larger rectangular rear window replaced the previous oval design.
1960–1969 MODELS
1960 models received a front sway bar along with a hydraulic steering damper.
For 1961, significant technical advances occurred in the form of a new engine and transmission. The engine remained at 1200cc but the power increased to 40 hp (30 kW; 41 PS) primarily due to an increase in compression ratio to 7.1:1. The carburetor received an electric automatic choke and the transmission was now synchronized on all forward gears. The traditional semaphore turns signals were replaced by conventional flashing directional indicators worldwide.
For 1962, the Beetle received a mechanical fuel level gauge in place of the former fuel tap. At the rear, larger tail lights were introduced incorporating a separate amber turn signal section to meet new European standards (these turn signals remained red in the US market until 1973). The former hand-pump style windscreen washer was replaced by a new design using compressed air. A Schrader valve located on the washer fluid tank allowed the system to be charged at a filling station to the recommended 35 psi (2.4 bar).
1964 models could be identified by a widened light housing on the engine lid over the rear license plate.
The largest change to date for the Beetle was in 1965: the majority of the body stampings were revised, which allowed for significantly larger windows. The windshield increased in area by 11% and was now slightly curved, rather than flat. Door windows increased accordingly by 6% (and door vent window edges were canted slightly back), rear side windows 17.5%, and the rear window 19.5%. The result was a more open, airy, modern look.
For 1966, the big news was an optional new 1300cc 50 hp (37 kW; 51 PS) engine in lieu of the previous 1200cc engine that had been the sole engine since 1954. Models so equipped carried a "1300" badge on the engine lid. The 1300cc engine was standard for North America.
For 1967, a yet-again larger-displacement engine was made available: 1500cc, 53 hp (40 kW; 54 PS) at 4,200 rpm. 1200 and 1300 engines continued to be available, as many markets based their taxation on engine size. 1500cc Beetles were equipped with front disc brakes and were identified with a "VW 1500" badge on the engine lid. North America received the 1500 engine as standard equipment, but did not receive front disc brakes. These models were identified by a "Volkswagen" badge on the engine lid.
The rear suspension was significantly revised including a widened track, softer torsion bars and the addition of a unique Z-configuration equalizing torsion spring. On US, UK and Ireland models, the generator output was increased from 180 to 360 watts, and the entire electrical system was upgraded from 6 volts to 12 volts. The clutch disc also increased in size and changes were made to the flywheel. New equipment included a driver's armrest on the door and locking buttons on both doors. Safety improvements included two-speed windscreen wipers, reversing lights (in some markets), and a driver's side mirror. In accord with the newly enacted US Federal Motor Vehicle Safety Standard 108, North American models received a dual-circuit brake system, the clear glass headlamp covers were deleted; the headlamps were brought forward to the leading edge of the front fenders, and the sealed-beam units were exposed and surrounded by chrome bezels.
1968 was a year of major change. The most noticeable of which were the new larger, higher mounted C-section bumpers. At the rear, new larger taillamps were adopted and were able to accommodate backup lamps, which were previously separate bumper-mounted units. Beetles worldwide received the '67 North American style vertical headlamp placement, but with replaceable-bulb headlamps compliant with ECE regulations rather than the US sealed beams. Other improvements were a new outside gas filler with spring-loaded flap, eliminating the need to open the trunk to refuel. The fuel gauge was integrated with the speedometer and was now electrically-actuated rather than cable-operated. The windscreen washer was now pressured by the spare tire, which was to be maintained at a pressure of 42 psi (2.9 bar). A pressure valve in the connecting hose closed airflow to the fluid reservoir if spare tire pressure fell below 30 psi (2.1 bar), which was above the recommended pressures for the road tires. A ventilation system was introduced, which drew fresh air into the cabin from louvres on the front decklid. For improved shifting, the shift lever was shortened, stiffened and moved rearward by
78 mm.
A number of safety improvements were made in order to comply with new American safety regulations: these included trigger-operated outside door handles, a secondary front hood latch, collapsing steering column, soft vent window latches, rotary glove compartment latch and instrument panel knobs labeled with pictographs. US models received a padded instrument panel that was optional in other markets. To meet North American head restraint requirements, VW developed the industry's first high-back bucket seat.
A new 3-speed semi-automatic gear box with torque converter and vacuum-operated clutch became available mid-production year. The semi-automatic models received a vastly improved semi-trailing-arm rear suspension (also known as "Independent Rear Suspension" although the earlier swing axle Beetles were also independent) and eliminated the need for the equalizing torsion spring. This new rear suspension layout would eventually become an option on later models. Beetles equipped with the automatic were identified with a "VW Automatic" badge on the engine lid and a matching decal in the rear window. In North America, the badging and decal were later revised to read, "Automatic Stick Shift".
For 1969, the only exterior change was the fuel filler flap no longer had a finger indentation due to a new interior-mounted fuel door release. For North America, the Beetle received a heated rear window, day/night mirror and the semi-trailing, independent rear-arm suspension as standard equipment.
1970–1979 MODELS
In 1970, A new "L" (Luxus) Package was introduced including, among other items, twin map pockets, dual rear ashtrays, full carpeting, a passenger-side visor vanity mirror, and rubber bumper moldings. The optional 1500 cc engine now came with an engine lid having two rows of cooling louvers, while the convertible's engine lid gained two additional sets for a total of four. For North America, the 1500 cc engine was enlarged to 1600 cc engine and produced 57 hp (43 kW; 58 PS)
For 1971, for the first time there were two Beetles, the familiar standard Beetle and a new larger version that was different from the windscreen forward. All Beetles received an engine upgrade: the optional 1500 cc engine was replaced by a 1600 cc version with twin-port cylinder heads and a larger, relocated oil cooler. The new engine produced 60 hp (45 kW; 61 PS). The ventilation system was improved with the original dash-top vents augmented by a second pair aimed directly at the driver and passenger. For the first time the system was a flow-through design with crescent-shaped air exits fitted behind the rear quarter windows. Airflow could be increased via an optional 2-speed fan. The standard Beetle was now badged as the VW 1300; when equipped with the 1600 engine, it was badged 1300 S, to avoided confusion with the Type 3, which wore VW 1600 badges.
The new larger Beetle was sold as the 1302/1302 S, offering nearly 50% increased luggage capacity. A new MacPherson strut front suspension was incorporated, similar to what was used in the Type 4, and the front track was widened. The new suspension layout allowed the spare tire to be positioned flat under the trunk floor, although the car had to be lengthened slightly to accomplish this. This also allowed a reduction in turning radius. To gain additional trunk volume, the under-dash panel was lowered, allowing the fuel tank to be shifted rearward. From the windscreen back the big Beetle was identical to its smaller progenitor, except for having the semi-trailing arm rear suspension as standard equipment. Overall, the big Beetle was 50 mm longer in length and 35 mm wider and rode on a 20 mm longer wheelbase than the standard model. Both Beetles were available with or without the L Package. The convertible was now based on the 1302 body. In North America, the 1302 was marketed as the Super Beetle and came only with the L Package and 1600 cc engine. While it lacked the front disc brakes that normally accompanied the larger motor, it was fitted with brake drums that were slightly larger than the standard Beetle. With the Super Beetle being sold as the premium model in North America, the standard Beetle, while retaining the same 1600 cc engine, was stripped of many of its earlier features in order to reduce the selling price. Bright window and running board moldings disappeared, along with the day/night mirror, horn ring, map pocket, locking glove box and miscellaneous other items.
1972 models had an 11% larger rear window 40 mm taller, larger front brakes[citation needed] and the convertible engine lid with four rows of louvres was now used on all Beetles. Inside the vehicle, a four-spoke energy-absorbing steering wheel was introduced, the windshield wiper/washer knob was replaced in favor of a steering column stalk, and intermittent wipers were a new option available in selected markets. An engine compartment socket for the proprietary VW Diagnosis system was also introduced. The rear luggage area was fitted with a folding parcel shelf. A limited-edition Commemorative model was launched in celebration of the Beetle's passing the record of the Ford Model T as the world's most-produced automobile. The Commemorative Beetle was a 1302 LS finished in a special Marathon Blue Metallic paint and unique 4.5 x 15 styled steel wheels. In the U.S., it was marketed as the Super Beetle Baja Champion SE.
1973 models featured significantly-enlarged "elephant foot" taillamps mounted in reshaped rear fenders. In the engine bay, the oil-bath air cleaner gave way to a dry element filter, and the generator was replaced with an alternator. The 1302/Super became the 1303 with a new taller wrap-around windscreen. The changes to the cowl and windshield resulted in slight redesign of the front hood. The instrument panel, formerly shared with the standard Beetle, was all-new and incorporated a raised speedometer pod, rocker-style switches and side-window defrosters. The limited-edition GSR (Gelb-Schwarz Rennen) was a 1303 S available only in Saturn Yellow paint equipped with special 140 mm wide sport wheels fitted with 175/70-15 Pirelli Cinturato CN36 high-performance radial tires. Front and rear deck lids were finished in matte black, as was all exterior trim with the exception of the chrome headlamp bezels. Inside were corduroy and leatherette high-bolstered sport seats and a small diameter three-spoke steering wheel with padded leather rim and a small red VW logo on the bottom spoke. In North America, the GSR was sold as the Super Beetle Sports Bug. The North American model had body-color deck lids and was available in Marathon Blue Metallic in addition to Saturn Yellow. In some markets, the sport wheels (in both 4.5-inch and 5.5-inch widths), sport steering wheel and sport seats became available as stand-alone options.
For 1974, North American models received newly required 8.0 km/h impact bumpers mounted on self-restoring energy absorbers, which added approximately 25 mm to the car's overall length. On the Super Beetle, the steering knuckle, and consequently the lower attachment point of the strut, was redesigned to improve handling and stability in the event of a tire blowout. A limited-edition Big Beetle was introduced based on the 1303 LS. Available in unique metallic paint colors, the car featured styled-steel 5.5 in (140 mm) wide sport wheels wrapped in 175/70-15 tires, corduroy seat inserts, upgraded loop-pile carpet, wood-look instrument panel trim and a padded steering wheel with bright accents. In the North American market, a limited-edition Sun Bug was introduced as a standard Beetle or Super Beetle. Both were finished in metallic gold and featured styled-steel 4.5 in (110 mm)-wide sport wheels. Inside were brown corduroy and leatherette seats, loop-pile carpet, and padded four-spoke deluxe steering wheel. The Super Beetle Sun Bug included a sliding-steel sunroof.
In 1975, front turn indicators were moved from the top of the front fenders down into the bumper. At the rear, the license plate light housing was now molded of plastic with a ribbed top surface. To comply with tightening emission standards, the 1600 cc engine in Japanese and North American markets received Bosch L-Jetronic fuel injection, a derivative of the Bosch D-Jetronic system formerly used in the VW Type 3 and Type 4. The injected engine received a new muffler and in California a catalytic converter. This necessitated a bulge in the rear apron under the rear bumper and replaced the distinctive twin "pea shooter" tailpipes with a single offset pipe, making injected models identifiable at a glance. 5 mph (8.0 km/h) bumper-equipped North American models retained fender-top front indicators. The 1303 received rack and pinion steering. In North America, the 1303/Super Beetle sedan was moved upmarket and was now christened La Grande Bug. Similar to the Big Beetle of 1974, La Grande Bug was available in blue or green metallic paint in the U.S. and blue, green or gold metallic in Canada and was equipped with the same features as the 1974 Sun Bug. Mid-year, the Love Bug was introduced for North America: based on the standard Beetle, it was available only in Phoenix Red or Ravenna Green (both colors shared with the VW-Porsche 914) with all exterior trim finished in matte black. A price leader, the Love Bug retailed for less than a standard Beetle. The "Volkswagen" script on the engine lid of all North American Beetles was replaced with a "Fuel Injection" badge.
In 1976, the 1303/La Grande Bug was discontinued, with the larger body continuing only in convertible form. To make up for the loss in North American markets, the standard Beetle was upgraded, regaining some of the features that were removed in 1971. In addition, the 2-speed ventilation fan was included, previously available in North America only on the larger Beetle. The automatic stickshift option was discontinued as well.
1977 models received new front seats with separate head restraints. This was the final model year for the Beetle sedan in North America. The convertible was offered in a Champagne Edition in triple white with the padded deluxe steering wheel, burled elm-grain dash trim and (110 mm wide sport wheels. Approximately 1,000 Champagne Editions were produced.
WIKIPEDIA
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Although the performance increases of jet-powered aircraft introduced towards the end of World War II over their piston-powered ancestors were breathtaking, there were those at the time who believed that much more was possible. As far back as 1943, the British Ministry of Aircraft Production had issued a specification designated "E.24/43" for a supersonic experimental jet aircraft that would be able to achieve 1,600 KPH (1,000 MPH).
Beginning in 1946, a design team at English Electric (EE) under W.E.W. "Teddy" Petter began design studies for a supersonic fighter, leading to award of a Ministry of Supply (MoS) contract in 1947 under specification "ER.103" for a design study on an experimental aircraft that could achieve Mach 1.2.
The MoS liked the EE concepts, and in early 1949 awarded the company a contract under specification "F.23/49" for two flying prototypes and one ground-test prototype of the "P.1".
The P.1 was defined as a supersonic research aircraft, though the design had provisions for armament and a radar gunsight. It incorporate advanced and unusual design features, such as twin turbojet engines mounted one above the other to reduce aircraft frontal area; and strongly swept wings, with the wingtip edges at a right angle to the fuselage, giving a wing configuration like that of a delta wing with the rear inner corners cut out. The aircraft featured an elliptical intake in the nose.
The P.1's performance was so outstanding that the decision was quickly made to proceed on an operational version that would be capable of Mach 2. In fact, the second P.1 prototype featured items such as a bulged belly tank and fit of twin Aden Mark 4 30 millimeter revolver-type cannon, bringing it closer to operational specification.
Orders were placed for three "P.1B" prototypes for a production interceptor and the original P.1 was retroactively designated "P.1A". The P.1B featured twin Rolls-Royce Avon afterburning engines and a larger tailfin. An airborne intercept (AI) radar was carried in the air intake shock cone, which was changed from elliptical to circular. The cockpit was raised for a better field of view and the P.1B was armed with two Aden cannon in the upper nose, plus a pack under the cockpit that could either support two De Havilland Blue Jay (later Firestreak) heat-seeking AAMs or 44 Microcell 5 centimeter (2 inch) unguided rockets.
The initial P.1B prototype performed its first flight on 4 April 1957 and the type entered RAF service as EE Lightning F.1. RAF Number 74 Squadron at Coltishall was the first full service unit, with the pilots acquiring familiarization with the type during late 1960 and the squadron declared operational in 1961.
However, while the Lightning was developed further into more and more advanced versions. Its concept was also the basis for another research aircraft that would also be developed into a high performance interceptor: the P.6/1, which later became the “Levin” fighter.
P.6 encompassed a total of four different layouts for a Mach 2+ research aircraft, tendering to ER.134T from 1952. P.6/1 was the most conservative design and it relied heavily on existing (and already proven) P.1 Lightning components, primarily the aerodynamic surfaces. The most obvious difference was a new fuselage of circular diameter, housing a single Rolls Royce RB.106 engine.
The RB.106 was a two-shaft design with two axial flow compressors each driven by its own single stage turbine and reheat. It was of similar size to the Rolls-Royce Avon, but it produced about twice the thrust at 21,750 lbf (96.7 kN) in the initial version. The two-shaft layout was relatively advanced for the era; the single-shaft de Havilland Gyron matched it in power terms, while the two-spool Bristol Olympus was much less powerful at the then-current state of development. Apart from being expected to power other British aircraft such as those competing for Operational Requirement F.155, it was also selected to be the powerplant for the Avro Canada CF-105 Arrow and led to the Orenda Iroquois engine, which even reach 30.000 lbf (130 kN).
The P.6/1 was eventually chosen by the MoS for further development because it was regarded as the least risky and costly alternative. Beyond its test bed role for the RB.106 the P.6/1 was also seen as a potential basis for a supersonic strategic air-to-ground missile (similar to the massive Soviet AS-3 ‘Kangaroo’ cruise missile) and the starting point for an operational interceptor that would be less complex than the Lightning, but with a comparable if not improved performance but a better range.
In 1955 English Electric received a go ahead for two P.6/1 research aircraft prototypes. Despite a superficial similarity to the Lightning, the P.6/1’s internal structure was very different. The air duct, for instance, was bifurcated and led around on both sides of the cockpit tub and the front wheel well instead of below it. Further down, the duct ran below the wing main spar and directly fed the RB.106.
The rear fuselage was area-ruled, the main landing gear retracted, just like the Lightning’s, outwards into the wings, while the front wheel retracted backwards into a well that was placed further aft than on the Lightning. The upper fuselage behind the main wings spar carried fuel tanks, more fuel was carried in wing tanks.
Both research machines were ready in 1958 and immediately started with aerodynamic and material tests for the MoS, reaching top speeds of Mach 2.5 and altitudes of 60.000 ft. and more.
In parallel, work on the fighter version, now called “Levin”, had started. The airframe was basically the same as the P.6/1’s. Biggest visible changes were a wider air intake with a bigger central shock cone (primarily for a radar dish), a shorter afterburner section and an enlarged fin with area increased by 15% that had become necessary in order to compensate instability through the new nose layout and the potential carriage of external ordnance, esp. under the fuselage. This bigger fin was taken over to the Lightning F.3 that also initially suffered from longitudal instability due to the new Red Top missiles.
The Levin carried armament and avionics similar to the Lightning, including the Ferranti-developed AI.23 monopulse radar. The aircraft was to be fully integrated into a new automatic intercept system developed by Ferranti, Elliot, and BAC. It would have turned the fighters into something like a "manned missile" and greatly simplified intercepts.
Anyway, the Levin’s weapon arrangement was slightly different from the Lightning: the Levin’s armament comprised theoretically a mix of up to four 30mm Aden cannons and/or up to four of the new Red Top AAMs, or alternatively the older Firestreak. The guns were mounted in the upper nose flanks (similar to the early Lightning arrangement, but set further back), right under the cockpit hatch, while a pair of AAMs was carried on wing tip launch rails. Two more AAMs could be carried on pylons under the lower front fuselage, similar to the Lightning’s standard configuration, even though there was no interchangeable module. Since this four-missile arrangement would not allow any cannon to be carried anymore and caused excessive drag, the typical payload was limited to two Aden cannons and the single pair of wing-tip missiles.
Despite its proven Lightning ancestry, the development of the Levin went through various troubles. While the RB.106 worked fine in the research P.6/1, it took until 1962 that a fully reliable variant for the interceptor could be cleared for service. Meanwhile the Lightning had already evolved into the F.3 variant and political discussions circled around the end of manned military aircraft. To make matters even worse, the RAF refused to buy the completely automatic intercept system, despite the fact that it had been fully engineered at a cost of 1.4 million pounds and trialed in one of the P.1Bs.
Eventually, the Levin F.1 finally entered service in 1964, together with the Lightning F.3. While the Lightning was rather seen as a point defense interceptor, due to the type’s limited range: If a Lightning F.3 missed its target on its first pass, it almost never had enough fuel to make a second attempt without topping off from a tanker, which would give an intruder plenty of time to get to its target and then depart… The Lightning’s flight endurance was less than 2 hours (in the F.2A, other variants even less), and it was hoped that the Levin had more potential through a longer range. Anyway, in service, the Levin’s range in clean configuration was only about 8% better than the Lightning’s. The Levin F.1’s flight endurance was about 2 ½ hours – an improvement, but not as substantial as expected.
In order to improve the range on both fighters, English Electric developed a new, stiffened wing for the carriage of a pair of jettisonable overwing ferry tanks with a capacity of 1,182 liters (312 US gallons / 260 Imperial gallons, so-called “Overburgers”). The new wing also featured a kinked leading edge, providing better low-speed handling. From mid 1965 onwards, all Levins were directly produced in this F.2 standard, and during regular overhauls the simpler F.1 machines were successively updated. The Lightning introduced the kinked wing with the F.3A variant and it was later introduced with the F.2A and F.6A variants.
Levin production comprised 21 original F.1 airframes, plus 34 F.2 fighters, and production was stopped in 1967. A trainer version was not produced, the Lightning trainers were deemed sufficient for conversion since the Levin and the Lightning shared similar handling characteristics.
The Levin served only with RAF 29 and 65 Squadron, the latter re-instated in 1970 as a dedicated fighter squadron. When in November 1984 the Tornado squadrons began to form, the Levin was gradually phased out and replaced until April 1987 by the Tornado F.3.
General characteristics:
Crew: 1
Length w/o pitot: 51 ft 5 in (15,70 m), 55 ft 8 in (16.99 m) overall
Wingspan incl. wingtip launch rails: 34 ft 9 in (10.54 m)
Height: 19 ft 7 in (5.97 m)
Wing area: 474.5 ft² (44.08 m²)
Empty weight: 8937 kg (lb)
Loaded weight: 13,570 kg (29,915)
Max. takeoff weight: 15,210 kg (33,530 lb)
Powerplant:
1× Rolls-Royce RB.106-10S afterburning turbojet,
rated at 20,000 lbf (89 kN) dry and 26,000 lbf (116 kN) with afterburning
Performance:
Maximum speed:
- 1,150 km/h (620 kn, 715 mph, Mach 0.94) at sea level
- 2,230 km/h (1.202 kn, 1,386 mph, Mach 2.1;), clean with 2× Red Top AAMs at high altitude
- Mach 2.4 absolute top speed in clean configuration at 50.000 ft.
Range: 1,650 km (890 nmi, 1,025 mi) on internal fuel
Combat radius: 500 km (312 mi); clean, with a pair of wing tip Red Top AAMs
Ferry range: 1,270 mi (1.100 NM/ 2.040 km) with overwing tanks
Service ceiling: 16,760 m (55,000 ft)
Rate of climb: 136.7 m/s (27,000 ft/min)
Wing loading: 76 lb/ft² (370 kg/m²)
Thrust/weight: 0.78
Takeoff roll: 950 m (3,120 ft)
Landing roll: 700 m (2,300 ft)
Armament:
2× 30 mm (1.18 in) ADEN cannons with 120 RPG in the upper front fuselage
2× wing tip hardpoints for mounting air-to-air missiles (2 Red Top of Firestreak AAMs)
2× overwing pylon stations for 260 gal ferry tanks
Optional, but rarely used: 2× hardpoints under the front fuselage for mounting air-to-air missiles
(2 Red Top of Firestreak AAMs)
The kit and its assembly:
Another contribution to the Cold War GB at whatifmodelers.com, and the realization of a project I had on the agenda for long. The EE P.6/1 was a real project for a Mach 2+ research aircraft, as described above, but it never went off the drawing board. Its engine, the RB.106, also never saw the light of day, even though its later career as the Canadian Orenda Iroquois for the stillborn CF-105.
Building this aircraft as a model appears simple, because it’s a classic Lightning (actually a F.1 with the un-kinked wing and the small fin), just with a single engine and a rather tubular fuselage. But creating this is not easy at all…
I did not want to replicate the original P.6/1, but rather a service aircraft based on the research aircraft. Therefore I used parts from a Lightning F.6 (a vintage NOVO/Frog kit). For the fuselage I settled for a Su-17, from a MasterCraft kit. The kit’s selling point was its small price tag and the fuselage construction: the VG mechanism is hidden under a separate spine piece, and I wanted to transplant the Lightning’s spine and cockpit frame, so I thought that this would make things easier.
Nope.
Putting the parts from the VERY different kits/aircraft together was a major surgery feat, with several multiple PSR sessions on the fuselage, the air intake section (opened and fitted with both an internal splitter and a bulkhead to the cockpit section), the wings, the stabilizers, the fin… This model deserves the title “kitbash” like no other, because no major sections had ever been intended to be glued together, and in the intended position!
The landing gear was more or less taken OOB, but the main struts had to be elongated by 2mm – somehow the model turned out to be a low-riding tail sitter! The cockpit interior was improvised, too, consisting of a Su-17 cockpit tub, a scratched dashboard and a Martin Baker ejection seat from an Italeri Bae Hawk trainer.
Since most of the fuselage surface consists of various materials (styrene and two kinds of putty), I did not dare to engrave panel lines – after all the PSR work almost any surface detail was gone. I rather went for a graphic solution (see below). Some antennae and air scoops were added, though.
The overwing tanks come OOB from the NOVO kit, as well as the Red Top missiles, which ended up on improvised wing tip launch rails, based on design sketches for Lightning derivatives with this layout.
Colors and markings:
There are several “classic” RAF options, but I settled for a low-viz Eighties livery taken from BAC Lightnings. There’s a surprising variety of styles, and my version is a mix of several real world aircraft.
I settled for Dark Sea Grey upper surfaces (Modelmaster Authentic) with a high waterline, a fuselage completely in Medium Sea Grey (Humbrol 165 – had to be applied twice because the first tin I used was obviously old and the paint ended up in a tone not unlike PRU Blue!) and Light aircraft Grey underwing surfaces (Humbrol 166). The leading edges under the wings are Dark Sea Grey, too.
The cockpit interior was painted in dark grey (Humbrol 32 with some dry-brushing), while the landing gear is Aluminum (Humbrol 56).
Once the basic painting was done I had to deal with the missing panel lines on the fuselage and those raised lines that were sanded away during the building process. I decided to simulate these with a soft pencil, after the whole kit was buffed with a soft cotton cloth and some grinded graphite. This way, the remaining raised panel lines were emphasized, and from these the rest was drawn up. A ruler and masking tape were used as guidance for straight lines, and this worked better than expected, with good results.
As a next step, the newly created panels were highlighted with dry-brushed lighter tones of the basic paints (FS 36492 and WWII Italian Blue Grey from Modelmaster, and Humbrol 126), more for a dramatic than a weathered effect. The gun ports and the exhaust section were painted with Modelmaster Metallizer (Titanium and Magnesium).
The decals come from several Xtradecal aftermarket sheets, including a dedicated Lightning stencils sheet, another Lightning sheet with various squadron markings and a sheet for RAF Tornado ADVs.
The code number “XS970” was earmarked to a TSR.2, AFAIK, but since it was never used on a service aircraft it would be a good option for the Levin.
The kit received a coat of matt acrylic varnish from the rattle can – jn this case the finish was intended to bear a slight shine.
This was a project with LOTS of effort, but you hardly recognize it – it’s a single engine Lightning, so what? But welding the Lightning and Su-17 parts together for something that comes close to the P.6/1 necessitated LOTS of body work and improvisation, carving it from wood would probably have been the next complicated option. Except for the surprisingly long tail I am very happy with the result, despite the model’s shaggy origins, and the low-viz livery suits the sleek aircraft IMHO very well.
External shot of AK1, showing the livery. The P13 bogies have yet to arrive. Hillside workshops. 24 March, 2011.
146. - The External Oblique Muscles.
Original photograph taken with a Polaroid SX-70 Alpha1 SE using Impossible Project PX680 First Flush instant film.
Emulsion transfer onto heavyweight matt laser print of a scan from Gray's Anatomy 1st edition reprint.
Had some trouble with this, mostly due to the age of the film I think, so contrast has been slightly boosted after scanning.
The Goldoni Theater is the oldest and still existing theater in Venice, as well as the fourth most ancient one throughout the city (after the Michiel Theater, the Tron Theater -1581- and the San Moisé Theater -1613). It was built by the Vendramin family in 1622 and was called by their name. The opening ceremony of the theater, also named San Salvador and San Luca Theater, took place in the Autumn of the same year with a performance of the acting company “Gli Accesi”.
For the very first 30 years only comedies were performed. In 1653 the theater was destroyed by a violent fire; the new owners, Andrea and Zanetta Vendramin decided to rebuild it inside the old undamaged walls and to entrust repairs to external managers, which were the only beneficiaries of the funds but were obliged to pay out to the Vendramin family an average annual income of 1.000 ducats and to incur all the expenses.
Andrea and Zanetta were the owners for more than 40 years and kept on subcontracting to external entrepreneurs; one of the most important ones worth to be mentioned is Gaspare Torelli, an outstanding figure within the Venetian cultural panorama in those times. Librettist, costume designer and set designer if needed, Torelli signed his first contract with the Vendramin family in 1681 and it was renewed two times (this had never occurred before). In those few years he was able to leave an important mark at all levels (scheduling and productions, structural improvements, etc.). He renovated and enlarged theater and stage and renewed the equipment so as to offer an excellent theatrical seasons to the Venetian public.
The success obtained by the dynamic presence of Gaspare Torelli was obstructed by the Grimani family, who was the owner of three theaters (San Samuele Theater, SS. Giovanni e Paolo and San Giovanni Grisostomo). In 1687 Torelli renewed his commitment to the Vendramins for ten years more; the Grimanis were worried about the steady success of the contending theater and so they convinced or forced the manager to accept the movement to the Parma Court proposed by the Farneses and to sublet to them the Vendramins’ contract and the ownership of some reserved loges at the San Salvador Theater. It was certainly an interference going beyond legal limits and it could not be accepted by the Vendramin family. After Andrea’s death in 1685, indeed, Zanetta and her sons Alvise, Francesco, Andrea and Antonio took legal action, were successful and in 1869 obtained the management of the theater again. The two families who owned the Venetian theaters ended to be in competition with each other at the beginning of the 18th century; in 1703 they came to terms (for the first time in their business about the theater) and signed a contract which regulated, for five years, the performances of the San Samuele Theater and the San Salvador Theater, which started to be more and more often named as San Luca Theater in documents. At the end of the preset period, the contract was not renewed. Antonio and Francesco Vendramin, who took over from Alvise, kept on managing the theater independently until the season 1752-1753 which was the turning point thanks to the employment of Carlo Goldoni in the San Luca Theater.
The first time Goldoni showed himself in a Venetian theater was in 1734, and since then he went on being appointed by the Grimani family to hold this job at the San Samuele Theater. Then he moved to the Sant’Angelo Theater where the stage management was Girolamo Medebach and where he stayed (writing and staging 40 comedies )until the expiry date of the contract in 1753. Due to personal conflicts with Medebach, too, Goldoni left the Sant’Angelo Theater and met the Vendramins who seized the moment and offered the well known Goldoni a very favorable contract based on making a deal directly with the owner and giving him his comedies which should have been immediately paid before their reading. The trust in Goldoni’s ability to produce successful and appealing comedies was absolute. This is why his incomes had almost doubled but the most relevant fact was that he was free to get his works printed wherever and by whichever editor he liked.
Thanks to this cultural and social attitude of the whole Venetian city and of its notables, Carlo Goldoni could start that Theater reform which let him create everlasting works and characters that have always been performed on all the stages and in every language all over the world. As a matter of fact comedies like Il Campiello, Gl’innamorati and I Rusteghi date back to that time. The last season passed by Goldoni at the San Luca Theater in the year 1761 was particularly flourishing and took to produce comedies like La trilogia della villeggiatura, Sior Todero brontolon, Le baruffe chiozzotte and Una delle ultime sere di carnovale. When Carlo Goldoni left to Paris, Francesco Vendramin kept on managing the theater like a business up to the time when, in 1775, the Security Committee of the Local Authority decided that the theater was not safe and needed a drastic restoration. It was also due to the fact that the way of managing the theater by the Vendramins had stopped the profitable rental system which obliged the lessees not only to organize the shows but also to maintain and renovate the theater facility, and the San Carlo Theater was an old and unsafe building at that moment. In Autumn 1776 the theater was reopened and its activity started again with the company of Antonio Sacchi but the audience didn’t immediately meet with the Vendramins’ expectations, maybe also because during the restoration the theater had come under some structural changes and extensions, like the entrance located in Calle Berizi (the present Calle del Teatro), a new foyer and some more loges (seventeen were totally added, five of which at the first order or “pepiano” and four at each of the three following orders of loges).
The theater activity went on at a mean level until the fall of the “Serenissima” Republic in 1797, also because of the financial difficulties which the Vendramin family was drawn into. In 1798, on the 18th of January, the Austrians came into possession of Venice, according to the Campoformio Treaty which decreed that Napoleon gave Venice to Austria.
During the short term of the French domination, in 1807 the Ministry of Interior reduced the city theaters, that could only be used proportionally to the population density. The Venetian theaters were reduced to four and the San Luca one was closed. It was a large, centrally located theater, whose static conditions were not worse than the other ones, so we can suppose within reason that its closure depended above all on political motivations, as the Vendramins were suspected to sympathize with the Austrians.
In 1815, when the Austrians came again, an imperial decree gave back to the San Luca Theater the possibility to be reopened. It happened officially in 1817 following a radical structural renovation.
Specific attention was paid both to the maintenance of the theater and its amenities and to the renovation of the theater lighting and scenery equipments, also because there had always been a high and urgent competition with the other Venetian theaters, especially with the new born La Fenice.
In 1833 the foyer was enlarged, the stage was lengthened and the theater curve was adjusted; on the 28th of September the ancient Theater of the Vendramins at San Luca changed its name into Apollo Theater.
In the night between the 12th and the 13th of December 1836 La Fenice Theater was destroyed by a very aggressive fire, so the Vendramins agreed to transfer the shows, which had already been made ready for the imminent Carnival, to the Apollo Theater. That season was outstanding indeed and the opera Pia de’ Tolomei by Gaetano Donizetti was performed the first time. There was no program reduction, except for a ballet which could not be performed because of the delimited size of the stage.
Due to the Carnival and in order to give more convenience to the spectators coming from La Fenice Theater, Domenico Vendramin made a suitable landing place prepared on the Carbon bank that was next to a covered street which led directly to the door of the theater hall.
Unfortunately in 1844, when he was again thinking about a new and relevant renovation, Domenico Vendramin died prematurely and so his widow, Regina de Marchi, took on the management of the theater; her first aim was to see that her husband’s plan would come true. The Apollo Theater was the first one in Italy to be equipped with gas illumination and to be completely illuminated. In Spring 1853 the painter Ferrari Bravo was given the task to renovate the theater: it was a significant restoration in a flowered neo gothic style, which gave the Apollo Theater the new feature that distinguished it until its end.
The second half of the 19th century was a very particular and difficult period; Regina de Marchi was an intelligent woman with a strong personality and managed the theater for almost forty years. She faced in a positive way all the problems caused by historical facts to a public and well-known place like an old local theater. She hosted the celebrations for the 1848 irredentist revolt and the short free time of the new republic and faced in a dignified way the Radetzky’s oppressive regime, the disappointment of the second independence war, censure and financial difficulties, but she was still there to manage the theater when the Italian troops entered Venice on the 19th of October, in 1866.
Starting from this date the Apollo Theater activity began again and lasted for about ten years more. It’s worth to be remembered the successful activity of the new “venetian” company by Angelo Moro Lin and its writer and poet Giacinto Gallina with his comedies Le barufe in famegia and La famegia in rovina.
In 1874 another restoration work led to remove dirt from decorations and to reinforce basic structures. At the time there were five orders of balconies and 162 loges; the parterre had 560 seats and a total capacity of 1.250 seats with three exits to the street (three in the parterre, one of which towards the foyer and the other two next to the orchestra); on the side of the left scene one more exit was beneath balconies (exit shared with the Carbon under portico, a passage still used nowadays to the scenery transfer). Something worthy of note is that the second line of balconies on the right was directly joined to the owner’s home. A relevant work converted the last order of loges into a gallery.
In 1875 the actor Angelo Moro Lin and Regina de Marchi decided together to entitle the ancient San Luca Theater to Carlo Goldoni. It was obviously not only a question of name, but firstly in reference to a more pertinent “comic” characterization in honor of the great playwright and then a worthy homage to one of the most eminent sons of the city of Venice. In the evening of the 26th of February, 1875, a day after the anniversary of Goldoni’s birth (it was necessary to postpone the ceremony until one day later because of an over-the-top snowfall), the Apollo Theater died and the Carlo Goldoni Theater was born. A bust by the sculptor Soranzo, which is still present in the theater foyer, and given by the Prince Giovannelli, was shown. The ceremony was touching and Moro Lin, surrounded by his actors, made a successful speech in Venetian dialect and expressed the wish that a suitable monument would have been erected to the most famous poet of the city. All the company (who distinguished themselves as “goldonian company”) performed the comedy Una delle ultime sere di Carnovale, that is the last comedy written by Goldoni before leaving Venice indefinitely and by which he could, in some way and in a theater to him entitled, come back.
In 1880 Regina de Marchi, widow of the last member of the Vendramins, died and the grandniece Chiara Ciotto got the ownership of the theater, together with her husband Pietro Marigonda who became its director. When Pietro’s son, Antonio Marigonda, was the owner, the Goldoni Theater appeared to have some urban problems and needed some external refurbishment: these problems were solved by demolishing some crumbling buildings and by broadening the Calle del Teatro.
The façade of the theater was not adequate and some engineers were charged with planning a new one. The project was approved in May, 1909, and the construction was completed in only four months. This was the first, real façade of the ancient Vendramin Theater, which the contemporaries didn’t appreciate and which was named “railway style” façade.
Beyond the aesthetic opinion about the new façade, these years were very important for the theater activity because a clear commitment of redevelopment was focused on the very careful attention to the settlement of the artistic selection. All the best Italian companies and some foreign ones, too, referred to the Goldoni Theater and for this reason a statistical survey relating to the 1909 season about the box office takings placed Venice immediately after Milan and Rome.
After the Great War there was a remarkable relaunch of the theater activity and the Venetian audience never missed the dates with the great companies of that time. In 1923 the theater celebrated the fourth century of its existence, but the preceding year another exceptional event had inserted the Goldoni Theater in all the artistic and elite news sections of that time: Eleonora Duse had made a comeback to Venice twenty years later. In March 1922 (scarcely two years before her death) she acted two extraordinary plays: La donna del mare by Ibsen and La porta chiusa by Marco Praga.
The unexpected death of Antonio Marigonda caused a sudden stop in this very good time of artistic growth that led to a quick downfall of the activity until the closure of the theater. Piero and Andrea, Pietro Marigonda’s sons, managed the theater for a short time, till the year 1937 , when the ownership changed again and the theater was purchased by the Lawyer Giacomo Baldissera baron Treves de’ Bonfili, and the management was entrusted to ICSA (Imprese Cinematografiche Spettacoli e Affini: cinema, performances and similar Companies). The last ten years of the Goldoni Theater were not significant because of a programming of popular entertainment categories like the operetta and the revue. It is important to note that the Venetian audience took position against and was successful in avoiding the transformation of the Goldoni Theater into a movie theater, something that occurred to other ones, like the Rossini (ex San Benedetto Theater) and the Malibran (ex San Giovanni Grisostomo Theater).
During the painful years of the Second World War, the theater went on operating, also because Venice hosted the Ministry of Popular Culture and therefore the General Management Office for Performance. On the 15th of June, 1947, the theater was considered unusable and was permanently closed because of the unsafe structural conditions which needed an almost total rebuilding. That Summer in 1947 nobody could have never imagined that the old Goldoni Theater would go on being closed for such a long time and nobody could have supposed such a rough and many times changed path, the endless patience of Venetian people and the way of proceeding similar to a serialized novel with a lot of coups de théatre. The first ten years spent without an agreement between the last owner, the Lawyer Baldissera (who could not or did not want to be responsible of the necessary works), and the Municipal Administration that had decreed the building was a community benefit (so as to avoid a possible speculative use) and aimed at its expropriation. On the 5th of October, 1957, the Municipal Administration acquired the building from the Lawyer Baldissera but, at that point, the main problem was to find the necessary money to proceed.
The impasse seemed to break through by means of a project by the Fondazione Giorgio, but it had no follow-up. Two more years spent before the approval by the High Council for Public Works of a new project which was about restoration, not total renovation: it was considered a partial demolition of the building and the preservation of some structures.
At that time, there were also disputes between conservatives (who supported the theory “just like it was, just where it was”) and innovators (who were in favor of a modern structural work). The project seemed to be able to have a positive follow up and the reopening of the theater was expected, with a certain overoptimism, to occur in 1963. But in May 1962 the works were stopped because of legal disputes with the owners of the neighboring buildings. Two more years spent before a new project was approved, in September 1964. However, only in Summer 1969 the works started: a completely new building was constructed and its external structures were finished in 1973. The works could have been finished even that same year if new disputes between conservatives and innovators would not delay it. It was finally reached a compromise: to maintain the interior with the preceding distinctive features, although with some changes (four orders of loges and a gallery, instead of five orders of only loges and a raised parterre, with a consequent reduction of seats) and to construct a completely new exterior.
Finally, on the 22nd of April, 1979, with a total expense of almost three and a half milliards Lire, the theater was reopened, nineteen years later with respect to the first project, twenty nine years after the takeover by the Municipality and thirty two years after its closure. The opening performance was one of Carlo Goldoni’s masterpieces: La locandiera with Giancarlo Cobelli as a director and Carla Gravina as the leading character, together with Gabriele Ferzetti. The performance was brought touring for three years and a TV adaptation was produced, too, which can be still nowadays be seen by a DVD player.
The Municipality of Venice managed the theater for more than ten years, entrusting the conduction to various directors (among which an unforgettable person like Giorgio Gaber), until 1992, when its management was entrusted to the Teatro Stabile del Veneto, an association of which also the Giuseppe Verdi Theater of Padua is a part and that is still conducting the Goldoni Theater.
Hong Kong (香港; "Fragrant Harbour"), officially Hong Kong Special Administrative Region of the People's Republic of China, is an autonomous territory on the southern coast of China at the Pearl River Estuary and the South China Sea. Hong Kong is known for its skyline and deep natural harbour. It has an area of 1104 km2 and shares its northern border with the Guangdong Province of Mainland China. With around 7.2 million Hongkongers of various nationalities, Hong Kong is one of the world's most densely populated metropolises.
After the First Opium War (1839–42), Hong Kong became a British colony with the perpetual cession of Hong Kong Island, followed by Kowloon Peninsula in 1860 and a 99-year lease of the New Territories from 1898. Hong Kong remained under British control for about a century until the Second World War, when Japan occupied the colony from December 1941 to August 1945. After the Surrender of Japan, the British resumed control. In the 1980s, negotiations between the United Kingdom and the People's Republic of China resulted in the 1984 Sino-British Joint Declaration, which provided for the transfer of sovereignty of Hong Kong on 30 June 1997. The territory became a special administrative region of China with a high degree of autonomy on 1 July 1997 under the principle of one country, two systems. Disputes over the perceived misapplication of this principle have contributed to popular protests, including the 2014 Umbrella Revolution.
In the late 1970s, Hong Kong became a major entrepôt in Asia-Pacific. The territory has developed into a major global trade hub and financial centre. The 44th-largest economy in the world, Hong Kong ranks top 10 in GDP (PPP) per capita, but also has the most severe income inequality among advanced economies. Hong Kong is one of the three most important financial centres alongside New York and London, and the world's number one tourist destination city. The territory has been named the freest market economy. The service economy, characterised by free trade and low taxation, has been regarded as one of the world's most laissez-faire economic policies, and the currency, the Hong Kong dollar, is the 13th most traded currency in the world.
The Hong Kong Basic Law empowers the region to develop relations and make agreements directly with foreign states and regions, as well as international organizations, in a broad range of appropriate fields. It is an independent member of APEC, the IMF, WTO, FIFA and International Olympic Committee among others.
Limited land created a dense infrastructure and the territory became a centre of modern architecture, and one of the world's most vertical cities. Hong Kong has a highly developed public transportation network covering 90 per cent of the population, the highest in the world, and relies on mass transit by road or rail. Air pollution remains a serious problem. Loose emissions standards have resulted in a high level of atmospheric particulates. Nevertheless, Hongkongers enjoy the world's longest or second longest life expectancies.
NAME
It is not known who was responsible for the Romanisation of the name "Hong Kong" but it is generally believed to be an early imprecise phonetic rendering of the pronunciation of the spoken Cantonese or Hakka name 香港, meaning "Fragrant Harbour". Before 1842, the name referred to a small inlet—now Aberdeen Harbour (香港仔, Sidney Lau: heung1gong2 jai2, Jyutping: hoeng1gong2 zai2, or Hiong1gong3 zai3 in a form of Hakka, literally means "Little Hong Kong")—between Aberdeen Island and the south side of Hong Kong Island, which was one of the first points of contact between British sailors and local fishermen. As those early contacts are likely to have been with Hong Kong's early inhabitants, the Tankas (水上人), it is equally probable that the early Romanisation was a faithful execution of their speech, i.e. hong1, not heung1. Detailed and accurate Romanisation systems for Cantonese were available and in use at the time.
The reference to fragrance may refer to the sweet taste of the harbour's fresh water estuarine influx of the Pearl River, or to the incense from factories, lining the coast to the north of Kowloon, which was stored near Aberdeen Harbour for export before the development of the Victoria Harbour.
In 1842, the Treaty of Nanking was signed and the name, Hong Kong, was first recorded on official documents to encompass the entirety of the island.
The name had often been written as the single word Hongkong until the government adopted the current form in 1926. Nevertheless, a number of century-old institutions still retain the single-word form, such as the Hongkong Post, Hongkong Electric and the Hongkong and Shanghai Banking Corporation.
The full official name, after 1997, is "Hong Kong Special Administrative Region of the People's Republic of China". This is the official title as mentioned in the Hong Kong Basic Law and the Hong Kong Government's website; however, "Hong Kong Special Administrative Region" and "Hong Kong" are widely accepted.
Hong Kong has carried many nicknames: the most famous among those is the "Pearl of the Orient", which reflected the impressive night-view of the city's light decorations on the skyscrapers along both sides of the Victoria Harbour. The territory is also known as "Asia's World City".
HISTORY
PRE-BRITISH
Archaeological studies support human presence in the Chek Lap Kok area (now Hong Kong International Airport) from 35,000 to 39,000 years ago and on Sai Kung Peninsula from 6,000 years ago.
Wong Tei Tung and Three Fathoms Cove are the earliest sites of human habitation in Hong Kong during the Paleolithic Period. It is believed that the Three Fathom Cove was a river-valley settlement and Wong Tei Tung was a lithic manufacturing site. Excavated Neolithic artefacts suggested cultural differences from the Longshan culture of northern China and settlement by the Che people, prior to the migration of the Baiyue (Viets) to Hong Kong. Eight petroglyphs, which dated to the Shang dynasty in China, were discovered on the surrounding islands.
ANCIENT CHINA
In 214 BC, Qin Shi Huang, the first emperor of China, conquered the Baiyue tribes in Jiaozhi (modern Liangguang region and Vietnam) and incorporated the territory into imperial China for the first time. Modern Hong Kong was assigned to the Nanhai commandery (modern Nanhai District), near the commandery's capital city Panyu. In Qin dynasty, the territory was ruled by Panyu County(番禺縣) up till Jin Dynasty.
The area of Hong Kong was consolidated under the kingdom of Nanyue (Southern Viet), founded by general Zhao Tuo in 204 BC after the collapse of the short-lived Qin dynasty. When the kingdom of Nanyue was conquered by the Han Dynasty in 111 BC, Hong Kong was assigned to the Jiaozhi commandery. Archaeological evidence indicates that the population increased and early salt production flourished in this time period. Lei Cheng Uk Han Tomb on the Kowloon Peninsula is believed to have been built during the Han dynasty.
IMPERIAL CHINA
Started from Jin dynasty to early period of Tang dynasty, the territory that now comprises Hong Kong was governed by Bao'an County (寶安縣). In Tang dynasty, the Guangdong region flourished as an international trading center. The Tuen Mun region in what is now Hong Kong's New Territories served as a port, naval base, salt production centre and later, base for the exploitation of pearls. Lantau Island was also a salt production centre, where the salt smugglers riots broke out against the government.
Under the Tang dynasty, the Guangdong (Canton) region flourished as a regional trading centre. In 736 AD, the first Emperor of Tang established a military stronghold in Tuen Mun in western Hong Kong to defend the coastal area of the region. The first village school, Li Ying College, was established around 1075 AD in the modern-day New Territories under the Northern Song dynasty. After their defeat by the Mongols, the Southern Song court briefly moved to modern-day Kowloon City (the Sung Wong Toi site), before its final defeat at the Battle of Yamen.
From the mid-Tang dynasty to early Ming dynasty, the territory that now comprises Hong Kong was governed by Dongguan County (東莞縣/ 東官縣). In Ming dynasty, the area was governed by Xin'an County (新安縣) before it was colonized by the British government. The indigenous inhabitants of what is now Hong Kong are identified with several ethnicities, including Punti, Hakka, Tanka) and Hoklo.
The earliest European visitor on record was Jorge Álvares, a Portuguese explorer who arrived in 1513. Having founded an establishment in Macau by 1557, Portuguese merchants began trading in southern China. However, subsequent military clashes between China and Portugal led to the expulsion of all Portuguese merchants from the rest of China.
In the mid-16th century, the Haijin order (closed-door, isolation policy) was enforced and it strictly forbade all maritime activities in order to prevent contact from foreigners by sea. From 1661 to 1669, Hong Kong was directly affected by the Great Clearance of the Kangxi Emperor, who required the evacuation of coastal areas of Guangdong. About 16,000 people from Hong Kong and Bao'an County were forced to emigrate inland; 1,648 of those who evacuated were said to have returned after the evacuation was rescinded in 1669.
BRITSH CROWN COLONY 1842–1941
In 1839, the refusal of Qing authorities to support opium imports caused the outbreak of the First Opium War between the British Empire and the Qing Empire. Qing's defeat resulted in the occupation of Hong Kong Island by British forces on 20 January 1841. It was initially ceded under the Convention of Chuenpee, as part of a ceasefire agreement between Captain Charles Elliot and Governor Qishan. While a dispute between high-ranking officials of both countries led to the failure of the treaty's ratification, on 29 August 1842, Hong Kong Island was formally ceded in perpetuity to the United Kingdom of Great Britain and Ireland under the Treaty of Nanking. The British officially established a Crown colony and founded the City of Victoria in the following year.
The population of Hong Kong Island was 7,450 when the Union Flag raised over Possession Point on 26 January 1841. It mostly consisted of Tanka fishermen and Hakka charcoal burners, whose settlements scattered along several coastal hamlets. In the 1850s, a large number of Chinese immigrants crossed the then-free border to escape from the Taiping Rebellion. Other natural disasters, such as flooding, typhoons and famine in mainland China would play a role in establishing Hong Kong as a place for safe shelter.
Further conflicts over the opium trade between Britain and Qing quickly escalated into the Second Opium War. Following the Anglo-French victory, the Crown Colony was expanded to include Kowloon Peninsula (south of Boundary Street) and Stonecutter's Island, both of which were ceded to the British in perpetuity under the Convention of Beijing in 1860.
In 1898, Britain obtained a 99-year lease from Qing under the Convention for the Extension of Hong Kong Territory, in which Hong Kong obtained a 99-year lease of the Lantau Island, the area north of Boundary Street in Kowloon up to Shenzhen River and over 200 other outlying islands.
Hong Kong soon became a major entrepôt thanks to its free port status, attracting new immigrants to settle from both China and Europe alike. The society, however, remained racially segregated and polarised under British colonial policies. Despite the rise of a British-educated Chinese upper-class by the late-19th century, race laws such as the Peak Reservation Ordinance prevented ethnic Chinese in Hong Kong from acquiring houses in reserved areas, such as the Victoria Peak. At this time, the majority of the Chinese population in Hong Kong had no political representation in the British colonial government. There were, however, a small number of Chinese elites whom the British governors relied on, such as Sir Kai Ho and Robert Hotung, who served as communicators and mediators between the government and local population.
Hong Kong continued to experience modest growth during the first half of the 20th century. The University of Hong Kong was established in 1911 as the territory's oldest higher education institute. While there was an exodus of 60,000 residents for fear of a German attack on the British colony during the First World War, Hong Kong remained peaceful. Its population increased from 530,000 in 1916 to 725,000 in 1925 and reached 1.6 million by 1941.
In 1925, Cecil Clementi became the 17th Governor of Hong Kong. Fluent in Cantonese and without a need for translator, Clementi introduced the first ethnic Chinese, Shouson Chow, into the Executive Council as an unofficial member. Under his tenure, Kai Tak Airport entered operation as RAF Kai Tak and several aviation clubs. In 1937, the Second Sino-Japanese War broke out when the Japanese Empire expanded its territories from northeastern China into the mainland proper. To safeguard Hong Kong as a freeport, Governor Geoffry Northcote declared the Crown Colony as a neutral zone.
JAPANESE OCCUPATION 1941–45
As part of its military campaign in Southeast Asia during Second World War, the Japanese army moved south from Guangzhou of mainland China and attacked Hong Kong on 8 December 1941. The Battle of Hong Kong ended with the British and Canadian defenders surrendering control of Hong Kong to Japan on 25 December 1941 in what was regarded by locals as Black Christmas.
During the Japanese occupation of Hong Kong, the Japanese army committed atrocities against civilians and POWs, such as the St. Stephen's College massacre. Local residents also suffered widespread food shortages, limited rationing and hyper-inflation arising from the forced exchange of currency from Hong Kong Dollars to Japanese military banknotes. The initial ratio of 2:1 was gradually devalued to 4:1 and ownership of Hong Kong Dollars was declared illegal and punishable by harsh torture. Due to starvation and forced deportation for slave labour to mainland China, the population of Hong Kong had dwindled from 1.6 million in 1941 to 600,000 in 1945, when Britain resumed control of the colony on 30 August 1945.
ECONOMY
As one of the world's leading international financial centres, Hong Kong has a major capitalist service economy characterised by low taxation and free trade. The currency, Hong Kong dollar, is the eighth most traded currency in the world as of 2010. Hong Kong was once described by Milton Friedman as the world's greatest experiment in laissez-faire capitalism, but has since instituted a regime of regulations including a minimum wage. It maintains a highly developed capitalist economy, ranked the freest in the world by the Index of Economic Freedom every year since 1995. It is an important centre for international finance and trade, with one of the greatest concentrations of corporate headquarters in the Asia-Pacific region, and is known as one of the Four Asian Tigers for its high growth rates and rapid development from the 1960s to the 1990s. Between 1961 and 1997 Hong Kong's gross domestic product grew 180 times while per-capita GDP increased 87 times over.
The Hong Kong Stock Exchange is the seventh largest in the world and has a market capitalisation of US$2.3 trillion as of December 2009. In that year, Hong Kong raised 22 percent of worldwide initial public offering (IPO) capital, making it the largest centre of IPOs in the world and the easiest place to raise capital. The Hong Kong dollar has been pegged to the US dollar since 1983.
The Hong Kong Government has traditionally played a mostly passive role in the economy, with little by way of industrial policy and almost no import or export controls. Market forces and the private sector were allowed to determine practical development. Under the official policy of "positive non-interventionism", Hong Kong is often cited as an example of laissez-faire capitalism. Following the Second World War, Hong Kong industrialised rapidly as a manufacturing centre driven by exports, and then underwent a rapid transition to a service-based economy in the 1980s. Since then, it has grown to become a leading centre for management, financial, IT, business consultation and professional services.
Hong Kong matured to become a financial centre in the 1990s, but was greatly affected by the Asian financial crisis in 1998, and again in 2003 by the SARS outbreak. A revival of external and domestic demand has led to a strong recovery, as cost decreases strengthened the competitiveness of Hong Kong exports and a long deflationary period ended. Government intervention, initiated by the later colonial governments and continued since 1997, has steadily increased, with the introduction of export credit guarantees, a compulsory pension scheme, a minimum wage, anti-discrimination laws, and a state mortgage backer.
The territory has little arable land and few natural resources, so it imports most of its food and raw materials. Imports account for more than 90% of Hong Kong's food supply, including nearly all of the meat and rice available there. Agricultural activity - relatively unimportant to Hong Kong's economy and contributing just 0.1% of its GDP - primarily consists of growing premium food and flower varieties. Hong Kong is the world's eleventh largest trading entity, with the total value of imports and exports exceeding its gross domestic product. It is the world's largest re-export centre. Much of Hong Kong's exports consist of re-exports, which are products made outside of the territory, especially in mainland China, and distributed via Hong Kong. Its physical location has allowed the city to establish a transportation and logistics infrastructure that includes the world's second busiest container port and the world's busiest airport for international cargo. Even before the transfer of sovereignty, Hong Kong had established extensive trade and investment ties with the mainland, which now enable it to serve as a point of entry for investment flowing into the mainland. At the end of 2007, there were 3.46 million people employed full-time, with the unemployment rate averaging 4.1% for the fourth straight year of decline. Hong Kong's economy is dominated by the service sector, which accounts for over 90% of its GDP, while industry constitutes 9%. Inflation was at 2.5% in 2007. Hong Kong's largest export markets are mainland China, the United States, and Japan.
As of 2010 Hong Kong is the eighth most expensive city for expatriates, falling from fifth position in the previous year. Hong Kong is ranked fourth in terms of the highest percentage of millionaire households, behind Switzerland, Qatar, and Singapore with 8.5 percent of all households owning at least one million US dollars. Hong Kong is also ranked second in the world by the most billionaires per capita (one per 132,075 people), behind Monaco. In 2011, Hong Kong was ranked second in the Ease of Doing Business Index, behind Singapore.
Hong Kong is ranked No. 1 in the world in the Crony Capitalism Index by the Economist.
In 2014, Hong Kong was the eleventh most popular destination for international tourists among countries and territories worldwide, with a total of 27.8 million visitors contributing a total of US$38,376 million in international tourism receipts. Hong Kong is also the most popular city for tourists, nearly two times of its nearest competitor Macau.
DEMOGRAPHICS
The territory's population in mid-2015 is 7.30 million, with an average annual growth rate of 0.8% over the previous 5 years. The current population of Hong Kong comprises 91% ethnic Chinese. A major part of Hong Kong's Cantonese-speaking majority originated from the neighbouring Guangdong province, from where many fled during the Second Sino-Japanese War, the Chinese Civil War, and the communist rule in China.
Residents of the Mainland do not automatically receive the Right of Abode, and many may not enter the territory freely. Like other non-natives, they may apply for the Right of Abode after seven years of continuous residency. Some of the rights may also be acquired by marriage (e.g., the right to work), but these do not include the right to vote or stand for office. However, the influx of immigrants from mainland China, approximating 45,000 per year, is a significant contributor to its population growth – a daily quota of 150 Mainland Chinese with family ties in Hong Kong are granted a "one way permit". Life expectancy in Hong Kong is 81.2 years for males and 86.9 years for females as of 2014, making it the highest life expectancy in the world.
About 91% of the people of Hong Kong are of Chinese descent, the majority of whom are Taishanese, Chiu Chow, other Cantonese people, and Hakka. Hong Kong's Han majority originate mainly from the Guangzhou and Taishan regions in Guangdong province. The remaining 6.9% of the population is composed of non-ethnic Chinese. There is a South Asian population of Indians, Pakistanis and Nepalese; some Vietnamese refugees have become permanent residents of Hong Kong. There are also Britons, Americans, Canadians, Japanese, and Koreans working in the city's commercial and financial sector. In 2011, 133,377 foreign domestic helpers from Indonesia and 132,935 from the Philippines were working in Hong Kong.
Hong Kong's de facto official language is Cantonese, a variety of Chinese originating from Guangdong province to the north of Hong Kong. English is also an official language, and according to a 1996 by-census is spoken by 3.1 percent of the population as an everyday language and by 34.9 percent of the population as a second language. Signs displaying both Chinese and English are common throughout the territory. Since the 1997 Handover, an increase in immigrants from communist China and greater interaction with the mainland's economy have brought an increasing number of Mandarin speakers to Hong Kong.
RELIGION
A majority of residents of Hong Kong have no religious affiliation, professing a form of agnosticism or atheism. According to the US Department of State 43 percent of the population practices some form of religion. Some figures put it higher, according to a Gallup poll, 64% of Hong Kong residents do not believe in any religion, and possibly 80% of Hong Kong claim no religion. In Hong Kong teaching evolution won out in curriculum dispute about whether to teach other explanations, and that creationism and intelligent design will form no part of the senior secondary biology curriculum.
Hong Kong enjoys a high degree of religious freedom, guaranteed by the Basic Law. Hong Kong's main religions are Buddhism, Taoism and Confucianism; a local religious scholar in contact with major denominations estimates there are approximately 1.5 million Buddhists and Taoists. A Christian community of around 833,000 forms about 11.7% of the total population; Protestants forms a larger number than Roman Catholics at a rate of 4:3, although smaller Christian communities exist, including the Latter-day Saints and Jehovah's Witnesses. The Anglican and Roman Catholic churches each freely appoint their own bishops, unlike in mainland China. There are also Sikh, Muslim, Jewish, Hindu and Bahá'í communities. The practice of Falun Gong is tolerated.
PERSONAL INCOME
Statistically Hong Kong's income gap is the greatest in Asia Pacific. According to a report by the United Nations Human Settlements Programme in 2008, Hong Kong's Gini coefficient, at 0.53, was the highest in Asia and "relatively high by international standards". However, the government has stressed that income disparity does not equate to worsening of the poverty situation, and that the Gini coefficient is not strictly comparable between regions. The government has named economic restructuring, changes in household sizes, and the increase of high-income jobs as factors that have skewed the Gini coefficient.
WIKIPEDIA
A shot from the photocall for Pardon/In Cuffs which is at the Traverse Theatre this Edinburgh Fringe.
Valentijn Dhaenens devised the concept and directs.
The performers are: Valentijn Dhaenens; Clara Van Der Broek; and Korneel Hamers.
You can find out more about the play and buy tickets, here: www.traverse.co.uk/whats-on/event-detail/617/pardon--in-c...
St Mary, Worlingworth, Suffolk
North Suffolk is a lattice of lanes, which meander as if they are so ancient they have forgotten their purpose. Worlingworth is a large village, and it comes as a surprise. The church of St Mary rears its 15th Century head above the pretty cottages, and you step through a gate into the tight, verdant graveyard, so tight that external shots are near impossible without a bit of trickery.
From the churchyard, the sheer scale of the Perpendicular windows is accentuated by the lack of a clerestory. You can see straight away that this is not going to be a dark church. The porch disguises the size of the church, being large in proportion. In fact, as there are no aisles, this is the second largest span of any church roof in Suffolk, after Laxfield.
As is usual in this part of the county, St Mary is open every day, and it is always a pleasure to step into the charming and interesting interior, with much to see. Simon Jenkins famously described the parish churches of England as one vast folk museum, and he might well have been thinking of Worlingworth in particular. Here, there is a real sense of the life of ordinary people in this parish over six centuries or more.
Best of all is quite the loveliest set of 17th century box pews in the county. Their doors are carved with the familiar arch, the wood burnished with the patina of age. The date 1630 can be seen at the front. Their sheer quality is perhaps a mark of burgeoning Laudian piety, but undoubtedly they serve their purpose so well that no later century has seen a reason to replace them. The effect of standing among them beneath that great roof is a little like being in a forest.
Some medieval fragments of glass survive in the nave windows. Those in the north side of the nave look so similar to some of the fragments incorporated into the east window at Yaxley that I wondered if they might have come from the same collection. On the south side are a series of familiar 15th Century Saints from the Norwich workshops, including St Apollonia, St Margaret, St Mary Magdalene and St Anne teaching the Blessed Virgin to read. Curiously, all are headless, as if the 16th Century iconolasts had felt it sufficient to, quite literally, deface them.
But perhaps the most interesting survivals here are more recent. In the south aisle, a huge picture shows the Worlingworth feast on the occasion of the Golden Jubilee of George III in 1810. The church you are standing in can be seen to the left. If you look closely, you'll see an ox being roasted on a great spit. Turning to the north west, you can see the spit itself leaning up in the corner. In recent years the painting has been joined by another, depicting Worlingworth's Golden Jubilee feast for Elizabeth II in 2002. How's that for continuity?
In front of the spit is the famous Worlingworth fire engine, dating from the year of George III's accession, 1760. Once, these were a common sight, in churchyards or in the yards of stately homes. Mortlock says that this one was last used on Guy Fawkes Night, 1927. On it is the name of the makers, Newsham and Ragg of Cloth Fair, in the city of London. Sir John Betjeman spent the most creative years of his life living in a house in Cloth Fair, so I wonder if he knew of the Worlingworth fire engine?
The font cover is famous for its size and decoration. Only Ufford and Sudbury St Gregory surpass it, although there is something particularly lovely about its mannered early-18th Century restoration. The Victorians seemed to think that it had been brought here from Bury Abbey after the Reformation, but there is no evidence for this - in fact, surely the evidence points to exactly the opposite. It must have been designed for the space it now fills.
There are so many fascinating little details at Worlingworth. On the north wall, part of the St Christopher wall-painting survives. Prayers to St Christopher asked for him to intervene to preserve the supplicant from sudden death, an urgent priority in the years after the Black Death when so many had died unshriven. Once, almost every church had one of these. The painting was usually opposite the main entrance, so parishioners could pause in the open doorway to offer their prayers before going about their daily business. At Worlingworth the Saint has gone, but you can still see the fish, going about their business around his feet.
The chancel is made grand with memorials, several to the Major and then Henniker family of Thornham Hall, including one to the Dowager Duchess of Chandos, a Major daughter, depicting Faith and Hope. The royal arms consist of nothing other than the charged shield, with no supporters, crest or motto, of George III. There are some charming and poignant ledger stones around the font. The grandly named William Nelson Buckle, second son of the Rev. Charles Buckle, died on the 6th of August 1787, aged just five months, Relieved from Woe, Disease and anxious Care, with all those Passions which perplex us here... Next to him, James Barker to his dearest wyfe Susanna doth this last office of love, for she was Religious, Chaste, Discreet, Loveing... underneath, added almost as an afterthought, he observes that Her rest gives me a rest-lesse life, because she was a vertuous wyfe. But yet I rest in hope to see that Daye of Christ, and then see thee.
A more recent century has given brass plaque memorials to two men of the French family, rich patrons of this parish, who were killed in action during the First World War. Reverend Frederic French was the Rector of this church, and he lost a son and a grandson, less than a fortnight apart. Noel Lee French, the only son of the Rector's oldest son, Edward, who might one day have been heir to the French family fortunes, was killed in Egypt on the 27th of February 1915. As if this was not unbearable enough, the Reverend French's youngest son, William Cotton French, was killed near Neuve Chapelle thirteen days later, on the 12th of March. The plaques are set apart in the chancel, a large medieval consecration cross keeping one of them company. Other French memorials on the south side of the chancel include one to another son of the Rector, Hugh Davis Day French, a Conservator of Forests for the Indian Forestry Service, who died in Lucknow in 1903, and another to his brother Thomas Harvey French, who also died in India five years later.
One quiet medieval survival might be easily missed. This is the original dedicatory inscription on the font. It asks us to help ease the passage through Purgatory of Nicholas Moni, a request that may have gone unanswered in these last 450 years or so, but which has survived as he intended. It begins Orate pro Anima..., 'Pray for the Soul of...'
William Godbold gave the almsbox in 1622, and his inscription also survives.