nrhp # 87000865- Fort Missoula Historic District- Fort Missoula was established by the United States Army in 1877 on land that is now part of the city of Missoula, Montana, to protect settlers in Western Montana from possible threats from the native American Indians, such as the Nez Perce.[2]

Beginning in 1888, the fort was home to the famous Buffalo Soldiers of the 25th Infantry Regiment (3rd Formation). While stationed at Fort Missoula, this unit tested the practicality of soldiers traveling by bicycles by conducting numerous training rides, with one ride all the way to St. Louis, Missouri. The Trans-America Bicycle Trail established in 1976 goes through Missoula, and covers some of the routes pedaled by the 25th Regiment.

During World War II Fort Missoula housed a prison camp for Italian POWs, who called the area Bella Vista.[3]

Fort Missoula was established as a permanent military post in 1877 and built in response to requests of local townspeople and settlers for protection in the event of conflict with western Montana Indian tribes. It was intended as a major outpost for the region; however, area residents also were quite aware of the payroll, contracts, and employment opportunities Fort Missoula would provide. Fort Missoula never had walls; rather, it was an "open fort," a design common for posts located west of the Mississippi. Open forts required troops to take the offensive and actively patrol the areas to which they were assigned.

Construction had barely begun when the Company Commander, Captain Charles Rawn, received orders to halt the advance of a group of non-treaty Nez Perce Indians. The Nez Perce, led by Chiefs Joseph, Looking Glass and others, simply went around the soldiers' hastily-constructed earth and log barricade in Lolo Canyon (later called "Fort Fizzle") and escaped up the Bitterroot Valley.

The 25th Infantry Regiment arrived at Fort Missoula in May 1888. The regiment was one of four created after the Civil War that were made up of black soldiers with white officers. In 1896, Lieutenant James Moss organized the 25th Infantry Bicycle Corps to test the military potential of bicycles.[4] The corps undertook several short journeys – up the Bitterroot Valley by bicycle to deliver dispatches, north to the St. Ignatius area, and through Yellowstone National Park – before making a 1,900-mile (3,100 km) trip from Fort Missoula to St. Louis in 1897. The Army concluded that while the bicycle offered limited military potential, it would never replace the horse. The 25th Infantry returned to Missoula by train. When the Spanish-American War broke out in 1898, the 25th was one of the first units called to fight. The regiment served bravely in Cuba and the Philippines, but was reassigned to other posts after the war's end.

The efforts of Congressman Joseph Dixon of Missoula led to the appropriation of $1 million in 1904 to remodel Fort Missoula. A modern complex of concrete buildings with red tile roofs was constructed between 1908 and 1914, including a new Officer's Row, barracks, and Post Hospital.

The fort was used as a military training center during World War I, but was almost abandoned by 1921. However, it was designated as the Northwest Regional Headquarters for the Civilian Conservation Corps in 1933.

Fort Missoula was turned over to the Department of Immigration and Naturalization in 1941 for use as an alien detention center for non-military Italian men (merchant seamen, World's Fair employees, and the crew of an Italian luxury liner seized in the Panama Canal).[5] Fort Missoula housed over 1,200 Italian internees, who referred to the fort as "Camp Bella Vista." The Italians worked on area farms, fought forest fires, and worked in Missoula until they were released in 1944. Following the bombing of Pearl Harbor, 650 Japanese-American men who were considered high risk were interned at the camp. These men were questioned and quickly transferred to other internment camps.

The camp was used as a prison for military personnel accused of military crimes and other personnel awaiting court-martial following World War II.[6] After the post was decommissioned in 1947, many of the buildings were sold, dismantled, and removed from the site. For a number of years, Fort Missoula was a subinstallation under the accountability of Fort Carson, Colorado. The majority of the land is now in the hands of non-military agencies, including the U.S. Forest Service, the Bureau of Land Management, and Missoula County (including the Historical Museum at Fort Missoula). Fort Missoula was formally decommissioned in April, 2001.[7]

from Wikipedia

Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.

Shortly about me:

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.

Shortly about me:

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.

Shortly about me:

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

There's not much I can say about the Rolls Royce Silver Shadow that hasn't already been said, a car that was styled and homed to perfection, a vehicle that took 3 months to build, comprised of 3 cow hides, 12 square feet of wood and laden with the finest Wilton carpets. If you owned a brand new one of these back in the 1960's and 70's, then you truly were someone special.

The Silver Shadow however, unlike its predecessors, was the most radical Rolls ever built, primarily due to the fact that unlike previous cars such as the Phantom and Silver Cloud, the car was built on a monocoque, with the body being built with the chassis, rather than in earlier instances where Rolls would provide the chassis, and then it was up to the owner to hire a coachbuilder such as Hoopers or HJ Muliner Park Ward, to build the body.

The Silver Shadow was also the first Rolls to be built with the idea of the owner being sat in the front rather than the back. The Silver Cloud was very much a passenger's car, being ferried from stately banquet to stately banquet by a chauffeur. This Silver Shadow on the other hand was a driver's car, powered by Rolls Royce's magnificent V8 engine it smoothly glided across the countryside with the grace and elegance of a stately home on wheels, and so popular was this chemistry of luxury and practicality, that they sold by the thousand. In total, 25,000 examples were built, and the design was incorporated into many other variations, including the Rolls Royce Corniche (a direct descendant of the Silver Shadow 2-door Coupe built by HJ Muliner Park Ward), the controversial Camargue (which was built on the same chassis as a Shadow), and the Bentley T series (basically a Shadow with Bentley badging and radiator grille).

Eventually, the Shadow ended production in 1980, being replaced by the simpler Silver Spirit and Silver Spur range, but the magnificent design of this classic British pedigree has kept it one of the most popular owner's cars in the world, now available for ownership at less that £10,000 in some instances!

www.drivesection.com/reviews/2020-toyota-landcruiser-200-...

Built to withstand the harshest of Australian conditions, the 200 Series LandCruiser will go down as one of the all-time great off-roaders, even if it's feeling a bit long in the tooth after 12 years on sale.

It feels like every day I read a new rumour, report, or opinion piece about the fate of the V8-powered Toyota LandCruiser as the 200 Series model we know and love nears the end of its course.

The 200, I believe, is a vehicle that will truly go down as one of the greatest off-roaders of all time. A perfect blend of refinement and ruggedness, comfort and capability, and sheer V8 grunt, not only is it simply a timeless gem in general, but a car so perfectly suited to Aussie roads – and making a car like that is a hard task to complete.

But if the rumours are, indeed, to be believed, the supposed successor to this dying legend, presumably to be called the 300 Series, it’ll swap V8 grunt for more efficient V6 turbo-diesel and petrol-electric hybrid engines instead. Whether you think that’s a good or bad thing, though, it seemed like now was the opportune time to get behind the wheel of a V8 LandCruiser for what could be one of the very last times to prove why the 200 is so great, and that task was to be entrusted to this – the ultra-basic, stripped-out, no-frills, mine-spec GX model.

Now when I say that the LandCruiser GX is basic, it’s hard to overstate just how basic it is. Although the 200 Series was first launched for the 2008 model year, it’s benefitted from two facelifts since then which have not only given it some incredibly handsome new looks in the most recent incarnation, but plenty of additional kit as well in the higher-spec’d models that perform well in other places such as the USA and UAE.

By comparison to those upscale models, such as the Sahara, the GX couldn’t be more different if it tried – not least because the sheet metal itself is different. Not only are the third-row seat mounts deleted – it’s only available as a two-row five-seater, while other LC200 variants feature seven and eight-seat three-row configurations – but it features rear barn doors for its cavernous boot in place of the Range Rover-style split-folding tailgate most have become accustomed to now.

But when looked at side-to-side with even the GXL variant – one step up from the GX, and the 200 Series most Aussies opt for – this thing really does feel like it’s stuck in 2008 in some regards, while the rest of the range has moved on with the rest of the world.

There’s no carpet but instead a vinyl floor covering, there are no mirrors on either of the sun-visors, there’s no map lights up front, no trip computer, no audio controls on the cheap polyurethane steering wheel, the front seats are only manually adjustable aside from the powered lumbar support for the driver, you’ll have to put in and turn a key to start it up, there’s not a scrap of active safety technology, and it doesn’t even have a reverse camera or parking sensors which makes things challenging in a car this big.

The centre stack is completely different to that in other 200 Series variants as well, with a digital clock at the top that appears to be from the 1980s, a generic 6.1-inch touchscreen infotainment system – the same as what you’d find in even the Toyota 86 – with Bluetooth and sat nav that only replaced a basic CD player a couple of years ago, and a basic air conditioning unit that doesn’t even give you the temperature it’s set to as a number.

Outside, as well, the black plastic grille and door handles, steel wheels, deleted side skirts, and lopsided tailgate do detract slightly from the otherwise ruggedly handsome design of the LandCruiser, although at least the snorkel which is normally an option on other variants is fitted as standard on the GX.

And it’s the standardisation of the snorkel that tells you everything you need to know about the GX. This thing isn’t for parking with presence when going to sip lattes like a Sahara is – this thing is a rugged, bare-bones off-roader. Well, at least that’s the way its positioned for private buyers.

Don’t look at it as being under-equipped – look at it as being a blank canvas. Put a bull-bar on the front, some smaller wheels with chunkier tyres, and some rock sliders on the sides and you’ve got yourself a tough-looking off-road beast. That unfurnished and indented tailgate is the perfect place to mount a couple of extra spare tyres as well, for instance, while on the inside, that dated infotainment system can easily be swapped for a newer aftermarket unit with Apple CarPlay. Those rubber floors are ideal for hosing out after getting your muddy boots all over them, too, although I must admit it makes me surprised by the dust-gathering velour seat upholstery when vinyl would be much easier to clean.

And while that’s the position it takes for private buyers, the other key target of the GX is businesses and specialist fields. I’ve seen plenty of GXs driving around bearing decals for construction companies on the side, for instance, while my local constabulary uses them for its CSI division. Many will end up in mines, too, while other government divisions utilise them for tasks such as forestry.

With businesses wanting to spend as little as possible, the GX’s lack of luxuries is reflected in the price tag, which was bumped up for 2020 by a couple thousand to $80,190 before on-road costs. Yes, that’s overpriced for something this spartan, but stepping up to the GXL will set you back another $11,700. If you’re looking for the cheapest way into a new 200 Series, then, the GX is easily the way to do it.

And a lot of people I don’t doubt will be looking to get one as cheaply as possible, given those rumours of the V8 LandCruiser’s demise. According to many 200 Series owners have reportedly expressed interest in buying another bent-eight model before they likely disappear for good, so this thing could well take over from toilet paper as the new hot commodity that’s flying off the shelves.

Worth noting, though, is that there are other ways to get a V8 Cruiser without buying the 200 Series, as the V8 diesel-powered 70 Series models that trace all the way back to 1984 are still Euro 5 compliant and on sale in Australia, while at the other end of the scale, those after something more luxurious (and ugly) can opt for the Lexus LX. Factor the four-pot diesel LandCruiser Prado into the mix, and the LandCruiser family certainly is a big one.

On the topic of engines, the biggest change for the 200 Series in Australia for 2020 is the ditching of the 4.6-litre naturally aspirated petrol V8 that was available on the GXL, VX, and Sahara models, leaving the 5.7-litre Lexus LX 570 as the only petrol-powered 200 available Down Under now.

This change doesn’t matter for the GX, however, as it was only ever offered with the engine the vast majority went for across the range anyway – a 4.5-litre twin-turbocharged V8 diesel that puts out 200kW and an impressive 650Nm, which is channeled to all four wheels through a six-speed torque converter auto and a full-time four-wheel drive system.

While the 200 Series itself will go down as one of the all-time great off-roaders, this engine – the 1VD-FTV – will go down in the history books as well. Punchy, powerful, and muscular, it gets the 2.6-tonne beast moving along effortlessly, if not that quickly, while remaining relatively frugal at highway speeds for an engine of its size due to its low sixth gear that keeps it hovering at around 1400rpm at open-road speeds.

While 9.5L/100km is the claim, I calculated a return of 12.5L/100km after 950km and the better part of its 138 litre tank – not quite as close as I’d hoped, but impressive for an engine this size and enough to ensure you could indeed go over 1000km on a single tank even at that rate of consumption. Note that this is a verified number, too, as with no trip computer, doing it the old-fashioned but more accurate way of brimming the tank was required.

But more than just being powerful, it’s incredibly reliable, too – the 200 Series was recently revealed to be the new car most likely to reach 300,000km by iSeeCars in the US, and it should be noted that the LandCruiser is built with a 25 year lifespan in mind, as opposed to the average eight year lifespan of most modern cars. Furthermore, with this V8 oiler being deliberately under-stressed in stock form, simply tuning it and fitting an aftermarket exhaust can reveal insane power and torque gains, often of over 30 percent.

In its stock form, however, it’s brilliant. The power delivery is smooth and progressive, and while you can hustle it a bit – there’s a Power mode to sharpen the throttle response and make it feel a bit more aggressive, and you can lock out higher gears to ensure it doesn’t go into one of its overdrive ratios – it’s better to simply ride out the big wave of torque that it delivers as it’s an engine that better compliments a more relaxed driving style.

As such, it’s not going to give something like a Range Rover Sport a run for its money through the corners as the LandCruiser feels heavy and ponderous through the bends, while the steering is on the slower side and requires a fair amount of input, but that’s because it’s been designed to be smooth and comfortable – the perfect open-road tourer. And that, it certainly is.

My only real complaint about its on-road performance – as its corner-carving abilities, or rather slight lack thereof, are a non-issue for a vehicle like this – is the braking, as the pedal feel is spongey and the brakes quickly start to lose their bite. This, I suspect, is likely down to GX and GXL models having smaller 340mm front discs, while the VX and Sahara have larger 354mm units, although all other variants do weigh another 100kg more than the GX.

But the LandCruiser’s on-road performance is obviously only half of the story. Toyota markets this thing as the ‘king off the road’, and it’s abilities to deal with things getting rougher and tougher are even more impressive.

While the GX does lack a lot, it still features all of the off-roading kit the more expensive variants serve up – dual-range transfer case, a locking centre diff, five-speed crawl control, and off-road turn assist, just to name the highlights.

The gadgetry all works brilliantly – the crawl control system is absolute genius, handling the throttle and braking for you during low-speed off-roading leaving only the steering to you as it figures out exactly how to get you over or through whatever lies in your wake, while the off-road turn assist, which locks up the inside wheel during tight manoeuvres to reduce this behemoth’s turning circle, does exactly what it says on the tin.

With that said, while they work excellently, the constant juddering sound of the systems working away quickly becomes irritating, so it’s a good thing that if you aren’t a fan of them and would rather take the reigns yourself, it’s wondrously easy to command over even the most challenging of terrain thanks to its 225mm of ground clearance and a great amount of articulation to its four-link coil-sprung rear axle.

But where it shines most in my eyes away from the pavement is when it comes to its performance on unsealed gravel roads – something which abound here in Australia.

Centre diff locked or not, it feels remarkably tractable at higher speeds on roads like these, meaning you’re still able to explore the full potential of the big V8. The ride is excellent on roads like this, too, and I’d go so far as to say that it actually feels even smoother here than it does on sealed roads, meaning that as far as you’re aware from behind the wheel, the road simply changes colour every now and then.

On sand and through water, too, it performs similarly well, forever feeling solid, planted, and grounded, although on particularly loose sand chewed up by other beach-going off-roaders it did feel surprisingly tail-happy, it must be said, even with the centre diff locked.

Of course, some more dedicated off-road tyres would help here and only benefit its all-around capabilities even more, and changing parts and adding to it is the whole point of this mod-ready model, but even as it sits fresh out of the box, it’s a remarkably capable thing.

It’s a truly remarkable machine, the 200 Series. There’s little it doesn’t do well, and what it does do well, it truly does really very well indeed. Deftly capable both on-road and off, it still manages to impress 12 years on – even if the GX feels comparably equipped to a 2008 model.

What is undeniable, though, is that the burbling V8 under the bonnet is a huge part of its character. It gives it a certain effortlessness and charm, and while if you’re asking me, a smaller but more powerful twin-turbo V6 oiler like you’d find in the Land Rover Discovery would be perfectly fine, something would still be missing. Some things, to be more precise – namely, two cylinders, and an immeasurable amount of charisma.

It’ll be sad to see the 200 Series sent off to pasture when it does go, but I’m excited for the new LandCruiser to arrive as it’s certainly not every day that one comes along. Whether you’re worried the V8 will disappear for good, or you are simply a fan of the simplicity this LandCruiser brings to the table, now is definitely the time to buy.

2020 Toyota LandCruiser 200 GX List Price: $80,190

Performance - 8/10

Ride & Handling - 8/10

Tech & Features - 6.5/10

Practicality - 8/10

Value for Money - 7.5/10

7.6/10

Pros: Muscular twin-turbo V8 engine, smooth and relaxed feel on the open road, incredibly capable off-road with its excellent gadgetry, simple but handsome looks

Cons: No reverse camera or active safety tech in the GX, lack of basic interior features, feels as big and heavy as it is, undeniably expensive

In a nutshell: It’ll be sad to see the 200 Series – and, potentially, it’s wonderful V8 – eventually go, as it’s easy to see why it still sees such incredible popularity after so many years.

www.drivesection.com/reviews/2020-toyota-landcruiser-200-...

Built to withstand the harshest of Australian conditions, the 200 Series LandCruiser will go down as one of the all-time great off-roaders, even if it's feeling a bit long in the tooth after 12 years on sale.

It feels like every day I read a new rumour, report, or opinion piece about the fate of the V8-powered Toyota LandCruiser as the 200 Series model we know and love nears the end of its course.

The 200, I believe, is a vehicle that will truly go down as one of the greatest off-roaders of all time. A perfect blend of refinement and ruggedness, comfort and capability, and sheer V8 grunt, not only is it simply a timeless gem in general, but a car so perfectly suited to Aussie roads – and making a car like that is a hard task to complete.

But if the rumours are, indeed, to be believed, the supposed successor to this dying legend, presumably to be called the 300 Series, it’ll swap V8 grunt for more efficient V6 turbo-diesel and petrol-electric hybrid engines instead. Whether you think that’s a good or bad thing, though, it seemed like now was the opportune time to get behind the wheel of a V8 LandCruiser for what could be one of the very last times to prove why the 200 is so great, and that task was to be entrusted to this – the ultra-basic, stripped-out, no-frills, mine-spec GX model.

Now when I say that the LandCruiser GX is basic, it’s hard to overstate just how basic it is. Although the 200 Series was first launched for the 2008 model year, it’s benefitted from two facelifts since then which have not only given it some incredibly handsome new looks in the most recent incarnation, but plenty of additional kit as well in the higher-spec’d models that perform well in other places such as the USA and UAE.

By comparison to those upscale models, such as the Sahara, the GX couldn’t be more different if it tried – not least because the sheet metal itself is different. Not only are the third-row seat mounts deleted – it’s only available as a two-row five-seater, while other LC200 variants feature seven and eight-seat three-row configurations – but it features rear barn doors for its cavernous boot in place of the Range Rover-style split-folding tailgate most have become accustomed to now.

But when looked at side-to-side with even the GXL variant – one step up from the GX, and the 200 Series most Aussies opt for – this thing really does feel like it’s stuck in 2008 in some regards, while the rest of the range has moved on with the rest of the world.

There’s no carpet but instead a vinyl floor covering, there are no mirrors on either of the sun-visors, there’s no map lights up front, no trip computer, no audio controls on the cheap polyurethane steering wheel, the front seats are only manually adjustable aside from the powered lumbar support for the driver, you’ll have to put in and turn a key to start it up, there’s not a scrap of active safety technology, and it doesn’t even have a reverse camera or parking sensors which makes things challenging in a car this big.

The centre stack is completely different to that in other 200 Series variants as well, with a digital clock at the top that appears to be from the 1980s, a generic 6.1-inch touchscreen infotainment system – the same as what you’d find in even the Toyota 86 – with Bluetooth and sat nav that only replaced a basic CD player a couple of years ago, and a basic air conditioning unit that doesn’t even give you the temperature it’s set to as a number.

Outside, as well, the black plastic grille and door handles, steel wheels, deleted side skirts, and lopsided tailgate do detract slightly from the otherwise ruggedly handsome design of the LandCruiser, although at least the snorkel which is normally an option on other variants is fitted as standard on the GX.

And it’s the standardisation of the snorkel that tells you everything you need to know about the GX. This thing isn’t for parking with presence when going to sip lattes like a Sahara is – this thing is a rugged, bare-bones off-roader. Well, at least that’s the way its positioned for private buyers.

Don’t look at it as being under-equipped – look at it as being a blank canvas. Put a bull-bar on the front, some smaller wheels with chunkier tyres, and some rock sliders on the sides and you’ve got yourself a tough-looking off-road beast. That unfurnished and indented tailgate is the perfect place to mount a couple of extra spare tyres as well, for instance, while on the inside, that dated infotainment system can easily be swapped for a newer aftermarket unit with Apple CarPlay. Those rubber floors are ideal for hosing out after getting your muddy boots all over them, too, although I must admit it makes me surprised by the dust-gathering velour seat upholstery when vinyl would be much easier to clean.

And while that’s the position it takes for private buyers, the other key target of the GX is businesses and specialist fields. I’ve seen plenty of GXs driving around bearing decals for construction companies on the side, for instance, while my local constabulary uses them for its CSI division. Many will end up in mines, too, while other government divisions utilise them for tasks such as forestry.

With businesses wanting to spend as little as possible, the GX’s lack of luxuries is reflected in the price tag, which was bumped up for 2020 by a couple thousand to $80,190 before on-road costs. Yes, that’s overpriced for something this spartan, but stepping up to the GXL will set you back another $11,700. If you’re looking for the cheapest way into a new 200 Series, then, the GX is easily the way to do it.

And a lot of people I don’t doubt will be looking to get one as cheaply as possible, given those rumours of the V8 LandCruiser’s demise. According to many 200 Series owners have reportedly expressed interest in buying another bent-eight model before they likely disappear for good, so this thing could well take over from toilet paper as the new hot commodity that’s flying off the shelves.

Worth noting, though, is that there are other ways to get a V8 Cruiser without buying the 200 Series, as the V8 diesel-powered 70 Series models that trace all the way back to 1984 are still Euro 5 compliant and on sale in Australia, while at the other end of the scale, those after something more luxurious (and ugly) can opt for the Lexus LX. Factor the four-pot diesel LandCruiser Prado into the mix, and the LandCruiser family certainly is a big one.

On the topic of engines, the biggest change for the 200 Series in Australia for 2020 is the ditching of the 4.6-litre naturally aspirated petrol V8 that was available on the GXL, VX, and Sahara models, leaving the 5.7-litre Lexus LX 570 as the only petrol-powered 200 available Down Under now.

This change doesn’t matter for the GX, however, as it was only ever offered with the engine the vast majority went for across the range anyway – a 4.5-litre twin-turbocharged V8 diesel that puts out 200kW and an impressive 650Nm, which is channeled to all four wheels through a six-speed torque converter auto and a full-time four-wheel drive system.

While the 200 Series itself will go down as one of the all-time great off-roaders, this engine – the 1VD-FTV – will go down in the history books as well. Punchy, powerful, and muscular, it gets the 2.6-tonne beast moving along effortlessly, if not that quickly, while remaining relatively frugal at highway speeds for an engine of its size due to its low sixth gear that keeps it hovering at around 1400rpm at open-road speeds.

While 9.5L/100km is the claim, I calculated a return of 12.5L/100km after 950km and the better part of its 138 litre tank – not quite as close as I’d hoped, but impressive for an engine this size and enough to ensure you could indeed go over 1000km on a single tank even at that rate of consumption. Note that this is a verified number, too, as with no trip computer, doing it the old-fashioned but more accurate way of brimming the tank was required.

But more than just being powerful, it’s incredibly reliable, too – the 200 Series was recently revealed to be the new car most likely to reach 300,000km by iSeeCars in the US, and it should be noted that the LandCruiser is built with a 25 year lifespan in mind, as opposed to the average eight year lifespan of most modern cars. Furthermore, with this V8 oiler being deliberately under-stressed in stock form, simply tuning it and fitting an aftermarket exhaust can reveal insane power and torque gains, often of over 30 percent.

In its stock form, however, it’s brilliant. The power delivery is smooth and progressive, and while you can hustle it a bit – there’s a Power mode to sharpen the throttle response and make it feel a bit more aggressive, and you can lock out higher gears to ensure it doesn’t go into one of its overdrive ratios – it’s better to simply ride out the big wave of torque that it delivers as it’s an engine that better compliments a more relaxed driving style.

As such, it’s not going to give something like a Range Rover Sport a run for its money through the corners as the LandCruiser feels heavy and ponderous through the bends, while the steering is on the slower side and requires a fair amount of input, but that’s because it’s been designed to be smooth and comfortable – the perfect open-road tourer. And that, it certainly is.

My only real complaint about its on-road performance – as its corner-carving abilities, or rather slight lack thereof, are a non-issue for a vehicle like this – is the braking, as the pedal feel is spongey and the brakes quickly start to lose their bite. This, I suspect, is likely down to GX and GXL models having smaller 340mm front discs, while the VX and Sahara have larger 354mm units, although all other variants do weigh another 100kg more than the GX.

But the LandCruiser’s on-road performance is obviously only half of the story. Toyota markets this thing as the ‘king off the road’, and it’s abilities to deal with things getting rougher and tougher are even more impressive.

While the GX does lack a lot, it still features all of the off-roading kit the more expensive variants serve up – dual-range transfer case, a locking centre diff, five-speed crawl control, and off-road turn assist, just to name the highlights.

The gadgetry all works brilliantly – the crawl control system is absolute genius, handling the throttle and braking for you during low-speed off-roading leaving only the steering to you as it figures out exactly how to get you over or through whatever lies in your wake, while the off-road turn assist, which locks up the inside wheel during tight manoeuvres to reduce this behemoth’s turning circle, does exactly what it says on the tin.

With that said, while they work excellently, the constant juddering sound of the systems working away quickly becomes irritating, so it’s a good thing that if you aren’t a fan of them and would rather take the reigns yourself, it’s wondrously easy to command over even the most challenging of terrain thanks to its 225mm of ground clearance and a great amount of articulation to its four-link coil-sprung rear axle.

But where it shines most in my eyes away from the pavement is when it comes to its performance on unsealed gravel roads – something which abound here in Australia.

Centre diff locked or not, it feels remarkably tractable at higher speeds on roads like these, meaning you’re still able to explore the full potential of the big V8. The ride is excellent on roads like this, too, and I’d go so far as to say that it actually feels even smoother here than it does on sealed roads, meaning that as far as you’re aware from behind the wheel, the road simply changes colour every now and then.

On sand and through water, too, it performs similarly well, forever feeling solid, planted, and grounded, although on particularly loose sand chewed up by other beach-going off-roaders it did feel surprisingly tail-happy, it must be said, even with the centre diff locked.

Of course, some more dedicated off-road tyres would help here and only benefit its all-around capabilities even more, and changing parts and adding to it is the whole point of this mod-ready model, but even as it sits fresh out of the box, it’s a remarkably capable thing.

It’s a truly remarkable machine, the 200 Series. There’s little it doesn’t do well, and what it does do well, it truly does really very well indeed. Deftly capable both on-road and off, it still manages to impress 12 years on – even if the GX feels comparably equipped to a 2008 model.

What is undeniable, though, is that the burbling V8 under the bonnet is a huge part of its character. It gives it a certain effortlessness and charm, and while if you’re asking me, a smaller but more powerful twin-turbo V6 oiler like you’d find in the Land Rover Discovery would be perfectly fine, something would still be missing. Some things, to be more precise – namely, two cylinders, and an immeasurable amount of charisma.

It’ll be sad to see the 200 Series sent off to pasture when it does go, but I’m excited for the new LandCruiser to arrive as it’s certainly not every day that one comes along. Whether you’re worried the V8 will disappear for good, or you are simply a fan of the simplicity this LandCruiser brings to the table, now is definitely the time to buy.

2020 Toyota LandCruiser 200 GX List Price: $80,190

Performance - 8/10

Ride & Handling - 8/10

Tech & Features - 6.5/10

Practicality - 8/10

Value for Money - 7.5/10

7.6/10

Pros: Muscular twin-turbo V8 engine, smooth and relaxed feel on the open road, incredibly capable off-road with its excellent gadgetry, simple but handsome looks

Cons: No reverse camera or active safety tech in the GX, lack of basic interior features, feels as big and heavy as it is, undeniably expensive

In a nutshell: It’ll be sad to see the 200 Series – and, potentially, it’s wonderful V8 – eventually go, as it’s easy to see why it still sees such incredible popularity after so many years.

Visit to the North American International Auto Show at the Cobo Center in Detroit, Michigan on January 25, 2019. Hyundai Kona

View my collections on flickr here: Collections

Press L for a larger image on black.

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

Construction of the Mini first began in 1959, with the car designed by the British Motor Corporation's (BMC) chief designer Sir Alec Issigonis, who envisaged a car that had as much space as was humanly possible devoted to the passenger so as to combine the practicality of a big car with the nippy nature of a Dune Buggy. The result was that 80% of the car's platform was available for use by both passengers and luggage. The car was also designed to be fuel efficient, built in response to the 1956 Suez Crisis which resulted in rising fuel prices and petrol rationing. During this period it became apparent that German 'Bubble Car' equivalents such as the Heinkel Kabine and various Messerschmitt designs were starting to corner the market, and thus the Mini project was launched under project name ADO15 (Amalgamated Drawing Office project number 15). Great care was taken to make sure that as much space was saved for the passenger, including the instalment of compact rubber springs instead of conventional metal and the small but powerful BMC A-Series four-cylinder engine tucked away at the front.

In April 1959 the car was launched to the press under the designation of both the Austin Seven and the Morris Mini-Minor (due to the amalgamation of the Austin and Morris brands under BMC). By the time the car was let loose thousands had already been sent abroad in an audacious promotional campaign. Things however started slow for the Mini, but this rising star soon became an icon during the 1960's, selling 1,190,000 by 1967.

But, behind all the shining sales figures, there were some major problems for BMC and their wonderchild. Baffled by the car, Ford bought one for the base price of £497 and took it apart, desperate to know how their rivals were doing it for the money. As it turns out they weren't, and were able to determine that BMC was losing at least £30 on every single car they sold. Novelty was the only way to get the car properly moving in this competitive new world, and the Mini was all about that. By 1970 the car had appeared in a variety of movies and TV shows, the most famous of which was their charge to glory in the 1969 film 'The Italian Job', where a trio of Minis were used to plunder gold from under the noses of the Mafia and the Italian Authorities. A Leyland Mini holds a place in the heart of British TV under the ownership of Mr. Bean and his various clumsy antics, usually involving an unfortunate Reliant Regal. At the same time it was a car of choice for TV and Music Stars who wanted to show off their quirks!

From then on the car continued to keep up its notorious status as a British symbol of motoring, with a huge variety of cars being made including a spacious van, a country camper, a pickup truck and the Moke dune buggy! There were also two almost identical saloon versions of the car known as the Wolseley Hornet and the Riley Elf that were built between 1961 and 1969 as more luxurious alternatives to the original.

In 1969 the first major facelift came in the form of the Clubman, designed under British Leyland to give the car a new lease of life, but ended up being something of a mongrel. Although functionally the same, the boys at British Leyland couldn't help but get things off to a bad start by relocating construction from the Cowley Plant to the Longbridge Plant, which meant that all kits and tools had to be moved too and thus initial sales were very slow. British Leyland's reliability reputation was soon to follow, with the unfortunate Mini becoming a victim of the shoddy workmanship that had mired so many of its other products.

Eventually the Clubman was killed off in 1980, although the original Mini design had been built alongside and was still selling strong. British Leyland however had plans to kill off the Mini in 1980 by introducing its new small economy car, the Austin Metro. Built very much to the same principals of the Mini, the Metro was a much more angular design but still a capable little family hatchback. But the angular lines and big bulky body did nothing for the Metro, and the car failed to sell in the numbers domestically than those of the Mini internationally!

Towards the end of the 1980's and 1990's, the car came in a variety of different 'Special Editions' as the car became less of a mass-market machine and more a fashion item. The iconic nature of the car had sealed its fate with new owners of the Rover Group, BMW, who intended to keep the car going for as long as possible. At the same time the car was a major seller in Japan, which gave a boost of sales in the early 1990's with 40,000 new cars being exported there.

Eventually however, the design was starting to look very tired and with Rover Group making heavy losses, the Mini and its spiritual cousin the Metro were killed off in 2000 and 1999, respectively. Rover was granted the ability to run-out the model to the very end before Rover itself was sold off in 2000. During the breakup, BMW designed a new version of the Mini which was launched in 2000 and is still being built today as quite a sleek and popular machine, a little bit more bulky than the original but certainly keeping the novelty and charm. The originals however ended on the 4th October 2000, with a red Mini Cooper S bringing an end to 5,387,862 cars.

However, although the original Mini is now very much dead, the novelty that surrounds these tiny little cars is enough to keep thousands and thousands of these machines preserved or in continual everyday usage. Older Mini-Minors are a bit hard to come by and the Clubmans rusted away before you could get them home from the showroom, but the later Mini's sold in the 1980's and 1990's are still alive and kicking on the roads of Britain, and can still draw the attention of passers by even 56 years after the first ones left the production line!

Two tourists take on Queen Street with a wheely bag, windproof layers, and an optimistic stride. The outfits may not scream fashion week, but they’ve clearly packed for practicality over pageantry — and in this city, that’s half the battle.

Unusually for a sports car, it's actually a hatchback. Don't go thinking it is practical, though, because the rear seats are tiny and the boot isn't very big either. To quote Jeremy Clarkson: if you want practicality, but the Golf.

This exquisite lampshade is created as most of my work using a fine crochet needle and color coated copper wires.

My inspiration for this lamp was the story of Scheherazade the Persian princess that told the king stories until he fell in love with her.

The detailed patterns and bright shiny colors create magnificent shades when lighted and rich reflections from other light sources. It is just as attractive during day time and night time.

When installed next to a wall it casts fascinating shades, it can be installed in groups or as individuals.

Some practicalities:

Size: 5.5 “ (140 mm) diameter, height 3.1 “ (80 mm)

The lampshade arrives with a brass light socket (1.2”/30mm long) for a 12V 20W Halogen lamp and a 78”(2 meter) long flexible metal wire (0.08”/2mm diameter).

A standard electronic transformer is required for adjusting the voltage into 12V (both from 110V and 230V).

I do not take a good profile shot but I took this one in response to an internet forum debate about whether slits were appropriate in men's skirts, to illustrate the five inch deep side vents in the longer length men's jeans skirts from Midasclothing.com .

The longer Midas jeans skirts have short side vents for wearer agility and these expose nothing more than a flash of the outer side of hairy knees! I was a bit self conscious of the vents first time I wore this into town but now I usually forget they are there, and the wife says I look good in this style of jeans skirt so she probably knows best.

The Jeans Skirt is an interesting example of androgyny in fashion. Like the Utilikilt it is said to owe its origins to re-cycled trousers. According to Wikipedia, the jeans skirt derives from hippie culture in the nineteen sixties when skirts were created by re-cycling old jeans. Unlike the Utilikilt though which was marketed as men's wear from its introduction in the year 2000, the Jeans Skirt first entered mainstream fashion as a woman's garment in the nineteen seventies. The characteristic front zip fly, belt loops and pockets, and the denim material gave a masculine appearance. By the start of the twenty first century women were mostly wearing trousers and men were slowly beginning to rediscover the comfort and practicality of unbifurcated garments. A few specialist clothing manufacturers began to produce Jeans Skirts in male waist/hip proportions, specifically marketed as men's wear. As men's garments Jeans Skirts are often referred to as kilts and worn with kilt accessories such as broad belts and knee socks.

go on

Money... the source of controversy... here's one of them, the latest in Omaha, Bob Kerrey Pedestrian Bridge debates over it's functionality, practicality, budget, who and how it will be funded, classic case of controversy over money. the breakdown over it's cost It's finally opened, it's here, so deal with it and move on with our normal lives. I see it as a photo op. for a jump shot, not to mention resale value for my condo :))

Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.

Shortly about me:

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

BOX DATE: 1996

MANUFACTURER: Kid Kore

DOLLS IN PACK: Katie X2; Jodi

PERSONAL FUN FACT: I definitely feel that the other Fast Food Fun Jodi outfit with the strange food print fit the theme of the pack better. However, this outfit is so adorably realistic. It isn't the best quality, unfortunately. It had a run in it after we dressed/undressed Jodi once! Of course we were being very mindful while doing so, but the white shirt fabric is incredibly thin. This is one of the few Kid Kore outfits that would not stand up to tons of play. I find that the majority of ensembles made by Kid Kore are quite durable and long lasting, not to mention super cute. I love the practicality of these overalls. They are the perfect thing for playtime. I can envision little Jodi on my Kelly playground in these overalls, as her big sister, Katie, waits for her to be done. The bright red color accents Jodi's brunette hair so well. But the polka dot print on the top makes this outfit a tad unexpected. As for these plain, funny looking red shoes, they are on the cheaper side like all Jodi footwear. It wasn't all that uncommon for our Jodi shoes to split down the seams when we were kids because they weren't always sized adequately for her feet. Not to mention, some Jodi dolls had slightly bigger feet (one doll might have a large foot and a small foot). The quality control was definitely lacking in the body mold department!

These photos are taken from our exclusive track day with the Noble M600 at Goodwood.

Romans International is now the official specialist dealership for Noble Automotive luxury super cars in Surrey, for the London area, the South and International sales. We offer the very best quality examples of Noble sports cars available on the market.

Noble are a low volume sports super car manufacturer who puts emphasis on quality, speed, drivability through tried and tested design, whilst pushing the boundaries of sports car innovation, without loosing the feel of a real road going sports car. Noble has evolved from the pursuit for excellence in motor engineering with cars primarily designed for speed and handling however this is not at the expense of either comfort or practicality, which puts the driver back in the driver's seat for the ultimate driving experience.

All Noble sports cars are hand made and assembled at the UK factory near Leicester. The factory's latest production car, the new Noble M600 is so quick, it has entered the realms of genuine "hyper-car" territory for speed and performance.

The breath taking performance statistics are not just down to the power-plant in the Noble M600, which is a mid-mounted, purpose built 4.4 litre V8 Twin turbo charged engine, which produces an impressive 650BHP and is mated to a Graziano 6 speed manual gearbox and a conventional stick shift selection.

www.romansinternational.com

www.twitter.com/romanscars

www.facebook.com/romansinternational

Armenian Orthodox Christmas mass and procession inside the Church of the Nativity in the West Bank town of Bethlehem January 18, 2011. Church services and ceremonies are conducted in the Cathedral of Nativity all night long and until the next day.

Shortly about me:

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »

The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

Benjamin Stein, Die Leinwand (The Canvas)

An Event of the DAAD

Reading

Wed, 29.12.2010, 19:00

Goethe-Institut Jerusalem

in German

Based on the scandal of Benjamin Wilkomirski's falsified Holocaust memoir, this novel deals with the unreliability of memory and the struggle for identity. Two stories are told from both ends of the book. In one of the stories Amnon Zichroni, an Orthodox Jew who grew up in Israel and becomes a psychoanalyst in Zürich, encourages Minsky, a supposed Holocaust survivor, to write down his memories. The other story is about East German journalist Jan Wechsler who tries to expose Minsky's memoirs as false. In the centre of the book a confrontation takes place when the two narrators, Amnon Zichroni and Jan Wechsler, meet one another.

Shortly about me:

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »

The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

Hands (n) The end part of a person’s arm beyond the wrist, including the palm, fingers, and thumb.

Hands have numerous meaning in oxford dictionary, with meaning pertaining to verb - trans. v, int. v - usage, prticiple usage, phrasal verb and also in idiomatic terms.

But real sense of Hands is better known by the craftsman and workers who make the most of it. It is how they make their livelihood and grow through every walks of life.

Hands are also important to every people and every person of different walks of life. Be it a student, who needs it for writing his exams and charting the process of his/her professional life; An engineer, who not only makes better use of hands in manufacturing automobiles,but also gives a personal touch of hand made trademark; A doctor, who God only knows how he uses these hands to save life of person on OPT table; A writer, who can only envisage all the fancy ideas and imagination of his and juxtapose in a single journal called novel; A judge, who makes a difference by writing a petition, amending the law or constitution, giving justice to the people and society as a whole; a sports person (cricketer, tennis player, javelinist, swimmer, sprinter, basketball player, etc...); a cinematographer, an actor, a painter, a defense personnel,a photographer and to say the least - a bureaucrat, for he goes day by day with files and work with decision making which is imperative on his part to serve the public, for he is the decree of public, for he is the rightful executive of the Constitution and thus liable to it.

Hands realizes the realm of theoretically and practicality. What I may try to accomplish can only be pursued with their help. I hope these hands serve me to right meal. Because they are the only organs of part which reaches out the most and works the most in good and in bad.

I open my eyes to it, I close my eyes to it, I have my meals to it, I ride because of it.

All I can say is Hands down for hand in hand efforts for taking me until here, and to take me until there.

New Renault Clio Estate shares the same dynamic breeding as the hatchback but has its own distinct identity. This model has the aesthetic design cues of shooting brakes but also dials in practicality and versatility for good measure.

// Nouvelle Renault Clio Estate possède le style à part des breaks de chasse. Largement marqué par un style emprunt de dynamisme, ce modèle s'appuie également sur les notions de fonctionnalité et modularité.

View on Instagram ift.tt/2ASQVQm

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

my review of the prom night remake:

Ah, the old now-you-see-him-now-you-don't bathroom medicine cabinet mirror gag! Edgy! Ooh, the prom-date-making-her-grand-descent-down-the-stairs-in-her-best-teenybopper-regalia shot! Innovative! More than any other remake of late, Prom Night aggressively reaches out to the shopping mall multiplex crowd -- kids who are too young to notice its pervasive clichés. In fact, it feels more like a Scream clone than a standard remake, thwacking us over the head with airy dialogue about boys, hair, and dresses (one character exclaims, "Oh my God, you guys!!!~~~" in a cadence that somehow demands the use of tildes) and milking a slew of ever-so-hip musical re-appropriations (including a drab and downright funereal cover of The Zombies' "Time of the Season").

There is zero style in the cinematography, editing, story, or sound design here. It's all warbly booms, balanced soap opera lighting, and quick cuts framing a hackneyed, lazy, and dubious plot. It's hard to believe that J.S. Cardone, who wrote and directed the phenomenal 1982 slasher The Slayer, penned this pile of sugar-laced garbage. It's a prom for platitudes.

If anything, Prom Night shows us how out-of-touch these nouveau slashers are with their forefathers. By spelling everything out for us and rigidly expressing its killer's motives and sentiments from the very beginning, it strips away any potential intrigue -- it makes no attempt at the mystery angle that was somewhat palpable (if not altogether effective) in the 1980 Prom Night. And, because it's firmly planted in PG-13 slasher-lite territory, it doesn't even have geek show appeal.

Despite the fact that such practicalities as the killer's name, identity, and wrap sheet are completely revealed to us early on in the first reel, Prom Night is surprisingly tight-lipped about his origins. He is a former high school teacher -- that much I ascertained -- but what subject did he teach, and under what circumstances did he become obsessed with our bleached blonde Final Girl? Simply put: what is the point? And what's with that boring baseball cap he wears? The scariest thing about this guy is his level of banality.

Even inferior slashers tend to raise the octane in the last 20-30 minutes or so, when the Final Girl has spotted all her dead friends and encountered the killer and the cat-and-mouse game ensues. Prom Night, however, is interminably boring in its latter quarter. We tediously follow the cops around the hotel as they make austere discoveries of bodies we've already seen slain. We also watch the Final Girl laze around her bedroom a lot, with nary a bag of tricks in sight. It all leads up to a matter-of-fact and unceremonious climax that actually has you thinking, "That's it?"

Perhaps the only good thing about this tepid junk is winsome newcomer Dana Davis, who, unfortunately, doesn't last long enough to make a complete impact. I guess I should have prefaced that last sentence with a spoiler warning. Oh, who cares? 1/5

The Jaguar D-Type, like its predecessor the C-Type, was a factory-built race car. Although it shared the basic straight-6 XK engine design (initially 3.4 litres and uprated to 3.8 litres in the late fifties) with the C-Type, the majority of the car was radically different. Perhaps its most ground-breaking innovation was the introduction of a monocoque chassis, which not only introduced aircraft-style engineering to competition car design, but also an aeronautical understanding of aerodynamic efficiency. The D-Type was introduced purely for competition, but after Jaguar withdrew from racing, the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and primitive folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty five cars that had already been completed or in semi-completion. Production is thought to have included 53 customer D-Types, 18 factory team cars, and 16 XKSS versions.

The new chassis followed aircraft engineering practice, being manufactured according to monocoque principles. The central tub, within which the driver sat, was formed from sheets of aluminium alloy. To this was attached an aluminium tubing subframe carrying the bonnet, engine, front suspension, and steering assembly. The rear suspension and final drive were mounted directly onto the monocoque itself. Fuel was carried in deformable bags inside cells within the monocoque; another aircraft innovation.[1]

The highly efficient, aerodynamic bodywork was largely the work of Malcolm Sayer, who joined Jaguar following a stint with the Bristol Aeroplane Company during the Second World War. Although he also worked on the C-Type, the limitations of the conventional separate chassis did not allow full expression of his talent. For the D-Type, Sayer insisted on a minimal frontal area. To reduce its height, Haynes and former-Bentley engineer Walter Hassan developed dry sump lubrication for the XK engine. By also canting the engine over by 8° (resulting in the trademark, off-centre bonnet bulge) the reduction in area was achieved. Care was taken to reduce drag caused by the underbody, resulting in an unusually high top speed; for the long Mulsanne Straight at Le Mans, a large vertical stabiliser was mounted behind the driver's head for aerodynamic stability with minimum drag. For the 1955 season, factory cars were fitted with a revised, long-nose version of the bodywork, which increased top speed even further.

Mechanically, many features were shared with the outgoing C-Type. The ground-breaking disc brakes were retained, as was the XK engine. Apart from the new lubrication system, as development progressed during the D-Type's competition life the engine was also revised. 1955 saw the introduction of larger valves, and an asymmetrical cylinder head design within which to accommodate them. The Jaguar D-Type was the second racing car to have Dunlop disk brakes. The Citroën DS, introduced a year later, was the first production car with disk brakes in Europe. The Crosley Hotshot was the first American automobile with disk brakes, in 1949.

Elements of the body shape and many construction details were used in the iconic Jaguar E-Type.

The D-Type was produced by a team, led by Jaguar's race manager Lofty England, who always had at least one eye on the 24 Hours of Le Mans, the most prestigious endurance race of the time. As soon as it was introduced to the racing world in 1954, the D-Type was making its presence felt. For the 1954 24 Hours of Le Mans the new car was expected to perform well, and perhaps even win. However, the cars were hampered by sand in their fuel. After the fault had been diagnosed and the sand removed, the car driven by Duncan Hamilton and Tony Rolt quickly got back on the pace, finishing less than one lap down on the winning Ferrari.

The 1955 car incorporated the new long-nose bodywork, and the engine had been uprated with larger valves. The team again proved strong at Le Mans, and with no sand to worry about they were a good match for the Mercedes-Benz 300 SLR cars who were hotly tipped to win. Sadly the contest was curtailed by one of the worst accidents ever to occur in motorsport: after only three hours of the twenty-four had elapsed, Pierre Levegh's SLR clipped the tail of an Austin-Healey, sending the German machine into the hay-bale barrier. The Mercedes erupted into a flaming ball and sent burning wreckage and debris into the crowd. More than 80 people, including Levegh, were killed, and many more injured. Mercedes withdrew from the race almost immediately, although at the time Juan Manuel Fangio was leading in his SLR, but Jaguar opted to continue. Some blamed Mike Hawthorn for causing the crash as he swerved his D-Type in front of the Healey, setting off the tragic chain of events. Hawthorn and his co-driver Ivor Bueb went on to win the race.

Jaguar D-Type XKD606, winner of the 1957 Le Mans 24 Hours race, in Ecurie Ecosse metallic Flag Blue livery.

With Mercedes deciding to withdraw from motorsport at the end of the 1955 season, the field was clear for Jaguar to clean up at the 1956 24 Hours of Le Mans race. However, it proved to be a bad year for the works team; only one of their three cars made it to the finish, and then only in 6th place. Luckily for the D-Type's reputation, the small Edinburgh-based team Ecurie Ecosse were also running a D-Type, driven by Ron Flockhart and Ninian Sanderson, and this car came through to win ahead of works teams from both Aston Martin and Scuderia Ferrari. Away from Le Mans, the Cunningham Team raced several Jaguar D-Types after being offered the automobiles by Jaguar's head, Sir William Lyons, if Briggs Cunningham would stop building his own automobiles. In May 1956, the Cunningham team's entries in the Cumberland circuit in Maryland included three of those D-Type Jaguars – characteristically painted in the pristine white-and-blue Cunningham Team colors – for drivers John Fitch, John Gordon Benett, and Sherwood Johnston.

Ironically, after Jaguar had withdrawn from motorsport at the end of the 1956 season, 1957 proved to be the D-Type's most successful year. In the 1957 Le Mans race D-Types took five of the top six placings; Ecurie Ecosse (with considerable support from Jaguar, and a 3.8-litre engine) again took the win, and second place. This was the high-water mark in the car's career however.

For 1958, the Le Mans rules were changed, limiting engine size to 3 litres for sports racing cars, thus ending the domination of Jaguar's D-Type with its 3.8-litre XK engine. Jaguar developed a 3-litre version of the XK engine, which powered D-Types in the 1958, 1959 and 1960 Le Mans races. But the 3-litre version of the XK engine was unreliable, and by 1960 was not producing sufficient horsepower to be competitive.

1956 Jaguar D-Type Long Nose

Jaguar D-Type Long Nose at Goodwood Festival of Speed 2009

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With ever decreasing factory support and increasingly competitive cars from rival manufacturers, the D-Type's star waned. Although it continued to be one of the cars to beat in club- and national-level races it never again achieved a podium result at Le Mans, and by the early 1960s had disappeared into obsolescence.

Wikipedia

practicality judging for solar car Stella from the Dutch Solar Team Eindhoven the day after the finish in Adelaide, during the 2013 Bridgestone World Solar Challenge, Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted /

praktijk-beoordeling voor familie-zonne-auto Stella van Solar Team Eindhoven de dag na de finish in Adelaide tijdens de 2013 Bridgestone World Solar Challenge. Behalve reistijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld

I am grateful for practicality - and color!

Gratitude Series 2012 - photo #92 - Barkal - Ingush

Like many of my clients, Hugo came to me with the goal of leaning up and getting a hard, defined look with visible abs. As you can see, he achieved just that, and then some.

Here’s what Hugo had to say about our time working together:

“In my opinion the program was perfect, you were always answering my emails, analyzing all the data, giving feedback and giving me the right direction to follow..The practicality that came with this diet was so great to me and the simplified rules for counting macros were like a painkiller to my head haha.”

Congratulations on your incredible results, Hugo.

For more on my coaching services, head to - Rippedbody.com/coaching

Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.

Shortly about me:

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

There's not much I can say about the Rolls Royce Silver Shadow that hasn't already been said, a car that was styled and homed to perfection, a vehicle that took 3 months to build, comprised of 3 cow hides, 12 square feet of wood and laden with the finest Wilton carpets. If you owned a brand new one of these back in the 1960's and 70's, then you truly were someone special.

The Silver Shadow however, unlike its predecessors, was the most radical Rolls ever built, primarily due to the fact that unlike previous cars such as the Phantom and Silver Cloud, the car was built on a monocoque, with the body being built with the chassis, rather than in earlier instances where Rolls would provide the chassis, and then it was up to the owner to hire a coachbuilder such as Hoopers or HJ Muliner Park Ward, to build the body.

The Silver Shadow was also the first Rolls to be built with the idea of the owner being sat in the front rather than the back. The Silver Cloud was very much a passenger's car, being ferried from stately banquet to stately banquet by a chauffeur. This Silver Shadow on the other hand was a driver's car, powered by Rolls Royce's magnificent V8 engine it smoothly glided across the countryside with the grace and elegance of a stately home on wheels, and so popular was this chemistry of luxury and practicality, that they sold by the thousand. In total, 25,000 examples were built, and the design was incorporated into many other variations, including the Rolls Royce Corniche (a direct descendant of the Silver Shadow 2-door Coupe built by HJ Muliner Park Ward), the controversial Camargue (which was built on the same chassis as a Shadow), and the Bentley T series (basically a Shadow with Bentley badging and radiator grille).

Eventually, the Shadow ended production in 1980, being replaced by the simpler Silver Spirit and Silver Spur range, but the magnificent design of this classic British pedigree has kept it one of the most popular owner's cars in the world, now available for ownership at less that £10,000 in some instances!

Built in the final year of the Silver Shadow I, I consider Shadows such as this to be the last of the truly great Rolls Royces as following this the cars became much more run-of-the-mill.

For starters, the magnificent chrome bumpers that line this one were replaced on the Silver Shadow II by compound bumpers to address American safety legislation, and the two ditch lights seen under the headlamps were placed below the bumper on a rather vulgar looking chin spoiler. Although done in the best interests of road safety, it certainly made these cars look less than stellar.

But this wonderful little roadside gem though shows what the Silver Shadow was all about, chrome everywhere!

The following two images are sketches I completed when visiting the Fashion & Textiles Museum in London. I was gathering inspiration for an exam title- 'Bird's & Animals'. Later in this unit I went on to create a cape for men, inspired by the feathers and textures of birds.

Below you will find my review of Valentino's Haute Couture, A/W 2014-15 show: in Paris:

While green vines and fresh foliage hung as a backdrop, or rather an adornment, for the white walls of Valentino’s Autumn/Winter Haute Couture show in Paris. Backstage paintings from artists like Alma-Tadema from the Pre Raphaelite period hung as centre inspiration, along with images of Greek goddesses enveloped in white fabric, on the mood board backstage. Valentino once said, “I know what women want…they want to be beautiful”, and going by this show, we are yet to prove him wrong. Olive greens, off white, creams and metallic’s of a Roman colour palette were frequent choices by Valentino. The models, poised faced with minimal make-up carried each gown as though not even human - so graceful, so romantic- showing the strength and truth of beauty, in a very natural, very organic sort of way.

For an Autumn/Winter collection, the typical over coat does not exist. But rather an embroidered jacket, with patterns that remind me of William Morris’s wallpaper print, ‘Pink & Rose’. It is heavy, some may say similar to the curtains you would find hiding a two story window in a country manor; however Valentino has kept the sense of traditional romance alive- with references to gowns from the 1800’s. Beautifully intricate skirts stopping just before the ankle appeared to be a favourite at this show. The combination of historic silhouettes and practical lengths seemed to pair quite nicely, and of course Valentino did not fail to update these classic looks with contemporary fabrics. Wide Satin waist bands in dark metallic colours wrapped elegantly around the models waists. But even this detail was not added as a practicality, but wrapped around the models midriffs to form a contrasting shimmer to the muted tones of their outfits. It was skilfully done and unarguably successful.

Influenced by gladiator footwear - flat, thin soled sandals were the chosen footwear to complete this collection. This, as we all would recognise, is the one design that is quite obviously inspired by Romans. Layers of straps climbing the ankles and a sole as thin as paper can only remind us of Russell Crowe’s attire in Gladiator or our history lessons for those of us who paid attention. Either way, Valentino had not failed to marry the perfect combination of charm and grace with historical beauty.

When you look at paintings such as ‘The Frigidarium’ (1890), it is inevitable that Pre-Raphaelite artists Alma-Tadema was centre inspiration for this collection. The Silk Lilac band wrapped loosely around her waist and the intricate detailing of her patterned dress appears undoubtedly similar to the designs of Valentino. There is a classic, romantic and feminine beauty that brings me to nature and youth- flower like forms and patterns climb the dresses of these young women. Pure, rich materials such as silk and lace decorate their gowns-creating an array of pattern and texture. While draped, loose fitting dresses are instantly shaped with the use of colour and sheer fabric.

Valentino’s careful use of sheer fabrics was added perfectly, with sheer, neutral toned maxi dresses breaking-up the more traditional qualities of his tapestry overcoats. Shimmering metallic details caught the light when reaching the end of the runway, shaping chemise like dresses to the female body. The fluency to his show and the transition from each look appeared effortless; almost tranquil when accompanied by the piano- ‘The Heart Asks Pleasure First’ by Michael Nyman. Every aspect of this show seemed to work together, visually and technically. The collections distinct relationship with the Pre-Raphaelites formed the perfect fusion of art, fashion and history in the most charming, elegant and romantic of ways. Valentino has once again proved that he does indeed, ‘know what women want’.

The Hilton Cincinnati Netherland Plaza hotel opened in 1931 and is a National Historic Landmark and charter member of Historic Hotels of America. This Cincinnati hotel features breathtaking French Art Deco that has been restored to its 1930's grandeur. With rare Brazilian rosewood paneling, indirect German silver-nickel light fixtures and soaring ceiling murals, our historic Cincinnati hotel is one of the world's finest examples of French Art Deco.

The Cooper Car Company is a car manufacturer founded in December 1947[1] by Charles Cooper and his son John Cooper. Together with John's boyhood friend, Eric Brandon, they began by building racing cars in Charles's small garage in Surbiton, Surrey, England, in 1946. Through the 1950s and early 1960s they reached motor racing's highest levels as their rear-engined, single-seat cars altered the face of Formula One and the Indianapolis 500, and their Mini Cooper dominated rally racing. Due in part to Cooper's legacy, Great Britain remains the home of a thriving racing industry, and the Cooper name lives on in the Cooper versions of the Mini production cars that are still built in England, but are now owned and marketed by BMW.

The first cars built by the Coopers were single-seat 500-cc Formula Three racing cars driven by John Cooper and Eric Brandon, and powered by a JAP motorcycle engine. Since materials were in short supply immediately after World War II, the prototypes were constructed by joining two old Fiat Topolino front-ends together. According to John Cooper, the stroke of genius that would make the Coopers an automotive legend—the location of the engine behind the driver—was merely a practical matter at the time. Because the car was powered by a motorcycle engine, they believed it was more convenient to have the engine in the back, driving a chain. In fact there was nothing new about 'mid' engined racing cars but there is no doubt Coopers led the way in popularizing what was to become the dominant arrangement for racing cars.

Called the Cooper 500, this car's success in hillclimbs and on track, including Eric winning the 500 race at one of the first postwar meetings at Gransden Lodge Airfield, quickly created demand from other drivers (including, over the years, Stirling Moss, Peter Collins, Jim Russell, Ivor Bueb, Ken Tyrrell, and Bernie Ecclestone) and led to the establishment of the Cooper Car Company to build more. The business grew by providing an inexpensive entry to motorsport for seemingly every aspiring young British driver, and the company became the world's first and largest postwar, specialist manufacturer of racing cars for sale to privateers.

Cooper built up to 300 single-and twin-cylinder cars during the 1940s and 1950s,[2] and dominated the F3 category, winning 64 of 78 major races between 1951 and 1954. This volume of construction was unique and enabled the company to grow into the senior categories; With a modified Cooper 500 chassis, a T12 model, Cooper had its first taste of top-tier racing when Harry Schell qualified for the 1950 Monaco Grand Prix. Though Schell retired in the first lap, this marked the first appearance of a rear-engined racer at a Grand Prix event since the end of WWII.

The front-engined Formula Two Cooper Bristol model was introduced in 1952. Various iterations of this design were driven by a number of legendary drivers – among them Juan Manuel Fangio and Mike Hawthorn – and furthered the company's growing reputation by appearing in Grand Prix races, which at the time were run to F2 regulations. Until the company began building rear-engined sports cars in 1955, they really had not become aware of the benefits of having the engine behind the driver. Based on the 500-cc cars and powered by a modified Coventry Climax fire-pump engine, these cars were called "Bobtails". With the center of gravity closer to the middle of the car, they found it was less liable to spins and much more effective at putting the power down to the road, so they decided to build a single-seater version and began entering it in Formula 2 races.

Rear-engined revolution[edit]

Cooper T39/Climax cars Goodwood 30 May 1955, Equipe Endeavour Chief Mechanic John Crosthwaite facing cars

1956 Silverstone GP Formula 2 race winner Roy Salvadori with foot on tyre of Cooper T41

Jack Brabham raised some eyebrows when he took sixth place at the 1957 Monaco Grand Prix in a rear-engined Formula 1 Cooper. When Stirling Moss won the 1958 Argentine Grand Prix in Rob Walker's privately entered Cooper and Maurice Trintignant duplicated the feat in the next race at Monaco, the racing world was stunned and a rear-engined revolution had begun. The next year, 1959, Brabham and the Cooper works team became the first to win the Formula One World Championship in a rear-engined car. Both team and driver repeated the feat in 1960, and every World Champion since has been sitting in front of his engine.

The little-known designer behind the car was Owen Maddock, who was employed by Cooper Car Company.[3] Maddock was known as 'The Beard' by his workmates, and 'Whiskers' to Charles Cooper. Maddock was a familiar figure in the drivers' paddock of the 1950s in open-neck shirt and woolly jumper and a prime force behind the rise of British racing cars to their dominant position in the 1960s. Describing how the revolutionary rear-engined Cooper chassis came to be, Maddock explained, "I'd done various schemes for the new car which I'd shown to Charlie Cooper. He kept saying 'Nah, Whiskers, that's not it, try again.' Finally, I got so fed up I sketched a frame in which every tube was bent, meant just as a joke. I showed it to Charlie and to my astonishment he grabbed it and said: 'That's it!' " Maddock later pioneered one of the first designs for a honeycomb monocoque stressed skin composite chassis, and helped develop Cooper's C5S racing gearbox.

Brabham took one of the championship-winning Cooper T53 "Lowlines" to Indianapolis Motor Speedway for a test in 1960, then entered the famous 500-mile race in a larger, longer, and offset car based on the 1960 F1 design, the unique Type T54. Arriving at the Speedway 5 May 1961, the "funny" little car from Europe was mocked by the other teams, but it ran as high as third and finished ninth. It took a few years, but the Indianapolis establishment gradually realized the writing was on the wall and the days of their front-engined roadsters were numbered. Beginning with Jim Clark, who drove a rear-engined Lotus in 1965, every winner of the Indianapolis 500 since has had the engine in the back. The revolution begun by the little chain-driven Cooper 500 was complete.

Cooper climax T54 used in the 1961 Indianapolis 500 Mile Race digital collage

Once every Formula car manufacturer began building rear-engined racers, the practicality and intelligent construction of Cooper's single-seaters was overtaken by more sophisticated technology from Lola, Lotus, BRM, and Ferrari. The Cooper team's decline was accelerated when John Cooper was seriously injured in a road accident in 1963 driving a twin-engined Mini, and Charles Cooper died in 1964.

After the death of his father, John Cooper sold the Cooper Formula One team to the Chipstead Motor Group in April 1965. The same year, the Formula One team moved from Surbiton to a modern factory unit at Canada Road, Oyster Lane in Byfleet, just along the road from Brabham in New Haw and close to Alan Mann Racing. Cooper's 1965 season petered out and at the end of the year, number one driver Bruce McLaren left to build his own F1 car for the new for 1966 3-litre formula. Cooper's new owners held the Maserati concession for the UK and arrangements were made for Cooper to build a new 3-litre Cooper-Maserati car which would be available for sale as well being raced by the works team. The Maserati engine was an updated and enlarged version of the 2.5-litre V-12 which had made sporadic appearances in the works 250Fs in 1957. It was an old design, heavy and thirsty and the new Cooper T81 chassis built to take it was necessarily on the large side, in spite of which the bulky V-12 always looked though it was spilling out of the back. Three cars were sold to private owners, one each to Rob Walker for Jo Siffert to drive, Jo Bonnier's Anglo Swiss Racing Team, and French privateer Guy Ligier. None of these cars achieved much success.

Jochen Rindt was entering the second year of his three-year contract, but with the departure of McLaren, Cooper had a seat to fill in the second car and with the team's recent lack of success, understandably, a large queue of potential drivers was not forming at Canada Road. In the circumstances, Cooper were fortunate to acquire the services of Honda's Richie Ginther, who was temporarily unemployed due to the Japanese company's late development of their new 3-litre car. After a couple of races, Ginther was recalled by Honda to commence testing of their new car and the American was no doubt more than somewhat chagrined to discover that it was even bigger and heavier than the Cooper. After making a one-off arrangement with Chris Amon (unemployed due to the McLaren team's engine problems) to drive in the French Grand Prix, Cooper had an enormous stroke of luck when John Surtees became available after falling out with Ferrari. Once conflicting fuel contract issues were resolved (Surtees was with Shell, Cooper with BP), Surtees joined the team. Cooper honoured its commitment to Amon, so three cars were run in the French GP. Subsequently, the team reverted to two entries for Surtees and Rindt and with the former Ferrari driver's development skills and a switch to Firestone tyres, the car was improved to the point that Surtees was able to win the final race of the year in Mexico.

Surtees left to join Honda for 1967 and Pedro Rodríguez joined Rindt in the team and immediately won the opening race of 1967 in South Africa in an unlikely Cooper one-two. This was a fortuitous win for Rodríguez, as he was being outpaced by Rhodesian John Love in his three-year-old ex McLaren Tasman Cooper powered by a 2.7-litre Coventry Climax FPF. Unfortunately, Love had to make a late pit stop for fuel and could only finish second. This was to be Cooper's last ever Grand Prix victory. The rest of the 1967 season had the team's fortunes steadily decline and the midseason appearance of the lighter and slimmer T86 chassis failed to improve things. Rindt, impatiently seeing out his Cooper contract, deliberately blew up his increasingly antiquated Maserati engine in the US Grand Prix and was dropped for the final race of the year in Mexico.

For 1968, Cooper would have liked to have joined the queue for the Cosworth-Ford DFV, but felt that its connections to British Leyland with the Mini-Coopers made this inadvisable. Instead, a deal was done with BRM for the use of its 3-litre V-12, originally conceived as a sports car unit, but which BRM themselves would be using in 1968. A slightly modified version of the T86 was built for the new engine, dubbed T86B and Italian ex-Ferrari driver Ludovico Scarfiotti and young Englishman Brian Redman were employed to drive it. The cars managed three-four finishes in the Spanish and Monaco Grands Prix, largely thanks to the unreliability of the competition, but then Scarfiotti was killed driving a Porsche in the Rossfeld hill climb and Redman had a big accident in the Belgian Grand Prix which put him out of action for several months. Cooper continued the season with a motley collection of drivers, none of whom could make anything of the outclassed T86B. During the season, Cooper built a modified chassis, the T86C, intended to take an Alfa Romeo 3-litre V-8 but the project was stillborn.

The beginning of the end for the Cooper Car Company was in 1969, as it tried, and failed, to find sponsorship for a new Cosworth DFV-powered car and there were many redundancies. Frank Boyles was the last to leave, since he was in charge of building customer cars and it had been hoped that some more F2 cars would be sold. Frank went on to design and build a Formula Ford car called the Oscar and also a series of Oval Circuit cars known as Fireballs. Driving the rear-engine version of this car, Frank won more than 200 races during a period up until 1975 in a car he had designed and raced himself. This record is believed to have never been beaten.

In all, Coopers participated in 129 Formula One World Championship events in nine years, winning 16 races.

Besides Formula One cars, Cooper offered a series of Formula Junior cars. These were the T52, T56, T59, and T67 models. Ken Tyrrell ran a very successful team with John Love and Tony Maggs as his drivers. Following the demise of Formula Junior, Ken Tyrrell tested Jackie Stewart in a Formula Three car, a Cooper T72. This test at the Goodwood Circuit marked the start of partnership which dominated motorsport later on.

In October 2009, Mike Cooper, the son of John Cooper, launched Cooper Bikes, the bicycle division of the Cooper Car Company.

Edward Ardizzone was a writer and illustrator, mainly of children's books. Born in French Indo-China in 1900 his family lived in Ipswich from 1905 to 1914, where he was educated at Ipswich School. While his parents were on foreign service he was brought up with his two sisters by their grandmother at her house in Gainsborough Road.

He is noted for having illustrated the covers and contents of children’s stories. However, his best-known work is the Tim series featuring the maritime adventures of the eponymous hero. The most famous of the books "Tim All Alone" won the British Library Association’s Kate Greenaway medal for illustration in 1956.

It was in Ipswich, as he later wrote that he “… learnt to know and love the little coastal steamers that I have drawn so often in the Tim books.” Ardizzone recognised the true beauty and practicality of industrial usage in the early 20th century.

The plaque was unveiled on 15th March 2015 by Edward’s grandson Daniel Ardizzone.

Image by Tony Marsden, former Vice Chairman of the Society.

MARSYAS/MYSELF

MYSELF Diptych, Detail

Below is a transcription of the handwritten text on the detail pictured above:

Art

Desire—Creativity—Release

"To embrace absence. To cradle and enfold the freedom and purity of immolation. To distill all need into the heavy metal of desire. To need no allies. To know that there are no allies. To know. To find sustenance in the ashes. To set corms into the ashes and bring forth all that which is no longer there. This is not despair. From this place springs the emptying of self after the purging of ambition. From this place springs Art. I have pitched my tent in this verdant wasteland of contradiction and set no value on any other place. From this vast horizontal, only the horizon defines me. A speck of desire on a polished orb. I hold in amputated hands the future of the future and have dedicated my life to the poverty of self-awareness. I am not afraid. I want nothing. I have no regrets. Let me speak for Art. Let me speak as Art. Am I not qualified? I have destroyed the audience and created silence. For myself, I have created the silence. Silence, then, will be my audience. As Art creates silence, Art speaks for silence. I speak for myself. Am I not qualified? I speak to the silence. Listen. I have established the eternal present. It is on this scale are all illusions weighed. I judge nothing. I am the shifting paradox of possibility. Nothing more. I am now. Nothing more...but there is a caveat: I am of human invention. Like nature, I am. Like rocks and rivers and the passing of days, I am. I exist when perceived. I impose my existence when engaged. Through perception, I confound the conception of time. Through engagement, I re-create myself within the living Now. I am more ancient than the caves of Lascaux and when perceived, I confront human consciousness with the power of Isness. I have no past. Like nature, I am. But within the caveat of human invention, I am born of desire. Though I am the most enduring of human enterprise, my purpose is unclear. Let me speak to this. Some would claim that I exist to illustrate the passage of time thus supporting the invention of history. But history has to do with memory and the cataloguing of events, a neatly arranged rationale of cause and affect, one influence on another through linear time. But this is not my purpose. Because I exist, like nature, in the eternal now, I belie such definition. To impose such limitations on my purpose is to confine me to the cage of intellect. If one accepts this definition, it is he who lives inside the cage, not I, though I concede a certain compassion for this usage as it enables the blind a kind of vision. But I am made of fiercer stuff. Compassion is not my purpose. My purpose is to destroy illusion. Linearity is my enemy and because I exist always in the now, to impose linearity upon me is to pervert my purpose. I am created when perceived. Being born of desire, I mirror the desire of the perceiver. Together we confirm the eternal now. There is no history, only the encapsulated instant of recognition. Only the birth of silence. Only the transforming re-creation of the creator. A duet and a paen to the purging light. I am the by-product of the creator’s desire to create himself. Having himself been created through the purging light of re-creation, his pursuit of the light causes my potential for creation. How simple it seems. What obvious and unquestionable truth. As light feeds the eye and sound the ear, odor the nose, friction the touch and taste the tongue, the now is created and sustained. So, too, is Art. Because I am created by the perceiver, my creation is sporadic and serendipitous. I am of the moment. I am in the now. As long as my materiality exists, my potential for conversion exists, from noun to verb, objectivity to response. Artifact to Art. Those who would force me into linearity turn actions into events and anchor my identity within the reflective mirror of history. They fear me. They fear what they cannot see. They fear what they cannot feel. They fear what they cannot control. They fear chaos. But I, too, have a protocol. Because it alters and redefines their position does not preclude their viability. It simply means that they serve me rather than I them. This is not chaos. It requires only the acceptance of a more humble role. Simply put, the protocol for my Isness is thus: The artist creates himself. The culture-maker creates metaphor. And the perceiver creates Art. Obviously, the recognition of this shift in roles requires an almost total restructuring of the cultural gestalt. I flourish and propagate within the eternal feminine. Masculine entelechy is a hostile and barren landscape. It would nullify my purpose. In this arid desert of the intellect, my sensuality is veiled in sand. I am contained and controlled, bourkhaed in masculine fear. To restrict and confine my purpose to the identity of the artist is to re-enforce linearity, history, knowledge, and illusion. For the one who makes me, I am but a by-product of self-creation. Hermaphroditically conceived within the artifacts of desire, I exist solely for the purpose of connection. He who makes me is not she who creates me. Art is conceived within the womb of perception. I exist when I am created without prejudice, cultural correctness, or linear logic. As for taste, good and bad have nothing to do with my inception. Moral judgment serves group identity. These strictures cannot constrain my birthright. I exist where I am perceived. There is no such thing as good or bad art; there is only Art and I am created by the perceiver. All else is artifact. Whenever and wherever I am perceived, Art exists. The fusion that occurs between making and creating forces my becoming and reinforces the eternal now. This fusion is the peak of human experience: Being without metaphor, simile, or trope. As with physical orgasm, the orgasm of aesthetic response is not filtered through the intellect. The experience defines itself through a tautology of sensation. How would one define an orgasm? It simply is. Though procreation is its purpose, procreation is not its definition. This is true also of aesthetic orgasm. Though cultural enhancement is its practicality, the sensation of response is indefinable. Orgasm is the ultimate reality. It is wordless and transcends all boundaries. Its communication is total, a connection so intense that ones existence is confirmed. Some speak of me in terms of spirit; the response I invoke, a religious catharsis. I think not. Religiosity distorts my purpose, and spirit separates me from my totality. Appreciation is another facet of response, as is beauty, as is seduction. I am a gestalt of many metaphors. No one characteristic defines me. I am defined by the indefinable. Totality. When I occur, when Art occurs, it is with the violence of disconnection and the sublimity of connection. In the moment of my creation, the armor of the intellect is pierced with the turgescent light of recognition and my creator is filled with my maker’s desire for self-creation. Because I am a gestalt of many metaphors, by examination and deletion, metaphor by metaphor, I shall define my purpose. Through distillation, I might define my purpose. Because I am all of these and no one of these, my totality is indefinable, unexplainable. My outline can be etched by describing what I am in part and through deconstruction that which presses out may be released. In the orgasm of my inception, the perceiver is disconnected from the linear masculine and enveloped within the spherical feminine. This episode, this moment, this lifetime is my birth. Art is realized within the bourn of the creator. The variables of causation for orgasmic perception are infinite, chaotic, and serendipitous. Like the artifacts that induce the sensation, connection occurs when connection occurs, without judgment or foreplay. Two basics exist for my creation: attraction and seduction...Art can happen to anyone with any artifact at any time. There is no such thing as good or bad Art; there is, however, such a thing as profound or mediocre orgasm. Only the perceiver can distinguish the experience. Whether the orgasm is sexual or aesthetic, it occurs within the bourn. It belongs to the perceiver and no other. It lies beyond the reach and control of the culture-maker’s protocol of intimidation. Culture is my enemy. For it to exist, it must defeat my purpose. For a culture to exist, it must establish its identity on the necklace of linear time. This beaded processing of artifacts and events called history would place one of myriad metaphors above all others as my defining gestalt. That art as evidence defines me is a perversion of my purpose. It would use me as decoration rather than the defining force of human Isness. It is my entirety that defines my purpose and that entirety is revealed with the bourn of the perceiver. That Art is a reflection of its time is as much a truism as Art History is an oxymoron. This propagandizing of a single metaphor as my defining purpose is the ultimate confusion of artifact with Art. Most of my metaphors tie me to concepts of culture and group identities. Two do not. That Art is beauty and that Art is truth may pit the perceiver against the active and pervasive cultural metaphor of the perceiver’s time and require a degree of courage and a desire for self-creation through the orgasm of response with its residual euphoric sense of enlightenment. I have brought perceivers to their knees and tears to their eyes. I have no peer in terms of emotional power and epiphanic response. My ability to split the individual from the numbing complacency of the group can be cataclysmic. My potential to induce the insurrection of solitude is extreme. Of all my metaphors, Art is beauty and Art is truth are linked in controversy. They tend to provoke heated and emotional intellectual criticisms and commentaries on idealism, romanticism, ignorance, taste, sophistication, naivete, sophism, empiricism, fascism, egalitarianism, aesthetics, history, historicism, elitism, and on and on and on. These two metaphors are the intellectual battlefield on which the war between culture and Art is fought. It is a conflict that cannot, will not, and must not be resolved, for it is through this conflict that humankind’s evolution transpires: individual enlightenment vs. cultural control, freedom vs. repression, individual courage vs. group fear. Life vs. death. Art is entertainment is the metaphor whose dominance most contorts and ridicules my purpose. It perverts human endeavor and diverts the search for being. It requires audience, gratification, and applause thus embedding my determination in linear time. It is a crippling, procrustean enabler of social control. This metaphor, with its sibling, Art is money, reduces my significance within the cultural gestalt to product, and my maker, a comedian on the stage of trivialities. These metaphors breed nihility without the blandishments of hope. Their fertility is cancerous eating away the potential for joy and replacing it with the immediacy of amusement. And though pleasure is often a part of me, it is subsidiary to my purpose. Culture is my enemy because it selects a single metaphor from my pantheon of metaphors to define my significance within its gestalted singularity in linear time. It manipulates me to control individual response and maintain the status quo. That Art is entertainment and that Art is money are metaphors of a fearful culture, stagnant and repressive, hostile to excellence. These metaphors, if taken as my primary distinction, condemn my artifacts to flaccid mediocrity. This is not a judgment against the majority; rather, it is a complaint for the minority which seeks neither to be entertained nor to buy and sell art. Their desire leads toward challenge rather than pacification and materialism. They are forced to seek me outside the paradigm of the culture of entertainment. This most self-creating segment of culture is driven into the linear past to create the eternal now. Branded as elitists, these futurists secure my furtherance. The most avid culture-makers force the artifacts of first appearance as their definitions of my being. Newness, however, does not define me; it reflects, rather, their own ambitions. Art is created by the perceiver regardless of cultural imperative. The culture-maker has no purchase in this transaction. Nor does history. The shoulds and shouldn’ts of cultural propriety are the shoulds and shouldn’ts of cultural identity. Exactly that. To be culturally correct has to do with the ordering of the group, not with the creation of Art. The perceiver may or may not create Art from the acceptable artifacts of the culture. If the perceiver cannot, Art will be created outside of that culture’s prerogatives. I exist when and where I am created. No authority can prejudice my becoming. My essence is amoral. Because aesthetic orgasm is my purpose, I do not qualify the means of attainment whether by attraction and consent or rape. Seduction or surprise, my inception is irrepressible. I occur within the being of the perceiver and my only recordation lies within the perceiver’s bourn. My only history is aesthetic memory. Cultural and artifactual history lie within the purview of the intellect. Further deconstruction of my gestalt would be the metaphor Art is communication: what the perceiver reads into me, what he is told to read into me, and what is discussed about me. It is through communication that the hierarchy of the culture is established, promoted and maintained. Constructed on military, traditionally proven protocols of control, words used like cattle-prods direct and channel large segments of the cognoscenti into an oligarchy of historical distinction. This oligarchy is dependent on an elite group of culture-makers which has jockeyed itself into positions of authority through education, political wisdom, and brilliance of intellect, qualities which have nothing whatever to do with my creation. How tribal the human condition! How masculine the fierce competition for advancement and retainment of control, rank, and command. The ordering of culture is controlled from the top down. With military pragmatism, the ordering of culture-making proceeds from the upper ranks of the culturally elite and descends through the various levels of worth, wealth and sycophantism. Through response, curiosity, education, intimidation, and imposition, culture-makers initiate, propagate and maintain cultural correctness through the various structures of communication. The artists of any culture are not necessarily culture-makers; all induce aesthetic orgasm and thus the creation of Art. Through communication, culture-makers create history. Through silence, perceivers create Art. Happily, for the evolving human condition, we are not mutually exclusive. As cultures invent and record the repetitions of linear time through the alphabets of history, I await discovery by the perceiver within the artifacts of silence. Words do not enhance my perception. Alphabets of communication obscure my purpose, bits and pieces, shards of descriptive analyses opaque my seduction. Aesthetic orgasm does not occur within the mind; it occurs unexpected and unexplained within the fertile bourn of the perceiver. My inception can be neither induced nor denied by instruction or imperative. Acculturation is my enemy. It muddies and opaques my transparency of purpose. Noise. Business. Confusion. I am recorded within the wisdom of myth rather than the knowledge of history. Transformed by the tongues of silence into the nodding recognition of self, I await my perceivers. I am discovered where I am found. Without qualification or judgment, I mark their journeys. As history records the alphabet of repeat, Myth affords the epiphanies of evolvement. Myths are connections within the eternal now for the self’s process of becoming. They transport my significance. My most expedient and perplexing metaphor is: Art is what artists make. This truism absolves the culture-maker from the advancement of aestheticism to the promotion of artists. Celebrity becomes product and its creation becomes culture. On the beaded necklace of linear time, this metaphor is of little moment. Its artifacts are created and sustained by contrivance: Culture-makers create culture-makers who create history. The perceiver, the artist who creates me, re-creates my maker in the eternal now. Through this creation-re-creation, one sees what the other seeks. This is my purpose. This is Art.

Subsequent to the completion of STUDIO SECTION 2002-2005, Marsyas/Myself, the artist created another studio section, STUDIO SECTION 2005-2007, The Seven Deadly Sins and Three Diptychs from The Winter Notebooks. On Pages 7 and 8 of The Winter Notebooks he reprised MARSYAS/MYSELF in retrospect visual and verbal consideration and wrote the following excerpt about it:

"Marsyas/Myself was completed in 2005 and entered into the permanent collection of the Crocker Art Museum in November of that same year. My three year involvement with this studio section was epiphanic and liberating, the separation nearly complete. However, the song of the artist, the skin of Marsyas, hangs heavy and will not be silenced. It lingers still, as Myself lingers still, and will not be silenced. As long as artists create artifacts and as long as viewers persist in creating Art from these artifacts, the myth of Marsyas is the truth of the artist; his life, his pain, his ecstasy, and his fate. By subjection of myself as a particular artist in equation with the corpus of Marsyas, an attempt was made to recast the drama of art into an anti-fascisttic and non-authoritarian process; a complete reassignment of roles wherein the viewer becomes the sole creator of Art and all else is cultural rhetoric. It was also an attempt by this artist at total honesty. As we know virtually nothing about Marsyas, it was my intention to reveal everything about Myself even to the extent of confessional boredom. All information has been made available to the viewer. Setting the plight of Marsyas in his challenge of Apollo within the context of a contemporary sculptor’s studio establishes the parallel of the cautionary myth with all artists who would gamble their lives on a rigged contest. There is no drama greater than the artist’s struggle with his own mortality. The transmutation of mortal desire into material artifact into immortal response is the distinguishing principal of humanity and it is the artist who personifies this principal in its sublime purity. No challenge is greater, no reality more intense. Marsyas is the artist’s myth and it is to this myth all artists conform…."

STUDIO SECTION 2002-2005, Marsyas/Myself is a multi-part installation work that requires a space approximately 40' x 40' for exhibition in its entirety. It consists of free-standing sculptures, and large panels hanging on the walls and a combination of these and evenly divided into two metaphorical dimensions: "Marsyas" and "Myself."

Collection:

Crocker Art Museum

Sacramento, California

celebrations with the Dutch Solar Team Eindhoven as they are awarded first prize with world's first family solar car Stella for best of the Cruiser Class in the 2013 Bridgestone World Solar Challenge. Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted (Stella usually carried 2 to 4 people). /

bevrijdende vreugde bij de studenten van Solar Team Eindhoven wanneer ze de eerste prijs winnen met 's werelds eerste familie-zonne-auto voor beste deelnemer in de Cruiser klasse tijdens de 2013 Bridgestone World Solar Challenge. Behalve tijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld (Stella had gewoonlijk twee tot vier berijders aan boord)

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Before

This picture of the demolition of 'Abbey houses' is undated, but if the car poking its wings into the picture at the right is indeed a Mini, the image is no earlier than 1959. Sentiment takes over from practicality when one feels compelled to say what a shame it was that they were destroyed - even if they were probably built from red sandstone from the crumbling Abbey!

As declared by the Ferrari showroom's little information panel, this 275GTB has quite possibly the lowest mileage of any of it's class, with only 16,000 miles on the clock.

But this is the kind of Ferrari that's desired, the great Grand Tourers of the 1960's and 70's, cars that both looked and sounded the part, but continued to maintain a certain amount of practicality, unlike the much less effort toys of today's new money.

Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.

Shortly about me:

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

Skoda is now a division under the Volkswagen group, but is has a long history, having been founded in the Czech Republic in 1895 as Laurin & Klement. In 1948 the company was nationalised as Skoda Auto during the Soviet occupation. A joint Venture with the Volkswagen group commenced in 1991.

The Octavia 1U, shown here, was launced in late 1996 as the marques return to larger family cars, though the model did in fact share its underpinnings (the PQ34 platform) with the Golf MkIV - the Skoda was noticeably larger.

At the time it was noted the values espoused by Skoda in their cars matched well with the traditional Volvo virtues of safety, practicality, conservative looks and efficiency.

The Octavia was produced with a range of four-cylinder petrol and diesel engines of 1.4L to 2.0L, producing between 60 PS and 193 PS (44 kW and 142 kW).

The Octavia Type 1U was replaced by the Type 1Z in 2004, again sharing a VW platform, this time the PQ35 underpinning the Golf MkV.

All brass & copper construction.

Rotary barrel array is powered by a 9.6 volt cordless drill motor.

Working safety catch. and custom powere connector.

Hand built from reclaimed old and vintage tools/parts, junk, scrap and repurposed odds and ends, plumbing & heating supplies. I built it using only basic hand & power tools. The most sophisticated tool I have in my little shed is a cheap vertical drill press from a local hardware chainstore :-) (Oh I do own a Dremel as well lol ;-) )

I build as if its a real thing. I build/design with function, wear and tear and operability in mind. I have a fairly comprehensive knowledge of firearms design/history so I like to utilise this in my work (albeit I am crossing reality & practicality with fantasy & "what if" technology speculations ;) A balancing act between fantasy and reality :)... Im thinking of maybe fitting a fat bayonet to this weapon lol .. not practical at alll , but great fun looking and emotive in a "hollywood" fantasy way lol ... Maybe a torch slung underneath instead lol ;-)

IF MY THINKERING TALENTS MAY BE OF USE TO YOU, DROP ME A LINE ;-) ... kruki99@hotmail.com

My own UHD TV showing netflix.

AI:

This image is a casual snapshot of a living room or entertainment area. Here's a breakdown and analysis of its composition and elements:

Key Features of the Picture:

Focus Point - The TV:

The TV is the main focus, displaying a Netflix menu screen with the movie Hotel Transylvania and various other movie thumbnails below.

The content on the screen adds color and vibrancy to the scene, which contrasts with the room's more muted tones.

Background:

A small bookshelf filled with books and miscellaneous items is visible in the background.

A white open doorway leads to another room, revealing a kitchen or workspace.

A mix of furniture and clutter, including a box with the Philips logo, newspapers, and other objects, dominates the background.

Lighting:

Natural lighting from the unseen window (likely to the left of the scene) is soft but dim.

The TV itself is a significant light source, adding to the room's brightness.

Room Organization:

The room feels functional but cluttered. Items such as a folded bed or cushion, scattered papers, and cardboard boxes suggest the area might double as a storage or transitional space.

The TV stand is basic, and there isn’t much decoration or personal aesthetic added to the space.

Strengths:

The TV screen adds color and life to the scene.

The bookshelf adds a sense of personality and practicality, showcasing books and other items.

The Church of the Ascension at the "Kaiserin Auguste Victoria Foundation" on the Mount of Olives - together with our Center for Pilgrims and Tourists and the famous "Café Auguste Victoria".

It was built in 1907-1910, and named after Empress Augusta Victoria, the wife of German Kaiser Wilhelm II. Today it is an Arab Hospital.

The Christian community of Jerusalem has always been multi-ethnic, diverse and multi-lingual. Here, you will find Greeks and Armenians, Syrians, Coptic Christians from Egypt, Ethiopians, Maronites with Lebanese background, Orthodox Russians, Palestinians, and Hebrew Christians praying side by side. As a German speaking Protestant Church, we are a vital part of the ecumenical landscape of Christian churches in Jerusalem.

Shortly about me:

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »

The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

The Kamares Aqueduct, also known as the Bekir Pasha Aqueduct, is a historic water supply system located in Larnaca, Republic of Cyprus. Spanning over a thousand years of history, this magnificent structure has played a crucial role in the development and sustenance of the city. Here is a concise history of the Kamares Aqueduct in 1000 words:

The origins of the Kamares Aqueduct can be traced back to the Roman period in Cyprus. During this time, Larnaca, then known as Kition, was an important city with a growing population. The Romans recognized the need for a reliable water supply system to meet the demands of the city's inhabitants and constructed the initial aqueduct.

The Roman aqueduct consisted of a series of stone arches that transported water from a source in the nearby mountains to the city. It showcased the advanced engineering skills of the Romans and demonstrated their commitment to urban development. The aqueduct served Larnaca for several centuries, ensuring a constant supply of water for domestic and agricultural purposes.

However, with the decline of the Roman Empire, the aqueduct fell into disrepair. It wasn't until the Ottoman era in the 18th century that the aqueduct was restored and expanded under the rule of Bekir Pasha, the regional governor of Larnaca. The aqueduct was renamed after him to honor his contributions.

Bekir Pasha's restoration efforts transformed the aqueduct into a more elaborate and grand structure. The new design featured a total of 75 stone arches, stretching over a length of approximately 2 kilometers. The aqueduct became an iconic landmark in Larnaca, symbolizing the city's rich history and architectural heritage.

The Bekir Pasha Aqueduct continued to serve as a vital water supply system throughout the Ottoman period. It provided water not only to the city's residents but also to the surrounding agricultural areas, facilitating the growth of crops and sustaining local livelihoods.

During the British colonial period in Cyprus, which began in 1878, the aqueduct underwent further renovations and maintenance. The British recognized the historical significance of the structure and took steps to preserve its integrity. The aqueduct remained functional and continued to deliver water to Larnaca until the mid-20th century.

However, with the advancement of modern infrastructure and the construction of a more efficient water supply network, the aqueduct gradually lost its practicality. By the late 1950s, it was no longer used as a water supply system. Instead, the aqueduct transitioned into a popular tourist attraction, admired for its architectural beauty and historical value.

In recent years, the Kamares Aqueduct has undergone extensive restoration projects to ensure its preservation for future generations. The Cypriot government, in collaboration with local authorities and heritage organizations, has invested in maintaining the structure's structural integrity and promoting its cultural significance.

Today, the Kamares Aqueduct stands as one of the most significant historical landmarks in Larnaca. It attracts visitors from around the world who marvel at its majestic arches and appreciate its historical significance. The aqueduct serves as a tangible reminder of Cyprus' rich heritage, showcasing the engineering achievements of the Romans and the Ottoman-era restoration efforts.

In conclusion, the Kamares Aqueduct, also known as the Bekir Pasha Aqueduct, is a remarkable testament to the ancient and more recent history of Larnaca, Republic of Cyprus. From its Roman origins to the Ottoman-era renovations and subsequent preservation efforts, the aqueduct has stood the test of time. It continues to captivate visitors with its architectural splendor and serves as a tangible link to the city's past.

With its wild wings, futuristic curves, and total lack of practicality, the Ferrari Dino 206 Competizione was the quintessential concept car. A radically designed prototype, the Competizione combined typical Ferrari values of charm, charisma, and technically advanced engineering prowess.

The Dino name in the Competizione's title is in reference to Enzo Ferrari's son, Dino. When Ferrari first developed a V6 engine for the 1957 Formula 2 series, he named it Dino. After that, the name of Enzo's son was used to designate six-cylinder and lower-cost Ferraris. The 206 nomenclature used on Ferrari's 1967 prototype indicates that it was built on a 206 S chassis. The 206 S was a capable racing car, with a body that resembled that of the V12-powered 330 P3. Using 206 S chassis #10523 to underpin the Competizione gave the car racer roots that were rarely seen on concept cars. The Dino 206 Competizione distinguished itself as a concept that was not just functional, but built on a thoroughly race-proven chassis.

That proven chassis was endowed with four wheel disc brakes, front and rear independent suspension, and an advanced steel space frame design that gave high strength in a lightweight package. The total weight of the 206 Competizione was just 1,400lbs, making even its small engine more than enough to create an unquestionably fast car.

The Dino V6 used in the Competizione displaced just 2.0-liters, but was able to generate 218bhp. Peak power was reached at redline, which was 9,000rpm. The lower rotational inertial of the small V6 gave an even higher redline than the V12 mounted in the 330 P series. The V6 was constructed of aluminum and mounted amidships within the space frame of the prototype, as it was in the standard 206 S. A 5-speed transaxle directed the engine's power to the rear wheels.

Despite its racing car foundation, the Dino 206 Competizione was not created to compete. As a dedicated concept car, it was created to showcase excellent design and possible styling cues for Ferrari's future. The Competizione had an advanced appearance that flaunted the talents of a young designer named Paolo Martin. Only 23 when he designed the car, the Competizione came very early in Martin's career. He later would admit he felt 'a very strong emotion' as he watched his project unfold into a true supercar.

Paolo Martin was working under Pininfarina when he developed the Competizione's styling, so the car wears Pininfarina 'f' badges. Pininfarina was also responsible for the construction of the prototype's body. Martin's shape was free of hard edges, with abundant curves and a large glass area with a circular cross-section. Viewed from some angles, the odd shape of the car's glass lends the greenhouse a bubble-like appearance. This is particularly evident from the front, where the vast windshield sweeps up and to the sides like a bulbous take on a jetfighter's canopy.

The Competizione had exaggerated mid-engined proportions, with a short, low nose and a long, high tail. The front lighting fit the shape perfectly, with transparent, aerodynamic coverings over clusters of three lights. The light clusters were angled down towards the center of the car's nose. The lighting's covers blended seamlessly with the unusually round curve at the front of the car, and combined with front vents ahead of the large windshield to create a design that looked organic, but not earthly. From the front, the design had a cartoonish look that was exotic and alien, as if the Competizione was designed on a different planet to resemble some distant species.

Distinctive spoilers added to the effect. Though the strange spoilers didn't seem out of place on the car, they almost looked as if they were tacked on as an afterthought. This was not surprising, as Paolo Martin himself admitted that the spoilers 'were added only at the last minute, since the Management thought the design had to be enriched.' The spoilers used black wings attached to the body by metal arms that looked too much like pieces from an Erector Set to match the rest of the design.

All of the vents and air intakes found on the Dino 206 Competizione—and there were plenty—blended gracefully with the smooth curves on which they were placed. They looked like gills, and they enhanced the car's alien image. A single windshield wiper protruded like a tentacle reaching towards the windshield. Gullwing doors with a huge glass area contributed to the otherworldly effect, as did the jarring, bright yellow paint that covered the prototype's aluminum skin.

James Glickenhaus, a wealthy car collector with a special interest in Ferraris, recently became the first private owner of the Dino 206 Competizione. The car had been kept in Pininfarina's museum for over thirty years until a purchase was agreed upon in 2007 and Glickenhaus bought the stunning vehicle. Since Glickenhaus purchased the car, it has been shown with success and driven regularly.

[Text from Conceptcarz.com]

www.conceptcarz.com/vehicle/z17222/Ferrari-Dino-206-Compe...

This Lego miniland-scale Ferrari Dino 206 Competizione (s/n 10523 - Carrozzeria Pininfarina - 1967) has been created for Flickr LUGNuts' 94th Build Challenge, - "Appease the Elves Summer Automobile Build-off (Part 2)", - a design challenge combining the resources of LUGNuts, TheLegoCarBlog (TLCB) and Head Turnerz.

celebrations with the Dutch Solar Team Eindhoven as they are awarded first prize with world's first family solar car Stella for best of the Cruiser Class in the 2013 Bridgestone World Solar Challenge. Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted (Stella usually carried 2 to 4 people). /

bevrijdende vreugde bij de studenten van Solar Team Eindhoven wanneer ze de eerste prijs winnen met 's werelds eerste familie-zonne-auto voor beste deelnemer in de Cruiser klasse tijdens de 2013 Bridgestone World Solar Challenge. Behalve tijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld (Stella had gewoonlijk twee tot vier berijders aan boord)

First Drive 2022 Toyota Land Cruiser 300 70th Anniversary. An important element of the Land Cruiser's redesign is the radical change of powerplant – no more V8s here. Before diesel models show up, the Land Cruiser arrived with a twin-turbocharged 3.5-liter V6 packing direct injection. But the advanced engine is still a thirsty thing, gobbling up premium fuel with gluttonous abandon. Where the Land Cruiser 200 sucked down 15 to 20 liters of gas every 100 kilometers, the Land Cruiser 300 is no better. Even the addition of a ten-speed automatic can’t save the new model. Of course, the V6’s two turbochargers aren’t about efficiency, really. And each dollar, yen, or ruble Toyota invested in this engine pays off when it comes to motivating a 2.5-ton SUV. With 479 pound-feet of torque at just 2,000 rpm, the Land Cruiser can jump forward briskly, humiliating smaller “sportier” crossovers with a 6.8-second sprint to 62 miles per hour. Regardless of the speed limit, the Land Cruiser will happily charge toward it at breakneck pace. There’s some serious performance for a full-size SUV, and the bottom line is you won’t expect such sudden and brutal acceleration from an SUV that looks so much like a suitcase. Experienced Land Cruiser drivers will no doubt wonder what the point of all this grunt is in an SUV, especially when previous examples had less-than-stellar brakes and poor handling dynamics caused by the high center of gravity. After all, the new Land Cruiser’s chassis is really the same as before: longitudinal frame, independent suspension with transverse arms at the front, and a continuous axle with longitudinal bars behind. Even the brake discs are the same size. But despite this similarity, Toyota still rethought every chassis component’s structure and managed to shave a substantial amount of weight off in the process. The result is far easier to drive at speed. The track was widened, the engine sits further behind the axle and lower in the bay, and the seat are further rearward. This better weight distribution and lower center of gravity are key to the new Land Cruiser’s poise at higher speeds. Even the brakes work better. You still need to apply a fair amount of pressure at times, but the effort required is progressive. The 70th Anniversary is best suited for asphalt, with 20-inch wheels and tires with thinner 55-series sidewalls, a self-locking rear differential, and a Custom drive mode.

While driving on level ground, the 70th Anniversary trim seems more concentrated and precise. It takes maneuvers more willingly and the tires don’t complain quite so much when pushed. If a bump or pothole gets under the wheels, though, the balance is lost. The Comfort + trim with E-KDSS is unperturbed by, well, anything. It holds its line accurately in places where the 70th Anniversary and its adaptive dampers struggles to keep the body roll in check. There is a third LC300 trim, which deletes both E-KDSS and the trick dampers, but it wasn’t available for testing.

If the on-road difference between the 70th Anniversary and Comfort + are shades of gray, off-road they’re black and white. The Middle Peninsula is a treacherous location for stock cars, the rugged terrain covered with a network of rocky trails, which in many places, are flooded depending on the vagaries of the weather.

Off the trial, the slopes, fords, and rocks don’t look particularly scary, but I’d seen a GAZ-66 (think of a Soviet take on the famous Daimler Unimog) with water up to its windows in those places. So the owner of a stock 70th Anniversary has a scant chance to get back from these roads with a whole car. Blame the flashy body kit, which reduces the approach angle from 32 degrees to just 24. No matter how experienced the driver, how carefully they attack an obstacle, the Anniversary cars were damaged without exception.

Heavy rains soaked the ground, turning dirt into mud and compounding the 70th Anniversary truck’s delicate 20-inch tires. Regular Dunlop Grandtrek AT30 Touring rubber are all-terrain in name only, and it was little surprise when I caught a side cut in a completely ordinary situation while driving evenly over a rocky rut.

Was it bad luck? Probably, but the Comfort + trim overcame the tough terrain with far more confidence, its relatively fat Yokohama Geolander AT G31 tires and their thicker sidewalls better able to handle the abuse. The geometry of the body is just right, there’s nothing to tear off (except for the license plate while fording) and the E-KDSS system provides a fantastic range of motion – even the legendary Land Cruiser 80 loses out, offering just 27 inches of articulation to the LC300’s 28.4.

With E-KDSS, it’s a challenge to get one of the Land Cruiser’s wheels in the air in real-world situations, so we had little reason to employ the locking differentials. By the way, there are three on the Comfort +, putting the Land Cruiser in a rather rarefied class of high-performance off-roaders.

What both versions of the Land Cruiser have in common is that strong engine and a stout electronically controlled transfer case. Drop into neutral and flick a toggle switch to move into low-range. Switching back happens just as quickly and easily, so there’s no rocking or waiting or fidgeting of any kind. It’s very convenient when difficult obstacles that require careful crawling interrupt higher-speed sections of trail.

For those tricky bits, the twin-turbocharged V6 is the right tool, offering a smooth and predictable throttle response and enough low-end torque that even on rocky up-hill sections, the Land Cruiser climbs with a whisper of pedal and unperturbable smoothness. But if you want some help, Toyota left on features from the LC 200, including Crawl Control. There’s also a Deep Snow mode, which arrived as a result of Toyota’s wintry excursion in Dyatlov’s Pass.

But all was not well with the force-induced V6. Constant fording and rock climbing caused the engine to throw a message on the dashboard about a loss of traction control, warning us to visit a dealer. There was no check-engine light, but the performance diminished noticeably as if both turbos were on strike. And even if this was but one issue, it happened on multiple test units.

Fortunately, all it took was a restart to bring things back to normal. Nevertheless, when we got away from civilization and started doing real work, I checked the air filters – what if they got wet? But the filter box is well protected, and the filters themselves were perfectly dry. We’re suspecting the issues in our test unit, then, were down to the electronics. I reached out to Toyota’s Russian reps for the cause of the problem, but I’m still waiting on an answer.

In a long traffic jam near Murmansk, a guy jumped out of his Toyota RAV4 and introduced himself as the owner of a Land Cruiser 200. He was eager to study the LC 300 and knew where to look, complaining about cheap faux wood, poor glove compartment lid, and flimsy door panels. He then finally noted that he had no faith in the twin-turbocharged V6, although as a whole, he argued the new Land Cruiser “is not spoiled.”

In general, Toyota closely watches the mood of Land Cruiser fans and owners. People are very loyal, and the brand has no right to go against them. But a revolution in the interior was not expected. People choose this car for pragmatic reasons and Toyota reworked the interior with that in mind, maximizing practicality with massive switches and knobs grouped together in functional zones.

I personally like this healthy conservatism as well, though Toyota did overdo it in some places. You can’t just take the display and stretch it out to 12.3-inches diagonally and leave an almost unchanged, archaic interface. Compare it with the screen of a child’s tablet and it becomes embarrassing for Toyota. Or take the monumental block of a center console – inside, under an armrest that opens both to the left and to the right is a cooler box. The Land Cruiser is not a vehicle that needs to make some annoying interior design statement, and yet here we are.

By the way, even with a slightly reduced body height, the LC 300 is as wide as the last-gen car and retains the same wheelbase. Even the rear seating is similar – I jumped from old car to new several times and couldn’t find any notable differences. There’s plenty of free space, but the second row remains a little bit cramped for long-legged passengers – one expects a more relaxing seating position in such a huge vehicle. While under way, relaxation comes from the soft suspension (worse with the 20-inch wheels, of course), ample sound insulation, and pleasant bonuses like separate second-row climate controls and available seat ventilation.

That rear bench folds in one quick movement, flipping forward to stand against the rear seats and forming a huge cargo compartment with a flat floor. It’s easier to get stuff out now, too, because the Land Cruiser lost the split tailgate. Lovers of trips out of town probably won’t be happy that there’s no longer a “bench” in the lower section of the rear hatch, though.

In a lot of ways, the new Land Cruiser is glamping on wheels – equally at home on a picnic as it is navigating the wilderness north of the Arctic Circle or then getting you from business meetings to muddy surroundings. And it’s downright pleasant on long stretches of highway. The LC 300 is an all-roader in the best understanding of the word.

But high-status versatility costs a lot of money. A weekend of glamping on the Sredny Peninsula costs at least 80,000 rubles per person. And the price for a new gas-powered Land Cruiser 300 starts at 5.6 million. But there is demand and a rush on inventory, along with greedy dealers marking up products. This doesn’t frighten LC worshipers, though, and new examples are rolling off dealer lots for 10 million rubles. This vehicle’s reputation works wonders.

Marrying style with practicality, the van is the ideal solution for breaks away.