View allAll Photos Tagged streamlined
Norfolk Southern operated N&W streamlined J-class 4-8-4 Northern steam locomotive # 611, view of its nearly empty tender interior coal pocket as seen in Chattanooga, Tennessee, October 1989. This view wasn't available for long because next to the tender was spotted gondolas and hopper cars filled with coal along with a bucket crane on standby for loading. In this view you can see a portion of the tender side sheeting with its braces. The steam locomotive, tender and auxiliary water tender were being prepared, maintained and serviced for their next day assignment to a Railfan Excursion Train.
title.
A wall and a girl.
Cairns,Australia, 2016. shot ....... 4 / 6
(Today's picture. That's unannounced.)
image.
United Future Organization - Magic Wand Of Love
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
stealaway.cocolog-nifty.com/stealaway/2016/11/profile.html
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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flickr . ( XL size )
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www.flickr.com/photos/stealaway/
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
There are two reasons why a person faces the sea.
One, to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other, to brush the dust of memory like an old man who misses old days, staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow, a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However, I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
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Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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Schedule of the next novel.
Still would stand all time.(unforgettable'2)
2018. Spring. It's expected to open it. That's Japanese.
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2017.
Autumn.
Theme.
This must be the place I waited years to leave .
Place. Tokyo Big Sight.
Sponsoring. Design festa.
2018.
The uncertainness of date and time.
Kawamura Memorial DIC Museum of Art Annex Gallery.
Place. Sakura-shi, Chiba.
Theme.
From that day ....
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Future's photography place.
2017.
Manhattan. New York. The United States.
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I went to New York 2007.
Day when Japan was left. March 9. Afternoon.
Day where it returned to Japan. March 14. Afternoon.
I am in Japan now.
The photograph in New York starts as follows.
www.fotolog.com/stealaway/22748231
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Japanese is the following.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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タイトル。
壁と女の子。
次の小説のイメージ。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
Cairns,Australia, 2016. shot ....... 4 / 6
(今日の写真。それは未発表です。)
image.
United Future Organization - Magic Wand Of Love
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プロフィール。
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
stealaway.cocolog-nifty.com/stealaway/2016/11/profile.html
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
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Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
_________________________________
_________________________________
Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
_________________________________
_________________________________
次の小説の予定。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
２０１８年。春。公開予定。それは日本語です。
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２０１7年。秋。
テーマ。
This must be the place I waited years to leave .
場所。東京ビッグサイト。
Sponsoring. Design festa.
２０１８年。
日時未定。
DIC川村記念美術館付属ギャラリー。
場所。千葉県佐倉市。
テーマ。
あの日から、ずっと…
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今後の撮影地。
２０１７年。
マンハッタン。ニューヨーク。アメリカ。
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I went to New York 2007.
Day when Japan was left. March 9. Afternoon.
Day where it returned to Japan. March 14. Afternoon.
I am in Japan now.
The photograph in New York starts as follows.
www.fotolog.com/stealaway/22748231
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Japanese is the following.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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The air resistance can be over 90 per cent of the total retarding force on a bicycle. The skin of this bike reduced that force substantially. Even in those early days this Göricke bicycle will have been much faster then 'classical' bikes.
Left in red: "General Agent to The Netherlands and colonies"
German bicycle brand from Bielefeld. Since 1964 part of the Pantherwerke AG (Löhne) Tag line Göricke: 'Begehrt seit 1874' (= 'In great demand since 1874')
The brand name 'Göricke' appears first in the list of the Dutch 'Bureau voor Industriële Eigendommen' in 1911. Owner: Göricke, Bielefeld (Germany).
Another streamlined bicycle in my photostream: 1913 Vélo-Torpille.
Ad published in 1917.
0016
Norfolk Southern operated N&W streamlined J-class 4-8-4 Northern steam locomotive # 611, while rounding a curve, leads its northbound Railfan Excursion Train from Chattanooga to Oneida, Tennessee, October 1989. Various photographers are seen leaning out of the train. This main line was a former Southern Railway property. This photo is not the sharpest of my grouping, but I liked the scene presentation.
These are a few Streamlined and Semi-streamlined steam locomotives in HO scale. All are brass, except the two British LNER locomotives. Chesapeake and Ohio RR (C&O) Class L 4-6-4
At first sight this streamlined trailer looks like a 1950s caravan, but it is not a vintage one, it is total new.
See also: www.retrosellers.com/features405.htm
A1 Motorway, near Amersfoort, July 24, 2012.
Norfolk Southern operated N&W streamlined J-class 4-8-4 Northern steam locomotive # 611 has led its Railfan Excursion Train to its destination at Oneida, Tennessee, October 1989. On the left side of the train is the park area where the food vendors and novelty sales tents were set up for the passengers. This area of the railroad was in a portion of the former Southern Railway Rathole Division.
More steam from the Citi du Train (National Railway Museum) in Mulhouse, France. PLM C-145 (SNCF 220) "Coupe-Vent" semi-streamlined 4-4-0 locomotive of 1900.
A good friend of mine inspired me to build this loco after showing me a hover train from a TV show he watches. I changed it to red and then ran with the idea from futuristic hover mono-rail to 1930's streamlined Pacific-type steam loco. Other than the hover train from Legend of Korra, this model is not based on any specific prototype, though it bears resemblance to the South Australian Railway 520 class 4-8-4, and the Pennsylvania Railroad T1 Duplex type.
This 4-6-2 engine uses the same basic design for the tender as my Southern Pacific 4-8-4 Daylight loco. The railroad name on the tender is supposed to be "Legoredo North-Western", while the number of the loco is 4982, which goes on the cab sides.
The basis for the model's name is that if this engine were a Lego set (like the Emerald Night engine from 2009) it would be named something similar, such as the Ruby Sunset... this name is of the train it pulls and the engine itself, kinda like the Flying Scotsman.
LDD file: www.moc-pages.com/user_images/80135/1460766667m.lxf
In 1931, Airstream trailers began with Baker City, Oregon–born Wally Byam’s dream: to build a travel trailer that would move like a stream of air, be light enough to be towed by a car, and create first-class accommodations anywhere.
Not too long after, Leland James, president of Portland-based trucking company Consolidated Freightways, approached manufacturers with his idea of building trucks with lightweight aluminum instead of traditional steel and eventually founded Freightliner.
Join us for a festive day of vehicle streamlining Oregon-style with a chance to see new and vintage travel trailers on display courtesy of the Oregon Airstream Club along with a very special restored vintage Freightliner truck.
SCHEDULE
10-4 p.m.
Oregon Airstream Club–Trailer Viewings
Park Avenue
Stop by to chat with members of the Oregon Airstream Club and peek inside a selection of vintage and contemporary trailers that were designed to “move like a stream of air.”
Portland Art Museum
portlandartmuseum.org/events-programs/calendar/action~age...
More steam from the Citi du Train (National Railway Museum) in Mulhouse, France. PLM C-145 (SNCF 220) "Coupe-Vent" semi-streamlined 4-4-0 locomotive of 1900.
Majestic Apartments (Irwin S. Chanin with Jacques Delamarre, 1930-1931). Same developer-architect team as at the Chanin Building, here doing a less floral, more streamlined Deco for an almost-twin-tower apartment scheme, set on Central Park West (between 71st and 72nd Streets). Fantastic.
Creator: Sneyd.
Location: Sandgate, Queensland.
Description: This motorhome was delivered by Moran Motors to a resident in Sandgate. It has three bunks, a stove, wardrobe, sink and two ? dressing rooms. (Description supplied with photograph.)
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/116884.
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/research-collections.
You are free to use this image without permission. Please attribute State Library of Queensland.
I went paddling with a friend tonight who just finished building this oh-so-pretty boat.
Built from 2 2x6x17' pieces of white cedar, hand stripped to 1" strips. The workmanship is impeccable. And the boat is super fast, with a 20" beam, and 20' in length. Built for racing.
And she's puuuurrrrty!
Steamranger tour to the Adelaide Hills in 1984. SAR streamlined 'Northern" 520 working the gradients.
© Henk Graalman 12871
Preset Style = Streamlined
Format = 10" (Giant)
Format Margin = None
Format Border = Straight
Drawing = Technical Pen
Drawing Weight = Medium
Drawing Detail = Lower
Paint = Natural
Paint Lightness = Auto
Paint Intensity = Normal
Water = Tap Water
Water Edges = Medium
Water Bleed = Minimal
Brush = Natural Detail
Brush Focus = Everything
Brush Spacing = Wide
Paper = Plain
Paper Texture = Medium
Paper Shading = Light
Options Faces = Enhance Faces
Preset Style = Streamlined
Format = 10" (Giant)
Format Margin = None
Format Border = Straight
Drawing = Technical Pen
Drawing Weight = Medium
Drawing Detail = Lower
Paint = Natural
Paint Lightness = Medium
Paint Intensity = Normal
Water = Tap Water
Water Edges = Medium
Water Bleed = Minimal
Brush = Natural Detail
Brush Focus = Everything
Brush Spacing = Wide
Paper = Plain
Paper Texture = Medium
Paper Shading = Light
Options Faces = Enhance Faces
A Streamlined bus / coach for Jubilee Eight Dance troupe.
Is that a Leyland Radiator up front?
The vehicle was seen in Lincolnshire - possibly Skegness.
The Duchesse Anne, a former Grossherzogin Elisabeth is the largest sailboat, and the last full-rigged ship, preserved in France. Built in 1901 by the shipyard in Bremerhaven, it is considered a masterpiece of naval architecture, particularly because of its streamlined shape steel hull and the overall balance of the ship, which provide a space large capacity space while innovating security.
Former training ship of the German merchant navy, passed in 1946 under the French flag and surrendered to the French Navy as compensation for war, based in Lorient and Brest without sail, he narrowly escaped demolition, thanks to the persistence a few enthusiasts in the 1970s after a long restoration to restore it to its original state and preserve its authenticity training ship, it is now a museum ship that can be visited in the harbor Dunkirk.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the early 1960s in the Soviet Union, fighter aircraft were developed as part of an interception system to destroy incoming bombers. The interception system consisted of a network of ground radars, ground controlled intercept (GCI) system, medium range air-to-air missiles, and an airborne launch platform for the missiles equipped with powerful radar.
The Su-15 was a development of Sukhoi's tailed-delta Su-9 and Su-11 interceptor fighters. In second quarter of 1960 Sukhoi proposed the Su-15-40 interception system, consisting of the Su-15 aircraft, Vikhr-P radar (a reduced version of the Smerch radar of the Tu-128) and K-40 (AA-6 'Acrid') missiles. Compared to the Su-11-8M complex, the new system offered better range, maximum launch distance and could launch from any direction including head-on. Construction of five Su-15 (designated T-58) prototypes began in mid-1960, state acceptance tests of the T-58-8M1 interception complex started in August 1963.
In 1966 series production at Novosibirsk began, the first pre-series Su-15 interceptor made its first flight from Novosibirsk on 6 March 1966. Once identified as a new service aircraft, NATO christened the type 'Flagon'. While the Su-15 was in series production, a number of improved design features were developed, tested and subsequently introduced with new production series of the interceptor.
In 1972/73 the Sukhoi OKB proposed an in-depth upgrade of the Su-15, striving to enhance the interceptor's performance by radically improving the aerodynamics. Since the OKB placed high hopes on the ogival wings developed for the T-10 'Flanker A' fighter (the precursor of the Su-27), and the intention was to use such wings on the Su-15 as well. The re-winged aircraft bore the in-house designation T-58PS, the suffix probably stood for 'peremennaya strelovidnost' - 'variable sweep', even though in this case it wouldn ot imply a variable geometry wing, but rather denoted the spanwise variation of leading edge sweep.
Initially, a series of wind tunnel tests were held at TsAGI, followed by more detailed research into various layouts utilising various ogival wing designs. The wing shape that was finally chosen had a similar span to the Su-15TM's double delta wing, but the wing area was much bigger (more than +20%) and the leading edges extended forward, up to the air intakes. Another obvious detail were the slightly drooped wing tips.
Estimates showed that the interceptor's performance and agility would be enhanced dramatically, so that the heavy fighter could actually engage in an aerial dogfight with short range missiles like the R-60 or the even more deadly R-73 AAM, as well as with its newly integrated, internal 30mm cannon. Furthermore, the new wings would provide more internal space, for a bigger internal fuel capacity, better lift and space for two additional missile hardpoints (for a total of eight).
The T-58PS was officially proposed to the Soviet Air Force in October 1973, and a go-ahead was given for two prototypes. The Soviet Air Force favored the Su-15, and this update was very welcome to bridge the gap until the Su-27 would be ready in service. While the modified aircraft outwardly looked like a typical Su-15 with new wings and a new canopy with a wraparound windshield, the internal changes were so fundamental that the type received a new designation, Su-19.
In the meantime, more studies were made in order to improve the Su-19's performance. The next step was the installment of better engines - in this case, advanced Tumanskiy R67-300 engines were to replace the Su-15's standard R13-300 jets (which were originally developed for the MiG-21). The engines offered not only more power, but also a better fuel economy - and they were even smaller than the R13, what offered even more internal space for fuel and other equipment.
Overall, this enhanced concept (now called Su-19M) looked very promising, and OKB Sukhoi prepared a respective proposal, sending it to MAP and the Air Force in mid 1973, which was accepted and a third and fourth prototype built accordingly. This re-engined variant joined the flight tests in early 1974. The initial two Su-19 prototypes were soon brought to Su-19M status, and further test went on smoothly.
In parallel, radar and missile development als went further. In 1975 the decision was made to integrate a more powerful radar, too. The new 'Poorga' (Driving Snow) fire control radar to give the type the required look-down/shoot-down capability the PVO command had been calling for for years, and it also allowed the use of weapons with a bigger range - namely the R-27 missile (AA-10 Alamo), which replaced the outdated R-98 (AA-3 Anab). Both semi-active radar and IR seekerheads could be used. When the extended range versions of the modular R-27 became available, the potential kill range reached 80km (50 miles) - four times of what the Su-15TM was capable of!
System integration and teething troubles with the Poorga radar delayed service introduction until early 1978, though, when state acceptance trials were finally finished and the Su-19M cleared for service, since the long-awaited Su-27 was also still behind schedule.
The Su-19M officially entered service with the IA-PVO in early 1979, but only a relatively small number of the type was built - about 170 joined the Soviet Air Force and served exclusively in the interceptor role. They replaced older Su-15TM fighters, as well as the last Tu-128 heavy interceptors and Yak-28P. NATO assumed that it was just another Su-15 variant, so the aircraft received the code name 'Flagon H'.
When the Soviet Union fell apart, a small number of Su-19M, together with Su-15TM und Su-15UM trainers, was taken over by the Ukraine, where the type was kept in service until 1996. The Russian Air Force was quicker to start phasing out its Su-19M and Su-15TM, once the Su-27 became available, even though both types served until 1993 in second line duties.
General characteristics
Crew: 1
Length: 19.56 m (64 ft 2 in)
Wingspan: 10.19 m (33 ft 4 in)
Height: 4.84 m (15 ft 10 in)
Wing area: 44.5 m² (478.4 ft²)
Empty weight: 10,635 kg (23.445 lb)
Loaded weight: 17.200 kg (37.920 lb)
Powerplant:
2× Tumansky R67-300 turbojets, each rated at 43.5 kN (9.780 lbf) dry and at 73.5 kN (16.525 lbf) with afterburner
Performance:
Maximum speed: 1.300 km/h (807 mph) at sea level, 2.400 km/h (1.490 mph) at height in clean configuration
Range: 1.500 km (931 mi) combat
Ferry range: 1.900 km (1.180 mi)
Endruance: 2 hrs
Take-off run: 1.000 m (3.280 ft)
Service ceiling: 19.500 m (69.350 ft)
Climb time: 11.5 min to 16.000m (54.790 ft)
Rate of climb: 228 m/s (45.000 ft/min)
Armament:
1x GSh-30 30mm cannon in an underfuselage fairing with 120RPG
A total of eight hardpoints (two under the fuselage, six under the wings);
The underfuselage points are typically empty, or carry a PTB-760 drop tank; optionally, 2× UPK-23-250 23 mm gun pods can be carried
A typical interception weapon load is:
2× R-27ER (AA-10 "Alamo C"), radar homing AAM
2× R-27ET (AA-10 "Alamo D"), IR homing AAM
2× R-60 (AA-8 "Aphid") or R-73 (AA-11 "Archer") on the outer pylons
The kit and its assembly:
This whif actually has a real background, as outlined above - OKB Sukhoi worked in the late 60ies on several Su-15 derivates, including improved interceptors and even a specialized attack aircraft. The Su-19 was a real project, but it never left the drawing board.
Anyway, since I had a Su-15 fuselage left over, the Su-19 was a potential use for it - even though finding suitable wings proved to be more daring than expected (while I only had a top view sketch of the Su-19 as benchmark). Tough job, and I was not able to turn up with something that would match in shape and size until I finally found a Concorde(!) wing in 1:200, from Revell. It is not perfect, but an acceptable second-best option.
These wings had to be modified, though - I wanted to extend the wings forward, so that the LERX would almost reach the air intakes. But the Concorde wings had to be shortened and its leading edge shape modified to make the parts fit onto the Su-15 fuselage, which was taken OOB.
While working on the wing parts I was also happy to find that I could use much of the PM Model's lower wing piece, which also contains the main landing gear wells. This made landing gear installation much easier, even though still much of the wings ' undersides had to be sculpted with putty. I also had to re-shape the complete leading edge, and had to insert plugs where the Concorde's engine nacelles had been. Lots of work for just two donation parts... But once it was painted, thing started to look better than expected, even though I did not truly hit the "real" Su-19's wing shape.
The cockpit had to be enhanced, too, since the original kit only offers a stubby seat, and the original canopy had also already been used elsewhere. So, a dashboard, a new ejection seat as well as a Matchbox pilot were added, and a new canopy from an F-16 singe seater was used - it fits almost perfectly and gives the Su-19 a more modern look.
The landing gear was taken OOB. It's somewhat simple, but the covers hide much of it, and the wheels are acceptable. The jet nozzles were opened and some interior added, so that the back side would not end in a blunt butt.
Under the fuselage a cannon fairing was added - it actually comes from a Hawker Hawk trainer, but was shortened and lowered, for a more streamlined look. I could not find specifications on the real Su-19's cannon - it probably carried a GSh-23-2 23mm cannon, but I went for the more modern and powerful GSh-30 which would also be fitted to the Su-27. Two underfuselage hardpoints were added next to it, carrying two drop tanks (from a Kangnam Yak-38).
The missile armament as well as the respective launch racks comes from a Soviet AAM set from ICM. I went for four R-27 AAMs (two with radar and two with IR seeker heads, as well as extended range bodies), plus a pair of R-73 short range AAMs under the outer wing root pylons. Together with the ogival wings this creates a really odd look, and a menacing air-to-air ordnance!
Painting and markings:
AFAIK, Su-15 were either kept in NMF or wore a tactical camouflage during their Soviet service career. Sometimes you come across drawings of late Su-15TM in a grey two-tone paint scheme, but I have - until now - not found a photograph or hard evidence of such an aircraft.
Anyway, since I did not want to make a Soviet/Russian aircraft from the Su-19, I went for this whiffy option and made it an Ukranian Air Force 'bounty' from the era directly after 1992, when the UAF was founded.
The paint schemes is based on MiG-29 patterns, also used by the UAF, and I used simple Humbrol 129 and 31 (Gull Grey, FS 36440 and Slate Grey) as basic tones, which were later painted over with authentic "Fulcrum Grey" and "Fulcrum Grey/Green" from Testors. The Humbrol Slate Grey turned out to be a bit very dark, so the contrast to the (very pale but intense) Fulcrum Grey/Green is rather harsh - more than I had planned. I tried to tame things down with a black ink wash and even a grey filter was, but the surface ended up with more contrast between the panels than intended. Anyway, I stuck with it, because I can hardly imagine a model in the pure authentic colors. It should hurt the eyes! X.x'
The nose radome became grey instead of the typical, bright green. I used RLM 75 (Braunviolett), also from Testors, since it has a brownish hue which matches the light grey of the model. Some other di-electric panels and covers were painted in the same tone.
The cockpit interior was painted in bright Russian Interior Blue Green from Testors, the landing gear wells were kept Humbrol 87 (Steel Grey) - based on pics of real life Su-15. The wheel discs became bright green - odd, but it adds some contrast to the all-grey machine.
Further colorful eye-catchers are the Ukrainian roundels and the yellow tactical code - both were placed on irregular, grey bases, as if they had recently been updated.
The white missiles also stand out and make the Su-19M look more interesting, distracting from its new wings.
In the end, I am not truly convinced of the result. The wing shape is basically correct, but the real thing would have had more slender and elegant wing tips, rather Su-27-like. I made the best from the Concorde wings, but it's not perfect. Additionally, the cammo scheme ended up with more contrast than expected - the greeenish grey is too dark, even though the resulting look is not too far off and suits the slender Su-15/19 well.
But there's more whiffy stuff to come from the Su-15 genetic pool... ;)
soon on my channel - www.youtube.com/@frantisekhajdekr
Bricklink model - www.bricklink.com/v3/studio/design.page?idModel=815496
Union Pacific 942 is a streamlined diesel-electric locomotive, designed for fast, efficient pulling of passenger trains over long distances. It is an "E-unit", a standardized design first produced in 1937 and continually improved over 25 years through 10 model variations. E-units were the most popular passenger-service streamlined diesel locomotives in the U.S. (in terms of numbers produced). For three decades, E-unit powered streamlined passenger trains were the quintessential symbol of railroading in this country.
History
This engine was built by the Electro-Motive Division (EMD) of General Motors Corp. in May 1953, as an E8-A locomotive: an E-unit of the 8th model variation (2250 horsepower, later upgraded to 2400 hp), designated "A" because it is a leading engine with cab (compared to boxy non-cab "B" trailing engines). It was part of an order of 17 E-8As for the Union Pacific (UP) system.
The Union Pacific placed the E-8s in their general passenger service pool, and in general used them to replace older steam and diesel engines. One of the UP 942's more glamorous assignments was as one of several engines pulling the famous streamliner City of Los Angeles on runs between Chicago and Los Angeles. This notable train used streamlined locomotives and cars, all painted in the distinctive UP colors of Armour yellow with red stripes, and carried politicians, business magnates, and Hollywood stars between the cultural centers of the Midwest and Southwest.
After 19 years of service on the UP, locomotive 942 was sold to a railroad equipment dealer in Chicago in 1972, and then resold to the Chicago & North Western Railway (C&NW). The C&NW renumbered the locomotive C&NW 510, and used it in Chicago-area commuter train operations. This service was taken over by the government agency Metra, including this engine. The engine was retired in 1988, and ended up in a railway salvage yard in Colton, California.
In 1995, the Museum raised the funds to purchase the locomotive. With the help of the salvage yard and several railroads and railroad shops, many necessary repairs were made on the engine and it was moved to Perris in June 1997. The locomotive operated at the Museum regularly through 2009 when it was sidelined by a main generator failure.
As of late 2011, the locomotive is undergoing restoration to repair the failed main generator and repaint it to its full Union Pacific colors. As of December 1, 2011, the generator repair has been completed and body work is underway in anticipation of repainting.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Due to increasing tensions in Europe which led to World War 2, AVRO Aircraft started developing combat aircraft, and as a subsidiary of Hawker, they had access to the Hurricane plans. At the time that the Hurricane was developed, RAF Fighter Command consisted of just 13 squadrons, each equipped with either the Hawker Fury, Hawker Demon, or the Bristol Bulldog – all of them biplanes with fixed-pitch wooden propellers and non-retractable undercarriages. After the Hurricane's first flight, Avro started working on a more refined and lighter aircraft, resulting in a similar if not higher top speed and improved maneuverability.
The result was Avro’s project 675, also known as the "Swallow". The aircraft’s profile resembled the Hawker Hurricane, but appeared more squatted and streamlined, almost like a race version. Compared with the Hurricane, overall dimensions were reduced and the structure lightened wherever possible. The wings were much thinner, too, and their shape reminded of the Supermarine Spitfire’s famous oval wings. The main landing gear was retractable and had a wide track. The tail wheel was semi-retractable on the prototype, but it was replaced by a simpler, fixed tail wheel on production models.
The Swallow made its first flight on 30th December 1937 and the Royal Air Force was so impressed by its performance against the Hurricane that they ordered production to start immediately, after a few minor tweaks to certain parts of the aircraft had been made.
On 25 July 1939, the RAF accepted their first delivery of Avro Swallow Mk. Is. The first machines were allocated to No.1 Squadron, at the time based in France, where they were used in parallel to the Hurricanes for evaluation. These early machines were powered by a 1.030 hp (770 kW) Rolls-Royce Merlin Mk II liquid-cooled V-12, driving a wooden two-bladed, fixed-pitch propeller. The light aircraft achieved an impressive top speed of 347 mph (301 kn, 558 km/h) in level flight – the bigger and heavier Hurricane achieved only 314 mph (506 km/h) with a similar engine. Like the Hurricane, the Swallow was armed with eight unsynchronized 0.303 in (7.7 mm) Browning machine guns in the outer wings, outside of the propeller disc.
In spring 1940, Avro upgraded the serial production Swallow Mk.I's to Mk.IA standard: the original wooden propeller was replaced by a de Havilland or Rotol constant speed metal propeller with three blades, which considerably improved field performance. Many aircraft were retrofitted with this update in the field workshops in the summer of 1940.
In parallel, production switched to the Swallow Mk. II: This new version, which reached the front line units in July 1940, received an uprated engine, the improved Rolls-Royce Merlin III, which could deliver up to 1,310 hp (977 kW) with 100 octane fuel and +12 psi boost. With the standard 87 Octane fuel, engine performance did not improve much beyond the Merlin II's figures, though.
A redesigned, more streamlined radiator bath was mounted, too, and altogether these measures boosted the Swallow’s top speed to 371 mph (597 km/h) at 20,000 ft (6,096 m). This was a considerable improvement, and the contemporary Hurricane II achieved only 340 mph (547 km/h).
However, several fundamental weak points of the Swallow remained unsolved: its limited range could not be boosted beyond 300 miles (500 km) and the light machine gun armament remained unchanged, because the Swallow’s thin wings hardly offered more space for heavier weapons or useful external stores like drop tanks. Despite these shortcomings, the pilots loved their agile fighter, who described the Swallow as an updated Hawker Fury biplane fighter and less as a direct competitor to the Hurricane.
Nevertheless, Avro kept on working to improve the Swallow, but with limited success. For instance, in early 1941, a Swallow Mk. II was modified to carry a pair of 20mm Hispano cannons instead of the inner pair of machine guns. Due to the aircraft’s thin wings, this update necessitated bulged fairings and a modified internal structure for the cannons' ammunition drums. The prototype was operationally tested at the home defense front and the additional firepower was warmly welcomed by the pilots who flew it, since the cannons allowed them to stay out of the German bombers’ machine gun range of and added more punch against German escort fighters in dogfights.
This innovation directly led to the Swallow Mk. III, introduced in August 1941, the fighter’s final production variant. Beyond the armament changes and the respective structural changes to the wings, the Mk. III was still powered by the Rolls-Royce Merlin III from the swallow Mk. II, but the variant introduced clipped wing tips in order to compensate for the slightly higher weight of the airframe and to improve roll characteristics at low and medium altitude. Otherwise, the Mk. III was virtually identical to the earlier Mk. II.
Another Mk. II was experimentally converted with a lowered spine and a framed bubble canopy for a better all-around field of view (reminiscent of the Hawker Typhoon's design), but this experiment did not reach production status. The Swallow had already reached its limited development potential and was, by mid-1942, outdated.
Since the Supermarine Spitfire had in the meantime proven its worth and promised a much bigger development potential, production of the Avro Swallow already ceased in late 1942 after 435 aircraft had been built. Around the same time, the Swallows were quickly phased out from front-line service, too.
Several machines were retained as trainers, messenger aircraft or instructional airframes. 20 late production Mk. IIs were sold to the Irish Air Corps, and a further 50 aircraft were sent to Canada as advanced fighter trainers, where they served until the end of the hostilities in 1945.
General characteristics:
Crew: 1
Length: 28 ft 1 in (8.57 m)
Wingspan: 33 ft 7 in (10.25 m)
Height: 8 ft 6 in (2.60 m)
Wing area: 153 ft² (16.40 m²)
Empty weight: 3,722 lb (1,720 kg)
Gross weight: 5,100 lb (2,315 kg)
Powerplant:
1× Rolls-Royce Merlin III liquid-cooled V-12, rated at 1,310 hp (977 kW) at 9,000 ft (2,700 m)
Performance:
Maximum speed: 366 mph (590 km/h) at 20,000 ft (6,096 m)
Range: 320 miles (515 km)
Service ceiling: 36,000 ft (10,970 m)
Rate of climb: 2,780 ft/min (14.1 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.15 hp/lb (0.25 kW/kg)
Armament:
2× 0.787” (20mm) Hispano Mk II cannon with 60 RPG
4× 0.303” (7,7mm) Browning Mk. II machine guns with 350 RPG
The kit and its assembly:
This is actually a remake of a whif that I have built some time ago for the Battle of Britain Group Build at whatifmodelers.com. This fictional machine – or better: the model – is based on a profile drawing conceived by fellow forum member nighthunter: an Avia B.135, outfitted with a Merlin engine, a ventral radiator in the style of a Hawker Hurricane, and carrying RAF markings.
I had another B.35 kit at hand, as well as other ingredients, so I decided to re-create the same aircraft, just in a later variant that differs in some minor details from the first one. The basis is, once again, a vintage KP Models kit of the early B.35 fighter with a fixed landing gear. It’s a sleek and pretty aircraft, but the kit’s quality is rather so-so (the molds date back to 1974). Details are quite good, esp. on the exterior. You get a mix of engraved and raised surface details, but fit is mediocre, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.
Many donation parts for the Swallow, including the Merlin engine, propeller, landing gear and radiator, were taken from an AZ Models Spitfire Mk. I/II/V, from a Joy Pack, which comes with three of these kits without decals.
New landing gear wells had to be carved out of the massive lower wing halves. Since the original Swallow profile did not indicate the landing gear design, I went for an inward-retracting solution, using parts from an early Spitfire. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide, but it’s still acceptable and I stuck to the same solution as on my first build of the Swallow. But now I know why the real world B.135 prototype had its landing gear retract outwards – it makes more sense.
The Merlin fitted very well onto the B.35 fuselage, diameter and shape match very well, even though the Spitfire Merlin and its respective fuselage intersection is a little too deep for the B.35. As a consequence, some light sculpting with putty was necessary under the fuselage – nothing dramatic, though.
Inside of the cockpit, this time I used more Spitfire material than during my first Swallow build, namely the floor, seat and rear bulkhead/headrest. Like before, I added a tank behind the seat in order to fill the OOB void there, and used the B.35’s OOB headrest struts, as well as the dashboard.
The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. L
Since one of the B.35’s wing tips was missing (there’s a deep edge at the tips, and one tip had been broken off and got lost), I reduced the span of both wings, resulting in a square shape that resembles a narrow Hawker Tempest wing.
Another change concerns the armament: trying to beef it up, I added a pair of Hispano cannon to the wings, with the barrels protruding from the wings’ leading edges, reminiscent of the Spitfire’s “B” wing – even though I kept the outer machine guns at the Swallow’s original position.
Finally, I installed my trademark propeller adapter: a styrene tube inside of the fuselage that holds a long metal axis with the propeller, so that it can spin freely.
Painting and markings:
Once again I went for a conservative route, this time I chose the new standard “Day Fighter” camouflage that the RAF introduced in summer 1941: Dark Green/Ocean Grey (using Humbrol 116 and 106, respectively) with Medium Sea Grey (Humbrol 64) undersides.
The typical fuselage ID band and the spinner became Sky (Revell 59) and yellow ID bands were added to the outer wings’ leading edges, created with yellow decal sheet material.
The roundels were chosen to match the 1941 era, with A.1 roundels on the fuselage, B roundels on top of the wings and Type A underneath, they actually belong to P-40s in RAF service and come, including the fin flash, from a Sky Models sheet. The code letters in Sky come from an Xtradecal sheet, the serial number actually belongs to a contemporary RAF P-40C – I was too lazy to create an individual serial number that actually fills a gap in the RAF’s inventory list.
Some light weathering and panel shading was done, as well as some light soot stains around the exhausts and the gun ports on the wings (grinded graphite). Finally, everything sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) added.
A simple project, realized in a couple of days – thanks to the experience gathered during the first build of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and with the clipped wingtips, born as a makeshift solution, it looks even faster than the original build!
I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines. At first glance, it looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. Then you can think it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match. It’s a quite subtle creation. Maybe, someday, a third one will join my RAF Swallow duo, but this time in Irish Air Corps colors.
Duchess of Hamilton Lamp detail.
London Midland and Scottish Railway (LMS) Princess Coronation Class 6229 (British Railways number 46229)
The streamlined Duchess is a stunning piece of 1938-built Art Deco opulence that wowed design critics on both sides of the Atlantic. It was a modern machine for a modern age. The Duchess was saved from the scrapyard by Billy Butlin in his efforts to secure it as a playground exhibit at his holiday camps.
en.wikipedia.org/wiki/LMS_Princess_Coronation_Class_6229_...
The 1930's Pioneer Zephyr (left) and the 1950's Aerotrain (right), the respective start and end of the era of the streamlined trains.
These are a few Streamlined and Semi-streamlined steam locomotives in HO scale. All are brass, except the two British LNER locomotives. Union Pacific RR (UP) #7002 4-8-2 by KTM for Balboa
Red and green indicator lights are in the proper spots, and bumblebee stripe printed tiles are also applied.
It may date from 1938, but the styling of this Tatra T97 is pure jet-age. This was actually Tatra's baby model at the time, and, like much of their output, came under the guiding hand of Engineer Hans Ledwinka. It has a rear mounted, aircooled 1761cc flat four engine in that beautiful streamlined bodywork.
Camera: Nikon F5
Lens: Nikkor 28-80mm zoom
Film: Kodak Ektar 100
A Hanomag 1,3 Liter at the Vintage VW Meet in Hessisch Oldendorf.
Nicknamed "Autobahn Hanomag", or "Stahlhelm".
© Dennis Matthies
My photographs are copyrighted and may not be altered, printed, published in any media and/or format, or re-posted in other websites/blogs.
Architecture by Daniel Libeskind (Imperial War Museum North at Salford Quays), and automotive design by František Kardas, Vladimír Popelář and Josef Chalupa (Tatra 603 from Czechoslovakia).
Pictured during the SALT 7 Rally, June 2013. The SALT rallies are for classic vehicles of the Cold War period, and the 2013 event was held the Cheshire & South Manchester area.
Camera: Nikon F5
Lens: Nikkor 28-80mm
Film: Kodak Ektar 100
For more of my photographs, see here
Excellent streamlined Tatra T-97, built just before World War 2. The '97 was the small, four-cylinder version of Tatra's flagship car at the time, the T-87. This one is the only known example on UK roads, and has recently been renovated.
The location is the wonderful Art Deco Aviator Hotel at Sywell, Northamptonshire.
Camera: Nikon F5
Lens: Nikkor 28-80mm zoom
Film: Kodak Ektar 100 rendered into B&W in Photoshop
The Mississippi Kite makes a streamlined silhouette as it careens through the sky on the hunt for small prey, or dive-bombs intruders that come too close to its nest tree. These sleek, pearly gray raptors often hunt together and nest colonially in stands of trees, from windbreaks on southern prairies to old-growth bottomlands in the Southeast (and even on city parks and golf courses). After rearing their chicks they fly all the way to central South America for the winter
Prompt: Create a 3D digital fine art of a ultra-realistic painting of the Mississippi Kite, in the style of John James Audubon and Robert Bateman-inspired, highly detailed, vertical aspect ratio, full view, no logo, no text, no writing, no signature, no watermark, no border, no people, no frame
This digital fine art was created using Google Flow AI and Photoshop
Harlem, Manhattan, New York City, New York, United States of America
Summary
The Jackie Robinson Play Center is one of a group of eleven immense outdoor swimming pools opened in the summer of 1936 in a series of grand ceremonies presided over by Mayor Fiorello LaGuardia and Park Commissioner Robert Moses. All of the pools were constructed largely with funding provided by the Works Progress Administration (WPA), one of many New Deal agencies created in the 1930s to address the Great Depression. Designed to accommodate a total of 49,000 users simultaneously at locations scattered throughout New York City’s five boroughs, the new pool complexes quickly gained recognition as being among the most remarkable public facilities constructed in the country. The pools were completed just two and a half years after the LaGuardia administration took office, and all but one survives relatively intact today.
While each of the 1936 swimming pool complexes is especially notable for its distinctive and unique design, the eleven facilities shared many of the same basic components. The complexes generally employed low-cost building materials, principally brick and cast-concrete, and often utilized the streamlined and curvilinear forms of the popular 1930s Art Moderne style. Sited in existing older parks or built on other city-owned land, the grounds surrounding the pool complexes were executed on a similarly grand scale, and included additional recreation areas, connecting pathway systems, and comfort stations. The team of designers, landscape architects and engineers assembled to execute the new pool complexes was comprised largely of staff members and consultants who had earlier worked for Moses at other governmental agencies, including architect Aymar Embury II, landscape architects Gilmore D. Clarke and Allyn R. Jennings, and civil engineers W. Earle Andrews and William H. Latham. Surviving documents also indicate that Moses, himself a long-time swimming enthusiast, gave detailed attention to the designs for the new pool complexes.
The Jackie Robinson Play Center was the only one of the WPA-era pools sited in a predominantly minority neighborhood. Formally opened on August 8, 1936, the Play Center was built on a narrow hillside site acquired by the City of New York and developed as Colonial Park soon after the turn of the 20th century. The uniquely monumental two-story design of the Center’s bath house is an ingenious response to the topography of the park. A rocky cliff drops off sharply from Edgecombe Avenue to the west, and the terrain then continues in a gentler downward slope to level ground along Bradhurst Avenue to the east. The locker rooms are located on the upper floor in order to provide direct access to the swimming and diving pools located above the grade of Bradhurst Avenue. The unusual dimensions of the swimming pool (82’ x 236’) and the oddly shaped diving pool are accommodations to the narrowness of the site and the presence of the stone cliffs.
The fortress-like design of the Bradhurst Avenue elevation of the bath house capitalizes on its two-story height. Recessed bays which employ both rounded and slightly pointed arches are demarcated by giant rounded attached buttresses. Large round towers rise above the roof line at the ends of the building and flank the entrance. Rounded and curvilinear forms also characterize the design of the bandshell terrace to the north of the pool complex, as well as its perimeter walls and the elevated pathway continuing northward from the terrace, all which date to the same time period. The wading pool complex located between 152nd and 153rd Street also includes an attractive and contemporary comfort station which repeats the curvilinear forms employed elsewhere.
DESCRIPTION AND ANALYSIS
History of the Jackie Robinson (Colonial Park) Play Center Site
The Jackie Robinson (Colonial Park) Play Center is set within a 12.8 acre, narrow hillside site acquired by the City of New York between 1894 and 1899. The acquisition of parkland during this time was part of a larger nation-wide reform effort to increase the availability of organized play areas in inner cities, made possible by the Small Parks Act of 1887, which authorized the creation of parks south of 155th Street as deemed necessary for the public welfare. The New York Times noted at the time of the acquisition that the Colonial Park site already “had much of the character of a park,” but needed to be preserved for park purposes before land values increased to the point that it would become impossible. Formed by retreating glaciers some 20,000 to 50,000 years ago, the parklands were particularly notable for having varied topography, a picturesque appearance, and trees providing ample shade. Colonial Park officially opened as a playground on August 12, 1911. Site interventions from this era included the addition of a comfort station, drinking fountains, and children’s playgrounds.
A variety of names have been given to the area in which Jackie Robinson (Colonial) Park is located. Known as Harlem Heights to Dutch and English settlers in the 1700s, by 1870 the neighborhood was referred to as Washington Heights, in commemoration of Revolutionary War battles that took place nearby, as well as to set it apart from neighboring working-class areas. By the turn of the century, both upper-middle class white professionals and recent immigrants from Italy, Ireland, and Germany were living in Harlem’s many neighborhoods. When African Americans began moving into the area after 1920, the elevated residential enclave just west of Colonial Park became known as “Sugar Hill,” one of the choicest neighborhoods in Harlem, tenanted by some of the area’s most successful black citizens. By the 1930s, however, much of Harlem was suffering under the combined effects of racism and the Great Depression. Colonial Park was noted at this time for being a welcome relief from the crowded conditions of the tenements and rooming houses that surrounded it.
Under the auspices of Mayor Fiorello LaGuardia and his legendary Park Commissioner, Robert Moses, major improvements to Colonial Park were made in the 1930s. By August 1935, the Parks Department had broken ground on the Colonial Park Play Center, a complex which would include new swimming and diving pools and an elaborate bath house. Other additions planned for the park were a new wading pool area, comfort station, bandshell and dance floor terrace, in addition to recreational areas for adults and a children’s playground. Overall enhancements were also planned for the surrounding park grounds. Funding for the various improvements was largely made possible by the Works Progress Administration (WPA), one of the many public works programs created by Franklin Delano Roosevelt and the United States Congress during the Great Depression.
In 1978, under a local law introduced by Councilmember Fred Samuel and signed by Mayor Edward I. Koch, Colonial Park and the Colonial Park Play Center were renamed for Jackie Robinson, the first black professional baseball player in the major leagues. A bronze bust of Jackie Robinson by Inge Hardison was installed inside the bath house lobby in 1981.
Fiorello LaGuardia, Robert Moses and the New Deal
Franklin D. Roosevelt was elected President of the United States in 1932 in the middle of the Great Depression that followed the stock market crash of 1929. Roosevelt promised to rebuild confidence in American capitalism and to improve the nation’s standard of living by creating the New Deal economic program of unprecedented public spending on social programs and construction projects.
New York City had been especially hard hit by the economic downturn, and its citizens, hoping for change, elected Fiorello H. LaGuardia to the mayoralty of New York City in 1933 as an anti-Tammany Hall reform candidate. A maverick Republican and a five-term congressman from East Harlem, LaGuardia won the mayoral election on the “Fusion” ticket after losing the 1929 mayoral race on the Republican line. The Fusion Conference Committee at first considered running Robert Moses, another Republican, who was appointed Chairman of the New York State Council of Parks in 1924 by his political mentor, Governor Alfred E. Smith, a Tammany Hall Democrat from New York City. However, the committee decided against Moses because of his association with Smith, and chose LaGuardia instead. At the time, Moses was a popular public figure with a reputation as a progressive and as the builder of great parks and parkways like Jones Beach and the Northern State Parkway on Long Island. His endorsement of LaGuardia during the campaign was considered instrumental in securing a victory for LaGuardia. Within a week of the election, LaGuardia chose Moses, a champion of reform politics, as New York City’s new Park Commissioner.
Moses accepted the position of Commissioner of Parks in the LaGuardia administration on the condition that the five existing independent Parks Departments (one for each borough) would be consolidated into a single department with himself as the sole Commissioner, with authority extending also over the City’s parkways. Moses also demanded to be appointed the Chief Executive Officer of the Triborough Bridge Authority, which was then building the bridge of that name, and that a new agency, the Marine Parkway Authority, which would build a bridge to the Rockaways, be created with himself at the helm. Already in charge of the Long Island State Park Commission, the New York City Council of Parks, the Jones Beach State Park Authority, and the Bethpage State Park Authority, Moses would then be in control of all existing and proposed parks and parkways in the New York metropolitan region, with the exception of areas outside of New York State.
In the 1920s, Moses was at the forefront of the national recreation movement that began in the first decade of the twentieth century, led by such men as President Theodore Roosevelt and the lesser-known George D. Butler of the National Recreation Association. The movement gained momentum under the administration of President Calvin Coolidge with the organization of the National Conference on Outdoor Recreation (NCOR) in 1924. The Depression of the 1930s further amplified the need to provide more, or improve existing, outdoor recreational opportunities, especially in urban areas. Fortunately, such goals fit nicely into FDR’s New Deal economic programs. Mayor LaGuardia’s success in securing a lion’s share of monies made available by the federal Works Progress Administration (WPA), and Moses’ management skills and his ability to attract talented designers and engineers to his staff, resulted in profound physical changes to the environment of New York City. The construction and renovation of neighborhood recreation areas, such as pools and play grounds, were some of the most ambitious and successful programs undertaken by Moses with funds largely provided by the WPA.
Moses began to assess the state of the City’s parks and to plan for their future as soon as LaGuardia announced his intention to appoint Moses as Park Commissioner. According to one source: “Immediately after the election he wrote out, on a single piece of paper, a plan for putting 80,000 men to work on 1,700 relief projects.” Moses hired a consulting engineer and three assistant engineers to survey every park and parkway in the City. The survey was completed by the time he took office in mid-January 1934.
When Moses took over the Parks Department, it was already employing 69,000 relief workers funded mainly by the federal Civil Works Administration (CWA) and the Temporary Emergency Relief Administration (TERA). However, Moses found the men to be ill-equipped and inadequately supervised, and considered many of the construction projects to have been poorly designed. He immediately began to revamp the entire operation of the Parks Department and established a Division of Design, located at the Arsenal in Central Park. The staff was to be headed up by experienced professionals drawn mainly from his State agencies. Some of his talented staff of young architects, landscape architects and engineers had worked on the designs for Long Island’s highly acclaimed parks, including Jones Beach, which his considered one of Moses’ greatest accomplishments. His staff also included a number of well-known and accomplished designers, among them architects Aymar Embury II and John M. Hatton, and the landscape architect and civil engineer Gilmore D. Clarke. Other top members of Moses’ staff were the landscape architect Allyn R. Jennings, and civil engineers W. Earle Andrews and William H. Latham.
The Parks Department’s Division of Design was organized in the following manner: a topographical unit of about 400 surveyors and draftsmen, a landscape architecture unit of about sixty people, an architecture unit made up of sixty architects and draftsmen, and an engineering unit of about fifty. Smaller units included an Arboricultural Department and an Inspection Department. All the work in the Division of Design was under the direct supervision of the Park Engineer, who was aided and advised by a Consulting Architect, a Consulting Landscape Architect, and a Consulting Engineer. All new projects began in the topographical unit, where a complete survey of the land was prepared. It then moved on to the landscaping unit, where the basic concept for the design was developed. Next, the three units: landscape, architecture, and engineering, collaborated to produce the final design and all the necessary construction documents. The Park Engineer and his aides had to approve all of the plans. Moses himself sometimes stepped in to revise or overrule a design, especially on the larger, more visible projects.
Moses' superior management ability and political savvy allowed him to move projects along very quickly and to produce concrete results, gaining for him much public admiration. However, Moses’ personal demeanor was notoriously stubborn and arrogant, and he was known, at times, to disregard the legitimate authority of other governmental agencies. Once, when the Department of Plant and Structures refused to suspend a ferry service that used a terminal in the path of constructing the Triborough Bridge approach road, Moses had his men demolish the terminal while the boat was on the other side of the river. He feuded with President Franklin D. Roosevelt for years, even while Washington was pouring millions of dollars into Moses' own Parks Department. His later battles with and subsequent triumphs over community groups opposed to the routing of the Gowanus and the Cross-Bronx Expressways through their neighborhoods are now legendary. Moses was also known to have been insensitive to people of color, and reputedly tried to restrict access to many of his recreational facilities, including the WPA-era pools.
To many, Robert Moses was a master builder; to others he was a spoiled bully who seemingly always had his way. In the summer of 1934, however, Moses was a hero. Hundreds of projects, covering virtually every neighborhood in the city, had been completed. Structures were repainted, tennis courts resurfaced, and lawns reseeded. Hundreds of new construction projects were either already underway in the process of being designed. Among them was the Jackie Robinson (Colonial Park) Play Center in Harlem.
The Swimming Pools, Moses, and Segregation in New York City
Institutionalized racism was still an established way of life in the United States during the inter-war years, even on the federally sanctioned level. For example, as a result of federal guidelines articulated in the 1935 Federal Housing Administration Underwriting Manual, it was impossible for non-segregated developments to attain mortgage insurance, meaning ethnic and even religious minorities could only secure mortgages in certain areas. The result was a substantial increase in both racial segregation and urban disinvestment in cities across the country, New York included. At its peak, estimates of segregation in public housing nation-wide ran as high as 90 percent due in large part to both federal and local government policies. Even as late as 1943, the City of New York gave its approval for Metropolitan Life’s all-white, middle income project – Stuyvesant Town and Peter Cooper Village.
Robert Moses himself has been described as insensitive to people of color, an attitude which may have impacted both the siting and administration of the WPA-era pools. LaGuardia and Moses often went to great lengths to show the media that they did care about minorities, holding, for example, a celebration for 25,000 people upon the opening of the Colonial Park pool, at which the mayor offered the facility as proof that his administration was in fact “building and doing things for Harlem.” Although LaGuardia and Moses claimed they were siting pools in the most congested areas of the city, Colonial Park in Harlem remained the only one sited in a predominantly “nonwhite” neighborhood. Moreover, the Thomas Jefferson Park pool, located in East Harlem (LaGuardia’s old congressional district) was close to Spanish Harlem where the city’s growing Puerto Rican population was settling. To discourage minority use at this facility, Moses reputedly kept the water heating system turned off, believing that the cold water would not bother Caucasian swimmers, but would somehow deter non-whites.
It has been alleged that the Parks Department at the time had an active policy of hiring only white lifeguards and attendants in hopes of deterring minority patrons. Whether or not such directives came from Moses himself, the fact remains that the pools were largely segregated at the time of their opening. In the Pulitzer Prize winning novel, “The Power Broker,” Robert Caro writes that “one could go to the [Thomas Jefferson] pool on the hottest summer days, when the slums of Negro and Spanish Harlem a few blocks away sweltered in the heat, and not see a single non-Caucasian face.” Similarly, oral histories relating to Betsy Head pool tell of an unwritten rule that “African-Americans could swim in the Brooklyn pool only in the late afternoon, after white residents had vacated the premises.” Such claims are supported by photographs and video footage from the era, showing that largely, white and black New Yorkers swam in different pools. For a handful of sites, however, including the Highbridge and Colonial Park Play Centers in Manhattan, as well as McCarren Play Center in Brooklyn, photographs and video footage seem to indicate that, on occasion, the populations did mix.
The Design and Construction of the Jackie Robinson (Colonial Park) Pool
The Jackie Robinson (Colonial Park) Play center is one of a group of eleven immense outdoor swimming pools opened in the summer of 1936 in a series of grand ceremonies presided over by Mayor Fiorello LaGuardia and Park Commissioner Robert Moses. All of the pools were constructed largely with funding provided by the Works Progress Administration (WPA), one of many New Deal agencies created in the 1930s to address the Great Depression. Designed to accommodate a total of 49,000 users simultaneously at locations scattered throughout New York City’s five boroughs, the new pool complexes quickly gained recognition as being among the most remarkable public facilities ever constructed in the country. The city’s pool construction program was reported to have been the most expensive in terms of total cost. Robert Moses, an avid swimmer who had a home near the ocean in Babylon, Long Island, was known to have taken a special interest in the design and construction of bathing and swimming facilities, such as Jones Beach, Orchard Beach and Riis Park, as well as the neighborhood swimming pools. As a result of his special attention, along with that of Aymar Embury II and Gilmore D. Clarke, the design and execution of New York City’s aquatic facilities in the 1930s were a cut above most other park projects at the time.
At the start, the Parks Department adopted a list of shared guidelines for the entire pool project in order to enhance the efficiency of the design effort, to unify the operations of each complex, and to meet the various local and federal requirements of the relief programs. For example, each pool complex was to have separate swimming, diving and wading pools, and a large bath house, the locker room sections of which doubled as gymnasiums during non-swimming months. The bath houses, which would serve as the centerpieces of each complex, would be distinctive pavilions that would establish the design motif of each facility. Concrete bleachers at the perimeter of the pools would furnish spectator viewing areas to be augmented at some sites with rooftop promenades and galleries. There would be a minimum width for the decks to provide enough room for sunbathing and circulation, and at least one dimension of each swimming pool would have to be a multiple of fifty-five yards to allow swimming competitions to be held at standard distances in either English or metric systems. There had to be underwater lighting for night swimming, and heating for the pools. Plus, the complexes had to share low-cost building materials, principally brick and cast concrete, as required by the federal government as per the terms of the WPA funding.
To satisfy federal stipulation on low-cost materials, it appears that the design team for the pools determined that the streamlined and curvilinear forms of the Art Moderne and Modern Classical styles would best meet the low-cost needs and still permit pleasing aesthetics. As a group, the pools were also distinguished by the innovative mechanical systems required to heat, filter, and circulate the vast amounts of water they used. Many of these innovations set new standards for swimming pool construction, such as scum gutters that allowed in enough sunlight to naturally kill off bacteria and a series of footbaths filled with foot cleaning solution through which bathers were forced to pass upon entering the pool areas from the locker rooms.
Sited in existing older parks or built on other city-owned land subsequently developed as parks and playgrounds, the huge pool complexes were provided with landscape settings that included additional recreational areas, connecting pathway systems, and comfort stations. Despite the fact that the basic components were essentially the same and that the WPA required that only the cheapest materials be used, each of these swimming pool complexes is especially notable its distinctive and unique setting, appearance, and character.
In October 1934, the Parks Department announced the start of excavations and site work for several of the new pools. By August 1935, construction of the Colonial Park swimming pools was underway, although plans for the bath house structure were not filed until October of that year. By the time the Colonial Park Play Center opened on August 8, 1936, only half of the bath house building, with accommodations for 1,800, was open to the public. Revisions for the bath house were still being approved as late as November 1936, for the bandshell and dance floor terrace as late as December 1936, and for grading and other park improvements as late as April 1937.
The year 1936 was known as “the swimming pool year,” since ten of the eleven pools were opened that summer, one per week for ten weeks. Each opening day was a memorable event for its neighborhood. The day-long events featured parades, blessings of the waters, swimming races, diving competitions, appearances by Olympic stars, and performances by swimming clowns. Mayor LaGuardia attended every opening to perform the ribbon cutting. Festivities continued well after dusk with LaGuardia pulling the switch to turn on each pool’s spectacular underwater lighting to the “oooohs” of the crowds. The opening of the Jackie Robinson (Colonial Park) Play Center was attended by 25,000 people, jam-packed into the narrow site, and spilling out onto the streets. The 369th Regiment Band welcomed the public with a song, and was joined at the chorus by the enthusiastic crowd. Bill “Bojangles” Robinson, a pioneer and preeminent tap dancer, was also on hand to entertain the people.
The completed Jackie Robinson (Colonial Park) Play center has been widely acclaimed since its opening. It was touted for being more eclectic than the other pools, with its “Romanesque-inspired details” and “bold cylindrical forms.” The monumental two-story facade has always had a striking presence on Bradhurst Avenue, where, as noted in a 1986 Parks Department exhibition on the WPA-era pools, the “imposing medieval fortress… could easily be mistaken for an arsenal.” Furthermore, of the eleven WPA-era pools, the Jackie Robinson (Colonial Park) Play Center is the only one to evoke so strongly the architecture of another era, while still incorporating elements of the popular Art Moderne style, employed at each of the remaining pool sites. Whether considered alone or together with the other WPA-era park improvements, including the dance floor terrace with its undulating brick walls, or the wading pool and comfort station which closely reference the curvilinear forms found at the main pool site, the Jackie Robinson (Colonial Park) Play Center complex was clearly a major achievement of the New Deal in New York City.
Subsequent History
The Jackie Robinson (Colonial Park) Play Center officially opened on August 8, 1936, the tenth of the eleven pools to open. Despite its inauguration on this date, the pool complex was not entirely complete - most notably, only half of the bath house was open to the public at the pool’s opening. Many of the drawings on file at the Parks Department archives in Queens are dated as approved well after the official inauguration date. Revisions for the bath house were still being approved as late November 1936, for the bandshell and dance floor terrace in December 1936, and for grading and other park improvements as late as April 1937. There were very few alterations in the years immediately following the completion of the pool complex, although some minor work to the park grounds was done in the mid-1940s, including plantings, fencing, and reconstructive work on existing stairways. Subsequent changes to the Play Center complex include the filling-in of the diving pool to create a “water play” area and the filling-in of the wading pool for use as a children’s playground, although it is unclear when either change took place. Upgrades to the playground equipment and active recreational facilities found throughout the park have also been made.
In 1978, Colonial Park was renamed Jackie Robinson Park after the first black professional baseball player in the major leagues. Born in Georgia in 1919 and raised in California, Robinson was the first UCLA student to earn letters in four sports: baseball, basketball, football and track. Robinson served in the U.S. army in World War II, played baseball in the Negro Leagues, and signed to the Brooklyn Dodgers top farm team, the Montreal Royals, in August 1945. On April 15, 1947, Robinson made history as the first African-American to play in a major league baseball game, paving the way for generations of black athletes to compete in the sport, which did not become fully integrated until 1959. As second baseman, Robinson led the Dodgers to six World Series, and was inducted into the Baseball Hall of fame in 1962. Robinson later became involved in a number of business enterprises, including several black-owned community businesses, and was active in the NAACP. He also served as a special assistant to Governor Nelson A. Rockefeller before dying of heart disease at the age of 53 (1972). In 1981, a bronze bust of Jackie Robinson by Inge Hardison was installed inside the pool and recreation center lobby at West 147th Street. A mural of Jackie Robinson was more recently painted inside of the bandshell in 2006, designed by artist Michael Young, and painted by the Junior League of New York.
By the late 1970s, many of the WPA-era pools, Jackie Robinson (Colonial Park) included, had become badly run down, partially the result of the fiscal crisis of the 1970s which hit the Parks Department particularly hard. By March 1981, the Parks Department workforce had dwindled to a record low of 2,900 employees, mostly unskilled and temporary, as compared to the 30,000 parks employees on staff during the Moses administration. The strain on Parks Department resources was evident in the deplorable conditions of many of its facilities. To address the rapid deterioration of its recreational facilities, in 1977 the Parks Department began a major capital construction program involving more than 500 projects, expected to total more than $180 million, partly in Federal funds – the first such projects undertaken by the parks system since the fiscal crisis halted such work in 1975, and arguably the most ambitious program to improve the parks since the 1940s. Among the projects planned was a $10 million plan to preserve Prospect Park, a $1 million renovation of the Coney Island Boardwalk, and a $2.6 million rehabilitation of the Jackie Robinson (Colonial Park) Play Center. Several of the other WPA-era pools, including Sunset Park and Betsy Head, underwent restoration under the same program.
Closed since 1978, the newly renovated Jackie Robinson (Colonial Park) Play Center was re-opened on July 14, 1980, to the great relief of neighborhood residents. Much like LaGuardia and Moses before him, the administration of Mayor Ed Koch had been plagued by accusations of insensitivity towards minorities. In an effort to disprove such allegations, Mayor Koch was sure to attend the re-opening of the pool, where “an enthusiastic crowd of children plunged happily into the water at the Mayor’s signal.” Also present at the opening was Mrs. Jackie Robinson. The Parks Department called the renovations of the WPA-era pools “an essential part of the revitalization [of] the entire public recreational infrastructure of the city,” helping transform the aging pools back into modern recreational facilities.
The WPA-era pools faced a new set of challenges beginning in the mid-1980s, with pools like the Crotona Play Center in the Bronx becoming infamous for vandalism and walkways littered with broken glass. In 1991, Mayor David Dinkins proposed closing the pools as part of a package of budget cuts. Only a donation of $2 million from a private donor, real estate magnate Sol Goldman, guaranteed the pools would be kept open for at least a portion of that summer; an additional $1.8 million was still needed to cover the entire nine-week long swimming season. In the mid-1990s, a menacing ritual known as “whirlpooling” had become common throughout the pool system, a practice characterized by groups of teenage boys locking arms and shoulders, churning the water and disrupting the activities of other swimmers, particularly women who often found themselves unwilling fondled. Several more serious complaints of sexual assault were recorded throughout the pool system in the summer of 1994. With improvements in security staffing and increased vigilance on the part of patrons, many of the problems of the 1990s did eventually dissipate, and by 2003, the pools were once again touted as both extremely safe, and a welcome alternative on a hot summer day.
The Architecture and Site of the Jackie Robinson (Colonial Park) Play Center
The New Deal construction projects within New York City, such as the Jackie Robinson (Colonial Park) Play Center, were a part of a national trend that included similar projects undertaken by various governmental agencies, ranging from the vast Tennessee Valley Authority to small cities and towns. Urban projects built with WPA funding often possessed similar qualities from region to region, partly because the difficult economic climate dictated the use of inexpensive building materials, but also because the programs provided employment opportunities for a generation of young architects and engineers, many of whom were committed to modernism. For example, the bath house and waterfront facilities at Aquatic Park in San Francisco are similar in plan and appearance to the public pool and beachfront projects being built at about the same time in New York City. The California facility, with its streamlined, concrete facade and steel-framed windows, bears a striking resemblance to the facade added in 1936 with WPA funds to the bath house at Jacob Riis Park in Queens. The original and creative use made of these modest materials by Moses' talented design teams and the careful siting of each project makes every one of them a distinguished, individual design, as much related to their specific environment and needs as to one another.
The Jackie Robinson (Colonial Park) Play Center was built on a narrow hillside site acquired by the City of New York and developed as Colonial Park soon after the turn of the 20th century. The uniquely monumental two-story design of the Center’s bath house is an ingenious response to the topography of the park. A rocky cliff drops off sharply from Edgecombe Avenue to the west, and the terrain then continues in a gentler downward slope to level ground along Bradhurst Avenue to the east. The locker rooms are located on the upper floor in order to provide direct access to the swimming and diving pools located above the grade of Bradhurst Avenue. The unusual dimensions of the swimming pool (82’ x 236’) and the oddly shaped diving pool are accommodations to the narrowness of the site and the presence of the stone cliffs.
The fortress-like design of the Bradhurst Avenue elevation of the bath house capitalizes on its two-story height. Recessed bays which employ both rounded and slightly pointed arches are demarcated by giant rounded attached buttresses. Large round towers rise above the roof line at the ends of the building and flank the entrance. Rounded and curvilinear forms also characterize the design of the bandshell terrace to the north of the pool complex, as well as its perimeter walls and the elevated pathway continuing northward from the terrace, all which date to the same time period. The wading pool complex located between 152nd and 153rd Street also includes an attractive and contemporary comfort station which repeats the curvilinear forms employed elsewhere.
Description
Plan and Circulation
Jackie Robinson (Colonial) Park is bounded by West 145th Street to the south, West 155th Street to the north, Edgecombe Avenue to the west, and Bradhurst Avenue to the east. Due to the steep difference in elevation between Edgecombe Avenue and Bradhurst Avenue, the park is mainly accessible along Bradhurst Avenue. Additional entry points can be found at the southwest corner of the park, as well as along Edgecombe Avenue, all of them via stairway.
The Jackie Robinson (Colonial Park) Play Center is located towards the southern boundary of Jackie Robinson (Colonial) Park. The Play Center can be approached from either the north or the south along Bradhurst Avenue. The two entrance doorways to the Play Center bath house are found just north of the intersection of Bradhurst Avenue and West 146th Street, beneath the imposing brick arches of the structure’s front (east) facade. Upon entering the bath house building, patrons will find themselves in the vaulted, Gothic-inspired entrance lobby. Admission to the pool must first be purchased here at the ticket booth, a projecting, oblong, glass-enclosed structure. The ticket booth structure is vaguely reminiscent of the prow of a ship, and is located between the two entrance doorways. A modern, unenclosed extension of the original ticket booth structure was added in recent years.
After purchasing an admission ticket, patrons walk up one of two cascading stairways at the rear of the entrance lobby, to either the men’s or women’s locker rooms. From the locker rooms, access to the pool deck area, located west of the bath house structure, was provided by doors at the respective ends of the men’s and women’s sides of the rear (west) facade, and only after patrons had passed first through the mandatory shower and foot baths. Today, access to the pools is available directly from the top of the two stairways, making it possible to circumvent the entirely redesigned men’s and women’s locker areas on the way to the pool deck. The two pools found here, the main swimming and former diving (now a water play area) pools, are surrounded by a narrow promenade, an accommodation to the restrictive dimensions of the play center site. Concrete bleachers run the length of the main swimming pool to the west, while smaller concrete bleachers can be found north of the former diving pool. An additional service entrance is located at the southern boundary of the pool area.
The main entrance to the bandshell, dance floor terrace and extension, located between West 147th Street and West 150th Streets, is found at the intersection of Bradhurst Avenue and West 148th Street, and may be approached from either the north or the south. After ascending the stairway located here, patrons will find the open-air bandshell and dance floor terrace directly accessible to the south. To the north extends an expansive promenade lined by an undulating brick wall featuring concrete seating niches to the west, and modern park benches to the east. The promenade terminates at the intersection of Bradhurst Avenue and West 150th Street, and provides an alternative entry point to the bandshell and dance floor areas. An additional elevated pedestrian pathway links the dance floor terrace to the northern extent of the promenade, accessible via stairways at either end. This pathway provides an additional exit onto Edgecombe Avenue via an L-shaped stairway at its approximate midpoint.
The former wading pool (now a children’s playground) and comfort station are located towards the northern boundary of Jackie Robinson (Colonial) Park. This area of the park has only one entry point which is roughly in line with the intersection of Bradhurst Avenue and West 152nd Street. This entrance may be accessed either off of Bradhurst Avenue, or via an additional elevated pedestrian pathway beginning at the northwest corner of the park at Edgecombe Avenue and West 155th Street, continuing parallel to Edgecombe Avenue, and terminating in a succession of concrete stairways near the intersection of Bradhurst Avenue and West 152nd Street. The remaining play areas, including children’s playgrounds, tennis courts, baseball fields, and handball courts, are all accessible along Bradhurst Avenue.
- From the 2007 NYCLPC Landmark Designation Report
For a brief moment, the 1950's came back alive at Portland Union Station. The Union Pacific 150th Anniversary Train, led by the iconic E9, the symbol of the modern streamliner, sits on the platform. Guests on the platform had a great opportunity to see what a classic streamlined train is like, and contrast it to the modern Amtrak Cascades Talgo train two tracks over.
© 2012 Patrick Dirden Photography
All Rights Reserved
Creator: Unidentified.
Location: Brisbane, Queensland.
Description: A Ford Super Coach used by Greyhound Coaches on the Brisbane to Tenterfield route in 1946. Streamlined body built in Brisbane by Watt Brothers. Note the 'spats' to smooth airflow over the rear wheels, and the roof racks and tie-downs for extra luggage.
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/66650.
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/research-collections.
You are free to use this image without permission. Please attribute State Library of Queensland.
With its distinctive plywood-skinned oval section streamlined fuselage, the Albatros D.V entered service in May 1917, but from October 1917 was supplemented in large-scale production by the strengthened Albatros D.Va with different upper wing and aileron control system. One D.V, D2859, was flown by ‘The Red Baron’, Manfred von Richthofen.
At its operational peak in May 1918, over 1,000 often brightly-coloured Albatross D.V/D.Va fighter aircraft were serving on the Western Front as well as in Italy and Palestine. This was an attempt to overcome the Allies by quantity rather than capability, since the outclassed Albatross Jagdstaffel units suffered heavy losses in combat in the German’s Spring offensive of 1918 and as a result of structural failure of the lower wing, leading in 1918 to a prohibition of prolonged diving in the type. Despite this, the type remained in production until the November 1918 Armistice, with over 3,000 produced, of which only two survive, in the U.S.A and Australia.
Actually painted as a D.V aircraft from a batch of 400 ordered in May 1917, this flying replica was built by New Zealand Company The Vintage Aviator Ltd (TVAL) in 2011, and uses an original contemporary Mercedes D.III engine from RAF Museum stocks. It represents an aircraft flown on the Western Front by Jasta 61in 1918. Flown a number of times in New Zealand and the UK in 2012, it arrived at Hendon in October 2012.
I had some leftover green bricks from finding parts for my '59 Cadillac MOC, so I decided to use them and build a small model. This then snowballed into this 1930's streamlined caboose, which was inspired by a very similar real-world Wabash caboose located on the Katy Rail-Trail at St. Charles, Missouri. This caboose model is also inspired build-wise by the Katy Caboose (as in, "The Caboose who got Loose" from the children's book) model I copied in late 2021 from TrainedBricks' MOC.
The printed 1x4 bricks may be replaced with letter tiles saying the railroad's name. (I'm not sure at this time what I'm gonna do with that part of the model, so idea that may change.)
From Wikipedia...
The MV Kalakala (pronounced kah-lah-kah-lah)[1] was a ferry that operated on Puget Sound from 1935 until her retirement in 1967.
Kalakala was notable for her unique streamlined superstructure, art deco styling, and luxurious amenities. The vessel was a popular attraction for locals and tourists, and was voted second only to the Space Needle in popularity among visitors to Seattle during the 1962 Seattle World's Fair. The ship is known as the world's first streamlined vessel for its unique art deco styling..
She was constructed in 1926 as Peralta for the Key System's ferry service on San Francisco Bay. On 6 May 1933 Peralta burned as a result of an arson fire at the terminal where she was moored, resulting in the complete destruction of her superstructure. The hull was still intact and on 12 October 1933 the vessel was sold to the Puget Sound Navigation Company (PSNC), also known by its marketing name, the "Black Ball Line". PSNC funded a refit to restore the vessel as a ferry.
In November 1934, William Thorniley, publicist for PSNC and president of the Olympic Peninsula Travel Association, named the new ferry Kalakala, which was said to mean "bird" in the Pacific Northwest Native American trade language Chinook Jargon.[3][4][5][6] Thorniley launched a national promotional campaign beginning with large billboard signs that simply said "KALAKALA!" Later, they said "KALAKALA, Seattle, WA" and featured a picture of the vessel as well.
The new bridge and wheelhouse were built entirely out of copper, from fear that the steel used in the rest of the vessel would interfere with the ship's compass.[7] Set back from her streamlined superstructure for aesthetics, it was impossible to see the bow of the vessel from the bridge. As visibility also depended on round portholes rather than a fully-glazed wheelhouse, she was known for being difficult to handle when docking.
Kalakala was well known for a heavy shaking vibration that ran throughout the vessel when in operation. This was probably due to poor alignment of the engines in the original construction of the vessel. When the propeller was replaced with a new 5-bladed version in 1956, the vibration was reduced by 40%.[8] Although the company wished the vessel to be known as the Silver Swan, the vessel soon attracted other, less complementary nicknames, including the Silver Slug, Silver Beetle, Galloping Ghost of the Pacific Coast, and, among Seattle's Scandinavian community, Kackerlacka, which means "cockroach"
In February 1946, Kalakala was issued Federal Communications Commission (FCC) license #001 for the first commercial radar syste
The Kalakala moored at Hylebos Waterway in Tacoma, Washington in November 2007.
After her retirement in 1967, the vessel was sold to a seafood processing company and towed to Alaska to work as a factory ship. After working as a crabbing ship for a couple of years, the Kalakala was beached in Kodiak, Alaska in 1970 and used to process shrimp.
Peter Bevis discovered the rusting hulk on a fishing trip in 1984. The Kalakala had been turned into a cannery and the internal structure had been reworked to create a building with cement floors, drywall, and ceiling tiles. After complicated financial negotiations and hard work, they managed to refloat her and tow her back to Seattle in 1998. The vessel has since been a source of controversy as her owners were unable to raise sufficient funds to refurbish the vessel or even to keep her moored in Seattle's Union Bay.
The vessel was sold in 2004 to a private investor, who moved her to an anchorage in Neah Bay provided by the Makah people. Soon after arriving at Neah Bay the Kalakala was evicted by the Makah, who also brought a lawsuit against the owners. The vessel has since been relocated to Tacoma, Washington.
In February 2008, Kalakala owner Steve Rodrigues announced his intention to acquire additional vintage ferry vessels and to restore them and the Kalakala as either ferries powered by wind and solar technologies or as museums. The Kalakala was scheduled for work on its hull and superstructure in dry dock in 2010,[11] but this never happened. After six years in Tacoma, the Kalakala began listing, and officials worried of environmental damage the ferry might pose.[12] The state had also passed a state law focusing on the removal of abandoned and/or neglected vessels in Washington state waterways so pressure is being applied to the owner to do something with the Kalakala.
Artistic projects
Several art projects arose from their fascination with the Kalakala, including a full-length album of solo cello compositions recorded onboard the vessel in November 2003, called "Songs From a Parallel Universe." There is also an as-yet unreleased film, also filmed on the Kalakala, about the "Ghost Dance."
There was also a live concert featuring the Icelandic band múm, Serena Tideman and Eyvind Kang, on board the Kalakala.
A temporary "pirate radio" station broadcasting from the Kalakala is featured in the 2005 documentary film "Pirate Radio."