The Shape of Speed

Streamlined Automobiles and Motorcycles, 1930–1942

JUN 16 – SEP 16, 2018

Portland Art Museum

 

The Portland Art Museum is pleased to announce The Shape of Speed: Streamlined Automobiles and Motorcycles, 1930–1942, a special exhibition debuting at the Museum in Summer 2018. Featuring 19 rare streamlined automobiles and motorcycles, The Shape of Speed opens June 16 and will be on view through September 16, 2018.

 

The concept of streamlining has fascinated people for generations. Beginning in the 1930s and extending until the outbreak of the World War II, automotive designers embraced the challenge of styling and building truly streamlined cars that were fast and fuel-efficient. They were encouraged by the confluence of aircraft design with the sleek shapes of fast railroad locomotives; new advanced highways such as the Autobahns; and events like the 1939 New York City World’s Fair, which showcased futuristic design.

 

The Shape of Speed presents a select group of rare automobiles and motorcycles that demonstrate how auto designers translated the concept of aerodynamic efficiency into exciting machines that in many cases, looked as though they were moving while at rest.

 

The Museum will display 17 cars and two motorcycles—the best of that era’s streamlined offerings—from Europe and the United States. Engineering drawings and period photographs will show some of the aircraft, railroad, ship and yacht designs that influenced the automakers.

 

Featured designers and engineers include European streamlining pioneer Paul Jaray, along with Richard Buckminster Fuller, Norman Bel Geddes, Raymond Loewy, Harley J. Earl, Hermann Ahrens, Georges Paulin, Joseph Figoni, Dr. Wunibald Kamm, Otto Kuhler, Jean Bugatti, Hans Ledwinka, Gordon Buehrig, and others.

 

portlandartmuseum.org/exhibitions/shape-of-speed/

The gloriously streamlined art-deco Duchess of Hamilton sits outside the National Railway Museum for Railfest.

 

Built in 1938 and one of thee Princess Coronation class, the train sports a streamlined design by Sir William Stanier and is the most powerful express passenger locomotive built in Britain.

 

The train was destreamlined in 1947 and only restored in 2009 after a sustained appeal.

 

Railfest 2012 was a nine-day celebration of all things train-related, held at the National Railway Museum in York during the period of the Queen’s Diamond Jubilee.

 

Famous locomotives such as Mallard, the Flying Scotsman and even the Hogwarts Express all lined up out on the tracks, with thousands of visitors taking the chance to admire them up close or even climb aboard.

 

Several trains were operating over the course of the festival, with steam puffing into the sky as they carried visitors up and down small stretches of track.

 

The National Railway Museum in York is the largest railway museum in the world and houses a collection of more than three million items, from ticket machines and platform signs to bullet trains and steam locomotives.

 

The museum charts the rise of the railways in the 19th century, their use in the transportation of goods and people, their role in the Industrial Revolution and their overall effect on the world, especially England.

 

The current museum was founded in 1975 and is housed in a former steam engine shed, an old goods depot and numerous other buildings close to York station.

 

The main structure, the Great Hall, holds everything from a replica of Stephenson’s Rocket, the first steam train from 1829, to the Flying Scotsman, from the Mallard to a modern-day bullet train – one of a very select group of bullet trains outside of Japan.

 

There is also a workshop where visitors can see museum volunteers and engineers working on trains and the station hall, where trains sit on old platforms and you can step in and out of carriages.

The New York Central K-5b Pacific Class 4-6-2 steam locomotive #4915 with Henry Dreyfuss' streamline design. Originally manufactured in 1926 by the American Locomotive Company (ALCO), no. 4915 and her sister no. 4917 were streamlined in 1936 to lead The New York Central’s most luxurious experience on rails.

 

This project is my first MOC and has taken about a year and a half to complete with many challenges arising in trying to obtain the beautiful "streamline moderne" styling. Perseverance paid off however and through 1/2 steps, 1/3 steps and even 1/6 steps I have ended with a final version that I hope you all will enjoy.

 

The model is 8-wide, built to 1:48 scale and is designed to fit all standard lego track geometry. The locomotive is powered by two Power Functions M motors.

 

Directions to the build can be found here:

www.etsy.com/shop/ChristopherLocoWorks

Streamlined LMS Princess Coronation Class 'Duchess of Hamilton' No.6229 at York Railway Museum.

Taken 25th May 2009.

youtu.be/_5Ik-D87gX0

Alleyway Theatre, 1 Curtain Up Alley, Buffalo, New York. Constructed in 1941 by Central Greyhound Lines, this building served for decades as the city’s primary bus depot. It is one of the many terminals designed by nationally prominent architect William S. Arrasmith of Louisville who created over one hundred stations for Greyhound in the late thirties and early forties.

 

The Alleyway Building is one of Buffalo’s most prominent examples of the Art Moderne style. The streamlined two story structure boasts the important features which defined the work of W. S. Arrasmith including round windows, curved wall surfaces, stainless steel and aluminum alloy trimmings, terrazzo floors, limestone façade, and exterior surfaces of glazed tile. This building is one of only a handful of Mr. Arrasmith’s creations which is still standing. Greyhound moved to new facilities in the late seventies. During the summer of 1979 the depot was used by Metro Goldwyn Mayer in connection with the film “Hide In Plain Sight”. On June 9, 1979 the City of Buffalo announced that it would purchase the depot from Greyhound Corporation for $50,000, and renovate a portion of the building as a police station. In July, 1983 the Buffalo Theatre Collective began leasing other space within the building from the City with plans to develop a theatre which opened as Alleyway Theatre on December 5, 1985. On August 8, 1985 the alley that connects Main and Pearl Streets along the building’s South side was dedicated as “Curtain Up! Alley.” The construction of a new police precinct house resulted in the departure of police from the building in 2000. Alleyway Theatre Incorporated took full occupancy of the building in April, 2001 and immediately began repairs. The project to renovate the building and restore its façade and important interior Art Moderne features began in January, 2003. The $1.5 million adaptive re-use project resulted in a theatre facility that includes a ninety-nine seat black box style theatre, a seventy seat cabaret theatre, a spacious lobby with grand stair case, administrative offices, rehearsal halls, scenery and costume shops, dressing rooms, an exhibit gallery and a conference room. Architects for the renovation project were Dominic Palmisano and Sandy Edelman of Palmisano Architecture And Design. The facility celebrated its grand re-opening on September 14, 2005.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based 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 later 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 until summer 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 more streamlined radiator bath was fitted, too, and altogether these measures boosted 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).

 

Despite this improvement, though, 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, which was described as an updated Hawker Fury biplane fighter and less of a direct competitor to the Hurricane. After War had been declared, the crews flew the early Mk.I well against the more experienced Luftwaffe fighters, and many of these aircraft were updated to Mk. IA standard.

 

Since the type was not operated in large numbers, Swallow aces were few. One of them was Flight Lieutenant Killian Murphy, an Irish Volunteer and Pilot of JX-M of RAF No. 1 Squadron. He scored two of his total 24 kills in a Mk. I, and 8 more in a Mk. II from August 1940 on. The initial scores were a Bf 109E and a Ju87, both shot down during the evacuation of Dunkirk. Most of his later victories were scored during the defense of London, before the squadron was completely re-equipped in early 1941 with Hurricane Mk. IIs and later Typhoons, rather focusing on ground attack and interdiction missions on Continental Europe.

 

Some work was done 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 thin wings, this option necessitated bulged fairings and a modified internal structure for the cannons' ammunition drums, but the additional firepower was welcomed and led to the Swallow Mk. III, which was introduced in August 1941. It was the final production variant, still powered by the Rolls-Royce Merlin III from the swallow Mk. II. Beyond the armament changes, the wing tips were clipped in order 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 (reminiscent of the Hawker Typhoon's design), but this experiment did not reach production status. The Swallow had already reached its limited development potential.

 

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 Swallow was 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: 8.57 m (28 ft 1 in)

Wingspan: 10.85 m (35 ft 7 in)

Height: 2.60 m (8 ft 6 in)

Wing area: 17.00 m² (183 ft²)

Empty weight: 1,690 kg (3,726 lb)

Gross weight: 2,200 kg (4,850 lb)

 

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: 371 mph (597 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:

8× 0.303” (7,7mm) Browning machine guns with 350 RPG in the outer wings

  

The kit and its assembly:

Another entry to the Battle of Britain Group Build at whatifmodelers.com, and this time a collaboration. This fictional machine – or better: the model – is based on a 2D profile 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.

 

Since I had a spare B.35 sans engine left over from the recent Fokker D.XXIII conversion, I used the opportunity to take the virtual design to the hardware stage!

 

The basis is 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. Details are good, you get a mix of engraved and raised surface details, but fit is mediocre and there is lots of flash. But, with some effort, things can be mended.

 

Many donation parts for the Swallow, including the engine, propeller, landing gear and radiator, come from an AZ Models Spitfire Mk. I/II/V, from a recently bought Joy Pack which comes with three of these kits without decals.

 

New landing gear wells had to be drilled into 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… The Merlin fitted very well onto the B.35 fuselage, and, inside of the cockpit, I added a tank behind the seat in order to fill the OOB void there.

 

Another internal change I made is the installation of 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:

Very conservative, but IMHO a good match for this fictional fighter: Standard RAF colors in Dark Green/Dark Earth (both enamels from the Modelmaster Authentic line), nothing fancy, and I had the profile as benchmark for what I wanted to achieve. Since the plane is placed historically in August 1940, Sky was about to be introduced, but only gradually and sometimes with “different” tones. Therefore, I painted the underside with Humbrol 23, Duck Egg Blue, and also added roundels under the wings.

 

The code letters should have been Medium Sea Grey, but the profile showed white letters – so I stuck with that, and AFAIK there had been exceptions to the rule. The code letters came from an Xtradecal RAF white letter sheet. Roundels and fin flash come from various sources, including a Matchbox Brewster Buffalo and a Trumpeter P-40C. The serial number was improvised, too.

 

As personal markings I painted a green shamrock under the cockpit on port side, while a list of air combat scores came under the starboard cockpit side (in style with the original profile). A green ring on the spinner was added, too, inspired by the real world No. 1 Squadron’s JX-B, flown by Arthur Clowes. His machine carried a bee nose art and a yellow spinner ring: for every victory, the bee would receive a new stripe, and he achieved eight during his career.

 

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. Finally, everything sealed under a coat of matt acrylic varnish (Revell), which unfortunately turned white in some seams! :-/

  

The Avro Swallow looked already promising in nighthunter's profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire.

A quick build, but a conversion that has to be kept in mind, because the result looks so convincing! Seeing the completed aircraft, I am amazed how good this thing looks overall, with its elegant, oval wings and the sleek fuselage lines. Nice one! :D

1946 C&O Hudson #490 Chessie Streamlined Locomotive at B&O Railroad Museum Baltimore MD

Another day, another Museum of Transportation MOC - or three! This time a streamlined Wabash caboose is being created, while the refrigerated boxcar (reefer) and two-bay covered hopper are already on order from Bricklink. (not shown)

Williamsburg, Brooklyn

 

A collaborative project of the Federal Public Works Administration and the newly established New York City Housing Authority, the Williamsburg Houses are notable as one of the earliest housing developments in the United States to reflect the ideas of the modern movement in architecture. In the 1920s Williamsburg was one of the most densely populated sections of Brooklyn and nearly six hundred, mostly frame, structures were demolished to create the 23.3 acre site. Proposed in 1934, this residential complex was skillfully designed by the Williamsburg Associated Architects during 1935 and most units were occupied by 1938.

 

The partnership included Richmond H. Shreve, of Shreve, Lamb & Harmon, the architects of the Empire State Building, and William Lescaze, the Swiss-born architect who helped introduce the “International” style on the eastern seaboard. Lescaze was responsible for the design, which includes twenty 4-story structures on four “super” blocks turned at 15 degree angles to the street grid. Oriented to the sun and prevailing winds, this unusual layout produced a series of large and small courts, many of which flow into a large public space at the center of each block. A light-colored palette distinguishes the facades, executed in tan brick and exposed concrete.

 

Among the most prominent features are the entrances, marked by blue tile and projecting stainless steel canopies, and the handsome streamlined storefronts. The complex was widely discussed by contemporary critics and more than 25,000 New Yorkers applied for 1,622 apartments. During the mid-1990s, the buildings underwent an extensive restoration which included the replacement of all exterior materials. Sponsored by the Housing Authority, in consultation with the Landmarks Preservation Commission, these alterations were remarkably sensitive and in the 4th edition of the AIA Guide to New York City the “revivified” complex was called “the best public housing project ever built in New York.”

 

DESCRIPTION AND ANALYSIS

 

Housing the Masses

 

From the rowhouse to the apartment building, New York City has been a laboratory for innovative housing. Beginning after the Civil War, apartments, variously known as French Flats and tenements, were built to house the city’s surging population. Immigrants, for the most part, crowded into unregulated tenements, structures that maximized profits for developers while providing few amenities that we take for granted today, such as light, air, and private bathrooms.

 

Despite government efforts to legislate minimum standards in 1867 and 1879, initially private individuals took the most significant steps to make decent housing affordable to all. Several pioneering examples were located close to the Brooklyn waterfront, including the Home and Tower Buildings (William Field and Son, 1876-78), the Astral Apartments (Lamb & Rich, 1885-87) and Riverside (William Field and Son, 1890). The later complex surrounded a large tree-shaded courtyard incorporating a music pavilion and areas for drying laundry. Despite these, and a few innovative Manhattan developments, the majority of New Yorkers continued to live in substandard conditions.

 

The passage of the New Tenement Law in 1901 improved the situation, requiring that multiple dwellings be built on significantly larger lots, with fire escapes and separate “privies” for each family. After World War I, the garden apartment came into vogue. While most were built for the middle class, especially in Jackson Heights, a significant group were sponsored by unions and cooperative organizations that wished to provide members with inexpensive apartments. Significant examples include the Amalgamated Houses (Springsteen & Goldhammer, 1930) on Manhattan’s Lower East Side and the “Coops” built in the Bronx by the United Workers Cooperative Association (Springsteen & Goldhammer, 1925-27; Herman Jessor, 1927-29).

 

The first significant act of government intervention occurred in 1926 with the passage of the New York State Housing Law. Promoted by Governor Alfred E. Smith to encourage construction through the formation of local authorities that would sell bonds or seek federal funds, it had little impact until 1934 when the New York City Housing Authority (NYCHA) was established. The authority’s first project, aptly called the First Houses (Frederick L. Ackerman, 1934-36), was located in Manhattan’s East Village. Begun as a rehabilitation program involving the demolition of every third structure, due to structural problems the eight brick buildings were entirely rebuilt.

 

Throughout the early Depression, government-subsidized housing remained a controversial issue. Consequently, it was first promoted as worker relief, organized to create jobs but not compete with the commercial market. The first federal agency to involve itself with housing was the Reconstruction Finance Corporation (RFC) which was created in 1932 to provide low-interest loans to limited-dividend housing corporations. Of the two loans it made, one was toward the construction of Knickerbocker Village (John S. Van Wart & Frederick L. Ackerman, 1933). Built for the Fred F. French Company, this Chinatown-area development consists of two 12-story buildings, both enclosing an interior courtyard.

 

In mid-1933, as part of Franklin Delano Roosevelt’s New Deal, the Housing Division of the Public Works Administration (PWA) was established. What made this agency different from its predecessor, the RFC, was that it would be directly involved in the planning and construction of low-income housing. The program was a great success and over the next three and half years it collaborated on the design and construction of 51 projects in 36 cities, including the Harlem River Houses and the Williamsburg Houses.

 

The passage of the Wagner-Steagall Bill (aka U.S. Housing Bill) by the United States Congress in September 1937, strengthened the federal government’s commitment to housing, but shifted greater control to local authorities. The first New York City housing project to be financed under this program was the Red Hook Houses (Electus Litchfied, chief designer, 1938-39) in Brooklyn. Future construction, which would amount to more than half a million low-rental units nationwide by 1957, would be funded primarily through low-interest loans.

 

Site

 

The Williamsburg Houses are located in northwestern Brooklyn, approximately one mile east of the Williamsburg Bridge and two blocks south of Grand Street, a lively commercial thoroughfare. Founded as part of the town of Bushwick in the mid17th century, Williamsburg was incorporated as a village in 1827. The community prospered and by 1852 it was the 20th largest city in the nation. Three years later, Williamsburg became part of Brooklyn and was commonly referred to as the Eastern District. Although ferry service was important to the area’s development, it was the planning and construction of a second East River crossing, the Williamsburg Bridge, that caused the most dramatic growth.

 

Proposed in 1883, the bridge was completed with much fanfare in 1903, serving pedestrians, bicycles and horse-drawn vehicles. In subsequent decades, Williamsburg rivaled the Lower East Side in population and density. The Brooklyn Eagle claimed in 1920 that the bridge was part of the busiest traffic center in the nation and that a single block north of it was the most crowded in the world. Conditions in the neighborhood continued to deteriorate throughout the decade, so much so that the population began to decline.

 

In October 1933, the Federal Works Administration (PWA) established a slum clearance committee to study conditions throughout New York City. Richmond H. Shreve, who would later serve as chief architect of the Williamsburg Houses, was named director. Based on the committee’s recommendations, $25 million was set aside for a housing program in New York City. Under the direction of the NYCHA, a more comprehensive study was undertaken in 1934, focusing on fourteen neighborhoods, including Williamsburg. The PWA reported:

 

When the study was completed the blighted slum area of the Williamsburg section stood out as the best example where the most good could be done in wholesale clearance work.

 

Of 93 blocks studied, a grid of 12 was identified for redevelopment in Williamsburg. These blocks were chosen because property values were relatively low and the owners were willing to sell. Most of buildings were mixed-use, incorporating retail spaces at ground level and apartments above. Each lot was carefully documented: 90% of the structures were at least forty years old, 70% were built of wood, 78% had no central heating, and 67% had no private toilets. Such statistics were used to paint an extremely bleak picture of life there:

 

But the Williamsburg section of Brooklyn, according to official surveys, is unique in that its slums bear the stamp of dull listlessness and despair . . . Laissez faire, exploitation, and land speculation have robbed the community of its natural potentialities for development and orderly urban life.

 

Public amenities were also in short supply; there were few schools and there were almost no parks.

 

Architects

 

Five architects were appointed to the NYCHA’s architectural board in May 1934: Richmond H. Shreve (1877-1946) of Shreve, Lamb & Harmon, Matthew W. Del Gaudio (1889-1960), William Lescaze (1899-1969), Arthur C. Holden (18901993), and James F. Bly. As members of the board, their initial role was advisory. They would act as the authority’s chief architect, overseeing the design and construction of municipal housing citywide.

 

In June 1934 an open competition was held to choose the architects who would work on the Williamsburg Houses and other NYCHA projects. The program guidelines did not specify the location, but the grid chosen closely resembled the long blocks where the Williamsburg Houses would be built. Of 278 architects who participated, 5 of the 22 selected were assigned to the Brooklyn project: Samuel Gardstein, of Holmgren, Volz & Gardstein, G. Harmon Gurney (b. 1896), of Gurney & Clavan, John W. Ingle Jr., Paul Trapani (1887-1974), and Harry Leslie Walker (1877-1954).

 

In June 1935, a contract was signed with the Williamsburg Associated Architects. The partnership consisted of ten men: the five architects selected by jury, as well as the five members of the architectural board. Among them, Shreve had the most experience with large projects, having worked on a succession of major Manhattan skyscrapers, most notably, the Empire State Building (Shreve, Lamb & Harmon, 1931).

 

A graduate of the College of Architecture at Cornell University (1902), he began his career as a member of the school’s faculty and later joined the firm of Carrére & Hastings in New York City where he distinguished himself as having a “genius for the solution of operational and administrative problems.” Whereas prior to the Depression he mainly worked on office buildings, in his later years Shreve was associated with residential developments, most notably the Vladeck Houses (1940) on the Lower East Side, and Parkchester (1938-42), a development with more than twelve thousand apartments in the Bronx. During the late 1930s, he also served as a member of the board of design for the New York World’s Fair.

 

Design

 

Of the three initial projects built by the NYCHA and the PWA, the Williamsburg Houses were the most innovative. Shreve appointed Lescaze as the chief designer, responsible for the plan and elevations. In the 1930s, he was at the height of his career, profiled in publications read by professionals and the layman. Born near Geneva, Switzerland, in 1896, he studied in Zurich with the architect Karl Moser in 1915-19 and for a brief period worked in Paris with Henri Sauvage, an important designer of apartment buildings. Lescaze moved to the United States in 1920 and after working in Cleveland and New York City, formed a partnership with George Howe, a Philadelphia architect, in 1929.

 

Their association lasted four years and produced one architectural masterpiece, the Philadelphia Savings Fund Society building, completed in 1932. During the mid-1930s, he was extremely active, working on unrealized plans for the Museum of Modern Art, the Brooklyn Museum, and the Brooklyn Children’s Museum, as well as building three of the earliest modern-style townhouses in Manhattan, his own house and studio, completed in 1934, as well as the Raymond C. and Mildred Kramer (1934-5) and Edward and Dorothy Norman (1940) houses. He also designed, with Albert Frey, the Chrystie-Forsyth Houses. Planned in 1931, this unrealized proposal was included in the Museum of Modern Art’s so-called “International Style” exhibition of 1932.

 

One of the most unique aspects of the Williamsburg Houses is the plan. To create the 23.3 acre complex, twelve blocks were acquired by the city, and the two east-west streets (Stagg and Ten Eyck) were closed to traffic to create four “super” blocks. All but one extend three full blocks from north to south, except part of the block between Manhattan and Graham Avenues that was set aside for a new junior high school and play area.

 

The development of New York City was closely tied to its gridiron. Introduced in 1811, it resulted in a city of predictable intersecting streets and avenues. In 1835, a similar plan was approved for Brooklyn and by the early 1850s the streets that cross through the site of the Williamsburg Houses had opened.

 

Most were named for area residents, such as Daniel Maujer, a lawyer and alderman, John and James Lorimer Graham, land jobbers, and James Scholes, a local land owner. The impact of this approach is visible throughout New York City, establishing blocks and lots of equal size and dimensions. Residential developers benefitted immensely, commissioning rowhouse and tenement designs that could be repeated without regard to location.

 

By the end of the 19th century, there was relatively little open space in Manhattan and Brooklyn. As part of the City Beautiful movement, various attempts were made to loosen the grid’s hold, first through the passage of the Small Parks Act in 1887, which focused on tenement neighborhoods, and later, by situating major civic structures in plazas. Similar ideas shaped the development of garden apartments which came into vogue after 1910. One of the primary characteristics of this type of multiple dwelling was reduced site coverage.

 

In most cases, such as in the Jackson Heights Historic District, the buildings were set around the perimeter of each block, enclosing large private gardens, but in other situations, such as at the Harlem River Houses, a “crankshaft” arrangement was adopted, creating a mixture of interior and exterior courts.

 

Lescaze borrowed freely from both the garden apartment tradition and architects associated with European modernism. In his earliest design, each block incorporated six U-shaped structures arranged around a narrow central court. A later design was considerably more irregular. Turned at an angle to the street, there were fewer but larger buildings.

 

Many aspects of this proposal were integrated into the final design. The Williamsburg Houses are configured in three ways, with footprints suggesting a capital “H,” small “h,” and “T.” All have small spurs and extensions, resembling crossbars. By adding this feature the number of courtyards was significantly increased. Within each block are six buildings (except north of the school); at the north and south are the “H” and “h” configurations, and in the middle, the “T”s.

 

The decision to turn the buildings at a 15 degree angle to the street grid proved controversial. PWA accounts described it in functional terms, explaining that the orientation would provide tenants with more sun and take advantage of the prevailing northwest breezes. During the previous decade, many architects and planners experimented with similar ideas. One of the earliest built examples “to deviate from the geometry of the New York gridiron” was the Mesa Verde apartments (1926) in Jackson Heights. Designed by Henry Atterbury Smith and based on an earlier proposal from 1917, the development featured two rows of six “closed L buildings” set at 45 degree angle to the surrounding streets.

 

Lescaze, however, was more likely to have been influenced by European sources. During the 1920s, he frequently returned to Europe, a period when leading architects were involved in the design of social housing. Many favored the “tower in the park” approach in which free-standing high-rise structures stood in continuous open space. Writing in English in 1935, Walter Gropius concluded that apartment blocks should “command a clear view of the sky, over broad expanses of grass and trees which separate the blocks and serve as playgrounds.”

 

Another source of inspiration might have been Ernst May who oversaw the design and construction of many low-rise housing estates in Frankfurt. In his Bruchfeldstrasse development of 1926-27, designed with C. K. Rudloff, one section was arranged in an overlapping zig-zag configuration. As in Williamsburg, each unit had corner windows, providing tenants with uninterrupted views of a central garden.

 

Many writers were skeptical about the benefits of Lescaze’s plan. Hamlin argued that the layout would convert the courts “into perfect channels for Project for a group of factories. our most vicious northwest winds.” He was told that

 

the arrangement had, in fact, been chosen for aesthetic reasons, to “break up the street facades” and “allow the feeling of space to weave in and out on the street fronts. This goal was definitely achieved, producing an environment that was new and distinctive. The flowing spaces that Lescaze planned are less monumental and more intimate than those experienced in most housing projects, juxtaposing wedge-shaped lawns with semi-enclosed courtyards and large open plazas. As originally built, no fences interrupted the spaces and the areas adjoining the curving concrete walks were paved with cobblestone.

 

The Elevations

 

Equally modern were the elevations. Lescaze was attracted to the expressive and aesthetic qualities of modern materials. Particularly unusual was the decision to use a light-colored palette. Built from reinforced concrete, the walls were originally enclosed with a sand-cast brick that was variously described by observers as bright tan, yellowish, pinkish, and grayish warm pink. One of the most notable features was the exposed concrete floor plates which express the structure and division between the floors while giving the complex a strong horizontal appearance. Talbot Hamlin observed:

 

The effectiveness of the buildings is undoubted. The striping of brick and concrete and the contrast of the light walls which front the stair towers make a vivid picture . . .

 

Prior to the mid-1930s, red brick was the most frequently used material in housing developments, used throughout Jackson Heights and in the First Houses and Harlem River Houses. The proposal to break with this tradition generated considerable debate. While the general scheme was approved in June 1935, it was not until October that specific materials were selected. Presumably, the PWA wished to standardize the building process and reduce costs. Frederick Ackerman, technical director of the NYCHA, defended Lescaze’s proposal. He wrote the authority’s chairman, Langdon W. Post:

 

. . . the “effect” of the Project will depend very largely upon the texture and quality of the exterior wall. Unless the exterior wall possesses a greater intrinsic interest than one made of common brick then the resultant effect is certain to be a bleak, barren and unusually forbidding mass of building:

 

One might readily mistake the At Williamsburg, the buildings stand as freestanding objects, finished on all sides and approachable from multiple directions. No facade dominates and the apartment entrances face both the streets and courtyards. For those unfamiliar with the layout, the angled plan may have been somewhat disorienting. To make it easier to navigate, signs were installed throughout the complex and Lescaze skillfully designed the entrances, making dramatic use of color and form. Like Le Corbusier, he was an “accomplished” painter and frequently used color, especially blue, to enliven wall surfaces. Another possible model was May’s housing development at Praunheim (1926-29) where contrasting colors were used to give the projecting stair towers a distinctive appearance.

 

Within the courtyards are as many as five entrances. Each is sheltered by a small cantilevered aluminum marquee and is flanked by square blue terra-cotta tiles. The entrances that are located at the far end of the larger courtyards are set at a angle. In these instances, the tiles spread onto the adjoining walls and extend above the parapet to the stair bulkhead. Other tile treatments project slightly forward, or are recessed above the doors to the roof. An entrance is also located in the covered breezeway. Reached by a short flight of stairs connecting both the street and courtyard, the more public street facade had an asymmetrical character, incorporating projecting blue tiles to one side and a wide aluminum marquee.

 

Construction

 

To prepare the site for construction, 568 buildings were demolished on 349 lots and approximately 5,400 people were relocated. A 1935 report described the population as divided equally between American born, Italian born, and other nationalities. Most were semi-skilled workers, employed in manufacturing, or as clerks, truck drivers, and construction workers.

 

Demolition commenced in June 1935 as PWA supervisor Elizabeth Ross dug a crowbar into the facade of 197 Manhattan Avenue, near Ten Eyck Street. In the months that followed:

 

Steam shovels and picks played a tune to rival that of the pipes of the Pied Piper of Hamlin. From every dank basement and crumbling wall rats fled in droves. Backyards disgorged an assortment of rusted cans, trash, filth and litter that would have discouraged the most voracious goat.

 

Ground was broken on January 3, 1936. Following a brief ceremony in the rain, public officials addressed an audience of five hundred at Public School 196. During April 1936, the first foundations were poured at the southwest corner of Manhattan Avenue and Stagg Street. Mayor Fiorello H. LaGuardia was in attendance, followed by “a few hundred interested onlookers and an army of schoolboys.”

 

As the foundations neared completion, the PWA solicited bids for construction. Starrett Brothers & Eken was awarded the $7. 5 million contract for the first 18 buildings in October 1936. A subsequent contract, for construction of buildings No. 5 and 18, was signed in late April 1937.

 

Founded by Paul Starrett (1866-1957) and William Aiken Starrett (1877-1932) and Andrew J. Eken (1882-1965) in 1922, the firm was responsible for such high-profile buildings as the New York Life Insurance Company Building (1925), Bank of Manhattan Building (1929-30), McGraw-Hill Building (1930-31), and Empire State Building (1930-31, all are designated New York City Landmarks). The Starrett Brothers worked closely with Shreve on the Empire State Building and it is likely that this relationship helped secure the contract for the Williamsburg Houses. William Starrett acknowledged the importance and complexity of this issue when he said:

 

It is the hope of people who are discussing this (slum) problem that those same brains that put together the great skyscrapers . . . will turn toward this.

 

Starrett Brothers & Eken later built Parkchester (Richmond H. Shreve, chairman of the board of design, 1938-42), Stuyvesant Town (Irwin Clavan and Gilmore Clarke, 1943-49) and Peter Cooper Village (Irwin Clavan and Gilmore D. Clarke, 1947) for the Metropolitan Life Insurance Company.

 

The cornerstone was laid in October 1936. It contained an aerial view of the site, a copy of the federal act creating the PWA, as well as an autographed copy of Jacob Riis’s timeless account of slum conditions, How the Other Half Lives, donated by his widow. Construction progressed rapidly, and aside from minor walk-outs by metalworkers and painters, the first six buildings were ready for occupancy with a year, in September

 

Publicity

 

The Williamsburg Houses was the largest and costliest project built by the PWA. With 1,622 apartments, it was more than twice the size of the Harlem River Houses. The approximate cost was $12.8 million. It was described by the PWA as part of “demonstration program” and numerous public events were held. In a letter to Post, Shreve stated:

 

As this project is the beginning of what, in a way, is a housing community experiment and as the public attitude toward housing will be largely controlled by the success or failure of such an experiment, it is of importance that every effort be made to make the first experiment successful.

 

In this context, how the project was perceived was of the utmost importance. Once the design had been approved, a scale model was built by the PWA and exhibited at banks in Brooklyn Heights and Williamsburg during late 1935 and 1936. This presentation was accompanied by a series of posters documenting the site, including photographs of earlier buildings and their demolition, as well as projected floor plans. The New York Times reported the model:

 

. . . throws into graphic relief the application of the new principle of multiple housing, providing more air, sunlight and recreational facilities and involving a departure from the solid-block construction.

 

The idea of using public funds to create low-income housing was relatively new and much of the language used in speeches and press releases heralded it as a major advance. At the site, signs were posted, calling Williamsburg the “Largest Low Rental Development in the USA.” At the ground-breaking, public officials evoked the memory of Alfred T. White, whose Brooklyn developments were among the first attempts to improve low-income housing in the nation.

 

Mayor LaGuardia thanked the President, Franklin Delano Roosevelt, for his support, as did Harold L. Ickes, Secretary of the Interior, who described slums as a “vicious project of that old order whose passing, we hope, is at hand.” While some critics equated the federal housing program with socialism, most speakers saw it as a defense of democracy.

 

In November 1935, Post had contacted the PWA, requesting that the complex be called the “Ten Eyck” Houses. No explanation was given, but it is likely that the request was made to distinguish the new development from the larger surrounding neighborhood.

 

Ten Eyck Street was one of two east-west streets closed to create the site and it was probably named for the Dutch family whose Brooklyn lineage extended back to at least the 18th century. In the immediate area also lived William Ten Eyck, who during the mid-19th century served as the deacon of the Reformed Church of South Bushwick (1853, a designated New York City Landmark). Post’s request was quickly approved. The new name, however, was not widely used and a 1938 PWA publication refers to the development as the Williamsburg Houses.

 

On October 28, 1936, the construction site was briefly visited by President Franklin Delano Roosevelt and Eleanor Roosevelt. According to the New York Times, ten thousand school children and five thousand adults “cheered the President’s passage through the streets bordering the housing project.”

 

Three “model” apartments were opened for public view in July through August 1937. Furnished with loans from various Brooklyn department stores, they were presented at 180 Maujer Street. Post was an early visitor and he described the apartments as a “demonstration of what can be done, this is the most valuable contribution to social progress that the New Deal has made.” An average of 1,200 persons a day visited. In September 1937, a second group of apartments opened at 176 Maujer Street, including one decorated entirely with “reconditioned furniture.” In a related development, during April and May 1938, the WPA created an exhibit in a storefront office at 212 Graham Avenue. Organized by William Friedman of the art teaching division, the display was changed periodically to demonstrate different apartment layouts and decoration. Nine experts spent five months preparing the exhibit, hoping that it would influence local residents and provide a model for future public housing developments. A music branch, at 176 Maujer Street, also provided lessons in theory, voice, and various instruments.

 

Tenants

 

According to the Brooklyn Eagle, the Williamsburg Houses were “one of the most perfect home sites in the word . . . an eagerly sought spot to live.” Income and need formed the basis of selection and no tenant could earn more than five times the annual rent. Preference was also given to former residents of the site.

 

The first tenants began to occupy their apartments on September 30, 1937. The New York Times devoted at least two articles to “Moving Day,” as did the Brooklyn Eagle. As part of the operation, each tenant’s belongings were moved to a fumigation plant for sterilization near the intersection of Bushwick Avenue at Scholes Street.

 

This procedure was described as a “wise precaution against the spread of disease.” Bessie and Louis Grabkowitz were recognized by the NYCHA as the first official tenants. A week’s rent, of less than seven dollars, was paid and they were given keys to their new apartment. Two to five rooms in size, units featured steam heat, hot and cold water, as well as electric stoves and refrigerators. Residents praised their new homes, commenting on the appliances and abundant sunlight.

 

By the end of 1937, most apartments were occupied. A community newspaper, the Projector, began publishing on a semi-monthly basis in December 1937. In April 1938, the complex was completed. In addition to the twenty residential buildings, there were retail spaces, facing the north-south streets. The PWA reported:

 

To insure efficient, sanitary commercial services, 49 stores and shops within the project, distributing drugs, groceries, appliances, and general merchandise, have been leased to private individuals.

 

The storefronts were executed in a sleek Moderne style. To the north and south, they curved away from the street, recalling the streamlined designs of Erich Mendelsohn, as well as J. J. P. Oud’s Kiefhoek development of 1925. The prominent metal parapets were blue, matching the color of the apartment entrances. Despite their polished design, a significant number failed to attract and retain tenants. Consequently, in 1945 ten unleased spaces, near the corners of Maujer and Leonard Streets, and Scholes Street and Bushwick Avenue, were converted to apartments.

 

Tenants enjoyed a variety of useful services. At the center of the complex, on Graham Avenue stood the stripped classical-style William J. Gaynor Junior High School (1936-37), and opposite it, Building No. 11 housed a nursery school. Incorporated into the building’s south court and featuring a large play terrace, Hamlin described its glass-fronted design as “pleasant” and “delightful.” In addition, a new Moderne-style health center was built directly across from the complex, on Maujer Street.

 

Throughout the development were “social and craft rooms.” These basement spaces were originally used for classes, clubs, and meetings and many were decorated with large colorful murals. In contrast to the majority of WPA murals that were executed in style of social realism, the Williamsburg murals were non-objective. Lescaze favored “abstract and stimulating patterns” and Burgoyne Diller who headed the Federal Art Project, wrote that:

 

The decision to place abstract murals in these rooms [of the Williamsburg Housing Project] was made because the areas were intended to provide a place of relaxation and entertainment . . . The more arbitrary the color, possible when not determined by the description of objects, enables the artist to place an emphasis on its psychological potential to stimulate relaxation.

 

Of twelve murals commissioned, at least five were installed. In the early 1990s, the deteriorated canvases were restored and moved to the Brooklyn Museum of Art. They include works by the American painters Ilya Bolotowsky, Paul Kelpe, and Balcomb Greene.

  

Critical Reception

 

The opening of the Williamsburg Houses was treated as major news and writers used the event to analyze the project and express their own views about the role of public housing and the importance of modern architecture. Some of the earliest comments came from the architect Walter Gropius, former director of the Bauhaus in Germany. On a visit to New York City in April 1937 he was interviewed by H.I. Brock in the New York Times. They traveled together throughout the city, visiting both new skyscrapers and the nearly-complete Brooklyn development. Gropius was impressed and praised the unusual plan, saying that Lescaze:

 

. . . seems to have solved the problem of space and light very successfully and economically, and it has the great advantage of being spread over enough land to make it worthwhile as a sample of planned development.

 

Lewis Mumford was the first critic to publish a substantial review in February 1938. As a persistent advocate for public housing, he used the opportunity to evaluate the “outlines of the new order of building.” He praised the PWA for eschewing “overpriced building lots” and instead assembling large sites in quieter areas where streets could be closed to traffic to create gardens and playgrounds. Considerable attention was paid to the slanted orientation. Although he described it as “a bit queer,” he liked the way it separated the residences from the street and that it gave the appearance that the architects were concerned about providing tenants with ample sunlight.

 

Talbot Hamlin published the most-detailed analysis. In this review, he addressed both PWA projects, calling them “a new vision of democracy ... they are better than the most expensive apartments on Park Avenue.” Despite such praise, he expressed mixed feelings. While he found the buildings “fresh and inventive and alive,” he was disturbed by the “shockingly low” standards of construction. He also admired the “imaginative and carefully studied detailing,” but criticized the landscaping as little more than adequate. The WPA Guide to New York City, published in 1939, shared similar views, quoting Hamlin’s review, and praising the design of the individual buildings.

 

In the years since completion, the Williamsburg Houses have been a frequent subject for architectural historians. Many, starting with the Museum of Modern Art in 1939, have placed the development within the context of European modernism. In an exhibition celebrating the museum’s 10th anniversary and the opening of its new building, it was the only architectural work represented that was located in New York City. In a brief essay on housing, the curators highlighted the “triple-size superblocks,” that form an “oasis of open space,” but criticized the adjoining school building as a lost opportunity to create a “truly important work.” Photographs of the complex were also included in Forms and Functions of Twentieth-Century Architecture (1952), in sections devoted to city planning and concrete construction.

 

G. Holmes Perkins wrote in the city planning section that despite faults, the complex “may be held up as patterns for tomorrow.” Richard Pommer, in one of the most insightful discussions of Depression-era housing in the United States, criticized the angled plan, calling Lescaze a “versatile pasticheur” who used visual effects without logic or relation to function. Robert A. M. Stern shared this view, writing in 1980 that it “seems overrated.” Richard Plunz, in A History of Housing in New York City, credited the project as the start of a “brief but intense struggle” to determine the aesthetic direction government-built housing would take. All four editions of the AIA Guide to New York City have praised the Williamsburg Houses. The 1968 edition called it a “very successful solution to the problem of low-rent subsidized housing,” and in 2000 “the best public housing project ever built in New York.”

 

Subsequent History

 

Conveyed by the federal government to the NYCHA in 1957, the Williamsburg Houses continue to serve their original purpose, housing more than three thousand New Yorkers. Major alterations were first proposed in 1980 and significant work took place during 1985-91. At this time, the original casement windows were replaced with bronze-colored aluminum sash and the blue terra cotta that surrounded the entrances, with tan “Morocco” glazed brick.

 

In a remarkable turnaround, during the mid1990s, the facades were restored. What began as continued maintenance, soon evolved into a major architectural project, requiring an outside contractor and consultation with the Landmarks Preservation Commission. Under the supervision of Neil Cohen of the NYCHA, the elevations were completely reskinned, the parapets replaced, as well as the chimneys, railings, and terra-cotta banding. In addition, new canopies, doors, lighting fixtures, and signage were fabricated.

 

The approximately $70 million project was executed with great sensitivity; there was an article in the real estate section of the New York Times and the NYCHA was the recipient of the Lucy G. Moses Preservation Award from the New York Landmarks Conservancy (1999), which praised the participants for restoring the complex to “better-than-new condition.” Restoration of the storefronts, except along Bushwick Avenue, was completed in 2002.

 

The high standards set by the design of the Williamsburg Houses have rarely been matched. Innovative in terms of scale, plan, and aesthetics, it remains one of the most pleasant and architecturally-distinguished housing developments in New York City.

 

Description

 

There are twenty walk-up buildings in the 23.3acre Williamsburg complex and a total of 1,620 apartments. These buildings are numbered from 1 to 20 and each entrance has its own street address, for instance, “112 Maujer Street.” Stainless steel signs, with pin-mounted numbers and letters, identify each entrance.

 

The site extends four blocks east to west, from Bushwick Avenue to Leonard Street, and three blocks north to south, from Maujer to Scholes Streets. The principal north-south artery is Graham Avenue. Between Maujer and Scholes Streets, Ten Eyck Street and Stagg Street are closed to vehicles. These winding east-west paths are called Ten Eyck Walk and Stagg Walk. They are identified by large pin-mounted stainless steel letters attached to the building facades and are visible along the north-south streets. Throughout the complex are wall-mounted cantilevered lighting fixtures. These glass and aluminum fixtures are reproductions of the originals.

 

Three of the four blocks have a tree-shaded open space at center. At present, non-historic benches, play equipment, and basketball courts are located here. Most lawns are enclosed by low iron fences. Though not original, these fences pre-date the 1990s. Pole-mounted lighting fixtures are occasionally used to illuminate these areas.

 

All buildings materials are non-historic. Each structure is four stories tall and clad in ochre-colored brick. Exterior concrete spandrel beams are exposed at each floor. To disguise patches to the concrete, the beams are coated with a grey-colored water repellency finish. The entrances are flanked by blue structural glazed facing tiles that are approximately 12 by 12 inches. Blue mortar was used to minimize the joint lines. A canopy projects in front of each entrance (except on one side of the breezeways). Made of stainless steel, they incorporate recessed down lights. Some canopies are supported by a single pipe column. The entrance doors and sidelights are made of stainless steel.

 

Each door has a grid of four small square windows. Breezeways serve a dual purpose: reached by two sets of stairs, they provide an additional north-south passage, as well as entry to apartments. Most of the stairs are flanked by stainless steel railings. The bronze anodized aluminum windows, installed in the 1980s, are all one-over-one. Arranged as single windows or in pairs, they have concrete sills and meet the concrete spandrels above. The smaller windows light the bathrooms. Single windows and pairs are located where the facades meet, often creating triple-width openings at the cantilevered corners.

 

There are three general building configurations. All are original to the complex. They include eight buildings with “H” shaped floor plans, six with floor plans that suggest a small letter “h,” and six buildings with “T” shaped floor plans. While the “H” and “h” types alternate along Maujer and Scholes Streets (except next to the school where both are “H” shaped), the “T” shaped buildings are located only between Ten Eyck Walk and Stagg Walk.

 

The “H” buildings (Nos. 1, 6, 7, 8, 9, 14, 15, and 20) are nearly symmetrical, with almost identical north and south courtyards. At the center of each court is either a projecting center section or breezeway. The apartments are reached by four distinct entrances, each with a different tile treatment. They include: corner, wide, recessed between the door and the roof, and incorporated within a breezeway. Each entrance leads to interior stairs. The windows that light the stairs are arranged in horizontal grids of six and eight panes. Except for the recessed variant, the tiles project slightly and rise above the parapet to the stair bulkhead. The opposite side of the breezeway has no tilework. Reached by stairs, each breezeway incorporates two concrete columns and a metal door. The “h” buildings (Nos. 2, 5, 19, 13, 16 and 19) are similar to the “H” buildings, except one court is partially enclosed.

 

The “T” buildings (Nos. 3, 4, 11, 12, 17, 18) have shallow courts. The top of the ‘T” has three entrances, each framed with blue tiles. A pair of entrances are also found facing each other in one of the side courts, and occasionally on the opposite side, as well. Building No. 11, located on the east side of Graham Avenue, is unique due to the presence of a nursery school at the wider south end. To accommodate this function, the entrances were moved and the court at the south end was enclosed. The south wall of school is clad with glass blocks, many of which are original. A concrete shed, at the center of the wall, is not historic and there are plans for removal. From the south facade extends a raised play area that is enclosed by a fence. Along the east side of the building, facing Graham Avenue, a non-historic ramp with metal railings has been constructed.

 

Commercial storefronts parallel the streets and adjoin the apartment buildings in various locations. The materials are non-historic, but the new elevations closely resemble the originals. The largest storefronts are located on either side of Graham Avenue, between Maujer Street and Ten Eyck Walk (Nos. 8 and 9). Smaller retail spaces are located along Graham Avenue (near Scholes Street, No. 13); on Leonard Street (near Maujer Street, No. 1); and on Bushwick Avenue (between Maujer and Stagg Walk, No. 16). They have a stream-lined character and curve away from the street at both ends. One story tall, they have granite bases and are clad with stainless steel and metal that has a baked-on blue porcelain finish. Above the storefronts runs the blue metal parapet, crowned by a stainless steel roof rail. Lighting was added above the storefronts, and security gates, when the stores are open, roll up and are neatly hidden within the facades. Large glass blocks or plate glass are used throughout. Along Bushwick Avenue, the modifications are less sympathetic and a vertical grid of older decorative concrete block occasionally interrupts the facade.

 

- From the 2003 NYCLPC Landmark Designation Report

Restored waiting room at the Hoboken Terminal.

 

The Phoebe Snow was a premiere passenger train that departed daily from the station.

 

The Phoebe Snow, a beautiful streamlined train featuring lightweight equipment from the Budd Company, American Car & Foundry, and Pullman-Standard in a stylish livery of maroon and gray, was born in November 1949 to directly compete with the New York Central between New York City and Buffalo (although the Lackawanna’s service only went as far as its Hoboken Terminal). The personal service and charm of this train, coupled with its brilliant marketing campaign of a fictional young lady dressed in white welcoming you to either ride the train or while you were aboard with photos of her showcased throughout the train made the Phoebe Snow a “down to earth,” beloved operation.

 

Former Lackawanna Railway & Ferry Terminal, Hoboken, New Jersey. Passengers alighted from their trains and went straight through to ferries to cross the East River to Manhattan.

 

Hoboken Terminal is one of the New York Metropolitan area's major transportation hubs. The commuter-oriented intermodal facility is located on the Hudson River in Hoboken, New Jersey. It is served by nine New Jersey Transit (NJT) commuter rail lines, one Metro-North Railroad line, various NJT buses and private bus lines, the Hudson–Bergen Light Rail, the Port Authority Trans Hudson (PATH) rapid transit system and NY Waterway-operated ferries. More than 50,000 people use the terminal daily.

 

Designed by architect Kenneth M. Murchison in the Beaux-Arts style, the rail and ferry terminal buildings were constructed in 1907 by the Delaware, Lackawanna and Western Railroad. The terminal building is listed on the New Jersey Register of Historic Places[6] and the National Register of Historic Places (added in 1973 as #73001102 as the Erie-Lackawanna Railroad and Ferry Terminal). It has been undergoing extensive renovations which are projected for completion in 2011.

 

The large main waiting room, with its floral and Greek Revival motifs in tiled stained glass by Louis Comfort Tiffany set atop bands of pale cement, is generally considered one of the finest in the U.S. aesthetically. The terminal exterior extends to over four stories and has a distinguished copper-clad façade with ornate detailing. Its single-story base is constructed of rusticated Indiana limestone. A grand double stair with decorative cast-iron railings within the main waiting room provides an entrance to the upper-level ferry concourse.

 

A 225-foot (69 m) clock tower was originally built with the terminal over a century ago, but was dismantled in the early 1950s due to structural damage and deterioration from weather damage. A new clock tower, replicating the original, was constructed during the terminal's centennial year of 2007 and was fully erect that November. The replica tower has 4-foot-high (1.2 m) copper letters spelling out "LACKAWANNA", which are lit at night.

 

The original ferry slips inside the historic terminal were restored in 2011.

 

The terminal is considered a milestone in American transportation development, combining rail, ferry, streetcar (later, bus; even later, bus on one side and light-rail on the other), and pedestrian facilities in one of the most innovatively designed and engineered structures in the nation. Hoboken Terminal was also one of the first stations in the world to employ the Bush-type train shed, designed by and named for Lincoln Bush of the DL&W, which quickly became ubiquitous in station design.

 

The station is unusual for a New York City area commuter railroad terminal in that it still makes use of low-level platforms, which require passengers to make use of stairs on the train to board and disembark.

 

Until the opening of the North River Tunnels and the Hudson and Manhattan Railroad tubes around 1910 travel to Manhattan from most of the continental USA required a transfer to a ferry at the Hudson River, at the time often called the North River. The site of the terminal has been used as a landing since the colonial era, accessible via turnpike roads, and later plank roads (namely the Hackensack, the Paterson and a spur of the Newark Plank Road). John Stevens, founder of Hoboken and inventor, launched steamboat service in 1811. During the next 100 years cuts or tunnels were constructed through Bergen Hill to terminals on the west bank of the river and the Upper New York Bay. One of the Bergen Hill Tunnels under Jersey City Heights were opened in 1876 by the Morris and Essex Railroad. A parallel tunnel was added in 1908 by Delaware, Lackawanna, and Western Railroad (DL&W). Both were used by the Erie Lackawanna Railway and by New Jersey Transit today.

 

Hoboken Terminal was one of several terminals with ferry slips owned by competing railroad companies. Two are still standing (the other being the Central Railroad of New Jersey Communipaw Terminal); Hoboken is the only one still in use. Numerous streetcar lines (eventually owned and operated by the Public Service Railway), including the Hoboken Inclined Cable Railway, originated/terminated at the station until bustitution was completed on August 7, 1949. The Phoebe Snow was a premiere passenger train that departed daily from the station. In 1956, four years before its merger with the DL&W, the Erie Railroad began shifting its trains from its Jersey City terminal to Hoboken. Trains to Chicago and Buffalo were discontinued on January 5, 1970.

 

The timetable for 27 April 1952 shows 134 weekday departures including four to Buffalo, one to Binghampton and one to Scranton. None of the other trains ran beyond Washington or Branchville; 43 ran to Montclair.

 

In October 1965 (after the Erie trains had moved from Jersey City) five weekday trains ran to Midvale, three to Nyack, three to Waldwick via Newark, two to Essex Fells, two to Carlton Hill, and one to Newton. All those trains were dropped in 1966.

 

In 1967 ferry service ended; it resumed in 1989 on the South side of the historic terminal and moved back to the restored ferry slips inside the terminal December 7, 2011.

 

Hoboken Terminal, like Hoboken itself, is a place of "firsts". One year before his death, Thomas Edison was at the controls for the first departure, in 1930, of a regular-service electrified train from Hoboken Terminal to Montclair, New Jersey. The first installation of central air-conditioning in a public space was at Hoboken Terminal, as was the first non-experimental use of mobile phones.

 

The station has been used for film shoots, including Funny Girl, Three Days of the Condor, Once Upon a Time in America, The Station Agent, The Curse of the Jade Scorpion, Julie & Julia, Rod Stewart's Downtown Train video (1990) and Eric Clapton's video for his 1996 single "Change the World". The terminal was parodied in Grand Theft Auto IV as the "Liberty Ferry Terminal", although the waiting room and the train Terminal are non-existent.

A project three years in the making is finally taking shape. The red and blue streamline trains project is coming into the station.... soon.

  

(Yes, that's a GG1 sitting there. The steam loco seen above is a 4-6-4 streamlined NYC-style Hudson. Oh, and there are to be two more passenger cars when this is complete!)

"Built in 1944, the streamlined, single-storey, yellow brick Forest Insect Laboratory is located on the south side of Queen Street in Sault Ste. Marie Ontario, north of the Ontario Provincial Air Service Hangars.

 

The Forest Insect Laboratory is of heritage value because of its association with important government research activities between 1945 and 1966 and is one of the few remaining examples of Art Moderne architecture in Sault Ste. Marie.

 

The Forest Insect Laboratory was established to produce research on the control of forest insects and diseases. It was the result of a joint research agreement between the federal Department of Agriculture and the Ontario Department of Lands and Forest between 1945 and 1966. Under this agreement, Ontario built and maintained the laboratory and the federal government provided staff and equipment. The laboratory in Sault Ste. Marie pioneered research into eradicating destructive forest insects such as the Spruce Bud Worm. An insect identification centre was also established at the laboratory. This centre was the first of its kind in Canada and earned an international reputation for its work.

 

The Forest Insect Laboratory was built in 1944 to the design of Toronto architect Ernest Davidson and is one of the few remaining examples of Art Moderne architecture in Sault Ste. Marie, a style popular during the 1930’s and 1940’s. An addition, consistent with Davidson's design, was added in 1958.

 

Key character defining elements that reflect the buildings value as an example of Art Moderne architecture include:

-the overall streamlined effect, achieved through the use of rounded corners

-the flat roof and the continuous horizontal elements, such as the copper facia above the windows and the stone sill course

-the repetition of the horizontal banded features on all elevations, including those of the 1958 addition

-the asymmetrical arrangement of bays accommodating the main entranceway

-the asymmetrical arrangement of a series of large windows divided either by round columnar pilasters of limestone or by brick panels

 

Key character defining elements that reflect the buildings use by the Provincial Government include:

-the Ontario Coat of Arms, carved in Indiana limestone, which is located above the facia and entranceway set into the brickwork." - info from Historic Places.

 

"Sault Ste. Marie (/ˈsuː seɪnt məˈriː/ SOO-seint-ma-REE) is a city on the St. Marys River in Ontario, Canada, close to the Canada–US border. It is the seat of the Algoma District and the third largest city in Northern Ontario, after Sudbury and Thunder Bay.

 

The Ojibwe, the indigenous Anishinaabe inhabitants of the area, call this area Baawitigong, meaning "place of the rapids." They used this as a regional meeting place during whitefish season in the St. Mary's Rapids. (The anglicized form of this name, Bawating, is used in institutional and geographic names in the area.)

 

To the south, across the river, is the United States and the Michigan city of the same name. These two communities were one city until a new treaty after the War of 1812 established the border between Canada and the United States in this area at the St. Mary's River. In the 21st century, the two cities are joined by the International Bridge, which connects Interstate 75 on the Michigan side, and Huron Street (and former Ontario Secondary Highway 550B) on the Ontario side. Shipping traffic in the Great Lakes system bypasses the Saint Mary's Rapids via the American Soo Locks, the world's busiest canal in terms of tonnage that passes through it, while smaller recreational and tour boats use the Canadian Sault Ste. Marie Canal.

 

French colonists referred to the rapids on the river as Les Saults de Ste. Marie and the village name was derived from that. The rapids and cascades of the St. Mary's River descend more than 6 m (20 ft) from the level of Lake Superior to the level of the lower lakes. Hundreds of years ago, this slowed shipping traffic, requiring an overland portage of boats and cargo from one lake to the other. The entire name translates to "Saint Mary's Rapids" or "Saint Mary's Falls". The word sault is pronounced [so] in French, and /suː/ in the English pronunciation of the city name. Residents of the city are called Saultites.

 

Sault Ste. Marie is bordered to the east by the Rankin and Garden River First Nation reserves, and to the west by Prince Township. To the north, the city is bordered by an unincorporated portion of Algoma District, which includes the local services boards of Aweres, Batchawana Bay, Goulais and District, Peace Tree and Searchmont. The city's census agglomeration, including the townships of Laird, Prince and Macdonald, Meredith and Aberdeen Additional and the First Nations reserves of Garden River and Rankin, had a total population of 79,800 in 2011.

 

Native American settlements, mostly of Ojibwe-speaking peoples, existed here for more than 500 years. In the late 17th century, French Jesuit missionaries established a mission at the First Nations village. This was followed by development of a fur trading post and larger settlement, as traders, trappers and Native Americans were attracted to the community. It was considered one community and part of Canada until after the War of 1812 and settlement of the border between Canada and the US at the Ste. Mary's River. At that time, the US prohibited British traders from any longer operating in its territory, and the areas separated by the river began to develop as two communities, both named Sault Ste. Marie." - info from Wikipedia.

 

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Since I'm in the midst of revising my GS-6 Daylight 4460 steam locomotive model, I figured it would be prudent to make a few 1930s streamlined Southern Pacific coaches to go with it. Thus, these five passenger cars are in the process of having parts found / bought for construction... so keep your eyes peeled for them in the real world in the near future!

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

The aircraft that became known as ’The Jägermeister’ was an ambitious racing aircraft project from Germany, that took part in the US National Air Races at Reno during 1967-69.

 

The Jägermeister was built from a disassembled He 100D wreck which was found in 1962. It was found during constructions at the Heinkel plant at Bremen, buried in the ground, probably during the final days of WWII before Allied troops took over the site. The aircraft was in poor condition, but complete and still structurally intact.

The find was a minor sensation, since none of the few He 100 built were known to have survived the Second World War – but unfortunately no public funding for restoration could be achieved. In 1964 Heinkel finally sold the airframe to a private owner, the company Mast-Jägermeister SE and its respective owners, the Findel-Mast family. Mast was (and still is) famous for its herb flavored 70-proof (35%) liqueur Jägermeister, which was first brought to market in 1935.

The Wolfenbüttel-based company had been sponsoring car racing, and as an innovative PR measure it was decided to re-build the He 100D and attack the absolute air speed record!

 

What sounded like megalomania had a sound basis: The Heinkel He 100 was a German pre-World War II fighter aircraft design from Heinkel which proved to be one of the fastest fighter aircraft in the world at the time of its development. But the design was not ordered into series production, less than 20 prototypes and pre-production machines were built.

 

Re-building the aircraft proved to be difficult, though: Because there were no complete surviving examples, and since many factory documents - including all blueprints for the He 100 - were destroyed during a bombing raid, there was limited specific information about the aircraft’s design and its unique systems. The most significant feature of the original He 100 design (which was missing in the later D variant, though) was an evaporative cooling system. This installation under the wing surfaces and without a draggy radiator bath for the liquid-cooled Daimler Benz engine allowed a very clean airframe and high aerodynamic efficiency. For the re-built aircraft, this revolutionary system was to be re-constructed, as well as an original Daimler Benz DB 601 engine, tuned for high performance. The latter was expected to yield around 2.000hp instead of the original, pre-war 1.200hp, even though for just short periods.

 

Despite these challenges the project was tackled and the aircraft re-built as a civil high speed race plane. This reconstruction was done at Vereinigte Flugtechnische Werke in Hamburg, an association of many former German aircraft manufacturers, including Heinkel.

 

The resurrected He 100D was christened ‘Jägermeister’ and made its maiden flight in August 1966, bearing the civil registration ‘D-WILD’. But by then the idea of attacking the air world speed record had been dropped – despite the theoretical potential of the aircraft to break the 800 km/h (500 mph) barrier. Funds for the project from the Mast family were reduced, and eventually the finished aircraft was sold to the United States. The aircraft kept its all-orange livery, though, as Mast-Jägermeister SE was still a sponsor and hoped for PR in the USA as a potential new market.

 

In September 1967 and with the American pilot George Fransworth at the controls, ‘The Jägermeister’ made its debut at Reno’s National Championship Air Races in the Unlimited Class with the grid number ‘43’, where it raced against several much bigger warbirds. The compact and slender aircraft looked diminutive between the much larger Mustangs, Corsairs and Sea Furies - but thanks to its good aerodynamics the aircraft was very competitive, despite only half of the “Big Birds’” power, and even though extra weight had to be added in order to reach the 4.500 lb minimum empty weight limit for the Unlimited Racer class!

 

During the 1969 Reno Air Races, The Jägermeister suffered a major engine failure. While Farnsworth could keep the aircraft under control and bring it down, the landing attempt ended in disaster and the airframe had to be written off.

  

General characteristics

Crew: 1

Length: 26 ft 11 in (8.20 m)

Wingspan: 26 ft 5 1/2 in (8.08 m)

Height: 8 ft 2 in (2.5 m)

Wing area: 134 ft² (12.5 m²)

Empty weight: 4.361 lb (1.980 kg)*

Loaded weight: 5.420 lb (2.460 kg)

 

*raised to 4.500 lb when starting at the National Championship Air Races

 

Powerplant

1× modified DB 601M V12 race engine with up to 2.000hp (1.470kW), driving a five-bladed propeller

 

Performance

Maximum speed (theoretical): 800 km/h (432 kn, 496 mph) at 20.000 ft

Range: n/a

Service ceiling: 10.000 m (28.250 ft)

Rate of climb: n/a

Wing loading: 158,4 kg/m² (32,5 lb/ft²)

Power/mass: 742,4 W/kg (0.46 hp/lb)

  

The kit and its assembly

Primiraly, this fictional Unlimited Class Reno Air Racer was a contribution to an air racer group build at whatifmodelers.com, but also a nice distraction from military vehicles/aircraft. You rarely have the chance to turn a weapon into a sport item.

 

Conceptually it was clear from the start that I wanted to build something that would be plausible/realistic, still with a twist. When I wondered about a potential German type for the Reno Air Race after WWII (where a lot of US, British and recently some Soviet warbirds were used), I passed the 'typical candidates' of Bf 109 or Fw 190 and settled for the unlucky pre-war He 100.

 

Originally, the He 100 had been a rival to the Bf 109 and the He 112, and it was definitively the best aircraft of both of these. The real He 100 flew for the first time in early 1938, and it was used for record attempts (e .g. on a 100km round course, and also for the absolute speed record - and the eight prototype even reached 746,61 km/h (462,58 mph)! Anyway, the Bf 109 was preferred and the He 100 became a passed opportunity.

 

Since the He 100's DB 601 engine was reserved for the Bf 109, the He 100 was not 'allowed' into German service and serial production and only a few He 100D (slightly modified, with a new cooler and an enlarged tail fin) were built - even though the type was offered for export and license production, e .g. to Japan or the Soviet Union.

The fifteen built aircraft were primarily used for propaganda purposes, or ended up as local defense of the Heinkel plant in Rostock-Marienehe.

 

Anyway, the elegant and fast He 100D would be a perfect candidate for a fast racing aircraft. In order to make a Reno Racer from it, the kit (Special Hobby kit, the optional Lindberg kit is a joke) saw some basic modifications:

 

● Clipped wing tips, which would reduce the real life span by about 3'

● A new propeller with five blades and a bigger spinner

● New exhaust pipes

● A new, more modern and streamlined canopy

● A modern pilot figure

● Omittance of the belly radiator

  

Around the fuselage, any sign of armament disappeared. Clipped wings are a common practice on racing warbirds, as it reduces drag and G-forces in tight turns, so the wing span was reduced and new wing tips sculpted. The new propeller comes from a Griffon Spitfire: the spinner from a Pavla aftermarket kit, the propeller blades from a Special Hobby kit. In order to fit the slightly bigger diameter spinner onto the tiny He 100 fuselage I had to cut the latter by about 3mm, I wanted to use the original lines instead of adding a fat nose with putty.

The propeller was mounted with a metal axis in a styrene tube, so that it could rotate freely.

 

The cockpit was taken OOB, but a modern pilot from an Academy kit was used - this pilot wears a jumpsuit and a 'bone dome', but no oxygen mask, so it is a perfect choice for a low altitude racer.

The canopy actually is a rear canopy part from a Hobby Boss P-51, just facing rearwards. Fairings from styrene and putty had to be added to make the new piece fit, but its slender like looks much more aerodynamic than the original He 100 part, and such simple modifications are frequently done to warbird racers.

 

The rest of the kit was taken more or less OOB - I just left the water cooler under the fuselage away. The original He 100 did not have this piece either, as the DB 601 was cooled by a complicated but aerodynamically very effective evaporative cooling system - and for short race distances, falling back to this option would IMHO make sense. Actually, this has also been employed in real life Reno Racers, so it's plausible.

  

Painting and markings:

Well, a German Reno Racer was the idea, and I found a nice livery/sponsor option when I browsed through Germany's touring car history: thorough many years, the Rauch destilery sponsored race cars for their herbal liquor 'Jägermeister', and this old brand has orange as ID color, as well as promiment logos and typo. What else could you ask for?

Consequently, the He 100 racer became 'The Jägermeister; in a simple, all-orange livery, just like the respectice race cars. The original tone is, as far as I could find out, RAL 2004 (Reinorange). I used Testors 1595 (Semigloss Orange), since the tone comes pretty close. Panels were later emphasized through light dry-brushing with Humbrol 18 (Gloss Orange), which is slightly lighter, and some Humbrol 132 for depth. The intention was to make the kit not look too uniform, but not dirty or dented, as air racers are frequently kept clean and in best possible shape.

The logos, sponsor stickers and typo come from an aftermarket decal sheet for 1:43 race cars and were deliberately scattered across the aircraft, using real life racers as benchmark for details like grid number positions and orientation.

The German registration D-WILD is fictional and was created through single letters from TL Modellbau aftermarket sheets. These also provided the German flag on the tail.

The cockpit interior was painted in medium grey. The pilot received a dark brown jumpsuit with white and orange trim, as well as a white helmet.

The landing gear and the interior of the wells were painted in Aluminum (Humbrol 56), the wheel discs are black so that they'd not stand out too much.

The spinner tip was painted with glossy silver (Humbrol 11), the propeller blades were painted black from behind, light grey from the front, with yellow warning tips.

Finally, everything was sealed under a double coat of gloss acrylic varnish.

 

As the kit was built OOB and any ingredients at hand, the whole thing was puzzled together in less than three days – it actually took longer to wait for the right weather condition to take the pictures.

It is a nice and colorful whif that would have certainly looked great (if not somewhat dwarfish) among other Reno warbirds?

 

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background:

The Reno Air Races, officially known as the National Championship Air Races, is a multi-day event tailored to the aviation community that takes place each September at the Reno Stead Airport a few miles north of Reno, Nevada. Air racing is billed as "the world's fastest motor sport" and Reno is one of the few remaining venues. The event includes races in 6 classes and demonstrations by airshow pilots.

 

The probably most spectacular race class is the "Unlimited". With the exception of very few “scratch-built” aircraft, the Unlimited Class has generally been populated by stock or modified WWII fighters with the P-51 Mustangs, F-8F Bearcats and Hawker Sea Fury being flown most often, flying in speeds exceeding 500 mph.

 

One of the many P-51 custom racers was the "Gulf Mirage". It was a former military aircraft (ex s/n 44-73350), formerly operated by the Swiss Air Force and bought for around $3,500, that had undergone several successive modifications during its career in order to reduce the aircraft's drag and make it more and more competitive.

"Gulf Mirage" started its racing career in 1968 as an almost original P-51D which had been stripped off of any military equipment, under the ownership of Daniel Haskin, owner of Aeropart Service Inc. and WWII and Korea War pilot veteran. The aircraft's original name was "Mirage", with the civil registration N613C. The debut with the racing number 83 saw only a mediocre result, and, for the next season, the yellow and purple Mustang underwent its first major modifications.

These were carried out by Aero Trans Corp. DBA in Ocala, Florida, and included clipped wings and ailerons (the wing span was reduced by a total of ~5'), and the Mustang's characteristic tunnel radiator was replaced by two recessed radiators, which now occupied the former machine gun compartments in the wings. In this guide, the aircraft took part in the 1969 National Air Races, but severe cooling problems and numerous leaks in the almost untested radiator system prevented an active participation in the Unlimited Class races.

1970, "Mirage" was back, now tested and most technical bugs sorted out, and was able to achieve a respectable 4th place. In 1971, the modified Mustang was back, but during the main race a piston jammed and the aircraft could hardly be controlled - ending in a rugged belly landing after the landing gear had collapsed upon touchdown, which also caused a crack in the motor block.

 

However, the airframe was mostly intact, and Daniel Haskin started to search for sponsors for a rebuild and upgrade of "Mirage", as well as a new pilot. Through his industrial connections, he was able to win Grady Davis, vice president of Gulf Oil, who was an avid motorsport enthusiast and had founded the Gulf Oil Racing Team in 1966, for his project. In the course of 1972, "Mirage" underwent, thanks to financial and technical support, its second radical modification: the ruined Merlin engine was replaced by a bigger Rolls Royce Griffon (salvaged from an ex RAF Supermarine Spitfire PR Mk 19 reconnaissance aircraft) and its respective engine mounts, now driving a five blade propeller. The wing radiators were slightly enlarged in order to match the Griffon's increased power, and the aircraft was rebuilt with an eye to weight reduction. In the end, 600 pounds (270 kg) were removed from the airframe. The Mustang's original bubble canopy was replaced by a much smaller, streamlined fairing, and, after initial flight tests, the fin was slightly extended in order to counter the new propeller's torque and improve directional stability.

Outwardly, the new sponsorship resulted in a new name - the aircraft was now called "Gulf-Mirage" - a new, very different livery in the typical Gulf Racing colors: light blue with bright orange trim. With Peter Holm, a new pilot was found, too.

 

1973 saw the first start of the refurbished aircraft with the new starting number 63, but "Gulf-Mirage" did not finish its first race due to oil pressure problems, and any further flights were cancelled. In 1974 the pale blue Mustang was back - and this time everything worked fine and "Gulf-Mirage" was able to score a 3rd place in the Unlimited Class Gold Race. In 1975 the aircraft raced at the California National Air Races and finished in 2nd place - with a speed of 422 miles per hour (679 km/h).

After racing for several years with limited success, the aircraft was sold in 1983 to Wiley Sanders of Sanders Truck Lines, and it lost its characteristic blue and orange livery. After frequent participations in various air races, the aircraft was sold again in late 1989 and moved to the United Kingdom, not to return to the United States again until 1995. Since then, the aircraft has not made any public appearance yet.

  

General characteristics:

Crew: 1

Length: 32 ft 3 in (9.83 m)

Wingspan: 32 ft 6½ in (9.93 m)

Height: 13 ft 5 in (4.10 m; tail wheel on ground, vertical propeller blade.)

Wing area: 197.6 sq ft (18.42 m²)

Empty weight: 7,030 lb (3,194) kg

Loaded weight: 8,750 lb (3,972 kg)

Max. take-off weight: 11,450 lb (5,200 kg)

Powerplant:

1× modified Rolls Royce Griffon 65 supercharged V12,

with a race output of ~3,000 hp (2,160 kW) at low altitude

 

Performance:

Maximum speed: 473 mph (763 km/h) at 25,000 ft (7,600 m)

Stall speed: 100 mph (160 km/h)

Mach limit 0.82

  

The kit and its assembly:

This is another group build submission, this time the topic was “Racing and Competition” – and what’s more obvious than a (fictional) Reno Racer? The Mustang is a classic choice for the Unlimited Class, with many warbirds and some exotic, dedicated constructions with high-volume piston engines. I wanted something plausible, though, that perfectly blends into the class’ pedigree, so I took inspiration from different real P-51 racers and modified my build with whatever I considered plausible.

 

The basic kit is Academy’s P-51D, which I like because of its good fit, surface structure and nice details like the good cockpit and landing gear, as well as the option to build the model with lowered flaps. Just the tail wheel is IMHO a little short and needs an extension at its base for a proper stance of the model.

However, in order to turn the Mustang into a mutated Reno Racer and high speed aircraft, I gave it the following modifications – everything gathered from real-world Mustang modifications throughout the years:

 

Clipped wings, a traditional way to reduce drag and improve low altitude handling. I cut away about 1cm from each wing – and there have been more radical modifications in real life, even including the transplantation of swept wings from a Learjet! The original wing tips were retained, though, and slightly extended so that they would match with the slightly deeper, shortened wing.

 

The ventral radiator was cut away and faired over; instead, two smaller radiators were integrated into the wings where the machine gun bays had been, scratched from styrene sheet material. This was inspired by Anson Johnson’s Mustang N13Y, as flown in 1949.

 

The spacious bubble canopy was replaced by a much smaller hood. At first, I wanted to use a Spitfire or Typhoon bubble canopy, but, after some dry fitting tests, these were still too big for a radical racer. Eventually I came up with a weird combo: the cockpit glazing from an 1:100 Tamiya Il-28 bomber (which, unfortunately, turned out to be quite thick), extended rearwards with the rear section of an 1:72 Academy Fw 190 cockpit canopy/fairing. Both had to be tailored to match each other, as well as the Mustang’s different fuselage shape, and the cockpit opening itself in the fuselage had to be drastically made smaller, with the help of styrene sheet and lots of PSR.

 

The engine was upgraded from a V-1710/Merlin to a Griffon engine; this was pretty easy, thanks to the transplantation of conformal rocker cam fairings from a Special Hobby Spitfire kit: they almost match the cowling shape perfectly!

In order to create a more Griffon-esque look (using the Griffon-powered RB-51 “Red Baron” Mustang as benchmark), I made the original carburetor air intake under the propeller disappear and modified the lower cowling. A new carburetor intake was scratched from a piece of a small drop tank and placed further back, just in front of the landing gear wells. Looks very Spitfire-like now!

 

Additionally, a different propeller with more blade area was incorporated, a one-piece five-blade propeller from a Frog Spitfire Mk. XIV. The new piece was mounted onto a metal axis and a styrene tube adapter was inserted into the Mustang’s nose. Since the new propeller’s spinner came with a slight increase in diameter (overall maybe just 1mm, but it would be recognizable), the cowling was adjusted accordingly, realized through some PSR work.

 

As a visual counterbalance to the bigger nose section, the fin tip was slightly extended (maybe by 2mm) through the integration of a piece from a Special Hobby He 100.

 

Finally, the OOB pitot under the wing was replaced by a more delicate alternative made from thin wire, and no other antennae were fitted, for a sleek and clean look.

 

In the end, a lot of changes - but the overall effect is IMHO still subtle, and the whole thing looks quite plausible. And there had been more radical conversions in real life!

  

Painting and markings:

This started as a tough challenge, since I wanted a simple livery, yet something well-known from the Seventies. One option was a black “JPS Special” livery, but I eventually came across a very nice “Gulf Racing” sponsor markings set from A.C.B.-Shop, a German car model specialist. The team’s light blue and orange cars are still iconic and popular today, and why should Gulf Oil not even have sponsored a Reno Racer…?

 

Painting started with an overall coat of pastel blue from the rattle can – a generic tone from Duplicolor, which comes close to RAL 5024, but it’s less saturated. Initially I thought that the blue tone was just too pale, but things became more convincing once I added orange bands (Humbrol 18, it comes very close to the decals’ tone) to the wings and the fuselage, as well as to the nose section and the spinner. The latter received a chrome silver tip, created with Humbrol’s Polished Aluminum metallizer, which was also used on the blades’ front side. Their back side became black. Black was also used for a narrow anti-glare panel in front of the windscreen.

 

The cockpit interior became dark grey while the landing gear wells and covers were painted in zinc chromate yellow (Humbrol 81) – an ugly but deliberate contrast to the colorful exterior. The struts were painted in aluminum (Humbrol 56). As another color highlight, the wheel discs were painted in bright red – seen on a WWII Mustang, probably a personal addition of the pilot?

 

Once dry, the kit received a light black ink wash, in order to emphasize the engraved panel lines. Then orange sections received black rims, created with generic 2mm decal stripe material from TL Modellbau. The lowered flaps were a bit problematic, but the curved trim under the nose posed serious problems because the straight decal stripes had to be bent into curves. Thanks to some Gunze decal softener, this eventually worked – not perfect, but O.K. for what I wanted to achieve.

 

Next came the major sponsor markings and the race numbers. The Gulf logos came from the aforementioned decal set while the number was puzzled together with white decal circles from a Hasegawa Ki-61 (actually foundations for hinomaru with white borders!) and single numerals, which actually belong to contemporary Russian Air Force aircraft, from a Begemot sheet with generic tactical codes in various sizes.

In the scrap box I also found some sponsor decals (from a Heller 1:43 Lancia Delta), and some stencils were taken from an Academy P-47D sheet.

 

Finally, after some finishing touches, the kit was sealed with semi-gloss acrylic varnish from Italeri.

  

Well, the “Gulf-Mirage” looks simple and plausible, but in the end a lot of modifications were integrated that shift the Reno Racer away from the standard warbird. I am actually quite pleased with the outcome, because neither the technical modifications, nor the fictional/adapted Gulf Racing livery look out of place. The combo works well!

The gorgeous streamlined London Midland and Scottish (LMS) 'Princess Coronation Class' 4-6-2 pacific steam locomotive number 6229 'Duchess of Hamilton' inside the Great Hall at the National Railway Museum in York (UK).

 

6229 was designed by Chief Mechanical Engineer of the LMS William Stanier and built at Crewe Works in 1938.

 

6229 was withdrawn from service as 46229 in February 1964.

 

www.flickr.com/photos/stuart166axe/tags/6229/

 

Photograph courtesy of my regular photostream contributor David on his travels and is posted here with very kind permission.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background:

The Reno Air Races, officially known as the National Championship Air Races, is a multi-day event tailored to the aviation community that takes place each September at the Reno Stead Airport a few miles north of Reno, Nevada. Air racing is billed as "the world's fastest motor sport" and Reno is one of the few remaining venues. The event includes races in 6 classes and demonstrations by airshow pilots.

 

The probably most spectacular race class is the "Unlimited". With the exception of very few “scratch-built” aircraft, the Unlimited Class has generally been populated by stock or modified WWII fighters with the P-51 Mustangs, F-8F Bearcats and Hawker Sea Fury being flown most often, flying in speeds exceeding 500 mph.

 

One of the many P-51 custom racers was the "Gulf Mirage". It was a former military aircraft (ex s/n 44-73350), formerly operated by the Swiss Air Force and bought for around $3,500, that had undergone several successive modifications during its career in order to reduce the aircraft's drag and make it more and more competitive.

"Gulf Mirage" started its racing career in 1968 as an almost original P-51D which had been stripped off of any military equipment, under the ownership of Daniel Haskin, owner of Aeropart Service Inc. and WWII and Korea War pilot veteran. The aircraft's original name was "Mirage", with the civil registration N613C. The debut with the racing number 83 saw only a mediocre result, and, for the next season, the yellow and purple Mustang underwent its first major modifications.

These were carried out by Aero Trans Corp. DBA in Ocala, Florida, and included clipped wings and ailerons (the wing span was reduced by a total of ~5'), and the Mustang's characteristic tunnel radiator was replaced by two recessed radiators, which now occupied the former machine gun compartments in the wings. In this guide, the aircraft took part in the 1969 National Air Races, but severe cooling problems and numerous leaks in the almost untested radiator system prevented an active participation in the Unlimited Class races.

1970, "Mirage" was back, now tested and most technical bugs sorted out, and was able to achieve a respectable 4th place. In 1971, the modified Mustang was back, but during the main race a piston jammed and the aircraft could hardly be controlled - ending in a rugged belly landing after the landing gear had collapsed upon touchdown, which also caused a crack in the motor block.

 

However, the airframe was mostly intact, and Daniel Haskin started to search for sponsors for a rebuild and upgrade of "Mirage", as well as a new pilot. Through his industrial connections, he was able to win Grady Davis, vice president of Gulf Oil, who was an avid motorsport enthusiast and had founded the Gulf Oil Racing Team in 1966, for his project. In the course of 1972, "Mirage" underwent, thanks to financial and technical support, its second radical modification: the ruined Merlin engine was replaced by a bigger Rolls Royce Griffon (salvaged from an ex RAF Supermarine Spitfire PR Mk 19 reconnaissance aircraft) and its respective engine mounts, now driving a five blade propeller. The wing radiators were slightly enlarged in order to match the Griffon's increased power, and the aircraft was rebuilt with an eye to weight reduction. In the end, 600 pounds (270 kg) were removed from the airframe. The Mustang's original bubble canopy was replaced by a much smaller, streamlined fairing, and, after initial flight tests, the fin was slightly extended in order to counter the new propeller's torque and improve directional stability.

Outwardly, the new sponsorship resulted in a new name - the aircraft was now called "Gulf-Mirage" - a new, very different livery in the typical Gulf Racing colors: light blue with bright orange trim. With Peter Holm, a new pilot was found, too.

 

1973 saw the first start of the refurbished aircraft with the new starting number 63, but "Gulf-Mirage" did not finish its first race due to oil pressure problems, and any further flights were cancelled. In 1974 the pale blue Mustang was back - and this time everything worked fine and "Gulf-Mirage" was able to score a 3rd place in the Unlimited Class Gold Race. In 1975 the aircraft raced at the California National Air Races and finished in 2nd place - with a speed of 422 miles per hour (679 km/h).

After racing for several years with limited success, the aircraft was sold in 1983 to Wiley Sanders of Sanders Truck Lines, and it lost its characteristic blue and orange livery. After frequent participations in various air races, the aircraft was sold again in late 1989 and moved to the United Kingdom, not to return to the United States again until 1995. Since then, the aircraft has not made any public appearance yet.

  

General characteristics:

Crew: 1

Length: 32 ft 3 in (9.83 m)

Wingspan: 32 ft 6½ in (9.93 m)

Height: 13 ft 5 in (4.10 m; tail wheel on ground, vertical propeller blade.)

Wing area: 197.6 sq ft (18.42 m²)

Empty weight: 7,030 lb (3,194) kg

Loaded weight: 8,750 lb (3,972 kg)

Max. take-off weight: 11,450 lb (5,200 kg)

Powerplant:

1× modified Rolls Royce Griffon 65 supercharged V12,

with a race output of ~3,000 hp (2,160 kW) at low altitude

 

Performance:

Maximum speed: 473 mph (763 km/h) at 25,000 ft (7,600 m)

Stall speed: 100 mph (160 km/h)

Mach limit 0.82

  

The kit and its assembly:

This is another group build submission, this time the topic was “Racing and Competition” – and what’s more obvious than a (fictional) Reno Racer? The Mustang is a classic choice for the Unlimited Class, with many warbirds and some exotic, dedicated constructions with high-volume piston engines. I wanted something plausible, though, that perfectly blends into the class’ pedigree, so I took inspiration from different real P-51 racers and modified my build with whatever I considered plausible.

 

The basic kit is Academy’s P-51D, which I like because of its good fit, surface structure and nice details like the good cockpit and landing gear, as well as the option to build the model with lowered flaps. Just the tail wheel is IMHO a little short and needs an extension at its base for a proper stance of the model.

However, in order to turn the Mustang into a mutated Reno Racer and high speed aircraft, I gave it the following modifications – everything gathered from real-world Mustang modifications throughout the years:

 

Clipped wings, a traditional way to reduce drag and improve low altitude handling. I cut away about 1cm from each wing – and there have been more radical modifications in real life, even including the transplantation of swept wings from a Learjet! The original wing tips were retained, though, and slightly extended so that they would match with the slightly deeper, shortened wing.

 

The ventral radiator was cut away and faired over; instead, two smaller radiators were integrated into the wings where the machine gun bays had been, scratched from styrene sheet material. This was inspired by Anson Johnson’s Mustang N13Y, as flown in 1949.

 

The spacious bubble canopy was replaced by a much smaller hood. At first, I wanted to use a Spitfire or Typhoon bubble canopy, but, after some dry fitting tests, these were still too big for a radical racer. Eventually I came up with a weird combo: the cockpit glazing from an 1:100 Tamiya Il-28 bomber (which, unfortunately, turned out to be quite thick), extended rearwards with the rear section of an 1:72 Academy Fw 190 cockpit canopy/fairing. Both had to be tailored to match each other, as well as the Mustang’s different fuselage shape, and the cockpit opening itself in the fuselage had to be drastically made smaller, with the help of styrene sheet and lots of PSR.

 

The engine was upgraded from a V-1710/Merlin to a Griffon engine; this was pretty easy, thanks to the transplantation of conformal rocker cam fairings from a Special Hobby Spitfire kit: they almost match the cowling shape perfectly!

In order to create a more Griffon-esque look (using the Griffon-powered RB-51 “Red Baron” Mustang as benchmark), I made the original carburetor air intake under the propeller disappear and modified the lower cowling. A new carburetor intake was scratched from a piece of a small drop tank and placed further back, just in front of the landing gear wells. Looks very Spitfire-like now!

 

Additionally, a different propeller with more blade area was incorporated, a one-piece five-blade propeller from a Frog Spitfire Mk. XIV. The new piece was mounted onto a metal axis and a styrene tube adapter was inserted into the Mustang’s nose. Since the new propeller’s spinner came with a slight increase in diameter (overall maybe just 1mm, but it would be recognizable), the cowling was adjusted accordingly, realized through some PSR work.

 

As a visual counterbalance to the bigger nose section, the fin tip was slightly extended (maybe by 2mm) through the integration of a piece from a Special Hobby He 100.

 

Finally, the OOB pitot under the wing was replaced by a more delicate alternative made from thin wire, and no other antennae were fitted, for a sleek and clean look.

 

In the end, a lot of changes - but the overall effect is IMHO still subtle, and the whole thing looks quite plausible. And there had been more radical conversions in real life!

  

Painting and markings:

This started as a tough challenge, since I wanted a simple livery, yet something well-known from the Seventies. One option was a black “JPS Special” livery, but I eventually came across a very nice “Gulf Racing” sponsor markings set from A.C.B.-Shop, a German car model specialist. The team’s light blue and orange cars are still iconic and popular today, and why should Gulf Oil not even have sponsored a Reno Racer…?

 

Painting started with an overall coat of pastel blue from the rattle can – a generic tone from Duplicolor, which comes close to RAL 5024, but it’s less saturated. Initially I thought that the blue tone was just too pale, but things became more convincing once I added orange bands (Humbrol 18, it comes very close to the decals’ tone) to the wings and the fuselage, as well as to the nose section and the spinner. The latter received a chrome silver tip, created with Humbrol’s Polished Aluminum metallizer, which was also used on the blades’ front side. Their back side became black. Black was also used for a narrow anti-glare panel in front of the windscreen.

 

The cockpit interior became dark grey while the landing gear wells and covers were painted in zinc chromate yellow (Humbrol 81) – an ugly but deliberate contrast to the colorful exterior. The struts were painted in aluminum (Humbrol 56). As another color highlight, the wheel discs were painted in bright red – seen on a WWII Mustang, probably a personal addition of the pilot?

 

Once dry, the kit received a light black ink wash, in order to emphasize the engraved panel lines. Then orange sections received black rims, created with generic 2mm decal stripe material from TL Modellbau. The lowered flaps were a bit problematic, but the curved trim under the nose posed serious problems because the straight decal stripes had to be bent into curves. Thanks to some Gunze decal softener, this eventually worked – not perfect, but O.K. for what I wanted to achieve.

 

Next came the major sponsor markings and the race numbers. The Gulf logos came from the aforementioned decal set while the number was puzzled together with white decal circles from a Hasegawa Ki-61 (actually foundations for hinomaru with white borders!) and single numerals, which actually belong to contemporary Russian Air Force aircraft, from a Begemot sheet with generic tactical codes in various sizes.

In the scrap box I also found some sponsor decals (from a Heller 1:43 Lancia Delta), and some stencils were taken from an Academy P-47D sheet.

 

Finally, after some finishing touches, the kit was sealed with semi-gloss acrylic varnish from Italeri.

  

Well, the “Gulf-Mirage” looks simple and plausible, but in the end a lot of modifications were integrated that shift the Reno Racer away from the standard warbird. I am actually quite pleased with the outcome, because neither the technical modifications, nor the fictional/adapted Gulf Racing livery look out of place. The combo works well!

•A one-off Art Deco coupe

•The prototype for the famous “razor edge” styling

•Extensive known ownership history

  

The connoisseur is a man who knows his own tastes and has the money to feed them. He studies what he collects, learns his subject, and is then guided by his knowledge to seek out and acquire only the finest examples. It is by this careful process that the world’s great collections of art objects are assembled.

 

Sir John Leigh was a connoisseur, and the artists he patronized were Rolls-Royce and Freestone & Webb. Working together, the partnership created some of the finest, most beautiful automobiles to run the streets of England during the Classic Era, but none are more fabulous than the streamlined Coupé offered here. Its chassis was engineered to be silent. Its design is anything but.

 

Sir John, a prominent Lancashire cotton magnate and a Conservative member of Parliament for Clapham, had quite the appetite for fine conveyances. The Rolls-Royce Phantom II Continental was ideal for his tastes. It had a wheelbase of 144 inches, six inches shorter than standard, and it came equipped with stiffer springs, for better handling, and a low-ratio rear axle, for better acceleration. Of the 281 Continental chassis built, Sir John Leigh owned four of them, and like a man who has a favorite tailor, all were clothed with bespoke bodies by Freestone & Webb, the London coachbuilders with a reputation for extremely fine quality.

 

Chassis 42PY was ordered by Sir John Leigh in August of 1933, and, as any bespoke car, it took several months to complete. According to the accompanying copies of production cars supplied from Rolls-Royce, the completed machine was tested at Freestone & Webb on December 8, 1933. According to the order sheets, the car was specified “for use in the UK and Continent, mainly fast touring.” Leigh special ordered a number of features, including six-inch gauges for the speedometer and tachometer, and he also specified that the exhaust pipe be dropped three inches from its standard position. Sportiness was what he sought.

 

The body of 42PY is distinguished by its incredibly long hoodline, which is emphasized by cycle-style “helmet” fenders and a lack of traditional running boards or side-mounted spares. This visual trick allows for a relatively spacious four-passenger compartment, yet it gives the car the outward appearance of a sporty two-seater, emphasizing the power lurking under the hood. The Continental chassis was for the Rolls buyer who wanted performance; Freestone & Webb simply put an exclamation point on the idea.

 

The low, window-hugging roofline features remarkable, origami-like, crisp edges, showcasing the earliest hint of what would come to be known as “razor edge” design. Razor edge would come to define the styling of numerous closed Rolls-Royces during the 1940s and 1950s, replacing the rounded roofline that had been common into the 1930s. This is believed to be the earliest automobile with razor edge design, and as such, it is the progenitor of numerous custom bodies that were created in the next two decades.

 

The car was used by Leigh and his wife through the late 1930s, but by July 1938, it was owned by B. Sleath, Esquire of Stratford-on-Avon. It would make sense that the Leighs would have disposed of all of their Phantom II Continentals at this point, as Sir John is understood to have ordered four Phantom IIIs in one day! Like many other fine conveyances of its day, 42PY lay dormant through the war, until being seen driving through London by Anthony Gibbs around 1952. Gibbs extensively wrote about his experience with 42PY in A Passion For Cars; a copy of which is included in the file.

 

As he tells it, on the day his publishing firm went bankrupt due to a two-month printer’s strike around 1952, “I suddenly realized that without seeing it, I had been traveling behind the most beautiful car I had ever seen. It was a big black Rolls, shaped very much as my old Delage, but more beautiful still, because, instead of being a drophead, it had a marvelously square-cut top like a brougham.”

 

Gibbs stopped the driver in the middle of an intersection and struck a deal to purchase the car. He drove it daily during his ownership over the next five years, and his travels with 42PY included a tour across the continent. In a truly amusing anecdote, Gibbs relays the realization that he was being followed at a distance by two marked and three unmarked police vehicles, due to suspicion of being in league with Communist sympathizers. Upon realizing he was being followed, Gibbs decided to make a parody out of the attempted cloak and dagger by leading the procession through the streets of London at 10 mph!

 

Ironically, around 1957, he was stopped in the middle of an intersection in the very same manner that he had stopped the previous owner of the car. The gentleman who stopped him was an American, so when the deal for the purchase of the car was struck, 42PY traveled to the New World in the care of Arthur W. Seidenschwartz, of Waukesha, Wisconsin.

 

Seidenschwartz was an active member of the Rolls-Royce Owners’ Club, and he and 42PY appeared at a number of meets, as well as in several issues of The Flying Lady, which are included with the car. The October 1957 issue shows the car with a caption that describes it as “newly imported.” The car remained with Seidenschwartz for an amazing 35 years, before being passed into the hands of David Scheibel, of Toledo, Ohio, in early 1992. Scheibel quickly commissioned a concours-quality restoration, with hundreds of thousands of dollars spent at that time.

 

From there, Scheibel took the car to a number of RROC meets and concours events. A full list of accolades received is included, but among those are Best in Class and the Gwen Graham Award for Most Elegant Closed Car at the 1992 Pebble Beach Concours, as well as Best of Show Prewar at the 1993 RROC National Meeting , followed by being selected as Best of Previous Best of Show Winners at an RROC National Meeting in 1994.

 

Chassis 42PY was also shown at the 1994 Eyes on Classic Design in Grosse Pointe Shores; while there, it received high accolades, winning Automotive Design of Exceptional Merit, the Rolling Sculpture Award, the Visually Impaired Young Adults Award, and the Best in Show – Interior Award. During Scheibel’s ownership, 42PY was also featured on the cover of the 1993 “Annual Meet” issue of The Flying Lady.

 

Acquired by the current owner in 2000, this very special Rolls-Royce has been carefully maintained, and it remains in excellent condition throughout. As presented, it is further accompanied by a copy of the title, which was issued to Scheibel upon his purchase from Seidenschwartz, as well as a bespoke, large-format album that features exceptional studio photography of the car.

 

Crafted for a connoisseur with tastes ahead of his time, and as a treasured possession of knowledgeable enthusiasts ever since, Sir John Leigh’s groundbreaking Rolls-Royce is the deliciously sinister, razor-edged embodiment of silent speed.

 

[Text from RM Auctions]

 

www.rmauctions.com/lots/lot.cfm?lot_id=1063793

  

This Lego miniland-scale Rolls-Royce Phantom II Continental Sport Coupe (1933 - Freestone & Webb), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.

 

This particular vehicle was auctioned by the RM Auction house on Thursday, November 21, 2013, where it sold for $2,420,000

  

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

A monitor is a class of relatively small warship that is lightly armoured, often provided with disproportionately large guns, and originally designed for coastal warfare. The term "monitor" grew to include breastwork monitors, the largest class of riverine warcraft known as river monitors and was sometimes used as a generic term for any turreted ship. In the early 20th century, the term "monitor" included shallow-draft armoured shore bombardment vessels, particularly those of the Royal Navy: the Lord Clive-class monitors carried guns that fired the heaviest shells ever used at sea and saw action against German targets during World War I.

Two small Royal Navy monitors from the First World War, Erebus and Terror survived to fight in the Second World War. When the requirement for shore support and strong shallow-water coastal defence returned, new monitors and variants such as coastal defence ships were built. Allied monitors saw service in the Mediterranean in support of the British Eighth Army's desert and Italian campaigns, and they were part of the offshore bombardment for the Invasion of Normandy in 1944.

 

During the First World War, the Royal Navy developed several classes of ships which were designed to give close support to troops ashore through the use of naval bombardment. The size of the various monitor classes of the Royal Navy and their armaments varied greatly. The Marshal Ney class was the United Kingdom's first attempt at a monitor carrying 15 in (381 mm) guns, two of these ships were eventually built and showed a disappointing performance. The Admiralty immediately began the design of a replacement class, which incorporated lessons learned from all of the previous monitor classes commissioned during the war. Some of the main modifications were an increase in the power supply to guarantee a speed of 12 knots (22 km/h; 14 mph) and a change to the angles and lines of the hull to improve steering. Another significant change was to raise the top of the anti-torpedo bulge above the waterline and reduce its width; both changes would improve the stability and maneuverability of the ship at sea. The new design would later be named the Erebus-class, the first ship being launched in June 1916. Two ships were built and took part in WWI, but the Admiralty was not fully convinced with these ships, which also had shown major operational flaws, and requested in early 1918 three ship from another monitor class with higher firepower and better performance at sea, which led to the Trebuchet-class – even though it came too late to take part in any hostilities.

 

The class’ ships were to be the name-giving HMS Trebuchet, HMS Mangonel and HMS Ludgar. The latter would be the first and eventually become the class' only ship, because Trebuchet and Mangonel were quickly cancelled. HMS Ludgar was named after the famous, probably largest trebuchet ever made, also known as “Warwolf”, which had been created in Scotland by order of King Edward I of England, during the siege of Stirling Castle, as part of the Scottish Wars of Independence. Still seeing a need for this specialized ship for local conflicts in the British Empire around the world, Ludgar was proceeded with and laid down at Harland and Wolff's shipyard in Govan on 12 October 1918.

 

Due to the lack of wartime pressure, though, Ludgar took three years to complete and was launched on 19 June 1920. The new design was a thorough re-modelling of the earlier Royal Navy Monitors, even though most basic features and the general layout were retained - with all its benefits and flaws. Overall the ship was slightly larger than its direct predecessors, the Erebus-class monitors. Ludgar had a crew of 224, 9,090 long tons (9,185 t) loaded displacement, was 436 ft (133.1 m) long, 97 ft (29.6 m) wide with a draught of just 11 ft 8 in (3.6 m, less than a destroyer) for operations close to the coastline. Power was provided by four Babcock & Wilcox water-tube boilers, which would generate a combined 6,000 ihp (4,500 kW) that were produced by triple-expansion steam engines with two shafts. The monitor had an operational range of 2,480 nmi (4,590 km; 2,850 mi) at a speed of 12 knots.

 

HMS Ludgar’s deck armor would range from 1 in (25 mm) on the forecastle, through 2 in (51 mm) on the upper deck and 4 in (102 mm) over the magazine and belt. Unlike former British monitors, the Trebuchet Class featured two main turrets, which were each armed with two 15 in guns, what considerably improved the ship’s rate of fire. With the main 15 in guns being originally intended for use on a battleship, the armor for the turrets was substantially thicker than elsewhere in the design; with 13 in (330 mm) on the front, 11 in (279 mm) on the other sides and 5 in (127 mm) on the roof. The main guns' barbettes would be protected by 8 in (203 mm) of armor. Learning from the earlier experience with Ney, the turrets were adjusted to increase elevation to 30 degrees, which would add greater firing range. The 15 in guns had a muzzle velocity of 2,450 feet per second (750 m/s) – 2,640 feet per second (800 m/s), with supercharge. Maximum firing range was 33,550 yards (30,680 m) with a Mk XVIIB or Mk XXII streamlined shell @30° – 37,870 yards (34,630 m) @ 30°, with supercharges.

 

Just like on former British monitor ship designs, the turrets had to be raised high above the deck to allow the small draught, what raised the ship’s center of gravity and required a relatively wide hull to ensure stability.

The tall conning tower was protected by 6 in (152 mm) of armor on the sides and 2.5 in (64 mm) on the roof. The former monitors retrofitted anti-torpedo bulges were integrated into the Trebuchet-class’ hull, extending the deck’s width and giving the ship a more efficient shape, even though the short and wide hull still did not support a good performance at sea. The outer air-filled compartments under the waterline were 13 ft (4 m) wide with a 9 ft (2.7 m) wide outer section and an inner compartment 4 ft (1.2 m) wide containing an array of protective, air-filled steel tubes which would take the blast from an eventual broadside torpedo hit.

 

Ludgar conducted sea trials on 1 September 1921, during which the ship was faster than her predecessors at 16.5 knots (30 km/h; 19 mph) compared to 13 knots (24.3 km/h; 15.1 mph) for the Erebus-class monitors. However, like her ancestors, the wide and shallow hull of Ludgar made the ride rather unstable, and under practical conditions the ship’s top speed rarely exceeded 14 knots, making Ludgar only marginally faster than older monitor ships. The inherent flaws of the ship class’ design could not easily be overcome. However, Ludgar was officially commissioned on 2 September.

 

Upon entering service Ludgar was immediately deployed to the eastern Mediterranean as part of the 1st Battle Squadron of the Atlantic Fleet to mediate conflicts between Greece and the crumbling Ottoman Empire. While in the Ottoman capital Constantinople, Ludgar and the other British warships took on White émigrés fleeing the Communist Red Army.

The 1922 Washington Naval Treaty cut the battleship strength of the Royal Navy from forty ships to fifteen. The remaining active battleships were divided between the Atlantic and Mediterranean Fleets and conducted joint operations annually. Ludgar remained with the Mediterranean through 1926. On 4 October 1927, the ship was placed in reserve to effect a major refit, in which new rangefinders and searchlights were installed and the ship's original secondary armament, eight 4 inch naval guns against enemy destroyers and torpedo boats, was replaced be anti-aircraft guns of the same caliber.

On 15 May 1929 the refit was finished, and the ship was assigned to the 1st Battle Squadron of the Mediterranean Fleet. The squadron also consisted of Royal Sovereign, her sisters Resolution and Revenge, and Queen Elizabeth, and based in Malta. The only changes made during the Thirties were augmentations to Ludgar’s anti-aircraft batteries.

 

Fleet exercises in 1934 were carried out in the Bay of Biscay, followed by a fleet regatta in Navarino Bay off Greece. In 1935, the ship returned to Britain for the Jubilee Fleet Review for King George V. In August 1935, Ludgar was transferred to the 2nd Battle Squadron of the Atlantic Fleet, where she served as a training vessel until 2 June 1937, when she was again placed in reserve for a major overhaul. This lasted until 18 February 1938, after which she returned to the 2nd Battle Squadron.

 

In early 1939, the Admiralty considered plans to send Ludgar to Asia to counter Japanese expansionism. They reasoned that the then established "Singapore strategy", which called for a fleet to be formed in Britain to be dispatched to confront a Japanese attack was inherently risky due to the long delay. They argued that a dedicated battle fleet would allow for faster reaction. The plan was abandoned, however. In the last weeks of August 1939, the Royal Navy began to concentrate in wartime bases as tensions with Germany rose.

At the outset of war in September 1939, Ludgar was assigned to the 2nd Battle Squadron of the Home Fleet but remained at Plymouth for a short refit. In May 1940, painted in an overall light grey livery, she moved to the Mediterranean Fleet. There she was based in Alexandria, together with the battleships Warspite, Malaya, and Valiant, under the command of Admiral Andrew Cunningham.

 

In mid-August 1940, while steaming in the Red Sea, Royal Sovereign was attacked by the Italian submarine Galileo Ferraris and lightly damaged. Later that month, she returned to Alexandria for repairs and she received false white wakes at front and stern to simulate speed and confuse enemies. At the same time the conning tower was painted in a very light grey to make it less conspicuous when the ship was lurking behind the horizon. These were combined with periodic maintenance and the stay at dock lasted until November 1940.

Ludgar then moved to North Africa where she supported Operation Compass, the British assault against the Italian Tenth Army in Libya. The monitor shelled Italian positions at Maktila in Egypt on the night of 8 December, as part of the Battle of Sidi Barrani, before coming under the command of Captain Hector Waller's Inshore Squadron off Libya on 13 December. During the successful advance by the Western Desert Force Terror bombarded Italian land forces and fortifications, amongst others the fortified port of Bardia in eastern Libya on 16 December. After the Bardia bombardment concern was raised about the condition of the 15 in gun barrels which had been fitted, having been previously used, in 1939. The barrels were inspected by Vice Admiral Sir Andrew Cunningham and the order was given for Ludgar to reduce the amount of cordite used when firing the main guns, in an attempt to extend the weapons' useful life. In a further attempt to conserve the monitor's main guns, her duties were changed to concentrate on providing anti-aircraft cover for the rest of the squadron and to ferry supplies from Alexandria. The ship also served as a water carrier for the advancing British and Commonwealth army.

 

Along with the flotilla leader Stuart, the gunboat Gnat and the destroyers Vampire and Voyager, Ludgar supported the assault on Tobruk on 21 January 1941 by the 6th Australian Division with the port being secured on 22nd. By this point the monitor's main gun barrels had each fired over 600 rounds of ammunition and the rifling had been worn away. While the main guns could still be fired, the shots would rarely land accurately and frequently exploded in mid-air. Ludgar was now relegated solely to the role of a mobile anti-aircraft platform and her light anti-aircraft armament was supplemented by two triple two-pounder anti-aircraft guns, mounted in armored turrets in front of the bridge and on a small platform at stern. To make room for the latter the original locations of the ship's lifeboats was moved from stern to the main deck behind the funnel, and a large crane was added there to put them afloat. The crane was also able to deploy a light reconnaissance float plane - and for a short period in early 1941 Ludgar carried a Fairey Seafox biplane, despite having neither catapult nor hangar. However, since the aircraft was exposed to the elements all the time and quite vulnerable, it soon disappeared.

At this phase the ship started sporting an unofficial additional camouflage which consisted of irregular small patches in sand, brown and khaki over her basic grey livery, apparently applied in situ with whatever suitable paint the crew could get their hands on, probably both British Army and even captured Italian paints. The objective was to better hide the ship against the African coastline when supporting land troops.

 

In March 1941, Ludgar was involved in Operation Lustre, the Allied reinforcement of Greece. The turn of fortune against the Allies in April required the evacuation of most of these forces, Operation Demon. On 21 April Ludgar was in Nafplio and accounted for the evacuation of 301 people, including 160 nurses. Following this, the ship became involved with the Tobruk Ferry Service, and made 11 runs to the besieged city of Tobruk before engine problems forced her withdrawal in July. Ludgar sailed again to Alexandria for repairs, which lasted from September 1941 to March 1942.

 

Ludgar – now re-fitted with new main gun barrels and two more Oerlikon AA machine cannon to the original complement of eight – was then assigned to Force H in the Mediterranean. Operation Torch saw British and American forces landed in Morocco and Algeria under the British First Army. Force H was reinforced to cover these landings and Ludgar provided heavy artillery support for the land-based ground troops. The end of the campaign in North Africa saw an interdiction effort on a vast scale, the aim was to cut Tunisia completely off from Axis support. It succeeded and 250,000 men surrendered to the 18th Army Group; a number equal to those who surrendered at Stalingrad. Force H again provided heavy cover for this operation.

 

Two further sets of landings were covered by Force H against interference from the Italian fleet. Operation Husky in July 1943 saw the invasion and conquest of Sicily, and Operation Avalanche saw an attack on the Italian mainland at Salerno. Following the Allied landings on Italy itself, the Italian government surrendered. The Italian fleet mostly escaped German capture and much of it formed the Italian Co-Belligerent Navy. With the surrender of the Italian fleet, the need for heavy units in the Mediterranean disappeared. The battleships and aircraft carriers of Force H dispersed to the Home and Eastern Fleets and the command was disbanded. Naval operations in the Mediterranean from now on would be conducted by lighter units, and Ludgar was commanded back to Great Britain, where she was put into reserve at Devonport, enhancing the station’s anti-aircraft defense.

At Devonport Ludgar was repainted in a dark grey-green Admiralty scheme and on 2 June 1944 she left Devonport again, joining Bombardment Force D of the Eastern Task Force of the Normandy invasion fleet off Plymouth two days later. At 0500 on 6 June 1944 Ludgar was the first ship to open fire, bombarding the German battery at Villerville from a position 26,000 yards offshore, to support landings by the British 3rd Division on Sword Beach. She continued bombardment duties on 7 June, but after firing over 300 shells she had to rearm and crossed the Channel to Portsmouth. She returned to Normandy on 9 June to support American forces at Utah Beach and then, on 11 June, she took up position off Gold Beach to support the British 69th Infantry Brigade near Cristot.

On 12 June she returned to Portsmouth to rearm, but her guns were worn out again, so she was ordered to sail to Rosyth via the Straits of Dover. She evaded German coastal batteries, partly due to effective radar jamming, but hit a mine 28 miles off Harwich early on 13 June. The explosion ripped her bow apart, leaving a gaping leak, and she sank within just a couple of minutes. Only 57 men of Ludgar’s crew survived.

  

General characteristics:

Displacement: 9,090 long tons (9,185 t)

Length: 436 ft (133.1 m) overall

Beam: 97 ft (29.6 m)

Draught: 11 ft 8 in (3.6 m)

Complement: 224

 

Propulsion:

4× Babcock & Wilcox water-tube boilers, generating a combined 6,000 ihp (4,500 kW) via

triple-expansion steam engines with two shafts

 

Performance:

Top speed: 16.5 knots (30 km/h; 19 mph)

Range: 2,480 nmi (4,590 km; 2,850 mi)

 

Armament:

2× twin BL 15-inch L42 Mk I naval guns

8 × single QF 4-inch Mk V naval guns

2 × triple two-pounder (40 mm) anti-aircraft guns

10x single Oerlikon 20mm (0.787 in) anti-aircraft machine cannon

  

The kit and its assembly:

This was another submission for the "Gunships" group build at whatifmodellers.com in late 2021 - and what would such a competition be without a literal "gunship" in the form of a monitor ship? I had wanted to scratch such a vehicle for a while, and the GB was a good motivation to tackle this messy project.

 

The idea was to build a post-WWI monitor for the Royal Navy. From WWI, several such ships had survived and they were kept in reserve and service into WWII, some even survived this war after extensive use. However, the layout of a typical monitor ship, with low draft, a relatively wide hull and heavy armament for land bombardments, is rather special and finding a suitable basis for this project was not easy - and I also did not want to spend a fortune just in donor parts.

Then I recently came across Hobby Boss 1:700 kit of the USS Arizona (in its 1941 guise, w/o the hull barbettes), and after some comparison with real British monitors I found my starting point - and it was dirty cheap. Righteously, though, because the model is rather primitive, comparable with the simple Matchbox 1:700 waterline ships. There are also some dubious if not cringeworthy solutions. For instance, in order to provide the superstructures with open windows, the seams between the single levels run right through the windows! WTF? These seams can hardly be hidden, it's really an awkward solution. Another freak detail: the portholes on the lower hull protrude like pockmarks, in real life they'd the 1 1/2 ft (50 cm) deep?! Some details like the cranes on the upper deck are also very "robust", it is, in the end, IMHO not a good model. But it was just the starting for me for "something else"...

 

Modifications started with shortening the hull. Effectively, I cut out more then 3 1/2 in from the body, which is an integral part with side walls and main deck, basically any straight hull section disappeared, leaving only the bow and stern section. My hope was that these could be simple glued together for a new, wide hull - but this did not work without problems, because the rear section turned out to be a bit wider than the front. What to do...? I eventually solved this problem through wedge-shaped cuts inside of the integral railings. With some force, lots of glue and a stiffening structure inside the new hull could be completed.

 

Next the original turret bases had to disappear. as well as two of the four anchors and their respective chains on the foredeck. I retained as much of the original superstructure as possible, as it looked quite plausible even for a shorter ship, but since the complete hull basis for it had been gone, some adaptations had to be made. The main level was shortened a little and I had to scratch the substruction from styrene sheet, so that it would match with the stepped new hull.

At the same time I had to defined where the main turret(s) would be placed - and I settled for two, because the deck space was sufficient and the ship's size would make them appear plausible. A huge problem were the turret mounts, though - since a monitor has only little draught, the hull is not very deep. Major gun turrets are quite tall things, on battleships only the turret itself with the guns can be normally seen. But on a monitor they stand really tall above the waterline, and their foundation needs a cover. I eventually found a very nice solution in the form of 1:72 jet engine exhausts from Intech F-16s - I has a pair of these featureless parts in the spares box, and with some trimming and the transplantation of the original turtret mounts the result looks really good.

 

In the meantime the hull-mounted gun barbettes of USS Arizona had to disappear, together with the pockmarks on the hull. A messy affair with several PSR rounds. Furthermore, I added a bottom to the waterline hull, cut from 0.5 mm styrene sheet, and added plaster and lead beads as ballast.

 

Most of the superstructure, up to the conning tower, were mostly taken OOB. I just gave the ship a more delicate crane and re-arranged the lifeboats, and added two small superstructures to the rear deck as AA-stations, behind the rear tower - the space had been empty, because USS Arizona carried aircraft catapults there.

 

For the armament I used the OOB main turrets, but only used two of the three barrels (blanking of the opening in the middle). The 4 in guns were taken OOB to their original positions, the lighter 20 mm AA guns were partly placed in the original positions, too, and four of them went to a small platform at stern. For even more firepower I added two small turrets with three two-pounder AA guns, one on the rear deck and another right in front of the bridge.

  

Painting and markings:

The ship might look odd in its fragmented multi-colored camouflage - but this scheme was inspired by the real HMS Terror, an monitor that operated in early 1941 on the coast of North Africa and carried a similar makeshift camouflage. This consisted of a multitude of sand and brown tones, applied over an overall light grey base. I mimicked this design, initially giving the ship at first a uniform livery in 507b (Humbrol 64), together with an unpainted but weathered wooden deck (Humbrol 187 plus a washing with sepia ink) and horizontal metal surfaces either in a dark grey (507a, Humbrol 106) or covered with a red-brown coat of Corticene (Humbrol 62). As a personal detail I gave the ship false bow and stern waves on the hull in white. Another personal mod is the light grey (507c, Humbrol 147) conning tower - as mentioned in the background, I found that this light grey would be most useful when the ship itself was hidden behind the horizon from view, and only the conning tower would be directly visible in front of a hazy naval background.

On top of the grey hull I added several other paints, including khaki drab (FS 34087 from Modelmaster), red brown (FS 30118, Humbrol 118), khaki drill (Humbrol 72), mid stone (Humbrol 225) and light stone (Humbrol 121).

 

The model received an overall washing with dark grey and some rust stains with various brown and red shades of simple watercolors. The waterline was created with long and thin black 1.5 mm decal stripes, a very convenient and tidy solution. Finally, all parts were sealed with matt acrylic varnish, and after the final assembly I also added some rigging to the main mast with heated black sprue material.

  

Phew, this was quite a challenge, the result looks good overall, but I am not happy with the finish. Ships are not my strength and you see the Hobby Boss kit's flaws and weaknesses everywhere. Then add massive bodywork, and thing look even more shaggy (*sigh*). Nevertheless, the model looks like a typical monitor ship, and when I take the rather crappy USS Arizona kit as basis/benchmark, the "new" HMS Ludgar is not a bad achievement. It's surely not a crisp model, but the impression is good and this is what counts most to me.

BENS, a classic Streamlined Moderne restaurant in Montreal, visited by many celebrities, is being sold and is in grave danger of being demolished. Sam Benatar, president of SIDEV, the developer, has declared, "It isn't worth anything." It is very ironic that there is now an exhibition at the Montreal Museum of Fine Arts on Streamlined Design, www.mmfa.qc.ca/en/expositions/exposition_43.html with carefully preserved examples of Streamlined Modern design but a beautiful public example of it is about to be destroyed. Surely, BENS is as important to preserve as the objects in the museum exhibit.

 

BENS was designed by Charles Davis Goodman (1894-1962), who was one of the architects of a number of well-known Montreal buildings, including the now demolished, and much mourned, 1948 Laurentien Hotel, the 1931 Jewish General Hospital and the 1948 Pascal Hardware. Goodman, a McGill University graduate, was elected a fellow of the Royal Architectural Institute of Canada in 1955.

 

See artdecomontreal.com/pages/news.htm for full alert.

 

If you care, please send an email to these people in any language and forward this alert to anyone else who cares about good and historic design.

  

Josette Laurin, Josette.Laurin@mcc.gouv.qc.ca

Yves Laliberté, yves.laliberte@mcc.gouv.qc.ca

Caroline Dubuc, cdubuc@ville.montreal.qc.ca

Karim Boulos, karimboulos@ville.montreal.qc.ca

Benoit Labonté, benoitlabonte@ville.montreal.qc.ca

Melanie Faucher, melaniefaucher@ville.montreal.qc.ca

Catherine Sevigny, catherinesevigny@ville.montreal.qc.ca

Gerald Tremblay, geraldtremblay@ville.montreal.qc.ca

Lucienne Robillard, Robillard.L@parl.gc.ca

Beverley Oda, Oda.B@parl.gc.ca

SIDEV, info@sidev.com

Jacques Chagnon, jchagnon@assnat.qc.ca

Christine St-Pierre, ministre@mcccf.gouv.qc.ca

 

See artdecomontreal.com/pages/news.htm for full alert.

 

If you care, please send an email to these people in any language and forward this alert to anyone else who cares about good and historic design.

  

Josette Laurin, Josette.Laurin@mcc.gouv.qc.ca

Yves Laliberté, yves.laliberte@mcc.gouv.qc.ca

Caroline Dubuc, cdubuc@ville.montreal.qc.ca

Karim Boulos, karimboulos@ville.montreal.qc.ca

Benoit Labonté, benoitlabonte@ville.montreal.qc.ca

Melanie Faucher, melaniefaucher@ville.montreal.qc.ca

Catherine Sevigny, catherinesevigny@ville.montreal.qc.ca

Gerald Tremblay, geraldtremblay@ville.montreal.qc.ca

Lucienne Robillard, Robillard.L@parl.gc.ca

Beverley Oda, Oda.B@parl.gc.ca

SIDEV, info@sidev.com

Jacques Chagnon, jchagnon@assnat.qc.ca

Christine St-Pierre, ministre@mcccf.gouv.qc.ca

 

Here's an assortment of various bakelite and catalin objects from my Art Deco collection, circa 1930's. Both bakelite and catalin were types of new age plastics used during the Machine Age era. Catalin has a different manufacturing process than bakelite and could be dyed bright colors and marbled.

 

Shown here is a Taylor Stormguide in the center, which measures temperature and humidity. The bright red and butterscotch catalin combination is very rare.

 

The half-round, bright red vanity box with brass knobs and feet is also very rare and was manufactured by the General Electric Company. This box is typically seen with a black base and a variety of colored lids (such as the similar green lidded vanity box in the back).

 

The black, circular box in the back has a very streamlined appearance. It was made by the American Insulator Corporation, and used either as a cigarette or jewelry box.

 

The arching, molded green and black bakelite box in the front is American made and most likely manufactured by Lady Lillian as a nail polish holder.

 

The marbled, caramel catalin box in the back is an ingenious cigarette holder. It has a chrome stepped lid and base, and the interior mechanism holds and displays cigarettes in a fanned design when open.

   

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

The origins of the Saab 19 date back before the onset of WWII. At that time, the Swedish Air Force (Flygvapnet) was equipped with largely obsolete Gloster Gladiator (J 8) biplane fighters. To augment this, Sweden ordered 120 Seversky P-35 (J 9) and 144 P-66 Vanguard (J 10) aircraft from the United States.

However, on 18 June 1940, United States declared an embargo against exporting weapons to any nation other than Great Britain. As the result, the Flygvapnet suddenly faced a shortage of modern fighters.

Just in time, Saab had presented to the Ministry on Sep 4th 1939 a fighter that had been meant to replace the obsolete Gloster Gladiators. The aircraft carried the internal development code ‘L-12’ and had been designed in collaboration with US engineers in Sweden, who were to aid with license production of Northrop 8-A 1s and NA-16-4 Ms.

 

The L-12 looked very much like the contemporary, Japanese Mitsubishi A6M “Zero” (which had been seriously considered by the Flygvapnet, but import or license production turned out to be impractical). The aircraft was a very modern all-metal construction with fabric covered control surfaces. The L-12 was to be powered by a 1.065 hp Bristol Taurus and maximum speed was calculated to be 605 km/h. Its relatively heavy armament consisted of four wing-mounted 13.2mm guns and two synchronized 8 mm MGs on top of the engine, firing through the propeller arc.

 

The design was quickly approved and the new aircraft was to be introduced to the Flygvapnet as the ‘J 19A’. Production aircraft would be outfitted with a more powerful Bristol Taurus II, giving 1.400 hp with 100-octane fuel and pushing the top speed to 630 km/h. But the war’s outbreak spoiled these plans literally over night: the L-12 had to be stopped, as the intended engine and any import or license production option vanished. This was a severe problem, since production of the first airframes had already started at Trollhättan, in the same underground factory where the B 3 bomber (license-built Ju-86K of German origin with radial engines) was built. About 30 pre-production airframes were finished or under construction, but lacked an appropriate engine!

 

With only half of a promising aircraft at hand and the dire need for fighters, the Swedish government decided to outfit these initial aircraft with non-license-built Wright R-2600-6 Twin Cyclone radial engines with an output of 1.600 hp (1.194 kW). The fuselage-mounted machine guns were deleted, due to the lack of internal space and in order to save weight, and the modified machines were designated J 19B. This was only a stop-gap solution, though. P&W Twin Wasp engines had also been considered as a potential power plant (resulting in the J 19C), but the US didn't want to sell any engines at that time to Sweden and this variant never materialized.

 

An initial batch of 24 J 19B aircraft was eventually completed and delivered to F3 at Lidköping in late 1940, while airframe construction was kept up at small pace, but only seven more J 19Bs were completed with R-2600 engines. Uncompleted airframes were left in stock for spares, and further production was halted in mid 1941, since the engine question could not be solved sufficiently.

 

The J 19B proved to be a controversial aircraft, not only because of its dubious engine. While it was basically a fast and agile aircraft, the heavy R-2600 engine was rather cumbersome and not suited for a fighter. Handling in the air as well as on the ground was demanding, due to the concentration of weight at the aircraft’s front – several J 19Bs tipped over while landing. As a consequence, the J 19B simply could not live up to its potential and was no real match for modern and more agile fighters like the Bf 109 or the Spitfire – but the Swedish equipment shortages kept the machines in service throughout WWII, even though primarily in a ground attack role and fulfilling other secondary line duties.

 

Towards the end of WWII, the J 19’s intended role was eventually filled by the indigenous FFVS J 22 fighter – ironically, it was outfitted with a license-built P&W Twin Wasp. By that time, about forty J 19 airframes were more or less complete, just lacking a proper engine. Mounting the now available Twin Wasp to these had seriously been considered, but the aircraft’s performance would not suffice anymore. Consequently, a thorough modification program for the J 19 was started in late 1944, leading to the post-WWII J 19D.

 

The J 19D was another stopgap program, though, and the economical attempt to bring the fighter’s performance on par with contemporary fighters like the American P-47 or the P-51; both of these types had been tested and considered for procurement, and the P-51 was eventually ordered in early 1945 from US surplus stock as the J 26, even though deliveries were postponed until 1946. The J 19D was to bridge the time until the J 26 was fully introduced, and would later serve in the attack role.

 

Since the J 19 airframe could not take a large and powerful radial engine like the R-2800, Saab made a radical move and decided to integrate an inline engine – despite the need for some fundamental changes to the airframe. The choice fell on the Packard V-1650, the same engine that also powered the J 26 fighters, so that procurement, maintenance and logistics could be streamlined.

 

Integration of the very different engine necessitated a complete re-design of the engine attachment architecture, a new, streamlined cowling and the addition of a relatively large radiator bath under the fuselage. A new four blade propeller was introduced and enlarged, all-metal stabilizers were integrated, too, in order to compensate the changed aerodynamics induced by the new radiator arrangement (which made the aircraft pitch down in level flight). A new bubble canopy with minimal framing was introduced, too, offering a much better all-round field of view for the pilot.

 

Even though the inline engine had a lower nominal output than the J 19B’s heavy R-2600, performance of the J 19D improved appreciably and it became, thanks to improved aerodynamics, a better overall weight distribution, more agile – finally living up to its original design plans, even though its performance was still not outstanding.

Armament was upgraded, too: the inner pair of wing-mounted 13.2mm machine guns was replaced by 20mm Bofors cannons (license-built Hispano-Suiza HS.404), considerably improving weapon range and firepower. Under the outer wings, hardpoints could take a pair of 250 kg bombs, 300 l drop tanks or up to eight 50 kg bombs and/or unguided missiles.

 

After WWII, the J 19B survivors were kept in service and soldiered on until 1948, when all remaining aircraft were scrapped. Wright was also paid the overdue license fees for the originally unlicensed engines. The J 19D served together with the J 22 and J 26 fighters until 1950, when all of these piston engine fighters were gradually replaced by de Havilland Vampires (J 28) and the indigenous J 29 Tunnan, which rapidly brought the Swedish Air Force into the jet age. The last four J 19Ds, used as liaison aircraft at F 8 at Barkarby, were retired in 1954.

  

Saab J 19A General characteristics

Crew: One

Length: 9.68 m (31 ft 8 1/2 in)

Wingspan: 12.0 m (39 ft 4 in)

Height: 3.05 m (10 ft 0 in)

Wing area: 22.44 m² (241.5 ft²)

Empty weight: 1,630 kg (3,590 lb)

Loaded weight: 2,390 kg (5,264 lb)

Aspect ratio: 6.4

 

Powerplant:

1× Packard V-1650-7 liquid-cooled V-12, with a 2 stage intercooled supercharger,

rated at 1,490 hp (1,111 kW) at 3,000 rpm

 

Performance

Maximum speed: 640 km/h (397 mph) at 4.550 m (14.930 ft)

Cruise speed: 380 km/h (236 mph)

Landing speed: 140 km/h (90 mph)

Range: 1.500 km (930 mi; 810 nmi)

Service ceiling: 11.800 m (38.650 ft)

Rate of climb: 15.9 m/s (3,125 ft/min)

 

Armament:

2× 20 mm Bofors (Hispano-Suiza HS.404) cannons with 120 RPG

2× 13.2 mm (0.53 in) M/39A (Browning M2) machine guns with 500 RPG

Underwing hardpoints for an ordnance of 500 kg (1.100 lb), including a pair of 300 l drop tanks,

two 250 kg (550 lb) bombs, eight 50 kg (110 lb) bombs or eight unguided missiles.

  

The kit and its assembly

This is actually the second J 19 I have converted from a Hobby Boss A6M – and this build addresses two questions that probably nobody ever asked:

● What would a Mitsubishi Zero with an inline engine look like?

● Could the fictional Swedish aircraft have survived WWII, and in which form?

 

The Saab J 19 never saw the hardware stage, but it was a real life project that was eventually killed through the outbreak of WWII and the lack of engines mentioned in the background above. Anyway, it was/is called the “Swedish Zero” because it resembled the Japanese fighter VERY much – wing shape, fuselage, tail section, even the cockpit glazing!

 

This build/conversion was very similar to my first one, which ended up as a J 19B with an R-2600 engine from a Matchbox B-25 Mitchell bomber. However, due to the later time frame and different donor parts at hand things took a different route – this time, the key idea was the modernization/update of a rather outdated airframe, and the old J 19B model was the benchmark.

 

Again, much of the literally massive(!) Hobby Boss Zero was taken OOB, but changes this time included:

● The nose/cowling from a Matchbox P-51D

● A modified ventral radiator bath from a HUMA Me 309

● New horizontal stabilizers from a Griffon Spitfire

● A new propeller (Pavla resin parts for a post WWII P-51D/K with uncuffed blades)

● OOB main landing gear was inverted, so that the wheel discs face inwards

● New main wheels from an AZ Models Spitfire, IIRC

● New retractable tail wheel, from a Bf 109 G; the arrestor hook opening was closed

● A vacu canopy for a late mark Hawker Typhoon, plus some interior details behind the seat

 

In order to adapt the Mustang’s nose to the slender and circular A6M fuselage, a wedge plug was inserted between the fuselage halves from the Matchbox kit and a styrene tube added inside as a propeller mount. The latter, a resin piece, received a long metal axis and can spin freely.

 

For the new bubble canopy the cockpit opening and the basic interior was retained, but the dorsal section around the cockpit re-sculpted with putty. Took some time, but worked well and everything blends surprisingly well into each other – even though the aircraft, with its new engine, somehow reminds me of a Hawker Hurricane now? From certain angles the whole thing also has a P-39 touch? Weird!

  

Painting and markings

Again the dire question: how to paint this one? Once more I did not want to use a typical olive green/light blue Swedish livery, even though it would have been the most plausible option. I eventually settled for a pure natural metal finish, inspired by the post-WWII J 26/Mustangs in Swedish service, which furthermore carried only minimal tactical markings: roundels in six positions, the Flygflottilj number on the fuselage and a colored letter code on the tail, plus a spinner in the same color. Very simple and plain, but with more and more Swedish whiffs piling up, I am looking for as much camouflage/livery diversity as possible, and an NMF machine was still missing. :D

 

All interior surfaces were painted in RLM 02, and for the NMF I used my personal “recipe” with a basis of Revell 99 (Aluminum, acrylics) plus a black ink wash, followed by panel post-shading with Humbrol “Polished Aluminum” Metallizer (27002), rubbing/polishing with a soft cotton cloth and finally and a light rubbing treatment with grinded graphite for weathering effects and a worn, metallic shine of the surfaces.

 

Around the exhaust stubs, slightly darker panels were painted with Revell Acyrlics 91 (Iron) and ModelMaster Magnesium Metallizer. A black anti glare panel was added in front of the cockpit (P-51 style). The green propeller boss was painted with a mix of Humbrol 3 and 131 – emulating the color of the green code letter on the fin as good as possible.

 

The decals were puzzled together; the bright roundels belong to a Swedish Fiat CR.42, from a Sky Models sheet. The “8” on the fuselage comes from an early WWII Swedish Gloster Gladiator code (SBS Models), while the green “E” is an RAF code letter from a Heller Supermarine Spitfire Mk. XVI – actually a total print color disaster, since this deep green is supposed to be Sky!? For better contrast on the Aluminum the letter was placed on a white background, created from single decal strips (generic material from TL Modellbau).

 

After some soot stains around the exhaust stubs and the fuselage flanks with more graphite, as well as around the gun muzzles, the kit was sealed with a 4:1 mix of gloss and matt acrylic varnish, only the anti glare panel and the propeller blades became 100% matt. Some more matt varnish was also dabbed over the soot stains.

  

So, another J 19, and the “Zero with an inline engine” looks pretty strange – not as streamlined as other late WWII designs like the P-51 or Griffon-powered Spitfires, yet with a modern touch. The NMF livery looks a bit boring, but the unusual green code (used by liason J 26s from F 8 and some rare 4th or 5th divisions) is a nice contrast to the bright and large Swedish roundels, underlining the pretty elegant lines of the converted Zero!

(nonworking) neon sign and streamlined vitrolite storefront. a 1930s addition to a 1880s building. 2nd st. Hastings, Nebraska.

 

One of the best storefronts I have personally seen.

+++ 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 was a very modern and lightweight all-metal construction, its profile resembled the Hawker Hurricane but its overall dimensions were smaller, the Swallow appeared more squatted and streamlined, almost like a race version. The wings were much thinner, too, and their shape reminded of the Supermarine Spitfire’s famous oval wings. Unlike the Spitfire, though, the Swallow’s main landing gear had a wide track and retracted inwards. 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 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 frontline 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; as a benchmark, 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.

 

Being a very agile aircraft, the Swallow Mk. II became the basis for a photo reconnaissance version, too, the PR Mk. II. This was not a true production variant of the Swallow, though, but rather the result of field modifications in the MTO where fast recce aircraft were direly needed. The RAF Service Depot at Heliopolis in Egypt had already converted several Hurricanes Is for photo reconnaissance duties in January 1941, and a similar equipment update was developed for the nimble Swallow, too, despite its limited range.

The first five Swallow Mk. IIs were modified in March 1941 and the machines were outfitted with a pair of F24 cameras with 8-inch focal length lenses in the lower rear fuselage, outwardly recognizable through a shallow ventral fairing behind the cooler. Some PR Mk. IIs (but not all of them) were also outfitted with dust filters, esp. those machines that were slated to operate in Palestine and Northern Africa. For night operations some PR Mk. IIs also received flame dampers (which markedly reduced the engine’s performance and were quickly removed again) or simpler glare shields above the exhaust stacks.

 

The machines quickly proved their worth in both day and night reconnaissance missions in the Eastern Mediterranean theatre of operations, and more field conversions followed. Alternative camera arrangements were developed, too, including one vertical and two oblique F24s with 14-inch focal length lenses. More Swallow Mk. IIs were converted in this manner in Malta during April (six) and in Egypt in October 1941 (four). A final batch, thought to be of 12 aircraft, was converted in late 1941.

 

Even though the Swallow PR Mk. IIs were initially left armed with the wing-mounted light machine guns, many aircraft lost their guns partly or even fully to lighten them further. Most had their wing tips clipped for better maneuverability at low altitudes, a feature of the Swallow Mk. III fighter that had been introduced in August 1941. Some machines furthermore received light makeshift underwing shackles for photoflash bombs, enabling night photography. These were not standardized, though, a typical field workshop donor were the light bomb shackles from the Westland Lysander army co-operation and liaison aircraft, which the Swallow PR Mk. IIs partly replaced. These allowed a total of four 20 lb (9.1 kg) bombs or flash bombs for night photography to be carried and released individually through retrofitted manual cable pulls. The mechanisms were simply mounted into the former machine gun bays and the pilot could release the flash bombs sequentially through the former gun trigger.

 

For duties closer to the front lines a small number of Swallow PR Mk. IIs were further converted to Tactical Reconnaissance (Tac R) aircraft. An additional radio was fitted for liaison with ground forces who were better placed to direct the aircraft, and the number of cameras was reduced to compensate for the gain of weight.

 

However, by 1942, the Swallow had already reached its limited development potential and became quickly outdated in almost any aspect. Since the Supermarine Spitfire had in the meantime been successfully introduced 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: 381 mph (614 km/h) at 20,000 ft (6,096 m)

Range: 360 miles (580 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:

No internal guns

2x underwing hardpoints for a pair of 19-pound (8.6 kg) photoflash bombs each

  

The kit and its assembly:

This is the third incarnation of a whif that I have built some time ago for a Battle of Britain Group Build at whatifmodellers.com. This fictional machine – or better: its 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 with RAF markings. It was IIRC a nameless design, so that I created my own for it: the Avro 675 Swallow, inspired by the bird's slender wing and body that somehow resonates in the clean B.35 lines (at least for me).

 

I’ve already built two of these fictional aircraft as early WWII RAF fighters, but there was still potential in the basic concept – primarily as a canvas for the unusual livery (see below). The basis became, once again, the vintage KP Models 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, though, especially on the exterior, you get a mix of engraved and raised surface details. But the kit’s fit is mediocre at best, 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, beyond the Merlin engine, propeller and (underwing) radiator, and pitot, were taken in this case from a Revell 1:72 Spitfire Mk. V. Inside of the cockpit I used more Spitfire donor material, namely the floor, dashboard, seat and rear bulkhead/headrest with a radio set. 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. 

 

New landing gear wells had to be carved out of the massive lower wing halves. Since the original drawn Swallow profile did not indicate the intended landing gear design, I went for an inward-retracting solution, using parts from the Spitfire and just mounted them these “the other way around”. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide, but it’s acceptable and I stuck to this solution as I already used it on former Swallow builds, too. But now I know why the real-world B.135 prototype had its landing gear retract outwards – it makes more sense from an engineering point of view.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape are a very good match, even though there’s a small gap to bridge – but that’s nothing that could not be mended with a bit of 2C putty and PSR. A styrene tube inside of the donor engine holds a styrene pipe for a long metal axis with the propeller, so that it can spin freely. The large chin fairing for a dust filter is a transplant from an AZ Models Spitfire, it helps hide the ventral engine/fuselage intersection and adds another small twist to this fictional aircraft. From the same source came the exhaust stacks, Revell’s OOB parts are less detailed and featured sinkholes, even though the latter would later hardly be recognizable.

With the dust filter the Swallow now looks really ugly in a side view, it has something P-40E-ish about it, and the additional bulge behind the radiator for the cameras (certainly not the best place, but the PR Hurricanes had a similar arrangement) does not make the profile any better!

 

Further small mods include anti-glare panels above and behind the exhaust stacks (simple 0.5 mm styrene sheet), and the small underwing flash bombs were scratched from styrene profile material.

  

Painting and markings:

The livery was the true motivation to build this model, as a canvas to try it out: Long ago I came across a very interesting Hawker Hurricane camouflage in a dedicated book about this type, a simple all-over scheme in black blue, also known as “Bosun Blue”, together with very limited and toned-down markings. As far as I could find out this livery was used in the Middle East and later in India, too, for nighttime photo reconnaissance missions.

 

However, defining this color turned out to be very difficult, as I could not find any color picture of such an aircraft. I guess that it was not a defined color, but rather an individual field mix with whatever was at hand – probably roundel blue and black? Therefore, I mixed the obscure Bosun Blue myself, even though this took some sorting out and experiments. I initially considered pure Humbrol 104 (Oxford Blue) but found it to have a rather reddish hue. FS 35042 (USN Sea Blue) was rejected, too, because it was too greenish, even with some black added. I eventually settled on a mix of Humbrol 15 (Midnight Blue) and 33 (Flat Black), which appeared as a good compromise and also as a very dark variant of a cyan-heavy blue tone.

The cockpit interior and the inside of the landing gear wells were painted with RAF cockpit green (Humbrol 78), while the landing gear struts became aluminum (Humbrol 56) – pretty standard.

 

The decals/markings were puzzled together from various sources. Using a real-world RAF 208 Squadron MTO night photography Hurricane as benchmark I gave the aircraft a light blue individual code letter (decals taken from the Revell Spitfire Mk. V's OOB sheet, which has the letters’ Sky tone totally misprinted!). The spinner was painted in the same tone, mixed individually to match the letter.

Markings were apparently generally very limited on these machines, e. g. they did not carry any unit letter code) and the Type B roundels only on fuselage and upper wings. The latter were improvised, with wacky Type B-esque roundels from a Falkland era Sea Harrier placed on top of RAF roundels with yellow edges. The sources I consulted were uncertain whether these rings were yellow, white, or maybe even some other light color, but I went for yellow as it was the RAF's markings standard. Looks odd, but also pretty cool, esp. with the Type B roundels’ slightly off proportions.

The subdued two-color fin flash on the dark aircraft was/is unusual, too, and following real world practice on some PR Hurricanes I added a thin white edge for better contrast. The small black serial on a white background, as if it was left over from an overpainted former fuselage band, came from a Latvian Sopwith Camel (PrintScale sheet); in RAF service N8187 would have been used during the pre-WWII period and therefore a plausible match for the Swallow, even though it belongs to a batch of RN aircraft (It would probably have been a Fairey Fulmar)..

 

No black ink washing was applied to the model due to its dark overall color, just the cockpit and the landing gear were treated this way. Some light weathering and panel shading was done all over, and soot stains as well as light grey “heat-bleached” areas due to lean combustion around the exhausts were painted onto the fuselage. Finally, everything was sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) were added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during former builds 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 the all-blue livery suits the aircraft well! . At first glance, the Swallow looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. You might also think that it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match, it’s a quite subtle creation.

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines – even though the dust filter and the camera fairing strongly ruin the side profile. Maybe another one will join my RAF Swallow collection someday, this time in Irish Air Corps colors.

 

The logo has been significantly streamlined over the years. In the first version, which was based on a 16th-century Norse woodcut, the Starbucks siren was topless and had a fully visible double fish tail. The image also had a rough visual texture and has been likened to a melusine. In the second version, which was used from 1987–92, her breasts were covered by her flowing hair, but her navel was still visible, and the fish tail was cropped slightly. In the current version, used since 1992, her navel and breasts are not visible at all, and only vestiges remain of the fish tails. ~ Wikipedia

 

View On Black

+++ 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 was a very modern and lightweight all-metal construction, its profile resembled the Hawker Hurricane but its overall dimensions were smaller, the Swallow appeared more squatted and streamlined, almost like a race version. The wings were much thinner, too, and their shape reminded of the Supermarine Spitfire’s famous oval wings. Unlike the Spitfire, though, the Swallow’s main landing gear had a wide track and retracted inwards. 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 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 frontline 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; as a benchmark, 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.

 

Being a very agile aircraft, the Swallow Mk. II became the basis for a photo reconnaissance version, too, the PR Mk. II. This was not a true production variant of the Swallow, though, but rather the result of field modifications in the MTO where fast recce aircraft were direly needed. The RAF Service Depot at Heliopolis in Egypt had already converted several Hurricanes Is for photo reconnaissance duties in January 1941, and a similar equipment update was developed for the nimble Swallow, too, despite its limited range.

The first five Swallow Mk. IIs were modified in March 1941 and the machines were outfitted with a pair of F24 cameras with 8-inch focal length lenses in the lower rear fuselage, outwardly recognizable through a shallow ventral fairing behind the cooler. Some PR Mk. IIs (but not all of them) were also outfitted with dust filters, esp. those machines that were slated to operate in Palestine and Northern Africa. For night operations some PR Mk. IIs also received flame dampers (which markedly reduced the engine’s performance and were quickly removed again) or simpler glare shields above the exhaust stacks.

 

The machines quickly proved their worth in both day and night reconnaissance missions in the Eastern Mediterranean theatre of operations, and more field conversions followed. Alternative camera arrangements were developed, too, including one vertical and two oblique F24s with 14-inch focal length lenses. More Swallow Mk. IIs were converted in this manner in Malta during April (six) and in Egypt in October 1941 (four). A final batch, thought to be of 12 aircraft, was converted in late 1941.

 

Even though the Swallow PR Mk. IIs were initially left armed with the wing-mounted light machine guns, many aircraft lost their guns partly or even fully to lighten them further. Most had their wing tips clipped for better maneuverability at low altitudes, a feature of the Swallow Mk. III fighter that had been introduced in August 1941. Some machines furthermore received light makeshift underwing shackles for photoflash bombs, enabling night photography. These were not standardized, though, a typical field workshop donor were the light bomb shackles from the Westland Lysander army co-operation and liaison aircraft, which the Swallow PR Mk. IIs partly replaced. These allowed a total of four 20 lb (9.1 kg) bombs or flash bombs for night photography to be carried and released individually through retrofitted manual cable pulls. The mechanisms were simply mounted into the former machine gun bays and the pilot could release the flash bombs sequentially through the former gun trigger.

 

For duties closer to the front lines a small number of Swallow PR Mk. IIs were further converted to Tactical Reconnaissance (Tac R) aircraft. An additional radio was fitted for liaison with ground forces who were better placed to direct the aircraft, and the number of cameras was reduced to compensate for the gain of weight.

 

However, by 1942, the Swallow had already reached its limited development potential and became quickly outdated in almost any aspect. Since the Supermarine Spitfire had in the meantime been successfully introduced 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: 381 mph (614 km/h) at 20,000 ft (6,096 m)

Range: 360 miles (580 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:

No internal guns

2x underwing hardpoints for a pair of 19-pound (8.6 kg) photoflash bombs each

  

The kit and its assembly:

This is the third incarnation of a whif that I have built some time ago for a Battle of Britain Group Build at whatifmodellers.com. This fictional machine – or better: its 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 with RAF markings. It was IIRC a nameless design, so that I created my own for it: the Avro 675 Swallow, inspired by the bird's slender wing and body that somehow resonates in the clean B.35 lines (at least for me).

 

I’ve already built two of these fictional aircraft as early WWII RAF fighters, but there was still potential in the basic concept – primarily as a canvas for the unusual livery (see below). The basis became, once again, the vintage KP Models 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, though, especially on the exterior, you get a mix of engraved and raised surface details. But the kit’s fit is mediocre at best, 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, beyond the Merlin engine, propeller and (underwing) radiator, and pitot, were taken in this case from a Revell 1:72 Spitfire Mk. V. Inside of the cockpit I used more Spitfire donor material, namely the floor, dashboard, seat and rear bulkhead/headrest with a radio set. 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. 

 

New landing gear wells had to be carved out of the massive lower wing halves. Since the original drawn Swallow profile did not indicate the intended landing gear design, I went for an inward-retracting solution, using parts from the Spitfire and just mounted them these “the other way around”. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide, but it’s acceptable and I stuck to this solution as I already used it on former Swallow builds, too. But now I know why the real-world B.135 prototype had its landing gear retract outwards – it makes more sense from an engineering point of view.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape are a very good match, even though there’s a small gap to bridge – but that’s nothing that could not be mended with a bit of 2C putty and PSR. A styrene tube inside of the donor engine holds a styrene pipe for a long metal axis with the propeller, so that it can spin freely. The large chin fairing for a dust filter is a transplant from an AZ Models Spitfire, it helps hide the ventral engine/fuselage intersection and adds another small twist to this fictional aircraft. From the same source came the exhaust stacks, Revell’s OOB parts are less detailed and featured sinkholes, even though the latter would later hardly be recognizable.

With the dust filter the Swallow now looks really ugly in a side view, it has something P-40E-ish about it, and the additional bulge behind the radiator for the cameras (certainly not the best place, but the PR Hurricanes had a similar arrangement) does not make the profile any better!

 

Further small mods include anti-glare panels above and behind the exhaust stacks (simple 0.5 mm styrene sheet), and the small underwing flash bombs were scratched from styrene profile material.

  

Painting and markings:

The livery was the true motivation to build this model, as a canvas to try it out: Long ago I came across a very interesting Hawker Hurricane camouflage in a dedicated book about this type, a simple all-over scheme in black blue, also known as “Bosun Blue”, together with very limited and toned-down markings. As far as I could find out this livery was used in the Middle East and later in India, too, for nighttime photo reconnaissance missions.

 

However, defining this color turned out to be very difficult, as I could not find any color picture of such an aircraft. I guess that it was not a defined color, but rather an individual field mix with whatever was at hand – probably roundel blue and black? Therefore, I mixed the obscure Bosun Blue myself, even though this took some sorting out and experiments. I initially considered pure Humbrol 104 (Oxford Blue) but found it to have a rather reddish hue. FS 35042 (USN Sea Blue) was rejected, too, because it was too greenish, even with some black added. I eventually settled on a mix of Humbrol 15 (Midnight Blue) and 33 (Flat Black), which appeared as a good compromise and also as a very dark variant of a cyan-heavy blue tone.

The cockpit interior and the inside of the landing gear wells were painted with RAF cockpit green (Humbrol 78), while the landing gear struts became aluminum (Humbrol 56) – pretty standard.

 

The decals/markings were puzzled together from various sources. Using a real-world RAF 208 Squadron MTO night photography Hurricane as benchmark I gave the aircraft a light blue individual code letter (decals taken from the Revell Spitfire Mk. V's OOB sheet, which has the letters’ Sky tone totally misprinted!). The spinner was painted in the same tone, mixed individually to match the letter.

Markings were apparently generally very limited on these machines, e. g. they did not carry any unit letter code) and the Type B roundels only on fuselage and upper wings. The latter were improvised, with wacky Type B-esque roundels from a Falkland era Sea Harrier placed on top of RAF roundels with yellow edges. The sources I consulted were uncertain whether these rings were yellow, white, or maybe even some other light color, but I went for yellow as it was the RAF's markings standard. Looks odd, but also pretty cool, esp. with the Type B roundels’ slightly off proportions.

The subdued two-color fin flash on the dark aircraft was/is unusual, too, and following real world practice on some PR Hurricanes I added a thin white edge for better contrast. The small black serial on a white background, as if it was left over from an overpainted former fuselage band, came from a Latvian Sopwith Camel (PrintScale sheet); in RAF service N8187 would have been used during the pre-WWII period and therefore a plausible match for the Swallow, even though it belongs to a batch of RN aircraft (It would probably have been a Fairey Fulmar)..

 

No black ink washing was applied to the model due to its dark overall color, just the cockpit and the landing gear were treated this way. Some light weathering and panel shading was done all over, and soot stains as well as light grey “heat-bleached” areas due to lean combustion around the exhausts were painted onto the fuselage. Finally, everything was sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) were added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during former builds 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 the all-blue livery suits the aircraft well! . At first glance, the Swallow looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. You might also think that it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match, it’s a quite subtle creation.

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines – even though the dust filter and the camera fairing strongly ruin the side profile. Maybe another one will join my RAF Swallow collection someday, this time in Irish Air Corps colors.

 

This Dreyfuss-style streamlined 4-6-4 steam loco is numbered 5448 and is mostly modeled after a real, long-scrapped New York Central engine.

 

The tender really should say the railroad's full name of New York Central instead of its initials, but I don't want to shell out the money for all those 1 x 1 tiles, so I'm using fewer 2x2 tiles instead to spell out NYC, as it's much cheaper that way!

 

Note: As some of you might be able to guess, this loco was inspired by pictures of Anthony Sava's original streamlined Hudson locomotive from 2007... no instructions were used to build this engine. See it here: www.flickr.com/photos/savatheaggie/1338258406/in/album-72...

+++ 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 was a very modern and lightweight all-metal construction, its profile resembled the Hawker Hurricane but its overall dimensions were smaller, the Swallow appeared more squatted and streamlined, almost like a race version. The wings were much thinner, too, and their shape reminded of the Supermarine Spitfire’s famous oval wings. Unlike the Spitfire, though, the Swallow’s main landing gear had a wide track and retracted inwards. 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 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 frontline 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; as a benchmark, 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.

 

Being a very agile aircraft, the Swallow Mk. II became the basis for a photo reconnaissance version, too, the PR Mk. II. This was not a true production variant of the Swallow, though, but rather the result of field modifications in the MTO where fast recce aircraft were direly needed. The RAF Service Depot at Heliopolis in Egypt had already converted several Hurricanes Is for photo reconnaissance duties in January 1941, and a similar equipment update was developed for the nimble Swallow, too, despite its limited range.

The first five Swallow Mk. IIs were modified in March 1941 and the machines were outfitted with a pair of F24 cameras with 8-inch focal length lenses in the lower rear fuselage, outwardly recognizable through a shallow ventral fairing behind the cooler. Some PR Mk. IIs (but not all of them) were also outfitted with dust filters, esp. those machines that were slated to operate in Palestine and Northern Africa. For night operations some PR Mk. IIs also received flame dampers (which markedly reduced the engine’s performance and were quickly removed again) or simpler glare shields above the exhaust stacks.

 

The machines quickly proved their worth in both day and night reconnaissance missions in the Eastern Mediterranean theatre of operations, and more field conversions followed. Alternative camera arrangements were developed, too, including one vertical and two oblique F24s with 14-inch focal length lenses. More Swallow Mk. IIs were converted in this manner in Malta during April (six) and in Egypt in October 1941 (four). A final batch, thought to be of 12 aircraft, was converted in late 1941.

 

Even though the Swallow PR Mk. IIs were initially left armed with the wing-mounted light machine guns, many aircraft lost their guns partly or even fully to lighten them further. Most had their wing tips clipped for better maneuverability at low altitudes, a feature of the Swallow Mk. III fighter that had been introduced in August 1941. Some machines furthermore received light makeshift underwing shackles for photoflash bombs, enabling night photography. These were not standardized, though, a typical field workshop donor were the light bomb shackles from the Westland Lysander army co-operation and liaison aircraft, which the Swallow PR Mk. IIs partly replaced. These allowed a total of four 20 lb (9.1 kg) bombs or flash bombs for night photography to be carried and released individually through retrofitted manual cable pulls. The mechanisms were simply mounted into the former machine gun bays and the pilot could release the flash bombs sequentially through the former gun trigger.

 

For duties closer to the front lines a small number of Swallow PR Mk. IIs were further converted to Tactical Reconnaissance (Tac R) aircraft. An additional radio was fitted for liaison with ground forces who were better placed to direct the aircraft, and the number of cameras was reduced to compensate for the gain of weight.

 

However, by 1942, the Swallow had already reached its limited development potential and became quickly outdated in almost any aspect. Since the Supermarine Spitfire had in the meantime been successfully introduced 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: 381 mph (614 km/h) at 20,000 ft (6,096 m)

Range: 360 miles (580 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:

No internal guns

2x underwing hardpoints for a pair of 19-pound (8.6 kg) photoflash bombs each

  

The kit and its assembly:

This is the third incarnation of a whif that I have built some time ago for a Battle of Britain Group Build at whatifmodellers.com. This fictional machine – or better: its 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 with RAF markings. It was IIRC a nameless design, so that I created my own for it: the Avro 675 Swallow, inspired by the bird's slender wing and body that somehow resonates in the clean B.35 lines (at least for me).

 

I’ve already built two of these fictional aircraft as early WWII RAF fighters, but there was still potential in the basic concept – primarily as a canvas for the unusual livery (see below). The basis became, once again, the vintage KP Models 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, though, especially on the exterior, you get a mix of engraved and raised surface details. But the kit’s fit is mediocre at best, 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, beyond the Merlin engine, propeller and (underwing) radiator, and pitot, were taken in this case from a Revell 1:72 Spitfire Mk. V. Inside of the cockpit I used more Spitfire donor material, namely the floor, dashboard, seat and rear bulkhead/headrest with a radio set. 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. 

 

New landing gear wells had to be carved out of the massive lower wing halves. Since the original drawn Swallow profile did not indicate the intended landing gear design, I went for an inward-retracting solution, using parts from the Spitfire and just mounted them these “the other way around”. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide, but it’s acceptable and I stuck to this solution as I already used it on former Swallow builds, too. But now I know why the real-world B.135 prototype had its landing gear retract outwards – it makes more sense from an engineering point of view.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape are a very good match, even though there’s a small gap to bridge – but that’s nothing that could not be mended with a bit of 2C putty and PSR. A styrene tube inside of the donor engine holds a styrene pipe for a long metal axis with the propeller, so that it can spin freely. The large chin fairing for a dust filter is a transplant from an AZ Models Spitfire, it helps hide the ventral engine/fuselage intersection and adds another small twist to this fictional aircraft. From the same source came the exhaust stacks, Revell’s OOB parts are less detailed and featured sinkholes, even though the latter would later hardly be recognizable.

With the dust filter the Swallow now looks really ugly in a side view, it has something P-40E-ish about it, and the additional bulge behind the radiator for the cameras (certainly not the best place, but the PR Hurricanes had a similar arrangement) does not make the profile any better!

 

Further small mods include anti-glare panels above and behind the exhaust stacks (simple 0.5 mm styrene sheet), and the small underwing flash bombs were scratched from styrene profile material.

  

Painting and markings:

The livery was the true motivation to build this model, as a canvas to try it out: Long ago I came across a very interesting Hawker Hurricane camouflage in a dedicated book about this type, a simple all-over scheme in black blue, also known as “Bosun Blue”, together with very limited and toned-down markings. As far as I could find out this livery was used in the Middle East and later in India, too, for nighttime photo reconnaissance missions.

 

However, defining this color turned out to be very difficult, as I could not find any color picture of such an aircraft. I guess that it was not a defined color, but rather an individual field mix with whatever was at hand – probably roundel blue and black? Therefore, I mixed the obscure Bosun Blue myself, even though this took some sorting out and experiments. I initially considered pure Humbrol 104 (Oxford Blue) but found it to have a rather reddish hue. FS 35042 (USN Sea Blue) was rejected, too, because it was too greenish, even with some black added. I eventually settled on a mix of Humbrol 15 (Midnight Blue) and 33 (Flat Black), which appeared as a good compromise and also as a very dark variant of a cyan-heavy blue tone.

The cockpit interior and the inside of the landing gear wells were painted with RAF cockpit green (Humbrol 78), while the landing gear struts became aluminum (Humbrol 56) – pretty standard.

 

The decals/markings were puzzled together from various sources. Using a real-world RAF 208 Squadron MTO night photography Hurricane as benchmark I gave the aircraft a light blue individual code letter (decals taken from the Revell Spitfire Mk. V's OOB sheet, which has the letters’ Sky tone totally misprinted!). The spinner was painted in the same tone, mixed individually to match the letter.

Markings were apparently generally very limited on these machines, e. g. they did not carry any unit letter code) and the Type B roundels only on fuselage and upper wings. The latter were improvised, with wacky Type B-esque roundels from a Falkland era Sea Harrier placed on top of RAF roundels with yellow edges. The sources I consulted were uncertain whether these rings were yellow, white, or maybe even some other light color, but I went for yellow as it was the RAF's markings standard. Looks odd, but also pretty cool, esp. with the Type B roundels’ slightly off proportions.

The subdued two-color fin flash on the dark aircraft was/is unusual, too, and following real world practice on some PR Hurricanes I added a thin white edge for better contrast. The small black serial on a white background, as if it was left over from an overpainted former fuselage band, came from a Latvian Sopwith Camel (PrintScale sheet); in RAF service N8187 would have been used during the pre-WWII period and therefore a plausible match for the Swallow, even though it belongs to a batch of RN aircraft (It would probably have been a Fairey Fulmar)..

 

No black ink washing was applied to the model due to its dark overall color, just the cockpit and the landing gear were treated this way. Some light weathering and panel shading was done all over, and soot stains as well as light grey “heat-bleached” areas due to lean combustion around the exhausts were painted onto the fuselage. Finally, everything was sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) were added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during former builds 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 the all-blue livery suits the aircraft well! . At first glance, the Swallow looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. You might also think that it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match, it’s a quite subtle creation.

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines – even though the dust filter and the camera fairing strongly ruin the side profile. Maybe another one will join my RAF Swallow collection someday, this time in Irish Air Corps colors.

 

A styling experiment carried out in conjunction between Rover and Alvis known as 'Gladys', this car took the chassis of the Rover P6 and placed onto it a streamlined body which resembled contemporary Fiat's and Alfa Romeos. The looks of this car can be owed to David Bache, and its intention was to replace the Alvis 3-Litre following the purchase of the company by Rover in 1965. All plans for this were sadly scrapped however in 1968 when Rover was bought and merged to form British Leyland.

Streamlined Mothership.

Streamlined Diesel Railcar No. 4.

In 1933 the GWR introduced the first of what was to become a very successful series of railcars, which survived in regular use into the 1960s, when they were replaced with the new British Rail "first generation" type diesel multiple units.

Vehicle no W4W, builder Park Royal, 1934.

 

www.steam-museum.org.uk

Sick silver R8 parked in Carlton.

Youtube channel - www.youtube.com/MelbourneExoticSpota

A streamlined vessel drifts in an infinite expanse, evoking a sense of wonder as it navigates the quietude of the sky, challenging the constraints of earthbound existence.

The Peugeot 402 is a large family car produced by Peugeot in Sochaux, France, from 1935 to 1942. It was unveiled at the Paris Motor Show in 1935,[3] replacing the Peugeot 401.

 

The Peugeot 402 stands out in automotive design by its very streamlined, but also still somewhat Art Deco styling, strongly influenced by that of the 1934 Chrysler Airflow; especially the low-volume 402 Darl'mat coupé is viewed as distinctly Art Deco. Peugeot's 402 took it two steps further, however: the grille has an even more pronounced rake, but most importantly, Peugeot brought the headlights to the center, behind the grille, and in front of the radiator, sixteen years before the 1951 General Motors Le Sabre concept car. Contrary to Chrysler's Airflow, the Peugeot 402 wasn't a sales flop.

 

Furthermore, the 402 Éclipse décapotable, made in collaboration with Pourtout coachbuilders, was one of the world's first convertible hard-top production cars.

  

Peugeot 402 Eclipse décapotable (1938)

Despite being introduced some thirteen years after the demise of the 402 during World War II, the Peugeot 403 was clearly intended as the 402's successor, given that after the war, the market first needed cheaper and smaller, more frugal cars. Peugeot saw this and thus focused on their 202 and 203 models during the late 1940s and early 1950s.

 

A conservative innovator

The 402 was characterized by what became during the 1930s a "typically Peugeot" front end, with headlights well set back behind the grille. The style of the body was directly modelled on the Chrysler Airflow, which was seen as revolutionary at the time. Peugeot bought one or two Airflows to disassemble and study. Thus, the 402 received the soubriquet: 'Fuseau Sochaux' in France – this loosely translates to the "spindle or axis of Peugeot's main plant in Sochaux". Streamlining was a feature of French car design in the 1930s, as can be seen by comparing the Citroën Traction Avant or some of the Bugattis of the period, such as the Type 57, with predecessor models such as the Citroën Rosalie. Peugeot was among the first volume manufacturers to apply streamlining to the extent exemplified by the 402 and smaller Peugeot 202 in a volume market vehicle range.

 

Recessed ‘safety’ door handles also highlighted the car's innovative aspirations, as did the advertised automatic transmission and diesel engine options. Comparisons with Citroën's large family car of the time, the Traction Avant were and remain unavoidable. In that comparison, the basic underpinnings of the 402 remained conventional, based on known technologies, and presumably were relatively inexpensive to develop and manufacture: it was Citroën that in 1934 had been forced to sell its car manufacturing business to its largest creditor, Michelin. Sticking to a traditional separate chassis configuration also made it much easier for Peugeot's 402 to be offered with a wide range of different bodies.

 

Peugeot invested significantly in developing the car and in tooling up to produce it. The 402 was a popular seller by the standards of the time. It was also a large car and at the high end of the car market, and in advertising material of the time Peugeot evidently thought it important to highlight one or two tempting standard features, such as the twin windscreen wipers powered by their own electric motor, the semaphore-style trafficators, the clock included on the instrument panel, the twin sun visors and the switchable reserve section of the fuel tank.[4]

 

The range

 

Some sedans were converted into pickup truck and van versions, during and after the war.

Even by 1930s standards, the range of different 402 models based on the single chassis was large, comprising at one stage, by one estimate, sixteen different body types, from expensive steel bodied convertible cars, to family saloons which were among the most spacious produced in France.

 

An aspect of the all-steel car bodies that became mainstream among the larger European automakers in the 1930s was the very high initial cost associated with the heavy steel presses and the dies needed to cut and stamp pressed steel sheeting into the panels that, when welded together, would form a sufficiently rigid and robust car body. The wide range of car bodies was therefore carefully devised to maximise the sharing of panels between the different body variants listed.

 

Three chassis lengths

There were three different standard wheelbases of 2,880 mm (113 in) (short), 3,150 mm (124 in) (“normal”) and 3,300 mm (130 in) (long).

 

2,880 mm (113 in) “short” wheelbase (1937-1940)

When the 402 was launched in 1935 there were just two chassis lengths, but for 1937 the manufacturer added a third “short” chassis, inherited from the short-lived Peugeot 302. The short chassis was used from 1937 for the Peugeot 402 Légère (“light-bodied”).[5]

 

The Peugeot 402 Légère was first exhibited in July 1937 and was featured on the Peugeot stand in place of the Peugeot 302 at that year's October Motor Show.[5] The car combined the 2,880 mm (113 in) wheelbase and body from the Peugeot 302 with the larger 1991 cc engine of the Peugeot 402.[5] Whereas the 302 had produced a maximum output of 43 hp (32 kW) at 4,000 rpm, maximum power for the 402 Légère was listed as 55 hp (41 kW) still at 4,000 rpm.[5] That translated into a difference in listed top speed between 105 km/h (65 mph) and 125 km/h (78 mph).[6] The simple formula of combining one existing bodyshell with another engine that was also already in production enabled the manufacturer to produce an attractively brisk car with minimum investment. Approximately 11,000 were produced.

 

From the outside the 402 Légère was initially virtually indistinguishable from the 302.[5] However, on the front grille, whereas on the 302 the hole for the starting handle corresponded with the central digit in the car's name spelled out on bottom part of the front grille, on the 402 Légère it was necessary to position the hole for the starting handle below the “402” name badge because the engine itself was positioned very slightly higher.[5] An improvement over the 302 available to the driver, albeit only at extra cost, was the option of a Cotal pre-selector transmission, which could be controlled using a selector lever positioned directly behind the steering wheel, so that the driver needed to move his/her hand only minimally in order to change gear.[5]

 

Although sources tend to refer to the 402 Légère as a single model, there was nevertheless a choice of at least three bodies.[7]

 

Priced at 24,900 Francs in October 1937 was the four door “402 Légère berline” (saloon/sedan) using the body already familiar from the 302.[5] Not yet ready for presentation at the 1937 show, but nevertheless already priced (at 30,900 Francs) and advertised was the 402 Légère “coach”, which was a stylish thinner looking 2-door four seater car shaped somewhere between a sedan/saloon and coupe, with “glass on glass” side windows (allowing for the possibility, with the windows open, of a “pillarless” side profile) and front seats that tilted to permit access to the adequately spacious rear of the passenger cabin.[5] Represented at the motor show by a prototype which differed in certain details from the cars that actually appeared a few months later was the 402 Légère “décapotable” (soft-top convertible), priced at 31,900 Francs.[5] Both the “coach” and the “décapotable” bodied cars featured a slightly more streamlined look than the “berline”, and their stylishness was enhanced by “spats” covering the upper portions of the rear wheels.[5]

 

3,150 mm (124 in) “normal” wheelbase (1935-1942)

The standard bodied saloon/sedan (berline), first presented at the Paris Motor Show in the late Autumn of 1935 sat on the “normal” 3,150 mm (124 in) chassis and was advertised as a six-seater, the passengers being accommodated in two rows on bench seats in what was, by the standards of the time and place, an unusually wide car.[7] The four-door "berline" came as a "6 glaces" (six-light, ie three windows on each side) saloon/sedan.[7] In 1936 the price list showed the saloon as the least expensive of the normal wheelbase 402s, priced from 23,900 francs.[7]

 

Closely resembling the 402 berline "6 glaces", at first sight, was the 402 "normale commerciale" also offering seating for six people accommodated in two rows.[4] However, at the back, in place of the more usual panels, the “commerciale” featured a two-piece tailgate.[4] The rear of the cabin was described as being “transformable pour transport de marchandises” (transformable for transport of goods) which presumably would have involved lifting out the rear seat.[4] Later on there were also 402 commerciales exhibited with semi-squared off rear roof lines along the lines of a steel bodied station wagon/estate car conversion, but most of the 402 commerciales shared, from the side, the silhouette of the 402 saloon/sedan, presumably in order to avoid the cost of tooling up for volume-style production of a relatively small number of uniquely shaped body panels.[4]

 

Other models appearing on the “normal” wheelbase at the 1936 show included a Grand-luxe berline with a sliding steel sun roof, a 4/5 seater 2-door soft-top cabriolet priced in October 1936 at 30,900 francs, a 5/6-seater "coach" (elegant two-door saloon) priced at 29,900 francs, a 2/3-seater roadster at 27,900 francs and a "coupé transformable Éclipse", which was a steel-roofed convertible, priced at 34,900 francs.[4]

 

The Éclipse was significant as the first of many Peugeot coupés with a steel roof that would fold and stow in the boot/trunk.[1][4] The retractable hardtop mechanism had been designed, and in 1931 patented, by Georges Paulin. The mechanism was initially bulky by modern standards, and necessitated a very long tail end. Despite the generous length of the 3,150 mm (124 in) wheelbase, this first application of the technology came with just two seats. Interest in the Éclipse resurfaced more than half a century later with the reinvention of the retractable hardtop by the 1995 Mitsubishi 3000GT Spyder and subsequent popularization of the concept by cars such as the 1996 Mercedes-Benz SLK-Class.[8] Peugeot resumed production of hardtop convertibles with the 2001 Peugeot 206 CC (Coupé Cabriolet).

 

Several of the body types were priced (and presumably costed) to be produced in relatively low volumes, and despite appearing at the Motor Show in October 1936, three had been delisted by the start of 1937.[4] The delisted variants were the 5/6-seater "coach", the 4/5-seat, 2-door soft-top cabriolet, and the steel-roofed "Coupé transformable Éclipse", although the third of these had already been effectively replaced in 1936 by a similar but even longer steel-roofed convertible Éclipse – now with seating for 4/5 people and using the longest of the 402's three chassis.[4]

 

3,300 mm (130 in) “long” wheelbase (1935-?1940)

The principal “long” Peugeot 402 in 1935 was the “402 Familiale”, closely resembling the “normal” length six light “berline, but with extra length used in the rear of the cabin to accommodate a third row of seats (“strapontins escamotables”) which could be folded away when not in use.[4]

 

By the time of the 1937 Motor show, in time for the 1938 model year, the 402 commerciale had also migrated from the “normal” to the “long wheelbase”.[7]

 

In addition, the manufacturer advertised a special taxi version of the long wheel base car, closely resembling the Familiale and of which, it was boasted in 1937, several thousand were already in service “in Paris and the [other] principal towns and cities in France or the colonies”.[4][9] Peugeot were slightly unusual among principal auto-makers at this time in never having acquired a Paris taxi business themselves, but the 402 taxi had nevertheless evidently been well received by independent taxi operators.

 

Much attention at the 1936 show also focused on the “402 cabriolet metallique decouvrable” which was a reincarnation of the Éclipse, but now using the 3,300 mm (130 in) “long” wheel base which made enough space for a (rather cramped) second bench seat.[7]

 

Light commercial van and utility variants of the 402 were also produced (or derived from conversion), and during the car's final years, during World War II, assumed increasing prominence within the range. Sources vary as to whether production was ended it 1942 or continued further, possibly till 1944...Wikipedia

These are a few Streamlined and Semi-streamlined steam locomotives in HO scale. All are brass, except the two British LNER locomotives. Pennsylvania Railroad T-1 4-4-4-4 by Alco Models

The history of the base ZIL-111 started in 1956. ZIL-111D with a body "convertible" is a modified ZIL-111G with a body "limousine" produced since 1962, which in turn was a modification of the basic model ZIL-111.

 

The first car to receive the (still unofficial) this index was constructed in 1948, the ZIS-110M number 5. He is the only five cars in this series had a streamlined body with a single pontoon sidewalls, similar in appearance to the body "Packard Clipper" in 1947. Second ZIS-111 "Moscow" appeared in the early 1950s, he was a creation of designer Valentin zilovskogo sprout. It was built only two or three copies, one of which was shown at the Exhibition of Economic Achievements. At the exhibition visitors, this car did not cause great pride in the domestic auto industry. Frankly American car-like "Buick" of the late 1940s, nothing but a big bird on the hood, did not attract attention, and generally looked mediocre.

 

In the early 1950s in the American automotive industry has arisen a tendency to change the annual lineup. As a rule, these changes were only the exterior and interior, chassis remained the same for several years. Keep up with such a rapid fashion could not even Europe, not to mention the Soviet Union with its planned economy. Indeed, the car just did, put on the conveyor belt - and the next year to change all the seals, snap-in, spend millions of rubles for the sake of fashion. The only solution here was to create a machine progressive enough to "margin of safety" was enough for a few years.

 

Knowing this and seeing that the plant itself could not find a worthy replacement for veteran ZIS-110 ZIS leadership decided to hold a competition to create a project perspective the car - ZIS-111 new generation. Among a number of proposals liderovali two projects already built by ZIS-111 "Moscow" sprout and experienced car with the outline of "Packard" 1955 model year, a young designer from the LM Yeremeyev.

 

It was a clash of different schools, different approaches: a, zilovskogo, and another, dared to revise established views of the plant. Battles have been hot. ZIS sprout had already been built and almost ready to launch into production, but the option Eremeeva turned much more fresh and sovremennym.V finally won Yeremeyev. After the germ left the factory.

 

In 1956, a design project Yeremeyev was embodied in the life-size clay. In 1957, a new car under the name of ZIL-111 was released (in 1956, died IA Likhachev, and the plant was renamed in his honor). In a metal machine was a beautiful, yet rigorous. The front part was like at the same time, "Packard" and "Mercury" 1955-1956 period, while at the same time, comparing favorably to both of them. A much more elegant than the "Packard", and more representative than the "Mercury", he became the personification of the Soviet Union period, thaw. Large glass area and a panoramic windshield missed a lot of light into the cabin. Located on the side molding and sagittal "gill slits" are copied from the "Imperial" in 1956 (on a batch molding ZIL-111 was replaced by a figure known to us gulls). The rear portion was done in the style of "Packard." Large vertical lights, covered wings, reminiscent of the arches of Gothic cathedrals.

 

In 1958, with some modifications ZIL-111 went into the series. The designs of the ZIL-111 was not just a step forward compared to the ZIS-110, it was a real breakthrough. ZIS-110 was a design in 1941 and ZIL-111 is fully consistent with the requirements of 1955. During this period the automobile world of America has replaced three basic models, and by 1955 in the technological sense of the early machines of the 1940s has disappeared. New ZIL, like its predecessor, remained framed machine, this is probably where the similarities end there. New gasoline V-shaped eight-cylinder engine with a cast iron block and aluminum cylinder heads weighed 350 kg and gave 200 hp (ZIS-110 - 140 hp).

 

For the first time on a serial domestic car was installed two-speed automatic transmission with push-button control. The car was much lower. Due to the increased width of the bodywork and interior remodeling space in the car became more, respectively, the passengers could accommodate much more comfortable than its predecessor.

 

In 1959, the series went to changed ZIL-111 with the installation of domestic air-conditioning, called ZIL-111A. Cooled air conditioning and reduced humidity in the cabin when the outdoor temperature exceeds 18 ° C. The engine ZIL-111A also has an index, "111A" - it was connected with the installation of the compressor and some changes in the design of the drive components. Externally, ZIL-111A can be distinguished on the back nepanoramnomu glass, it was done in conjunction with the installation of the sides of the rear window air conditioner.

 

In 1960 appeared convertible ZIL-111V: big seven-seater had a canvas awning and 4 side lifting windows in chrome frames. The rise of the windows, as well as the rise of the curtain, implementation-lyalsya through a hydraulic drive. Tent, as in chaise ZIS-110B, in the folded position is covered by a decorative leather cover, and additional seating - straponteny - had double back with equal halves. Special gray convertible ZIL-111V changed carriages at parades ZIS-110B. Convertibles "111V" issued three years before putting on stream next modification ZIL-111G.

 

There is a version that the next change in the appearance of the vehicle was conducted at the request of Khrushchev, who noticed that the car is head of state (ZIL-111) does not differ from machine chairman executive committee (GAZ-13 "The Seagull"). In 1961 he was a prototype car, which is similar in form to the "Cadillac", but for unknown reasons, the series did not go. In the same year the car has undergone yet another facelift, and took its final form. The car went into production in 1962 and was called ZIL-111G. In fact, this is the same, "111A" with air conditioning, but with modified external forms. Starting with the ZIL-111G, air-conditioning became standard equipment and is not designated as a separate model of the plant. Externally, ZIL-111G is not copied any particular car, and was fully established factory designers, albeit with an eye to the American automotive industry trends. At the "111G" was used chetyrehfarnaya lighting system front and rear. And two round rear lights have been borrowed from the ZIL-118, "Youth". The front and rear of the car have been completely changed. The central part is the same, except for the outer door panels, stylized in accordance with other external changes. The sidewall of the machine reappeared sagittal molding that goes from the big corrugated lining behind the rear wheel arches. Uppercase words "one hundred and eleven Zeal" on the rear wing gave way to a laconic "ZIL-111." On the radiator grille has disappeared with bas-relief image of a seagull Yuri Dolgoruky, but instead of a shield, stylized medieval tower with an inscription at the top - "ZIL", and at the bottom - "111" there was a simple inscription "111" with diverging rays. In the back of the emblem in the form of the same shield with radiating been replaced individually mounted letters "W", "U", "L". Due to the changes required a new bumper jack: the old captured the special eyelets in the bumper, the new well was placed under the vehicle frame. Instead of manually screw jack ZIL-111 was designed and built pedal mechanical folding type jack 2E111G jack "Cadillac" of 1961. The same jack, with minor modifications, all future manned cars ZIL.

 

ZIL-111D appeared in 1964 as a modification of the ZIL-111V with the forms of ZIL-111G. The first automobile ZIL-111D chassis number 82 was collected in July 1964. It was installed upgraded brakes. The awning was a soft top ply fabric stretched over the arches and lateral levels of the framework. Each tent is individually adjustable frame units to ensure trouble-free operation. Fabric awning was attached with nails to the cardboard inserts front bar, rear arches and rear side belt body. To shape and further stretch an awning had padded jackets side. Inside the transverse arch were closed to them suspended upholstery, has a longitudinal rubber bands, which protects the fabric from sagging during raising and lowering the canopy. In the back of the tent was provided a window of a flexible plastic film, which was attached to an awning on three sides with zips. The window could detach and drop down. Tent rose and fell with elektrogidravliche-ray drive. The whole process of raising and lowering the canopy occupied 7-7.5 seconds. To fix the canopy in the raised position had lever locks and latches. Lever locks your brackets to the front awning bar and catch on the corresponding recesses in the bracket is fastened to the top of the wind frame. On rack locks were locking pins, which when lifting the tent included in the special slot in the bracket, fixed to the wind frame. Pins, clips were used to prevent lateral displacement of the tent. When folded tent fit into the slot and the closed cover, which is fastened to the outside of the body with the buttons, and the inside of the pawned between the awning and the rear seat and fasten to the inner sidewalls buttons. To shape the bags under his tent folded stacked lightweight bag, made of porous plastic. In the raised position canopy cover was removed and stacked in a special envelope, and the pillow and contracts evolved a special belt. Pillows and envelope stored in the trunk.

 

In electrical ZIL-111D match predecessor, ZIL-111V. The differences could be traced, perhaps, only in radio. On ZIL-111, 111G and 111V was a radio-13M, kabrioletny version of which was different from the basic lack of remote control, instead using the volume control the rear speakers. Was different device antennas. On ZIL-111V was two antennas, two telescopic, located on the hind wings. They were nominated by hand, and the reception was possible only if nominated by the antennas, which caused some discomfort. At buggy ZIL-111D designers installed a new radio AR-61-2-A and improved antenna, leaving one with the electric lift telescopic. It was situated in the rear left wing and worked in both the raised and lowered in the state, but with a smaller number of programs adopted and the sound volume.

 

Cars ZIL-111D was carried out in 1964-1967, respectively. During this period, was made about eight cars. Three of them were used for the parade and had a complete set of additional radio equipment, special handles and a set of flagpoles. Others were used as a government gigs for special trips. Compare convertible ZIL-111D with any foreign counterparts is difficult, because the ZIL was the only plant that as the base car did notchback limousine, sedan and wagon were made based on it. Seven-seater convertible, which is stored in the Club cabriolets and roadsters in Moscow, is made as a whole, that is not longer "stretch" as the wedding in Lincoln, a model for a whole frame of its own configuration. Similarly, a car with a big stretch to be called "Lincoln Continental" 1961 model year. Based on this gig with the swinging doors of specialized bodywork company was established long gig. Unfortunately, this car after the murder of President Kennedy got him notorious, and the release of the model was discontinued. However, here we compare ZIL-111D with a "Lincoln" would be incorrect, as "Lincoln" also "stretch" to the same unit, built by special order.

 

ZIL-111D, owned by the Club now cabriolets and roadsters, was once presented to the General Secretary of the CPSU Leonid Ilyich Brezhnev, leader Eric Honecker of East Germany - everyone remembers the "political kiss" between the two politicians, who was depicted on the Berlin Wall. It is on this car in 1974, met with Fidel Castro and Brezhnev, who came to East Germany with a visit of friendship, love a fast ride in a convertible with Comrade Honecker. Typically, the ZIL-111D softly and gravely walked in a motorcade escorted by motorcyclists and "thirteen", "Gull". After German unification and the removal from power Honecker some of its cars sold under the hammer. At the international exhibition in Brussels car was awarded the honorary diploma. Subsequent cars: ZIL-114-117 (1967-1976 years)

 

ZIL-111 all models was unquestionably reliable, stable on the road, with a great resource units, but the 50th anniversary of the October Revolution, he prepared a replacement - a new limousine ZIL-114. Drawn as a ruler, this machine represented the rational plane style of the late 60s. Engine with aluminum cylinder block was lighter and more compact than the ZIL-111, with a working volume increased from 6 to 7 liters, and power - from 200 to 300 liters. with. And the device ZIL-114 was a lot of unusual for the then Soviet vehicles: all-wheel disc brakes, height-adjustable steering column, front suspension besshkvornevaya on torsion bars. Equipment cabin was selected individually to taste this or that leader. In the early 70's at ZIL-114 appeared modification - Five sedan ZIL-117, along with almost the same, "Chaika" GAZ-13. Long ZIL-114 was the basis for universal emergency medical care, and "short" ZIL-117 - for a two-door convertible parade.

 

[Text from Blog "Russioan Traditions" - ZiL 111 - A Government Car]

 

russki-ya.blogspot.com.au/2011/11/history-of-base-zil-111...

 

This Lego miniland scale ZiL-111 Limousine (1958) has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 66th Build Challenge, - "Behind the Iron Curtain" - a challenge to build a vehicle from countries with Communist Governements.

 

The Times Square Building is a skyscraper designed by Voorhees, Gmelin, and Walker located in Rochester, New York. At 260 feet (79 m), it is the eighth tallest building in Rochester, with 14 floors.

The former Genesee Valley Trust Building is a streamlined twelve-story building supporting four aluminum wings 42 feet (13 m) high, each weighing 12,000 pounds (5,400 kg). These structures among the most distinctive features of the Rochester skyline.

The cornerstone of this bank was laid on October 29, 1929, the day the Stock Market Crashed.

Norfolk Southern operated N&W streamlined J-class 4-8-4 Northern steam locomotive # 611 leads its northbound Railfan Excursion Train into a tunnel portal on the main line route between Chattanooga and Oneida, Tennessee, October 1989. This route was formerly the property of the Southern Railway. After the train reaches Oneida and the people are feed in a park along with possible gifts being purchased, the Railfan Excursion Train will return to Chattanooga.

Jamaica Business Resource Center, 90-33 160th Street, Jamaica, Queens, New York City, New York, United States

 

La Casina is a rare surviving example of Streamlined Moderne design in New York City. The metal and stucco facade of this former nightclub and restaurant structure was constructed c. 1933, during the period of greatest popularity for the streamlined style. The building, erected in the heart of Jamaica’s commercial center, is representative of the many entertainment facilities built in Jamaica during the first decades of the twentieth century as this area developed into the commercial and entertainment hub for Queens County and nearby sections of Long Island. Although altered over the years, the La Casina Building has been beautifully restored and is again one of the most distinctive structures in Jamaica’s business district.

 

Development of Jamaica

 

Jamaica, one of the oldest settlements within the boundaries of New York City, developed into the leading commercial and entertainment center of Queens County. The Dutch purchased land in Jamaica from the Jameco (also spelled Jemeco) Indians in 1655. The following year, Governor Peter Stuyvesant granted a charter to the town, originally known as Rusdorp.

 

Following the transfer of power from the Dutch to the English in 1664, Rusdorp was renamed Jamaica, after the original Indian inhabitants of the region. Queens County (incorporating present-day Queens and Nassau Counties) was chartered in 1683. The English established Jamaica as the governmental center of Queens County, with a court, county clerk’s office, and parish church (Grace Church; the present structure, dating from 1861-62, is a designated New York Landmark). Outside the town center, Jamaica was largely an area of farm fields and grazing land for cattle. The rural village was officially incorporated by New York State in 1814.

 

Jamaica’s central location in Queens County and the extensive transportation network that developed in the town during the nineteenth century, resulted in the transformation of the community into the major commercial center for Queens County and much of eastern Long Island. It was the arrival of the railroads that began this transformation. The roads and rail lines connecting Jamaica with other sections of Queens County, with Brooklyn to the west, eastern Long Island, and ferries to New York City had a tremendous impact. Jamaica’s farmland was soon being subdivided into streets and building lots, and new homes were erected.

 

By the turn of the century, Jamaica’s importance as a commercial area became evident in the impressive buildings beginning to appear on Jamaica Avenue, most notably the Beaux-Arts Jamaica Savings Bank Building (Hough & Deuell, 1897-98), 161-02 Jamaica Avenue. After Jamaica was incorporated into the borough of Queens and became a part of New York City on January 1, 1898, additional transportation improvements brought increasing numbers of people. As a result, the population of Jamaica quadrupled between 1900 and 1920.

 

It was during the 1920s, when the major mass transit links were in place, and during a period when private automobile ownership was growing at an extraordinary rate, that Jamaica experienced its major expansion as a commercial and entertainment center. By 1925, Jamaica Avenue between 160th Street and 168th Street had the highest assessed valuation in Queens County.

 

During the 1920s and early 1930s, many small- scale commercial buildings were erected in Jamaica, as well as several major office and commercial structures, including the Jamaica Chamber of Commerce Building (George W. Conable, 1928-29) on 161st Street; the Title Guarantee Company Building (Dennison & Hirons, 1929), 90-04 161st Street; and the J. Kurtz & Sons Store (Allmendinger & Schlendorf, 1931; a designated New York City Landmark) on Jamaica Avenue. In addition, Jamaica developed into a significant entertainment center. By the mid-1930s, there were at least eight movie theaters on or just off of Jamaica Avenue, and there were over sixty restaurants, bars, and clubs, ranging from small ethnic taverns to elegant restaurants. It was within this bustling commercial and entertainment setting that La Casina opened.

 

The Nightclub:

 

A Brief Examination of Its History and Design

 

During the late 1920s and 1930s, the nightclub became a prominent and romantic symbol of New York’s nightlife. While partially based on the reality of the city’s exclusive clubs and restaurants, the nightclub image was largely a fantasy based on Hollywood’s interpretation of these elegant establishments. Nightclubs and restaurants with live shows began to appear in New York City in the late 1920s as the enforcement of Prohibition ebbed. With the end of Prohibition in 1933, nightclubs proliferated." As nightclubs and restaurants with live shows grew in popularity, their designs became increasingly elegant. Clubs and related restaurants such as the Central Park Casino, the Persian Room, the Rainbow Room, El Morocco, the 21 Club, and the Stork, catered to an exclusive clientele. While most New Yorkers could not afford to patronize these establishments, they were well known through newspaper gossip columns, magazines, and other popular media outlets.

 

Movies such as Broadway (1929), Puttin’ on the Ritz (1930), Gold Diggers of 1935 (1935), Broadway Melody of 1936 (1935), and Swing Time (1936) created a romantic image of nightclubs with Modeme and Art Deco decor incorporating streamlined walls and ceilings, glistening mirrored floors, and elegantly appointed revelers. Perhaps in homage to popular Latin dances, many of these clubs, both real and cinematic, were given Spanish- sounding names.

 

Although modest in scale, La Casina was designed to fit the image of the up-to-date night spot. The club and restaurant was provided with a Latin name and its streamlined design echoes, in miniature, the elegant clubs enjoyed vicariously by patrons as they viewed movies at their local movie palaces.

 

La Casina: The Site and the Design of the Building

 

La Casina is located on 160th Street between Jamaica Avenue and 90th Avenue. Located only a few blocks from the center of Jamaica, 160th Street was initially developed with modest frame buildings, most erected as residences but later converted for commercial use. In 1907, the Queens Borough Real Estate Exchange erected a neo-Classical style brick and limestone office building designed by Tuthill & Higgins at 90-33 160th Street.

 

The building was purchased in 1918 by Arnold Behrer, Jr., and Clarence Behrer. On November 1, 1932, the Behrers leased the site to Bernard Levy and La Casino, Inc., for a period of four years (until 1936). According to the lease agreement, the building was "to be used and occupied only as a restaurant, cabaret, beer garden, casino and dance hall." The rent rose from $1,800 a year the first year to $3,000 during the fourth year. All alterations made to the building by the lessee had to be approved by the owner.

 

The La Casino Supper Club opened in 1933. It first appeared in the Queens telephone directory for winter 1933-34. Apparently, the club was only open for a short time since it did not appear in the telephone directory for winter 1934-35. The club reopened by May 1936. Telephone directory listings continued to call the establishment the La Casino Restaurant. However, the weekly La Casina Journal, published by the establishment, spelled the name with an "a" and also referred to the La Casina Restaurant and Supper Club in its text. The work undertaken to create the present streamlined design was an alteration of the original building, but no surviving alteration application has been located that specifically notes the construction of a new front. Several permits for small alterations were issued in 1933, and one of these may have included the new facade.

 

La Casina was designed in the Streamlined Modeme style which became popular in America in the 1930s.' Although it initially appeared on residential buildings, the Streamlined Moderne style was soon adapted for commercial buildings since the dramatic massing and dynamic stripped forms drew attention and, therefore, brought people to the buildings. The style was popular for relatively small-scale public buildings, especially those that were erected for businesses that relied on a large paying clientele.

 

These businesses included hotels, such as those in Miami Beach; theaters, such as the Pan Pacific Auditorium in Hollywood; movie theaters, notably those designed by S. Charles Lee; bus depots, such as the Greyhound Bus Terminal in Washington, D.C.; and roadside structures such as auto showrooms, motels, and diners. Historian Martin Greif characterized the Streamlined Moderne (also sometimes referred to as Depression Modem) as "an art stripped bare of all ornamentation. . . . Ideally, the Depression Modern style was spare . .

 

. without a single detail that could be called extraneous, without any embellishment, without a line that did not seem inevitable."

 

With its smooth planes of stucco, dynamic ziggurat massing, sweeping bands of metal, and its lack of applied ornamentation, the La Casina building fits Greifs description of the ideal streamlined structure. The streamlined mode was an appropriate choice for La Casina, not only providing an up-to-date image for the establishment, but also creating a noticeable form for the small midblock structure, one that would attract attention from busy Jamaica Avenue. This was heightened by the use of a bright projecting vertical neon sign announcing the nightclub’s presence.

 

La Casina: The Restaurant and Nightclub

 

La Casina offered dining, dancing, and entertainment. According to the La Casina Journal, La Casina offered three shows a night performed by the La Casina Adorables and the La Casina Swing Melo-Dears. The club also featured special guests such as Maureen Rio, the Broadway star of Earl Carroll’s Sketch Book? There was no cover charge and the club offered free parking.

 

The Journal noted such special events as "Celebrity Night"; "Democratic Night" and "Republican Night" (at the latter two evenings guests were to meet primary candidates); and "Bowery Night," where guests were to dress in old clothes, men were to arrive unshaven, and all were to be entertained by Diamond L’il, Cuspidor Carrie, Fishface Fanny, Gashouse Gertie, Willie the Gonof, Little Annie Rooney, Champagne Lil, and Limehouse Lou.

 

Later History

 

La Casina (or a facility with a similar name) occupied the building until about 1938; the last entry in the telephone directory is for winter 1937-38. In 1940, Arnold Behrer, Jr., lost the property in a legal proceeding to the mortgagor, the Domestic and Foreign Missionary Society of the Protestant Episcopal Church in the United States of America. A tax photograph taken by New York City in 1940 shows "For Rent" signs in the picture windows of the club.

 

In 1942, the building was sold to the Church of God of Greater New York, Inc., although it does not appear to have ever been used as a church (the Church of God was headquartered on 224th Street). The use, if any, of the building in the early 1940s is not known.

 

In 1946, the former nightclub was sold to Polly Foundations, Inc., which converted the building into a factory that manufactured Ladyform bras. In 1952, the building was purchased by the Ellen Howard Corporation which manufactured Roxanne swim suits in the building until c.1987.

 

At some point, probably in the 1960s or 1970s, the galvanized-iron cladding of the ziggurat was covered in aluminum siding. The building was vacated in the late 1980s and deteriorated. In 1989, the Greater Jamaica Development Corporation acquired the former home of La Casina. A restoration was undertaken in 1994-95 under the guidance of the architectural firm of Li-Saltzman.

 

The restoration entailed the removal of the aluminum siding, the replacement of the deteriorated galvanized iron with aluminum that matched the form of the original, the restoration of the stucco at the lower level to its original colors, the removal of historically and stylistically inappropriate glass block windows and their replacement with historically accurate plate-glass windows, and the restoration of the tile flanking the entrance and of the original doors and glass entrance surround. The original vertical sign was conserved and encased within a new sign. The building now houses the Jamaica Business Resource Center.

 

Description

 

La Casina is a one-story symmetrical structure with a two-tiered streamlined facade in the form of a stepped pyramid or ziggurat. The base of the pyramid is set parallel to the sidewalk. This section of the building is faced with stucco.

 

The stuccoed portion of the facade is divided into a lower section that is painted gray and an upper section painted coral (paint studies determined the historical accuracy of these colors). The base is punctuated by a central entrance that is set back from the sidewalk within a five-stepped enframement clad in glazed black tiles at the lower section; the upper section is coral-colored stucco.

 

The entrance contains its original wood and glass double doors with very large vertically-placed bronze handles supported by silver-metal upper and lower stepped brackets. The doors are set within a frame of opaque black glass. The entrance bay is flanked by rectangular windows.

 

During the restoration, glass blocks that were crudely installed, probably when the building became a factory in the 1940s, were removed and replaced with historically accurate undivided plate glass. In addition, a shallow ramp for handicapped access has been added in front of the building.

 

Directly above the entrance is a curving streamlined frontispiece. It is divided into six wide horizontal bands with seven raised narrower bands covering the joints. To either side of this frontispiece is a six-layer stepped ziggurat. The frontispiece and flanking ziggurats were originally clad in smooth galvanized sheet metal attached to a wooden frame. The metal may originally have been painted gray. During the restoration, the deteriorated galvanized metal was replaced with shiny bands of aluminum.

 

Attached to the Building is the original vertical neon sign. This sign, which retains the words "La Casina" (an "o" for "casino" overlaps the "a"), "Ladyform Bras," "Swim Suits," and "Roxanne Swim Suits,” has been encased in a new aluminum sleeve with the "JBRC" initials of the Jamaica Business Resource Center in neon.

 

- From the 1996 NYCLPC Landmark Designation Report

Westmont IL / Downtown

Cruisin’ Nights & Street Fair

 

The late 30's and early 40's was when the manufacturers starred recessing headlight on cars

 

1940 Ford Deluxe

The history of the base ZIL-111 started in 1956. ZIL-111D with a body "convertible" is a modified ZIL-111G with a body "limousine" produced since 1962, which in turn was a modification of the basic model ZIL-111.

 

The first car to receive the (still unofficial) this index was constructed in 1948, the ZIS-110M number 5. He is the only five cars in this series had a streamlined body with a single pontoon sidewalls, similar in appearance to the body "Packard Clipper" in 1947. Second ZIS-111 "Moscow" appeared in the early 1950s, he was a creation of designer Valentin zilovskogo sprout. It was built only two or three copies, one of which was shown at the Exhibition of Economic Achievements. At the exhibition visitors, this car did not cause great pride in the domestic auto industry. Frankly American car-like "Buick" of the late 1940s, nothing but a big bird on the hood, did not attract attention, and generally looked mediocre.

 

In the early 1950s in the American automotive industry has arisen a tendency to change the annual lineup. As a rule, these changes were only the exterior and interior, chassis remained the same for several years. Keep up with such a rapid fashion could not even Europe, not to mention the Soviet Union with its planned economy. Indeed, the car just did, put on the conveyor belt - and the next year to change all the seals, snap-in, spend millions of rubles for the sake of fashion. The only solution here was to create a machine progressive enough to "margin of safety" was enough for a few years.

 

Knowing this and seeing that the plant itself could not find a worthy replacement for veteran ZIS-110 ZIS leadership decided to hold a competition to create a project perspective the car - ZIS-111 new generation. Among a number of proposals liderovali two projects already built by ZIS-111 "Moscow" sprout and experienced car with the outline of "Packard" 1955 model year, a young designer from the LM Yeremeyev.

 

It was a clash of different schools, different approaches: a, zilovskogo, and another, dared to revise established views of the plant. Battles have been hot. ZIS sprout had already been built and almost ready to launch into production, but the option Eremeeva turned much more fresh and sovremennym.V finally won Yeremeyev. After the germ left the factory.

 

In 1956, a design project Yeremeyev was embodied in the life-size clay. In 1957, a new car under the name of ZIL-111 was released (in 1956, died IA Likhachev, and the plant was renamed in his honor). In a metal machine was a beautiful, yet rigorous. The front part was like at the same time, "Packard" and "Mercury" 1955-1956 period, while at the same time, comparing favorably to both of them. A much more elegant than the "Packard", and more representative than the "Mercury", he became the personification of the Soviet Union period, thaw. Large glass area and a panoramic windshield missed a lot of light into the cabin. Located on the side molding and sagittal "gill slits" are copied from the "Imperial" in 1956 (on a batch molding ZIL-111 was replaced by a figure known to us gulls). The rear portion was done in the style of "Packard." Large vertical lights, covered wings, reminiscent of the arches of Gothic cathedrals.

 

In 1958, with some modifications ZIL-111 went into the series. The designs of the ZIL-111 was not just a step forward compared to the ZIS-110, it was a real breakthrough. ZIS-110 was a design in 1941 and ZIL-111 is fully consistent with the requirements of 1955. During this period the automobile world of America has replaced three basic models, and by 1955 in the technological sense of the early machines of the 1940s has disappeared. New ZIL, like its predecessor, remained framed machine, this is probably where the similarities end there. New gasoline V-shaped eight-cylinder engine with a cast iron block and aluminum cylinder heads weighed 350 kg and gave 200 hp (ZIS-110 - 140 hp).

 

For the first time on a serial domestic car was installed two-speed automatic transmission with push-button control. The car was much lower. Due to the increased width of the bodywork and interior remodeling space in the car became more, respectively, the passengers could accommodate much more comfortable than its predecessor.

 

In 1959, the series went to changed ZIL-111 with the installation of domestic air-conditioning, called ZIL-111A. Cooled air conditioning and reduced humidity in the cabin when the outdoor temperature exceeds 18 ° C. The engine ZIL-111A also has an index, "111A" - it was connected with the installation of the compressor and some changes in the design of the drive components. Externally, ZIL-111A can be distinguished on the back nepanoramnomu glass, it was done in conjunction with the installation of the sides of the rear window air conditioner.

 

In 1960 appeared convertible ZIL-111V: big seven-seater had a canvas awning and 4 side lifting windows in chrome frames. The rise of the windows, as well as the rise of the curtain, implementation-lyalsya through a hydraulic drive. Tent, as in chaise ZIS-110B, in the folded position is covered by a decorative leather cover, and additional seating - straponteny - had double back with equal halves. Special gray convertible ZIL-111V changed carriages at parades ZIS-110B. Convertibles "111V" issued three years before putting on stream next modification ZIL-111G.

 

There is a version that the next change in the appearance of the vehicle was conducted at the request of Khrushchev, who noticed that the car is head of state (ZIL-111) does not differ from machine chairman executive committee (GAZ-13 "The Seagull"). In 1961 he was a prototype car, which is similar in form to the "Cadillac", but for unknown reasons, the series did not go. In the same year the car has undergone yet another facelift, and took its final form. The car went into production in 1962 and was called ZIL-111G. In fact, this is the same, "111A" with air conditioning, but with modified external forms. Starting with the ZIL-111G, air-conditioning became standard equipment and is not designated as a separate model of the plant. Externally, ZIL-111G is not copied any particular car, and was fully established factory designers, albeit with an eye to the American automotive industry trends. At the "111G" was used chetyrehfarnaya lighting system front and rear. And two round rear lights have been borrowed from the ZIL-118, "Youth". The front and rear of the car have been completely changed. The central part is the same, except for the outer door panels, stylized in accordance with other external changes. The sidewall of the machine reappeared sagittal molding that goes from the big corrugated lining behind the rear wheel arches. Uppercase words "one hundred and eleven Zeal" on the rear wing gave way to a laconic "ZIL-111." On the radiator grille has disappeared with bas-relief image of a seagull Yuri Dolgoruky, but instead of a shield, stylized medieval tower with an inscription at the top - "ZIL", and at the bottom - "111" there was a simple inscription "111" with diverging rays. In the back of the emblem in the form of the same shield with radiating been replaced individually mounted letters "W", "U", "L". Due to the changes required a new bumper jack: the old captured the special eyelets in the bumper, the new well was placed under the vehicle frame. Instead of manually screw jack ZIL-111 was designed and built pedal mechanical folding type jack 2E111G jack "Cadillac" of 1961. The same jack, with minor modifications, all future manned cars ZIL.

 

ZIL-111D appeared in 1964 as a modification of the ZIL-111V with the forms of ZIL-111G. The first automobile ZIL-111D chassis number 82 was collected in July 1964. It was installed upgraded brakes. The awning was a soft top ply fabric stretched over the arches and lateral levels of the framework. Each tent is individually adjustable frame units to ensure trouble-free operation. Fabric awning was attached with nails to the cardboard inserts front bar, rear arches and rear side belt body. To shape and further stretch an awning had padded jackets side. Inside the transverse arch were closed to them suspended upholstery, has a longitudinal rubber bands, which protects the fabric from sagging during raising and lowering the canopy. In the back of the tent was provided a window of a flexible plastic film, which was attached to an awning on three sides with zips. The window could detach and drop down. Tent rose and fell with elektrogidravliche-ray drive. The whole process of raising and lowering the canopy occupied 7-7.5 seconds. To fix the canopy in the raised position had lever locks and latches. Lever locks your brackets to the front awning bar and catch on the corresponding recesses in the bracket is fastened to the top of the wind frame. On rack locks were locking pins, which when lifting the tent included in the special slot in the bracket, fixed to the wind frame. Pins, clips were used to prevent lateral displacement of the tent. When folded tent fit into the slot and the closed cover, which is fastened to the outside of the body with the buttons, and the inside of the pawned between the awning and the rear seat and fasten to the inner sidewalls buttons. To shape the bags under his tent folded stacked lightweight bag, made of porous plastic. In the raised position canopy cover was removed and stacked in a special envelope, and the pillow and contracts evolved a special belt. Pillows and envelope stored in the trunk.

 

In electrical ZIL-111D match predecessor, ZIL-111V. The differences could be traced, perhaps, only in radio. On ZIL-111, 111G and 111V was a radio-13M, kabrioletny version of which was different from the basic lack of remote control, instead using the volume control the rear speakers. Was different device antennas. On ZIL-111V was two antennas, two telescopic, located on the hind wings. They were nominated by hand, and the reception was possible only if nominated by the antennas, which caused some discomfort. At buggy ZIL-111D designers installed a new radio AR-61-2-A and improved antenna, leaving one with the electric lift telescopic. It was situated in the rear left wing and worked in both the raised and lowered in the state, but with a smaller number of programs adopted and the sound volume.

 

Cars ZIL-111D was carried out in 1964-1967, respectively. During this period, was made about eight cars. Three of them were used for the parade and had a complete set of additional radio equipment, special handles and a set of flagpoles. Others were used as a government gigs for special trips. Compare convertible ZIL-111D with any foreign counterparts is difficult, because the ZIL was the only plant that as the base car did notchback limousine, sedan and wagon were made based on it. Seven-seater convertible, which is stored in the Club cabriolets and roadsters in Moscow, is made as a whole, that is not longer "stretch" as the wedding in Lincoln, a model for a whole frame of its own configuration. Similarly, a car with a big stretch to be called "Lincoln Continental" 1961 model year. Based on this gig with the swinging doors of specialized bodywork company was established long gig. Unfortunately, this car after the murder of President Kennedy got him notorious, and the release of the model was discontinued. However, here we compare ZIL-111D with a "Lincoln" would be incorrect, as "Lincoln" also "stretch" to the same unit, built by special order.

 

ZIL-111D, owned by the Club now cabriolets and roadsters, was once presented to the General Secretary of the CPSU Leonid Ilyich Brezhnev, leader Eric Honecker of East Germany - everyone remembers the "political kiss" between the two politicians, who was depicted on the Berlin Wall. It is on this car in 1974, met with Fidel Castro and Brezhnev, who came to East Germany with a visit of friendship, love a fast ride in a convertible with Comrade Honecker. Typically, the ZIL-111D softly and gravely walked in a motorcade escorted by motorcyclists and "thirteen", "Gull". After German unification and the removal from power Honecker some of its cars sold under the hammer. At the international exhibition in Brussels car was awarded the honorary diploma. Subsequent cars: ZIL-114-117 (1967-1976 years)

 

ZIL-111 all models was unquestionably reliable, stable on the road, with a great resource units, but the 50th anniversary of the October Revolution, he prepared a replacement - a new limousine ZIL-114. Drawn as a ruler, this machine represented the rational plane style of the late 60s. Engine with aluminum cylinder block was lighter and more compact than the ZIL-111, with a working volume increased from 6 to 7 liters, and power - from 200 to 300 liters. with. And the device ZIL-114 was a lot of unusual for the then Soviet vehicles: all-wheel disc brakes, height-adjustable steering column, front suspension besshkvornevaya on torsion bars. Equipment cabin was selected individually to taste this or that leader. In the early 70's at ZIL-114 appeared modification - Five sedan ZIL-117, along with almost the same, "Chaika" GAZ-13. Long ZIL-114 was the basis for universal emergency medical care, and "short" ZIL-117 - for a two-door convertible parade.

 

[Text from Blog "Russioan Traditions" - ZiL 111 - A Government Car]

 

russki-ya.blogspot.com.au/2011/11/history-of-base-zil-111...

 

This Lego miniland scale ZiL-111 Limousine (1958) has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 66th Build Challenge, - "Behind the Iron Curtain" - a challenge to build a vehicle from countries with Communist Governements.

 

As we pulled into the Strasburg station to take a lunch break, we were all happily presented with N&W 611 still sitting in the shop area. Here they appear to be cleaning the engine up for it's trip back down south not many days after this was taken. Everyone in the car who was talking away became distracted by the massive streamlined beauty just outside the windows.