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Rich sophistication combines with streamlined organization in the Cakao collection. This furniture collection features refined, modern lines enhanced by a lush, dark finish that adds a welcoming air and a sense of home to the surrounding room. Sleek hardware contrasts with the dark finish, providing a subtle, polished accent. With plenty of easily accessible storage space, the collection helps you keep your home entertainment area organized and clutter under control while offering space to display treasured collectibles, plants or books. Drawers operate smoothly on Smart Glides with stops and built-in dampers for safe, easy opening and closing. The entire collection is also constructed with enduring strength and support in mind for a pleasing mix of handsome good looks, functionality and convenient organization.
La collection Cakao est un mariage entre grande sophistication et organisation aérodynamique. Cette collection de meubles présente des lignes raffinées et modernes rehaussées par un fini foncé et luxueux qui donne à toute la pièce un air chaleureux et une ambiance de confort. Les insertions de métal contrastent avec le fini sombre, ajoutant un accent subtil et lustré tout à la fois. Avec beaucoup d'espaces de rangement facilement accessibles, cette collection vous aide à garder votre coin audiovisuel bien organisé, libre de désordre, tout en vous offrant des espaces pour exposer vos précieuses pièces de collection, vos plantes ou vos livres. Les tiroirs glissent doucement sur les coulisses Smart Glides munies de cran d'arrêt sécuritaire et d'amortisseur. Toute la collection est conçue avec un souci de solidité pour un mélange parfait de beauté, de fonctionnalité et d'efficacité.
+++ 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 Vickers Type 287 was a British 1930s light bomber built by Vickers-Armstrongs at Brooklands near Weybridge, Surrey, for the Royal Air Force. The Type 287 was originally built as a private venture and designed as a single-engine monoplane with a very high aspect ratio wing, and a manually operated, retractable undercarriage. It used the same geodetic design principles for both the fuselage and wings that had been derived from that used by Barnes Wallis in the airship R100. As it was not known how the geodetic structure could cope with being disrupted by a bomb bay, the Wellesley's bomb load was carried in two streamlined panniers under the wings.
The RAF ultimately ordered a total of 176 of the two-seater aircraft, with a 14-month production run starting in March 1937, and it was introduced into service the same year.
While it was obsolete by the start of the Second World War, and unsuited to the European air war. By the outbreak of the Second World War, the Wellesley had been phased out from home based squadrons, with only four examples remaining in Britain, but remained in service with three squadrons based in the Middle East. The Wellesley Mk. I bomber was successfully used in the desert theatres of East Africa, Egypt and the Middle East, where it was used until 1942.
While the Wellesley was not a significant combat aircraft, the design principles that were tested in its construction were put to good use with the Wellington medium bomber that became one of the main types of RAF Bomber Command in the early years of the European war.
The GR Mk. IV (Type 301) was a late special development for the RAF Coastal Command. It was actually a stopgap solution - during the first three years of the Second World War, Coastal Command and the Admiralty fought a continuous battle with the RAF and Air Ministry over the primacy of trade defense in relation to the bomber effort against mainland Germany, a strategic tussle which conceivably could have cost the Western Alliance the Battle of the Atlantic. The Air Staff and Bomber Command enjoyed the backing of Churchill and the maritime air effort struggled to receive the recognition it needed. On the outbreak of war, the Coastal Command’s order of battle listed just 298 aircraft, of which only 171 were operational.
Owing to the starvation of resources, even as late as March 1943 the Atlantic supply lines were being threatened. This situation arose as a direct result of the lack of very long-range aircraft. The Wellesley, even though basically outdated, offered a quick and proven basis for a radar-equipped maritime reconnaissance aircraft, especially for the Mediterranean, Middle East and African theatres, as these were regarded as less risky than the battle of the Atlantic or over the North Sea.
The Wellesley GR Mk. IV was a heavily modified version of the Mark I, built from existing airframes that were returned to Great Britain for conversion at Weybridge and Chester. A total of 28 aircraft were modified in early 1942.
The GR Mk. IV featured an ASV Mark III radar with a radome under the fuselage and additional mast antennae on fuselage and wings. The crew rose to three, as an operator for the ASV radar joined pilot and navigator/gunner, was placed behind the pilot.
In order to improve survivability the aircraft's defensive armament was considerably improved: instead of a single .303 in (7.7 mm) Vickers K machine gun in the Mk. I's rear cockpit, a powered dorsal turret, equipped with four 0.303 in (7.7 mm) Browning machine guns, was installed. The Brownings were electrically fired and insulated cut-off points in the turret ring prevented the guns firing when they were pointing at the propeller disc or tailplane.
The wing-mounted .303 in (7.7 mm) Vickers machine gun was retained, as well as the capability to carry up to 2,000 lb (907 kg) of bomb ordnance in underwing panniers. These were modified to carry up to four 450 lb (200 kg) Mark VII depth charges and an array of flash bombs for night missions, as the GR Mk. IV could not carry a Leigh Light.
In order to keep overall performance up despite the additional equipment on board and the extra drag created through radome and gun turret, the original Bristol Pegasus XX 9 cylinder radial piston engine with 925 hp (690 kW) was replaced by a 14 cylinder 1.525 hp (1.121 kW) Hercules VI powerplant.
The complete front of the engine had to be modified in order to take the heavier and much more powerful engine, similar to the Type 289 and 292 long range conversions of the basic Wellesley. As a further means of keeping the performance up, parts of the original steel fuselage structure were replaced by light alloy elements.
All GR Mk. IV's were sent to the Mediterranean theatre in summer 1942, primarily for defensive tasks, e. g. defending supply lines. The aircraft also took part in Operation Torch (initially called Operation Gymnast), the British-American invasion of French North Africa in World War II during the North African Campaign, which started on 8 November 1942.
By 1943 Coastal Command finally received the recognition it needed and its operations proved decisive in the victory over the U-Boats, and when more powerful Vickers Wellington aircraft became available, the Wellesleys of Coastal Command were withdrawn or deployed to Greece, and performed various support duties during the RAF interference in the Greek Civil War. By 1944, the last aircraft had been retired.
General characteristics:
Crew: 3
Length: 39 ft 3 in (11.96 m)
Wingspan: 74 ft 7 in (22.73 m)
Height: 15 ft 3½ in (4.67 m)
Wing area: 630 ft² [11] (58.5 m²)
Empty weight: 6,760 lb (3,066 kg)
Loaded weight: 11,048 lb (5,011 kg)
Max. takeoff weight: 12,500 lb (5,670 kg)
Powerplant:
1× Bristol Hercules VI, rated at 1,675 hp (1,250 kW)
Performance:
Maximum speed: 228 mph (198 kn, 369 km/h) at 19,700 ft (6,000 m)
Cruise speed: 180 mph (157 kn, 290 km/h) at 15,000 ft (4,600 m) (57% power)
Range: 1,220 mi (1,963 km)
Service ceiling: 25,500 ft (7,772 m)
Wing loading: 18 lb/ft² (86 kg/m²)
Power/mass: 0.08 hp/lb (0.14 kW/kg)
Climb to 15,000 ft (4,600 m): 17.8 min
Armament:
5× .303 in (7.7 mm) Vickers machine guns, one fixed forward in the right wing, four in a dorsal powered turret
Up to 2.000 lb (907 kg) of bombs in underwing panniers
The kit and its assembly:
Honestly, this kit conversion was inspired by an idea from fellow users (NARSES2 and pyro-manic) at whatifmodelers.com, who suggested a Wellesley in Coastal Command service. I have always liked these aircraft's elegant livery with a dark top side, white undersides and a very high waterline - and using THIS on a Wellesley, which traditionally carried Dark Green/Dark Earth uppers and Night (Black) undersides, would certainly look cool.
But it would certainly not remain a standard Mk. I bomber for sure, and as I cooked up a story I found the idea of a re-engined, radar-equipped reconnaissance aircraft pretty convincing - the Wellesley's long range and payload (the thing could carry more than it weighed itself!) made it an excellent choice.
The basis is the vintage Matchbox kit, which actually has some nice features. The geodetic surface is fine and not over-emphasized, just the landing gear is rather poor - I decided to drill open the landing gear wells and add some interior, as the kit offers OOB offer neither a well nor any detail. Inside, I glued parts from a plastic cookie box - not intended to be realistic, I just wanted to have some depth and structure.
As further means to enhance the overall look I also lowered the flaps, which was easy to realize.
Engine conversion to a Hercules (from a Matchbox Wellington bomber) was straightforward, as the Wellesley kit not only offers the original Jupiter engine of the Mk. I. bomber, but also an alternative, streamlined engine cowling for the Type 292 Long Range Development Aircraft. This offers a nice adapter for the Hercules – and with the bigger propeller and a spinner, this changes the look of the Wellesley a lot.
In order to beef up rearward defense I decided to implant a powered gun turret - a quadruple .303 turret from a Boulton Paul Defiant. The turret was taken from a Pavla kit and consists of styrene and resin parts, plus a vacu canopy. The gunner is a personal addition, I think it comes from a Matchbox Privateer, from one of the optional dorsal turrets.
Mounting the Defiant turret in the fuselage was tricky, as the turret is relatively wide, almost the same diameter as the Wellesley’s. I placed it where the original navigator cockpit with the rearwards-facing Vicker K is located. I carefully opened up the fuselage around that opening until the turret would fit, and then added covers made from styrene strips so that the whole thing would look a bit organic and streamlined. Inside, the turret sits on a styrene axis, so that it can be inserted/taken out at will. Very handy during painting, and the construction makes the turret 360° turnable.
Otherwise, the interior was taken OOB, as there’s hardly anything to identify once the canopy is fitted. The latter would remain closed, anyway.
The radome under the fuselage was a late addition: originally I had planned to add antenna masts for an ASV Mk. II radar, but then found the ASV Mk. III radome from the aforementioned Matchbox Wellington kit. As the Wellesley did not have a bomb bay, that space between the landing gear was just perfect. And while it would not be necessary I still added some antenna masts (scratched from heated sprues) under the wings and on the fuselage flanks - it just looks cool... ;)
Painting and markings:
The interior (cockpit, turret, landing gear) was painted in classic Interior Green (Humbrol 78).
On the outside, rather simple, classic Coastal Command colors were used: Dark Sea Grey and Dark Slate Grey on the upper side, with the pattern taken from the RAF Wellesley, and white undersides with a very high waterline and white leading edges on the wings.
Painting started with the lower sides – I used spray paint from the rattle can, since the large areas are hard to paint, esp. with white. Consequently I rather used a very light grey (RAL 7047, Telegrau 4), since pure white would be too bright/ by tendency. The color pictures I consulted for reference suggest that these machines would easily tend to become dirty, much room for weathering! After basic spray painting, the “white” areas received a counter-shading and dry-brushing with Humbrol 196 (RAL 7035, Lichtgrau), which is slightly more yellow-ish and lighter than RAL 7047.
After that had dried up, waterlines and leading edges were masked with Tamiya Tape, for the upper colors. Humbrol 27 and 224 were used as basic enamel colors, as they are the darkest tones for the job. Later, these were treated with Modelmasters’ 2056 and 2059, in order to weather the upper surfaces and work out the geodetic structure – similar procedure as for the lower surfaces.
The kit received a wash with black ink and serious dry-brushing in order to work out the wonderful surface structure - basically with some Humbrol 64 (Light Sea Grey) all around - no pure white has been used on the kit at all. Dirt, soot and stains were added with grinded graphite and thinned Humbrol 224.
Decals were puzzled together from the scrap box, from various RAF aircraft. Even though I took 179th Squadron Wellingtons as benchmark, I decided to add a full three-digit code with dull red letters – it adds an eye-catcher to the aircraft’s flanks, and the letters come from a MIcroscale aftermarket sheet.
The respective Wellingtons only had scarce markings and just single-letter codes (the full squadron code, "OZ", had obviously been omitted?).
In the end, not a major conversion, but the different paint scheme and the more massive nose change the overall look of the Wellesley considerably. I am quite happy with the result.
In 1939, as part of the New York World's Fair, the London Midland & Scottish Railway undertook the mammoth task of releasing one of their streamlined locomotives and matching train sets and shipping them across the Atlantic for display as part of the Transportation exhibits in New York. This was not the first time the LMSR had shown such panache as in 1933 they had sent the Royal Scot train to the United States on a tour.
The locomotive seen 'here' and that was displayed at the Fair following a journey around the US was badged up as 6220 'Coronation' and carried the streamlined crimson livery; it was in fact locomotive 6229 Duchess of Hamilton disguised and the original 6220, one of the first five of the larger class, originally carried the streamlined 'Caledonian Blue' livery. The whole Fair was overshadowed by the outbreak of war in 1939 and the train was effectively stranded in the US. The locomotive returned to the UK in 1942 and regained its original identity the following year. The carriages had to wait until 1946 until being repatriated.
The leaflet opens to describe the importance of the LMS and its services along with descriptions of the territory it served. There was a similar leaflet, printed in red, that was issued during the Exhibition in New York City.
En 2005, notre invité d’outre-mer était Manfred Braun. Membre de Bundesverband Kunsthandwerk (Association des métiers d’arts allemands), il participe à divers événements internationaux, à Frankfort, New York, Tokyo et Cologne, ou il remporte plusieurs mentions et prix. Vaisseaux et luminaires, de grès ou de porcelaine, une collection épurée, à la fois classique et contemporaine.
Considéré comme un des vingt plus beaux hameaux du Québec et ce, à seulement 45 minutes au sud-est de Montréal, Mystic a le grand plaisir d’accueillir une trentaine de céramistes chevronnés. Depuis 2004, CERAMYSTIC est fière de vous inviter à cet incontournable de la céramique québécoise. Notre jardin et notre galerie vous proposent une large brochette de créations récentes incluant sculptures, objets décoratifs et fonctionnels.
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CeraMystic 2005 welcomed German ceramist, Manfred Braun. A member of Bundesverband Kunsthandwerk, he has participated in a variety of international exhibits, in Frankfort, New York, Tokyo and Cologne where he was the recipient of special mentions and awards. Luminary objects and vessels, in stoneware or porcelain, pure, elegant, contemporary designs executed with remarkable craftsmanship.
In the picturesque hamlet of Mystic, 45 minutes south-east of Montreal, a wide array of utilitarian and decorative ceramics will be displayed in a peaceful garden setting. Now in its eighth edition (in 2011), this outdoor exhibition will be featuring the work of some 30 guest artists, from one-of-a-kind garden sculptures, to beautifully-crafted, traditional pottery and contemporary, streamlined porcelain…
Streamlined tram No, 445 in Queen Street at Anne Street corner, taken on Kodachrome 1 on 13 Apl 1968
An image inspired by the Art Deco movement - more specifically the "Streamlined" Art Deco style that was developed in the USA. This could easily be the style of a cigarette case or a jewelry box -in the spirit of The Digital Modernist, perhaps it would be more likely to be a mobile phone cover.
Find out lots more at the website---- digitalmodernist.org.
My personal favorite Whyte pattern, the mighty, magnificent 4-8-4 Northern. The first of these huge streamlined J-class steam locomotives were built in Norfolk and Western Railway's East End Shops in Roanoke, Virginia, between 1941 and 1942. Number 603 was one of that first batch of four. The last survivor, No, 611, was restored to excursion status until 1994, when a series of unspecified mishaps caused the line to retire her permanently to static display at Roanoke.
(When they dump the fires for the last time on these mighty engines it makes me sad. It's like a death. But——it beats being scrapped.)
The streamlined Duchess on close inspection must be 6220 CORONATION as there's a crown above the nameplate. The bus on the right is a Blackpool Corporation Transport Burlingham bodied Leyland TD4 ?
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 loco's 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 with matching coaches were inspired by pictures of Anthony Sava's original streamlined Tequila Sunrise train from 2007... however, no instructions were used to build the engine or cars.
Commissioned version of my streamlined hudson. The tender decal didn't turn out as well as I'd hoped, I struggled for a long time trying to match new LEGO grey. I will say it looks better in person.
Lincoln Zephyr (1937)
* Designer: John Tjaarda
* Displacement: 4380 cc
* Power: 110 CV
* Top-speed: 130 km/h
Henry Ford's sun Edsel, who was in charge of the company's LINCOLN division, was the first to introduce a marketable, mass-produced streamlined automobile: the 1936 Lincoln Zephyr.
Sweeping the market like a storm, the aerodynamic design suddenly turned into an international fashion trend.
Zeithaus Museum
Autostadt Wolfsburg
17 February 2014
Nikon D90/AF Nikkor 1:3.5-4.5 28-105 mm
There wasn't a lot of wildlife this day at Tinnicum, but a lot of swallows. To pass the time I practiced my tracking and manual focus skills and got lucky with this capture.
Even though the Dutchess looked impressive with the streamlined casing in reality it was totally usless.
Unlike the LNER A4's the casing was placed over the existing running plates making it much heavier than needed.
As it was so heavy it lost any advantage for speed and all the casings were stripped off by 1948.
I must admire the NRM for taking this bold step but plese dont suggest they recreate a GWR streamliner
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
[There are 8 images in this set] Pyramid Motors in Lynchburg, Virginia, an automobile dealership for Ford and Lincoln, came into being in 1937. Located on Federal Street, the building is described stylistically as Art Deco or Art Moderne. Built from plans of local architect Stanhope Johnson, Robert John Keller Jr., the structure has a brick foundation and brick walls with an asphalt roof. The building is a one-story, long streamlined structure with a yellow brick facade, accented in the upper part by horizontal bands of red and yellow brick. Three distinct areas characterize the dealership: (1) the semi-circular entrance featuring corbelled yellow brick with a red, circular metal canopy attached to the building by chains; (2) the showroom located to the left of the entry with red as the dominant color and with a wall of large windows through which the automobiles could tempt prospective customers; (3) and the service area to the right of the entrance, using yellow brick as the major color, and with banks of multiple-light steel windows divided by wide brick pilasters. A large chimney is above the service area. The structure presumably reflected the streamlined cars being sold, especially the Lincoln Zephyr. ( en.wikipedia.org/wiki/Lincoln-Zephyr ). In 1948 the building was sold and housed the Turner Buick Corporation, which operated until 1975. It's had other uses since then and currently is used by Centra Health for its PACE program--Program of All-Inclusive Care for the Elderly.
The building has an individual listing on the National Register of Historic Places, listed November 1, 2007 with ID #07001140. The pdf file of the nomination form is located at
www.dhr.virginia.gov/wp-content/uploads/2018/04/118-5237_...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Streamlined, Poema Utrecht, 28-05-2010. Sorry for the week delay before uploading the set(s). Maar het was een zwaar weekend zo, met 2 top-trance parties. Friday: 28/05: Streamlined, het laatste trancefeest in de Poema :( En zaterdag 29/05 mijn verjaardag om 00.00 uur in de Westerunie tijdens de Armada Night. Van dat feest 2 sets, 1 van gastfotograaf Paul en een van mij. Vanavond ook online hier. Het was weer fun, en een erg mooi weekend al met al. Jammer van de (te) lage opkomst bij Streamlined!
Line-up Streamlined: partyflock.nl/party/174584:Streamlined.html
Dank allen! En tot snel!
Je foto(s) van: Streamlined, nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen de details en stuur ik je via e-mail de high res. foto(s) zonder logo toe!
Check ook eens mijn showgallery: www.dutchphotogallery.net/ (online m.i.v. 01-06-2010). Check also my YouTube Channel: www.youtube.com/user/dutchpartypics
© Dutchpartypics | Korsjan Punt 2010. Powered by Nikon D50/D80/D3000 DSLR; Lenses: Nikon AF 50 mm, f 1.8; Nikon AF-S 18 - 105 mm VR, f: 3.5 - 5.6; Nikon AF-S 55 - 200 mm VR, f 4.0 - 5.6; Nikon AF 70 - 300 mm, f 4.0 - 5.6; Tamron SP XR DiII 17 - 50 mm, f 2.8; Tamron XR Di 28 - 75 mm, f: 2.8; Sigma Super Wide II 24 mm, f 2.8; Sigma EX DC-HSM 10 - 20 mm, f 4.0 - 5.6 and Sigma EX DC Macro 105 mm, f 2.8. Flash: Nikon Speedlight SB600 (Nikon D80) | Sunpak PZ42X (Nikon D3000) | Sunpak PF30X (Nikon D50), all including Stofen omnibounce. Compact: Nikon Coolpix L110 and Panasonic Lumix FX500
NIKON: At the heart of the image! & DUTCHPARTYPICS: Power of Imagination, for Pounding, Vivid Pictures! Make your photos come alive! And... ! Relive your most intense moments, over again!
The modern Class 221 Voyager poses with Class A4 4492 'Dominion of New Zealand' at York. The very first and the most up to date streamlined Express Trains on the Rails.
The Difference Between Styled and Unstyled
Blacksmith John Deere, born near Rutland Vermont in 1804, moved to Grand Detour Illinois in 1836. He began to make self-scouring plows that would clean off sticky soil without the farmer having to stop and clear them. As the company grew, they merged with or bought out diverse agricultural concerns. Unlike many of their competitors, Deere & Company held off trying to build a tractor until 1916; in 1918 they purchased the Waterloo Gasoline Engine Company, which had built tractors since 1893.
Deere upgraded their popular six-year-old General Purpose (GP) Model in 1934, with the narrow front 'tricycle gear' row crop Model A. Like its contemporary, the Farmall F20, the Model A was a gawky, if efficient machine. It proved quite popular, with almost 330,000 units sold. The following year, the Model B debuted, heralded as two-thirds the size of the Model A. Like its big brother, The Model B had only a light coverage of sheet metal, and was still essentially wheels and drive train. In 1938, industrial designer Henry Dreyfuss, whose streamlined designs include the Westclox 'Big Ben' alarm clock, several train engines and the famous 'Princess' telephone, redesigned and 'Styled' the Model A and Model B. The new signature appearance became part of Deere's appeal well into the 1950s.
Two superb live steam models of NSWGR streamlined C38 class. They are being serviced after the day's running for the local railway picnic. The detail of these models is just amazing.
Beautifully illustrated book covering ten amazing unbuilt automobile designs, 1916-1939. Available on Amazon at goo.gl/JIsuCv.
The beautiful streamlined rear of a Tatra T87 car, seen on the TRUK (Tatra Register UK) Cotswold Tour, August 2009.
The Common Dolphin is a slender streamlined dolphin with a moderately long beak, tall dorsal fin and large tapering flippers.
The Australian Museum is the oldest museum in Australia, with an international reputation in the fields of natural history and anthropology. It features collections of vertebrate and invertebrate zoology, as well as mineralogy, palaeontology, and anthropology. Apart from exhibitions, the museum is also involved in indigenous studies research and community programs.
It is located in College Street, Sydney and was originally known as the Colonial Museum or Sydney Museum. The museum was renamed in June 1836 by a Sub-Committee meeting, when it was resolved during an argument that it should be renamed the Australian Museum.
The first location of the museum was likely a room in the offices of the Colonial Secretary, although for the next 30 years it moved to several other locations in Sydney, until moving into its current location in 1849.
The current handsome Neoclassical sandstone building, on the corner of College and Park Streets, opposite Hyde Park, was first opened to the public in May 1857. It was designed by the New South Wales Colonial Architect James Barnet. The first chairman of the museum was William Holmes, who was appointed on 16 June 1829.
The Skeleton Gallery is in the original part of the Museum. It is a double-height space overlooked by first- and second-floor mezzanines. Its 100 skeletons - including the horseman and the rocking-chair man and his dog - occupy a traditional space of dark timber and muted tones, lit to reveal its best features.
Showcasing over 10 full scale skeletons, Dinosaurs are brought to life through dramatic lighting, projected scenery and astounding specimens. The impressive life-size models include feathered dinosaurs from China, as well as a diverse range of carnivore and herbivore dinosaur skulls and skeletons - from the well-known T-Rex to the bizarre Cryolophosaurus discovered in Antarctica.
Fossils are our window into the past. The word ‘fossil’ comes from the Latin word fossus, which means ‘dug up’. This refers to the fact that fossils are the remains of past life preserved in rock, soil or amber. Generally, the remains were once the hard parts of an organism, such as bones and shell although, under exceptional circumstances, soft tissues have also fossilised.
The cover of a brochure I designed for the now-defunct Bicycle Museum of America at Chicago's Navy Pier featured my illustration of a streamlined Sky-King bicycle that looked like this, fully skirted wheels and all.
Lincoln Zephyr (1937)
* Designer: John Tjaarda
* Displacement: 4380 cc
* Power: 110 CV
* Top-speed: 130 km/h
Henry Ford's sun Edsel, who was in charge of the company's LINCOLN division, was the first to introduce a marketable, mass-produced streamlined automobile: the 1936 Lincoln Zephyr.
Sweeping the market like a storm, the aerodynamic design suddenly turned into an international fashion trend.
Zeithaus Museum
Autostadt Wolfsburg
17 February 2014
Nikon D90/AF Nikkor 1:3.5-4.5 28-105 mm
GWR double-ended streamlined railcar no.20 at Tenterden on the Kent & East Sussex Railway, 14th May 2018.
1939 Porsche Typ 64 -- the streamlined aluminium body had a Cw value of only 0.28. The 33 PS engine was good enough for a top speed of 140 km/h.
On display in the Porsche Museum in Stuttgart-Zuffenhausen in Baden-Württemberg, Germany.
Germany has many car museums with some of the best collections on display at the factory museums of major manufacturers. Two are in Stuttgart: the Porsche Museum in Stuttgart-Zuffenhausen and the large Mercedes Benz Museum in Stuttgart-Untertürkheim. The BMW Museum in Munich is adjacent to the Olympiagelände where the ill-fated 1972 Games were staged. The Autostadt in Wolfsburg is a very popular destination but far fewer visitors look in at the nearby Volkswagen Museum covering only the VW brand. Major museums in Germany with significant car collections include the Verkehrsmuseum section of the German Museum in Munich (the first Benz car produced), the German technology museum in Berlin, and the technology museum in Sinsheim. The latter also has many military vehicles as do the Museum of Military History in Dresden and the German Tank Museum in Munster near Hamburg.
Preset Style = Streamlined
Format = Medium
Format Margin = Small
Format Border = Sm. Rounded
Drawing = Technical Pen
Drawing Weight = Medium
Drawing Detail = Lower
Paint = Natural
Paint Lightness = Normal
Paint Intensity = Normal
Water = Tap Water
Water Edges = Medium
Water Bleed = Minimal
Brush = Natural Detail
Brush Focus = Everything
Brush Spacing = Wide
Paper = Plain
Paper Texture = Medium
Paper Shading = Light
Lincoln Zephyr (1937)
* Designer: John Tjaarda
* Displacement: 4380 cc
* Power: 110 CV
* Top-speed: 130 km/h
Henry Ford's sun Edsel, who was in charge of the company's LINCOLN division, was the first to introduce a marketable, mass-produced streamlined automobile: the 1936 Lincoln Zephyr.
Sweeping the market like a storm, the aerodynamic design suddenly turned into an international fashion trend.
Zeithaus Museum
Autostadt Wolfsburg
17 February 2014
Nikon D90/AF Nikkor 1:3.5-4.5 28-105 mm
An all-new streamlined appearance, commonly called ponton, was offered by Packard, and the Series 22 Custom Super Eight replaced the Custom Super Clipper and was the top-level trim package sedan, limousine and convertible. The "free-flow" slab-sided appearance was shared with all Packards and senior trim levels could be distinguished with an egg-crate grille, and horizontal bars below the traditional "ox-yoke" grille that wrapped around to the front wheel opening. The overall appearance was distinctive, with Packard winning several awards for the design, including the "Fashion Car of the Year" from the New York Fashion Academy.
The "Winged Goddess" cormorant hood ornament was introduced, intended to evoke the popular appearance from Packards of the 1930s. The 2-door Club Sedan was joined with the first convertible offered since 1942, called the Victoria Convertible Model 2259, and was available with the Super and Custom Super trim packages. Custom Super trim packages could be identified by having two stainless steel body trim at the bottom edge of the body, while Super trim did not have them after 1949.
the back has the most rust, it has a small dent in the middle of the trunk lid. I also found an old trailer hitch to go on it if I want to put it on.
Two superb live steam models of NSWGR streamlined C38 class. They are being serviced after the day's running for the local railway picnic. The detail of these models is just amazing.
I've streamlined my wishlist quite a bit, either through sacrifice of sets I think I can live without or through some miracle I got the set somehow. Still...
S@H total: $823.85
I was able to get a copy of the Dwarfs Mining already, but don't ask me how. I could tell you, but then I'd have to kill you. Or at the very least give you a few paper cuts.
The streamlined front end of DB Class 10 4-6-2 No.10 001 at the German Steam Locomotive Museum, Neuenmarkt-Wirsberg, 6 May 2016. Two were built by Krupp in 1957 as the first of a planned large class to replace the Class 01 and 01.10 Pacifics. However, spreading electrification meant no more were built. They had the same welded boiler as the rebuilt Class 01's and 01.10's. No.10 001 originally had coal and oil firing but this was soon replaced by all-coil firing as No.10 002 had from completion. They were withdrawn in 1967-68 despite being highly successful and a fitting climax to German steam engine development. Presumably their high axle loading (22.4 tonnes) meant they had a far more limited route availability than the older Pacifics and thus when displaced by electrics they had no suitable routes to work. In my opinion a potententially beautiful engine is rather spoilt by the over-heavy looking streamlined lower front end and a very spindly smokebox door cone.
Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam
Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.
The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.
The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.
Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.
Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.
Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta
The Shape of Speed, Streamlined Automobiles and Motorcycles, 1930–1942. Portland Art Museum. Форма Скорости. Автомобилейи и Мотоциклы Будущего - 1930-1942. Музей Искусств, Портланд, Орегон, США.
Recent shift to AMC enables streamlined logistics services
By Sgt. 1st Class Jeff Troth
jefferey.l.troth.mil@mail.mil
CAMP CASEY, SOUTH KOREA – The logisticians who look after Warrior Country’s transportation, maintenance and supply needs are now able to provide even more robust services thanks to a recent change that gives them broader, faster reach into the Army’s overall logistics network.
The U.S. Army Garrison Red Cloud and Area I’s Directorate of Logistics ran the Central Issue Facility at Camp Hovey and the transportation motor pools that provide buses and vehicle maintenance in Warrior Country.
They did that as part of the U.S. Army Installation Management Command, of which USAG Red Cloud and Area I is a part.
But, effective Oct. 1, all Army DOL assets shifted from IMCOM to the U.S. Army Materiel Command. AMC is a global command that supports Army logistics worldwide.
The shift plugs in the DOL to AMC’s global logistics network.
And in Warrior Country, DOL is now part of the 403rd Army Field Support Brigade Area I, said DOL director Dennis Williams.
For Warrior Country customers, that’ll mean that when one of the 403rd AFSB’s facilities in Warrior Country runs low on an item – helmets or vehicle parts – for example, they can be shipped from another facility that does have them, even one in, say, Japan, Williams said.
The transition will not pose any confusion or inconvenience for DOL customers, he said.
“For Area I it will be transparent,” he said. “The services we did yesterday are the same services that we’ll do today and tomorrow.”
The Area I DOL marked the shift to AMC with a low-key patch-and-pin ceremony Oct. 3 at Camp Casey’s Carey Fitness Center.
There, DOL’s Soldiers traded in their seven-sided IMCOM patch for the shield-shaped AMC patch, while civilians received an AMC lapel pin.
“On behalf of the Army Materiel Command I want to welcome you to the new AMC family,” Col. Michael Lopez, commander of the 403rd AFSB, said during the ceremony.
For the more than 300 DOL Soldiers, Department of the Army Civilians and Korean civilians in Warrior Country, the 403rd AFSB is now their higher headquarters. But, they’re not alone. On Oct. 1, the 403rd also took command and control of all DOLs in Korea, Japan and Okinawa.
The changeover process was set in motion in March 2005 when the leadership of IMCOM and AMC decided to develop a logistics partnership to improve support to the Army and the Army’s transformation plan.
Recent shift to AMC enables streamlined logistics services
By Sgt. 1st Class Jeff Troth
jefferey.l.troth.mil@mail.mil
CAMP CASEY, SOUTH KOREA – The logisticians who look after Warrior Country’s transportation, maintenance and supply needs are now able to provide even more robust services thanks to a recent change that gives them broader, faster reach into the Army’s overall logistics network.
The U.S. Army Garrison Red Cloud and Area I’s Directorate of Logistics ran the Central Issue Facility at Camp Hovey and the transportation motor pools that provide buses and vehicle maintenance in Warrior Country.
They did that as part of the U.S. Army Installation Management Command, of which USAG Red Cloud and Area I is a part.
But, effective Oct. 1, all Army DOL assets shifted from IMCOM to the U.S. Army Materiel Command. AMC is a global command that supports Army logistics worldwide.
The shift plugs in the DOL to AMC’s global logistics network.
And in Warrior Country, DOL is now part of the 403rd Army Field Support Brigade Area I, said DOL director Dennis Williams.
For Warrior Country customers, that’ll mean that when one of the 403rd AFSB’s facilities in Warrior Country runs low on an item – helmets or vehicle parts – for example, they can be shipped from another facility that does have them, even one in, say, Japan, Williams said.
The transition will not pose any confusion or inconvenience for DOL customers, he said.
“For Area I it will be transparent,” he said. “The services we did yesterday are the same services that we’ll do today and tomorrow.”
The Area I DOL marked the shift to AMC with a low-key patch-and-pin ceremony Oct. 3 at Camp Casey’s Carey Fitness Center.
There, DOL’s Soldiers traded in their seven-sided IMCOM patch for the shield-shaped AMC patch, while civilians received an AMC lapel pin.
“On behalf of the Army Materiel Command I want to welcome you to the new AMC family,” Col. Michael Lopez, commander of the 403rd AFSB, said during the ceremony.
For the more than 300 DOL Soldiers, Department of the Army Civilians and Korean civilians in Warrior Country, the 403rd AFSB is now their higher headquarters. But, they’re not alone. On Oct. 1, the 403rd also took command and control of all DOLs in Korea, Japan and Okinawa.
The changeover process was set in motion in March 2005 when the leadership of IMCOM and AMC decided to develop a logistics partnership to improve support to the Army and the Army’s transformation plan.