View allAll Photos Tagged streamlinemoderne
This is a view down the Gensee River gorge from above Lower Falls. Driving Park Road crosses the gorge on this new bridge built in 1989. The original bridge was explosively demolished.
The Hawkeye Plant where Instamatic cameras were made by Kodak is at the top right. This plant also was where reconnaissance film from spy satellites was processed in a program known as Bridgehead (www.rbj.net/article.asp?aID=193264).
Photographed using a Sony A7R with a Nikkor 43-86mm f/3.5 lens.
IN ENGLISH BELOW THE LINE
Foto presa amb una Rolleiflex 3.5F fabricada entre 1969 i 1971; Carl Zeiss Planar f3.5 / 75mm; Ilford Delta 100 revelat amb Perceptol 1+1. Mireu-les en mida gran!
Aquest edifici art decó es troba prop de Russell Square, però amagat en un carreró lateral. S'el coneixia com a Daimler Car Hire Garage, i després Frames Coach Station; fou construit el 1931 com a garatge, com es pot veure per la seva estructura. Ara son oficines de lloguer.
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Picture taken with a Rolleiflex 3.5F, made c.1969-1971; Carl Zeiss Planar f3.5 / 75mm lens; Ilford Delta 100 developed in Perceptol 1+1. Looks much better in large size!
This gorgeous art deco building, located near Russell Square, was designed in 1931 as a hire garage, and you can tell that from the façade, including circular ramps. Now it's a quite luxurious offices building.
It was known as Daimler Car Hire Garage, and latter, Frames Coach Station.
The former Bernheim Distillery. Here it is in better times. But -- argh! -- the damn truck is blocking your view of the gorgeous aluminum sculptural lights that flanked the front entry.
The original pier in Worthing was constructed in the mid 19th century, but it was largely destroyed by fire in the 1930s. It was remodelled in the Streamline Moderne style (late Art Deco period) and reopened in 1935. My younger self hated this style, but I can't imagine why because now I love it. It was a real pleasure to enjoy a (rare) sunny day at the seaside yesterday.
These buildings housed the Addis toothbrush factory for 60 years. They were built in 1935 and were designed by Douglas Hamilton in Streamline Moderne style. Today we appreciate the original 1935 design with their curved windows, continuous steel frames, red brick interrupted by profiled bands of white concrete window cills and lintels, ... ------- (LON_0208_4907 - Image copyrighted).
My Flickr friend ajhaysom inspired me to use the mirrors in the bedrooms, and I certainly had fun trying to capture Lily Sullivan in triplicate in this mirror.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
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:
Located in downtown Lansing, MI, the Knapp Centre is one of the finest surviving examples of Streamline Moderne (an Art Deco subset).
Completed in 1939, it originally housed the J.W. Knapp Co. department store. The building was designed by Bowd-Munson. The building was listed on the National Register of Historic Places in 1983.
The recently restored “Beresford Hotel” building in Sauchiehall Street is probably Glasgow’s finest art deco building.
Architects: Bertram Carter and L.L. Sloot, 1935, in the Streamline Moderne style, grade II listed. Showing steps to main entrance of the major block, with curved balustrade. London Borough of Richmond upon Thames.
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:
As Veida came through the door of her flat, she quickly closed it before turning on the standard lamp in the drawing room. "Punch" was full of cartoons lampooning the blackout, but she took even a chink of light very seriously, even in those early days of the war in that glorious 1939 September when everyone was adapting to the new government regulations. Her own light and airy Knightsbridge flat was now positively repressive with the addition of a thick blackout lining to the red shantung curtains. However, as an air raid warden, she had seen for herself what the enemy from across the Channel could do, as her beloved London was bombed night after night in what was now commonly known as "the Blitz". If the King and Queen could be bombed at Buckingham Palace, as they were the other night, Veida wasn’t going to leave anything to chance.
Veida turned the brown Bakelite lozenge knob of her wireless and waited for the valves to warm up. She removed the tin helmet emblazoned with ARP WARDEN in bold white printed letters from her head. Glancing critically at her shadowy reflection in the mirror over the fireplace she sighed wearily as she tugged at the waves in her pageboy bob that had been compressed by the uncomfortable headgear. “What a fright!” she tutted at her mirrored image. “Thank goodness you aren’t going dancing at the Embassy.” But there was no dancing for Veida now, not with Reggie away. It just didn’t seem right to go dancing with other airmen at a nightclub when your own fiancée was out there somewhere over Europe fighting for you. Primrose Chateris didn’t care, and told Veida so when she scolded her for dancing with a stranger in uniform last week. No; the beautiful sweeping silk and satin gowns Veida wore in 1938 were packed away until… until when? When Reggie returned? When the war ended? When life returned to its pre-war normality? Rubbing her temples, Veida silently wondered if life would ever return to normal. This war seemed to have turned the world she knew and everyone in it upside down.
A crackling broke into Veida’s thoughts as the wireless sputtered to life and she heard the last few notes of a piece of classical music played on a piano. The dial on her walnut wireless glowed happily in the warm lamplight and she heard the familiar male voice announce; “This is the BBC Home Service”.
“Thank goodness,” Veida said aloud to her empty flat. “At least some things can still be relied upon in this topsy turvey world!” And she kicked off her heavy work shoes covered in brick dust and soot and curled up on the couch to hear the latest news and forget about her aching head and weary bones for a little while.
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This wonderful Art Deco walnut case wireless radio was made by the New Zealand manufacturers, Temple. According to its serial number, it was made in 1935 and is very much typical of a wireless found in most middle-class homes during the 1930s. It has a pyramid case; still a popular shape after “Egyptomania” or “Tutmania” gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. Its edges however, are rounded, hinting at the Streamline Moderne style so popular in the mid 1930s. Whilst the fine veneer is a warm walnut, the very Art Deco speaker grille and the two fin details on the front are made of stained blackwood. The manufacturer’s name is picked out in brass on red enamel above the convex glass dial and the lozenge knobs are of mottled chocolate brown Bakelite (an early form of plastic that came into everyday use in the 1920s and 30s). Worked with beautiful glass valves, this radio has to be allowed to warm up before use, but still works beautifully, sending forth a soft, slightly dappled sound that only wireless radios of this era and vintage can do. It can still pick up all AM radio stations as well as shortwave radio from around the world.
Private collection.
The theme for "Smile on Saturday" on Saturday 2nd of May 2020 is "radio". This seemed a worthy entry.
This dramatic rear view of the Art Deco tower at 851 Eddy Street in San Francisco reveals the elegance of mid-20th-century urban housing architecture from an angle often unseen. Rising above the leafy streets of the Tenderloin/Van Ness corridor, the building’s brilliant white façade glows under the sharp California sun, its form framed by geometric fire escapes, stacked windows, and intricately ornamented parapets.
Completed in the 1930s, this Art Deco residential high-rise is part of a small cluster of Deco structures in central San Francisco—a stylistic holdover from an era when modernist optimism met urban density. Unlike the decorative excesses of Victorian and Edwardian styles that surround it, Art Deco emphasized bold lines, repetition, and geometric precision, all of which are proudly on display in this structure.
From this vantage point, the eye is drawn upward along twin fire escape towers, both executed in delicate white-painted steel. These ladders and landings mirror the vertical thrust of the building’s fluted pilasters, creating a rhythmic choreography of line and light. Each story of the façade is punctuated by rectangular windows framed in subtle relief—many of them reflecting the blue sky or revealing quiet glimpses of residential life within.
The real artistry, however, lies at the top. Crowning the building is a stepped, scalloped parapet, intricately decorated with floral and geometric motifs. These flourishes transform the rooftop into a sculptural finish, giving the structure the appearance of a white crown or frozen wave cresting against the sky. The detailing, both elegant and assertive, reflects the Deco era’s fascination with machinery, symmetry, and progress.
This particular composition captures the structure’s corner cut, a formal device used by many Art Deco architects to emphasize verticality and enhance light penetration to adjacent units. The angle of the sun, the crisp shadows, and the building’s interplay with the deep blue sky all contribute to a sense of timelessness and urban grace.
As with many historic residential towers in the Tenderloin and Lower Polk, this building has seen waves of change. Once likely home to middle-class tenants during San Francisco’s early 20th-century expansion, it may now serve a range of uses, from market-rate housing to rent-controlled apartments. Regardless of its function, its form endures—speaking to a time when design ambition wasn’t reserved for luxury alone.
For photographers, architecture fans, or lovers of hidden gems in San Francisco’s built environment, the Art Deco gem at 851 Eddy Street offers endless inspiration. Its scale, detail, and placement are an enduring reminder of how beauty lives not only in grand monuments, but also in the city’s quiet, lived-in corners.
Tuna St, Terminal Island, Port of Los Angeles. Home of the Nanka Company Dry Goods Store until 1942. Built in 1918. The Streamline Moderne portion was part of a remodel in later years.
De style art déco (style « paquebot »), il a été construit sur les plans de l'architecte perpignanais Léon Baille (1862-1951) entre 1928 et 1932 afin de permettre aux touristes devant attendre le changement d'essieux de leur train de passer la nuit. Il comprenait une salle de restaurant, une salle de cinéma et son bar, une scène de théâtre à l'italienne et un court de tennis sur le toit. Construit en ciment armé, il est restauré progressivement après avoir atteint un état de délabrement avancé.
former Leicester Odeon building
Harry Weedon & Robert Bullivant 1938
www.modernistbritain.co.uk/post/building/Odeon+Cinema+Lei...
35RC Fomapan 200 Rodinal
Thanks for the invite to Streamline Moderne Architecture, Metropol 21!
Worthing pier (again!). Any excuse ...
This time the excuse was again the weekly topic in the 52 Themes 2009 group, which is 'Lead-in lines'. I quite liked the lines in the railings, the centre windbreak, the shadows on the deck and even the horizon and the contrails all leading to the building housing the Pier Amusements and that wonderful deco clock.
And just look at that evening weather.
This one made a rather rapid appearance in Explore.
De style art déco (style « paquebot »), il a été construit sur les plans de l'architecte perpignanais Léon Baille (1862-1951) entre 1928 et 1932 afin de permettre aux touristes devant attendre le changement d'essieux de leur train de passer la nuit. Il comprenait une salle de restaurant, une salle de cinéma et son bar, une scène de théâtre à l'italienne et un court de tennis sur le toit. Construit en ciment armé, il est restauré progressivement après avoir atteint un état de délabrement avancé.
Looking for even more Route 66? Check out multiple galleries here:
Glenrio is essentially a ghost town along Route 66 at the border of Texas and New Mexico. Essentially, everything left in town is part of the National Register of Historic Places as the Glenrio Historic District.
This Diner and the Texaco next door was built in 1952 with a Streamlined Moderne style by Joe Brownlee. Later it was known as the Little Juarez Diner. In the Pixar movie Cars, this building was the inspiration for the Glen RIo Motel.
De style art déco (style « paquebot »), il a été construit sur les plans de l'architecte perpignanais Léon Baille (1862-1951) entre 1928 et 1932 afin de permettre aux touristes devant attendre le changement d'essieux de leur train de passer la nuit. Il comprenait une salle de restaurant, une salle de cinéma et son bar, une scène de théâtre à l'italienne et un court de tennis sur le toit. Construit en ciment armé, il est restauré progressivement après avoir atteint un état de délabrement avancé.
Worthing's only 30 minutes drive from home, but I don't often visit. It's a shame because I always enjoy my time there with a camera. I suppose it's just too easy to go to Brighton, which is closer, when I want some sea air. The beautiful sunshine yesterday helped, of course.
From AI:
The Rialto Theater in Searcy, Arkansas, is a historic gem with a rich history that reflects both the cultural evolution of the city and the broader trends in American entertainment. Located at the intersection of Race and Spring Streets in central Searcy, it stands as a testament to the community’s enduring love for cinema and its architectural heritage.
The theater’s story begins in 1923, when it was constructed to replace an earlier venue known as the Grand Theatre, which had been razed that same year on West Race Street. Initially operating under the Grand Theatre name, it was renamed the Rialto Theater five years later, in 1928. This early period marked it as a hub for local entertainment, hosting not just films but also live events that drew crowds from across White County. For instance, in the 1920s, the theater welcomed Jasper, a popular canine film star of the era, showcasing its role as more than just a movie house.
The Rialto’s most transformative moment came in 1940, when it underwent a significant renovation that gave it the distinctive Art Deco styling it’s known for today. This overhaul included the addition of a striking neon-lit marquee—reportedly the most elaborate in White County—and a sixty-seven-foot vertical sign with staggered, colorful panels. The redesign, completed in November 1940, reflected the Streamline Moderne aesthetic popular at the time, blending sleek lines and vibrant neon to create a glamorous Hollywood vibe. This renovation elevated the Rialto’s status, making it one of the few buildings in the region to boast such architectural flair. A notable event from this period occurred on August 14, 1940, when manager K.K. King, after losing a bet with the rival Plaza Theater over attendance numbers, climbed atop the marquee and spent the evening there, delighting onlookers.
The theater saw further updates in 1949, when it was remodeled again under the direction of the Boller Brothers firm, a prominent theater design company, during its time as part of the Commonwealth Amusements circuit. These changes refined its interior and maintained its relevance as a single-screen venue. Throughout its history, the Rialto adapted to cultural shifts, from hosting amateur talent contests—where a local figure, Harry King, served as the “gong ringer”—to special events like the 1938 Little Miss Shirley Temple Contest, complete with a 3,000-watt spotlight to enhance its Hollywood allure.
Despite occasional pushback from Searcy’s more conservative residents, who frowned upon its Sunday operations (leading to a local Sabbath closure law), the Rialto thrived. Its resilience is evident in its continuous operation, a rarity among Arkansas’s single-screen theaters. In 1991, its historical and architectural significance was formally recognized when it was added to the National Register of Historic Places, cementing its status as a cultural landmark.
1251 4th Ave.
Built in 1953. Restored and repurposed as the Tri-State Transit Authority Center in 1994.
downtownhuntington.net/greyhound-bus-station-an-architect...
De style art déco (style « paquebot »), il a été construit sur les plans de l'architecte perpignanais Léon Baille (1862-1951) entre 1928 et 1932 afin de permettre aux touristes devant attendre le changement d'essieux de leur train de passer la nuit. Il comprenait une salle de restaurant, une salle de cinéma et son bar, une scène de théâtre à l'italienne et un court de tennis sur le toit. Construit en ciment armé, il est restauré progressivement après avoir atteint un état de délabrement avancé.
The golden hour of photography falls in love again with the Studios. Three exposure HDR tonemapped and sharpened.
The golden hour (sometimes known as magic hour, especially in cinematography) is the first and last hour of sunlight during the day, when a specific photographic effect is achieved with the quality of the light. - wiki
From cinematreasures.org: "Opened in the early 1940s as the Delaware Theatre, it was designed by the architectural firm Blatner & Van der Bogert. It was operated by Stanley-Warner and had a seating capacity for 699, all on a single floor." As the Spectrum 8 Theatres it has been locally owned and operated since 1983. Albany, New York.
De style art déco (style « paquebot »), il a été construit sur les plans de l'architecte perpignanais Léon Baille (1862-1951) entre 1928 et 1932 afin de permettre aux touristes devant attendre le changement d'essieux de leur train de passer la nuit. Il comprenait une salle de restaurant, une salle de cinéma et son bar, une scène de théâtre à l'italienne et un court de tennis sur le toit. Construit en ciment armé, il est restauré progressivement après avoir atteint un état de délabrement avancé.
The famous Tagliero Fiat garage in Asmara, a real marvel...
The airplane-shaped Fiat Tagliero garage, built by architect Giuseppe Pettazzi in 1938, similar to Frank Lloyd Wright's work. The design of the Tagliero garage was revolutionary for its time. The building has 98-foot-long concrete wings extending above the ground on each side.
With a tilt shift fx
© Eric Lafforgue
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Grade I listed. Built in 1936. Architects Mendelsohn and Chermayeff. The hanging lamp was designed for the stair well.
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: