View allAll Photos Tagged study_model
Wieuca Baptist Church: Sketchup model using Google Earth surface image. Model representing collaboration between church and developer for a new parking deck, church addition, and two new mixed-use high rises. A video animation of model was created as well to present the design to the church.
Athens FPC: This model represents a work from three different people. I was charged with completing the model and creating presentation renderings of the model.
Free Chapel: This model is a study model and part of a master planning effort for a phase 2 design for this large evangelical church.
8002-02_2a
Scan von Originalfoto 1980
Scan of original photo 1980
Porträtstudie Model B. - Portrait study Model B.
2016
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
2016
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
www.instagram.com/almas_narradas?utm_source=ig_web_button...
Explorada: www.flickr.com/explore/2024/07/25
Su expresión radiante y su mirada cautivadora resaltan su belleza natural. Su rostro tranquilo y en equilibrio resuelve el instante con su encanto único.
Lower angle of the bigger scale study model for use to create perspectives.
Andy Wilcox, Gil del Rosario, Gordon Haines, Ken McCown designers.
Looking down the path of the bigger scale study model.
Andy Wilcox, Gil del Rosario, Gordon Haines, Ken McCown designers.
2011
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
2011
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
2011
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
the Precision is a design-study model that Acura says “literally will shape the direction of all future Acura products.”
www.caranddriver.com/photo-gallery/acura-precision-concep...
Well into pre-production, the Reliant design followed the morphology of the Enterprise, with nacelles above and torpedoes below. But a study model hung from a string insisted on flipping upside-down, and everyone liked it better. Still, here's the Yeager in the original orientation, based on an old render from The Light Works.
2011
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
So after a break I’ve finally got back onto this and completed this first “finished” version. There was quite a lot of internal mucking about as a result of the study model to redesign the internal structure for maximum strength.
You’ll notice the rear facing of the left side “wing” isn’t in place; which is because some tiny LDD offset seems to stop it slotting neatly in (grr). It’ll work in the brick.
Anyone got any further comments or ideas?
(BEST VIEWED SMALL!)
With the long awaited 2008 Iron Man live action movie powering up in 2008 at the cinema I thought I'd make a small study model to help me sort out the bits and pieces of the Mark One armour featured in the film.
Billionaire industrialist Tony Stark cobbles this clumsy but invincible suit together as part of a cunning plan to escape after Taliban fighters capture him in Afghanistan and force him to work on repairing a missile.. ...
The joke's on them, this ain't no missile!
The figurine stands 50mm tall, which is almost precisely twice the size of the picture on your computer screen at the medium size. If you want to see it at the actual size just go to 'ALL SIZES' and select "SMALL". Yes, that's a wine cork he's stuck on, which is ironic, given Tony's addiction to alcohol. Anyway, corks make good temporary work stands for these miniatures as they're large enough to grip and the armatures can easily be set into them and removed.
The figurine is sculpted from ProCreate, a two part epoxy modelling compound, and built up around a wire armature that just happens to be left over from the Melbourne shoot of "Where The Wild Things Are". Thanks to Eddy for supplying the ProCreate and Callum for the armature wire.
I've never built anything quite this small and intricate before, so it seemed like the ideal choice for my first project in this new medium.
I have, however, painted many things smaller than this, so perhaps the painting won't be so much of a challenge, though looking at all the wee wires and cables I've tooled into it I reckon I'm probably in for another tussle there too!
I've photographed this on my workbench with one overhead light and some fill, against one of my spare anvil stakes.
I’ve got this into quite an advanced state now and I’m fairly happy with it. It’s not a slavish replica of any particular version, I’m just trying to channel the overall vibe. I should be able to light up the warp drives, impulse engines and that grille thing on top. Any feedback gratefully received!
Study model reveals this arrangement of hinges works; but needs cross bracing four different ways to stop it kinking out of shape.
A paper working model of a chair. (see #940)
(From Rijksmuseum.nl):
Paper Bone Chair, Joris Laarman, Habith Modell- & Formenbau GmBH, 2006
lamineren, h 76cm × b 45cm × d 75.5cm. More details
© Joris Laarman
The paper study model for the Bone Chair is composed of sheets of paper, joined together layer by layer. Each layer was printed by a computer. A three-dimensional computer model was used as the starting point for this laminated object manufacturing process, which is a form of rapid prototyping.
Volumetric study model shown during 2014 opening exhibition of Frank Gehry models at the
Fondation Louis Vuitton (2006-2014)
Avenue du Mahatma Gandhi 8
Bois de Boulogne
75116 Paris
France
arch Gehry Partners LLP
Pritzker Prize Winner in 1989
© picture by Mark Larmuseau
Bronze sculpture and fountain (1926) by Carl Milles (1875-1955)
Europa and the bull is a bronze fountain by Carl Milles in the main square of Halmstad on the Swedish west coast, erected in 1926. The motif is the story from Greek mythology of how Zeus – in the shape of a bull – abducts princess Europa.
The background was a donation from the wholesaler Jacob Jacobsson in 1919. Eventually it was decided to give the commission to Carl Milles. The fountain was cast in Denmark and was transported to Halmstad for the inauguration on November 7, 1926. There were protests that the tritons were naked.
Here at Millesgården is a copy of the fountain, in which another figure has been added, Sunglitter, which is not in the Halmstad fountain.
There are also other copies of the fountain, among others in the Cranbrook Academy of Art in Bloomfield Hills, Michigan och at the University of Tennessee i Knoxville. A number of smaller, pre-study, models of the central figure exist, e.g. in the Tate Gallery in London, in the Göteborg Art Museum and here in Millesgården.
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Europa och Tjuren är en fontän i brons av Carl Milles på Stora torg i Halmstad i Sverige, uppförd 1926. Motivet är hämtat från grekisk mytologi och handlar om när Zeus, i en tjurs skepnad, rövar bort prinsessan Europa.
Bakgrunden till uppförandet var en donation från 1919 av grosshandlaren Jacob Jacobsson. Efter flera turer beslutade man att ge uppdraget att ta fram utsmyckningen till Carl Milles. Fontänen göts i Danmark och transporterades till Halmstad för invigning den 7 november 1926. Vid uppförandet förekom protester mot att tritonerna skulle vara nakna.
Här på Millesgården finns ett annat exemplar av fontänen, i vilken ytterligare en skulptur placerats, Solglitter.
Kopior av fontänen finns bland annat i USA på Cranbrook Academy of Art i Bloomfield Hills, Michigan och vid University of Tennessee i Knoxville. Ett tiotal mindre modeller av centralskulpturen finns, bl. a. i Tate Gallery i London, Göteborgs Konstmuseum, och här i Millesgården.
Millesgården, Lidingö, Sweden
Teleidoscope 18/52: Painting because it looks like a painting.
a square format i believe.
this week I'm leaving my camera at home so I can't take any pictures and I can study!
model: Mayli
One of the downsides of working in LDD is that it's very fussy about collisions and legal connections. In the LDD model on the right the fourth of the 2x1x2 bows won't go into place because it collides with the one above. Hence the study model on the left which reproduces the exact setup and proves that in fact the piece will fit nicely underneath. My desk is cluttered with loads of these little study models just to check stuff is going to work for real.
This area of Bamberg was formerly a large textiles factory and has been converted to a fancy new residential/mixed-use area. It all looks very nice but there is still that uncanny valley aspect of it - you feel like you're inside an architectural study model come alive.
[Bamberg_20190424_1520_e-m10_1014247684]
This model was built sometime around 2009 to test out the feasibility of building a full scale 1 foot to 1 dot Lego model of a Boeing 777. As the 777 has a 20 foot fuselage cross section, this model is about 20-21 dots wide. The idea was to figure out how many pieces were used to make the contours for 12 feet of the fuselage, then scale it up to the full 220 feet of the real airplane. Seats were placed in the model later so it could be presented at shows, though I'm sure someone will point out a 2-3-2 configuration is almost never seen in a world of 9 and 10 abreast 777 economy seats.
This is a study model for the MOC I’m working on the USS Jefferies. What you’re looking at here is the core of the model with one of the big booms sticking out the side that form the wings. The box of assorted LEGO at the end is a weight to represent the warp drives sitting at the end. The big rock on top is just so it doesn’t fall over.
All this is to check whether those wings will droop; and they do – but not nearly as much as I thought. I will do a bit of a redesign and try this again. Worst case I might have to just have two nacelles (basically halving the weight on the end) which will reduce the droop massively.
A big shout out to Jeddy and Daddy who recently gave (GAVE!) me a massive bag of various technic parts and miscellaneous plates; many of which are in this model.
Bronze sculpture and fountain (1926) by Carl Milles (1875-1955)
Europa and the bull is a bronze fountain by Carl Milles in the main square of Halmstad on the Swedish west coast, erected in 1926. The motif is the story from Greek mythology of how Zeus – in the shape of a bull – abducts princess Europa.
The background was a donation from the wholesaler Jacob Jacobsson in 1919. Eventually it was decided to give the commission to Carl Milles. The fountain was cast in Denmark and was transported to Halmstad for the inauguration on November 7, 1926. There were protests that the tritons were naked.
Here at Millesgården is a copy of the fountain, in which another figure has been added, Sunglitter, which is not in the Halmstad fountain.
There are also other copies of the fountain, among others in the Cranbrook Academy of Art in Bloomfield Hills, Michigan och at the University of Tennessee i Knoxville. A number of smaller, pre-study, models of the central figure exist, e.g. in the Tate Gallery in London, in the Göteborg Art Museum and here in Millesgården.
__________________________________
Europa och Tjuren är en fontän i brons av Carl Milles på Stora torg i Halmstad i Sverige, uppförd 1926. Motivet är hämtat från grekisk mytologi och handlar om när Zeus, i en tjurs skepnad, rövar bort prinsessan Europa.
Bakgrunden till uppförandet var en donation från 1919 av grosshandlaren Jacob Jacobsson. Efter flera turer beslutade man att ge uppdraget att ta fram utsmyckningen till Carl Milles. Fontänen göts i Danmark och transporterades till Halmstad för invigning den 7 november 1926. Vid uppförandet förekom protester mot att tritonerna skulle vara nakna.
Här på Millesgården finns ett annat exemplar av fontänen, i vilken ytterligare en skulptur placerats, Solglitter.
Kopior av fontänen finns bland annat i USA på Cranbrook Academy of Art i Bloomfield Hills, Michigan och vid University of Tennessee i Knoxville. Ett tiotal mindre modeller av centralskulpturen finns, bl. a. i Tate Gallery i London, Göteborgs Konstmuseum, och här i Millesgården.
Millesgården, Lidingö, Sweden
Located at the end of a sleepy little cul-de-sac in the leafy north east Melburnian suburb of Fairy Hills is a beautiful pebbledash Arts and Crafts style bungalow. Quiet and unassuming amid its well kept gardens, this bungalow is quite significant historically as it is the creation and home of nationally renowned husband and wife artists Christian and Napier Waller, and is known as the Waller House. Together they designed the house and much of its interior decoration and furnishings. Napier Waller lived in their purpose designed home for some fifty years. What is especially significant about the house is that both it and its contents are quite intact. Napier Waller's studios, examples of his art, that of his two wives and his niece, famous studio potter Klytie Pate, and items connected with his work remain exactly as he left them. Architecturally the house design is innovative in its internal use of space, specifically in the organisation of the studio cum living room and displays a high degree of artistic creativity in the interior decoration.
The Waller House in Fairy Hills is so named because it was the residence of Mervyn Napier Waller, the acclaimed artist who gained National fame from his water colours, stained glass, mosaic works and murals and his wife Christian, who was a distinguished artist and designer of stained glass in her own right. In particular Napier Waller's works adorn the Melbourne Town Hall, the Myer Emporium Mural Hall, the Victorian State Library and the Australian War Memorial. The Waller House is a split level house designed by Napier and his first wife Christian who intended the house to be both a home and a workplace. For this the design was conceived to accommodate the tall studies and pieces of the artist's work.
The Waller house was built by Phillip Millsom in 1922 and the architectural style of the house is a mixture of Interwar Arts and Crafts, Interwar Old English and Interwar California Bungalow. The house is constructed from reinforced concrete walls with a rough cast pebbledash finish. The roof is steeply pitched with a prominent half timbered gable over the front entrance and has Marseilles pattern terracotta tiles. There are small paned casement windows. There have been several additions to the original design over the years but these have all been sympathetic to the original design.
The house is entered from a two sided verandah into an entrance hall, panelled in Tasmanian wood. This has stairs leading to the different levels of the house interior. In one direction the hall leads to a main living hall which was Napier Waller's original studio and later used as the main living room in the house. This room has a high ceiling with casement windows, a musicians’ gallery and a broad brick fireplace flanked by fire-dogs and bellows made by the sculptress Ola Cohn (1892 – 1964). Like many of the other rooms in the house the studio is panelled and floored with Tasmanian hardwood and contains some of the studies for Napier Waller's murals: “The Five Lamps of Learning; the Wise and Foolish Virgins” a mosaic for the University of Western Australia and, “Peace After Victory” a study painting for the State Library of Victoria. Above the panelling the plaster walls are painted in muted colours in wood grain effect. The raftered plaster ceiling has been painted in marble effect with gold leaf. Book shelves, still containing the Wallers’ beautiful books, are built into the panelled walls. Furniture in the room includes a settee with a painted back panel featuring jousting knights, painted by Christian Waller, a leather suite and black bean sideboards and cupboards. This furniture was designed in the nineteen thirties by Napier Waller and by Percy Meldrum and a noted cabinet maker called Goulman. The studio cum hall also contains many ceramic works created by studio potter Klytie Pate who was Christian Waller’s niece and protégée. The entrance hall leads in the other direction to a guest room, known as the “Blue Room”. This was the idea of Napier's wife Christian and has simple built-in glass topped furniture and Napier's murals of the “Labours of Hercules” which include a self portrait of the artist. An alcove section of the room was constructed out of an extension to the verandah. Stairs lead from the entrance hall to the musicians’ gallery which has a window and overlooks the studio cum living room. The kitchen near the studio/hall is panelled and raftered with built-in cupboards conforming to the panelling. The ceiling is stencilled in a fleur-de-lys design by Napier. The dining room lies to the right of the studio cum hall and contains shoulder high panelling and raftered ceilings. It has an angled brick corner fireplace and the walls and ceiling have the same painted treatment as the studio cum living room. The oak dining furniture was designed by Napier. A small den with high window, furnished with leather chairs, opens off the dining room. Opening off the hall to the left is a long rectangular room known as the glass studio. This was added to the house by builder C. Trinck of Hampton in about 1931 and contains Napier Waller's kiln, paintbrushes and stained-glass tools on the benches, and stained glass designs and racks which are still stacked with radiant streaked glass from his work with stained glass windows. A bedroom and bathroom with attic pitched rafter ceiling and casement windows is situated on the upper level of the house. Another bedroom in ship's cabin style with flared wall light fittings and built in bunks opens off this first bedroom.
The house backs onto a courtyard enclosed by a long bluestone garden wall. The house is set in a three and a half acre site with cypress hedges and gravelled paths. The garden drops away to a hillside slope with manna gum trees. Set on the slope is a flat roofed studio built in 1937. It has an undercroft beneath a studio room and this contains a lithographic press and a printing press of 1849 for woodcuts and linocuts. This was used by Napier and his first wife Christian to produce prints in the 1930s. Napier was widowed and married his stained glass studio assistant Lorna Reyburn in 1958.
The Waller House has recently become famous for yet another reason. The exterior has been used as a backdrop in the ABC/ITV co-production television series, “The Doctor Blake Mysteries” (2013). The house serves as the residence of the program’s lead character, Doctor Lucien Blake (played by Australian actor Craig McLachlan), and the doctor’s 1930s tourer is often seen driving up to or away from the Waller House throughout the series. The Waller House is the only regular backdrop not filmed in the provincial Victorian gold rush city of Ballarat, in which the series is based.
The Waller House is still a private residence, even though it was bequeathed to the people of Victoria by Napier Waller under the proviso that it would not revert to state ownership until after the death of his second wife, Lorna. The current leasee of the Waller House is a well known Melbourne antique dealer, who was friends with Lorna Reyburn, and who acts as a loving informal caretaker. He was approached by the Napier Waller Committee of Management and keeps the house neat and tidy, and maintains the garden beautifully. I am very grateful to him for his willingness to open the Waller House, and for allowing me the opportunity to comprehensively photograph this rarely seen gem of Melbourne art, architecture and history.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Klytie Pate (1912 – 2010) was an Australian Studio Potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930‘s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller. Klytie’s father remarried when she was 13, so Klytie went to live with her aunt, Christian Waller. Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Fairy Hills, and thus her work reflected Art Deco, Art Nouveau, the Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy. Klytie made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking. Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor. Klytie became renowned for her high quality, geometric Art Deco designed pottery which is eagerly sought after today by museums, art galleries, collectors and auction houses.
Fairy Hills is a small north eastern suburb of Melbourne. Leafy, with streets lined with banks of agapanthus, it is an area well known for its exclusivity, affluence and artistic connections. It was designed along the lines of London’s garden suburbs, such as Hampstead and Highgate, where houses and gardens blended together to create an informal, village like feel. Many of Fairy Hills’ houses have been designed by well known architects of the early Twentieth Century such as Walter Burley Griffin (1876 – 1937) and have gardens landscaped by designers like Edna Walling (1895 – 1973). Fairy Hills is the result of a subdivision of an 1840s farm called “Fairy Hills” which was commenced in the years just before the First World War (1914 – 1918). “Lucerne Farm”, a late 1830s farm associated with Governor La Trobe, was also nearby.
atelier ying, nyc.
This photo refers to my next design upload.
A camera that is also a study model for a housing project. The camera and it's case is also designed as an accessory for the Duke, and to complement with his custom made 1941 GM Cadillac Limousine "The Duchess".
Design, model, text are copyright 2014 by David Lo.
At the beginning of December 1895 the mechanic Václav Laurin and the book-seller Václav Klement, both bicycle enthusiasts, started manufacturing bicycles of their own design, patriotically named Slavia in the nationalist atmosphere of the end of the 19th century. A few years later, in 1899, the Laurin & Klement Co. began producing motorcycles, which were soon successful and gained several racing victories. After initial experiments at the turn of century, production of motorcycles was gradually replaced by automobiles from 1905 onwards.Like the motor cycles, the 1st Laurin & Klement automobile, the Voiturette A was a full success, later becoming the archetype of classic Czech automobile. It soon formed a stable position for the Company in the developing international automobile market, so that the Company could soon start operating on a wide scale. The volume of production increased and soon exceeded the potential of a private enterprise, and in 1907 the founders of the Company initiated conversion to a joint-stock company. The international character of Škoda’s operations became increasingly important. The production facilities were extended constantly and after 1914, Škoda took part in the production for the armed forces.
Due to the country’s economic development, the joint venture with a strong industrial partner became essential in the nineteen twenties in order to strengthen and modernize the Company, which was at that time producing numerous types of passenger cars, trucks, busses, airplane engines and agricultural machinery. In 1925, fusion with the Pilsen Škoda Co. was accomplished, marking the end of the Laurin & Klement trademark. In the early 1930s, the automotive business was again organized as a separate joint-stock company within the Škoda Group (Automobile Industry Co., ASAP). After the crisis, the Company achieved a break-through with the Type Škoda Popular.The German occupation in 1939 to 1945 caused a considerable disruption in the history of the company, which was integrated into the industrial structure of the German Empire. The civilian production programme was immediately limited and production was turned to its needs. In the course of a large-scale nationalisation which began immediately after the end of the war, the Company became a national enterprise named AZNP in 1946. Within the political and economic changes of that time, it acquired the monopoly of passenger car production.Based on the traditional production processes and past success, the Czechoslovak economy managed to maintain a relatively good standard in the post/socialist period for several decades, in spite of the changes brought about by planned economy and efforts at unduly rapid growth. This standard only became questionable towards the end of the nineteen sixties due to development of new technology in the western world. The permanent stagnation of the economy started after the seventies, also affecting the Mladá Boleslav automobile manufacturer in spite of the company’s leading position in the East Europe market. Production grew again only when the model range Škoda Favorit went into production in 1987.After the political changes of 1989, under the new market economy conditions the Government of the Czechoslovak Republic and the management of Škoda began to search for a strong foreign partner whose experience and investments would be capable of securing long-range international competitiveness of the company. In December 1990, the Government decided to cooperate with the German Volkswagen Group. The Škoda – Volkswagen joint venture began to operate on 16 April 1991 under the name Škoda, automobilová a.s., becoming the fourth brand of the Volkswagen Group alongside VW, AUDI and SEAT.Backed by VW expertise and investments the design — both style and engineering — has improved greatly. The 1994 model Felicia was still based on the floorpan of the Favorit, but quality improvements helped and in the Czech Republic the car was as popular as it was value for money. The subsequent models Octavia and Fabia finally made their way to the demanding European Union markets. They are built on common Volkswagen Group floorpans. The latest Octavia is based on Golf Mk5 floorpan, and Fabia is based on the A0 floorpan. This is interesting, as it came out a year before VW released the new Polo that was also based on it.The perception of Škoda in Western Europe has changed completely. As technical development progressed and attractive new models were brought to market, Škoda's image was initially slow to improve. In the UK, a major turnabout was achieved with the ironic "It is a Škoda, honest" campaign, which was started in the early 2000s. In a 2003 advertisement on British television, a new employee on the production line is fitting Škoda badges on the car bonnets. When some attractive looking cars come along he stands back, not fitting the badge, since they look so good they cannot be Škodas. This market campaign worked by confronting Škoda's image problem head-on — a tactic which marketing professionals regard as high risk. If the Fabia and Octavia had been anything less than excellent cars, the campaign might have backfired badly. By 2005, Škoda was selling over 30,000 cars a year in the UK, a market share of over 1%. For the first time in its UK history, a waiting list developed for deliveries by Škoda. Škoda owners in the UK have consistently ranked the brand at or near the top of the J.D. Power customer satisfaction survey during the 2000s.Škoda now has several manufacturing and assembly plants, including one in Sarajevo, Bosnia and Herzegovina. Škoda also has an assembly plant in the city of Aurangabad, in the western Indian state of Maharashtra which was established in 2001 as Skoda Auto India Private Ltd.In 2006, Škoda presented its brand new model Roomster, which is a small MPV with a unique design, which reflects future trends. At the end of December 2006, Škoda also released the first official pictures of the new Fabia, a model that would replace Fabia in 2007.Later in 2008, Škoda released the first pictures of the new Octavia. Featuring new headlights, front grill/bumper as well as a slightly restyled rear and interior. The revised car also features a new selection of engines including the 1.4 TFSI and new common rail diesel engines.A new concept car was presented at the Paris Auto Show in September 2006. The concept was called Joyster, and is a three-door compact car intended especially for young people.In 2005 the company produced 494,637 vehicles, and on 22 November 2006, produced the 500,000th vehicle of 2006, the first time in Škoda's long history that this target had been reached. In 2008 over 670.000 vehicles had been sold
www.artocauto.com/history.html
The Munich agreement or “Mnichovsky diktat” (negotiated by Germany, France, the United Kingdom and Italy without Czechoslovakia) was a settlement permitting Germany's annexation of portions of Czechoslovakia along the country's borders for which a new territorial designation, Sudetenland, was created. This was catastrophic for Czechoslovakia because the “Sudety” was of strategic importance for it as the mountains provided it with strong fortifications to defend its borders. The Czechs were in partial mobilization, ready to defend against Operation Green (as Hitler coded the invasion) until they were sold out at Munich. Realizing that they could not defeat Nazi Germany alone, Czechoslovakia President Edvard Benes resigned and 150,000 refugees were forced to flee. Slovakia seceded and became a Nazi state and the rest of the country was transformed into a protectorate of the Reich.
Read more: triblive.com/opinion/featuredcommentary/5533401-74/munich...
The Czechoslovakian Tatra T77 is the first serial-produced truly aerodynamically designed automobile. It was developed by Hans Ledwinka and Paul Jaray, the noted Zeppelin aerodynamic engineer. Launched in 1934, the Tatra T77 is a coach-built automobile constructed on a central tube-steel chassis and is powered by a 75-horsepower rear-mounted 3.4-liter V8 engine. It possessed such advanced engineering as overhead valves, hemispherical combustion chambers, dry sump, fully independent suspension, rear swing axles and extensive use of lightweight magnesium-ally for the engine, transmission, suspension and body. The T77 has a top speed of over 150 km/h due to the advanced aerodynamics which delivers an exceptionally low coefficient of drag of 0.212. This is the final T77 produced, and was one of the key exhibits in the recent 'Modernism' show at the Corcoran Gallery in Washington, DC.The Tatra Company began manufacturing cars in 1897 in Czechoslovakia making it the third oldest automobile manufacturer in the world. Tatra ceased car production in 1999 to focus on large off-road trucks. The Tatra is the first production aero-dynamic automobile. This luxury automobile features a unique design including a sloped 45-degree three-piece windshield - fenders, headlamps, door hinges and handles integrated into the body - the absence of running boards and a smooth underbody. The large tailfin decreases side wind effect and increases stability (the drag coefficient is 0.212). The engine is a 3.4-liter, air-cooled, overhead valve Hemi V8 that develops 75 horsepower.
Named after the Tatra Mountains, Tatra was a vehicle manufacturer in Koprivnic, Czech Republic that was founded in 1850. Originally beginning as a wagon and carriage manufacturer, Tatra produced its first motorcar in 1897 in Central Europe, the President. This was the first passenger vehicle in Cenral Europe. Tatra's specialty lay in luxury vehicles of a technically advanced nature. On March 5th, 1934 the Tatra 77 was introduced to the press at the Prague Auto Salon. The Tatra 77 was a sensation as it was the worlds first serially produced aerodynamic car with a rear-engined air-cooled layout. The T77 overtook the world's motor car industry by several decades.Following completion of the two V570 prototypes, the Tatra team decided that a new aerodynamic car would only be an additional model. This new vehicle was aimed at the top of the automobile market and would be marketed at a very limited production rate.This larger and more luxurious car was the top priority for Ledwinka's design team and all present development of the V570 was halted. The Tatra T77 was based on the 1933 V570 prototype and used it as a study model. The design team was attempting to keep abreast of the latest technology, architecture and visual arts. The T77 was designed with the goal of being fast, silent and stable and as a reflection of modern aerodynamic research. The design team led by Austrian engineer Hans Ledwinka and his son Erich, believed that the introduction of an air-cooled rear-mounted engine would reduce efficiency loss in the drive shaft and noise and vibration that was caused by the drive shaft. The lack of a drive shaft would mean that the passenger compartment would become more comfortable as there would be no central floor tunnel. Passengers could now sit lower and more forward of the rear axle. The inter-axle weight was now evenly distributed which resulted in a lower center of gravity. The front of the vehicle was shortened while the engine mounted in the rear meant that the tail was extended as long as possible.Tested extensively by Tatra engineers, the first prototype T77 was only a pre-production prototype though Tatra did produce a brochure for this vehicle. The brochure included photos, descriptions and technical specifications. This vehicle was equipped with a rear-mounted air-cooled 90 degree V8 engine that had a cylinder capacity of 2970 cc and a power output of 60 hp at 3500 rpm. The T77 had an impressive drag coefficient of 0.212.
The Tatra T777 was both massive and roomy, with seating for six. There was plenty of luggage space, housed above the rear suspension and in the nose, where the spare tires and battery resided. The engine power was propelled to the driven rear wheels by means of a four-speed gearbox that was bolted together with the engine and the axle drive as one big monoblock. Housing the gear-change rods, cables and fuel lines, the monoblock was enclosed by the forked welded box frame of the chassis and could be easily removed from the car for repairs and changing parts. The T77 was slowly produced on a very small scale, with the vehicles behind almost completely hand-built. These vehicles featured leather upholstery and a well equipped interior and were aimed at the top of the automobile market. In a unique twist, a few models had the steering wheel placed in the center of the dashboard. Other T77's had the steering wheel on the right hand side. The front seat passengers were seated on either side of the driver, and the seats placed slightly back.The T77A was introduced in 1935. The updated and improved model had an increased V8 capacity of 3.4 liters. The increase was made possibly by enlarging the bore diameter from 75 to 80mm. The output was now increased to 75jp and the maximum speed to 150kph. Three headlamps were now added to the front and the central unit was linked to the steering wheel on several models. Now three different directions of the headlight were possible. The lamp was now capable of being turned with the wheel. Several models were equipped with canvas Webasto roofs. The driving characteristics of the revised Tatra T77 were vastly improved along with the styling being updated nicely.In between 1933 and 1938 a total of 255 vehicles were produced of the type T77 and the T77a. Since all models were hand built, no two were exactly alike.
One of the problems of working in LDD is the guesswork that goes into figuring whether what you’ve built will actually work or fall apart in your hands. Hence study models like this: what you can see here is a rough “in the brick” version of the internal structure that will hold up the wings and keep the warp drives on the end. The wing surface is held on at an angle by 5 technic-pin studs fitted into the technic bricks. It’s actually surprisingly sturdy and I’m fairly happy this is going to work.
atelier ying, nyc.
I have a particular interest in the life of the Duke of Windsor.
In 1941 a custom, one-off Cadillac was built entirely by hand for the couple, which was way ahead of its time as much of its design was introduced in later model Cadillacs. I fitted my design as an accessory to this limousine, called "The Duchess".
The automobile's styling and details are replicated and echoed throughout the camera.
The camera is made of clear and red lucite with a walnut finish throughout. It has three rotating segments that allow it to be studied as an architectural model for a housing design I will have in my book. The pinhole compartment of walnut finish is located in the middle segment. The film holder is fashioned as a dark slide controlled by a brass radio knob adapted from the automobile as well as the bottom segments which look like a pair of game hunting cartridges which holds the Duke's pipe tobacco (just as the auto whose interior carries his pipes, tobacco and the Duchess's jewelry) and a film magazine of 9 slides. Extra "cartridges" are carried in the suit pocket in the hunting style.
Please see the study model for this camera in the photo below.
Please visit the following link to a wonderful page about the limousine's renovation:
www.rmauctions.com/lots/lot.cfm?lot_id=1063841
Design, model, text are copyright 2014 by David Lo.
2011
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
Bronze sculpture and fountain (1926) by Carl Milles (1875-1955)
Europa and the bull is a bronze fountain by Carl Milles in the main square of Halmstad on the Swedish west coast, erected in 1926. The motif is the story from Greek mythology of how Zeus – in the shape of a bull – abducts princess Europa.
The background was a donation from the wholesaler Jacob Jacobsson in 1919. Eventually it was decided to give the commission to Carl Milles. The fountain was cast in Denmark and was transported to Halmstad for the inauguration on November 7, 1926. There were protests that the tritons were naked.
Here at Millesgården is a copy of the fountain, in which another figure has been added, Sunglitter, which is not in the Halmstad fountain.
There are also other copies of the fountain, among others in the Cranbrook Academy of Art in Bloomfield Hills, Michigan och at the University of Tennessee i Knoxville. A number of smaller, pre-study, models of the central figure exist, e.g. in the Tate Gallery in London, in the Göteborg Art Museum and here in Millesgården.
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Europa och Tjuren är en fontän i brons av Carl Milles på Stora torg i Halmstad i Sverige, uppförd 1926. Motivet är hämtat från grekisk mytologi och handlar om när Zeus, i en tjurs skepnad, rövar bort prinsessan Europa.
Bakgrunden till uppförandet var en donation från 1919 av grosshandlaren Jacob Jacobsson. Efter flera turer beslutade man att ge uppdraget att ta fram utsmyckningen till Carl Milles. Fontänen göts i Danmark och transporterades till Halmstad för invigning den 7 november 1926. Vid uppförandet förekom protester mot att tritonerna skulle vara nakna.
Här på Millesgården finns ett annat exemplar av fontänen, i vilken ytterligare en skulptur placerats, Solglitter.
Kopior av fontänen finns bland annat i USA på Cranbrook Academy of Art i Bloomfield Hills, Michigan och vid University of Tennessee i Knoxville. Ett tiotal mindre modeller av centralskulpturen finns, bl. a. i Tate Gallery i London, Göteborgs Konstmuseum, och här i Millesgården.
Millesgården, Lidingö, Sweden