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Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts
Friday, September 9, 2011
Wednesday, July 27, 2011
Monday, July 11, 2011
World Premiere: The BMW Art Car Collection on the Internet.
World Premiere: The BMW Art Car Collection on the Internet. Legendary collection as a virtual video tour.
11.07.2011
Munich. Just in time to coincide with the 40th anniversary of the BMW Group's international cultural commitment, the legendary BMW Art Car Collection can now be seen for the first time within a virtual video tour on the Internet. For the first time, an extensive virtual overview of the origin, history and development of the collection is available on the Internet. In addition to extensive photographic material, a film has been devoted to every single one of the 17 "works of art on wheels", each of which was designed by an internationally well-known artist. Historic racing footage and artists' statements as well as renowned representatives from art and culture are to be seen. The BMW Art Cars can be viewed at www.bmw-artcartour.com.
"After four decades and a total of 17 BMW Art Cars, they can now all be admired by everyone. The interactive website pays homage to the collection, unique in the history of the automobile and the arts. Whilst the originals are often exhibited individually at the BMW Museum in Munich or at significant cultural institutions throughout the world, people are now able to discover for the BMW Art Cars in their entirety. A comprehensive online tour is now available anywhere and anytime," says Bill McAndrews, head of BMW Group Corporate Strategy and Communications," says Bill McAndrews, Vice President Communications Strategy and Corporate Communications.
The BMW Art Car Collection.
Since 1975 renowned artists from all four corners of the world have made their contribution to the series with the creation of contemporary vehicles. In 2010, BMW celebrated the 35th anniversary of the Art Car series. For this occasion, the internationally acclaimed artist Jeff Koons created the 17th vehicle of the collection. All BMW Art Cars will be showcased until 25 September within the first comprehensive overall exhibition at the BMW Museum in Munich to demonstrate a chapter of exciting automobile, design and art history. The works of art are racing and production saloons, coupés and roadsters and are all contemporary witnesses of a mobile lifestyle. The exhibition covers everything from Pop Art of the 70's to the "idea of the continents", right down to new 21st century concepts.
The initial idea of the collection – to have a car designed by an artist – was a product of the imagination of the French auctioneer and passionate racing car driver Hervé Poulain. On his initiative, the American Alexander Calder designed his BMW racing car – the BMW 3.0. CSL – at the beginning of the 1970s. The first vehicle to bring together the worlds of art and motor sport took part in the 24-hour race of Le Mans. The enthusiastic reception of the rolling sculpture was the spark of inspiration that led BMW to create the Art Car Collection.
Hervé Poulain about his vision: "One day, I said to myself, now is the time to do something grandly communicative and heroic and unite my two passions, by having my racing cars painted by the leading artists of the time."
A total of 17 male and female artists from 9 countries and all 5 continents have contributed towards the special diversity and aesthetics of the collection, artists such as Alexander Calder, Frank Stella, Roy Lichtenstein, Andy Warhol, A.R. Penck, David Hockney, Jenny Holzer and Olafur Eliasson. The collection attracts interest all over the world: at the Louvre in Paris, the New York Whitney Museum, the Palazzo Grassi in Venice, the Powerhouse Museum in Sydney and at the Guggenheim Museums in New York and Bilbao. During the years 2006 to 2010, the BMW Art Car Collection completed a world tour, taking it, inter alia, to museums in Malaysia, Singapore, Korea, Australia, India, Taiwan, China, Russia, Africa, the United States and Mexico. The Arts Cars – symbols of the interconnection between art, design and technology – will also in future continue to be on show at international museums.
Comments by the art car artists
"My design is like a blueprint transferred onto the bodywork." Frank Stella
"I pondered on it for a long time and put as much into it as I possibly could." Roy Lichtenstein
"I love that car. It has turned out better than the artwork." Andy Warhol
"I think mobile museums would be a good idea. This car is the fulfilment of my dream." Robert Rauschenberg
"Ndebele art has, in an entirely natural way, something slightly formal but very majestic about it; through my work I have added the idea of movement." Esther Mahlangu
"The car has wonderful lines which I followed." David Hockney
"By bringing together art, design, social and environmental issues, I hope to contribute to a different way of thinking-feeling-experiencing cars and seeing them in relation to the time and space in which we live." Olafur Eliasson
"These race cars are like life, they are powerful and there is a lot of energy," said Koons. "You can participate with it, add to it and let yourself transcend with its energy. There is a lot of power under that hood and I want to let my ideas transcend with the car – it's really to connect with that power." Jeff Koons
The BMW Group
The BMW Group is one of the most successful manufacturers of automobiles and motorcycles in the world with its BMW, MINI and Rolls-Royce brands. As a global company, the BMW Group operates 25 production and assembly facilities in 14 countries and has a global sales network in more than 140 countries. During the financial year 2010, the BMW Group sold 1.46 million cars and more than 110,000 motorcycles worldwide. The profit before tax for 2010 was euro 4.8 billion on revenues amounting to euro 60.5 billion. At 31 December 2010, the BMW Group had a workforce of approximately 95,500 employees.
The success of the BMW Group has always been built on long-term thinking and responsible action. The company has therefore established ecological and social sustainability throughout the value chain, comprehensive product responsibility and a clear commitment to conserving resources as an integral part of its strategy. As a result of its efforts, the BMW Group has been ranked industry leader in the Dow Jones Sustainability Indexes for the last six years.
The success of the BMW Group has always been built on long-term thinking and responsible action. The company has therefore established ecological and social sustainability throughout the value chain, comprehensive product responsibility and a clear commitment to conserving resources as an integral part of its strategy. As a result of its efforts, the BMW Group has been ranked industry leader in the Dow Jones Sustainability Indexes for the last six years.
About BMW's Cultural Commitment
In 2011 the BMW Group is celebrating 40 years of international cultural commitment. For 40 years now, the BMW Group has initiated and engaged in more than 100 cultural cooperations worldwide. The company places the main focus of its long-term commitment on modern and contemporary art, jazz and classical music as well as architecture and design. The BMW Group has also been ranked industry leader in the Dow Jones Sustainability Indexes for the last six years. In 1972, three large-scale paintings were created by the artist Gerhard Richter specifically for the foyer of the BMW Group's Munich headquarters. Since then, artists such as Andy Warhol, Roy Lichtenstein, Olafur Eliasson, Thomas Demand and Jeff Koons have cooperated with BMW. The company has also commissioned famous architects such as Karl Schwanzer, Zaha Hadid and Coop Himmelb(l)au to design important corporate buildings and plants. The BMW Group guarantees absolute creative freedom in all the cultural activities it is involved in – as this is just as essential for groundbreaking artistic work as it is for major innovations in a successful business.
Sunday, May 29, 2011
1966 Jaguar E-Type Series 1 in the Big Apple
Fifty years ago, the New York Auto Show played host to the launch of an automotive classic: the Jaguar E-Type - or XKE as it was known in America.
If any country took the E-Type to its heart, it was the United States. More than two-thirds of all models built were sent across the Atlantic, establishing a special relationship that persists to this day.
On first sight of the E-Type at its launch, Frank Sinatra is reputed to have said: “I want that car and I want it now”, and old Blue Eyes was just one in a long list of Hollywood greats to covet the two-seater sports car. Steve McQueen, Tony Curtis, Britt Ekland and Brigitte Bardot were all celebrity owners.
The beauty, performance and passion that all Jaguars embody still resonates strongly in America to this day. The 21st century XJ limousine turns as many heads in New York with its lithe, powerful and captivating presence as the E-Type did when Sinatra first saw it 50 years ago.
Here, Jaguar’s Design Director Ian Callum explains why:
Two cars, two eras, one company. Both are entirely of their time but, crucially, both are Jaguars and therefore share a definitive purpose – to be fast and beautiful.
Few companies are fortunate enough to have the design heritage enjoyed by Jaguar; one that stretches back half a century and more. It’s this visual integrity that allows comparisons to be drawn between the groundbreaking new XJ luxury saloon and the legendary E-Type sports car, a machine so beautiful that it holds a permanent place in New York’s Museum of Modern Art. These two cars may be separated by a gulf of 50 years, during which time the global automotive industry has changed beyond all recognition, but both are unmistakeably Jaguars.
Jaguar’s Design Director Ian Callum explains how two cars separated by more than a generation can share the same design philosophy: “Part of the purpose of a Jaguar is to look beautiful. We always tryto make our cars visually that little bit wider, lower and longer. That’swhat our proportions are about. When you see them together, the XJ and E-Type speak the same language.”
This is true even though the two cars fulfill very different needs. One is a high-tech limousine with sporting intent, whose unique flowing design is conceived to turn heads in the modern world. The other an iconic two-seater created for the ’60s boy (or girl) about town.
According to Callum, the E-Type demonstrates the overriding principle of sports car design: minimum bodywork encapsulating maximum performance. He explains: “The excitement and beauty of the car were almost created as a by-product. You’ve got beauty derived from its scientific purity of surface and excitement from its proportions.”
“We still work very hard to get the proportions of our cars as tight to the mechanicals as possible. Unlike the E-Type, of course, the XJ has to carry five people in total comfort but the principles of wrapping the body around the package to create exciting proportions are exactly the same now as they were 50 years ago.”
As envisaged by its designer, Malcolm Sayer, the primary aim of the E-Type was to be fast. Indeed, topping out at 150mph, it was the world’s quickest production car.
As an aerodynamicist, Sayer employed a uniquely scientific method of design, which involved the use of slide rules and logarithmic tables to plot the complex curves and straight lines that gelled so harmoniously to create not just the E-Type but its C-Type and D-Type racing predecessors.
“Malcolm Sayer shaped the E-Type with absolutely pure geometric lines,” explains Ian Callum. “He wasn’t driven by aesthetics for the sake of it, he was trying to build something that was shaped by mathematics. That’s how he built his cars up and their beauty is determined by purity and simplicity. That same restraint of line guides us to this day, in everything we do, as we create the next generation of Jaguars like the XJ.”
The E-Type, however, was more than the epitome of automotive beauty. It came to symbolise excitement, embodying Jaguar founder Sir William Lyons’ words that: “driving should be a pleasure not a chore.”
In its profile, stretched lines, prominent rear haunches and the arc of the rear window it was the archetype of sporting performance. The same is true of the XJ, which although it is very much a product of the 21st century, shares key styling attributes with the E-Type that have become firmly established in the company’s design language.
Flourishes such as the E-Type’s famous bonnet bulge – necessary to cover the straight-six engine – have been carried over to the XJ as a symbol of its potency. Both cars share the same sense of front-end drama to give that quintessential Jaguar ‘rear-view mirror’ presence.
Callum explains that it was Lyons’ ability to focus on the future that led to such distinctive designs:
“The E-Type was ahead of its time, just as the XJ is now. Williams Lyons’ philosophy was all about taking that next step. He was very adventurous and knew that it is Jaguar’s job to break the rules. He never looked back, always forward.”
A question Callum is often asked is whether he would design another E-Type. His answer is always the same: “I would refuse, it had its time and place. What I will do is create something as dramatic now as that car was then and I think the XJ achieves that.
“Jaguars should be bought for reasons other than simply pure pragmatism, they should be bought for their style, excitement and beauty. The XJ is the most dramatic, captivating car in its class. Job done.”
If any country took the E-Type to its heart, it was the United States. More than two-thirds of all models built were sent across the Atlantic, establishing a special relationship that persists to this day.
On first sight of the E-Type at its launch, Frank Sinatra is reputed to have said: “I want that car and I want it now”, and old Blue Eyes was just one in a long list of Hollywood greats to covet the two-seater sports car. Steve McQueen, Tony Curtis, Britt Ekland and Brigitte Bardot were all celebrity owners.
The beauty, performance and passion that all Jaguars embody still resonates strongly in America to this day. The 21st century XJ limousine turns as many heads in New York with its lithe, powerful and captivating presence as the E-Type did when Sinatra first saw it 50 years ago.
Here, Jaguar’s Design Director Ian Callum explains why:
Two cars, two eras, one company. Both are entirely of their time but, crucially, both are Jaguars and therefore share a definitive purpose – to be fast and beautiful.
Few companies are fortunate enough to have the design heritage enjoyed by Jaguar; one that stretches back half a century and more. It’s this visual integrity that allows comparisons to be drawn between the groundbreaking new XJ luxury saloon and the legendary E-Type sports car, a machine so beautiful that it holds a permanent place in New York’s Museum of Modern Art. These two cars may be separated by a gulf of 50 years, during which time the global automotive industry has changed beyond all recognition, but both are unmistakeably Jaguars.
Jaguar’s Design Director Ian Callum explains how two cars separated by more than a generation can share the same design philosophy: “Part of the purpose of a Jaguar is to look beautiful. We always tryto make our cars visually that little bit wider, lower and longer. That’swhat our proportions are about. When you see them together, the XJ and E-Type speak the same language.”
This is true even though the two cars fulfill very different needs. One is a high-tech limousine with sporting intent, whose unique flowing design is conceived to turn heads in the modern world. The other an iconic two-seater created for the ’60s boy (or girl) about town.
According to Callum, the E-Type demonstrates the overriding principle of sports car design: minimum bodywork encapsulating maximum performance. He explains: “The excitement and beauty of the car were almost created as a by-product. You’ve got beauty derived from its scientific purity of surface and excitement from its proportions.”
“We still work very hard to get the proportions of our cars as tight to the mechanicals as possible. Unlike the E-Type, of course, the XJ has to carry five people in total comfort but the principles of wrapping the body around the package to create exciting proportions are exactly the same now as they were 50 years ago.”
As envisaged by its designer, Malcolm Sayer, the primary aim of the E-Type was to be fast. Indeed, topping out at 150mph, it was the world’s quickest production car.
As an aerodynamicist, Sayer employed a uniquely scientific method of design, which involved the use of slide rules and logarithmic tables to plot the complex curves and straight lines that gelled so harmoniously to create not just the E-Type but its C-Type and D-Type racing predecessors.
“Malcolm Sayer shaped the E-Type with absolutely pure geometric lines,” explains Ian Callum. “He wasn’t driven by aesthetics for the sake of it, he was trying to build something that was shaped by mathematics. That’s how he built his cars up and their beauty is determined by purity and simplicity. That same restraint of line guides us to this day, in everything we do, as we create the next generation of Jaguars like the XJ.”
The E-Type, however, was more than the epitome of automotive beauty. It came to symbolise excitement, embodying Jaguar founder Sir William Lyons’ words that: “driving should be a pleasure not a chore.”
In its profile, stretched lines, prominent rear haunches and the arc of the rear window it was the archetype of sporting performance. The same is true of the XJ, which although it is very much a product of the 21st century, shares key styling attributes with the E-Type that have become firmly established in the company’s design language.
Flourishes such as the E-Type’s famous bonnet bulge – necessary to cover the straight-six engine – have been carried over to the XJ as a symbol of its potency. Both cars share the same sense of front-end drama to give that quintessential Jaguar ‘rear-view mirror’ presence.
Callum explains that it was Lyons’ ability to focus on the future that led to such distinctive designs:
“The E-Type was ahead of its time, just as the XJ is now. Williams Lyons’ philosophy was all about taking that next step. He was very adventurous and knew that it is Jaguar’s job to break the rules. He never looked back, always forward.”
A question Callum is often asked is whether he would design another E-Type. His answer is always the same: “I would refuse, it had its time and place. What I will do is create something as dramatic now as that car was then and I think the XJ achieves that.
“Jaguars should be bought for reasons other than simply pure pragmatism, they should be bought for their style, excitement and beauty. The XJ is the most dramatic, captivating car in its class. Job done.”
Hailed as the architect of Jaguar’s future success, Design Director Ian Callum has a passion for the marque that stretches back to his formative years.
Having shown a talent for drawing from the age of four, it was as a teenager that Callum realised his calling lay in automotive design. Aged 14, he was inspired by the original XJ saloon, designed by Sir William Lyons:“That was a car of great proportions and excitement; it was the best looking and handling saloon in the world at that time.”
This prompted the youthful Callum to send Bill Heynes, Jaguar’s engineering guru, some of his own designs. In response Heynes advised Callum that in order to pursue his dream career, he should study engineering draughtsmanship and industrial design.
Callum earned a place at the Glasgow School of Art in Scotland, followed by a Masters degree in Design at the Royal College of Art in London. After graduating, he designed cars for Ford, Tom Walkinshaw Racing and Aston Martin. In 1999, a mere 30 years after seeking Heynes’ advice as a young boy, Callum was appointed Design Director of Jaguar. He had moved into his dream job.
Callum recognises the huge legacy left in his care by men such as Lyons, Heynes and Jaguar design legend Malcolm Sayer, insisting that it is their determination to explore the possibilities of design and performance that inspires his work today: “I know how intently my predecessors pushed the boundaries. Jaguar has always been a forward-thinking company and that philosophy guides us now.”
Despite the ever greater legislative, safety and comfort constraints on design freedoms, in just over a decade at the helm, Callum has created an award-winning range of Jaguars that capture the drama and passion of the cars of old while remaining entirely focused on the future. As Callum explains: “My task is to look forwards. The car I am most proud of is the next one.”
Having shown a talent for drawing from the age of four, it was as a teenager that Callum realised his calling lay in automotive design. Aged 14, he was inspired by the original XJ saloon, designed by Sir William Lyons:“That was a car of great proportions and excitement; it was the best looking and handling saloon in the world at that time.”
This prompted the youthful Callum to send Bill Heynes, Jaguar’s engineering guru, some of his own designs. In response Heynes advised Callum that in order to pursue his dream career, he should study engineering draughtsmanship and industrial design.
Callum earned a place at the Glasgow School of Art in Scotland, followed by a Masters degree in Design at the Royal College of Art in London. After graduating, he designed cars for Ford, Tom Walkinshaw Racing and Aston Martin. In 1999, a mere 30 years after seeking Heynes’ advice as a young boy, Callum was appointed Design Director of Jaguar. He had moved into his dream job.
Callum recognises the huge legacy left in his care by men such as Lyons, Heynes and Jaguar design legend Malcolm Sayer, insisting that it is their determination to explore the possibilities of design and performance that inspires his work today: “I know how intently my predecessors pushed the boundaries. Jaguar has always been a forward-thinking company and that philosophy guides us now.”
Despite the ever greater legislative, safety and comfort constraints on design freedoms, in just over a decade at the helm, Callum has created an award-winning range of Jaguars that capture the drama and passion of the cars of old while remaining entirely focused on the future. As Callum explains: “My task is to look forwards. The car I am most proud of is the next one.”
Created without compromise, Jaguar’s flagship XJ limousine is a class-leader in the mould of Jaguars of old and yet is a beguilingly cutting-edge offering that places its rivals firmly in the past.
The XJ’s construction is as innovative as its appearance, utilising state-of-the-art techniques pioneered by Jaguar. Crafted from high-grade aluminium, the car is lighter than much of its opposition by up to 150kg with the commensurate gains in performance, agility and economy. Up to 50 percent of the structure is made from recycled aluminium allowing for a potential saving of up to 3.3 tonnes of CO2 per car.
In order to maximise the potential of its class-leading architecture, the XJ is powered by the latest highly-efficient Jaguar AJ-V8 petrol direct-injection engines, in both naturally aspirated and supercharged forms. Smooth and powerful, these provide effortlessly refined performance.
Once inside, passengers will find themselves cocooned in unparalleled luxury. Bathed in natural light from the panoramic glass roof, the interior is meticulously crafted from the finest materials in a manner that is strikingly contemporary.
Standard and long wheelbase versions are available, while new for the 2012 XJ range is the Rear Seat Comfort package, which offers an advanced new entertainment system, as well as electric recline, lumbar adjustment and massage functions.
Jaguar is justly renowned for its innovation and the company has, in the cockpit of the XJ, created a haven in which cutting-edge technology is unobtrusively and instantly at the command of the driver. In place of the traditional instrument panel is a 12.3-inch high-definition virtual information interface that can be customised to display a range of driver-critical information.
A unique central 8-inch Touch-screen incorporates exclusive dual-view technology allowing the front-seat passenger to watch a DVD while the driver receives satellite navigation information.
A range of premium surround-sound entertainment systems is topped by the 1200W, 17-speaker system from British experts Bowers & Wilkins and provides concert-hall levels of audio fidelity. All infotainment systems feature hard disc-based music storage and connectivity for audio and video devices via a powerful Media Hub.
Available in three trim levels – Luxury, Premium Luxury and Portfolio – the Jaguar XJ offers a truly unmatched ownership experience.
The XJ’s construction is as innovative as its appearance, utilising state-of-the-art techniques pioneered by Jaguar. Crafted from high-grade aluminium, the car is lighter than much of its opposition by up to 150kg with the commensurate gains in performance, agility and economy. Up to 50 percent of the structure is made from recycled aluminium allowing for a potential saving of up to 3.3 tonnes of CO2 per car.
In order to maximise the potential of its class-leading architecture, the XJ is powered by the latest highly-efficient Jaguar AJ-V8 petrol direct-injection engines, in both naturally aspirated and supercharged forms. Smooth and powerful, these provide effortlessly refined performance.
Once inside, passengers will find themselves cocooned in unparalleled luxury. Bathed in natural light from the panoramic glass roof, the interior is meticulously crafted from the finest materials in a manner that is strikingly contemporary.
Standard and long wheelbase versions are available, while new for the 2012 XJ range is the Rear Seat Comfort package, which offers an advanced new entertainment system, as well as electric recline, lumbar adjustment and massage functions.
Jaguar is justly renowned for its innovation and the company has, in the cockpit of the XJ, created a haven in which cutting-edge technology is unobtrusively and instantly at the command of the driver. In place of the traditional instrument panel is a 12.3-inch high-definition virtual information interface that can be customised to display a range of driver-critical information.
A unique central 8-inch Touch-screen incorporates exclusive dual-view technology allowing the front-seat passenger to watch a DVD while the driver receives satellite navigation information.
A range of premium surround-sound entertainment systems is topped by the 1200W, 17-speaker system from British experts Bowers & Wilkins and provides concert-hall levels of audio fidelity. All infotainment systems feature hard disc-based music storage and connectivity for audio and video devices via a powerful Media Hub.
Available in three trim levels – Luxury, Premium Luxury and Portfolio – the Jaguar XJ offers a truly unmatched ownership experience.
The E-Type is still revered as the ultimate artistic fusion of mechanics and mathematics and if proof were needed of its aesthetic credentials, it came in 1996 when it was the subject of an exhibition at New York’s Museum of Modern Art.
Entitled Refining the Sports Car: Jaguar’s E-Type, this was only the third time a car had been exhibited at the museum and was made possible by the donation of an opalescent, dark blue 1963 Open Two-Seater to MOMA by Jaguar.
The exhibition traced the genesis of the E-Type’s design and engineering from that of the revered 1950s C-Type and D-Type endurance racers with which it shared a stylist in aerodynamicist Malcolm Sayer. Alongside the flawless E-Type was an example of its legendary, race-winning, straight-six engine, images of its predecessors and original engineering sketches.
The E-Type was one of the first production cars designed along aerodynamic principles, worked out by Sayer using complex mathematical equations to design the ellipses and other elements that defined the car’s timeless appearance.
The organiser of the original exhibition, Assistant Curator of the Department of Architecture and Design, Christopher Mount said: “Rarely has a car inspired the kind of passion in both motoring enthusiasts and the general public that the Jaguar E-type has. Even today, the E-type is considered an icon of the post-war British sports car.”
The E-Type was so well received that it is now on permanent display at MOMA.
Entitled Refining the Sports Car: Jaguar’s E-Type, this was only the third time a car had been exhibited at the museum and was made possible by the donation of an opalescent, dark blue 1963 Open Two-Seater to MOMA by Jaguar.
The exhibition traced the genesis of the E-Type’s design and engineering from that of the revered 1950s C-Type and D-Type endurance racers with which it shared a stylist in aerodynamicist Malcolm Sayer. Alongside the flawless E-Type was an example of its legendary, race-winning, straight-six engine, images of its predecessors and original engineering sketches.
The E-Type was one of the first production cars designed along aerodynamic principles, worked out by Sayer using complex mathematical equations to design the ellipses and other elements that defined the car’s timeless appearance.
The organiser of the original exhibition, Assistant Curator of the Department of Architecture and Design, Christopher Mount said: “Rarely has a car inspired the kind of passion in both motoring enthusiasts and the general public that the Jaguar E-type has. Even today, the E-type is considered an icon of the post-war British sports car.”
The E-Type was so well received that it is now on permanent display at MOMA.
Top speed: 151mph
0-60mph: 7.0secs
Engine: 3781cc, six-cylinder, in-line; triple SU carburettors
Power/torque: 265bhp @ 5500rpm; 256lb ft @ 4000rpm
Chassis: Steel monocoque, torsion bar and wishbone front suspension, independent rear suspension
Dimensions: Length 444cm; width 165cm; height 122cm; weight 1219kg.
2012 JAGUAR XJ LWB SuperchargedTop speed: 155mph (limited)
0-60mph: 4.9secs
Engine: 5000cc, supercharged, 8-cylinder, V-formation
Power/torque: 470bhp @ 6000-6500rpm; 424lb ft @ 2500-5500rpm
Chassis: Aluminium monocoque, wishbones front and rear, Adaptive Dynamics Dimensions: Length 525cm; width 211cm; height 145cm; weight 2365kg.
Thursday, May 26, 2011
Tuesday, May 24, 2011
Art Deco and British Car Design
During the mid-1930s the majority of British car manufacturers and coachbuilders experimented with streamlined styling.
This fashion was the result of Art Deco, an international movement that influenced design and marketing in many different industries, and produced some of the most unique and visually exhilarating cars ever produced in Britain.
Part One of “Art Deco and British Car Design” explains and illustrates the Art Deco styling elements that link these streamlined car designs, and describes their development, their commonality, and their unique aeronautical names.
The stories of the individual cars, their designers, and their development, are told in Part Two. Here, author Barrie Down has collected examples of all the significant British streamlined production cars made between 1933 and 1936, many of them still represented by beautifully restored survivors.
The book includes 144 pages, over 200 contemporary pictures and color photographs of existing cars, many of which have never before been published.
by carbodydesign.com
Saturday, May 14, 2011
Downtown, Ferrari
The City of Prancing Horse...
LONDON'S FERRARI STORE SHOWCASES DESIGNS FOR "CITIES OF TOMORROW"
Maranello, Thursday 12 May 2011 - The Ferrari Store is proud to support the Royal Institute of British Architect's vision for the "Cities of Tomorrow" with a unique and innovative display in all four windows of the flagship store on London's Regent Street. The window designs were created by Duggan Morris Architects and show their vision for how Cities of Tomorrow can take inspiration from one of the most iconic automotive brands to create innovative urban environments of the future. The displays utilise Ferrari memorabilias, original, unique and certified components from past and present of F1 and GT cars, which can be purchased from the Ferrari Store.
The concept of the Cities of Tomorrow display at the Ferrari Store shows future cities as an eclectic mix of creative engineering, architectural innovation and renovation through imaginative reuse and reinvention, where intelligent building systems can be employed to facilitate movement, passive environments and well-being.
The Cities of Tomorrow at the Ferrari Store on Regent Street is currently on show until Sunday 29 May 2011.
Tuesday, May 10, 2011
Spirit of Ecstasy Artwork
RANKIN: SPIRIT OF ECSTASY - AN ART COMMISSION FOR ROLLS-ROYCE MOTOR CARS
In the year that celebrates the centenary of the Spirit of Ecstasy, Rolls-Royce Motor Cars today announced details of a very special commission. Over the next months, 100 images inspired by the Spirit of Ecstasy - the figurine famed for its prominent and defining position on the bonnet of every Rolls-Royce - will be captured by renowned photographer Rankin. The first two images in the Rankin: Spirit of Ecstasy collection are revealed today.
Like Charles Robinson Sykes, the man who crafted the legendary Spirit of Ecstasy flying lady one hundred years ago, Rankin takes inspiration from the beauty and sensuality of the feminine form. Just as Eleanor Velasco Thornton is rumoured to have been Sykes' muse for the Spirit of Ecstasy, so Rankin has turned to his inspirational wife and model Tuuli Shipster for the first of his 100 portraits.
Spirit of Ecstasy #1 launches a commission which sees Rankin offered full artistic licence to create a modern and very personal interpretation of the Spirit of Ecstasy, an unprecedented approach for a brand like Rolls-Royce Motor Cars and its iconic figure. Featuring Tuuli in silhouette, draped in flowing fabric, the image has undeniable resonance with the flying lady, echoing the qualities which inspired Sykes 100 years ago, whilst capturing the mystery within which she is shrouded; for the question of whether or not Eleanor Thornton was truly the inspiration for the Spirit of Ecstasy 100 years ago remains one of intrigue and debate rather than hard fact.1
The Rankin: Spirit of Ecstasy collection will evolve organically in the months ahead, incorporating a variety of themes as part of Rankin's exploration of the contemporary Spirit of Ecstasy. Power, the beauty of age, intrigue and mystery, speed, wind and metallic will blend with materials, fabrics and paint, to create an unprecedented selection of photographic portraits which will complement each other as a full set, but also work individually to ensure global appeal. The work will feature a selection of women of different ages and cultures, symbolising the femininity of the Spirit of Ecstasy.
"This is one of the biggest projects I have ever taken on," commented Rankin. "The images will be a statement about the modern day Rolls-Royce; they will feel fresh, directional and original, while also being beautiful and inspirational. The portraits will comprise a variety of perspectives, including full length as well as close-up shots incorporating facial features - an eye, a mouth - to reflect a unique interpretation of the figurine's connotations, while quietly symbolising its classic underpinnings."
Torsten Müller-Ötvös, Rolls-Royce Motor Cars CEO added, "Rankin's powerful portraits are part of contemporary iconography. His talent for capturing the strength and character of his subjects makes him the ideal photographer to take the Spirit of Ecstasy into the 21st century. I very much look forward to presenting this unique photographic collection to the world."
Rankin: Spirit of Ecstasy will tour throughout 2011. Original portraits will be presented at a range of events across the world. In addition, Rolls-Royce owners and guests will be invited to a series of exclusive private views at Rolls-Royce showrooms in the months ahead, starting at Rolls-Royce Motor Cars London on 10 May.
Friday, May 6, 2011
Wednesday, May 4, 2011
Mini by DSQUARED2 for LifeBall
A rocking MINI by DSQUARED² for the 2011 Life Ball. Initial sketches of the Charity MINI are presented in Vienna.
Munich/Vienna. Dean and Dan Caten, better known as the designer duo DSQUARED², yesterday presented the initial sketches of the MINI they have designed exclusively for the 2011 Life Ball. Three weeks before the grand unveiling of this one-off model on 21 May, the Canadian twins are granting a first preview of what this absolute MINI must-have for men will look like. Since 2001, a MINI created by world-renowned designers has been a pivotal element of the Life Ball. This year, carmaker MINI is supporting Europe's biggest AIDS charity event for the 11th time. Each year a legendary one-off MINI is produced for the Life Ball, the proceeds of which go to projects combating HIV/AIDS.
Dean and Dan have been dedicated fans of the MINI brand for some time. In April 2010 – freely based on the motto "Time to pack my... MINI Countryman" – they kitted out the latest MINI model with their selection of essential travel accoutrements for the perfect get-away. The brothers have long cherished a desire to design a MINI Cooper S in their very own style. Dean and Dan are thrilled with the assignment: "If we were a car, it would be rugged and robust. Our MINI 'Red Mudder' is an accurate reflection of that. With the maple leaf on both doors and the DSQUARED² logo on the front shield and wheels, this is unmistakably our style." In recent years, designers such as Agent Provocateur, Donatella Versace, Diesel, Missoni and Gianfranco Ferré have stepped up to the drawing board and designed a MINI for the Life Ball. The 19th Life Ball will be held in Vienna on 21 May and, as ever, will draw in celebrities from around the globe.
The social commitment of the BMW Group.
Worldwide measures to combat HIV/AIDS are one of the main elements of the corporate and social policy pursued by the BMW Group. The company's involvement in South Africa is particularly wide-ranging, covering a comprehensive workplace programme for employees and their families, plus a number of different projects in the local communities and further afield. The carmaker is also committed to fighting this pandemic in other affected countries, such as Thailand or China. Membership of the Global Business Coalition on HIV/AIDS (GBC) underlines its long-term commitment at its various locations.
Timeline of the Life Ball MINI.
2001 – camouflaged MINI, as event precedes market launc
2002 – Charity MINI
With autographs from German/Austrian and international celebrities (e.g. Elton John, No Angels, Heidi Klum, Emma Sjöberg, Mavie Hörbiger)
2003 – MINI designed by Missoni
MINI Hatch by Angela Missoni
2004 – MINI designed by Ferré
MINI Convertible by Gianfranco Ferré
2005 – MINI designed by Versace
MINI Convertible by Donatella Versace
2006 – MINI designed by Diesel
MINI Convertible by Diesel / Renzo Rosso
2007 – MINI designed by Testino
MINI Hatch by star photographer Mario Testino
2008 – MINI designed by Agent Provocateur
MINI Clubman by Agent Provocateur / Joseph Corré
2009 – MINI designed by The Blonds
MINI Convertible by The Blonds for Katy Perry
2010 – MINI designed by Diane von Furstenberg, Kenneth Cole and Francisco Costa of Calvin Klein Collection
MINI Hatch by Diane von Furstenberg
MINI Convertible by Kenneth Cole
MINI Countryman by Francisco Costa of Calvin Klein Collection
2011 – MINI designed by DSQUARED²
MINI Hatch by Dean and Dan Caten
Life Ball 2011.
This year marks the 30th anniversary of the discovery of the HI virus in 1981. Over these 30 years, major progress has been made in the field of research and prevention. Notwithstanding these advances, HIV remains a significant challenge to health and development policy in many countries. Millions of people are infected with HIV every year. The Life Ball has made it its mission to draw attention to this and to campaign for tolerance, enlightenment and solidarity.
DSQUARED².
An intelligent mix of ambition, tailoring art and a maniacal eye for details are the founding qualities of the DSQUARED² philosophy, which has given a new life and alternative to the concept of luxury. The Canadian twins Dean and Dan Caten launched their first prêt-à-porter collection in 1995, obtaining, from the beginning, an enormous success amongst the press and big international celebrities such as Madonna, Lenny Kravitz, Rihanna, Britney Spears, Justin Timberlake, Usher, Beyoncé, Christina Aguilera and David Beckham. In addition, the brand proudly collaborates with the world of sports: after the three-year collaboration with Juventus, for the last two years the new off field uniforms for Barcelona FC have been signed DSQUARED². The brand has also received numerous tributes and recognitions in Canada and beyond. Last September Dean and Dan Caten marked their star on Canada's prestigious Walk of Fame in Toronto, and for the occasion of the Winter 2010 Olympic Games in Vancouver, the twins were nominated Headline Talent Costume Designers for the Opening and Closing Ceremonies. Recently, the twins have also made their debut in the media world: they have been presenters for Launch my Line – a reality show centred around the fashion world and broadcast by the American TV station Bravo TV. In addition to this they have been speakers for Sirius XM Radio. The DSQUARED² team personally designs the men's, women's, accessory, eyewear and fragrances collections. DSQUARED² currently has mono-brand stores in Milan, Capri, Kiev, Hong Kong, Cannes, Dubai, Singapore, Monte Carlo, Athens, Thessaloniki, Shanghai and Beijing.
Saturday, April 30, 2011
Andonis says: Avantgarde (Part one)
According to Wikipedia "Avant-garde means "advance guard" or "vanguard".The adjective form is used in English to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics.
Avant-garde represents a pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The notion of the existence of the avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism."
What does a Tucker Torpedo and a Renault (Matra) Avantime have in common? Nothing. Apparently. However if we look at them more closely we notice that they are both fueled by the same dream to create something else, fundamentally new, other that defined its time. They both seek the future by pushing the boundaries of what has been accepted as normal or status quo. Look at the DS for instance, it screams future in every detail of it carefully thought shape.
Now let's take a look at the most avantgarde automotive milestones of all-time. They are all classic works of art. They inspire by representing beauty or share innovative visions! The style of these masterpieces bring lightness, yet their weight is impressive on the scale of automotive history. Enjoy the time-travel!
Let's start with Preston Tucker's dream.
1934 Mercedes-Benz 500K
1935 Cord Model 810/812
1935 Jaguar SS100
1937 Volkswagen Beetle
1938 Bugatti 57SC Atlantic
Porsche 356 Speedster
1954 Mercedes-Benz 300SL Gullwing Coupe
1955 Citroen DS
1959 Cadillac Eldorado
1961 Jaguar E-Type (XKE)
1963 Chevrolet Corvette Sting Ray (prototypes above)
1963 Mercedes-Benz 230SL Pagoda
1964 Ford GT40
1964 Ford Mustang Coupe
Porsche 911 (1965-) (Speedster above)
1966 Lamborghini 400GT Flying Star II
1966 Lamborghini Miura (1968 Roadster shown)
1967 Ferrari 330P4
1967 Ferrari Dino 246GT(S 1972-74)
1967 Lamborghini Marzal
1970 Citroen SM
1971 Maserati Bora
1972 Renault 5 (PPG Pace Car shown)
1974 Citroen CX (1982 GTi shown)
To be concluded...
Thanks for the images carstyling.ru
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