December

Colin Chapman Museum and Education Centre Newsletter December 2014

Newsletter – Number  50 ……Yes, 50! A visit down memory lane…

  1. August 2007 Newsletter – Number 4 2007
  2. Mike Lawrence on Hornsey (December 2008)
  3. Colin Chapman and the Evolution of Lotus Chassis Design (newsletter no 30)
  4. The Fine Art of Motor Sport     Newsletter January 2011 – Number 29
  5. Chapman /Lotus: Historical Origins (new article) Hornsey and Tottenham Environment: Part 1 and 2

All previous articles relating to these are held on the website.

1. August 2007 Newsletter – Number 4 2007

August has been a quiet month on the museum front with various team members on holiday. We are continuing to progress our discussions with regard to the Tottenham Lane site as well as looking at other potential sites for the museum. We will feedback any news as soon as we can.

Meanwhile our website continues to grow its audience every month, as can be seen from the picture below, we had 267 visits from 27 countries in August which is most encouraging.

Friends of the museum

It is good to see that the number of people joining as friends of the museum continues to grow. One new member, Roger Brown took his very original Lotus Elite, shown below, to the wonderful Silverstone Classic meeting recently held at Silverstone.

Roger Brown Racing Lotus ElitesGreenElites Close

2. Mike Lawrence on Hornsey (December 2008)

Hornsey Revisited

Renowned motor-sport author Dr Mike Lawrence recently entertained the Hornsey Historical Society with his account of the early days of Lotus at Tottenham Lane. Mike’s ebullient style and delivery easily held the interest of the largely non-technical audience while some details elicited smiles and nods from members who had lived in the area and had even worked for Colin Chapman in the 50s.

However, Mike’s lecture did not concentrate exclusively on Chapman and the names of colleagues such as Ron Hickman (Lotus Technical Director and inventor of the Black and Decker Workmate ) John Teychenne (Progress Chassis ), Peter Ross, Graham Hill and Jim Clark were given due prominence. He stressed how small engineering companies such as Williams and Pritchard, operating mainly in North London, had contributed to British achievements in international motor sport over the last 60 years and he pointed out that, for example, the technical and research arms of the nominally French, Italian and German racing operations are based in the UK because of the unrivalled expertise that we can offer.

Mike did not shrink from exploring certain flaws in Colin Chapman’s character but emphasised his role as a facilitator in the transformation of a three-man, part-time garagiste enterprise into the dominant player on the world motor-sport stage.

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The Progress Chassis company

No More Progress

As is well-known, the Progress Chassis Company, represented by John Teychenne and Dave Kelsey, produced the chassis for the Lotus VI in a shed at the back of 19 Ribblesdale Road in Hornsey. Working with the most basic tools, they turned out something like 110 chassis frames between 1952 and 1955 and carried each one across the road to the Lotus works at 7 Tottenham Lane (sometimes carrying them back again if cash was not forthcoming).

The Teychenne house in Ribblesdale Road is currently being extensively remodelled and two further houses are to be built in the garden where the Progress shed (demolished in the 1970s) once stood. The builder is aware of the Lotus connection and hopes to erect a commemorative plaque at the entrance to the Mews.

Avid industrial archaeologists should be aware that, as far as can be ascertained, there are no mint-condition Lotus VI chassis lying about in the garden. A 24-inch try square and a workbench have been rescued but it is not certain that either was used by Teychenne and Kelsey.

19

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3. Colin Chapman and the Evolution of Lotus Chassis Design (newsletter no 30)

Introduction

This article is intended to be brief and act as an introduction. It’s an appreciation based on the rapid technical developments within Lotus.
The reputation and International success of Lotus on and off the track was based on the handling and performance. For this reason it’s important to examine how this was achieved .The application of theory to practice, the motivation, conception, inspiration and relativity with peers and rivals.
The article has been written in basic elementary language to permit a first stage overview and to allow students and novices a glimpse at basic principles consistent with the A&R approach using Chapman thinking as an educational tool.
It is also hoped that by giving a thorough set of references students might be prompted to access the best original sources.

The Illustrative Models and Photographs

The subject is not easy to approach because access to working drawings is restricted. Also it’s often difficult to have sight to cars during construction / restoration .For this reason the author has made recourse to models. Many of which have been based on photographs and diagrams only. The author wishes to make clear for this reason there may be inaccuracies but for the purpose of the exercise they are intended to be illustrative in the absence of alternatives. A mannerequin has been placed within the chassis design to show relative scale, seating ergonomics and orientation.
However they do offer the opportunity to be examined 3D and for some, especially students this might be more easily comprehended. The illustrations that accompany this article are based on these models and its hoped they will provide an opportunity to see in one place the evolution of chassis design and an interaction between theory and practice, form and function.
The textbooks quoted in the references give expert details and some drawings.

Designers at Lotus

The tendency is to assume that Chapman was the universal genius at Lotus responsible for all designs. Although he may have had a significant role in the early years this altered later on. To acknowledge the other designers contributions is fair, objective and desirable in the fullest appreciation of the subject. Their inclusion helps inspire future designers and signifies levels of teamwork.

The names of those who have been involved includes:

  1. Dave Baldwin
  2. Maurice Phillipee
  3. Ralph Bellamy
  4. Martin Ogilvie
  5. Gerard Ducarouge
  6. Frank Dernie
  7. Chris Murphy
  8. Peter Wright
  9. Tony Rudd
  10. Martin Wade
  11. Mike Cooke
  12. Ron Hickman
  13. Len Terry
  14. Geoff Aldridge
  15. John Joyce
  16. Tony Southgate
  17. “Mac” Mackintosh
  18. Colin Spooner
  19. Peter Weston
  20. J.P.Gousett
  21. J.C.Martens
  22. T.Robathan

First Principles, Light Weight Construction

A guiding principle of mechanical efficiency and indeed aircraft construction is lightweight. The reasons are [particularly when applied to a motor car]:

  1. Manoeuvrability- improved handling and road holding – less weight to be moved
  2. Power to weight ratio advantage
  3. Improved acceleration and de-acceleration
  4. Fuel and materials efficiency

Weight reduction forms the most powerful spiral of benefits and can be expressed thus: Reduce weight of chassis permits:

  1. Reduction in engine size and weight
  2. Reduce size brks’ and tyres
  3. Reduce suspension components improve handling
  4. Reduce body weight and volume
  5. Leading to greater fuel economy
  6. Smaller tank; lower weight
  7. Chassis can be redesigned around smaller overall lighter components.

Lightweight construction is also a function of sprung and unsprung weight distribution and its impact on handling.

Consider the evidence in a range of equipment that we have had direct experience of racing bicycle, hand tools, and wheelbarrow and camping equipment.

Theory and Sources of Inspiration

Colin Chapman had a first class introduction to these concepts. This was acquired through his academic training, applied experience and feedback, his experience in the RAF and as pilot. In addition Chapman is known to have read widely and extrapolated and modified existing ideas. His membership of the 750 Motor Club was possibly invaluable along with his immense innate skill as a driver. As we examine each chassis type we will return and look at existing precedent. Chapman was also supported by some very able people, gifted in their own right .An early example is that of Allen brothers and later Frank Costin [see listing above]
The editor also recommends the A&R article on “Icons of the 20C” for further insights to the Chapman methodology.

In particular the Second World War had accelerated technological developments especially in aeronautical engineering. From the time of the R100 airship geodesic design principle had been in used in airframes. The Wellington Bomber [by Barnes-Wallace] was a spectacular example. The Warren truss type construction was used in the Hurricane. Airframes were also moving towards monocoque fuselage.

The talent of Chapman was the ability to mutate and extrapolate some of these principles into the motorcar and use experts to help him focus and deliver practical outcomes.

Although the application of aerodynamics in flight and the motorcar frequently differ Chapman was willing to borrow what was applicable and this allowed him to explore ground effect that in turn would interrelate with chassis design etc.

Since Chapman’s death the Lotus has had great success applying the fundamental principles especially in the Elise range.
We should not overlook that weight saving is also a fundamental ingredient of green thinking. Saving energy and materials in construction and the energy required in use.

The Most Elementary Type Chassis/ “A” or Ladder Frame

Car manufacturers and designers are aware of mechanical efficiency. However they are primarily concerned with resolving other considerations into a commercial package.
In the pre Second World War era these were mainly:

  1. Simplicity in manufacture and assembly
  2. Low production and resultant sale price
  3. Reparability. Serviceability and its impact on insurance
  4. Utility of meeting customer requirements e.g. handling may not be first consideration.

The most basic chassis concept of the pre war era was the “A” frame or ladder chassis lay out.[See model illustration]
This is an elementary platform upon which all the necessary mechanical components can be mounted. It has significant shortcomings primarily that the chassis is not rigid enough to provide reliable and accurate steering.
Further more basic chassis offered opportunities for competition such as the 750 Motor Club where a standard chassis reduced costs, made the sport democratic and affordable and possible made for close intense racing where skill was emphasised over technology.

The Improved Ladder Frame: The Lotus Trials Cars and the Mk.III

Having developed an interest in competitive motor sport Colin Chapman sought how to find advantage and improvement. In many branches of sport specifications required a proprietary chassis and scrutineering was enforced to achieve fairness and the objectives of affordability as mentioned above.
Chapman himself at this stage was on a modest budget but his desire to win combined with his application of theory into practice brought out the best of his sense of creativity, innovation, improvisation and interpretation of rules.
Chapman took the basic “A” frame [see model illustration] and started to adapt. The editor recommends the standard textbooks for fuller descriptions. Only a brief résumé will be given here.

The Lotus Mk.I [1948]

Colin constructed a car to compete in trials based on the Austin Seven saloon chassis. The chassis was boxed in [i.e. open “U” channel closed for extra rigidity. The body was constructed of aluminium-skinned plywood. A form of drop down side was adopted to increase strength left by full opening doors. An arrangements of three bulkheads was adopted.
Some of the success of this car was attributed to additional mechanical alterations to improve handling.

The Lotus Mk.II [1950]

This was a trials / racing special again based on the Austin Seven chassis. It was developed and improved with tubular bracing. Chapman also modified the suspension and a Ford engine was fitted.

The Lotus Mk.III. [1951]

The editor has considerable interest in the Mk.III and it will feature shortly in a major article.
The Mk.III was track car. It was built to race in the 750 Motor Club events and followed a different form and function [not to mention regulations] to the trials cars.
Chapman and the Allen brothers extensively developed the standard Austin chassis almost to the point of being a space frame. The rigidity they introduced displayed theoretical thinking. It is an essay in extracting and interpreting the rulebook to limits of legal acceptability and perhaps in some respects beyond. The Allen brothers provided enormous help and resources: material, financial, technical skill, premises along with friendship and good will.
Brief details of the chassis:

  1. Boxed Austin Seven a frame with replacement cross members.
  2. Retained standard chassis and 81” wheel base to meet regulations
  3. Bracing around the engine on triangulation principle.
  4. Rear chassis extension to accept petrol tank, rear axle and suspension mounting.
  5. Chassis modifications to support improved suspension arrangement

The Lotus Mk.IV [1952]

Constructed as dual-purpose road and trials car. This car had some similarities with the Mk.II and still retained an Austin Seven chassis. Combinations of Ford and Austin mechanical components were used. The body was constructed in aluminium sheet.

The Space Frame Tube Chassis.

Significant Lotus with Space frame chassis:
Sports / racing: 6, Seven 8,9,10,11,15,17,19
Single Seat racing car: 12,16,59,61

[Note that these tube chassis incorporated both front and rear mounted engines.]

The space frame tube chassis was not totally new when Chapman designed the Mk.VI.
The construction had been used in the aircraft industry making fuselages etc. It had also been the principle on which bridges were built. Other manufactures had adopted this method including Cististalia, Mercedes-Benz and Jaguar [“C” Type] .In the 1930’s Buckminster Fuller designed a car called the Dymaxion which attempted to extrapolate airframe technology. [See article on Industrial Designer.] This was based on principles of triangulation.
The Wellington bomber by Barnes Wallace was a great success of the Second World War and this too used space frame construction techniques.
Buckler was another British specialist car manufacture that was working in tube design concurrently.

Part of Colin Chapman’s genius was to manage theory into direct practice often with considerable help from friends and specialists.

The Lotus Mk.VI [see model chassis illustration]

This is his first Lotus essay in space frame construction and possibly was conceived directly to challenge in the 1172 Formula. This in many respects was a variant on the Austin 750 principle of affordable racing around inexpensive and available parts. Chapman’s design was efficient and relatively affordable for the era and had the advantage of offering a dual road / racecar. Of course it was front engined and used a variety of engines and capacities.

The success of the Mk.VI might be attributed to:

  1. Its theoretical structural principles
  2. Its utter practicality utilizing Ford components dating from the 1930’s.
  3. Its specification meeting the 1172 Formula but is flexibility to accept other engines and race in other classes.
  4. Its relative inexpensive [see our article on Price Relativity to fully understand this. E.g. a constructed complete car in the early 1950’s might cost £400 -500
  5. Rugged reliability and serviceability
  6. The high quality and light weight aluminium bodies by Williams and Pritchard [also see A&R articles]

Tube Space from chassis needs skilled workmen to construct. They are time consuming and considerable patience is required.

Once again the Allen brothers and family provided moral, financial, technical support to ensure the prototype Mk.VI was constructed to a very high standard.

The space frame chassis principle delivered the theoretical requirements of lightweight and rigidity. The Chapman design was quite a work of art especially when compared with the proprietary Ford Specials of the era that retained the production Ford chassis.
Readers are invited to attempt to design their own chassis and bodywork to see if they can improve or simplify the Chapman design. It is extremely difficult because of the thoroughness with which Chapman sought to integrate all elements within a totality. Furthermore the Ford components are utilised, improved and lightened in the process.

The first prototype Mk.VI is thought of as XML 6 with the Ford Consul engine. In hindsight it is considered slightly over engineered and may have been heavier than absolutely necessary. The possible explanations are:

  1. Larger more powerful engines [class of racing was contemplated] and to give owners flexibility in choice.
  2. Practicality in ration Britain might have reduced supplies of tube. Or chassis jig may have been made to accept standard size
  3. Element of caution and desire to enhance reputation reduce risk.

It is well documented just how successful the MK.VI was. It’s the editor’s contention that the 100 or so cars built both commercially [providing significant working capital] and competitively established Colin Chapman and Lotus. The most successful of the Mk.VI is thought to be UPE 9 [and this will be the source of a future detailed article]

Thereafter very quickly in rapid succession Colin Chapman refined, evolved and perfected the space frame chassis. These were developed in conjunction with the aerodynamic bodies .The Mk.VIII. IX, X and Eleven

[See chassis model illustrations of the Mk. VIII and Eleven]

The Mk.VIII [1954]

This chassis is considered the most theoretically perfect but at the price of practicality and it suffered in consequence. It was very simple, extremely light and stiff .it was welded up from 18&20 gauge tube. It comprises two sections afore and aft of central bulkhead. It’s believed that only 19 pieces are used and weight was approximately 21lbs. by reference to the model it can be seen that all structural pieces are straight and triangulated.
Chapman was a realist and self-critical each design was improved and he moved on incorporating improvements.

With these designs Chapman dominated the sport until the advent of the Lola.
All the major textbooks listed in the bibliography provide fuller explanations, drawings and diagrams. The tube space frame chassis requires careful calculation to maximise its advantages. The textbooks suggest how these might be undertaken. Peter Ross is amongst the best for practical directly related illustration and context.

The Eleven [1956] [see chassis model illustration]

The Eleven was a logical development of the Mk.IX and the package was possibly one of the greatest with its combination of advanced chassis and aerodynamic body with input from Frank Costin. It sold in considerable numbers and competed successfully internationally including Le Mans and at British Club level. With approximately 270 models sold across a three-model range.
The Eleven chassis was properly stressed i.e. using term relating to calculations resulting in a multi-tubular triangulated space frame chassis using 1” and ¾” tubes of 18 or 20 swg thickness. In photographs it is self-evident the minimum of tubing deployed. A stressed aluminium prop shaft tunnel and floor contributed to rigidity.
The whole concept was a unified aesthetically pleasing practical proposition with both front and rear body sections pivoted for ease of access.

The Lotus Seven. [1957]

Little needs to be said about this car. Its well known that it was development and simplification of the Eleven.
The editor calls attention to the essential correctness of the space frame design by reference to the Caterham Seven and how they have remained faithful to the concept. [Photographs show the current generation and a prototype chassis]
It s worth noting that the series IV Seven used a modified chassis possibly conceived with production economics in mind.

Chapman persisted with the front engine tube chassis in the Type 12 &16 FI cars up to 1958 and also the 15 and 17 sports racing cars.

The tube space frame chassis had become standard competition practice from the early 1950’s. The significant change in the latter part of the decade was the move to mid and rear engine. [It’s interesting to contemplate if Chapman had participated in F500 if rear engine would have appeared sooner.]
Chapman’s first rear engine car was the Type18. Following the Cooper layout Chapman produced the Lotus 19 and 23 [see editors scale model photographs of the 19] also refer to textbooks. Later Lotus single seat models with a space frame included the 20,21, 22 and 24.

The Chapman concept has virtually been the basis of kit car construction up to the present day with the various Lotus Seven interpretations. The construction method is relatively simple and inexpensive compared to composites.

The Nineteen [1960] [see chassis model illustration]

The three-section space frame was similar to the 18 but obviously adapted for a two-seater sports racing car. [Appendix C] the front and rear bullheads are FI type .the central scuttle hoop is tubular and perforated steel structure designed to eliminate diagonal bracing. This element was in true Lotus fashion providing multiple use and mounting for various components. A further rear bulkhead provides additional mounting points etc.
Complete with all brackets the chassis weighs approximately 70lbs.
The bodywork adopted was mainly glass fibre with two removable panels front and rear.
Curb weight with the rear mounted Coventry climax engine is estimated at 11cwt.

The Monococque Theoretical Description.

The definition of monocoque is derived from a shell. The easiest and possibly most perfect example is an eggshell.
It possesses enormous strength to weight ratios but these are dependent upon the continuous unbroken / interrupted “skin” that supports or distributes loads. The dome constructions of certain roof types have similar properties.

However terminology and practical applications often get blurred. For this reason the editor suggests readers examine carefully the range of diagrams, drawings, cross sections andphotographs of models and written descriptions given in the reference books.

The monocoque has its precedent in history and early examples included: Voisin GP car c 1923, Lancia Lambarda c 1923, Traction Avant c 1934, Morris Minor 1948 and the “D” Type Jaguar possessed a central section of monocoque construction.
The aircraft industry has widely adopted it because of its inherent advantages in allowing internal volume [carrying capacity and its strength to weight ratio]. Airframes might have been constructed in this fashion from as early as 1916 and it’s believed the Douglas DC3 was constructed on this principle.

The editor appreciates that students might have some difficulty in comprehending and visualising the concept especially when two very different almost opposing construction methods are used. The illustrations might be of assistance associated wide reading to increase familiarity. From which there is an increased appreciation of form function resultant from theoretical concepts.

The monocoque has great inherent advantages but always with a motorcar there are practical considerations. The engine and drive have to be able to be included. These considerations can often compromise a concept [think about the theoretical correctness of the MkVIII but its limitations.]
Overcoming such practical necessities can complicate design or require considerable calculation. The considerations also pan out to production costs, and serviceability.

In the case of Colin Chapman and Lotus we have two contrasting examples of monocoque construction both revealing the depth of analysis and conceptual interpretation of which he was capable.

A. The Lotus Elite. [1957]

It’s difficult to comprehend the ambition, audacity and determination of Chapman to undertake such a complex monocoque construction in 1957 when the company was relatively small both in manpower and capital. In the same year as Lotus launched the Type 12 and Seven Series 1.
It has been suggested there was an overpowering rationale. This might have related to a class of racing that would require volume sales. Do doubt Chapman would have seen the duality and interlinked “rocker” potential between.
Volume sales would advance income for racing investment, produce a car with readily available components that would assist competition success. Success on the track would encourage sales and the initial volume would be justified. Win if you could get it right. It was a big ask.
Simply put: The Elite and homologation v manufacture volume sales and proceeds to racing.
The editor had often wondered what feasibility economics had been undertaken for the Elite but the thought of homologation no doubt overtook other considerations. None of the major mainstream manufacturers were so bold as to contemplate the complexities and risks associated with this constructional method and materials.

The structure of the Elite

The editor has been unable to make a model of the Elite monocoque chassis. The nearest equivalent is the plastic scale models and one of this type has been used to explain the principles.
The Elite was assembled from 3 major mouldings, which in turn involved possibly eight box sections. Metal tubing and plate inserts provided further reinforcement and pick up points.
The Elite was a tour de force not only in structural ingenuity but also aesthetics. It possessed an extremely low cd estimated at approximately 0.29.
To achieve maximum advantage this type of chassis requires considerable calculations in order that strength is placed where needed. Consequently the chassis varied in thickness throughout.
Production complexities and costs were possibly underestimated and the Elite was not a commercial success. There were other inherent weaknesses relating to noise transmission.

B.The Lotus 25 [1962] and single seater racing car type. [See chassis model illustration]

The Type 25 revolutionised FI in 1962. It provided Lotus with international success with the 1963 World Championship. Jim Clark was the driver. It may be recorded as one of the greatest racing cars of all time.
The theoretical concepts of the monococque have been noted along with the application in airframes. Chapman suggested his inspiration for the Type 25 was the backbone chassis of the Elan. This is totally consistent with the Chapman methodology of thinking, conceptualisation and extrapolation.

Its possible that on re-examination / analysis or interpretation Chapman concluded that the backbone chassis might function better in expanded rather than a spine. In a flash of inspiration he might have rationalised that the body and chassis might be one piece integrated, simultaneous and this would accord with the monocoque definition of shell. The driver accommodated “within“ not without. Here names and definitions blur. Some engineers refer to the single seat monocoque as a bathtub as the continuous external unbroken shell is impossible whilst engine and drive have to gain entry and exist.
The monocoque chassis is difficult to comprehend from drawings; it helps to visualise a cross section.
The editor has translated the concept with a large diameter tube with additional compartments. In practice the Type 25 chassis comprised of:

  1. Aluminium sheet 16 SWG riveted accurately within a jig and steel cross members.
  2. A rectangular section either side of the driver containing the fuel bags
  3. Lower body half terminating at end of cockpit
  4. Further extension boxes at rear to contain engine
  5. Engine directly bolted to chassis which contributed to rigidity
  6. A rear hoop bridging the chassis and providing location for rear suspension
  7. Channels in underside in underside carried oil, water, hydraulics and electrical systems.
  8. Further hoops amidships for the steering, dashboard and front suspension
  9. Overall torpedo shape with small frontal area [typical of era 0.54 sq.m but just 0.37 for the Type 25.]
  10. Consistent with structure the driver positioned at extreme inclined angle
  11. The lack of tubes made access and maintenance easier for the mechanics.

Lotus single seaters with monococque chassis [various materials]
Types: 25,27,29, 31,33,34,35,38,39,
43,44,48,49,
56,63,64,
70,72,73 74,76 77, 78, 79,
80,81,86,87,88,91, 92,93T 94T, 95T, 96 97T, 98T 99T,
100 T, 101,102

The Backbone Chassis

Depending on conceptualisation and interpretation the backbone chassis has some similarities with the monocoque Type 25. For our analysis we will keep it as separate entity.
The backbone chassis has been in existence for some time before Chapman took it up so successfully. It’s believed that some Skoda and Tatra motorcars had backbone chassis [T87 &T111], as on previous occasions the genius was in the adaptation, extrapolation and incorporation in the most appropriate and effective package. Chapman was able to update the concept and make it applicable to the era. Further more it was simple as the Elite had been complex.

Backbone Chassis in Lotus: The Elan [1962] and Lotus family
The practical application.

Possibly due to the complications and financial losses associated with the Elite Chapman was determined to come up with a more practical and production friendly alternative.

Its possible that he was thinking of replacing the Seven and wanted a car that could potentially be mass produced in the vein of the Austin Healey Sprite /MG Midget but with much improved performance and handling. There was an established proven market if the right product could be produced.

His response was the backbone chassis. This would immediately underpin the Elan of 1962, then the Europa and continue through the Lotus model range:
Elite, Elcat, Esprit, Excel until the M100 and the Elise aluminium extrusion chassis.

Evidence confirms that a large diameter tube has greater / improved structural properties. Chapman’s extension / deduction conceived that an “enlarged tube” might constitute a chassis on its own. It would have proven structural qualities, light, reasonably easily manufactured.

Chapman’s backbone chassis comprised a deep rectangular steel section that was folded and welded with stiffening pieces let in. [see photograph of model]
It weighed 75 lbs [cf space frame for the Mk.VI but possessed considerably greater tensional rigidity.
The hollow core also permitted the prop shaft to run through it. At each end the chassis “forked” out into two narrow cross sections cross members. With turrets at the front accepted the engine, gearbox, steering and suspension.
The rear portion located the final drive and rear suspension. A wrap around glass fibre body was relatively easily fixed to the core backbone running centrally through the cockpit.

The Elan M100. [1989]

This model was launched in 1989. There is a small illustration of the chassis in “The Lotus Book”.
Essentially it was an adapted backbone chassis constructed of box section zinc coated steel and tube with body built up in multiple sections with reinforced glass fibre panels and V.A.R.I. moulded floor.

The editor does not have a model of illustration of this chassis at present.

The Aluminium Extrusion: The Elise [1996]

The current generation of Lotus chassis are based on the lightweight structure of epoxy bonded aluminium extrusion. This is constructed with an integral steel roll bar and lightweight steel sub frames.
The chassis works in conjunction with transverse mid engine and rear wheel drive.
This type of chassis has been referred to as bonded aluminium space frame tub.
The chassis is glued and riveted. It’s claimed that the bare chassis weighs approximately 70kg [approximately half the weight of steel equivalent] Torsion rigidity is recorded at 10.133 Nm/degree and is comparable with a BMW Series III saloon.
This very advanced chassis construction was developed with specialist input from Hydro Aluminium Automotive Structure [based Norway] Its believed they may have a plant in Worcester, UK and Ciba Polymers of Switzerland.

The editor has been unable to construct a model of this chassis but would recommend readers look at:
www.elises.co.uk
www.sandsmuseum.com/cars/elise

Conclusion: Continuum

In this brief article the editor has attempted to reveal the evolution of chassis design at Lotus. This is possibly more evolutionary than expressed in the past. The article wished to look in an almost X Ray fashion at the chassis as this component of the car is often the least revealed and yet has contributed so much to the success of Lotus.
The use of chassis models [perhaps with their limitations] is hoped to provide insights that could not be gained elsewhere and if the proposed museum is established accurate full scale working exhibits will be displayed.
The primary function of the museum is not so much historical record but the dissemination of technical fact and engineering problem solving. Interpretation in this context is communicating the methods and means of achieving objectives through design and use of materials.
This article also demonstrates the extent of Colin Chapman’s energy, ambition and entrepreneurial drive. From 1948 and what has become known as the Mk.1 to the present day there has been a rapid succession of innovation, improvisation and inspired conceptual thinking rooted in theoretical concepts and translated through to practical transport. This was achieved with limited resources and the measure of success must be seen in this context. Colin Chapman with all his faults inspired and employed many first class designers and many others made exceptional sacrifices and contributed materially to his success. There were relative failures too. These must be noted and objectively analysed. They too provide a learning opportunity. In particular they demonstrate Chapman’s determination to learn, move on and not be beaten or succumb to ego. Perhaps one of the greatest strengths of the man was to learn, analyse and see opportunities within obstacles or conventional perceived disaster.
To the engineer the chassis it self is a work of art but many of the Lotus have been pieces of extreme aesthetic beauty.

In today world our concern is towards sustainability. It ought be noted that Chapman perhaps more than any other pioneered and promoted light weight high efficiency construction allied to safety through improved handling This aided by aerodynamic design remains the mantra of sustainability in extracting the most from the least resources.

The editors are pleased to note the success of the current generation of Lotus cars is rooted in proven theoretical principles and perhaps more than most super cars manufacturers has an almost unbroken tradition, track record, recognition, reputation for what many see as purity and essential functional “correctness”

Reference:

Understanding Aircraft Structures.
J.Cutler
Granada 1981
ISBN: 0246113103

Mechanics of Flight
AC Kermode
Longman 1987
ISBN:058242254

The Science of Flight
O G Sutton
Penguin 1955

Engineer to Win
C.Smith
Osprey 1985
ISBN: 0850456282

Race and Rally Source Book
A Staniforth
Haynes 1986
ISBN:08542295720

Fundamentals of Vehicle Bodywork
J Fairbrother
Hutchinson 1981
ISBN: 091443911

Ford Specials
PJ Stephens
Foulis 1960

The Construction of Ford Specials
J Mills
Batsford 1960

Ford Specials builders Manual
GB Wake
Haynes

Racing and Sports Car Chassis Design
Costin and Phipps
Batsford 1974

Racing Car Design and Development
Terry and Baker
Motor Racing Publications 1973
ISBN:0900549203

Sports Car Bodywork
BW Locke
Batsford 1960

Elements of Automobile Engineering
Platt
Pitman 1946

The Sports Car :Its Design and Development
C Campbell
Chapman and Hall 1978
ISBN: 04121500X

Automobile Suspension
C Campbell
Chapman and Hall 1981
ISBN: 412158205

H.Haskell
Colin Chapman –Lotus Engineering*
Osprey 1998
ISBN: 1855328720

Colin Chapman
Karl Ludvigsen
Haynes 2010
ISBN: 9781844254132

P.Ross
Lotus: The Early Years.
Coterie 2004
ISBN: 9781902351148

The Lotus Book
William Taylor
Coterie Press 1999
ISBN: 1902351002

Lotus Elise
D.Ortenburger
Coterie Press 2002
ISBN: 1902351037

The Complete History of GP Motor Racing*
A.Cimarosti
Arum press 1997
ISBN: 1854105000

All books listed are part of the A&R library except marked * Please ask for clarification, extract or book review if it would be of assistance.

Wooden Man Framework

 

5. The Fine Art of Motor Sport

F.Gordon Crosby 1885-1943.

F.Gordon Crosby is believed to have been born in Sunderland in 1885.He tragically committed suicide in 1943.He was known as a family man with children, a doyen and for his sartorial elegance.

Gordon Crosby was self-taught illustrator-artist- draughtsman; although he might have gained a high level of technical skill as a draughtsman apprentice in his hometown. It is thought that he pioneered the concept of the exploded drawing and the cutaway.
Gordon Crosby is renown for his scope; versatility and he also encompassed the occasional cartoon.

Gordon Crosby created a unique and easily recognisable style. He possessed an idiosyncratic use of light; perhaps best seen in his watercolours. He captured and distilled the drama and passion of pre-war racing in his trackside imagery. His work seemed to combine both technical and artistic merit that some consider superior to his peers. When viewed his work radiates passion, aggression, romance mixed with dynamic intensity and enormous vigour and vitality.

The author feels that in his best work as perhaps applies to all the greatest works of art his renderings are better than photographs. In particular they involve the viewer. This is a precious gift in that not all can be privileged to have the direct experience. Through his work the layman and enthusiast are permitted to participate; and of course this also helped sell the magazines. The viewer enters the picture and the imagery is so strong and powerful all the related sights sounds and smells become present as if you were there. Gordon Crosby was able to capture the special quality of night racing with lights ablaze.

In his work the author detects a slight sculptural quality.

Gordon Crosby was house artist at Iliffe; joining Autocar c 1907/08 .He was renown for being something of an enigma .He worked with Peter Grainer; who was to write a biography of Gordon [see details below]

Gordon is known to have worked in watercolours, charcoal with crayon, gouche , and oils but these were rare.

Gordon Crosby attempted a wide variety of subject matter; and it is felt that this deserves an appraisal and a selection of work will be described in more detail.

The art world seems to be influenced by a certain cultural snobbery. This manifests it self in criticism for certain art forms and artists possibly based on their content. Most in not all the artists mentioned in this series have not been highly regarded and even considered daubers .Its possibly that their work is perceived as lowbrow and journalistic illustration. Possibly because the work helped sell magazines it is considered tainted or perhaps even corrupted.
The author would seriously challenge this assumption. Some of the most highly regarded art works are very representational for example landscape and portraiture. The works of the Impressionists might be regarded for their content and the fact the artists both caught and reflected a fleeting moment of life in a poetic manner.
Turner in “Rain Wind and Speed “ made an early attempt at recording the drama of the new technology and its impressions on the public.
The author considers perhaps with a little controversy that Gordon Crosby might be considered amongst the artists of the Golden Age of Illustration. In his work I see shades of Arthur Rackham and his use of watercolour to achieve sublime luminosity.
In nearly every respect the works of Gordon Crosby achieve the same and on occasions exceed this. His technical merit certainly compares with many of the “masters”

Gordon Crosby’s achievements included designing the leaping Jaguar mascot for William Lyons, and poster commissions from Count Florio. It is believed that he may have also undertaken some commercial work for Bentley and M.G.

Six descriptive pieces help explain and articulate the creative and versatile genius of Gordon Crosby:

Meteors of the Road and Track Series – No.23: The 1926 Le Mans

Gordon Crosby was a considerable exponent of motoring drama, danger and romance. In some of his best work he combined racing and or night driving. Several of his most memorable works captured night racing at Le Mans.
One of these is the 1926 race; and Gordon Crosby has selected a pit stop. The Lorraine –Dietrich is being refuelled and the engine and or plugs checked.
Gordon Crosby’s portrayal is so lights from above illuminate utterly atmospheric .The pits; mechanics are outlined whilst other urgent support activities are suggested in the shadows.
The headlamps of the Lorraine –Dietrich remain on and out of the gloom of night the red
Two litre O.M. thunders by.
To the right of the picture the artist suggests the outline of stands shrouded in a deep ink blue night. With an isolated star hinting at the slow approach of dawn.

Gordon Crosby never fails to capture the era; its values and a little nostalgia of the time when machines still seemed to possess some soul and individual character. Driver and machine somehow more united and a time when perhaps conduct was more gentlemanly and an element of luck was appreciated

The artist’s skill is considerable. So much is contained yet so little is actually depicted. Perhaps this is a deliberate intention. The artists possible wants us to engage and to touch our emotions .to enter the picture and the spirit. He possess the gift of triggering a fuller experience and all our faculties become engaged not for what he has included but what he suggests. Reference to an essence seems to engage the psychology that we are able to provide and expand the scene, and to fill in detail that picture alone cannot convey. I believe that Gordon Crosby’s genius is that he enables the viewer to explore and almost move around inside the composition and allow the imagination is fullest capacity to translate and convey the full sensory stimulus beyond such as the time, temperature, aroma, ambience, weather and crescendo of racing engines and even the even the solitude and blanket of night far in the distance.

The race will go on. The viewer has been permitted to experience a brief, significant unfolding moment. What Gordon Crosby depicts is never static .He is a master at story telling of epic heroic ballads

Not all can afford or are able to have the direct personal experience of such dramatic events. In one sense Gordon Crosby’s work is very democratic .It extends out and reaches and touches. It shares in a profound way. Gordon Crosby has used his mighty talent to overcome an obstacle and made all those who experience his work a little richer and inspired. A noble achievement.

Lagonda chassis drawing

In this modest subject matter, Gordon Crosby executes the work with consummate ability and renders the car the quality that its manufactures aspired to.
For the author in this sketch/ drawing Gordon Crosby displays his mastery of the subject and how best it should be rendered. It radiates quality, elegance, and workmanship and suggests form that the chassis will deliver. It is relatively easy to imagine the chassis “clothed”.
In the foreground the proud upright radiator is distinctive. Suspension detail is accurately recorded, as are the carburettors. The artist uses light and shade to perfection as a means of picking out highlights of the chrome and polished components surfaces. Gordon Crosby technical mastery enables him to convey the texture of the varying materials from the chrome headlamps, polished cam covers or the steering wheel rim.

The chassis sits presence it self a work of art and its as if Cordon Crosby has rejoiced in its engineering elegance and rendered the picture with a loving care and empathy as if he had been privileged to have been in its presence and drawn it.

The “M.G. Girl”

Once again in this work Gordon Crosby demonstrates his talent, versatility and empathy with the subject matter. For all the power and thundering guts of much of his work here the artist capture femininity with allure but without sentimentality. In many respects it speaks reams of the era and early emancipation of women. The lady driver is the central point and purpose or object of the composition. She gases directly at the viewer with charm displaying an understated poetry. Like other good works it conveys more and the subtext is subtly portrayed and this involves fashion equality and equal enjoyment and access to the open road with sporting intentions. For the era it is perhaps quite advanced marketing and requires someone of Gordon Crosby’s genius to convey so much with a reference to the product its potential and appropriateness.
It’s subtle, very subtle. And these messages are sent without relying on the moving image or sound for reinforcement.

The New Earls Court Building 1938

In this easily recognisable scene [London landmark] Gordon Crosby depicts the dramatic new bold architecture is strong and powerful it reaches out of the frame into the night sky.
Gordon Crosby renders the scene in the very characteristic English rain. He uses the weather condition to artistic effect. The picture is animated with busy London traffic and humane bustle and jostles pedestrians dodging the downpour of a late evening shower. The nightfall and street lighting accentuate the atmospheric composition. Gordon Crosby has captured to perfection the quintessential English mood moment and manners in the body language and season. The rains gloss is picked up and reflects on surfaces and the hard chrome of passing cars radiator surrounds and hubcaps.
The Motor show is almost depicted as Hollywood, with a hint of celebrities, optimism, and fashion, and achievement, excitement mixed with a little anticipation.
Once again Gordon Crosby tells a story beyond the immediate representation of the scene. This is not mere picture postcard photography. He has succeeded in capturing a moment in history and distilling it. Perhaps to through the picture we can have an inner glimpse of the artist a warm humanitarian with great versatility and technical virtuosity; a person for whom the visual representation makes visual stories and even poetry.

“Continental Touring” [Autocar c 1934]

Continental touring was fashionable and for the inset almost derigueur for the pre-war period,
It was one of Gordon Crosby’s favourite subjects. This work is an incarnation of the essence of fast touring and road racing with a riding mechanic. This particular work is all the more impressive as it has been executed with a limited palette. The composition has been foreshortened to increase the visual impact of speed and the charging car will almost immediately plunge over a precise like a waterfall.
The picture depicts an imaginary high-powered car with splayed cambered splayed wire wheels. The elongated loved bonnet with external exhaust .The driver and riding mechanic compact couched low below the aero screens racing quick release petrol filler on the boat tail.
The “team” and car animal like tare and bellow through the mountains almost precipitating an avalanche in their wake. Despite the power and determination they are portrayed almost dwarfed by nature and the onward pull of the mountains.
The team are presented like explorers or mountaineers or aviators caught in the rarefied chilled high altitude air.
The artist’s restricted palette helps accentuate the mood, chalk capturing the frosted airstreams and gleam from the chrome instrument bezels. White also enlightens the composition and suggests the perspective into he distance and the range yet to be conquered.
It’s almost possible to hear the exhaust rebound from the cliff edge and for a split second read the instruments. The imagery almost Viking like the car cresting mountains like the longboat.
In the middle distance a long straight ribbon of road passes through dense pine forest that comes right up to the edge of the road. The sky is dark and there are many miles to cover yet. There is also solitude and unspoken thoughts and loyalty, trust between the men as they forge forward.
The driver looks down the long louved bonnet, headlamps set low and symmetrical. Cambered wheels and heavy ribbed helmet mudguards of the cycle type surmounted by pencil like torpedo sidelights allow the wheels to be seen bucking as the fight for grip.

The racing mechanic alert, vigilant reads the road and studies the instruments an empathetic ear records the engine and rejoices in its rugged reliability. Cowered down he attempts to gain a minimum of protection and gain a little heat form the engine and possibly the exposed gearbox within the confines of the cockpit.

The boat tail truncated in the composition only serves to emphasise the speed and movement. The huge quick release filler cap hints that the tail contains only a large capacity tank. The artist’s uses chalk highlight or possibly the paper to reflect the hard cold light as the possibility of dusk draws on and temperatures fall

The viewer picks up on the ambient temperature, the assault on the senses the wind-chill, determination and concentration.

Once again Gordon Crosby uses allegory and in this scene the author is reminded of several pieces of music and poetry not least “ How They Brought Good News from Ghent to Aix ” by Robert Browning.

 

“Highlands ?”. No title given but image in Classic and Sports Car -December 1990 p131 Title page Gordon Crosby: His Life and Work

This work s so redolent of the era that Gordon Crosby captured so well.
It is also steeped I historical significance. The interwar period experienced the extremes of wealth and poverty, the growth in the ownership of the motorcar and the move from Internationalism to Nationalism.
This work should perhaps be counterpoised with that of the piece above Continental Touring. Whereas this piece speaks of the isolation and rejoicing in our own secure domestic scene, Continental is full on blood and guts post haste. Gordon Crosby however can handle both subjects with equal merit and subtlety.
For a period the rich were able to undertake Continental touring. Monaco and the French Rivera were their destinations. The era was possibly one of the most romantic in motoring terms. It may have had overtones of the 18c Grand Tour. However with the spread of nationalism and the treat of war much continental travel was restricted. A new generation of motorists rediscovered their own country.

This era has been particularly well captured by H.V.Morton in his “Search for … Series” [see book review to follow]. These travel guides start in the late 1920’s and continued through the 1930’s.Morton’s “In Search of Scotland” being graphic with some very attractive near poetic word pictures and atmospheric descriptions.

The Gordon Crosby watercolour expresses these sentiments to near perfection.

In the foreground a lone driver has climbed from his touring car and sits on a jagged rock and looks to the distant horizon over meandering moorland and mountain that melts into the heather tinted sky.
The scene is desolate and rather magnificent in its isolation. There are no houses; no towns no smoke no factories.
The road runs seemingly onward like a ribbon into the distance serpentine cutting through the gorse bracken and heather fording streams .the suggestion being that the driver has taken a break near a sign post to absorb the closing embers of the day as dusk approaches. The picture suggests the connection or bond of man, machine and nature. Joint travellers and their shared empathy and the receding horizon.

The picture has a sort of loneliness and quite solitude. It is optimistic and warm colours of purple heather bleed throughout.

The inference is that the driver will soon resume his journey; the signpost will guide his journey. There will be crystal clear sparking moorland streams to cross or run along side the road and grouse will fly low overhead.

Although not depicted the artist suggests that stoic Highland cattle will graze the wild untamed moorland down to the water edge or lock hidden from view.

These images of serenity are of a country soon to be changed by War but they also the indelible images of a country and freedom that soldiers fought to preserve. We should take a quite moment to look into this picture and reflect.

Reference:
“The Art of Gordon Crosby “ by peter Grainer.
Hamlyn 1978.

Crosby 1 Crosby 2

 

5. Chapman /Lotus: Historical Origins

Hornsey and Tottenham Environment: Part 1

Introduction

These two articles are brief and place emphasis upon and identify the buildings and proximity of the friends and connections that helped Colin Chapman establish Lotus at Hornsey from the late 1940’s.

Our knowledge of these friends are contemporaries are known from the published works [see references below].

The editors have taken the photographs and used historical images and we hope to offer the briefest of interpretation to develop the context and the importance of each. Subscribers might also like to use multi-map etc. for additional aerial views and differing perspectives.

The editors have canvassed for the “Lotus Buildings” to be listed but this was not accepted .However we note the increasing awareness of transport architecture as recorded in “CarScapes”.[ see A&R Review]. We therefore hope at a later date there will be greater recognition and protection conferred on these significant group of buildings.

Subscribers will readily identify that most of the original buildings fortunately still exist

The A&R will try and assemble historical images and those that add to a contextual and interpretation of the site and development of Lotus in post war London

Respect for Homes and Businesses

We ask that any visitors be respectful of the addresses given as these remain private homes and businesses.

Subscribers may like to cross reference this article with A&R items:-

The following articles help establish the wider background surrounding Colin Chapman’s development:-

  • The Works
  • Bridget Riley and Geoff Goddard photography
  • Festival of Britain
  • Lotus Design Decades: The 1950’s
  • London :The Epicenter of Post War Motor Racing

Important locations in the Colin Chapman/Lotus history

 

Photo No St’ No Street Name Area London Post Code Details
1 44 Beech Drive East Finchley London N2 9DY Colin’s family home
2 5 Tottenham Lane Hornsey London N8 9DT Railway Hotel [Colin’s fathers Hotel]
3 7 Tottenham Lane Hornsey London N8 8PR Stables and office adjacent hotel
4 244 Alexandra Park Road Muswell Hill London N22 7BG Hazel’s parents’ home & lock up [r/o]
5 104 Vallance  Road Muswell Hill London N22 7UB Allen brothers family home
6 Ribblesdale Road Hornsey London N8 7EP re John Teychenne /Progress Chassis
7 Alexandra Palace Muswell Hill London N22 7AY Possible backdrop model launches?
8 Tottenham Lane Hornsey London N8 9DJ British Rail Station
9 45 Kew Road Richmond London TW9 2NQ Colin’s parents first hotel?
10 The Broadway Crouch End London N8 9JJ Town Hall
11 Crouch End Broad w’ Crouch End London Clock tower looking north
12 The Queens Crouch End London N8 9DE Pub and landmark

Birthplace

Photograph 9

Colin Chapman’s parents are reputed to have owned the Orange Tree in Richmond. This even in the late 1920’s early 1930’s must have been a significant piece of real-estate.

With rooms and the proximity to Richmond Rail Station and closeness to Twickenham it must have been an important and imposing, lucrative business catering for diverse activities, functions etc.

It’s interesting to note that the family moved to Hornsey; this would have seemed less attractive a proposition unless Stan Chapman had ideas about diversification and expansion. [Considering the value and prestige of the Orange Tree it might have been in part ownership]It would be good research to check the local authority licensing records and those of the Licensed Victualars.

Colin Chapman was born on the 19 May 1928.

Vallance

Photographs 1 and 5

These pictures the respective family homes of Colin’s parents at 44 Beech Drive, East Finchley.This is a significant detached residential home on a corner plot in an expensive neighborhood. It suggests that Stan Chapman’s business activities in Hornsey were doing well.

The second photograph is of the Allen brother’s family home at 104 Vallance Road, Muswell Hill. This too was a large imposing and very attractive detached house in a residential road. The Allen family provided technical support and considerable financial resources to help Colin .Note in Peter Ross’s book there are period photographs of the Allen’s’ with cars under construction.

Muswell

Photograph 4

These two photographs are of Hazel Chapman [nee Williams] family home at 244 Alexandra Park Road. This is in a leafy suburb and in the shadow of Alexandra Palace.

Immediately to the right hand side is the access lane – up a fairly steep gradient to a “T” junction where the family had a lock up.

Lockup

Close up view of lock up garage used by Colin

We are not absolutely sure which garage was owned / or rented by Hazel’s parents but it does not appear to be equipped with power. It’s possibly that a trailing lead was provided from the house but records suggest some of the construction work on the first special was out-sourced. It indicates the level of determination, resourcefulness, and innovation and build programming skills to coordinate car construction under these circumstances.

The Proposed CCM&EC

The editors believe there are many advantages to siting the proposed CCM&EC at the old works in Hornsey, north London. To this end they obtained a change of use through the Planning Department of Haringey Council but sadly the current occupants felt unable to accommodate or cooperate with the full proposal. This explains why the campaign is run as virtual status. The editors continue to consider the Hornsey site whilst keeping options open.

Our articles demonstrate the importance and significance of the locality as it preserves the main building blocks intact and greatly aids meaningful interpretation in every sence.Furthermore that interpretation is accentuated by the very concentration and sustainable dimension of being so well served by public transport. These two factors harmoniously and in complementary fashion serve both the external tourist visitor and the proposed local student throughput. Hornsey is served by train, bus and underground and has reasonable access to northern section of M25. It is also a relatively easy hop to Cheshunt.

The editors as part of their planning application adopted a business plan that was sustainable integrating the institution with the local economy on a non-palliative basis.

The proposed CCM&EC has been structured to deliver education and entertainment through an integrated vertical horizontal matrix foremost delivering education through work experience. It will deliver Equal opportunities.

Although other sites might provide the potential of track facilities which in turn would deliver racing/ sprints and demonstrations this type of site is likely to be :-

  • Remote from other tourist attractions and public transport
  • By definition remote from high concentrations of residential areas and populations requiring its educational facilities
  • As such it would risk becoming elitist or unviable
  • Greater emphasis would possibly be required on bigger attractions and investments which might mitigate against sustainable programmes and in turn risk greater financial gambles

The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.

In particular in the Hornsey context we would seek to link and integrate those buildings identified and enhance the visitor experience accompanied by the fullest and interpretation led experience not least with the historical connectivity with London’s dynamic link with international motor sport. The site also lends itself to recreations and hence the creative media and advertising.

Conclusion

As can be seen the primary buildings identified with Colin Chapman and the establishment of Lotus still exist. They provide a necklace of attractions easily integrated and complimentary to tourism within Greater London including London Transport, Science Museums, Crystal Palace, Alexandra Palace and the historic locations of post war motor racing. They provide an extensive network unified sustainable connections feed by public transport. As we have stated previously museums provide both education and entertainment and being essentially indoor provide all year all season appeal and protection.

Of course land values are likely to increase in London and this will always mitigate and voracious competition will continue from property speculation and developers.

The A&R will continue to make the case in favour of long term sustainability achieved through education, creativity and innovation which we consider ultimately the only guarantor of sustainable wealth, welfare and civilized cultural development.

Reference:

Hornsey Historic Society

Colin Chapman.Lawrence.Breedon Books, 2002.

ISBN: 1859832784

Colin Chapman-Lotus Engineering. Haskell.Osprey.1993

ISBN: 1855323761

Colin Chapman.Crombac.Patrick Stepens.1986.

ISBN: 0850597331

Lotus: The First Ten Years: Smith.MRP.1958

Lotus: The Early Years: Ross.Coterie.2004

ISBN: 1902351126

Carscapes.Morrison.Yale.2012.

ISBN: 300187041

Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.

*Items in italics non A&R library books.

Chapman and Lotus Historical Origins

Hornsey and Totten ham Environment: Part 2

Introduction

These two articles are brief and place emphasis upon the buildings and proximity of the friends and connections that helped Colin Chapman establish Lotus at Hornsey from the late 1940’s.

Our knowledge of these fiends are contemporaries are known from the published works [see references below].

The editors have taken the photographs and we hope to offer the briefest of interpretation to develop the context and importance of each. Subscribers might also like to use multi-map etc. for additional aerial views and differing perspectives.

The editors have canvassed for the “Lotus Buildings” to be listed but this was not accepted .However we note the increasing awareness of transport architecture as recorded in “CarScapes”.[ see A&R review] We therefore hope at a later date there will be greater recognition and protection conferred on these significant group of buildings.

The A&R will try and assemble historical images and those that add to a contextual and interpretation of the site and development of Lotus in post war London

Subscribers will readily identify that most of the original buildings fortunately still exist

Respect for Homes and Businesses

We ask that any visitors be respectful of the addresses given as these remain private homes and businesses.

Subscribers may like to cross reference this article with A&R items:-

  • The Works
  • Bridget Riley and Geoff Goddard photographs
  • Festival of Britain
  • Lotus Design Decades: The 1950’s
  • London :The epicenter of British post war motor sport

Important locations in the Colin Chapman/Lotus history

Photo No St’ No Street Name Area London Post Code Details
1 44 Beech Drive East Finchley London N2 9DY Colin’s family home
2 5 Tottenham Lane Hornsey London N8 9DT Railway Hotel [Colin’s fathers Hotel]
3 7 Tottenham Lane Hornsey London N8 8PR Stables and office adjacent hotel
4 244 Alexandra Park Road Muswell Hill London N22 7BG Hazel’s parents’ home & lock up [r/o]
5 104 Vallance  Road Muswell Hill London N22 7UB Allen brothers family home
6 Ribblesdale Road Hornsey London N8 7EP re John Teychenne /Progress Chassis
7 Alexandra Palace Muswell Hill London N22 7AY Possible backdrop model launches?
8 Tottenham Lane Hornsey London N8 9DJ British Rail Station
9 45 Kew Road Richmond London TW9 2NQ Colin’s parents first hotel?
10 The Broadway Crouch End London N8 9JJ Town Hall
11 Crouch End Broad w’ Crouch End London Clock tower looking north
12 The Queens Crouch End London N8 9DE Pub and landmark

Bridget Bishop Photographic Record of Lotus at Hornsey.

The historic context of the photographs taken C Autumn 1957. [Please see examples on our website and that of Bridget Bishop’s.]

Bridget Bishop [Professional name Corry Bevington]

On her website it recorded that

“Corry Bevington trained as a photographer at Guildford School of art in the early 1950’s. After leaving college she freelanced in partnership with Anthea Sieveking from the Marshall Street studios in London’s Soho, working mainly for magazines and the Arts Council.

At this time Corry made a comprehensive series of photographs of contemporary rural industries in Britain and of English Canals. She has also traveled widely in West Africa, Russia and more recently Yemen documenting mud built architecture.

She worked closely with her late husband, the graphic designer Graham Bishop for twenty years before becoming a founder member of the Photo Co-op now known as Photofusion of which she is still a director.”

Bridget’s Bishops photographs also help illustrate and capture the essence of the era and reinforce the information given. In particular her photographs of Portobello Road in Notting Hill Gate work with the A&R reconstruction of the road trip. She also undertook a series of pictures involving butter mould carving and ladder making which will be explained under the chapter devoted to the Rural Industries Bureau.

These are quite extraordinary photographs and contribute significantly to our interpretation of the era and indeed the speed of Chapman’s development.

Tottenham

The sketch map indicates the closeness of the locations and friends that helped establish Colin Chapman .They fall in the main within the shadow of Alexandra Palace.

Jewsons

Figure 1 Stable block and showroom 7 Tottenham lane. Photograph no 3.note proximity to railway line [not in view the Hornsey British Rail Station.

Tottenham Lane

Figure 2 this picture seems to capture a car immediately outside the works in Tottenham Lane

Ribblesdale

Figure 3 Photographs 6 & 3: Ribblesdale road and Stable/office block

Ribblesdale 2

Attractive black and white photography of Lotus staff in Ribblesdale Road, Hornsey. Ribblesdale Road is almost immediately opposite the entrance to the stable block and Lotus showroom in Tottenham Lane.

Winner

11 Chassis

Figure 4 Note what appears to be a Lotus Eleven chassis just inside the works, looking out in direction of Ribblesdale Road

Rear of stable

Figure 5 Additional and complementary photograph No3: Rear view of the stable block looking west

In the back ground on the RHS we can see the rear of the stable block.

It has not been fully explained in Stan Chapman owned these stables and they formed part of the freehold of the Railway Hotel of if he had separate lease or rental agreement.

Hornsey was possibly developed in the Victorian era and would have been attractive as a residential area with the coming of the railway. The Railway Hotel possibly had a significant clientele based on railway workers and the GPO nearly opposite. There was also a fairly large working class population based on the water works and possibly some of the building workers from Alexandra Palace.

Stan Chapman would have probably used the stables for storage and part of possible distribution network or it might have occurred that he inherited the stables from the Victorian era when drays pulled by horses might have serviced local pups following delivery from the railway station.

Today the stables , assembly building and office / showroom that Colin Chapman built are part of Jewson’s builders merchants ; part of the Cranford Way industrial estate which once formed extensive railway marshalling/goods yards and rolling stock maintenance.

Jewson 2

Figure 6 further photographs of main photo 3 showing the yard and later building provided on the site to accommodate the expanding work at Totten ham Lane. The two storey brick building was used for assembly and many period photographs of the interior exist.

No body

Tranpsorter

Figure 7 Note in this picture Lotus Elven chassis in the yard of 7 Tottenham Lane. They are in an area between the assemblies building; the stables out of sight to the left Note the rear of the Railway Hotel can be seen in the background

Town hall

Figure 8 Photograph 10 – Hornsey Town Hall. It’s believed that Stan Chapman provided catering facilities and that this was social meeting place. The Town Hall is a modernist building and currently undergoing restoration. It was recently used to film “The Hour” and subscribers are recommended to visit net to see restoration website.

Clock Tower

Figure 9 Photograph 11.This is the Clock Tower in the Crouch End Broadway [looking north towards Hornsey] The Shanklin Road garage was within walking distance [recently demolished]

The Queens

Figure 10 Photograph 12. The Queens at Broadway Parade, Crouch End. This pub is distinctive landmark and one of many that would have lined the route into central London at the time Colin was active at Hornsey. Subscribers might like to read A&R recreation journey by car to Goodwood.

The Proposed CCM&EC

The editors believe there are many advantages to siting the proposed CCM&EC at the old works in Hornsey, north London. To this end they obtained a change of use through the Planning Department of Haringey Council but sadly the current occupants felt unable to accommodate or cooperate with the full proposal. This explains why the campaign is run as virtual status. The editors continue to consider the Hornsey site whilst keeping options open.

Our articles demonstrate the importance and significance of the locality as it preserves the main building blocks intact and greatly aids meaningful interpretation in every sence.Furthermore that interpretation is accentuated by the very concentration and sustainable dimension of being so well served by public transport. These two factors harmoniously and in complementary fashion serve both the external tourist visitor and the proposed local student throughput. Hornsey is served by train, bus and underground and has reasonable access to northern section of M25. It is also a relatively easy hop to Cheshunt.

The editors as part of their planning application adopted a business plan that was sustainable integrating the institution with the local economy on a non-palliative basis.

The proposed CCM&EC has been structured to deliver education and entertainment through an integrated vertical horizontal matrix foremost delivering education through work experience. It will deliver Equal opportunities.

Although other sites might provide the potential of track facilities which in turn would deliver racing/ sprints and demonstrations this type of site is likely to be :-

  • Remote from other tourist attractions and public transport
  • By definition remote from high concentrations of residential areas and populations requiring its educational facilities
  • As such it would risk becoming elitist or unviable
  • Greater emphasis would possibly be required on bigger attractions and investments which might mitigate against sustainable programmes and in turn risk greater financial gambles

The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.

In particular in the Hornsey context we would seek to link and integrate those buildings identified and enhance the visitor experience accompanied by the fullest and interpretation led experience not least with the historical connectivity with London’s dynamic link with international motor sport.

Conclusion

As can be seen the primary buildings identified with Colin Chapman and the establishment of Lotus still exist. They provide a necklace of attractions easily integrated and complimentary to tourism within Greater London including London Transport, Science Museums, Crystal and Alexandra Palace and the historic locations of post war motor racing. They provide an extensive network unified sustainable connections feed by public transport. As we have stated previously museums provide both education and entertainment and being essentially indoor provide all year all season appeal and protection.

Of course land values are likely to increase in London and this will always mitigate and voracious competition will continue from property speculation and developers.

The A&R will continue to make the case in favour of long term sustainability achieved through education, creativity and innovation which we consider ultimately the only guarantor of sustainable wealth, welfare and civilized cultural development.

Reference:

Hormsey Historic Society

Colin Chapman.Lawrence.Breedon Books.2002.

ISBN: 1859832784

Colin Chapman-Lotus Engineering. Haskell.Osprey.1993.

ISBN: 1855323761

Colin Chapman.Crombac.Patrick Stepens.1986.

ISBN: 0850597331

Lotus: The First Ten Years: Smith.MRP.1958

Lotus: The Early Years: Ross.Coterie.2004

ISBN: 1902351126

Carscapes.Morrison.Yale.2012.

ISBN: 300187041

 

 

 

 

Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.

*Items in italics non A&R library books.

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Thank you for your continued interest and support

Editors of the newsletter

John Scott-Davies

Neil Duncan