Colin Chapman Archive and Resource   June  2016 

 Newsletter – Number  56

  1. Franschhoek Motor Museum
  2. Fine  figure of a man
  3. The Daring Daren
  4. London Transport
  5. Lotus   Merchandising
  6. Shipping a Classic Car

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

1. Franschhoek Motor Museum

Franschhoek Motor Museum. is the web site for this museum which is set in stunning countyside just out side of the quaint old town of Franschhoek. There were about 80 cars on display but where are many more in the workshops and in store I was told. The cars and a few motor bikes are housed in three large thatched barns set in immaculate gardens, the garden alone are worth a visit. The vehicles range from pre WW1 cars through to a few modern Ferraris, my favourite has to be the 1930s Bentleys.

Thank you Alan Crisp for the article



2. A Fine Figure of a Man


The A&R are pleased to be able to provide details of a newly released finely crafted figurine of Colin Chapman by Exoto.
This is felt overdue .The piece appears attractive, generously sized .it out make an attractive stand-alone piece or as perhaps a complementary item amongst other Lotus memorabilia.
This piece may become a future collector’s item.
Colin Chapman has not been represented sufficiently unlike his cars, so it’s good to see a well-respected company providing this attractive ornament.
The piece represents Colin Chapman at his happiest moments winning at the track side. Although not identified to a specific date or event it generally captures the very recognizable image of Colin.



Exoto was incorporated in the state of California in 1986. The corporate name is a simplified abbreviation for “EXclusive AUTOmobiles”.

Ever since its inception, the corporate objective has followed what is now a 40 year Keusseyan family tradition in the vast automotive field; offer the best or nothing.

Initially, the product line included custom fit, soft auto accessory items such as car covers and floor mats. These were successfully marketed nationwide under the brand name: Exoto’s Coverup. Over a decade ago, the company turned its attention and efforts towards the miniature automotive collector market and in a few short years, Exoto Inc. had the largest selection and most distinguished line of automotive collectibles, memorabilia, and related art form.

Today, Exoto continues to thrive, internationally, in its field with multiple-brand marketing and is preparing to expand its offerings into the luxury lifestyle segment. From catalog and point-of-sale retailer, to distributor and wholesaler, to manufacturer; the objective never changed and the dream goes on.

Hand Crafted/Painted Cold Cast Porcelain Figurine

The editors have extracted the following from net advertisement:

“Lotus Team Boss ~ Colin Chapman”
Scale 1:9
On Genuine Wood Plinth w/ Brass Plaque
Made In the United Kingdom
Hand Crafted & Hand Painted Figurine
Made from Cold Cast Porcelain
Only Top British Modelers/Carvers Were Commissioned to Create This Series

Learning Opportunities

Our learning /educational opportunities are intended to be challenging thought provoking and requiring additional research and/or analysis.

These opportunities are particularly designed for a museum/education centre location where visitors would be able to enjoy access to all the structured resources available in conjunction with any concurrent exhibition.

In this instance we suggest the following might be appropriate:

What important motor racing figures have been immortalized in statues and where?
> Study the art of figurative sculpture and creation of statues
> Consider concept of Cities and Cityscapes –what role in tourism and orientation do statues perform?
> Discuss if statues can be controversial of subject but remain works of art and ought to be retained, what is the role of balance and how can prejudice damage future generations?

Exhibitions, Education and Economics

In the museum context the editors believe that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our suggested outline 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.

This piece is the sort of item along with scale models, merchandising etc. that a future museum might stock.

In addition it’s possible to mount exhibitions around the theme of representation. Titles might include:

Colin Chapman:Man,Myth and Marque
Capturing Chapman: Chapman in film , photographs interview
Moments in Time :Chapman Memories Tracked down


The editors are pleased that a charming, attractive quality ornament has been commissioned and that this might be available to wide audience.

Lotus cars are readily identified and have been modelled by many manufacturers but let never forget that these were in the main the creation of one man and his colleagues.

Colin Chapman for all his faults has left a lasting legacy of inspiration and we hope all those able to buy one of these pieces will draw inspiration whenever they gaze upon it.

Colin Chapman: Inside the Innovater. Ludvisgen.

3. The Daring Daren


The editors felt justified in wanting to share details of the Daren Mk.1 built and raced by John Green.

We felt that there was some communality of background sufficient to make links with Lotus. Amongst these are:-

  • The Daren used a Vegatune version of the Lotus Twin Cam engine
  • John Green and Daren were peers /competitors to Chapman in limited way through the 1960’s
  • Daren is one of the lesser known British specialist marques but still a significant contributor
  • The editors photographs capture both the Daren and Lotus racing at Llandow in the late 1960’s

We have borrowed and quoted extensively from the net and subscribers are directed to internet and particularly images where it becomes possible to trace the evolution and development of Daren racing cars [there are some extremely good images both technical and deeply period redolent]

Subscribers might like to see directly relevant A&R articles:-

  • Llandow :Laps 1&2
  • Lotus 23,47/62
  • Merlyn

Daren 1

Figure 1.Editors photograph of Daren, taken at Llandow c 1968 cf with Lotus 23 below and Ford F3L/F3LO P69. [Note 1 negative reversed] See internet for additional images.

John Green and the Daren Mk.1

The following has been taken from the net:-

“John Green’s decision to build a GT car came about in 1967 when he raced a Diva. At 35 he was already national monoposto racing champion in Britain and at one time was also Fairthorpe’s works manager. He had his own garage called JG Motors at Station Road, Leighton Buzzard. The decision to build a GT race car attracted the attention of David Taylor. David had worked for Ford before joining JW Automotive Products (thus becoming involved with the Mirage Ford) and was a potential customer of John’s before he got involved in the design of Daren. John himself worked on chassis design with mechanic Mike Aird. The end result was an exquisite shape that the press billed as being faultless with a sparkling engine.

Daren Cars was first founded in 1967 with the development of the MK1 Daren which first raced in 1968. This car was built by John Green for his own use. This car was built as a one off using all the running gear from a Merlyn single seater that John was racing at the time. The car had a full aluminium body. This car driven by John Green still holds the outright lap record at Llandow in Wales. The MK1 was so successful in 1968 season that John was getting requests to build cars for customers which led to the development of the MK2. As the MK2 was built as a customer car it had a fibreglass body for quick replacement. The car on the left was John’s own car fitted with a 3lt Martin engine and the one on the right was originally sold to Martin Raymond who won the 1969 Motoring News Championship in this car. This very successful car was designed by Dave Taylor and this is the car that we currently own. There were eight of the MK2 cars built in total. 1971 saw the development of the MK3 which was launched at the Earls Court Racing Car Show. There were 25 cars built in total. The original selling price of the car as a rolling chassis (no engine or gearbox) was £2,500 but if they find their way into the market place now they can fetch £60,000 complete. This is the car that we currently own, it is a 1969 MK2 in 1996 it was competing in modern GT races and was still wining its class. The MK6 is fitted with a rotary Mazda engine providing some 280 bhp

Bodywork for the Mk1 was a joint project. John Green did some parts himself and Maurice Gohm Associates (a specialist sheet metal company) the other parts. Maurice Gohm also did the Ford F3L. Dave Taylor worked for Jeff Uren who ran the Ford saloons in the 60’s that led to the JW Automotive set up. Dave was a traditional draftsman – no CADCAM in those days. John normally roughed out the design outline and Dave completed the drawings in detail.

It was about the time of John Green’s return from the 1000 km that David Sewell became involved with Daren Cars. Sewell recalls that the Mk1 had had a carb fire that caused the retirement and it was after the event that John decided to fit the de Dion tube rear end whilst other work and the repairs were being carried out. The Merlyn rear uprights were discarded and the rear uprights became part of the fabricated tube assembly.


The little GT’s debut was as Castle Combe with a class win. The following day (sounds like a busy weekend), John took an outright win at Llandow (15th April 1968), near Cardiff with a new lap record. Before heading for the Nurburgring 1000km (in 1968), there would be yet another win, at Silverstone. John tool a number of class wins and placings during the 1968/69 season, notably at Mallory Park, Snetterton and Silverstone.

A change in GT racing rules for 1969 meant that minimum weight restriction would be lifted, thus making the Daren Mk1 obsolete, and hence the sale”

Brief Technical specification Daren Mk.1

The following has been deducted from various internet forums.

Lotus Connection

The editors deliberately include photographs of Lotus models from the 1960’s.

It’s believed that car with race number 38 is a highly modified Lotus 23 possibly converted to compete in GT class and improve on aerodynamics?

It also demonstrates what was once done to racing cars to keep them competitive.

This is very much about the culture of the era and the nature of the racing etc.

We also include a photograph of a Lotus Europa also seen in the paddock at Llandow.

This model of course would be adapted into the Type 47 in order to be classified for racing .In this guise its likely on occasions to have competed against Daren.

Figure 2.Editors photograph of what is believed to be “modified” Lotus 23.

Figure 3.Editors photograph of Lotus Europa at Llandow note Type 47 derivative would have been competitor to Daren Mk.1.

Smaller Capacity Sports Racing cars of 1960’s

The 1960’s was very rich decade in terms of amateur motor sport designers and drivers. Often on quite small budgets remarkable results were achieved.

The technical specifications and designs were diverse.

Some of the more significant include:-

  • Lotus
  • Bonnet
  • Brabham
  • Deep Sanderson
  • Diva
  • Elva [Mk.7 & 7S]
  • Lola
  • Merlyn
  • Crossle
  • Nomad
  • Ginetta G16A
  • Chevron B8-B16
  • Astra
  • Costin-Nathan

Learning Opportunities

Our learning /educational opportunities are intended to be challenging thought provoking and requiring additional research and/or analysis.

These opportunities are particularly designed for a museum/education centre location where visitors would be able to enjoy access to all the structured resources available in conjunction with any concurrent exhibition.

In this instance we suggest the following might be appropriate:-

  • Research race results on net and compare entry /results against Lotus
  • Trace the development of Daren racing cars and determine if they bore any similarity with Lotus
  • Where possible obtain race programme for LLandow and benchmark Daren against competitors ;estimate advantage of aerodynamics to results
  • Study race culture of times and consider how such an advanced and beautiful car could be constructed on relatively low budget etc.
  • Consider if a book devoted to John Green and Daren would be feasible /attractive proposition

Exhibitions, Education and Economics

In the museum context the editors believe that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our suggested outline 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 this instance and relative to Daren in the 1960’s we suggest the following:-

  • Sixties Groups :Group racing in period –Wingless Wonders: The organic beauty of Sports Racing Cars before aerodynamic devices
  • Cunning Plan: Slippery Shapes :Drawing and building aluminium bodies for racing cars
  • Lesser known British specialist marques ,marques and specifications drawn from examples listed above
  • Giving them the slip: Slippery shapes of the era –automobile bodies on sports racing cars of the 1960’s
  • Keeping track off: Racing car set up for specific tracks –the impact of aerodynamics


The editors have for a long time been unable to identify the Daren partly as result of misinterpretation /spelling etc. However determination and luck have given results.

The internet provides some wonderful opportunities for research but equally the editors were pointed in the right direction by a real enthusiast.

The Daren is very much a product of its era and well worthy of analysis.

We hope in some small way to contribute a small piece to the jigsaw of its history.

Subscribers might like also to consider the continuum of design where ideas are constantly adopted amended and how perhaps Colin Chapman fed more into motor racing than is associated just with his own designs and marque.


The following technical specification is taken from Twite:-

Marque Merlyn Mk.IVA

Model Sport/Racing car

Year c1964

Engine /Cyli 4 cylinder water cooled

Bore /Stroke 85 x 48.4mm

CC 1,098cc

Valve Gear ohv

Comp Ratio 10 to 1


Max.Power 100 bhp @ 8,000 rpm

Trans/Gears 5 speed

Front Brakes Girling dis 9in.dia

Rear Brakes Girling dis 9in.dia

Steering rack & pinion

Front Susp’ wishbone & coil spring

Rear Susp’ wishbone & coil spring

Chassis multi-tubular frame

Wheel base 7ft-5in

Front Track 4ft-2.5in

Rear Track

O’length 11ft-8in

O’width.body 4ft-11in

Kerb weight n/a

Front Tyres 4.50 x 13

Rear Tyres 5.50 x 13

Twite adds:-

  • The chassis of the Merlyn is multi –tubular space frame of 1 in x .75 in ,16 & 18 swg round and square tubing
  • Complies with formula C fitted full width body, compulsory passenger seat, and regulation luggage storage
  • Front suspension is double wishbone of unequal length, with coil spring dampers
  • Rear suspension also double wishbones with trailing arms ,coil spring damper units and anti-roll bar [fitted front and rear]
  • Camber and castor angles of the wheels fully adjustable
  • Girling disc outboard
  • Rack and pinion adjustable for height and rake
  • Bodywork of glass fibre with nose and tail sections hinging for accessibility
  • Ford 1,100 cc engine developed from 105E Anglia, tuned by Cosworth for 100 bhp also possible Coventry Climax 1,098 cc or 1,600 cc twin ohc Lotus-Ford
  • Fitted with Hewland modified Volkswagen gearbox


The editors have not seen any reference to Daren racing cars in the standard text books but this is compensated for in the excellent internet coverage. These are highly commended!!

The World’s Racing Cars. Twite. Macdonald. 1964.

4. Exhibition Name: “Designology”

Organization: London Transport Museum

Address:  Covent Garden Piazza, London WC2E 7BB

020 7379 6344

Dates: June 2016-


The editors picked up on the headline “Pop –up Studio opens for business at London Transport Museum. [Metro .June 6th.2016] We thought it important to share these new innovations with readers.

The description of the new innovations were expanded with the note that London Transport Museum will open its doors to design enthusiasts with a series of events and experiences in a new pop –up creative studio.

The editors are interested in developments in the museum world and take special interest with those having a transport dimension.

LTM has overlaps with the Chapman /Lotus story. Both shared a primary base in London. Both figure highly in the cultural and heritage tourism of London, Significantly both draw on the engineering skill base of London that has serviced the motor transport of the metropolis. Both have reputations for iconic transport design.

We invite our readers to attend and we take the opportunity of explaining how the initiatives adopted by LTM might be mutated in the proposed CCM&EC.The LTM is providing initially six main interrelated events.

The editors take a special interest in the LTM innovations as the sit squarely with the objectives we have outlined for the proposed CCM&EC combing the best of tourism, the experience economy with education and training.

In the appendix we take opportunity of explaining how the pop-up concept can be adopted.

London Transport Museum –From the website

“London Transport Museum explores the story of London and its transport system over the last 200 years, highlighting the powerful link between transport and the growth of modern London, culture and society since 1800. We care for over 450,000 items – preserving, researching and acquiring objects to use in our galleries, exhibitions and other activities.

As well as exploring the past, the Museum looks at present-day transport developments and concepts for urban transportation in the future, which includes a contemporary collecting policy for the benefit of future generations.

The Museum was granted charitable status in 2007 which has enabled us to secure funding from new sources such as the Heritage Lottery Fund, Arts Council England, and trusts and foundations including the Luke Rees-Pulley Charitable Trust, thereby extending our learning and engagement programmes. This funding enables the Museum to offer learning opportunities, skills development and engaging programming to a wide variety of audiences.

The Flower Market building

London Transport Museum is housed in the old Grade II-listed Flower Market building in Covent Garden Piazza.

Markets selling ‘fruits, flowers, roots and herbs’, were established in Covent Garden by the Earl of Bedford, who owned most of the land in the area, in 1670. It became London’s principal vegetable, fruit and flower market and in the 1830s permanent buildings replaced the traders’ stalls in the central square. As the market grew, additional buildings for specialist trading grew up around the Piazza.

The Flower Market Building, which was designed by William Rogers and dates back to 1871, was the centre of London’s wholesale flower business for the next 100 years, trading every day except Christmas. In 1974 the market was relocated to modern warehouses at Nine Elms in Vauxhall, south London.  The old market buildings were restored and the Flower Market became the home of London Transport Museum – opening in 1980.

In 2005 the Museum closed for major redesign and refurbishment, which was supported by the Heritage Lottery Fund and almost 100 corporate partners, trusts and foundations. The refurbishment has conserved the character and architecture of the historic building whilst providing a contemporary backdrop for the collection and energy saving features. A major benefit has been that, thanks to improved environmental conditions, much more of the Museum’s collection of posters and artworks can go on long term public display.

A brief history of London Transport Museum

The collection originated in the 1920s, when the London General Omnibus Company decided to preserve two Victorian horse buses and an early motorbus for future generations. The Museum of British Transport opened in an old bus garage in Clapham, south London, during the 1960s, before moving to Syon Park in west London in 1973 as the London Transport Collection.

In 1980, the public display moved again, this time to occupy the Victorian Flower Market building in Covent Garden as London Transport Museum.


Many of our collections can now be viewed online. Use the links on the right to go to our dedicated collections website and explore one of the world’s greatest collections of urban transport, social history and design.


London Transport Museum holds one of the finest poster archives in the world. For over 100 years, since the first graphic poster for London Underground in 1908, London Transport has commissioned work from the best artists and designers available. Copies are kept of every work produced. Some 5,000 posters and 1,000 original artworks were transferred to the Museum in the 1980s, and the collection has continued to grow ever since. You can browse the posters by artist, theme, colour and date and many are available to buy as reproductions from our Museum shop.

Browse posters online


The photographic collection shows London’s public transport history from the 1860s to the present day. The core of the collection is made up of the old London Transport photographic archive: more than 150,000 black and white photographs. There is also a smaller amount of colour material, as well as historic albums and prints from all periods. Over 22,000 of the very best images are now available to view and purchase as reproductions online where you can browse the photographs by location, theme, and date.

Browse photographs online


London’s public transport companies have used moving images to promote and document its services and the work of its staff since the early years of the twentieth century. This online archive selection of eight films covers the period from 1910 to 1970.


Vehicles are the heart of our collection. Browse the collection by vehicle type: buses, trams and trolleybuses, trains, taxis and more.

Online Museum

In November 2007, London Transport Museum in Covent Garden re-opened after a £22 million pound refurbishment. The Online Museum allows you to explore all the objects on display at Covent Garden by gallery or collection type. Using the Online Museum is a great way to prepare for a visit to the real Museum, especially if you are a teacher or group leader.

Go in-depth with some of our essays and topic sheets. Read about key individuals in the history of London Transport, like Frank Pick, Lord Ashfield and Charles Yerkes. Discover the history of London Transport in the First and Second World Wars. Take a closer look at the iconic roundel symbol through a special selection of objects covering 100 years”


The recently launched Designology exhibition explores how design has influenced the way Londoners use transport, the museum will be holding a series of events and workshops with leading transport designers. The programme will be running through the year.

Open now from website:-

“Discover the art and aesthetics behind the functional and familiar at our new exhibition designology which opens on Friday 20 May 2016.

The exhibition will explore how design is encountered in our everyday journeys and how this has evolved over the last century, as well as looking at how our travel experiences might develop in the future. From the visual to the virtual and from Victorian engineering genius to modernist masterpieces, designology will uncover the fascinating designs and processes behind London’s moving metropolis.

Publicity and communication, architecture, technology, engineering, service operation and the urban environment will be explored, demonstrating how every aspect of the Capital’s transport system and the passenger journey have been thoughtfully designed since the early years of the 20th century.

Highlights of the exhibition will include posters from the golden age of travel, historic maps, tickets and signage, and a pop up design Studio where visitors will be able to find out more about contemporary design innovation. As visitors make their way through the exhibition they will begin to recognise the underlying design that surrounds them – design hidden by its familiarity in everyday life.

Visitors to designology can also enjoy London by Design, the Museum’s new permanent gallery which celebrates key moments and important milestones in London’s transport design heritage and shows how British art and design have become deeply and inextricably bound with London’s transport network.


The Studio

Come and take part in our yearlong public programme of events, situated in the ‘pop-up’ designer’s Studio integrated into our temporary Designology exhibition. The programme will be actively exploring how good design makes life in London better, through residencies and participatory workshops. Events include interactive 1-day residencies, design projects and challenges. You will get to meet a wide range of real designers and experts in the field and discover more about TfL’s design influences, ethics, branding & principles.

PROGRAMME: Social Behaviour, Wayfinding, Data and Mapping [2.54 MB]

Over the coming year we will be exploring three themes:

  • Social Behaviour, Wayfinding, Data and Mapping (May – July 2016)
  • Surface Design (August – September 2016)
  • Underground & Moquette Design (October 2016 – February 2017)

Entry to the Studio and the programme of events is included in the cost of museum entry and tickets are valid for the whole programme.

Late Debates

We will also host three end of theme Late Debate events. These symposia-style events will focus on the particular topics and themes that have been explored in the studio over the past months and will feature invited speakers, panel discussions and workshops. Audiences and visitors will be encouraged to get as involved as possible, and will leave each event with a greater understanding of the complexity behind making design decisions for public transport in London.”

Exhibitions, Education and Economics

In the museum context the editors believe that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our suggested outline 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.

Taking inspiration from the LTM “Designology/Pop-up Studio concept the editors believe the proposed CCM&EC could implement ideas along the same lines.

  1. Virtual Reality: Education, Learning and Response study –core concepts

The editor’s virtual reality has enormous potential in the museum context and can be made complementary with other resources and in particular can give significant heightening of experience relating to exhibits. A basic definition helps set the scene, indicates possibilities.

Definition from wiki:-

Virtual reality or virtual realities (VR), also known as immersive multimedia or computer-simulated reality, is a computer technology that replicates an environment, real or imagined, and simulates a user’s physical presence and environment to allow for user interaction. Virtual realities artificially create sensory experience, which can include sight, touch, hearing, and smell.

Most up-to-date virtual realities are displayed either on a computer monitor or with a virtual reality headset (also called head-mounted display), and some simulations include additional sensory information and focus on real sound through speakers or headphones targeted towards VR users. Some advanced haptic systems now include tactile information, generally known as force feedback in medical, gaming and military applications. Furthermore, virtual reality covers remote communication environments which provide virtual presence of users with the concepts of telepresence and telexistence or a virtual artifact (VA) either through the use of standard input devices such as a keyboard and mouse, or through multimodal devices such as a wired glove or omnidirectional treadmills. The immersive environment can be similar to the real world in order to create a lifelike experience—for example, in simulations for pilot or combat training—or it can differ significantly from reality, such as in VR games.

Education and training

Strides are being made in the realm of education, although much needs to be done. The possibilities of VR and education are endless and bring many advantages to pupils of all ages.

Few are creating content that may be used for educational purposes, with most advances being made in the entertainment industry, but many understand and realize the future and the importance of education and VR.


U.S. Navy personnel using a VR parachute training simulator.

The usage of VR in a training perspective is to allow professionals to conduct training in a virtual environment where they can improve upon their skills without the consequence of failing the operation.

VR plays an important role in combat training for the military. It allows the recruits to train under a controlled environment where they are to respond to different types of combat situations. A fully immersive virtual reality that uses head-mounted display (HMD), data suits, data glove, and VR weapon are used to train for combat. This setup allows the training’s reset time to be cut down, and allows more repetition in a shorter amount of time. The fully immersive training environment allows the soldiers to train through a wide variety of terrains, situations and scenarios.

VR is also used in flight simulation for the Air Force where people are trained to be pilots. The simulator would sit on top of a hydraulic lift system that reacts to the user inputs and events. When the pilot steer the aircraft, the module would turn and tilt accordingly to provide haptic feedback. The flight simulator can range from a fully enclosed module to a series of computer monitors providing the pilot’s point of view. The most important reasons on using simulators over learning with a real aircraft are the reduction of transference time between land training and real flight, the safety, economy and absence of pollution. By the same token, virtual driving simulations are used to train tank drivers on the basics before allowing them to operate the real vehicle. Finally, the same goes for truck driving simulators, in which Belgian firemen are for example trained to drive in a way that prevents as much damage as possible. As these drivers often have less experience than other truck drivers, virtual reality training allows them to compensate this. In the near future, similar projects are expected for all drivers of priority vehicles, including the police.

Medical personnel are able to train through VR to deal with a wider variety of injuries. An experiment was performed by sixteen surgical residents where eight of them went through laparoscopic cholecystectomy through VR training. They then came out 29% faster at gallbladder dissection than the controlled group. With the increased commercial availability of certified training programs for basic skills training in VR environments, students have the ability to familiarize themselves with necessary skills in a corrective and repetitive environment; VR is also proven to help students familiarize themselves with skills not specific to any particular procedure.

VR application was used to train road crossing skills in children. It proved to be rather successful. However some students with autistic spectrum disorders after such training might be unable to distinguish virtual from real. As a result, they may attempt quite dangerous road crossings.

Heritage and archaeology

The first use of a VR presentation in a heritage application was in 1994, when a museum visitor interpretation provided an interactive “walk-through” of a 3D reconstruction of Dudley Castle in England as it was in 1550. This consisted of a computer controlled laserdisc-based system designed by British-based engineer Colin Johnson. The system was featured in a conference held by the British Museum in November 1994, and in the subsequent technical paper, Imaging the Past – Electronic Imaging and Computer Graphics in Museums and Archaeology.

Virtual reality enables heritage sites to be recreated extremely accurately, so that the recreations can be published in various media. The original sites are often inaccessible to the public or, due to the poor state of their preservation, hard to picture. This technology can be used to develop virtual replicas of caves, natural environment, old towns, monuments, sculptures and archaeological elements.”

  1. Digital Dimension: Automobile communication systems
  • Look and Learn-reading instruments
  • Rock around the Clock –designing instruments
  • Digital Display: what, when, where, why and how
  • Performance Packages :The Digital Programme
  1. Customer needs/the human dimension
  • Automobile Ergonomics: Skeleton study
  • Are you sitting comfortably; Vision control and performance
  • Speed &Safety: Resolving contradictions
  1. Travel by Design
  • The journey not the arrival-the Lotus driving experience
  • Driving Lotus –a voyage of discovery
  • Crossing the bar -how and why Lotus excels
  • Making an entrance :The unspoken language of the automobile
  • Lotus-The Pilgrimage
  1. Challenges –The rewards within
  • Overcoming disability through design and mentality –practical solutions
  • Making experience a reality –virtual reality in the service of humanity
  1. Animation, Simulation, Conceptualization
  • Back to the Future-Capturing heritage
  • CAD and economics of design
  • Testing ,Testing :CAD design, evaluation and costing
  • Summing Up-computers and calculations

“Legible Museum”

  • Orienteering: Art of Navigation and sense of place
  • Right Place, Right Time, Right Car: Lotus Way
  • Bearings and Bearings
  • Roadmaps –automobile creation and design
  • Reading maps and reading the Road –advanced driver school
  • Lotus :The Road Ahead
  • Finders Keepers :Archive and Information sources –navigating around the system
  • Sustainability and the Automobile :The requirement of responsible ownership
  • Green Machine: Lotus and sustainability “Going Gently on the ground”
  1. Lotus: Late Flowering and Seasonal Interest
  • Its suggested that under this theme it might be possible to include evening events , evening driving experiences and film through to a seasonal appreciation of driving in differing weather conditions
  • Tyres and driving techniques
  • Tours that reward the driver with topographical views, experiences etc.
  1. Pop-up headlights to Pop-up Workshops
  • The Works: Lotus workshops –Hornsey to Hethel
  • Workshop of the World –British motor history and heritage
  • Workouts, Working up, workforce ,workmate and workouts :Workshops on Chapman/Lotus work and design methodologies


This is an announcement not a review. The editors have not attended this particular exhibition but are very impressed with its content and intentions.

We invite subscribers to attend as we believe it will be rewarding and educational.

It is an important step change for museums and we commend the LTM for this initiative which further reinforces the connectivity of the experience economy.

We believe museum curators ought to attend to absorb the new techniques of interpretation which have the seeds of extremely high outputs through:-

  • Reducing costs
  • Intensifying space utility
  • Increasing both educational and entertainment experience simultaneously
  • Making experiences available to wider audience
  • Providing links between museums, educational establishments , business , design and the customer /consumer

If there was a basis for satisfaction and outcome the ingredients are present at the LTM.Its the ticket to ride.


The recipe for pop-up success-from the net:-

“1 Planning – detailed planning should go into every aspect of your pop-up shop. Once open, the event has only a short while to impress your target audience

2 Location – carry out research, choose key consumer locations, focus on the right towns and streets to reach your target demographic

3 Publicity – generate a buzz, consider local advertising as well as national advertising and make use of social media

4 Experience – delight visitors to your shop with unusual or interactive experiences. Create a memorable space and offer exclusive promotions

5 Follow up – identify future customers and develop new business ideas by gathering visitor feedback. Measure your success and keep in touch with your new customers “

Source: Popupspace Ltd

“POP-UP RETAIL fits right in with the Entertainment Economy, the Experience Economy, the Surprise Economy, and so on. It’s about surprising consumers with temporary ‘performances’, guaranteeing exclusivity because of the limited timespan. When truly mobile, like Vacant, the London Fashion Bus or Oceanic, POP-UP RETAIL also offers unparalleled opportunities for targeting and customization.”

5. Lotus Merchandising: Watch this Space


The editors are committed to advancing Lotus interests and see an important role in merchandising. This article is the first in a series that will examine and review specific items. These articles are partly inspired by the attractive goods available and our visit to the dedicated shop in London. In this instance of the Type 1 watch the editor saw in Lotus dealer and was extremely impressed.

Merchandising provides an opportunity to brands to provide additional goods to customers that are themed and complementary to the brands primary focus.

There are very good reasons for doing this which includes:-

  • Provides owners and non-owners with goods with which they are proud to identify
  • It offers a range of gifts that are focused and which a recipient might have proven interest
  • It offers a degree of diversification extending brand lines
  • Some brands might consider using their in-house designers to produce merchandising , developing and extending their talent within a disciplined umbrella /design framework
  • Merchandising can easily embrace items produced by others eg.scale models, books etc.
  • Merchandising might also sit with consultancy –again giving design engineers a range of tasks and opportunities .Possible cross pollinating with mainstream activities particularly where technology ,materials and aesthetics are concerned
  • Merchandising on international level can provide customers with goods they might otherwise not be able to access
  • Merchandising can help democratize a brand by making goods affordable
  • Merchandising might also be considered free advertising where clothes , etc. are displayed to a wider audience and possession seen as vote confidence
  • Merchandising can perhaps to assist product development by indicating interests and aesthetic appreciation not least in heritage based items eg,fine art
  • Merchandising can also offer opportunities in collecting

Examples of Merchandising

The editor’s note that several major brands including automobile marques provide merchandising. Possibly one of the better known is Porsche Drivers Selection.

Their merchandising range extends to:-

  • Masterpieces
  • Clothing and accessories [male and female]
  • Life style
  • Luggage
  • Books and calenders
  • Watches

The editor’s note the current watch range makes direct reference to the Bauhaus and the very best of German industrial design. [See A&R dedicated article on Walter Gropius & Bauhaus]

Lotus Merchandising

Subscribers are directed to website:

The range includes:-

  • Clothes, accessories
  • luggage
  • Scale models –excellent selection including F1
  • Art work-including drawings by Peter Hutton [see A&R dedicated article]
  • Books
  • DVD
  • Memorabilia

The editors recommend subscribers visit website and dedicated shops in London and Silverstone [see A&R article]

Selected item for detailed analysis: Lotus Type 1: Chronograph watch

Design Philosophy

The editors believe in creating a successful merchandising piece like a watch according to the Chapman and Lotus design methodology they would have:-

  • Absorbed the design philosophy of elegance
  • Defined the brand and its core values
  • Explored production economics and parts sourcing
  • Made statement of function
  • Incorporated dual use wherever possible contributing to light weight
  • Enabled piece to provide accurate information in sport, speed context
  • Identified piece with innovation
  • Enshrined piece with Lotus aesthetic and recognition accompanied by degree of understatement
  • Considered ergonomics and wearability of watch in different situations

Possibly too in recent times there might have been more emphasis on predicted user and profitability considerations.

The Lotus Design Type 1 Lotus Watch is the first wristwatch to be created by Lotus Design, the famous design studio responsible for all Lotus products. It was launched at the 2006 Geneva international Salon.

The quartz analogue chronograph watch is the first « in house » designed Lotus watch described as being infused with Lotus core values through its appearance. However, the Type 1 Lotus watch is “not a mere branding exercise”.

Chrono 1

Figure 1.Image from net.

A high precision quartz movement, a three-dial 1/10th of a second stopwatch timing system (up to one hour), and a calendar mechanism promote sophistication. These include an orange anodised aluminium crown guard mounted on a high power black and cobalt dial with a silver Lotus roundel, taking inspiration from precision automotive and race parts used in the modern day Lotus sports car.

The stainless steel casing completes the technical flowing profile of the watch, and is finished with an etched logo of Lotus Design on the rear of the case. This is equally complemented by a high-density resin adjustable strap.

Russell Carr, Chief Designer of Lotus Design explains: « This is the first time Lotus Design has had the opportunity to play such a significant role in the development of a non-automotive product. Whilst there are factors specific to watchmaking which we have had to learn, we wanted the Type 1 Lotus Watch to be essentially like our cars: to create desire through emotional and unique forms that remain honest to the functionality of the product ».

The Type 1 Lotus Watch is a limited edition of 2000 timepieces manufactured by Time Products (UK) Ltd. It made its official public debut on the Lotus stand at the 76th International Motor Show in Geneva.

Chrono 2

Figure 2.Image from net

The editors believe that the chronograph watch deserves to be considered truly “Lotus”.

It’s a precision piece of advanced technology that is functional and elegant. Not always compatible .The watch can be read at a glance without ambiguity.

The editors believe that great care was taken in the execution of this piece and its aesthetic suggests no production compromise .It stands on its own.

Made in relatively small numbers its felt this ought to be collector’s piece for the future but which can be worn, enjoyed in the meanwhile. Its not bling.

Learning Opportunities

Our learning /educational opportunities are intended to be challenging thought provoking and requiring additional research and/or analysis.

These opportunities are particularly designed for a museum/education centre location where visitors would be able to enjoy access to all the structured resources available in conjunction with any concurrent exhibition.

In this instance we suggest the following might be appropriate:-

  • List manufacturers including automobile marques that have adopted merchandising
  • Suggest items/goods suitable for inclusion –male/female interest
  • Identify risks associated
  • Suggest marketing strategy for merchandising
  • Visit websites, compare goods and critically examine the extent they reflect/reinforce primary brand commodity
  • What merchandising is most suitable in museum retail setting

Exhibitions, Education and Economics

In the museum context the editors believe that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our suggested outline 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.

Merchandising can obviously been seen as more than retailing opportunity and as such might be a subject of a design themed set of exhibitions. The following titles and themes being possible:-

  • What to ware? From light weight cars to light weight clothes
  • Lotus Traffic :Brand on the Move
  • Sportscars to Sportswear
  • Brand on the Run


Merchandising provides an important economic dimension to brands. It can be made to sit with heritage, extend brand image, reputation and desirability. It also democratizes a brand making goods available to those that might otherwise be excluded whilst providing complementary often interpretative or educational pieces to owners and institutions [scale models for example]

Merchandising can also widen brand appeal across gender .It provides advertising and dissemination to a wide audience e.g. wearing of clothes at events.

Possibly it can help brand managers and design engineers to define the essence of the brand and provide design exercises which require the core values to be expressed, reinterpreted and reinforced in new demanding settings.

We strongly recommend our subscribers to visit the shops and make purchases on line.

Shortly we will be looking at other significant pieces from the range.

6. Shipping a Classic Car


After months of searching you have finally found the classic or collectible car that you have dreamed about your entire life. The only issue is that the car is on the other side of the country and you need to figure out how to get it moved to your home. A company that specializes in moving classic and vintage cars is going to be the safest, as well as most affordable, way to get the car moved to your home from the seller’s location. In order to take care of this, you are going to have to choose a company that can be trusted by you and has a proven track record with shipping classic cars safely. To do this, there are a few simple steps to take that will help ensure that you not only find rates that won’t break the bank but will also be safe and secure for your vehicle while it is being moved from one location to another.

  • Do Your Research

When it comes to finding a trustworthy classic car shipper you are going to have to take your time to carefully research companies that interest you. You essentially have to get an education of sorts about the auto transport industry when you need to find a reliable company. This means that you need to find customer reviews online as well as check with professional organizations that can provide valid information about the company. Every company out there is going to say they are the best, but when it comes down to it, listening to the facts as well as previous customers can really go a long way when it comes to separating the best from those that just claim to be. Once you have narrowed your search down to a few companies, check with the Federal Motor Carrier Safety Administration (FMCSA) to make sure that the company is registered with the DOT and has valid insurance and a safe driving record. Also ask upfront to see if the company offers enclosed transport for classics and other vintage or expensive vehicles. Enclosed transport will prevent the car from coming into contact with any damaging elements during shipment and will be best to providing a safe shipping environment. If they do not offer enclosed shipping options, you may want to request to have the car top-loaded on the open carrier where it will be safer during shipment than loading on the bottom. Both top-loading and enclosed are going to cost more than regular open transport but are well-advised for classics, vintage cars and trucks and expensive luxury model vehicles.

  • Carrier Communication

Ask as many questions as possible when you call to get a quote for service. You should really hire a company only if they have been in operation at least 2-5 years or longer and if they can adequately answer your questions in a professional manner. Ask for references from former and current customers and make sure they know what they are talking about when it comes to handling classic cars. While most auto transport companies handle modern vehicles daily, it is very important to hire one that specializes in classic and vintage cars when you need to have your own shipped. While damage rarely happens during professional auto transport, the companies that specialize in these cars will know how to keep them safest during shipment. If you have made a decision and hired a company to move the car for you, be sure to stay in touch with them after everything has been booked. Doing this will help keep you up to date on the time frame for pickup and well as delivery of the car.

  • Preparing Your Car

One of the most important things about preparing a car, especially a classic car for transport is going to be making sure there is valid insurance coverage during shipment. Before you even hire a reputable classic car transport company, you need to ask them to show their proof of insurance to you. This is very important as many companies will claim to have insurance coverage but there are times when it may not be valid. Your job is going to be verification by checking the insurance certificate or contacting the FMCSA to check validity. Most carriers offer anywhere from $50,000 in insurance to more than $100,000 to cover the vehicles that they haul. For classic car owners, you will most likely want to make sure you have the maximum amount of insurance possible during shipment to protect your car. Aside from having the company insurance to protect the car during transport, you may also want to contact your private auto insurance carrier to make sure that your private auto policy will also cover the car while it is being transported. Once you have taken care of the insurance coverage, be sure to physically prepare the car as well. This includes having it washed and taking all personal items out. There should be nothing loose on the outside including spoilers, ground effects and other items that can fall off during shipment. Convertible tops need to be securely placed down and latched down so they will not fly up or off while being shipped. The fuel needs to be lowered to less than a half tank and unless you have already discussed moving an inoperable car with the shipper, it should be in good running condition for the driver to drive it onto the carrier to transport it to the new location. All cars, especially classics and highly valuable or vintage cars, should be photographed before they are loaded and detailed notes should be taken to show where there may be physical damage on the car before it is moved. These photos should be filed away until the car has been delivered so you will have them to compare the overall condition of the car when it arrives.

Professional auto transport is the best way to move a classic car when you buy one or when you just need to relocate one to a new address for any other reason. Hiring the right auto transport company will be very important when it comes to maintaining low stress and peace of mind when the car is moving from one location to the other. It will also, and most importantly, be the key to ensuring that your classic car maintains its overall value and beauty as it is shipped from one place to another.