Colin Chapman Museum and Education Centre Newsletter May 2011 <\/strong><\/p>\n New<\/strong>sletter – Number 31<\/strong><\/p>\n All previous articles relating to these are held on the website.<\/strong><\/p>\n 1. Lotus around and about <\/strong><\/p>\n 2. Museums around the world you may not have heard of: <\/strong>Henry<\/strong> Ford Museum and Greenfield Village<\/strong><\/p>\n The Henry Ford<\/strong>, a National Historic Landmark, (also known as the Henry Ford Museum and Greenfield Village<\/strong>, and more formally as the Edison Institute<\/strong>), in the Metro Detroit suburb of Dearborn, Michigan, USA, is the nation’s “largest indoor-outdoor history museum” complex.<\/p>\n Named for its founder, the noted automobile industrialist Henry Ford, and based on his desire to preserve items of historical significance and portray the Industrial Revolution, the property houses a vast array of famous homes, machinery, exhibits, and Americana. The collection contains many rare exhibits including John F. Kennedy’s presidential limousine, Abraham Lincoln’s chair from Ford’s Theatre, Thomas Edison’s laboratory, the Wright Brothers’ bicycle shop, and the Rosa Parks bus.<\/p>\n Henry Ford said of his museum, \u201cI am collecting the history of our people as written into things their hands made and used…. When we are through, we shall have reproduced American life as lived, and that, I think, is the best way of preserving at least a part of our history and tradition…\u201d<\/p>\n Henry Ford Museum began as Henry Ford’s personal collection of historic objects, which he began collecting as far back as 1906. Today, the 12 acre (49,000 m\u00b2) site is primarily a collection of antique machinery, pop culture items, automobiles, locomotives, aircraft, and other items:<\/p>\n <\/a> <\/a><\/p>\n <\/strong> 9:30am-5:00pm Courtsey of Wikepedia<\/p>\n 3. Question (can you help?)\u2026This time a request<\/strong><\/p>\n We frequently get asked from around the world quite amazing questions , so far we have used a limited group to try and answer them, not always successfully.<\/p>\n So we now put them on our website and see if any \u201cfriends\u201d know the answer. Still many unanswered questions on our website can you help?<\/strong><\/p>\n The following is a recent quesiton we have received.<\/p>\n What does your newsletter think of the direction Lotus are taking, especially now Caterham are part of Tony Fernades group<\/em><\/p>\n Tony 4. Aesthetic Analysis<\/strong><\/p>\n This is a part of a series we are planning that will provide an indepth analysis of specific designs from our proposed series of the Worlds Car Designers.<\/p>\n CAR DESIGNERS.<\/p>\n INTRODUCTION<\/strong><\/p>\n This article grew out of a synthesis deeply rooted in a critical analysis and appreciation of the achievements of Colin Chapman and Lotus. It was also inspired by:<\/p>\n As a means of critical analysis we adopt a system of bench marking. This article essentially comprises an A_Z directory of the world\u2019s car designers and their work. It also thought that assessment can be made through comparison with enjoyment and critical appreciation developed by the exercise. Subscribers may like to also look at our articles:<\/p>\n Charity and Subjectivity<\/strong><\/p>\n The author acknowledges that hard and fast rules are difficult in attributing design. The explanations are that individuals often worked for organisation that would tend to own the intellectual property. The automobile design in the 20c<\/strong><\/p>\n Design has been conducted against a wider socio economic context. The car has been one of the greatest symbols of the era and for some defining it. Please see chronology list of significant car designs as this will assist understanding. Some of the profound influences on design have been:<\/p>\n In the 20c and the consumerist society; design has sold. Style has been applied to table ware, refrigerators, food processors, TV sets and furniture. New York<\/strong> Museum<\/strong> of Modern Art .1951 Exhibition \u201cEight Automobiles\u201d [Rolling Sculpture]<\/strong><\/p>\n This exhibition was concerned with the \u201caesthetics of motor car design\u201d The Designers<\/strong><\/p>\n A directory in three groups forming an A-Z<\/p>\n Aesthetic Analysis of Exceptional Cars and Short List<\/strong><\/p>\n Aesthetics is very subjective and the editors acknowledge this. For this reason we invite other interpretations and suggestions for inclusion. We will be happy to respond. Short list [designs selected for extended analysis in italics] see also chronological list.<\/strong> Post War<\/strong><\/p>\n 1970 -2010<\/strong><\/p>\n Conclusion<\/strong><\/p>\n The author has attempted a reasonably comprehensive review in order to achieve a fair critical comparison. References<\/a><\/strong> and A to Z Directory of Designers<\/strong><\/a><\/p>\n When it comes to design this is my favorite\u2026<\/p>\n <\/a><\/p>\n Photo courtesy of the Lotus Eleven Register<\/strong><\/p>\n 5. Lotus books one for the library.<\/strong><\/p>\n BOOK REVIEW.<\/strong><\/p>\n Pit Stop.1953<\/strong> Raymond Groves Introduction by Gregor Grant, Editor of Autosport.<\/p>\n Brief Introduction<\/strong><\/p>\n The editor believes these little volumes are worthy of mention on several levels of interest.<\/p>\n The editor was assisted in this article by looking up Raymond Groves on the Internet.<\/p>\n Brief Biography<\/strong><\/p>\n It is believed that Groves was born c 1913 and that he was second son of Walter Groves founding editor of \u201cMotor\u201d. Groves was a versatile artist. He worked in watercolours and his work has appeared at auction. He also attempted portraits, landscape, murals, posters and various commissions including Christmas Cards.<\/p>\n Raymond Groves did not achieve the same acclaim as Russell Brockbank but in many respects he was an equal talent. Some of the work in period was sexist as the postcards of McGill and full of suggestion and innuendo. His sketches are able to capture and characterize the \u201cusual suspects \u201c of the era. The pretty girls, arch-enthusiast, know-alls, little Hitler\u2019s and simple souls and the all the officials and mechanics associated with motor sport. [In fact Tales from the Toolbox would be a complementary read]<\/p>\n His work conforms to the principle of a good cartoon in that captions are rarely needed. They are fully self-explanatory. Neither does he hurt or insult but looks at the funny side and often the bad luck of others in which we rejoice.<\/p>\n Gregor Grant suggests much of the value of his work is that it also helps explain much of the manners of the English, which is achieved through his facile pen and pencil.<\/p>\n Starting from Scratch and Loud Pedal<\/strong><\/p>\n The jacket covers to both are steeped in the cartoonists cannon. Graphic image and restricted colour palette. In these two cases red, yellow and black on white paper. Signed with Raymond Groves\u2019s distinctive signature in bottom right hand side.<\/p>\n The author can reverse the process and with a few simple words or sentences conjure visual images before the reader.<\/p>\n 1.Two single seat GP cars on starting line. Starter holding up sign indicating two minutes to go. One driver calmly, unperturbed, nonchalantly smokes a quality cigar.<\/p>\n 2.A cold winter snow covered race day. An enthusiast [and his wife] duffle coat, cloth cap pipe and bushy moustache warms his feet on the external radiator of the Vanwall. Mechanic looks exasperated.<\/p>\n 3.Driver of central seat cooper Bobtail operates a wire hand signal semaphore<\/p>\n 4. London to Brighton run. Group in veteran car pass by. Two teddy boys forced to look up, laugh and jeer. Occupants look down in mild toleration. No comment to this item all said in body language.<\/p>\n 5.In 1956 edition there are both direct and indirect references to Lotus Elevens. <\/a><\/p>\n 6. Lotus collectables <\/strong><\/p>\n Lotus 7 Jigsaw <\/strong><\/p>\n\n
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\nThe author\u2019s knowledge is limited and its appreciated there may be omissions. Should subscribers feel that there are major omissions we hope that you will make suggestions. The exercise will be better as a result. These series can be incremental and the resource can improve over time. This is a building block and will be the source of an expanding series of articles that critically examine car design and performance using Lotus as an essential benchmark.
\nThe author suggests that these fundamental criteria are applied when making comparisons:<\/p>\n\n
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\nIndividuals might have reported to senior executives whom might have felt accountability. Aspects of the design might have been shared and designers change jobs mid project. Some alterations might be made in productionisation.
\nIt is very difficult to hold a patent on a car design and for this reason designs are borrowed, modified and evolved. For this reason there is a continuum and many shades of gradation. The author\u2019s chronology hopes to make some sense of this and offer peer comparisons.
\nFor these reasons the author has been broadly generous in attributions.<\/p>\n\n
\nThe design of the motor car is one of the hardest objects to design and produce because of its mechanical complexity. It too has been subject to style. In this article we attempt to look at designers and in some small way explore the works where engineering excellent has been equalled by aesthetic beauty allied to function.
\nThere is rich and deep evolving resource to draw upon.<\/p>\n
\nThe curator for this exhibition was Arthur Drexier and a catalogue was produced by Leo Lionni.
\nIt listed these iconic cars that were displayed;<\/p>\n\n
\nIn the early stage of motor car design the design clues and architecture were adopted from the steam engine. Symbolic and function suggested a long bonnet, small cab and fuel tender. From these functional activities derived the canons of taste.
\nLong bonnet, small cockpit and small boot comprised the essence of the recognisable sports car.
\nThe structural move to mid and rear engine at a stroke removed this established formulae and allegory. A new vocabulary was required to articulate form and function.
\nMore recently the mass produced saloon car with the transverse front engine, demand for internal space and fuel economy has perhaps reduced or restricted personalisation and expression.
\nWithin this study the author has not provided a history of manufacturers but has chosen to focus on designers and engineer\/ owner designers. However coachbuilders have contributed some truly magnificent designs and it was felt appropriate that they too ought to be acknowledged.
\nThe author has drawn up a short list and a selection of detailed aesthetics studies is provided.
\nAgain we are happy to receive reader\u2019s ideas and suggestions which will be responded to. The incremental comparative nature of this study improves as a result.
\nShow cars have been referred to as: \u201cbutterflies \u2013 rare and ephemeral\u201d but none the less in the authors eyes still some of the most striking beautiful of objects ever made particularly where there is total integration and articulation of form and function.
\nIn the 1950\u2019s there was a Renaissance in European car design and our study evidences this. In particular the Italian school has perhaps not been excelled in either quality or continuum. Theirs has been a celebration of sculpture and an expression and exercise in artesian skill and applied technology. Passion drives the creativity and there is a sense of aspiration that is rarely compromised by any cynical requirement of utility.
\nI hope that these observations will be borne out by the aesthetic studies provided.
\nThe author suggests that although photographs are a useful tool for aesthetic analysis they are possibly best used in conjunction with working drawings. For this reason readers are directed to the website WWW.carblueprints<\/a> and examples are included to complement the observations made,<\/p>\n
\nPre War.<\/strong><\/p>\n\n
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\nBy accident some of our subscribers may feel that there have been omissions. If this is the case please forward details.
\nAs impartial and reasonably academic examination we will make inclusions which can only serve to improve the exercise.
\nShould any subscriber wish to see a specific model researched in detail again please forward a request [either from those listed or another example.<\/p>\n
\nStarting from Scratch .1954* [ price 3\/6]<\/strong>
\nLoud Pedal. 1956* do<\/strong><\/p>\n
\nAn Autosport Publication. London<\/p>\n\n
\nHe may have studied at Regent Street Polytechnic in London. It\u2019s possible that he was apprenticed to Bryan De Grineau [see our Art in Motor sport series]. Groves was a soldier during the Second World War.
\nHis most creative period was during the 1940\u2019s and 50\u2019s and his work is redolent of Fleet Street cartoon style of this period.<\/p>\n
\nOne depicts a Le Mans start. The Lotus driver is seen to continue running along the bonnet. The suggestion being the car is so low there is nothing to climb over.<\/p>\n