In this checklist are some obvious extremes but nonetheless objective and meaningful criteria. They are helpful to achieve balance<\/p>\n

Panels Choice<\/b><\/p>\n

The five panelists selected fifty cars. The panelists were:<\/p>\n

\n
• Gordon Murray<\/li>\n
• John Haynes<\/li>\n
• Denis Jenkinson<\/li>\n
• The Earl of March<\/li>\n
• Vanessa Finburgh<\/li>\n<\/ul>\n

  These are their choice.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n

  <\/td>\n	Classic cars: Top Ten Classics: August 1994<\/td>\n	<\/td>\n<\/tr>\n
  <\/td>\n	G.Murray<\/td>\n	J.Haynes<\/td>\n	D.Jenkinson<\/td>\n	Earl of March<\/td>\n	Ms.Finburgh<\/td>\n<\/tr>\n
  \n 1<\/p>\n<\/td>\n	Lotus Elan<\/b><\/td>\n	Duesenb’J<\/td>\n	LanciaA’ B20<\/td>\n	Jaguar Dtype<\/td>\n	Maserati 61<\/td>\n<\/tr>\n
  \n 2<\/p>\n<\/td>\n	Lotus Elite<\/b><\/td>\n	JaguarXK150<\/td>\n	BMW 202<\/td>\n	Maserati250F<\/td>\n	Bugatti T51<\/td>\n<\/tr>\n
  \n 3<\/p>\n<\/td>\n	Fiat 500<\/td>\n	AC Cobra<\/td>\n	JaguarE type<\/td>\n	Ferrari P4<\/td>\n	JaguarCtype<\/td>\n<\/tr>\n
  \n 4<\/p>\n<\/td>\n	McLaren FI<\/td>\n	Ferrari BB<\/td>\n	Porsche356<\/td>\n	Bugatti 35B<\/td>\n	M-Benz250S<\/td>\n<\/tr>\n
  \n 5<\/p>\n<\/td>\n	Ferrari Mond’<\/td>\n	MGA Roadst’<\/td>\n	M-Benz300SL<\/td>\n	Porsche 924<\/td>\n	AC Ace<\/td>\n<\/tr>\n
  \n 6<\/p>\n<\/td>\n	AR 33 Strad’<\/td>\n	Morris Cowl’<\/td>\n	Citroen DA19<\/td>\n	A-M DBR1<\/td>\n	Alfa Monza<\/td>\n<\/tr>\n
  \n 7<\/p>\n<\/td>\n	AR Giulia TZI<\/td>\n	Citroen DS19<\/td>\n	Citroen SM<\/td>\n	BRM P25<\/td>\n	A-M DB5<\/td>\n<\/tr>\n
  \n 8<\/p>\n<\/td>\n	Lotus7 S’3<\/b><\/td>\n	Auburn 852<\/td>\n	Dino 246<\/td>\n	Alfa R’ P3<\/td>\n	Austin-H 100<\/td>\n<\/tr>\n
  \n 9<\/p>\n<\/td>\n	Abarth 1000<\/td>\n	Porsche9iiRS<\/td>\n	Porsche 928<\/td>\n	MG K3<\/td>\n	Lotus Seven<\/b><\/td>\n<\/tr>\n
  \n 10<\/p>\n<\/td>\n	Porsche 550<\/td>\n	RR Corniche<\/td>\n	MorrisM’1000<\/td>\n	Porsche 550<\/td>\n	Ferrari 275<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \u201cFamous Five\u2019s Top Ten\u201d<\/b><\/p>\n \n Maserati \u201cBirdcage\u201d 1958-62<\/li>\n Lotus Elan S3 1965-68<\/li>\n BMW 202 1968-72<\/li>\n Lancia Aurelia B20 1953-58<\/li>\n Jaguar D Type 1954-57<\/li>\n Duesenberg Model J 1929-37<\/li>\n Maserati 250 F 1954-58<\/li>\n Jaguar XK 150 dhc 1957-61<\/li>\n Bugatti Type 51 1931-35<\/li>\n Lotus Elite 1957-63<\/li>\n<\/ul>\n Interpretation<\/b><\/p>\n The selection is rich and diverse. It is reflects and informed choice of cultured people who are knowledgeable of cars. The totality of fifty cars creates the opportunity for wide based inclusion but also for some communality or common denominator.<\/p>\n The fact that three Lotus models are amongst the top fifty and that two are in the top ten is very significant. It is perhaps more natural that a peer engineer like Gordon Murray would select three Lotus out of ten.<\/p>\n This tells us how they are perceived and where they are placed in a continuum. Amongst some of the finest most exotic, exuberant and radical cars of all time Lotus emerges as one of the best.<\/p>\n The inference must be that if they hold the respect of such an esteemed and qualified panel they ought deserve greater preservation and presentation. To the editors who have seen many surveys where Lotus are acknowledged as the best and where other marques have a museum; it seems criminal that Colin Chapman and Lotus ought go unrecognized.<\/p>\n The editors ask who is being punished and to what purpose. If its proven \/ established that Chapman\/Lotus designs are in the vanguard then the economic imperative ought be that this engineering inspiration is disseminated. To withhold or deny such an opportunity seems merely vindictive or suggests a distorted cost \u2013benefit analysis.<\/p>\n The Proposed CCM&EC<\/b><\/p>\n The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n For these reasons our Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period. Its suggested there will be catalogue for on line purchasing.<\/p>\n In particular the museum ought conduct surveys such as the \u201cClassic Cars\u201d magazine. This can be done both on line and from visitors. There is significant information to be gained not least relating to acquisition policy but also exhibitions. Contained within surveys is a deep inherent educational opportunity. It can be used to make students more analytical and expose then to engineering \/ production costs\/ problems and outcomes. The museum exhibits and archive might be interrogated as part of the education search and evaluation exercise.<\/p>\n Reference:<\/b><\/p>\n Classic Cars. August 1994.ipc magazines<\/b><\/p>\n 6.\u00a0<\/b>BOOK REVIEW.<\/b><\/p>\n NEWEST ACQUISITIONS TO A&R LIBRARY\/ BOOK REVIEW.<\/b><\/p>\n 6.1 NEWEST ACQUISITIONS TO A&R LIBRARY\/ BOOK REVIEW.<\/b><\/p>\n Date: 10\/02\/2013<\/p>\n Title: Stirling Moss \u2013My Cars, My Career<\/p>\n Author: Stirling Moss with Doug Nye<\/p>\n Publisher &Date: Guild.1988<\/p>\n ISBN:<\/p>\n A&R library copy: Yes<\/p>\n This is an attractive book of 300 pages approximately. Its content as the title.<\/p>\n A copy was acquired into the A&R library because of the strong and immediate connection with Lotus.<\/p>\n The authors offer analysis of approximately 80 different cars but as imagined the level of detail various considerably.\u00a0\u00a0The work proceeds in roughly chronological order. The Lotus references include: –<\/p>\n \n Vanwall<\/li>\n Lotus Eleven Series I<\/li>\n Lotus Climax 18<\/li>\n Lotus 19 Monte Carlo<\/li>\n Lotus Climax 18\/21<\/li>\n Lotus Climax 21<\/li>\n<\/ul>\n Thee editors consider the strength of this work to be contained within: –<\/p>\n \n The broad inclusion of 80 cars by definition within Moss\u2019s career from the halcyon days of the 1950\u2019s and early 60\u2019s and in particular the reference to sports racing cars<\/li>\n The range and type of cars from the ultra professional and high echelon manufacturers to the home built specials<\/li>\n The consistency of one drivers take across the spectrum in a relatively narrow time frame<\/li>\n The exceptionally good range of photographs in black and white and colour<\/li>\n The insights into Moss the man, his motives and relationship with life and motor sport.<\/li>\n This work also provides a fairly invaluable source of cross-reference.<\/li>\n<\/ul>\n The editor was slightly disappointed that there was not more direct and extended technical commentary relating to the handling characteristics of the cars. Rather there is more information about the conduct of individual races. However on occasions this is both interesting and valuable; for example the Mercedes- Benz 300 SLR in the 1955 Mille Miglia.<\/p>\n On the Lotus \u2013 Climax 18s -1960-61] he remarks: –<\/p>\n \u201cThe car I drove during what was the peak of my career \u2013typically Lotus, neither easy nor forgiving to drive in the cooper sense but extremely competitive if driven with considerable care \u2026\u2026a curious mixture of simplicity, and sophistication which bought me quite a lot of success; when it wasn\u2019t trying to kill me!\u201d<\/p>\n The editor was impressed by the piece on the Ferguson \u2013Climax Project 99.<\/p>\n This work has another value in that it permits a valuable source of cross-reference. For example the A&R recently reviewed \u201cBoys own Stuff\u201d and we commented about a photograph of the Beart \u2013 Climax. Here in Moss\u2019s work we find an additional reference plus a photograph of the car at what we believe the same race- May 1955,Silversone. In addition we can use the section of the book \u201cDriving Technique to examine the photographs and film material within the A&R archive e.g. on Vanwall.<\/p>\n Altogether this represents a valuable work .In its own way rather unique. For the editor there was an aspect of un-stated comparison between Moss \/Clark and Lotus and their respective personalities and driving style. This work will also be of use to film and documentary makers.<\/p>\n \u00a0<\/b>The Proposed CCM&EC<\/b><\/p>\n The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n For these reasons our Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period. Its suggested there will be catalogue for on line purchasing.<\/p>\n In particular it\u2019s suggested that the proposed CCM&EC retains a permanent library. That this is available for research and also as a commercial research service.<\/p>\n Additionally books can be retailed including both new and second hand.<\/p>\n Should any of our subscribers wish for more information on any book reviewed please ask.<\/p>\n The A&R editors are always receptive to suggestions for book reviews again please ask we will endeavour to help.<\/p>\n <\/a><\/p>\n  <\/p>\n 6.2 \u00a0Book Review<\/p>\n Date: 26\/12\/2012<\/p>\n Title: Carscapes<\/p>\n Author: K.A.Morrison and J.Innis<\/p>\n Publisher &Date: YaleUniversity Press\/ English Heritage.2012<\/p>\n ISBN: 9780300187045<\/p>\n A&R library copy: Yes<\/p>\n This is serious work with cultural content although perhaps some traditionalists will not perhaps embrace the car so readily. The A&R contends that the motorcar has often high aesthetic content and along the way many of the buildings and structures that complement it. Morrison and Minnis set out the facts and examples out in a judicial manner. [Our subscribers may also wish to see A&R review of \u201cBehind the Wheel that rather integrates and complements \u201cCarscapes\u201d\u201d<\/p>\n This is a serious thorough and academic work by leading Architectural Historians. Both are connected with English Heritage. [Its interesting to note that the A&R approached English Heritage to get listing for Tottenham Lane but was not successful- possibly following publication of this work there will be rethink]<\/p>\n Kathryn Morrison is Chairman of the Society of Architectural Historians and John Minis is an architectural historian.<\/p>\n Their work is of 450 pages approximately and is exquisitely illustrated with 225 colour photographs and 75 black and white.<\/p>\n This work is rather over due and perhaps slightly contentious in its giving recognition to the architectural aspects of the car. Some consider it non-partisan. The editors feel that it touches the nerve of hypocrisy that surrounds the car its usurers and\u00a0\u00a0\u201cheritage\u201d. In deed English Heritage has shown some integrity in their defence of some of the less esteemed buildings of the 1960\u2019s and 1970\u2019s not least in the field of social housing. It\u2019s a complex, multi layered issue confronting ownership, land value, redevelopment profit, usage and ongoing maintenance obligation and the \u201cvalue of heritage\u201d<\/p>\n Some will always argue that buildings are a product of an era, have a natural life and become obsolete to be replaced with the requirements of the age. Of course this could be applied to most of the arts and even human beings.<\/p>\n English Heritage has perhaps sought to walk a tightrope in which it attempts to preserve the very best and most representative of its era and thereby compromise and heal many of the opposing factions. Recently more automobile related buildings have been listed.<\/p>\n Of course such as well-researched and authoritative work as this cannot ignore the ongoing issue of Town planning Vis Vis the car and transport movement.<\/p>\n The title \u201cCarscapes\u201d is possible derives from the interaction of car and landscape. In many respects the two collided. Between the two a mutual link developed. They became a function of each other and one was rather needed to access the other. In deed many of the stately homes of Britain so loved and visited are accessed by people travelling by car. Our subscribers may also like to see our reviews on H. G.Morton that interlink.<\/p>\n The title may also owe some indebtedness to the work of Gordon Cullen [\u201cTownscape\u201d] whose work looked at the sculptural and multifaceted interaction of buildings,\u201dstreetscape\u201d their form relationships, their fabric, texture and visual experience \/ exploration primarily from the perspective of the pedestrian.<\/p>\n \u201cCarscapes\u201d takes a look a look in essentially chronological order of the century of the motorcar in Britain .It assesses and expresses its impact.<\/p>\n The cover jacket design is significant. The building is the Audi UK showroom and Heritage Centre at Brentford. The flyover is universally criticised for its ugliness and intrusion and dominance .Yet the Audi building has its own aesthetic and has been designed to be seen by passing motorists. Of course the Great West road out of London one featured many Art Deco\/ Internationalist style building, many related to engineering and the motor trade. [See A&R articles on specialist suppliers and the Audi Heritage Centre]<\/p>\n \u201cCarscapes\u201d is primarily a record and explanation of the architectural forms that evolved for the car as the railway, ocean liner and aeroplane shaped a form following function. Our appreciation of \u201cCarscapes” cannot be complete without some understanding of motoring law, transport infrastructure, the economies and flexibilities of motorised individual transport, taxation, petrol distribution and societal aspects of car ownership and its role in society.<\/p>\n From this premise \u201cCarscapes \u201c can be made digestible and we seethe impacts on the natural physical environment, structures and factories that built and stored the car through the specific buildings that displayed [showrooms] serviced repaired and car parks that contained them. Along the route Morrison and Minnis look at motoring minutiae that includes highways, bridges and signage and motorway service stations. The car came to America first and perhaps there was a greater sense of connection there that has seen many studies on Route 66 etc.<\/p>\n Its generally accepted by historians and sociologists that the motorcar was one of he greatest shaping influence of the 20c not least because of the democratic and mass ownership and liberties it created and the opportunity it provided as vehicle of personal self expression. Having accepted this overwhelming absorption and interaction and even dependence on the car it beholds that the substructures that maintained its existence should be given attention. The motorcar has become so engrained into our lives it surely must form part of collective identity and culture.<\/p>\n \u201cCarscapes\u201d is a very worthy and respected record. Handled sympathetically it records form and function and technological evolution as surely as the home.<\/p>\n The A&R are very proud to have such a cultured work as this within the library and feel certain it will be a valuable reference source.<\/p>\n \u201cCarscapes\u201d has been perhaps primarily written for Architects, historians, Town Planners and those interested in preservation. However the editors believe motor engineers ought read it as well. Our\u00a0\u00a0\u201ctotality\u201d of experience is shaped and influenced and even moulded by the envelope we transit.<\/p>\n \u201cCarscapes” perhaps more than any previous work graphically explains how the actions of transportation transmogrify.<\/p>\n The Proposed CCM&EC<\/b><\/p>\n The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n For these reasons our Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period. Its suggested there will be catalogue for on line purchasing.<\/p>\n In particular it\u2019s suggested that the proposed CCM&EC retains a permanent library. That this is available for research and also as a commercial research service.<\/p>\n Additionally books can be retailed including both new and second hand.<\/p>\n \u201cCarscapes\u201d touching the poetic and\u00a0\u00a0\u00a0frequent ugly utilitarianism of transport systems provides a ready reference that would convert into educational exhibitions.<\/p>\n Should any of our subscribers wish for more information on any book reviewed please ask.<\/p>\n The A&R editors are always receptive to suggestions for book reviews again please ask we will endeavour to help.<\/p>\n <\/p>\n 6.3 NEWEST ACQUISITIONS TO A&R LIBRARY\/ FILM REVIEW.<\/b><\/p>\n NEWEST ACQUISITIONS TO A&R LIBRARY\/ FILM REVIEW.<\/b><\/p>\n Date: 11\/08\/2012<\/p>\n Title: de Havilland Mosquito [Castle Vision] and de Havilland Mosquito [Pegasus]<\/p>\n Author:<\/p>\n Publisher &Date: Castle Vision 1993 and Pegasus 1998<\/p>\n ISBN \/ CAT REF ETC: Castle Vision 5016500167421 and Pegasus 5034504722033<\/p>\n Duration: Castle Vision 55\u00a0\u00a0 min. and Pegasus 52 min<\/p>\n A&R library copy: Yes.<\/p>\n Introduction.<\/b><\/p>\n The A&R cannot overstate the significance of aviation and related technologies to our comprehension of Colin Chapman and Lotus. [See A&R specific articles relating to aviation and aerodynamics] These films although probably intended for an aviation \/ military historian have much to relate to our understanding of Colin Chapman and Frank Costin.<\/p>\n Our comprehension must focus on wartime necessity. Britain was fighting to defend itself and the weapons were as much technology, management and production engineering.<\/p>\n The Mosquito was considered an outstanding contribution to the war effort. Its speed, power manoeuvrability and resilience all contributed to its proud reputation. In turn these qualities were achieved through the application of mechanical theory predominantly high power and lightweight. This film records these features and reinforces the salient points. For the motoring \/ engineer the significance is understanding how Chapman and Costin applied these principles and were able to mutate them into racing and sports car chassis design.<\/p>\n Both films are near identical. The editor would recommend the Pegasus version for its better quality and explanations of subsequent designs following on from the Mosquito. The Castle film contains some additional interviews with pilots.<\/p>\n Both films include black and white period footage and present day colour at air shows. These are attractive and impressive as some are directly from the cockpit and the viewer has a small sensation of flying these magnificent machines along with their engine note and landing sequence.<\/p>\n The Castle Vision film is narrated by John Standing and Pegasus by Roy Ward.<\/p>\n Both films provide credits and acknowledgements that might be useful for further reference and follow up.<\/p>\n The Mosquito<\/b><\/p>\n The Mosquito was designed and built by de Havilland who was based at Hatfield. This is just outside London and helps explain why many de Havilland aircraft engineers became involved with Lotus.<\/p>\n The Pegasus film introduction quotes:<\/p>\n \u201cIn 1941 the RAF was being pressed to fill a new and ever more demanding role \u2026\u2026..Although first class modern fighters, Hurricane and Spitfires were in abundant supply the Air chiefs had a serious problem with the bomber force. This uncomfortable gap was filled by a revolutionary fighter bomber, one of the most original and versatile designs of the war- the de Havilland Mosquito\u201d<\/p>\n The aircraft manufacturer believed there was a role for a very specific bomber \/ multi role aircraft and pressed ahead with the revolutionary design for the Mosquito although there may have been some precedent for its design in the \u201cAlbatross\u201d<\/p>\n The specification was for a high wing cantilever monoframe in laminated wood. Metal was scare in wartime but the wooden furniture industry had capacity. The lightness of the material and the essential monococque construction combined with the twin rolls Royce 12 cylinder engines gave the plane a potential for 400mph. [speed of a fighter] The Mosquito was considered aesthetically beautiful in its functionality whilst providing superb versatile handling characteristics. For many the mosquito was one of the most potent weapons of World War II and much respected by its pilots and crew. Only more recently has the Tornado taken on the mantle of such a versatile multi-role combat aircraft.<\/p>\n The period black and white film gives some conceptual outlines of the design and explains some of the construction. Note women in the labour force. The Mosquito was developed very quickly .It is believed to have a maiden flight in 1940 and large scale production by 1941.The Mosquito was handed to the RAF and undertook many roles including reconnaissance. The quality information it provided informing the strategist enabling effective disruption, attrition and economic sabotage.<\/p>\n The period footage shows actual attacks. Targets included the V1, trains, tugs\/ barges, road transport, infrastructure and submarines. At a later stage the Mosquito was equipped with rockets.<\/p>\n In the conclusion of the Pegasus film version an opportunity is taken to outline Britain\u2019s military aircraft and briefly outlines the roles and specifications of the Vampire, Vulcan, Valiant\u00a0 [V bombers] Canberra and Tornado.<\/p>\n Interviews<\/b><\/p>\n The Castle Vision film contains some brief interviews with pilots and related personnel. The Pegasus film commences with background film of the Second World War in general and perhaps sets a wider context.<\/p>\n Film Clips<\/b><\/p>\n As stated both period and modern film sequences are included. The period film briefly explains some of the design, development and construction but perhaps concentrates on the actual attack roles that the Mosquito undertook. These perhaps ought be understood in the engineering context of what the plane could achieve. They unleashed considerable destruction and were remarkable cost effective but also at a lower casualty rate than other branches of Bomber Command.<\/p>\n Chapman and Costin: Application and mutation of Technologies.<\/b><\/p>\n Here we need not expand at length about Chapman and Costin as existing A&R articles go into greater depth. However the connection is forged how the aviation technology was deployed. Both men were products of the War and Chapman was a pilot and briefly in the RAF. Aviation technology both military and civilian featured in their design methodologies. Costin was to deploy laminated timber in his Marcos designs and Chapman\/Costin enhanced aerodynamics in the Lotus cars bringing international success and compensating for less powerful engines. During the 1960\u2019s Chapman would find fame with the monocoque construction in the Lotus 25 although this would be in aluminium sheet rather than wood laminate.<\/p>\n The Value and Importance<\/b><\/p>\n These films are made without any jingoistic overtones. They are objective and emphasise the significance of technology and how this can be translated into a competitive advantage.<\/p>\n In nearly every branch of science and engineering there are examples of transference and cross over. The importance is that some individuals have the capacity to see inherent opportunities and exploit them in other directions.<\/p>\n The editors comment these brief films as they:<\/p>\n \n Better than most mediums illustrate the context and technologies that emerged during the war and those that were at the vanguard for Chapman to adopt. The Second World War was barely three years past went Chapman entered motor sport.<\/li>\n Give full visual impact of the achievement and contribution of technology focused in a specific role.<\/li>\n It\u2019s suggested that all engineers readily study and absorb aspects of this film as it demonstrates\u00a0\u00a0 sources of inspiration are diffuse. It\u2019s widely recognised that much of Chapman\u2019s genius was the recognition of \u201cpotentialities\u201d. His was not a passive acceptance or a restrictive acknowledgement of assigned or allocated purpose .He neither saw or accepted \u201croles or mores\u201d his was a highly developed imagination and conceptualisation of service and function to which he could harness people, concepts or components.<\/li>\n<\/ul>\n The Proposed CCM&EC<\/b><\/p>\n The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n For these reasons our Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period. Its suggested there will be catalogue for on line purchasing.<\/p>\n In particular we propose selling film and related archive matter. This will be complemented my film shows, film evenings and themed mini display exhibitions etc.<\/p>\n Great emphasis will be placed on the interpretation of applied chassis design in the context of aviation technologies. To this ends its proposed that some specialist exhibitions be held at and in conjunction with aviation museums. Continuing to the present day aerodynamics is a major determinant in Motor sport. Whereas aviation once was the vanguard technology this has passed in part to space exploration and computerisation. It is inconceivable that Chapman would allow any technology to go un scrutinised. If the proposed CCM&EC is to honour this approach and explain this methodology it is under and obligation to interpret it to its users. This might be achieved by playing such films then running workshops in the form of design challenges to prompt solutions.<\/p>\n Additional Reference:<\/b><\/p>\n The A&R has related information on the Mosquito including exploded drawings that appeared in the aviation press.<\/p>\n \u00a07.\u00a0<\/b>Lotus collectables<\/b><\/p>\n \u00a0<\/b>\u00a0 \u00a0 \u00a0\u00a0<\/b>JOCHEN RINDT – Lotus 72 – World Champions Collection<\/p>\n <\/p>\n 8. Lotus interest on \u201cYoutube\u201d<\/b><\/p>\n One item on Youtube maybe of interest our readers<\/p>\n A lot of great footage.<\/p>\n LOTUS SEVEN<\/a><\/p>\n Thank you for your continued \u00a0interest and support<\/p>\n  <\/p>\n Editors of the newsletter<\/p>\n John Scott-Davies<\/p>\n Neil Duncan<\/p>\n Jamie Duncan\u00a0 (webmaster)<\/p>\n","protected":false},"excerpt":{"rendered":" Colin Chapman Museum and Education Centre Newsletter\u00a0 April 2013 Newsletter – Number \u00a041 Lotus photo\u2019s \u00a0you may not have seen.\u00a0 Museums around the world you may not have heard of:\u00a0Autoworld Brussels Questions from our readers, Lotus 19 The Full Monte Survey and Polling of Classic Cars: Lotus Interpretation Lotus books one \u00a0for the library 6.1 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":338,"menu_order":2,"comment_status":"closed","ping_status":"open","template":"","meta":{"_mi_skip_tracking":false,"footnotes":""},"_links":{"self":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/611"}],"collection":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=611"}],"version-history":[{"count":9,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/611\/revisions"}],"predecessor-version":[{"id":3934,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/611\/revisions\/3934"}],"up":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/338"}],"wp:attachment":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=611"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}