| ISSUE #17
a c o l l e c t i o n o f [ c r e at i v e ] c u lt i vat i o n s
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inside LAMBORGHINI Up close and personal as we celebrate 50 years of Lamborghini with Santâ€™Agatas most favourite exotic son .......................................................... [ PAGE 208 ]
our galactic CURIOSITY what better way to celebrate creative curiosity than to feature NASAâ€™s much beloved Martian space reporter as only elemente can do .......................................................... [ PAGE 36 ]
spark the CURIOSITY Calgaryâ€™s new science centre, in all itâ€™s rainbow Libeskind crystal glory, is the first new centre of bunsen burner to open in a millenia .......................................................... [ PAGE 122 ]
re-envisioning King Edward Born on a bald headed hill in 1912 Calgary, the sandstone premised King Edward School turns 100 & with it a new life in art incubation .......................................................... [ PAGE 144 ]
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contents INSIDE LAMBORGHINI
elemente looks at Ferruccio Lamborhini’s baby 50 years on...the museum, it’s history & Gallardo drive impressions. Molto Bene!
elementes photo-editorial journey through Calgary’s new urban design mandate, public works projects & the upcoming KES arts incubator
Red Rover, Red Rover, come on over...the times & nerdy coolness of a 2 tonne rover named Curiosity
to be frank
A glance at the latest works from the legendary house of McLaren via the eyes of Design Director, Frank Stephenson
Fantastical illuminational offerings from those crazy Australian goat creatures at Yellow Goat Designs
Architect J. Mayer H. pulls out all the Azerbaijanian rest stops on this one
Team Molo travels to Japan to build a house for Nebuta’s famed ghosts & demons
INFINITE LOTUS LOOPING
Sculptor of all things fantastic, Gerry Judah pulls out an oversized Moebius loop using Lotus as it’s muse
(drives) Fiat 500 + infiniti fx35
Canada’s Angus MacKenzie takes a tiny Italian through it’s paces on the Sea-to-Sky Highway, then repeats with Infiniti’s Lunar-lowrider
200 / 208
Vancouver’s new VanDusen Botanical Garden’s Visitor Centre is one sustainable, bio-morphic wonder
A former Belgian water-tower/Nazi watch-tower transforms into a vertically contemporized residential space
space of zen
New York’s hanrahanMeyers architects zen-like Buddhist retreat emphasizes spiritual & architectural balance
Editor-in-Chief: Angus MacKenzie
Creative Agency: Farm Media Inc.
Creative Director: Angus MacKenzie
Feature Writers: Leslie Todd, Angus MacKenzie, Basel St. Clair, Emerson Fittipaldi Featured Photographers: Olivier Ouadah, Angus MacKenzie, David Franck & Fernando Aldo
Publisher: FARM MEDIA INC.
Director of Marketing: Angus MacKenzie
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T  290 0145
T  290 0145 e 18 firstname.lastname@example.org 1224A Ninth Avenue SE Calgary AB email@example.com 1224A Ninth Avenue SE Calgary AB T2G 0T1
M i d
C e n t u r y
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403-290-0145 www.circa5060.ca | 1224A - 9th Avenue S.E. | Calgary, AB e 19
editor’s note | ISSUE #17
Multiples of 50 et al When I’m asked to describe elemente I try to keep it simple, focusing on the creative and curious aspects. The magazine is hard to define as its mandate is premised around whatever I find interesting at the time, which as we know has a pretty frenetic attention span. Predictably unpredictable as it were. My ADD and curious nature also means I become easily bored of homogenous, predictable content, hence the Martian Rover piece next to a Japanese Demon House next to Australian goats of yellow. This issue, she’s just a wee thing. Weighing in at a svelte 240 pages this issue has more than enough ‘digital thud’ to it to keep your RayBans busy for 17 minutes. The multiple of fifty thing is in recognition of Lamborghini at 50, Calgary’s 100 year members, the Fiat 500 and the 50 lb virtual weight of this issue. Now anyone bored with architectural features might appreciate elemente’s chat with McLaren Design Director, Frank Stephenson on their new orangified offerings. Or perhaps my photo-editorial drive reviews of the Fiat 500 and Infiniti FX35 on Whistler’s Sea-to-Sky highway. Or the small 27 page Lamborghini featurette and its rather bumpy transitional voyage over the past 50 years. I’ve owed my Sant’Agata friends a story for five years so felt the least I could do was give it the appropriate space allocation. Also in the issue we tracked down some of Calgary’s more forward-thinking architectural projects and culturally relevant offerings. And now to Digital Busking. Unlike other
‘creative’ Canadian publications, populated by dozens of writers, sales persons, a receptionist, photographers, editors, publishers, investors, etc. elemente is done entirely by myself, on a well-worn 6 year old Toshiba laptop, via the kitchen table, with our two cats and one 3.5 legged, 14 year old newt named Bob. He had 4 legs, but one fell off and only half grew back. Don’t stare, it only makes him angry. Anyways…we do the magazine out of a driving passion to feed that curious, creative monkey who lives inside a very crowded, scotch-lined cranial space, and we do it like so many other Cdn publications, with zero third-party financial support. Sure it’d be swell if me and Bob made thousands from the pub, then we could get on with flying him to Switzerland for that titanium prosthetic arm/leg he’s been on me about. So with that Dickensian verbage in mind, elemente has set up a PayPal thing wherein readers who find value in the book can voluntarily contribute pesos to further the cause. This whole ‘paying for stuff’ on the interwebs is a new concept but we figured hey, you get paid to be cool so why shouldn’t we? If you’d like to acknowledge the efforts and keep this Canadiana content busker thing going then click the PayPal link and follow the instructions. Issues sell for $3.75…or $0.00 depending on your experience. Think of it as digital busking but without the annoying cat juggling or flaming drum circle. Thanks for stopping by. Enjoy the issue. Angus
This issue is dedicated to Amanda Todd
busking? elemente is a free online production, available to all creative/curious types, but like many things of substance requires much time, effort & hard work to bring to fruition.
To help the publication evolve weâ€™re trying something new. Weâ€™re asking for donations of $3.75 via PAYPAL as a show of support + to help fund future issues. Think of it as digital busking, without the cat juggling.
In its 5th year, elemente provides a unique Canadian perspective on creative Thanks for your ventures & persons of support. Clik now & enjoy the issue. interest.
a c o l l e c t i o n o f [ c r e at i v e ] c u lt i vat i o n s
ost effective Looking for a c ke-minded li h c a re lp e h medium to ss the creative ro c a ls a u id iv d in enteâ€™s proven expanse? elem 00+ gives ,0 5 2 f o ip h rs e creative read t audience. c le e s a to re u e you expos vehicle to rais t c e rf e p a is elemente n your existing o d il u b & s s e awaren are es. Operators v ti ia it in g n ti e mark standing by. azine.com
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tly orld is constan w e v ti a re c e h T ting to new p a d a & g in h rp mo ants your help w te n e m le e . environments s. al opportunitie ri o it d e y e k fy ti to iden l ludes: industria c in t s re te in f o Content , ation solutions rt o p s n a tr , n ig s de n or design, urba ri te in , re tu c e it arch innovations, y g lo o n h c te , g plannin n, artististic o ti a tr s lu il y, h p photogra concepts, etc. .com
oking for elemente is lo ers to strategic partn e & develop c n a h n e r e h rt fu within our s ie it n u rt o p p o munities. respective com discuss Contact us to nd raisers, fu , ts n e v e g in upcom s, editorial n ig a p m a c s s awarene , duct launches ro p , s g n ri e n rt pa etc. om
CONTACt. ear from you. h to e v lo â€™d e W e looking to Whether youâ€™r h-five, we complain or hig om you. We fr r a e h to t n a w ions & want in p o r u o y e lu a v where we can & w o h w o n k to azine with g a m e th e v ro imp every issue. magazine.com
Cre â€˜Cultivate the
ing by award winn for farm media Gary Taxali r CDN illustrato e 23
Cut Up it
There are surf boards, ironing boards, paddle boards, directorial boards, etc, but nowhere in the world is the board more important than in the world of the charcuterie. The deliverer of fine meats and cheeses, this much taken for granted piece of forestry is to the culinary experience what the glass is to the martini. And who better to provide buttery smooth boards of walnutey goodness but St. Albertâ€™ans Geoffrey Lilge & Cindy Lazarenko of OnOurTable designs. Tasked with outfitting Cindyâ€™s award winning
restaurant, Geoffrey the designer sought to create items that were ‘enduring, beautiful and sustainable’. Aside from making great graphic faces OOT’s cutting boards as much works of art as they are functional meat & cheese delivery platforms. The ‘Hole Slab’ series that started it all are the foundation of the business. These walnut boards of buttery beeswax & mineral oil finishes are created in an amusing variety of shapes, allowing charcuterie persons to match wood to their meaty personalities. Buy Canada at www.onourtable.ca
the bike of (e) AUDI’S NEW E-POWERED PROTOTYPE STREET BIKE SHOWS OFF ITS WATTS IN GERMANY Images. Audi / Copy. me
Not comfortable with their success in the performance
Another next gen trick sets the Audi e-bike apart from
auto market, Audi decided to remove a few wheels
other analog peddlers is a built-in drive system that
from their usual product line and venture into the open-
serves as an optional electronic control system. And just
air world of the electric bike.
like an Angry Birds slingshot app that allows for various
Designed primarily as a street/stunt/BMX bike, Audi’s
forms of pig displacement the bikes onboard system
new e-bike is years ahead of its next-gen biking brethren. Ultra-light at just 46 lbs makes the e-bike one of the slimmest rides in its category, and with a 2300 watt generator and top speed of 80 kph the bike starts to enter electric motorcycle territory. Powerplant placement on the e-bike, by Clean Mobile, is unlike other e-bikes. Whereas most e-bikes generator is located on the arse end, Audi’s design has the motor located in the center of the frame. This placement delivers better handling, and balance, but also lets the motor operate more efficiently. To further reduce weight, and increase battery duration, the bike of e employs customized carbon fibre wheels and full suspension carbon-fibre frame.
offers the rider 5 inputs modes via a hub mounted smartphone: Pure, Pedelec, eGrip, Power Wheelie, and Balanced Wheelie. This dummies app now puts the power of the wheelie into the hands of the minions. The e-bike’s torque vectoring system, in combination with the app command, properly measures out power based on the rider’s pedaling. But if wheelies are too alternative for your lifestyle then one of the other three modes should suffice. And to protect that $20k carbon-fibre investment, an e-lock locks the rear wheel and sets a motion alarm if some ass tries to steal your ride. Unfortunately the Audi e-bike is concept only at this stage, so its back to analog wheelies via your purple banana-seated Schwinn one speed for you mister.
watch THE e-bike in action > e 29
Goats who stare at lights Fantastical illuminational offerings from the playful Australian goats at Yellow Goat Designs Images. Yellow Goat Design / Copy.Angus MacKenzie
In the well named film, ‘Men Who Stare at Goats’ George Clooney puts a move on an unsuspecting Al Queda goat, but like so many women, his gaze is too much, and the goat dies. The lighting designers at Yellow Goat Designs hope to never meet this George Clooney, killer of goats, but they would welcome Ewen McGregor for tea. Founded in 1997 by a family of wandering Australian goats YGD specializes in highly customized, commercial lighting designs. Considered by elemente to be one of the lighting world’s most unique designers, YGD’s irreverent style and playful personality is rather noticeable throughout it’s product line. Product names such as Fuzzy Jr., Thai Soup, Bustiere, The Kinks and Grubb only works to reinforce their frisky, irreverent goat-like demeanour. Regular collaboration with designers and architects gives YGD the opportunity to better understand a project’s design brief, but to also deliver finished designs fitting of the client’s aesthetic requirements. Each one of YGD’s designs visually articulates its own personality through a range of materials and lighting accessories. Plus in their spare time when not doing lighting things, YGD also designs outstanding architectural screens, which we’re assuming is to keep the Clooney and his eyes out. But despite their fantastic luminous creations, I will always think of Yellow Goat as those jaundiced, down-under designers of extreme talent and cloven hoof.
Cousin of the award winning â€˜Fat Fuzzy Thingâ€™. Jr is a lovely, water ballooning shape built from small curved pieces of opal acrylic clicked into place on the outside and inside. e 33
ELYSEE NOW YOU GO SEE
A stunning collection of hexagonal shaped elements gathered around a mirror polished core. The external skin is made up of a variety of different metals, acrylics and finishes, some silver chrome, some bronze, some clear and all are suspended in this tear drop shaped jewel. Design Conrad Johnsson.
grubb JUBB DUBB
Its what you see when you look at bacteria under a microscope. Named ‘Grubb’, with an extra ‘b’ so as not to insult the innocent creatures.
PADDLE POPS FOR POPS
Built from panels of Lyten steel fixed to a structural frame this architectural divider can also be lit internally by waterproof LEDâ€™s.
SHAGGY DOG D.A.
Thousands of frosted polycarbonate rod, all caught in the middle of a 10mm thick clear acrylic panel. Run your hand along the shag for a warm shaggy feeling.
SCULPTOR EXTRAORDINAIRE GERRY JUDAH PAYS HOMAGE TO LOTUS via AN AUTOMOTIVE INFINITY LOOP
Images. David Barbour / Copy. Angus MacKenzie
I remember the HotWheels. I vividly recall throwing a blue Hotwheel at my younger brother, for whatever reason, and knocking one of his teeth out. I recall the 24” inch narrow strips of orange, that were suitable for both full house track-day configurations, but would also double as awesome whipping devices for basement battle royales, or for whapping the local Pete Young about. And who could forget those purple tongue-in-groove connectors that kept the miles and
miles of orange together throughout house. The sound of fantastically coloured, concept-like cars flying off tracks and into wall abutments at 245 kph, all thanks to uneducated theories betwixt gravity, physics and a serious lack of lateral support by the track’s designers. That constant sound of paint chipping, walls being newly holed, always brought a smile to mom’s face. For hours and days we would arrange elaborate Laguna Seca trackdays over sofas, around tables, under e 39
“In automobile terms, this would be a monocoque body, a tribute to legendary designer & Lotus founder Colin Chapman’s intro of monocoque chassis construction to racing.” - designer, Gerry Judah
biscuit coloured poodles, across multi-speckled laminate flooring and back onto tightly wound monochromatic brown rugs. Dad would gleefully be stepping on pointedly designed micro-cars with superchargers, and then spout out profane verbologies about someone named Shaganappi or Paskapoo. Sculpturist extraordinaire, Gerry Judah, however took his fascination with HotWheels and art to a whole new infinitely looping extreme. In the UK, Goodwood is one of the holy grails of automotive gatherings and each year one automotive manufacturer is prominently featured. It is here that Judah, and UK Car manufacturer Lotus, worked to create a larger than life sculpture. “What you see in the structure is the track, but inside it is 98% empty space,” says Judah. “In automobile terms, this would be a monocoque body, a tribute to the legendary designer and Lotus founder Colin Chapman’s introduction of monocoque chassis construction to automobile racing.” The sculpture, designed to capture the essence of Lotus from early days to present, was premised around a 3D infinity loop. Working closely with Lord March and Lotus, the 150-metrelong curvilinear track (similar to a fishermen’s knot) metaphorically represents Lotus’ race-bred environment. On its surfaces rest some of Lotus’ most famous racecars: Jim Clark’s 1965 Type 32B, Graham Hill’s Type 49, Emerson Fittipaldi’s JPS-liveried Type 72, a yellow Lotus 99T driven by the legendary Ayrton Senna, Mario Andretti’s black gold world title winner and the current Lotus grand prix car as driven by Kimi Raikkonen and Romain Grosjean. Multiple cranes were used to erect the installation, but to also very carefully paste six significant Lotus cars onto its continuous surface. When the festival is over, the sculpture will be dismantled and taken to Lotus’ Norfolk headquarters. Cars will be removed and returned to Clive Chapman’s Lotus workshop and to the Lotus F1 Team. Judah’s oversized Hotwheel sculpture (that I’m pretty sure we designed in ‘71) will be moved to Hethel’s test track for permanent residency.
curioscity NASA’s Rover boldy goes where aliens are sure to summer Images courtesy: NASA/JPL-Caltech | Copy Angus ‘Buzzdrin’ MacKenzie
The location: Mara Lake, British Columbia. The date: July 1969. The boy: a 6 year old Scottish lad. The shirt: a red sport-tee with a #10 emblazoned upon my massive frame. The television: a black and white 19” RCA located on the freezer at the back of the confectionery store/bait shop/ shuffleboard rental place. The event: one Neil ‘Moonwalker’ Armstrong placing his silvery sized 14 moonboots on one distant luna object ie. the Moon. Not since Sizzlers were invented had there been anything more exciting, or confounding to a six year old Scottish lad than this marshmallow man’s first steps on the moon. Was I excited? I think so. Was I sure what the moon really was. Was it made of Wemsleydale? I didn’t know but based on the elder’s reactions you could tell it was indeed a big deal. Flash forward to 2012 and one slightly taller, older, more intelligent, better looking Scotsman watches again in disbelief as some Gen-Y, just out of high school, NASA kid with a Road Warrior styled haircut attempts to Playstation live a $2.5 billion dollar super rover onto Mars’ rusty surface. Memories of Mara Lake and Neil Armstrong come a flashing back! I’m pretty sure I had goosebumps when they landed Curious. See what you people miss by going to bed before 3:00 am? Also brought back memories of an early-days, black/white video game known as ‘Lunar Lander’. Simple premise: land the lunar lander on the highlighted landing pads on the planet for 4X points. Simple enough, except when you add in stuff like gravity, diagonal descent trajectory, limited fuel, and landing pads not much larger than VW Passat. Roughly 87.9% of the time the 8-bit screen would scold me in 8-bit type for not putting the craft down in a delicate manner and thereby splaying $100 million dollar spacecrafts
across the lunar surface. Back to NASA and the real deal. Anyone/team who can put a 2-ton , 6-wheeled space vehicle named Curiosity, on a planet 150 million miles
CULTIVATING THE away, using advanced Colecovision skillsets deserves their own TLC reality show. Because this sci-fi trek, unlike Lunar Lander, came with no resets. So by now we’ve all seen hi-res images relayed back from our red-rock-roving Curiosity and its orbiting wingman showing the wicked-awesome hi speed entry. The deploying of the speed-brake chute at 900 mph, followed by the ejection of the beloved heat shield, and the jet pack assisted touchdown. I mean holy shit people. Holy shit. I watched this live, with my new BFF superbrained NASA types on my Toshiba laptop from my kitchen table. I understand how complacency can saturate societies psyche via digital excess and noise, but this was kind of a big deal people. Curiosity has been on the job for over a month now and continues to send back surreal martian images, morse code signals, and laser blasted rock bits from Mars dusty red wastelands. And with each image and update, all those spatial nerdlings amongst us, experience a tiny space episode in their NASA approved space pants. So given that elemente’s revised tagline is ‘Cultivation of the Curious’ we felt it only fitting to feature this otherworldly Martian SUV and a sampling of its venture to date. Personally I could have done an entire issue on this but where would I put the cutting boards Lamborghini copy?
< left. testing out Curiosityâ€™s hi-def, Martian friendly parachute in one big ass wind tunnel >below. polishing up the bling in the event C runs into hot alien rovers...chickabow
> right. Câ€™s six big wheels crush previous venturers wee tiny rolling bits > inset. In-studio, C tries out his articulated legs & performance rated Martian movers
nerdilocity x 1,000,000 Illustrated phasing shows atmosphere entry to parachute deploy to separation to rocket tethered touchdown
in diameter, supply the pressurized propellant. Aerojet built the thrusters at its redmond, Wash., facility. On both the cruise stage and descent stage, fuel tanks are from AtK space systems, inc., Commerce, Calif.; and pressurant tanks are from Arde, inc., Carlstadt, N.J.
that attachment is severed within the first hour after launch. the other surface of the cruise stage attaches to the top of the aeroshell. that attachment is severed 10 minutes before the spacecraft enters Mars’ atmosphere. During the roughly eight months between those
Cruise Stage Back Shell Interface Plate Parachute Support Structure Back Shell Parachute
Hazard avoidance can be supplemented with visual odometry. Visual odometry uses navigation camera images made with the cameras pointed to the side of the route being driven. By pausing at intervals during the drive to take these images, the rover can compare the before-and-after situation for each segment of the drive. it can recognize features in the images and calculate how far it has actually traveled during the Bridle intervening driveUmbilical segment. Any difference between that distance and the distance indicated from wheel rotaDevice tion is an indication that the wheels are slipping against the ground. in the day’s set of driving commands, rover planners can set the intervals at which the rover pauses for visual-odometry checks, as suited to the type of terrain being traversed. A slip limit can be set so that if the rover calculates that it is slipping in excess of that amount, it will stop driving for the day. the mode of using visual odometry checks at intervals several times the rover’s own length is called slip-check, to differentiate it from full-time visual odometry with sideways-looking stops as frequently as a fraction of the rover’s length.
Mars Science Laboratory flight system, expanded view
Navigation modes differ significantly in the fraction of time spent with wheels in motion versus stopped for imaging and analysis of the images.
Mars Science Laboratory Launch
Curiosity can incorporate other safety features in each drive, such as tilt limits. the rover’s inertial measurement unit, which incorporates gyroscopes, provides information about changes in tilt. this and other information about the rover’s attitude, or orientation, serve Descentand Stage in use of the arm and the science instruments, in pointing the high-gain antenna, as well as in navigation. Rover Thermal
the rover’s heat rejection system has a pumpedfluid loop that can deliver heat from the multi-mission radioisotope thermoelectric generator when the core electronics need heating and take heat away from the 37 core if the rover is becoming too warm. Pacific Design technologies inc., Goleta, Calif., built the pump.
the top of Mars’ atmosphere is actually a gradual transition to interplanetary space, not a sharp boundary. the atmospheric entry interface point — the aim point for the flight to Mars — is set at 2,188.6 miles (3,522.2 kilometers) from the center of Mars. that altitude is 81.46 miles (131.1 kilometers) above the ground elevation of the landing site at Gale Crater, though the entry point is not directly above the landing site.
the final five days of the approach phase include activities in preparation for the spacecraft’s atmospheric entry, descent and landing. these include preheating of some components and enabling others. the schedule includes four opportunities to update parameters for the autonomous software controlling events during the entry, descent and landing.
ten minutes before the spacecraft enters the atmoLarger than Cruise & less Scientologically slanted, at 9 feet long 5’7”science tall sphere,Citmeasures sheds thein cruise stage. the by Mars Entry, Mars Descent andTom Landing Science Laboratory Launch 46 Press Kit Laboratory entry Descent and Landing instrument (MeDLi) suite begins taking measurements. the data the intense period called the entry, descent and landing MeDLi provides about the atmosphere and about the (eDL) phase of the mission begins when the spacecraft heat shield’s performance will aid in design of future reaches the Mars atmosphere, traveling at about 13,200 Mars landings. miles per hour (5,900 meters per second). it ends about
Sky Crane Detail
Altitude: ~66 feet (~20 meters) Velocity: ~1.7 mph (~0.75 meter/sec) Time: Entry + ~390 sec
Cruise Stage Separation Time: Entry - 10 min
Cruise Balance Devices Separation Time: Entry - ~8 min
Altitude: ~78 miles (~125 km) Velocity: ~13,200 mph (~5,900 meters/sec) Time: Entry + 0 sec
Heat Shield Separation
Altitude: 0 Velocity: ~1.7 mph (~0.75 meter/sec) Time: Entry + ~403 sec
Altitude: ~5 miles (~8 km) Velocity: ~280 mph (~125 meters/sec) Time: Entry + ~279 sec
Altitude: ~1 mile (~1.6 km) Velocity: ~180 mph (~80 meters/sec) Time: Entry + ~350 sec
Altitude: ~7 miles (~11 km) Velocity: ~900 mph (~405 meters/sec) Time: Entry + ~255 sec
Radar Data Collection Powered Descent
Sky Crane Flyaway
Profile of entry, descent and landing events, for one typical case. Exact timing will be determined by atmospheric conditions on landing day. Mars Science Laboratory Launch
hardly a martian toaster, Curiosity is roughly the size of a small Japanese SUV
1982 lbs. heftiest of the landers, C weighs in just under a ton, making a bubble wrap landing a no-go
354,000,000 mi. distance C commuted to reach it’s red rock destination, similar in scope to Saskatchewan drive to grandmas
Back Shell Separation Hypersonic Aero-maneuvering
seven minutes later with the rover and descent stage stationary on the surface — one about to begin its mission and the other with its job completed.
All of the spacecraft’s science instruments get health checks during the cruise phase. One, the radiation Assessment Detector, will be used on a power-available basis to collect information about the radiation environment near earth and between earth and Mars.
amount of nuclear torque available to each of the six, individually powered wheels
Curiosity’s thermal control system was designed to enable the rover to operate far from the equator so that the mission would have a choice of landing sites based Rover on science criteria. in a range of Mars surface temperatures from minus 207 degrees Fahrenheit (minus 133 degrees Celsius) to 81 degrees Fahrenheit (27 degrees Heat Shield Celsius), the temperature-sensitive components inside the rover can be maintained between minus 40 degrees Fahrenheit (minus 40 degrees Celsius) and 122 degrees Fahrenheit (50 degrees Celsius).
Rover size, compared with a 5-foot, 8-inch man
2000 ft. lbs.
Entry Vehicle System
$2.5 billion total cost of C’s entire program, including travel visa, lunches, nuclear materials, tires...roughly $10 billion Ferengi pesos
A tale of two mars-bots
Comparing Two Mars Rover Projects Mars Science Laboratory
Mars Exploration Rovers
2 (spirit and Opportunity)
Heat shield diameter
14.8 feet (4.5 meters)
8.7 feet (2.65 meters)
Design mission life on Mars
1 Mars year (98 weeks)
90 Mars sols (13 weeks)
10 instruments, 165 pounds (75 kilograms)
5 instruments, 11 pounds (5 kilograms)
1,982 pounds (899 kilograms)
374 pounds (170 kilograms)
Rover size (excluding arm)
Length 10 feet (3 meters); width 9 feet (2.7 meters); height 7 feet (2.2 meters)
Length 5.2 feet (1.6 meters); width 7.5 feet (2.3 meters); height 4.9 feet (1.5 meters)
7 feet (2.1 meters) long, deploys two instruments, collects powdered samples from rocks, scoops soil, prepares and delivers samples for analytic instruments, brushes surfaces
2.5 feet (0.8 meter) long, deploys three instruments, removes surfaces of rocks, brushes surfaces
Entry, descent and landing
Guided entry, sky crane
Ballistic entry, air bags
Landing ellipse (99-percent confidence area)
15.5 miles (25 kilometers) long
50 miles (80 kilometers) long
Power supply on Mars
Multi-mission radioisotope thermoelectric generator (about 2,700 watt hours per sol)
solar photovoltaic panels (less than 1,000 watt hours per sol)
redundant pair, 200 megahertz, 250 MB of rAM, 2 GB of flash memory
single, 20 megahertz, 128 MB of rAM, 256 MB of flash memory
Source: Mars Science Lab Launch PDF (NASA)
• – – – / • – – • / • – • •) MORSE CODE Wondering why holes in C’s tire tracks? Well it appears those weren’t Pirelli looking to make a galactic statement. The straight lines in Curiosity’s zigzag track marks are in fact Morse code for JPL, short for NASA’s Jet Propulsion Laboratory in Pasadena, Calif., where the rover was built. The “footprint” is more than an homage to the rover’s builders, however. It is an important reference mark that the rover can use to drive more precisely via a system called visual odometry. The Morse code, on all six wheels, is: .--(J), .--. (P), and .-.. (L) Using this odometry, C can figure out how far he/she has gone, or more importantly how much slippage has occurred in more difficult terrain. NASA can then evaluate track marks and adjust its route accordingly. dot dot dash dot
CURIOSITY’S ARM The left eye of the Mast Camera (Mastcam) on NASA’s Mars rover Curiosity took this image of the camera on the rover’s arm, the Mars Hand Lens Imager (MAHLI), during the 30th Martian day, or sol, of the rover’s mission on Mars MAHLI is one of the tools on a turret at the end of the rover’s robotic arm. The Mastcam’s left eye has a 34-millimeter focal length lens.
Sandcrawler This view of the three left wheels of NASA’s Mars rover Curiosity combines two images taken by the rover’s Mars Hand Lens Imager (MAHLI) during the 34th Martian day, or sol. In the distance, the lower slope of Mount Sharp. The camera is located in the turret of tools at the end of Curiosity’s robotic arm. Jawa anyone?
composited image of Curiosity hooning about on Marsâ€™ salt flats
stop. rest. go.
Architectural gurus J. Mayer H. pulls out all the Azerbaijanian rest stops on this one Photography: Jesko M. Johnsson-Zahn Copy: A.Z. Bai Jan
Sectional Drawing scale 1:500
In 2009 the Head of Roads Department of Georgia commissioned J. MAYER H. to design a system of Rest Stops for their new highway, which runs through Georgia to connect the Republic of Azerbaijan with Turkey. The new rest stops are located on select scenic viewpoints along the route and serve as activators for their area and neighbouring cities, including not only a nearby gas stations and supermarket, but also a farmers market and a cultural space for local arts and crafts. Why it looks like miscellaneous asterixâ€™ arranged and strewn about in domino fashion is perhaps based on the locals penchant for jacks?
Siteplan scale 1:500
where demons reside Team Molo seeks to house Aomoriâ€™s famed Nebuta demons Images. Iwan Baan & molo design | Copy. Basel St. Pierre
scale paper lanterns (Nebuta) that are illuminated from within and carried about the streets by the festivals minions. Actually the ‘Nebuta’ are more floats than lanterns. Nebuta floats feature a wood base and covered with hand painted Japanese paper, then lit from the inside with hundreds of light bulbs. In August the floats are pulled through the streets accompanied by people dancing in native Nebuta costumes, play-
Once upon a time, in a land far far away...not that far if you live in Tokyo...resides a newly finished boutique space, whose sole tenants just happen to be demons. Demons and ghosts and lots and lots of Elmers Glue. To contain such demons, Nebuta Matsuri, one of the most famous festivals in Japan, has for decades taken on the task of wrangling underworld creatures. Hyper-saturated heroes, demons and creatures from history and myth, appear on the streets of Aomori in the form of gigantic large-
ing tunes on flutes and drums. Demon flutes! Nebuta designers create designs based on historical people and themes. Teams actually begin developing themes right after festivities close as it takes an entire year, to develop and con-
struct a Nebuta float. As the beginning of the parade is signaled, â€˜HANETOâ€™ (dancers) join hands and start their floatation journey through the streets of Aomori. Iâ€™m envisioning throngs of Japanese Whoville type characters playing their flomdomp-
ers and their fandanglers whilst dancing in multicoloured Whoville uniforms? And you can even participate if you dare. But given the time of year the festival is held, where does one hide dozens of 30 ft. paper demons of such gigantic, fragile propor-
tions? Leave it up to our favourite Vancouver based design kids from molo to address the issue. Molo, working in association with local talent finished the project in 2011. Aomori’s multi-use Nebuta House now provides sufficient dwelling for not only expansive mythical beings but also serves as year round event space.
roes, demons and creatures. Nebuta’s engawa acts as a threshold between the contemporary world of the city and the world of history and myth. Shadows cast on the walls and floor through the ribbons give the effect of creating another screen – the convergence of material, light, shadow and reflection change with the sun and weather.
Engawa…I’m good, thanks for asking. Engawa is actually a ribbon screen façade that creates a sheltered outdoor perimeter space. This spatial concept that originated with traditional Japanese houses is now the dwelling for giant paper he-
On approaching the centre visitors are greeted by vibrant ribbons of red twisted steel that encircle the space. These metallic asymmetrical forms metaphorically give the impression of tall grasses moving with the wind. Ribbons are shaped to e 73
â€œThe engawa acts as a threshold between the contemporary world of the city and the world of history and myth.â€?
create visual variation and movement, where openings provide varying light, areas of opacity, changing views, and pedestrian circulation. Premised off how sunlight would react throughout the building during daytime, the bottom of each ribbon was set and twisted to a unique and specific angle. Some of the ribbons follow a natural curve while others have further bending and shaping in order to create larger openings, further encouraging the abstract expression of wind. In interpreting the images from the 1:50 scale model steelworkers had to execute tremendous skill and judgment. Tiny ribbons of paper now needed to be reinterpreted into 820, 12 metre high ribbons of steel. With this craftsman styled approach each ribbon had to be individually crafted during prefabrication, then manually adjusted on-site during installation. No part of the finished screen was computer-aided, and like most things handmade, the human aspect enlivens both functionality and expression. Despite the challenges of designing a building of this cultural significance, the evolution of the buildingâ€™s type and functionality represents a symbolic opportunity for future creative possibilities. Programming has already demonstrated a broad range of uses: workshops, conferences and new cultural events are taking place. Each year the five best Nebuta, selected for their creative artistry and craftsmanship, will take the place of the five Nebuta selected from the previous year. With this new mythical residence in front of the Aomori train-station the hope is to carry forward the time-honoured tradition of Nebuta into the contemporary era, and offer a place to share ideas and bring creative minds together.
[ CHECK THE FESTIVAL HERE ]
Georgia Jurgen Mayerâ€™s new Mestia Police Station in Georgia pays homage to the regions medieval tower influences Images. Jurgen Mayer Architects
House of Justice/ Mestia Civic Centre The new House of Justice serves as a two storey civic centre for the people of Mestia, a village with a strong cultural heritage. Its concrete structure framing the landscape of the Caucasian Mountains. The texturized, off-angled project features slats that run diagonally across asymmetrical window openings, inset against a biomorphic exterior treatment. This is part of an ensemble of new public buildings centred around the main public plaza.
Mestia Police Station, Georgia The new regionally influenced police station sits next to Mestia’s new city-hall. It’s towerlike shape pays homage to the medieval stone towers, traditional to Mestia’s mountainside region. The facade is comprised of prefabricated textured concrete, whereas the expansive bio-morphic windows are designed to maximize ambient light to the inner space. That’s how they roll, Mestia style. section scale 1:250
section scale 1:250
botanical gardens Vancouverâ€™s new VanDusen Botanical Gardenâ€™s Visitor Centre is a sustainable, bio-morphic wonder Images Courtesy of Perkins+Will Canada Architects Co.
When most designers and architects talk about sustainability... ...they tend to see a zero-scaped entrance as the critical element, or a grey water toilet made from recycled Starbucks vente latte cups. But few manage to make the statement a living reality... except in this case.
tainability and created a space that seamlessly presents architecture and nature as new biomorphic form. And like the BC Orchid, advanced biomimicry aspects are evident throughout, with no two pieces of structure exactly alike.
Designed by the firm of Perkins+Will, in partner with the city of Vancouver, the new VanDusen Botanical Gardens literally took the concept of sus-
From an inspirational perspective the sites entire form is inspired by that of the orchid. Undulating green roof petals float above concrete finishes and
rammed earth walls, occasionally arching down into the landscape providing a biomorphic segmentation of spaces. Petals are connected by a ‘vegetated land ramp’ that links the roof to the ground. This connection not only provides added heating and cooling insulation but also allows the form to naturally morph into the environment. Housing a café, expanded library, volunteer facilities, garden shop, the centre also houses flexible space for classroom education and meeting spaces for private functions and workshops. From an ecological perspective the centre was designed to ever so slightly exceed LEED Platinum ratings. And this is where the centre pushes the boundaries of sustainability. Designed to work off a ‘net-zero energy’ mandate the Garden has targeted the ‘International Living Future Institutes’ Living Building Challenge’ of meeting the most advanced level of sustainability possible. Geo-thermal bore holes and solar hot water tubes are integrated into the system to manage heating requirements and meet the net-zero goal. Given the site’s west coast location, and goal of carbon neutral, it was natural to incorporate wood as the primary building material. Wood designed elements are omnipresent throughout. Wooden slatted soffits line the underside of flowing petal cornices that
â€œIn an urban environ surrou
FLOWER AS METAPHOR Rooted in place and yetâ€Ś harvests all its own energy + water is adapted to climate + site operates pollution free promotes health + well-being comprised of integrated systems embodies beauty
RHINO SOFTWARE was used to design and 3D model the undulating roof forms.
The complex petal ROOF STRUCTURE utilizes a glulam post-and-beam assembly.
An operable GLAZED OCULUS with a solar heat sink allows for passive ventilation.
ia Hahn Oberlander, landscape architect
PROGRAM The 1,765 SM facility houses a cafe, an expanded library and volunteer facilities, a new garden shop, administration and flexible classroom space.
CONTEXT Located at Oak and 37th Street, VanDusen is less than 5 km from downtown Vancouver and is looking to draw visitors from an increased street presence.
Only MATERIALS that efficiently utilize resources are used in the project.
nment people need to refresh their souls by unding themselves in natureâ€?
extend out over walkways. Ceilings, walls, solar chimneys all flow from slatted custom wood insets throughout the space. Rainwater is filtered and used as greywater throughout the facility, whereas evil ‘blackwater’ is treated onsite via a bio-reactor, then released into a ‘percolation field’ and garden. Interior ventilation is assisted by an visually outstanding solar chimney composed of an operational glazed oculus and aluminum heatsink. tis a thing of loveliness it is. The chimney’s heatsink also converts solar to convection energy, which is then fed back into the system. And just like the orchid for which the space is inspired, the soaring solar chimney is strategically placed at the exact centre of the site, where the petals radiate from. Landscaping is comprised of native plants that populate the green roof and where select grasses and plants adapted for Vancouver’s climate are incorporated throughout the site. Cornelia Hahn Oberlander, landscape architect, was asked to assist with the design of the cen-
tre she went to her library and started rummaging through books of nature. One book in particular stood out – The Alphabet of Plants by Karl Blosfeldt, focusing on plant photography circa 1928. It was here that Cornelia found a black and white image of the leaf of an orchid. “In an urban environment people need to refresh their souls by surrounding themselves in nature,” says Cornelia. To that end, key design features throughout the site were specifically included in order to bring beauty and inspiration to all visitors. Finished in 2011, with a footprint of 183,000 sq.ft. and at a cost of just over $22 million dollars, Vancouver’s VanDusen Botanical Garden Centre has redefined the line where aesthetics and sustainability intermingle like an orchid on the forest floor.
SEE THE DESIGN BRIEF >>
of spirals & voids hanrahanMeyers architects zen-like Buddhist retreat emphasizes architectural and spiritual balance Photos. Michael Moran/ ottoarchive.com
In upstate New York resides a very zen-like, very un-New York-like retreat. Developed by New Yorkâ€™s hanrahan Meyers architects, the recently completed 35,000 sq.ft. Won Dharma Centre is an open aired meditation and recreation site highly influenced by the Korean Buddhist concept of the open circle. The open circle, so open, yet so closed. So Buddhist. This zen heavy 500-acre retreat site, located east of the Catskill Mountains, is a minimalist affair. Comprised of three residential dormitories, administration building, and a meditation hall in the south the project is a cohesive design concept premised around one belief system. The clientâ€™s belief system (a Korean Buddhist sect) drove the design mandate with an emphasis on bal-
ance in daily life and a focus on nature. The clients requested their new retreat use as many natural materials as possible to keep harmony with the rural character of the region. Wood was selected as the best synergistic material in which to meet the client’s philosophy. Designed as a ‘net zero-carbon footprint’ project Won Dharma utilizes a heating and cooling system incorporating geo-thermal wells for HVAC, a photo-voltaic array to provide 100% of yearly electrical needs; solar thermal roof panels for hot water; and a central bio-mass boiler for heat. Courtyards provide passive cooling and promote cross ventilation. Like the meditation hall, the residential courtyard buildings are wood and shaded to the west and south to allow natural day-lighting without excessive heat gain. To meet year round occupancy requirements the buildings employ stateof-the-art construction systems, including low-e glass insulated windows and a radiant in-floor heating system to minimize energy costs and carbon fuel use. A critical factor in the creative process and site planning was the Buddhist organizations symbol – the open circle. The symbol suggests a void without absence and infinite return. The retreat buildings are organized around these concepts of void and
â€œBuildings are organized around the Buddhist concept of void & spiral. Void = Buddhist meditation, the focus of the retreat, Spiral = practice of walking meditation.â€?
8 7 1
8 tree courtyard
7 guest residence 2
3 administration building
6 guest residence 1
2 meditation hall
5 permanent residen
spiral. Void refers to Buddhist meditation, the focus of the retreat experience, wherein Spiral refers to the practice of walking meditation. Walking meditations include paths linking the retreat buildings into the site’s 350acre nature preserve. Won Dharma’s 3,000 square-foot meditation hall is a precise, rectangular void with a lightweight frame to expose the area’s natural surroundings. Its wood structure is exposed on three sides to form entrance and viewing porches, while the interior offers views of the mountains from the meditation space. The administration building is linked to the meditation hall by a series of porches designed to accommodate formal walking from administration to meditation. The design of the residential buildings and administration building are premised off traditional grass-roofed Korean farm-houses, loosely clustered and organized internally around central courtyards. The roof shapes of these buildings transform in section around a spiral organization, from a simple slope in section to a complex triangulated geometry at the entrance porches. The internal organization of each courtyard building is influenced by the Spiral with silent walking meditation in and around the inner courtyards, outdoor porches and open spaces. The ‘permanent residence’ building is designed with small apartments, and provides lodging for twenty-four retired ministers. Two guest residences provide lodging for up to 80 retreat visitors. Rooms are designed with custom designed furnishings complementing the architectural design. The Buddhist sects’ on-going remediation and site planting will include a mixture of wooded areas mixed with meadows to foster local wildlife habitats and extend the area of the site’s nature preserve into the zone of Center itself.
towerdu aquatique Belgian designer Mauro Brigham transforms a former water-tower/Nazi watchtower into a vertically contemporized residential space Words. Angus MacKenzie + bham studios e 102
Images. Jasmine_Van_Hevel & Mauro Brigham
In a small PLOT OF BELGIAN LAND RISES a 1938 era water tower built by the village of Steenokkerzeel. THAT WAS THEN...
Rising up out of the Belgian plains like a German watchtower (coincidentally used by the Nazis during WWII) resides the vertically transformed residence of Chateau dâ€™eau. Commissioned in 2004 by the Belgian Royal Committee for National Heritage Sites, the site was set for historical protection with renovations in 2007. The result is one of the most exclusive, contemporized vertical spaces in Europe. Overseen by Belgian interior architect, Mauro Brigham of BHAM design studios, this elevated living space was designed to provide as unique a living experience as possible using todayâ€™s design elements and amenities, but without that nasty Nazi aftertaste. To avoid overcrowding and to optimize available space, each floor was allocated its own singular purpose. On the ground floor a double garage and main entrance with the first floor is allocated for the boring stuff like storage, mechanical and utilities. But when you are wanting to be getting that party started right, the second floor is available for private events rate events with a dedicated guest room with bathroom and office. Moving it on up to level three we find one of projects key design centrepieces - the main bathroom. A 15 foot high shower, that is so special it gets the entire floor solely unto itself is located in the centre of the space. The omnipotent shower pours the rain down on its occupants from on high as they luxuriate on black stepped tiles stepped down into the floor. A spacious master bedroom with custom spiral staircase leads up from the fourth floor to the main living area on the fifth floor where kitchen and dining areas are located. Here you can find one of my fav design aspects of the space, the cylindrical stair enclosure. The enclosure not only hides the staircase but
Living room, kitchen, dining room Impressive by its circular shape and large surface, the top floor affords incredible vistas to the airplanes landing on the national airport a quarter of a kilometer away. The elevator block integrates a rest room, a library, the all important cat house and a cloak room. Above the sculptural kitchen furniture, a steel bridge takes you to the terrace.
BATHroom A central 4.5 meter high shower was created in the bathroom in order to maximize the water flow experience. Black tainted glass walls surround the walk in shower increasing the sense of intimacy. Textile as visual separation from the cupboards was introduced to create a balance with the other ‘hard’ materials and to enhance the room’s acoustics.
BEDROOM A circular room featuring a domed ceiling hosts revolving stairs that lead to the upper floor. A full monolithic mirror dressing witch reflects the Belgian surroundings back into the space. To help warm the coldish nature of the mirrored surfaces Wengé wood flooring is used to bring reddish tones into the room.
provides an oversized blackboard/artspace for residents and guests to scribble about. To access the sixth floor/rooftop, residents take the spiral staircase from the kitchen, cross a walkway, climb 11 stairs, and pop a roof hatch. Once their thighs and calves have regained their composure they can enjoy a much deserved glass of Sauvignon Blanc while taking in the Belgian countryside from the panoramic terrace rooftop. Such a hard life. Unique to the site is a ‘User Based Program’ that was developed in partnership with the tower’s owner and planning board. So on the one hand, the owner lives and resides in the tower on a daily basis...drink, climb tower, have breakfast, throw eggs at the locals, etc...but a few times a month as mentioned earlier, a section of the building is rented out for exclusive events. Companies looking for a unique space for corporate events can then bring clients from the nearby airport to experience first-hand this vertical brick experience on the second floor. All event rooms are equipped with the latest IT technology, domotics and the opportunity to install projectors on the top floor. The preservation of existing concrete elements such as the main water e 110
GUEST ROOM/OFFICE An envelope inside the envelope. The combination of vertical and horizontal wengĂŠ surfaces delineates the guestâ€™s bedroom area with its own bathroom.
elemente checks Calgaryâ€™s new urban design mandate, public works projects & an inner-city arts incubator they hope will finally evolve the cityâ€™s tired design facade | URBAN FEATURE
shimmer me that Calgary Stampedeâ€™s new-wave underpassage melds 80â€™s neon with bio-morphic shimmer plating Photography Angus MacKenzie / Copy. See previous
e e 115
Given an understandable apathy
Opened in October of 2011, Cal-
for most underpass projects, its
gary’s Marshall Tittemore Archi-
hard to justify most any editorial
tects and the city’s newly de-
coverage for them. But lucky for us
we managed to find the best un-
apparently used ancient creek
derpass in all the land...or Calgary.
beds and future designs in devel-
Located on the north side of Stam-
oping the project.
pede Park, all decked out in silver
lamais and 80’s laser tattoos, the
friendly space employs wide walk-
new underpass is a bedazzled
ways, dedicated bike-lanes and
blend of Saturday Night Fever and
state-of-the-art LED lighting in its
Star Wars. Designed to enhance
walls and handrails to make the
traffic flow between the upcoming
space lighter and more inviting. A
revitalized East Village and Stam-
unique kinetic artwork installation
pede grounds the $70 million proj-
in the project’s canopy consists
ect will allow ease of access for the
of hundreds of aluminum fins set
new village population and easier
within a galvanized meal arma-
access to the upcoming Cantos
tures & fastened by pivots. These
Music Centre. So instead of di-
shimmering metallic tiles allow in-
viding north from south, the new
dividual fins to move with the wind
corridor now opens up migratory
or a passing train creating a fluid,
routes for urban dwellers to expe-
reflective visual note to the space. I
rience these future events.
give it 4 Pink Floyds out of 5.
the hall of fame
Canadaâ€™s Sports Hall of Fame celebrates one year of accomplished design & style Photos / Copy. Angus MacKenzie e 121
The original brainchild of one Har-
At about the same time the hock-
ry Price, the idea of a sports hall
ey kids came up with their own
of fame came up in conversation
hall of fame concept. Choosing to
post-WWII. Harry felt something
co-habitate in one space and live
was missing from the countries
in perfect harmony the two forces
sporting landscape. His idea; build
joined together to create a super
a space devoted specifically to
league of sports hall of fame. The
Canada’s sporting history. And so
two lived in perfect harmony until
in 1947, as chairman of the Sports
in 1993 hockey decided it needed
Committee for the Canadian Na-
a place of its own as it was feel-
tional Exhibition (CNE), Harry took
ing smothered and held back by
out on the road, with nothing but
the meager simplicity of the other
a hockey stick and a pair of sec-
hall. Hockey moved down to Front
ond hand figure skates in search of
Street so it could be closer to the
funding. After 8 years of travelling
Gardiner Expressway and that big
back and forth across the country
Harry secured the needed support
And so it was following the breakup
and monies to build the hall.
that for 15 years the original halls
Back in the ‘50s where better to
extensive treasures sat in dusty
put a Sports Hall of Fame but the
boxes, unseen and forgotten. It’s
sports capital of the world, Toronto.
like Toy Story 2 but with skates and
Cough. Miss the 1950s don’t you
helmets instead of slinky dogs. But
Toronto? Yes you do.
in 2008 the CSHF Board of Gover-
nors launched a process to rejuvenate the countryâ€™s sporting history and find a new home for the sadly forgotten sports memorabilia. Not quite sure how Calgary beat out Toronto but good on them for selecting an Olympically approved location at Canada Olympic Park. Looking like a monolithic red & white cantilevered shoebox, the Hall of Fame at 44,000 sq.ft. houses 11 exhibit galleries and represents 58 sports in total. Sporting artifacts, photo and video collections, and 50 interactive elements provide visitors a complete historical experience. Itâ€™s like being an athlete, but without the windsprints. The red angled shoebox (aka. exhibit hall) rises up and away on a slight angle from the hinged base, away from the white shoebox. This effect is not just for aesthetic purposes but has a functional component that allows for exhibits to be tiered. This stepped design forces visitors to slowly increase altitude as they rise the length of the space. It is this metaphorical rise that is meant to represent the challenge athletes face on their path to the Olympics. The elevational increase is also intended to give visitors their own platform-like ascension experience as they move from one impressive collection of Canadiana memora bil-
ia to another. And then you can get your ass kicked by
eteria and office space. Connecting the two spaces, a
Lennox Lewis’ shadow.
two and a half storey atrium delivering ambient light into
From profile, the rising red box presents a dynamic en-
the main entrance and creating a glass hinged break in
ergy that is reflective of the hall’s mandate. Enzo Vi-
cenzino, Senior Principal with Stantec Design speaks
Inside, wayfinding and associated graphics are top
of the structure’s approach as not trying to compete
drawer. Type treatments and graphics work nicely in
with existing structures but to be seen as an ‘object
partner with the rising, meandering path that leads visi-
in space’. The rising cantilevered box appears to rest
tors throughout the space. But as impressive as the
delicately on a smaller, inset glass box, giving it the im-
use of Helvetica 75 bold is, it doesn’t compare to the
pression of floating in space.
outstanding collection of Olympic torches and roller-
Vertical red and white window slats that populate the
shoe box are not designed explicitly to aid interior light-
The hall’s mandate is to not just focus on Olympic ath-
ing, rather they are meant to metaphorically represent
letes and related paraphernalia, but rather to celebrate
the Olympic rings…via a slimmed down, stretched rect-
Canada’s sports heroes across the decades. Once
angular narrative. Metaphorically speaking of course.
you’ve walked through the hall and fully digested the
We like it as it helps to draw the eye vertically and as-
scope and depth of its history, only then will you realize
sists in breaking up the horizontal, freight car massing.
how proud all Canadians should be of our athletes oh
On the west side of the facility would be the yang to the
these many years. As for architectural design and ex-
red boxes yin. Anchoring the facility, all dressed in its
ecution performance…I give it a silver medal.
best whites, is housed the all important gift shop, caf-
After much delay, budget overruns, & acres of criticism, Calgaryâ€™s Peace Bridge did finally open for walkies Copy/ Images. Angus MacKenzie
Okay so to be clear, we like Santiago Calatrava... So we’re good. So then the problem with our friend the ‘Peace Bridge’ isn’t with the architect per se, it’s with the director and executive producer? It’s like when say Johnny Depp gets dropped into a bad movie, the results are for the most part, not his fault. This is what I believe we’re seeing in the Peace Bridge. The bridge is competent enough on paper, looks good in renderings despite its overt heaviness and assinine placement. And it’s red. So the problem? Ignoring its price tag and aesthetic flaws, the problem is its placement. The bridge neither works to solve or refine existing pedestrian traffic on the street side of the river. Nor does it align with contributing walkways on the Island side. And why drop a 100 megaton red beasty of a snake like thing in betwixt two completely competent bridges? I believe the answer may lay in the wallet of
our former mayor, one Mr. David Sprawlconnier. Friend and lover of the UDI, and urban developers everywhere, Bronconnier’s participation in the placement is up for debate, however, that the bridge aligns rather neatly with one Mr. Restaurant owner/major political contributor’s eatery on the south side of the river does stink of grassy knoll. Political conspiracies aside, the bridge is visually impressive - at night - with its opaque insets and red xmas trim. Photographs nicely. People, they seem to like it, said one survey, and it does add to the architectural diversity of the city. Oh Santiago, where were your sculptural flying sail bridges when we needed them. So in Zoolander fashion, I think the hamster tube should be renamed the ‘David Sprawlconnier Bridge for Kids that Don’t Understand Context so Good’ bridge.
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She rises out of the south Calgary suburban blandscape like a Star-Warsian snowwalker in pixelated camo-pants. This monstrous massing of health regeneration exterior was skinned by the rather talented façade folks at Kasian Architects. Merging from gold wheat hues up to skyward blues the skin is designed I’m guessing to ninja its extensive sizing into the landscape. A task made difficult by its hugeness when placed in context to nearby sublurblah residential compounds and their taupey homogenous designs. The main portion of the new health campus exterior is based on a curtain wall system using Grey tinted glass, grey spandrel panels or the multicolored aluminum panels as cladding on the Curtain wall. Guy Pocock, Kasian Architects, on the project’s facade treatment. “Drawing from the campus’ theme ‘People Nature Village’ the exterior materials should where possible reflect elements of the Southern Alberta Landscape, prairie, foothills, mountains and sky,” notes Guy. “The brick or stone elements were chosen for their ability to reflect the regions sandstone outcrops and history as a building material.” But I do like it. For it does in fact lighten the visual massing in the context of the existing landscape. And that it moves away from what could have been an extensive array of creamed taupe doesn’t hurt either. Look forward to further ventures into the belly of the health beast in a future issue.
inogeek Calgaryâ€™s new SPARK Science Centre opens its sciencey doors to illuminate & cultivate the creative & the curious Copy. Leslie Todd
/ Photos. Angus MacKenzie
W i t h hyper-saturated
glowy-ness just off Deerfoot Trail, Calgary’s new science centre pops out of the reclaimed landscape like a not so well hidden rave house...if we listen carefully you can almost hear the glow-sticks and binkies in the distance. But this is no e-den of 256 bpm iniquity, this is the newest facility of all things sciencey and good - a Libeskind-esque fortress of solitude whose shardlets jut from the ground like a crystalline experiment. This multi-coloured box is the new Telus Spark Science Centre with a mandate is to make science cool again, unlike Stephen Harper. SPARK was designed with the intent of being catalyst for the curious, in a nerdly, geek-like way for all ages. ‘Spark is meant to ignite a sense of wonder & fuel the imagination’ according to the press package. Other sparky superlatives like; flashes of inspiration, illuminating, and brilliant all work to drive home the verbological concept of the centre as a vehicle to educate and inspire. There’s inspiration twice so I guess it works. Replacing the fondly remembered downtown science centre SPARK was finished in the fall of 2011 on reclaimed city land. At $160 million dollars and 153,000 sq. ft. the centre provides more than enough space for future scientists and innovators to blow shit up. One possible reason that Canada is falling behind the world in innovators and innovation could be attributed to the fact SPARK is the first new science centre in 30 years. Innovation? Who needs innovation when we have oily gassy deposits to last us one billion
content for the space, focus groups were invited to participate and provide input in various test sessions. From these sessions culminated four approaches: Open Studio, Being Human, Energy & Innovation, and Earth & Sky. Most likely the ‘blowing shit up’ sessions would occur in the ‘Being Human’ exhibit. Angley and pokey in certain aspects, veiled and cloaky in others, the exterior design of SPARK is certainly frenetic, but still manages to flow with a not so bad aesthetic rhythm. According to the press release, the building is largely built of steel. Yes it is. Corrugated crystalline sections protrude from the ground providing a break from the west sides voluminous massing. To help lighten the massing and provide additional visual personality to the space an encasing metallic exo-skin wraps the majority of the vertical surfaces. Solar shaded and protected with ‘scrim’ spaced roughly 2 metres from the main building, the skin is broken by rectangular negative spaces, occurring across varied intervals. Lighting inset between the skin and building varies the personality of the space across
trum at night. Inside away from the raving light show, the space opens up dramatically with wooden panels and expansive main
over from exhibits on the second floor is the architectural highlight of the interior.
Juxtaposed angles and sandlewood cove
panels criss-cross each other in an effort to s
true to the centre’s ‘sciencey’ and innova
mandate. The cool nerd out science geek stuf
of course what the centre is all about. Hand
interactive exhibits like ‘open studio’ challeng
visitors to question established assumptio
and redefine creative thinking via smashing, li
painting, symphonic colour composition, shad
dance or simply blow shit up. Actually no blow up here, smash only.
In Being Human, you learn how slow your refle
are, or how bad your memory is getting or whet
the date you’re with is compatible or a deade
Super. This one is better left to the younger fo
who haven’t had a chance to properly form eg or their identity yet.
In ‘Earth, Wind & Fire’ a talented band of you musicians, totaling 34 in all, throw out some of
best disco, soul, R&B and funk of the era. The
also miniaturized avalanches, constellation stari landscape erosion exercises and other stuff.
â€œAngley and pokey in certain aspects, veiled and cloaky in others, the exterior design of SPARK is certainly frenetic, but still manages to flow with a not so bad aesthetic rhythm.â€?
In Energy & Innovation oil companies use
museum will be the highlight for the wee
their sponsorship opportunities to ‘explore
ones. I give it 5 interactive waterfalls out of 5.
the properties of petroleum’. In this exhibit
The amount of work and thought that has
visitors are learned about how to build a
gone into the spatial design and interactive
pipeline from the north to the BC coast,
components is impressive. Exterior archi-
then carefully maneuver tiny single-hulled oil
tectural elementes are better appreciated
tankers through ghost islands without running
at night with the changing light. The ROM’s
aground and killing thousands of seabirds
stolen shard elements are a nice breaking
and indigenous wildlife. And then there’s a
touch, if not overly plagiaristic. So given SPARK’s mandate of igniting cre-
wind turbine. The creative kid’s
ativity and sparking curiosity (pun) I’d have to say they’ve succeeded in providing a cohesive facility in which to foster future thinker types.
All Hail King Edward
Calgaryâ€™s iconic King Edward School turns 100 this year...and with it a new life Photos / Copy. Angus MacKenzie
do i stutter In the Oscar winning ‘The King’s Speech’ the role of Guy Pearce was played by an arrogant playboy named Edward. Now Edward had a penchant for being a bit of a black sheep in the royal family, think Prince Harry circa 1935. He married a female of questionable repute ie. divorced (twice) and did not stutter. His brother Albert Frederick Arthur George, the Reluctant King, did however stutter but won an Oscar for his performance with the help of Geoffrey Rush. Now King Edward the VIII, who reigned over the UK and other British dominion regions in the early 1900s also did not stutter. Nor did he marry a twice divorced woman. King Edward was also so cool they named an era after him ie. The Edwardian Era, or e2. King Eddy was seen as an important figure in reforming and reorganizing the army, medical services and developing a newfound relationship with those snotty French types across the Channel. So it ‘twas that in 1912, in the foundling city of Calgary that a fine school of sandstone, wood and glass was built on the bald headed prairie in honour of this King Edward the VII. Sandstone, native to the Calgary region was seen as an ideal building material for the school for its durability and accessibility. In all 5 schools throughout the city employed this stoney-sandy-stone material in their build.
Rising up out of the bald headed prairie like an
Germans and that whole WWI thing. Following
institutional monolith the King Edward was the
the big one the school went back to its mandate
tallest structure on the block with the only thing
as a learning institution until 2001. From 2001
impeding the view was one cow, a tree and a
to 2005 the school was leased out to film maker
smattering of small English children attempting to
types and a French language institution. Since
tip said cow.
that time it has sat empty but has performed
Built initially as an educational institution the
beautifully as an impromptu skateboard/snow-
school shortly became a cadet training facility and social service centre in 1914 thanks to the
board park and rollerblade video shooting facility. Attempts by the CBE to sell the school to certain
evil developer types who might
217 kms each day from blando-
have turned the space into over-
burbs in silvery SUVs than live in
priced leaky condo units failed
the inner-city for fear they would
miserably due to lack of commu-
lose their self-defining bonus
nity support. Aww, what a shame.
rooms; where NIMBY mentalities
But then in 2010, a unique, very
remain pervasive? How about we
un-Calgary ‘let’s tear down the historical’ thing happened, a partnership was formed between The Calgary Foundation and Calgary Arts Development with the con-
maybe work to disprove some of these stereotypes and repurpose a historical important space into a non-profit thing of architectural and cultural inner city beauty!
cept, to re-develop and repurpose
Let’s do this people.
out the space as an Arts Incuba-
So the vision mandate for this
tor. Say who the what who?? This
Juilliard-styled incubator defines
is Calgary, not Vancouver. Calgary,
it as “An integrated, mixed-use
where oil and gas determines your
‘hub’ providing a dynamic and
social/economic and cultural sta-
collaborative gathering place
tus; where turbo-diesel 4x4s with
focusing on the incubation and
20” lift kits, replete with gilded bo-
advancement of professional arts
vine cajones hang delicately from
practice, social innovation and
whence trailer hitches should be;
community development in South
where Stephen Harper was born;
Calgary.” South Calgary being in-
where people would rather drive
ner city, not Bridlewood.
the ARTS INCUBATOR A futuristic glimpse into the incubator, post-redesign/repurpose. Anchor tenants will occupy the top floor of the school, while various coffee shops and miscellaneous other shops will provide retail throughout the space. The schoolâ€™s massive classrooms provide outstanding ambient light throughout for all incubatees. The space is made of up 3 commons: Learning, Creative and Community Commons. Learning provides the physical, social and digital spaces for which to foster the collision of ideas and innovation. Creative Commons is comprised of production, rehearsal & creative spaces for artists & non-profit. The Community Commons is a public realm intended as a spillover space for public art, events, community gatherings, or for just hangin & chattin over coffee.
9 TYPICAL TOWNHOUSE UNITS (PRIVATE SECTOR)
COMMUNITY OPEN SPACE (CITY OF CALGARY) 13 ARTIST LIVE/WORK UNITS (cSPACE)
SHARED/ COMMON SPACE (cSPACE)
2 FLEXIBLE STUDIO PAVILIONS (cSPACE)
145 MULTI-RESIDENCE UNITS WITH BELOW GRADE PARKING (PRIVATE SECTOR) ARTS HUB AND INCUBATOR INCLUDING: OFFICE, STUDIO, EXHIBITION, REHEARSAL, CAFE AND MEETING SPACE (cSPACE)
THE LEARNING COMMONS The connective tissue of the building’s working community – these are the physical, social and digital spaces that provide fertile ground for the collision of ideas, innovation and community building.
THE CREATIVE COMMONS The backbone of the facility – a portfolio of production, rehearsal and creative spaces for local artists and non-profit organizations to generate new work, innovate in their mission and accelerate their impact in Calgary and beyond.
THE COMMUNITY COMMONS Is the public realm that connects the diverse activity percolating from the heritage school to the local community. It is intended as a spillover place that delivers diverse opportunities for public art, innovative open space, community gatherings, heritage interpretation and interaction with the arts.
The facility will house a range of affordable office, programming and collaboration spaces for community and non-profit arts organizations. Former school rooms will be redesigned and repurposed into dedicated studio spaces for artists and creative entrepreneur types. I call dibs on the Lego room. The incubator is designed to provide a community styled haven for artists and tenants, thus encouraging a communal space to further foster the mandate. This in turn will provide a multi-layered experience via programming and mentorship that will hopefully develop individual capacities and advance the goal of becoming successful entrepreneurs. So thatâ€™s the inside artsy stuff, what about the outside and architectural refinements? Well while the core operations of the multi-tenant arts incubator will be housed in the original 1912 sandstone school building and subsequent phased additions, it is envisioned the remainder of the site will be redeveloped for mixed-income residential use. Conceptually the plan will see private owned townhouses on one end of the grounds next to artist live/work units and flexible studio pavilions. On the east side of the school the plan is to develop 145 residential units, forming an L and enclosing the school from my view. These residential spaces, amenities and public spaces are designed to reinforce the incubatorâ€™s purpose, enhance the sustainability, and anchor the facility into the community. Our kudos go out to cSpace, the Calgary Foundation, and Calgary Arts Development for making this whole Edwardian thing shake forward..and they didnâ€™t even stutter. To learn more visit www.cspaceprojects.com
ca l g a ry s tampede
100 corndogs on kodak captures celebrating the calgary stampedes 100th bday Photos: Angus MacKenzie
1,000,000 corndogs, 737,000 minidonuts, $4.2 million on Whackmy-mole and 134,500 ring tosses later, the... Calgary Stampede turns a cool one hundred years. Was about this time in 1912 ago that some Weadick fellow and 12 ranchers felt there just weren’t enough corn dogs available during July. So one day Guy and friends were around the bar drinking the hooch, eating humbugs when they came up with the idea of putting together a barebacked, cattle wrestling, wagon chucking type of affair where beef would flow like fine wine. At this untested event locals would come to be enthralled by carnies named Murray and where they could throw plastic rings at 2 litre Coke bottles and be assured of never ever winning.
ride a horse, eat beef, lose monies at mole whacking, drink, win large stuffed Panda, go to corporate event, eat midnight pancakes, make ass of yourself 5-7 times, all whilst wearing special once a year Wrangler pants. Repeat. Billed as the ‘Greatest Outdoor Show on Earth’ today’s Stampede holds little semblance to the Weadick vision but damn if the mini-donuts and the Ship & Anchor’s Hank & Patsy Night pancakes don’t make it all worth it.
In this Kokad-editorial essay elemente tries to capture a small essence of what has made the Now mosey on ahead 100 years and city famous on the world wagonthe focus of the Stampede remains chucking stage. relatively the same – get drunk,
frank about mclaren McLaren Design Director, Frank Stephenson, talks to the influence of fish & falcons on the subject of fast Images. McLaren | Copy. Angus MacKenzie
why did the falcon hold its breath? Meet me at Hall 5.1 at 5:45 on the 27th. This was the invitation from my new BFF for a month, Frank Stephenson, Design Director for McLaren. Frank had magnanimously invited me to the launch event for the much anticipated successor to the F1, the new P1. Felt this was a great time to meet with the award winning designer, whose credentials include the; Maserati MC12, Ferrari F430, FXX, Enzo, some Fiat stuff, and most recently the MP412C and 12C Spyder. The guy has skills. Oh and he was responsible for the redesign of a lesser known miniature icon in early 2000s: the Mini. So 17:45 hours then, at the McLaren e 185
McLaren 12C SPIDER
booth in Paris. Got it.
pull hi-res images of the P1 off the interwebs. Impres-
Unfortunately I hadnâ€™t planned to be in Paris, my pass-
sive right. If you close your eyes you can smell the
port had expired and the show was the next day, and...
fresh croissants toasting on the engine deck.
you get the point. But was nice to get an invite.
Since 1963, the year yours truly was dropped head
But beyond my inability to be an attendee at the big
first onto this planet, McLaren Racing has been recog-
francais Show I did manage to do the impossible and
nized as one of the most successful and groundbreak-
â€œBiomimicry is an inspiration that I find important in design, because in nature there is no room for excess. Any design related elements are there for function and efficiency, not for excess or show.â€? Frank Stephenson, McLaren Design Director
WATCH ‘MCLAREN: BEHIND THE SCENES’
ing teams in Grand Prix racing. The firm has created some of the most iconic Formula 1 cars in the game with more than a few wins on track. And what McLaren has learnt on track it has brought to the road games in the form of the new 12C Spider and successor to the Gordon Murray designed F1, the P1 concept. This successor to the Mr. Bean driven, gold plated F1 has been emboldened with the task of not only surpassing the car that redefined supercars in the ‘90s but dealing with a new batch of hyper-exotics in the form of the Veyron, Pagani Huayra and upcoming Ferrari F70. No pressure. The intensely oranged P1 at the McLaren Booth is not a production model but rather a ‘design study’ concept vehicle put on display to tease the world. And tease it does. It’s hyperexaggerated side scalloping looks to assist high performance brake venting and engine oxygenation/cooling, an F1 influenced low arcing roofline melds nicely into an extended engine basin that encases the yet to be determined powerplant and hides the massive hidden rear wing. Oh and there’s what would appear to be copious amounts of carbon fibre all over the damn place. But the single most important design elemente on the P1 is not the barrier pushing aerodynamic elements that create 1320 lbs of downforce, or the rumoured powermill capable of putting out 600 HP per ton (equating to 900-1000 HP based on 3000 lb vehicle) or the ultra-light carbon fibre monocage. No, the most important elemente on the Parisian P1 is the colour. Yes, that’s right, the colour. McLaren’s Burnt farking orange is not only the preferred choice of many Floridian citrus fruits but
McLaren Design Director, Frank Stephenson
also the most awesomest RGB colour in the
And as we’ll see, just like in nature, everything
history of man. And you thought I was going to
on the P1 is there for a reason. True form im-
say carbon fibre.
proves function according to Chief Design En-
The extreme visceral nature of the P1 is no ac-
gineer, Parry Williams. “Every duct, every sur-
cident. “I wanted the P1 to look like a Le Mans
face, does a job, either in aero or in cooling.”
racer with that low body, long rear deck and
But enough about orange mono-cage cock-
open mesh rear styling to put the mechanicals
pit amenities, what about those fantastical
on view and to help cooling,” says Stephen-
McLaren design aspects? In talking to Ste-
“My favourite car designs for the most part came from the 1950s and 60s when cars were seen as works of art and not as regimented to bureaucratic standards as today.” Frank Stephenson, McLaren Design Director son. “Plus there is the most aggressive rear
phenson the designer about design, he men-
diffuser ever seen on a road car.”
tions the need to constantly be on patrol for
With the singular goal of becoming not only the
new design inspirations; whether they exist on
fastest production car on the road but also the
the street, in nature or in existing technologies.
quickest series production car on track the P1
Frank is one of the lucky that possesses the
genetics are intentional throughout. “I wanted
creative curiosity gene that over time has been
a car that was striking but also functional, a
trained to pick up on subtle design cues in the
real statement of intent,” states Frank. “I want-
ed a genuinely beautiful and dramatically hon-
He says his inspirations can range from ‘things
est ‘supersports’ car that was in keeping with
on the sidewalk’ to a sailfish to the toys in his
McLaren’s heritage but also at the forefront of
office, as he pulls out one toy after another,
presenting key design elements of each that
caught his eye. For sure his Platinum Toys R’ Us card is maxed out and the latest HotWheels are hand-delivered direct to McLaren. “The nature of a designer requires they in essence keep a toy shop around them,” claims Stephenson, as toys cover various working surfaces around his office. But when he’s not racing HotWheels around his office floor Frank is sketching. Stephenson is apparently always sketching. Free form sketching is what many of the great architects and designers constantly try to instill on their students, the analog representation from a pen is infinitely more human and personal than what can be delivered via a computer. At least in the early stages this is where you’ll see many early designs created, scrapped, tweaked, scrapped, repeat, etc. until the design is clay ready. But even once the car makes it past CorelDraw 3.0 it still has to go through another claymationed analog experience. When it comes to working with the Playdoh on the next step, “The advantage of clay is that if you put too much clay on you can take it off, and vice versa. And unlike a computer program, you can feel the subtle transitions from a soft radius to a hard radius, wherein on screen the subtlety could be lost,” says Stephenson. “It’s almost like you could work blind on the car and come away with a finished piece that you would know is right or wrong based on feel alone.”
‘We have ended up with a car that looks as futuristic as a concept car – except that it will go into production – and with similar aerodynamic properties to a sports racing car.’
When asked about design influences Frank goes old school on your ass. “My favourite car designs for the most part came from the 1950s and 60s when cars were seen as works of art and not regimented to the bureaucratic standards of today.” Here here! I concur with the Moroccan gentlemen with the Stretch Armstrong. With a deep passion and curiosity for evolutionary biology, Stephenson also looks to nature for further inspiration via ‘biomimicry’. For those unfamiliar, biomimicry is a relatively new science that analyzes select design aspects in nature and works to best emulate, then reproduce and incorporate these key traits into real world applications. Cueing off some of the fastest animals, birds and fish in nature, Frank closely follows the kung fu teachings of the biomimicry. “The Peregrine Falcon for instance can reach 200 mph in a dive by changing its wing formation, closing nostril passages, optical membranes cover the eyes, all in the name of increasing speed and reducing drag,” says Stephenson. “The sailfish on the other hand can reach speeds of 80 mph in the water, and so what we at McLaren try to do again is bring specific evolutionary aspects into say the engine duct work to reduce drag while also optimizing engine cooling.” Stephenson goes on to note “Biomimicry is an inspiration that I find important in design, because in nature there is no room for excess. Any design related elements are there for function and efficiency, not for excess or show.” Just recently released at the Pebble Beach Auto Show the 12C Spider’s evolutionary influence is evident throughout. Drawing on the company’s long-standing Formula 1 experience in its concept and development, the 12C is promoted e 197
as lighter, faster, more powerful, more fuel efficient
329 kph is the car’s top speed in case you need to
than its key competition….according to the market-
get to Banff in hurry.
Other unique design related infographics include a
With the 12C Spider, in order to maintain legendary
super fast, custom designed RHT folding roof sys-
performance characteristics, and stay lean, certain
tem. “We minimized the fold-up roof requirement in
design requirements had to be met. “By adding stiff-
order to save or attain luggage space, of which the
ness to the 12Cs carbon fibre tub you increase tor-
car does come with a custom bespoke designed
sional rigidity, and reduce scuttle shake, the unfortu-
set,” notes Stephenson. “To retain body integrity we
nate byproduct of cutting the roof off.” Because with
only had to add another 40 kg to the car via a car-
a lightweight, twin-turbo V8 developing a ridiculous
bon fibre roof mechanism, as the carbon fibre tub
600+ bhp the last thing you want at speed is an em-
already has inherent stiffness qualities.” Taking less
barrassing case of scuttle shake. I had scuttle shake
than 17 seconds to raise or lower, the 12C’s roof can
once, a rather painful inflammation of the scuttle,
be operated while the car is moving at speeds of up
cured only by an intense diet high in carbon fibre
to 30 kph. When asked about visual aesthetics and
budgetary concerns Frank points out that, “It takes
The carbon fibre tub also acts as the critical foun-
just as much money to make a car look ugly as it
dation for the rest of the car. The engine supports,
does to make it look beautiful.” This Frank he makes
front end frame, interior, etc. are all built off this new
a good point. However given the 12C Spider will set
production method that is premised around the tub
your Interac back $260,000 scuttles I’m thinking I
as the key anchor point. This method apparently not
could design one hell of an ugly car. That orange
only delivers high performance architecture to the
P1, due to hit production later next year, will set your
game but does so at a third of the price.
wallet free of approximately $850,000 scuttles.
Power is delivered via a mid-engine conflagration
In the meantime, with the help of a few sailfish and
hooked to a 7 Speed SSG dual-clutch transmission
falcons, Frank Stephenson will continue to sketch
that all works nicely together to put out 0- 100 kph
and zoom HotWheels about his office as McLaren
times in the blisteringly quick 3.1 second range. In
continues to push its F1 influenced hyper-exotics to
getting to 200 kph you’ll need a mere 9.0 seconds.
the design limits…in orange.
er p e & â€™s s o l tler c p u his s t e ia W enzie g us 35 v acK g M n a ty FX gus n A tas story. +
i’s t i n i f n h I hway t i w Hig l a n Sky o s r to a s Se
The lunar low-rider has landed In the world of SUVs there are box-U-vees and there are curvilinear SUVs. SUV is supposed to stand for Sport Utility vehicle, but in the case of most manufacturers their finished designs are about as close to the definition of ‘sport’ as Rush Limbaugh is to being a synchronized swimmer. Now let me take you back to a time when the MacKenzies owned one 1977 Chevy Suburban. Black with red cloth bench seating defined SUV before the term became all the rage. We affectionately referred to this early-adopter SUV experience as the ‘Hutterite Truck’ for its understated blackness, extensive footprint and ability to carry 147 chickens, 11 soccer kids, 3 hockey bags and 62 bushels of corn. Today however, most SUVs have more than their share of ‘70s Suburban genetics than they do with anything resembling a sporty DNA makeup. Rectilinear boxes with marginal design variations and
curvilinear surfaces are strictly out.
space and 3:2 hip to cabin ratio. I
The proportion of design ingenuity
don’t know if it’s actually 3:2, but it
to functionality stands at a ratio of
sounds good on paper. The Infiniti’s
1:1, which is fine, if utilitarian and
wide stance not only helps to en-
bushel transport are your priorities.
hance its handling attributes, but
Infiniti’s 2012 FX series completely
also works to further define its enig-
derides the box argument in favour
matic shape. The rear presents the
of the singular caress of a Japa-
most defining design element where
nese calligraphic brush stroke. We
the arcing glasswork flows seam-
in marketing refer to this as ‘being
lessly into the C pillar.
The big 21/245/45 tire package fur-
My bias towards the FX35 has been
ther accentuates the ride’s perfor-
at play for some time. Ever since this
mance mandate. Narrowed, sculpt-
‘bionic cheetah’s design inception in
ed headlights and side markers
2003, critics have thrown kudos and
wrap around to the FX’s rising, mus-
accolades its way for a brilliant blend
cular front haunches. The design is
of sports coupe aggressiveness and
‘described’ as purposeful and bal-
forward thinking utilitarianism.
anced, but with its contemporized
I affectionately refer to the design
urban-assault vehicle execution I
as lunar-lander meets South Central low rider for its futuristic raked cabin
would place it as stylish fashionista over purposeful chicken getter any day.
Despite its wide stance and ample size the FX’s inner city
The FX, as equipped, features a console mounted SAT-
driving abilities and maneuverability is excellent. Ride is
NAV, excellent for foreigners finding their way from East
firm but not sports car unwieldy. Steering feel is ideal at
Hastings to Whistler. A nice religious touch that activates
low speeds while firming up as needed for spirited driving.
when backing up is ‘God view’ mode. God and his om-
Up under the flowing hood lines lays Infiniti’s much loved
nipresent 4 wide-angle cameras (2 side mirror mounted,
and much lauded 3.5-litre V6, with 303 horsepower and 262 lb-ft of torque in FX duty. Attached to a beautifully concocted 7-speed auto box, the FX35 can hit 100 km/h in 6.0 seconds while still dispensing excellent about town
and one front and rear) provide an omniscient over-watching view that presents the driver with 360-degree visibility around the vehicle. This feature is very much welcome as rear three-quarter visibility is reduced with the tapering
drivability. Power is linear throughout, with Infiniti’s signa-
ture ‘angry can of bees’ exhaust note at the ready. On
Futuristic Hutterites will also enjoy the individualistic cli-
the highway, you become aware of the 1,900-plus kilos
mate control system – handy for keeping the chickens
of stylized metal beneath your trousers. But through the
warm and the eggs cool. And the BOSE premium sound
miracle of the manual autobox offerings and the quick-
system will further enhance the driver experience while
to-spin V6 the FX35 is more than capable of handling the
calming the chickens.
Sea to Sky Highway’s rising/falling curvilinear road offer-
Driver and passenger seats are firm yet pliable with excel-
ings. Body roll is noticeable under spirited driving on the #99, but thanks to a wide stance and a dialed-in performance suspension the FX handles the weight management issue with relative ease.
lent lateral support for those alternating switchbacks on the Sea to Sky. Interior solitude is first rate with no noticeable wind noise accessing the cabin. Its heavily shod 21inch rubber introduces some road noise into the cabin,
Mileage figures averaged out for the Vancouver to Whis-
but not excessive.
tler run showed 13.1 litres per 100 km. Not fantastic, but
Storage space is commendable in spite of the decreasing
acceptable given elevation climbs, spirited driving sessions and weight.
rear cabin - a stylistic compromise I’m willing to accept. With over 700 litres (25 square feet) of storage space with
Infiniti’s intelligent AWD system also brilliantly comple-
all the seats in use or 1,750 litres (62 square feet) be-
ments out the FX’s handling abilities. The adaptive system
hind the front row there’s enough room for the targeted
runs out as a 100-percent full-time rear wheel drive con-
demographics spatial needs, i.e. golf bag + 2 buddies,
flagration that delivers an enhanced/truer sport driving ex-
3 suitcases + dog and wife, miscellaneous art piece + 7
perience. When road conditions change the wheels with
chickens + 3 bushels of maize, etc. Consumers wanting
the most traction are tasked to engage. Although the driv-
more space should revisit the ‘de-styled’ conversation.
ing conditions were dry and sunny during the test drive,
De-styled, I like it.
when pushed under performance driving I could sense
Priced point for the FX35 starts at a tick over $53,000,
the AWD system activating and behaving like an AWD vehicle. And since it never rains in Vancouver, or snows in Whistler, it is unlikely one would ever need this system (tongue placed firmly in cheek). Inside the FX the colour palette and design are consistent with the marque’s purposeful message. Monochromatic colours with minimal brushed accents seem almost incongruous with the exterior styling, but understated design cues don’t take away from the experience.
but given this SUV’s stylistic statement, all-weather performance abilities, plentiful load of electronic goodies and chicken moving prowess, I would definitely put it at the top of my list. Now, define sport for me again?
cinquecento Fiatâ€™s diminutive city-car gets taken from itâ€™s urban comfort zone for a run on the Sea to Sky Highway Photos. Angus MacKenzie Ad Imagery. Fiat Copy/Test Driver. Angus MacKenzie
The little Italia that did Is there such as thing as too cute? I’m talking babies
es the definition of a unisex automobile. Think Stefani
holding puppies while kittens recite Hello Kitty cute. Cute-
Joanne Angelina Germanotta (a.k.a Lady Gaga) meets
ness to the extreme. If such a thing exists, and I’m pretty
John Pinette in a gelato shop, over a panini, warmed up in
sure it does, then the Fiat 500 may fall into this category.
a DeLonghi 1950s retro-toaster and you have the stylistic
Born of Joe Pesci’s eyelashes, Danny DeVito’s dimples,
mandate of the 500.
a shot of cinnamon gelato and a 500 cc engine, comes
Sporting a euro-tested Twin-Air 1.4 litre engine, this pic-
the 2012 Fiat 500. Fiat short for Fabbrica Italiana Auto-
colo four-banger puts out a whopping 101 horsepower
mobili Torino has reborn the tiny road-going-toaster from
at 6,500 rpm and an accountant arm-twisting 98 foot
its Italian originations of 1957. Hardly able to stop, go or
pounds of torque at 4,000 rpm. But for city driving, where
fit anyone taller than a DeVito, the original ‘city car’ was
the 500 demographic resides, the powerplant will meet
testament to the Italian manufacturer’s ambition, and un-
most cinquecento drivers’ expectations. Buzzy would
fortunate inability to properly execute.
best describe the aural qualities under acceleration. On
Flash forward 50 years and you have the introduction of
highway, under spirited driving, much shifting is required
the ‘nuovo’ 500 in Europe. Flash ahead another 5 years to BC’s Sea to Sky Highway and you have me tossing the 2012 500 about like an Italian whippet. If there were design awards for cuteness then the 500 would be at the podium lauding its charismatic traits over the land. With its pert, rising rear, wee snubby nose, engaging headlights, short overhangs, slim hips and rounded surfaces, the cinquecento makes itself a most unique visual piece in Whistler’s Market lot. A ‘manly’ car it is not. With its many rounded edges, miniature footprint and effeminate attributes the 500 pushe 210
to maintain the tiny sweet zone in order to carry speed through various sections of the undulating, circuitous Sea to Sky. I don’t think we need to go into 0-60 times (9.6 sec) because for the targeted demographic, track performance is not a priority. Another 25-30 horsepower would definitely enhance the car’s overall appeal – the new Abarth version should however appease the Alonso crowd. Curb weight is a meager 1,100 kilos (2,400 lbs), thus allowing the double air-puffer to provide the aforementioned performance specs. The 5-speed gearbox unfortunately loses the Fiat many
points. For a car that has been
rather than a chore.
tested in the Euro market for years
Low speed steering is Bud light
I find it hard to understand how the gearing could be so frenetic? 5th gear is almost useless as the legs are too long for available torque to support. 2nd to 3rd is equally disappointing with a full 1,000 drop in rpm, making for constant inner city shifting. The only gearing to make sense on the highway was between 3rd and 4th. Would hope to see this resolved in future models. Fuel economy as expected is impressive with ratings at 6.7 L/100km city and 5.1 highway.
ited driving provides excellent linear feedback. On centre feel firms up and remains consistent under hard driving. I do recommend leaving the ‘Sport Mode’ button on as steering and throttle response are tightened up, thus providing a proper road going experience. In spirited cornering, oversteer is easily set by coming off throttle before corner inception, inducing a rather entertaining experience via the pert rear end chasing the nose
Maneuverability is quite ridiculous,
playfully about… ensuring Sport-
or ridicolo as one would expect.
ing Mode is engaged.
The road toaster’s minimalist sizing
The Sea to Sky’s many varied and
makes abbreviated parking spots possible and trundling about Vancouver’s urban landscape a treat
and over powered, but under spir-
diverse corners, switchbacks and elevation changes afford a most
1950-60s fiat ads brandED the 500 as the â€˜la dolc vitaâ€™ lifesty choice of th pastel set
ce yle he
jaunty and fun road course for the 500. Born of
tions. One of the 500s more defining old-school
Italian heritage the toyish 3-door is capable of run-
touches is the colour-keyed gloss panel insert that
ning out to 140 km/h while still retaining its playful
delivers a contrasting splash of colour for a true
Ride and suspension composure at speed finds
The large single tach/speedometer info hub quickly
the car pushed to its comfort zone. Lateral ride
provides speed and rpm info, however the degree
management is a bit chatty and jouncy on poorer
of information packed into one visual point is ex-
road sections with the back end fighting to retain
cessive. I believe the automotive term is tachdom-
composure. But overall, ride set up is compliant
yet firm for both city and highway driving.
portmode, but then again with a name that long it
In keeping with the nod to retro and the chrome
would have to be a German car.
meets pastel theme, the 500’s interior décor is ex-
Remaining bits like AC adjusters, defroster and
actly on brand with the car’s heritage and Italian
fan controls are piled up neatly above the console-
influences. The interior is bright, fun and playful.
mounted shifter. The window up/down switches
Greenhouse space and visibility are excellent. The
are unfortunately placed on either side of the shift-
sunroof further adds to the spatial argument.
er. But the BOSE sound system provides an ex-
Spazio interno, or interior space is surprisingly
cellent aural experience and makes up for these
ample with enough headroom for six-foot plus
aforementioned design deficiencies.
drivers. Legroom is equally as impressive. Lateral
Max storage space is a whopping 852 litres (27.2
space is cozy given the car’s slender 163 cm wide
cubic feet)! But despite the spatial challenge we
hips, but then the Italians are renowned for their
managed to fit 2 suitcases, 1 ski/hockey bag, 1
ability to bring couples closer together. Seats pro-
projector, 1 camera bag, 1 six-foot Scotsman and
vide not so bad lateral support for spirited driving
his accompanying wife rather comfortably. So re-
with sufficient bum comfort for 2-plus hours of ex-
ally, who needs that Suburban?
If cuteness, Italian inspired design, gelato fla-
A very much personalized stylistic experience can
voured colour options, a $13,500 price point and
be found when mixing one of the car’s 14 exterior
favoloso fuel efficiency are your cup of espresso
ice cream colour combinations with interior op-
then the wee 500 may be for you.
Inside Lamborghini Santâ€˜Agataâ€™s most famous automobilia resident nears 50
Copy. Angus MacKenzie | Images. Angus MacKenzie & Automobili Lamborghini S.p.A.
Above. Ferruccio introducing the GTV (1963) Previous. Stephan Winkelmann, President/CEO Automobili Lamborghini, official opening of new prototype shop
There must have been something in the water in 1963. It was the year that several critical events coalesced at once. First, I was born. So let’s get that out of the way early. McLaren was born, Sylvia Plath committed hari kari, Iron Man & X-Men debuted in Marvel Comics, Patsy Cline was tragically killed in a plane crash, some beetles released an album, TAB Cola was sadly introduced, Dr. No and James Bond hit theatres, Sam Cooke was arrested for trying to stay at a Motel Six, and the first episode of Dr. Who was released. But
more importantly to the context of our story, a young Italian go-getter by the name of Ferruccio Lamborghini decided to make cars. Fast sexy things. Even though we see the roots for Lamborghini’s auto fixation beginning in 1963, the human model known as Ferruccio actually took roots in the Italian countryside in 1916. With a reputation as an intelligent, impetuous and strongwilled leader, this farmer’s son came into the automobilia game in the ‘50s in excellent financial positioning. With a solid
â€œLater on, I had two Maserati 3500GTs. Adolfo Orsi, then the owner of Maserati, was a man I had a lot of respect for: he had started life as a poor boy, like myself. But I did not like his cars much. They felt heavy and did not really go very fast; normally 220kph, perhaps 230 on a cool dayâ€? - Ferrucio Lamborghini
Aventador LP 700-4
mechanical upbringing from the farm and fresh out of the war Lamborghini saw an opportunity to get rich in rebuilding his homeland in the exotic world of tractor manufacturing. Sure, you have the houses of Prada, Gucci and Armani but they don’t even begin to touch the raw sexuality that is the tractor. Plus, who knew anyone would ever get rich off tractors? Throughout the 1950s Ferruccio amassed a small fortune from the lucrative tractor game. But it was in the early 60s that other critical opportunities were becoming known. One such opportunity would be the inspiration for Ferruccios now legendary business expansion. And it all came via the roots of another automobilia manufacturer whose name rhymes with Ferrari. Now there are several versions of
why and how Lamborghini got into the automobile game. One legend is based on an argument between Ferrari and Lamborghini over who could build the better car. Another has it that Lamborghini was constantly annoyed with his Ferrari, number of times the car was at the shop, servicing, nasty espressos, etc. This seems to be the most realistic argument given his mechanical background and unique business sense. So one morning, Ferruccio woke up, kissed his wife and decided he’d had enough of what he saw as inferior exotic designs. He thought if I can build tractors I can build hi-performance supercars, after all they’re just like tractors, except with multiple seats, roofs, top speeds over 25 kph, improved aerodynamics, handling, suspension and better overall visual aes-
Ferruccio looking mildly concerned during crankshaft milling (1965)
thetics. Of course like many provocative creative thinkers, many people thought he was quite out of his olive tree. I mean who in their bloody right mind would take head on, the established, legendary marques of Ferrari and others, and expect to survive? Apparently Ferruccio, feisty little bugger that he was. But it turns out the sly kid from Bologna wasn’t walking into the shop blind, oh no, in his spare time it would appear he was actually dismantling his Ferrari’s and other exotics then examining the
mechanics, chassis design, suspension, electrical, etc. to see what made other designer’s cars tick. What he discovered was that many of the parts in his vehicles were in fact the same parts used in his tractors. However, once they were mounted to a Ferrari, the price of an Italian Tire alternator tripled. So in actuality, the vision of exotic cars wasn’t so much the initial concept but rather, what kind of business/revenue opportunity existed in the parts market? Hello, my name is Ferruccio, would you
The Museum The ‘terra di motori’ around Bologna and Modena, roughly translates into the land of the automobilia. Roughly. It’s in this region that Lamborghini’s museum, and manufacturing facility can be found. The entire facility occupies an area of roughly 100,000 sq. metres and it is one of the holy mancave grail halls in all of autodom. On the main floor is where the history resides. A 350 GT, Islero, Espada, Jarama populate the space, along with bedroom wall poster car of the 80s, and oft mispronounced Countach...which is pronounced (koontaaj with a long ‘J’) and essentially translates out as ‘Holy Fu**ing Cow’ or ‘Holy sh!t!’ The 2nd floor is dedicated to design, concepts, exotics and racing cars, including a full-scale Miura Concept. Which we still want to see built. In addition to production and the museum, the space is home to the development division and various technical departments and testing facilities. The museum itself is minimalist affair. Hardwood floors against stark white pillars and A-beams provide a naturalized contrast in which to highlight the super models on display. The space is floor to ceiling glass across the breadth of the space in which natural light fills the space and sets off the car’s design elements. The critical design goal here: showcase the cars in an architecturally conscious environment without overpowering the primary product line. Next to the design centre sits a restoration workshop for historic vehicles and service department for all Lamborghinis.
like t o swing by my villa tonight to see my alternator collection? So it was in 1962, with this tiny supplemental business concept in mind that Lamborghini began building the foundation for the company. In May of ’63 he founded ‘Automobili Ferruccio Lamborghini’, buying a large plot of land in Sant’Agata Bolognese, about 25 kilometres outside of the place where Bologna comes from. I don’t like your meat Bologna. It’s flat and tasteless. You are lucky you know Ferruccio. Being the ever hands-on owner, Ferruccio set up what at the time was considered an ultramodern manufacturing facility. Next to the design/manufacturing space he set up his office space. This wasn’t only so he could better monitor build quality and processes, but rather so he could walk down to the manufacturing floor, pick up a wrench or supervise machining when he saw or heard of something that didn’t meet his standards. I believe we refer to them now as micro-managers. Given his name was on the back of every automobilia rolling out the door he wanted to ensure quality was ensured throughout the process.
However within months of setting up shop Lamborghini had set himself up what would be a true test of his team’s abilities. The test was to include Lamborghini’s attendance at the Turin Auto Show in November of ’63. To better get a sense of perspective, established manufacturers today require years to bring a vehicle from concept to reality. That Ferruccio wanted to go from breaking ground to delivering a vehicle in a quarter of the time was unheard of. Seven months to start up a factory, organize labour, hire and train engineers and mechanics, test engineering concepts, develop body/chassis designs, develop engines, determine if said powertrain exists, build chassis to shoe in powertrain, set up chassis, calibrate and configure suspension and brakes to handle the necessary vehicle requirements, THEN have Car X ready for the show in Turin by November? Bene, no
“All my Ferraris had clutch problems. When you drove normally, everything was fine. But when you were going hard, the clutch would slip under acceleration; it just wasn’t up to the job. I went to Maranello regularly to have a clutch rebuilt or renewed, and every time, the car was taken away for several hours and I was not allowed to watch them repairing it. The problem with the clutch was never cured, so I decided to talk to Enzo Ferrari. I had to wait for him a very long time. ‘Ferrari, your cars are rubbish!” Ferruccio Lamborghini on his early dealings with Ferrari
problem says the feisty little Italian. But somehow they pulled it off. The first car that would come off the line in 1963 for Turin would be the now legendary 350 GTV. This Bertone styled front-engined design was ‘well received’ but comments of ‘Batmobile’ and ‘overdesigned’ crept out from under the critics’ lawn chairs. Overall the car was heralded as not only an excellent first attempt in the market, but an outstanding vehicle in its own right. The 360 HP V12 powering the 350 was designed by former Ferrari engineer Giotto Bizzarrini, caused quite a sensation and would significantly influence future engineering designs. In a 1963 statement given to Italian journalist Athos Evangelisti, Lamborghini noted, “In the past, I bought some of the most famous Gran Turismo cars, and found several flaws. They were either too hot, not very comfortable or not fast enough, or not finished to perfection. Now I want to make a flawless GT. Not a technical marvel, just a very normal, very conventional but perfect car.” The GTV would not be that car but did make a hell of a first impression and set a solid example for future works. Following the Turin show Ferruccio realized the GTV body design by Scaglione had not received the accolades he had hoped. So what does he do, he gets on the telephona and dials up the kids from the famous Milan-based design firm of Carrozzeria Touring. Designer, Felice Bianchi Anderloni tweaked the design just enough to create what is now considered a classic. I dunno, I kinda like the GTV’s exaggerated futurist, Batmobile-like styling. The headlight treatments certainly outshone its successor’s GM Impala rectangular blobs of glass plopped on the hood. In my opinion. At the time of Lamborghini’s foray into the auto world, iconic marques such as Ferrari, Maserati, Aston Martin and Jaguar were already well established. Skeptics seriously doubted Lamborghini’s ability to succeed, even with the GTV’s welcomed reception. So the problem now lay in how to secure
market share in an already crowded, niche market? Many consumers today are aware that buying first year models comes with an early adopter price. Despite manufacturers claims their cars have been tested upside down and sideways for design/engineering flaws, something always manages to go amiss after 12-24 months. Always. Let’s also remember that this is 1963. Strict regimented testing and trials were a mere drop in the bucket compared to today’s standards. Take for example seatbelts. These were for the most part optional if they existed at all. Seatbelt? We don’t need no stinking seatbelts! But like all talented Italian multi-taskers Ferruccio was not only a brilliant industrialist but also a fantastical promotions man. And where do you get good press, but from the press itself. In 1964/65 Lamborghini started to see respected auto-scribers from around the world start to take notice. After several quality reviews from American and European auto pubs word started to reach the ears of buyers with the money. I believe they are known as the rich. Sales figures during this time were meager but enough to keep the Chianti flowing. But only one year after setting up shop, Lamborghini was about to show the world why his vision and his staff were so very special. At the beginning of 1965 Lamborghini had continuously repeated and emphasized he was not interested in futuristic or extravagant projects: he simply wanted to make ‘normal’, ultra-fast flawless cars. He was not interested in concept. However, two young engineers from Bologna had other ideas in mind. The concept: put an ever so slightly tamed version of a full-fledged race car on the road, and not simply reinvent/rework another front-engined GT. Their project, top secretly codenamed 400 TP, came stuffed with a 4-litre 12-cylinder engine stolen from the 400 GT and transversely mounted behind the cockpit. And there ladies and gentlemen is the
unique selling feature – no road going sports car had ever placed the powerplant behind the cockpit, until now. As rumour has it the car was designed mostly in secret, at night, by a team with a vision for a road going race car. The chassis was made of bent, welded sheet metal, drilled out to decrease weight and further enhance performance and handling capabilities. As the story goes, the designers were scared of the reaction from the boss man, but when Lamborghini finally saw the 400TP project he approved it immediately…much to the team’s surprise. Lamborghini however still didn’t quite get it. He mistakenly declared that, “…a car like that should be built because it would make for ‘good advertising’, even though it will clearly never sell more than fifty worldwide.” Fifty. So it was that from those famous misguided words that the legendary Miura was born. Like most Lamborghinis, cars names are derived from fighting bulls, and according to experts, Miura bulls are special. They are supposedly the strongest of all fighting bulls but above all, they are the most intelligent and most fierce. In books, bullfighters often talk about the unmistakable gaze of the Miura bull: the gaze of a true fighter, shrewd and powerful. So when you look at a Miura from the front, with doors open, you can see instantly see the bull’s influence in the car’s design. This in spite of the blinky, long eyelashed headlights. With a timeline that would make most men cry the Miura chassis was completed in time to exhibit at the Turin Auto Show in October 1965. The prototype was an instant hit, but skeptics, who perseverated on front engine designs were not convinced the car would succeed as a road car. The legendary Nuccio Bertone and his design house were brought on board to massage the Miura’s now iconic design. But it was up to the young son of a conductor, Marcello Gandini, to make the Miura sing. Gandini later recounted that from October of ‘65 to February ‘66, everyone worked around the clock, seven days a week, like madmen in order to make the1966 Geneva Motor Show. The biggest problem for Gandini and Lamborghini was not
Muira Roadster debut (1968)
Fifty years of lamborghini 1963 - 2013
1964 To critical claim, Lamborghini debuts its much anticipated first sports car; the 360 HP, V12 powered 350 GTV
The legendary Muira debuts. The designed at night by engineers purpose road/track car. With a advanced styling by Bertone Muira was tagged the wo
1916 Mr. Ferruccio Lamborghini born near Bologna, Italy...bene!
1948 After WWII, Lamborghini purchases the factory to produce tractors to help rebuild Italy.
Lamborghiniâ€™s Trattori (tractor) company succeeded throughout the 50s making him a multi-millionaire.
1962 Lamborghini begins operations, based on rumours Ferruccio was constantly upset waiting for his Ferrari to be fixed.
The â€˜holy shi just in time thereafte
Lamborghini on 60 Minutes (1985)
1998 Lamborghini is purchased by those crazy German kids at Volkswagen/Audi
Muira was conceived & looking to create a duala transverse mounted V12, e & blistering performance the orld’s first ‘supercar’.
2003 Lamborghini’s most successful model to date is launched - the 500 HP Gallardo (guy-are-doh)
it’ 192 mph Countach launches , e for the oil/gas crisis, followed shortly er by Lamborghini filing for bankruptcy
1987 After several takeovers & restructures, Chrysler purchases Lamborghini
1993 Ferruccio Lamborghini dies at 76 in Perugia, Italy
Bruce Wayne upgrades his ride to the Aventador LP700 for the Dark Knight Rises
in getting the Miura to the show, but in developing a car that could go into production immediately. Luckily, the team that Lamborghini had assembled pulled a bull out of a rabbit’s hat. The line of the Miura came out perfectly from the very outset, the prototype was assembled virtually without any problems, and the testing pointed to the need for just a few minor changes. And therein lay the Italian miracle: the chassis shown as an experimental prototype in the autumn of 1965 had now become the world’s first supercar - in just four months. Four months. I can’t even do my taxes in four months. And like the show in Turin in ’65, the Miura was now set to become master of the ‘66 Geneva Motor Show. Unknown to outsiders at the time, and as had happened years earlier with the debut of the 350GTV, the engine wouldn’t fit into the engine bay. This meant in order to give the impression of a ‘weighted’ car, mock ballast/faux filling was added to the compartment, giving the stance impression that the car did indeed carry a workable powerplant. The engine cover was then kept locked to avoid possible embarrassment by inquisitive media types.
ura would be just another pretty face. Not a problem. The Miura could clock 280 km/hour on the straights, even though the gas tanks’ location over the front axle caused handling ‘issues’ once the fuel gauge became closer to empty. Handling and performance from the Miura were and still are considered simply outstanding. But the car’s speed limits would have been exacerbated by the presence of much slower, tinier sub-100 HP vehicles pondering about the Italian roadways. Like tiny taupe pylons they were. The Miura’s styling also fit perfect with the garish colours and stylistic overtones of the 60s. Bright orange or acid-green Miuras would dart about Modena and Milan’s grey streets like oversaturated fashion models. The car was so outrageously over the top beautiful that they literally sucked the personality out of most every other car on the street, leaving the poor buggers near invisible. Almost overnight the Miura would become the favourite among playboys, movie stars, musicians and royalty around the world; ie. The Shah of Persia, Frank Sinatra and Dean Martin were just a few of the big named clients who placed orders.
But even without the engine, enthusiasm for the Miura was off the chain. Lamborghini, being the PR genius that he was managed to raise the hype even higher by taking the Miura to the ’66 Monte Carlo Grand Prix. So on a warm Saturday afternoon, Ferruccio’s team strategically parked a brilliant orange Miura in front of the Hotel de Paris. The car attracted so much interest that it jammed up the square in front of the casino with potential buyers, gawkers and tiny little Italian/French tire kickers.
Flush with cash from the success of the Miura the company continued to experiment in the following years. From 1967 to 1971 Lamborghini experimented with scissor doored, 4-seat, rear engined vehicle. Dubbed the Marzai, the car was concept only but did provide venturing of untested design ideas, of which some would eventually carry over into future models. The Marzai would eventually become the now famous Espada. Not my most favourite design but the car is to this day considered an outstanding road car, with enough room to take the family to Banff for ice cream.
But without performance to back it up the Mi-
Going into the 70’s the firm had an impressive
lineup in the Espada, a new S version of the Miura and the Islero, a front engined GT similar in design to the 350 GT. So in order to keep up with demand and further continue development, Lamborghini expanded. But after experimenting with a racing version of the Miura in 1971 the company would again surprise, shock, stun the world with one of the most outrageous teen poster cars of all time. In less than eight years Lamborghini was at the peak of its success. Ferruccio had accomplished his goal: from nothing, he had created a car factory that was not only famous around the world, but had also become a legend in the design community. His cars, and particularly the Miura, had achieved enormous status in an incredibly short period of time. But things would turn south for Lamborghini in the following years. Automotive union unrest across Italy, mixed with a variety of other concerns finally got to Ferruccio. So in 1972 Ferruccio sold his majority stake to Swiss Georges-Henri Rossetti, and the following year he sold his remaining shares to friend, René Leimer. Thus, the founder, the man who had been the driving force behind the company’s meteoric rise, sadly removed himself from the equation. In 1974, just in time for the world famous, politically motivated oil/ gas shortage, the new Lamborghini-less Lamborghini launched
the car of a million posters – The ‘Holy Shit’ car aka. the Countach. The fastest production car of its time whose name roughly translates into ‘holy cow’ or ‘holy fuck’ the Countach had a top speed of 192 mph, featured hyper-futuristic/sexualized styling, questionable ergonomics and rarified price point. It was an over-exaggerated, not so subtle Italian punch in the face but damn if it didn’t make a statement. Thank you sir, may I have another. The Countach was and still is to a degree, what defined automotive excess in the day - on several levels. This was right before the ‘need to be driving safer, more fuel efficient cars like the Pinto and the Gremlin’ came along and caused a glut of poorly designed, malnourished, aesthetically embarrassing bits of automotive offerings for the next 15+ years. Forward to 1985 and Lamborghini marketing dude explaining the ideal Countach buyer to ’60 Minutes’ Mike Wallace. “The car is not for the shy man or the faint of heart. It is for a man with a big ego…a man who knows what he wants. For if this man doesn’t know what he wants, the Countach will devour him with a flick of the throttle.” Essentially, the Countach was the 70’s automotive equivalent of, and designed for the Dos Equis guy. But following the release of the Countach numerous problems would plague the company A large
tractor deal went awry, exotic fuel monsters like the Countach were being perceived as an expression of environmental excess and excessive luxury. And just when Lamborghini thought it couldn’t get any worse, traffic restrictions were enacted, stricter speed limits introduced, cars were banned on Sundays, and the US introduced a carbon tax on high performance cars. For automotive manufacturers this was their 2008 recession. Lamborghini like those who can’t secure a quality relationship was in trouble. With financial problems ongoing as result of the perfect anti-exotic car storm the company would find itself being passed around three times between 1974 and 1978 before finally filing for bankruptcy in 1978. For Lamborghini this game of musical chairs would continue on for the next 20 years. But in 1980 Swiss sugar tycoons, the Mimran Bros, decided they liked exotic cars so much that they picked up the receivers tab on Lamborghini. ‘Twas during their tenureship that they tried to reintroduce the Countach, the failed LM and rework the Silhouette into the Jalpa. For six years they tried to restart and rework the company, but alas there continued to be problems in the market acceptance delivery system. So in 1986 the sugar kids went shopping for a buyer in which to disperse of the unwanted Italian. Unfortunately the Mimran boys
GALLARDO: DRIVING THE I should also maybe mention driving
ey, unrefined, basically an old school
cars with bigger dollar values so wasn’t
the Gallardo. Running late because of
analog experience in a new world
quite sure why I was intimidated…per-
obvious language barriers, no GPS,
package. 0-60 runs out a tick over 4.0
haps the stigma of the Countach lives
a dead laptop and a map with miss-
seconds with a top speed of close to
on in the psyche.
ing roads made getting to the house
of Lamborghini a small challenge. But
Playstation paddle shifters provide the
With a quick orientation course on
go management to the adjustable e-
stopping and going, and with sunlight
differential and 6-geared flippy trans-
fading I was sent out with a set course
mission. The all wheel drive system,
via the Audi GPS system. The V10
courtesy of Audi, was hard to define
hopping to life in your right ear is an
given limited seat time but did show
Gallardo (guy-are-doh) roughly trans-
intimidating thing. Whatever the oppo-
some power/handling characteristics
lated means; gallant, fine, graceful and
site of subtle is, that’s the exhaust note
typically found in a configuration of this
brave. Not sure about graceful, might
this thing puts out for the world to hear.
type. Would love to see how this 4x4
go; with angularly aggressive, hot, bit-
Strange given I’ve driven more powerful
supercar performs on the QE2 in Janu-
once there the most welcoming hosts of Lamborghini introduced me to the bitey, 520 horsepowered, Alpine White Gallardo.
ary, in an Alberta snowstorm. Perhaps the perfect Alberta
bits and custom-made Lamborghini detailings. Inside, it is
supercar solution? Perhaps a plow attachment just in case.
cramped, just like it looks, which only adds to the rawness of
Let me chat with Lambo President Winkleman and make the
For comparison; if the Ferrari F430 is a tightly honed ballerina
Once on the narrow two lane roads the Gallardo pulls/push-
then the Gallardo is a tightly honed, WWF female wrestler
es its occupants like one of those Italian NASA projects (if
with a roid induced Italian attitude. Even though it has Audi
such a project existed). Power exists all over the damn place,
underpinnings the baby Lambo is anything but a soft cuddly
and all the way up to the 8000 rpm limitation figure. But such
baby. Aggressively bloody quick the car definitely lives up to
were the narrowness of the roads, combined with rush hour
the marques famed sports car persona.
traffic and rain that I was limited to how far I could push
My only beef with the car at that time would be the transaxle
the car. Nevermind the 10 foot water filled ditches lining the shoulderless farm roads. Hard to believe they used to throw Countach’s around these roads at 180 mph+ in the day. Braking, yes she works. She works very good.
setup. Slow to respond to downshifts the gearbox was anything but ideal. However the car I drove was a 2007 I believe so I’m assured the problem has been resolved. The Gallardo, she handles like she looks, and gets looks like she handles.
In the slower sections of the nearby town the locals still turn
How’s that. I give the Guy R Doh 4.5 molto benes out of 5.0.
their heads and gawk at the site of the baby Lambo. Ride
I look forward to trying its Batman breathren one day.
and handling are good at villa speeds but the G, she wants
- Angus MacKenzie
to go! Interior accoutrements are mixture of Audi techno-
approached Chrysler as a potential buyer. Ah yes 1980s Chrysler. Let’s all get comfortable and enjoy the ensuing trainwreck.
in shining armour arrived. Okay not a literal knight, more like a German engineer, wearing glasses driving a VW micro-bus.
Anyone familiar with 1980s Chrysler knows that like fashion during that decade, that leaving the gifted Italian wunderkind with the not so bright, dysfunctional, casino frequenting uncle (aka Chrysler) would be a disaster. Do we need to bring up the K-car?
In 1997, after decades of automotive and financial debacles, one Ferdinand Piëch, grandson of Professor Ferdinand Porsche, became interested in Lamborghini. Germans courting Italians…hmmm. In actuality the little Porsche heir had been closely following Lamborghini for years. Ferdi, can I call you Ferdi?...had first visited Lamborghini as a young automotive engineer early in his career. As an automotive engineer the halls of Lamborghini were hallowed ground, so it was serendipitous, like the John Cusack movie, that Lamborghini should approach Audi around this time about an engine collaboration project for their new baby the Gallardo. Ferdi took the engine proposal into consideration; but when the opportunity arose to acquire Lamborghini he moved quickly to ensure the company was not plucked from the netherworld by another ill-prepared food prep company. So it was, on a warm Tuesday in 1998 that the firm of the people-wagen would wed the Italian exotic, in a small white chapel, outside Stuttguart. Sort of. I’m paraphrasing.
For seven long dysfunctional years Lamborghini put up with the domestic manufacturer, trying constantly to make and improve on existing model lines. In 1990 they released the successor to the Countach – the bull inspired Diablo. But four years later in 1994 Chrysler had problems of its own. With deep seeded design, engineering and financial problems at the door Chrysler saw the Italian as again as a liability and sold Lamborghini off to a group of Indonesian investors. The change of hands to the kids from Asia happened January of 1994, and unfortunately worked to further destabilize the company. It was also during this time that Ferruccio unfortunately passed away in Italy at the age of 76, never knowing if his baby would achieve the greatness of the 60s that he passionately sought. There was hope that the new company would bring a fresh vision and start to Lamborghini, however the story goes on to describe one big cluster fudge after another. Inappropriate management appointments, direction uncertainty, lack of understanding of the companies boutique nature and subsequent specialized requirements, etc. But it was the Indonesians new chairperson’s idea of bringing back the LM (Lamborghini Motore Anteriore), a legendarily unsuccessful, financially flawed Jeep-like monster of a vehicle, which failed miserably in the 80s that pretty much signified that the cheese was definitely off the cracker... onto the floor, where the Indonesian cat ate it. The focus on regenerating the LM was not only incredibly flawed but also took focus away from the new baby Lamborghini, the L140 (the Gallardo). This distraction and mismanagement would further cause Lamborghini stress and delay any evolutionary flexibility. But just when all seemed lost and the Lamborghini thought it would have to sell papayas on the street of Rangoon to survive, a knight
Now with the Audi Groups acquisition of Lamborghini the company had finally secured much needed long term financial and technological stability. For too long the company was required to fall back on constant updates of current models without being able to make any evolutionary steps forward. The incorporation of Audi’s all-wheeldrive system into the Gallardo and others, plus cross platform architectural sharing and the backing of a firm with a solid understanding of the business would prove to be the relationship that Lamborghini had so desperately wanted. Vehicles such as the Reventon, Aventador and the bread and butter Gallardo have all proven that this marriage was the right thing at the right time. Like the little Italian dude who started it all once said, “Look at what others are not doing with their products and work to perfect it in yours.” This reverse mantra still lives on today in the continuing evolution of the species. 50 years on the angular directness of today’s Lamborghini would indeed make the little feisty tractor man that started it all quite proud. e 245
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Published on Nov 1, 2012
In issue 17 you'll learn the challenges that Lamborghini has had to overcome in its 50 years, along with an indepth look at the curious Mar...