Recent updates in New 44 Maple Acoustic Violincaserosin 2 Bows - Violin
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NAS asks the question on everyone's lips these days..."Is this the new bow of yacht racing?"... and well they should!
The thing is though, the scow bow is hardly new. Let's just say it has simply languished in the memory hole and, if you were to ask me, a scow bow makes a whole bunch of sense for cruising, too...
I expect a lot of regular readers here are aware that our last boat, "Loose Moose 2" (featured in Phil Bolger's "Boats With an Open Mind"), was a scow-bowed sharpie and, in its travels, caused no end of consternation and scandalized anchorages on three continents.
As it happens, I really like scows and there is a pretty even chance that the next Loose Moose will, in fact, be a scow (if it is not a catamaran or proa).
I'm not exactly alone in the whole liking scows thing... Tad Roberts first came to my attention while I was living in France and just about to build our first Loose Moose (a Bolger Jessie Cooper design) and, if I had seen his Harry design just a little earlier, I'd most likely have built it...
While we were building our "Loose Moose 2" in Meaux, France, Reuel Parker included some drawings of a 44-foot scow cargo schooner stock plan in his book that has (in my opinion) set the standard for what a scow schooner should look like. Sadly this plan was something of a vaporware design (we tried to buy the plans just after we lost Loose Moose 2) and, while Reuel does have a couple of scows in his design portfolio, neither comes close to the 44-foot cargo schooner in his book. Well worth a look.
Willliam Garden, of course, is known to have designed an awesome scow or two and Tillicum certainly pops to mind...
Pete Culler was not adverse to the idea of a scow either...
What can I say... Pointy ends are so passé these days!
Listening to Bandits of the Acoustic Revolution
So it goes...
Boat Bits: A very cool type of boat...
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A Transatlantic Crossing with the Queen Mary 2
Day One
Driving up to the Port of Southamptons Mayflower Terminal and catching first glimpse of the white-and-black hulled Queen Mary 2, the largest, longest, tallest, heaviest, and most expensive ship ever built, evoked considerable excitement and awe. Docked to port at a 50-degree, 54.25 north latitude and 001-degree, 25.70 west longitude and facing a 116.4-degree compass heading, the 17-decked leviathan, with a 1,132-foot length and 148-foot width, featured a gross weight of 151,400 tons and towered above the buildings with its balcony-lined faade, eclipsing it with its 236.2-foot height. Its draft extended 33.10 feet beneath the water line. The floating metropolis, complete with its staterooms, restaurants, shopping arcades, libraries, theaters, and planetariums, would bridge, in six days, the European and North American continents, the equivalent in hours to the duration of the aerial crossing by 747-400, itself then the worlds largest commercial airliner. But the oceanic crossing would yield civility, refinement, rejuvenation, emotional repair, and return to the slower, but more elegant era of steam ship travela journey, I would soon find out, would lead to a search for the maritime history of the past which had created the technology of the present.
Unlike the proliferation of modern cruise ships with their comparatively lower speeds and greater-volume, square-geometry hulls, the Queen Mary 2 had been designed as a next-generation successor to the 35-year-old Queen Elizabeth 2 and, as such, would have to offer the same year-round, passenger-carrying capabilities, predominately in the rough North Atlantic, with a design which sacrificed revenue-producing volume and lower construction costs of the traditional cruise ship for the required safety, speed, and stability of the ocean liner. Resultantly, it featured the same v-shaped hull configuration characteristic of the long line of its Cunard predecessors, constructed of thicker steel which carried a 40-percent greater cost than those of conventional cruise ships. Designed by Stephen Payne, whose inspirations for the bow had come from the Queen Elizabeth 2 and the brake wall from the Normandie, it was the first quadruple-screw North Atlantic ocean liner since the France of 1962. Payne himself, a naval architect born and raised in London, had been involved with the Carnival Holiday, Carnival Fantasy, and Rotterdam VI projects. The latter, incorporating a modified Statendam hull, had featured a less boxy hull shape than the traditional cruise ship, but had still been considerably removed a full liner design.
Intended for the primary Southampton-New York route, it incorporated dimensional restrictions dictated by the United States port, including a funnel height which cleared the Verrazano-Narrows Bridge by only ten feet and an overall length which exceeded the 1,100-foot pier of the Port of New York by 34 feet.
Constructed by Alstom Chantiers de lAtlantique in St. Nazaire, France, which had also built the Normandie, and designated hull G32 by the shipyard, it had been the first Cunard liner ever constructed outside of the United Kingdom and, like Concorde, the worlds fastest and hitherto only supersonic airliner, became the second British-French collaborative transportation project intended for trans-Atlantic service, although via vastly different, if not opposite, modes.
Its interior offered unparalleled space and comfort. Of the 17 decks, the first four were for machinery, storage, and the 1,254-strong crew; 13 were for the 2,620 passengers; and eight contained balcony staterooms. Notable features included a Grand Lobby, the Royal Court Theatre, the Illuminations Theatre and Planetarium, the ConneXions Internet Center, the Queens Ballroom, a Winter Garden, nine major restaurants, 11 bars and lounges, an 8,000-volume library and bookstore, an Oxford University lecture program, performances by the Royal Academy of Dramatic Art, five swimming pools, sports venues, a Canyon Ranch Spa, a pavilion of shops, and a discotheque. These appointments would constitute my home for the next six days.
Symbolically reflected by its smaller QE2 predecessor berthed a considerable distance from its bow at the Queen Elizabeth 2 Terminal, the Queen Mary 2 represented a two-fold gross weight increase over its earlier-generation counterpart and, indeed, traced its lineage back to a long path of Cunard vessels which had spanned a 165-year period. I somehow sensed that the imminent crossing would not only be a journey of distance, but a return in time.
Gently vibrating at its spine, the behemoth laterally separated itself beneath from its berth below the metallic overcast at 1810, local time.
Unlike the conventional engine-propeller shaft technology of older-generation ships, the Queen Mary 2 was powered instead by four aft, hull underside-mounted Rolls Royce Mermaid electric-motor pods, each weighing 260 tons and containing...
A Transatlantic Crossing with the Queen Mary 2
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♥Maple story ♥Never Fall In Love-part 2♥
sorry guys if you dont like it Here comes part 2.
1-99 Fletching Guide -Fastest & Cheapest Ways- Fletch Training by Idk Whats Rc
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