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Its chassis number was 860004, the fourth fixed head to be produced, and it would seem that Protheroe, who had campaigned an old XK in club racing for years, was held in high regard by the Works. It is believed to be the car that rolled off the production line to be registered CUT 7 by one Elmer Richard (Dick) Protheroe.
The tale of 63 CJU, a grey-green fixed head coupe, is typical of the E types.
The architects removed the harder angles and ‘islands’ that glitched up the overall smoothness of the facades design they refined the joinery of how the silver and red flat panels would curve and converge, eliminating clumsy seams and transitions they worked with Zahner to streamline the installation process, condensing the entire installation to five months.This car is also mentioned in Chris Harvey's book "E type end of an Era" on page 44. Unlike many buildings that lose some of their original spirit in the move from design to construction, the Petersen design kept getting better, iteration after iteration. Reaching as high as 81 feet, the architects and fabricators wanted to preserve as much lightness as possible.
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How would the ribbons be supported along the existing building shell? By creating a series of tree-like supports, the architects were able to maintain the free flowing nature of the facade, which undulates as close as 3 inches to as a far as 40 feet from the building surface. Much of the making of the new Petersen had to be invented. In collaboration with Zahner Fabrication, KPF rethought and retooled the construction process. For Petersen and his peers, Southern California, with its endless stretches of dry lake beds, was the ideal place to test out modified hot rods, each racing faster and lighter made-to-measure cars hacked apart and put back together with larger engines, more horsepower, and untamed paint jobs.įounded on the mission to ‘concentrate on the best, most interesting and most beautiful cars from around the world, and tell the story of Southern California and the automobile,” the Petersen Museum had to step up. Taking matters one step further, enthusiasts could buy a cheap, old Model-T body and remake the entire car entirely. In Robert Petersen’s youth, cars could be tinkered with.
Even the most basic car models are now filled with computers and electronically controlled operations. Today, car technology favors the automated. It was anathema to the rumbling, roaring, highly individualized and personal nature of car ownership. The smooth white box at 6060 Wilshire was totally anti-aerodynamic, the building was aloof. In a project that could have easily been dismissed as a graphic exercise, the architectural design team, led by KPF Principal Trent Tesch realized the desires of the client, but also captured the historical, physical, and cultural context surrounding the museum in the final design. What began as a constraint-to rebuild a building that is already built-became a huge design opportunity.
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They had to re-skin a building that already existed to take advantage of code issues that would otherwise make a redesign take far too long and cost far too much. The Petersen board couldn’t build from scratch. The building should announce itself on the Miracle Mile not blend into the background. The blank facade, while beautifully minimal, didn’t satisfy the larger objective of having a remarkable building represent the remarkable collection housed inside.
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In the fall of 2014, the Petersen was in the position to update 6060 Wilshire into a building that fit better and felt better.
Petersen first established a museum to share his private car collection, 6060 Wilshire changed little as the museum grew, and grew.