...
Hey
Diplostrat,
Good to hear from you in this thread.
If you've been following it, you'll know that we've ditched the idea of a Tatra backbone tube, as well as a MAN SX-44 frame. Both are torsion-free, but too heavy. So as strongly insisted by
campo and
thjakits back in August, I've been getting help from some engineering friends moonlighting from Ove Arup (see
http://en.wikipedia.org/wiki/Arup_Group_Limited ,
http://www.arup.com ), to design a an ultra-rigid titanium tubular space-frame + carbon fiber body, just as you suggested:
Of course, as this is all a blue sky project, you could postulate the those interior partitions could be load bearing, reinforcing a honeycomb/ monocoque structure, which is exactly what I would do.
My friends are not automotive engineers, but if you know anything about Ove Arup, you'll know that it fosters a hyper-experimental, leading-edge,
“let's try it” approach to all of its projects. Ove Arup is world-famous for finding interesting engineering solutions to difficult problems. And perhaps it's even better that my friends are not automotive engineers, because they are approaching the TerraLiner with a very "fresh", outside-the-box sort of perspective.
My personal experience with engineers has been that the very best ones absolutely love doing projects that have little to do with their ordinary, everyday more “quotidian” kinds of work.
When I was at Cambridge, for instance, I did quite a few set-designs for amateur theater productions, while simultaneously studying Philosophy, Theology, and Religious Studies. The technical directors on my set designs were almost always Cambridge graduate students who were studying engineering, who wanted to spend their time sawing plywood or painting scenery instead. One specialist in laser engineering named Dominic became a good friend, and we toured Europe together with an easily collapsible tensile-tent set that I designed for the European Theater Group – see
http://etg.soc.srcf.net . One of my other sets for the ETG is the very first image posted at
http://etg.soc.srcf.net/experience.php , designed for Bertold Brecht's play
“The Good Person of Szechwan”:
Not the best image; I will find some better ones and post them.
For that set Dominic laid 2 tons of gravel on the floor of the ADC theater, which surrounded a circular raked stage made out of rented scaff-planks. The hanging oval has scrim, which when front-lighted goes opaque, and back-lighted goes transparent – see
https://www.adctheatre.com . And behind that is a huge gold-foil-covered circle as well, symbolizing the pernicious rule of money, one of the theme's of the Brecht's play.
The best part was a sheet of hanging honey-comb greenhouse plexiglass, cut again into a circular shape, and hung about half-height towards the side of the stage. Behind this honeycomb plexiglass the lead character, Shen-Te (who is an ex-prostitute), first appeared, standing on a red-painted “drawbridge” that descended from the side of the stage, again about half-height, i.e. suspended well above the floor of the stage. As the narrator describes Shen-Te, she did a bump-and-grind behind the plexiglass, and for reasons that escaped everyone, the visual effect was like Star Trek: her movements created rainbow-colored tracers that shot off in every direction. (The end of the red drawbridge was hung by big thick ropes, which gave Shen-Te the perfect vertical elements to assist here bump-and-grind.)
Of course, Dominic and his engineering friends then experimented with every possible combination of colored lights, and every possible combination of lighting angles, to maximize the Star-Trek-tracers effect, once they saw it. But this visual effect was completely unintended, and was simply a happy “spin-off” of some experimental R & D. I had always wanted to hang honeycombed plexiglass on a stage, to see what the effect might be.....
... And so the opening appearance of Shen-Te the ex-prostitute gave me the perfect excuse. The show was originally supposed to run for one week, but the ADC theater extended it to three, because there was such a demand for tickets, and the house was packed every night. Every time the actress playing the ex-prostitute did her bump-and-grind on the drawbridge-ropes behind the plexiglass, and rainbow tracers would scatter in every direction, the audience would give the visual effect a standing ovation.
So yes, I have been doing curvilinear design right from the beginning. I've never wanted to do anything else…..:sombrero:
... And at Ove Arup I have a few engineering friends who, like Dominic, are keen to try their hand at something completely different: something experimental, whacky, and mobile. For free, but they'll certainly be given credit given where and when credit is due, i.e. some time mid-summer…..
Excellent thoughts about the question of heat loss: I am sort of counting on
campo to crunch the numbers on my initial proposal for the quantity of TerraLiner windowing – see
http://www.expeditionportal.com/for...-High-Altitude-Arctic-Antarctica-Tibet/page14 ,
http://www.expeditionportal.com/for...-High-Altitude-Arctic-Antarctica-Tibet/page15 . And who knows, because
campo is a specialist in thermal engineering, he might come across some triple-pane windows in either the motorhome or marine market that have terrific R-values.
Also, very interesting thoughts about the overlanding format of
http://www.rotel.de . And agreed, all of the overlanding companies I described above (
Oasis,
Dragoman,
Odyssey, etc.) have a very "
client-assisted, labor-intensive" business model.
All best wishes,
Biotect