Gullwing & Gull-wing

Gullwing & Gull-wing (pronounced guhl-wing)

(1) In aviation, an airplane wing that slants briefly upward from the fuselage and then extends horizontally outward (ie a short upward-sloping inner section and a longer horizontal outer section).

(2) Of doors, a door hinged at the top and opening upward (applied usually to cars but can be used in aviation, aerospace and architecture).

(3) Anything having or resembling (extended and partially extended) wings of a gull (and many other birds).

(4) In electronic hardware, a type of board connector for a small outline integrated circuit (SOIC).

(5) In historic admiralty jargon, a synonym of goose wing (a sail position).

Gull is from the Middle English gulle, from the Brythonic, from the Proto-Celtic wēlannā (seagull) and was cognate with the Cornish guilan, the Welsh gwylan, the Breton gouelan and the Old Irish faílenn.  The noun Gull was used (in a cook-book!) to describe the shore bird in the 1400s, probably from the Brythonic Celtic; it was related to the Welsh gwylan (gull), the Cornish guilan, the Breton goelann; all from Old Celtic voilenno-.  Gull replaced the Old English mæw.

The verb form meaning “to dupe, cheat, mislead by deception" dates from the 1540s, an adaptation by analogy from the earlier (1520) meaning "to swallow", ultimately from the sense of "throat, gullet" from the early 1400s.  The meaning was the idea of someone so gullible to “swallow whatever they’re told”.  As a cant term for "dupe, sucker, credulous person", it’s noted from the 1590s and is of uncertain origin but may be from the verb meaning "to dupe or cheat".  Another possibility is a link to the late fourteenth century Middle English gull & goll (newly hatched bird" which may have been influenced by the Old Norse golr (yellow), the link being the hue of the bird’s down.

Wing was from the late twelfth century Middle English winge & wenge (forelimb fitted for flight of a bird or bat), applied also to the part of certain insects which resembled a wing in form or function, from the Old Norse vængr (wing of a bird, aisle etc) from the Proto-Germanic wēinga & wēingan-.  It was cognate with the Danish vinge (“wing”), the Icelandic vængur (wing), the West Frisian wjuk (wing) and the Swedish vinge (“wing”), of unknown origin but possibly from the Proto-Germanic we-ingjaz ( a suffixed form of the primitive Indo-European root we- (blow), source of the Old English wawan (to blow).  It replaced the native Middle English fither, from the Old English fiþre & feðra (plural (and related to the modern feather)) from the Proto-Germanic fiþriją, which merged with fether, from the Old English feþer, from the Proto-Germanic feþrō).  The meaning "either of two divisions of a political party, army etc dates from circa 1400; the use in the architectures was first recorded in 1790 and applied figuratively almost immediately.  The slang sense of earn (one's) wings is 1940s, from the wing-shaped badges awarded to air cadets on graduation. To be under (someone's) wing "protected by (someone)" is recorded from the early thirteenth century; the phrase “on a wing and a prayer” is title of a 1943 song about landing a damaged aircraft.

A Gull in flight (left), inverted gull-wing on 1944 Voight Corsair (centre) & gull-wing on 1971 Piaggio P.136 (Royal Gull) (right).

In aviation, the design actually pre-dates powered flight (1903) by half a millennium, appearing in the speculative drawings of flying machines by Leonardo da Vinci (1452-1519) and others, an inevitable consequence of being influenced by the flapping wings of birds.  There were experiments, circa 1911, to apply the gull-wing principle to some of the early monoplanes in a quest to combine greater surface area with enhanced strength but it wasn’t until the 1920s it began widely to be used, firstly in gliders for some aerodynamic advantage and later, powered-aircraft.  In powered aircraft, the gull-wing offered little aerodynamically but had structural advantages in that it allowed designers more easily to ensure (1) increasingly larger propellers would have sufficient clearance, (2) undercarriage length could be reduced (and consequently strengthened) and (3) wing-spans could slightly be reduced, a thing of great significance when operations began on aircraft carriers, the gull-wing being especially suited to the folding-wing model.  Depending on the advantage(s) sought, designers used either a classic gull-wing or the inverted gull-wing.  The correct form is for all purposes except when applied to the the (1954-1957) Mercedes-Benz 300 SL coupé is the hyphenated gull-wing; only the 1950s Mercedes-Benz are called Gullwings.

1945 Jamin-Bouffort JB.

Cars with gull-wing doors had been built before Mercedes-Benz started making them at (small) scale and the principle was known in both aviation and marine architecture.  One was the 1945 Jamin-Bouffort JB, the creation of French aeronautical engineer Victor-Albert Bouffort (1912-1995) who had a long history of clever, practical (and sometimes unappreciated) designs.  The Jamin-Bouffort JB was a relatively small three-wheeler built using some of the techniques of construction used in light aircraft, the gull-wing doors the most obvious novelty.  Anticipating the 1950s boom in micro-cars, there was potential but with European industry recovering from the war, most effort was directed to resuming production of pre-war vehicles using surviving tooling and there was little interest in pursuing anything which required development time.  Monsieur Bouffort would go on to design other concepts ahead of their time, some of his ideas adopted by others decades after his prototypes appeared.

Bugatti Type 64 with gull-wing body fabricated using original conceptual sketches on 1939 Type 64 chassis.

In 1939, Jean Bugatti drew up plans for the Type 64, a vehicle with gull-wing doors, his sketches an example of the great interest being shown by European manufacturers in aerodynamics, then called usually streamlining.  Although two Type 64s were completed in 1939, neither used the gull-wing doors and it would be another eighty-odd years before Bugatti’s design was realised when collector & president of the American Bugatti Club, Peter Mullin (b 1941), arranged the fabrication of the coachwork, based on the original drawings.  Built in exactly the same way craftsmen would have accomplished the task in 1939, the body was mounted on the surviving Type 64 chassis (64002), united for the first time with what Jean Bugatti called papillon (butterfly) doors which all (except the French) now call gull-wings.

Mercedes-Benz and the gull-wing.

1952 Mercedes-Benz 300 SL prototype (W194).

By 1951, although the Wirtschaftswunder (the post-war German “economic miracle”) still lay ahead, structural changes (the most important being the retreat by the occupying forces in the western zones from the punitive model initially adopted and the subsequent creation in 1948 of the stable deutschmark), had already generated an economy of unexpected strength and Mercedes-Benz was ready to make a serious return to the circuits.  Because the rules then governing Formula One didn’t suit what it was at the time practical to achieve, the first foray was into sports car racing, the target the ambitious goal of winning the Le Mans 24 hour race, despite a tight budget which precluded the development of new engines or transmissions and dictated the use of as much already-in-production as possible.

1952 Mercedes-Benz 300 SL prototype (W194).

It was the use of a production car engine designed not for ultimate power but smoothness, reliability and a wide torque band which ultimately dictated the use of the gull-wing doors.  The engine was the 3.0 litre (183 cubic inch) M186 straight-six used in the big 300 limousines and its two door derivatives, of advanced design by the standards of the time but also big, tall and heavy, attributes not helpful to race-car designers who prefer components which are compact, light and able to be mounted low in a frame.  A new engine not being possible, the factory instead created a variation, the M194, which used the triple-carburetor induction of the 300S coupés in an improved cylinder head, the innovation being the iron-block now lying at a 50^o angle, thereby solving the problem of height by allowing it to be installed while canted to the side, permitting a lower bonnet line.  Using the existing gearbox, it was still a heavy engine-transmission combination, especially in relation to its modest power-output and such was the interest in lightness that, initially, the conventional wet-sump was retained so the additional weight of the more desirable dry-sump plumbing wouldn’t be added.  It was only later in the development-cycle that dry-sump lubrication was added.

1952 Mercedes-Benz 300 SL space-frame (W194).

The calculations made suggested that with the power available, the W194 would be competitive only if lightness and aerodynamics were optimized.  Although the relationship between low-drag and down-force were still not well-understood, despite the scientific brain-drain to the US and USSR (forced and otherwise) in the aftermath of the war, the Germans still had a considerable knowledge-base in aerodynamics and this was utilized to design a small, slippery shape into which the now slanted straight-six would be slotted.  There being neither the time nor the money to build the car as a monocoque, the engineers knew the frame had to be light.  A conventional chassis was out of the question because of the weight and they knew from the pre-war experience of the SSKL how expensive and difficult it was to reduce mass while retaining strength.  The solution was a space-frame, made from tubular aluminum it was light, weighing only between 50-70 kg (110-155 lb) in it’s various incarnations yet impressively stiff and the design offered the team to opportunity to use either closed or open bodies as race regulations required.

However, as with many forms of extreme engineering, there were compromises, the most obvious of which being that the strength and torsional rigidity was in part achieved by mounting the side tubes so high that the use of conventionally opening doors was precluded.  In a race car, that was of no concern and access to the cockpit in the early W194s was granted by what were essentially top-hinged windows which meant ingress and egress was not elegant and barely even possible for those of a certain girth but again, this was though hardly to matter in a race car.  In this form, the first prototypes were built, without even the truck-like access step low on the flanks which had been in the original plans.

1952 Mercedes-Benz 300 SL production coupé (W194).

Actually, it turned out having gull-wing windows instead of gull-wing doors did matter.  Although the rules of motorsport’s pettifogging regulatory body, the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation) were silent on the types and direction of opening doors and, in the pre-war era they had tolerated some essentially fake doors, their scrutineers still raised objections during inspection for the 1952 Mille Miglia.  The inspectors were forced to relent when unable to point to any rule actually being broken but it was clear they’d be out for revenge and the factory modified the frame to permit doors extending down the flanks, thereby assuming the final shape which would come to define the gull-wing door.  Relocating some of the aluminum tubing to preserve strength added a few kilograms but forestalled any retrospective FIA nit-picking.  To this day, the FIA's legions of bureaucrats seem not to realise why they’ve for so long been regarded as impediments to competition and innovation.

The W194 at Le Mans, 1952.

First tested on the Nürburgring and Hockenheimring in late 1951, the W194, now dubbed 300 SL for promotional purposes, was in March 1952 presented to the press on the Stuttgart to Heilbronn autobahn.  In those happy days, there was nothing strange about demonstrating race cars on public highways.  The SL stood for Super Leicht (super light), reflecting the priority the engineers had pursued.  Ten W194s were built for the 1952 season and success was immediate, second in the Mille Miglia; a trademark 1-2-3 result in the annual sports car race in Bern and, the crowning achievement, a 1-2 finish in the twenty-four hour classic at Le Mans.  Neither usually the most powerful nor the fastest car in the races it contested, the 300 SL nevertheless so often prevailed because of a combination of virtues.  Despite the heavy drive-train, it was light enough not to impose undue stress on tyres, brakes or mechanical components, the limousine engine was tough and durable and the outstanding aerodynamics returned surprising good fuel economy; in endurance racing, reliability and economy compensate for a lot of absent horsepower.

As a footnote (one to be noted only by the subset of word nerds who delight in the details of nomenclature), for decades, it was said by many (even normally reliable sources) that SL stood for Sports Leicht (sports light) and the history of the Mercedes-Benz alphabet soup was such that it could have gone either way (the SSKL (1929) was the Super Sports Kurz (short) Leicht (light)) and from the 1950s on, for the SL, even the factory variously used Sports Leicht and Super Leicht.  It was only in 2017 it published a 1952 paper (unearthed from the corporate archive) confirming the correct abbreviation is Super Leicht.  Sports Leicht Rennsport (Sport Light Racing) seems to be used for the the SLRs because they were built as pure race cars, the W198 and later SLs being road cars but there are references also to Super Leicht Rennsport.  By implication, that would suggest the original 300SL (the 1951 W194) should have been a Sport Leicht because it was built only for competition but given the relevant document dates from 1952, it must have been a reference to the W194 which is thus also a Sport Leicht.  Further to muddy the waters, in 1957 the factory prepared two lightweight cars based on the new 300 SL Roadster (1957-1963) for use in US road racing and these were (at the time) designated 300 SLS (Sports Leicht Sport), the occasional reference (in translation) as "Sports Light Special" not supported by any evidence.  The best quirk of the SLS tale however is the machine which inspired the model was a one-off race-car built by Californian coachbuilder ("body-man" in the vernacular of the West Coast hot rod community) Chuck Porter (1915-1982).  Porter's SLS was built on the space-fame of a wrecked 300 SL gullwing (purchased for a reputed US$500) and followed the lines of the 300 SLR roadsters as closely as the W198 frame (taller than that of the W196S) allowed.  Although it was never an "official" designation, Porter referred to his creation as SL-S, the appended "S" standing for "scrap".

Porsche 356 SL, in pit lane, Le Mans, 1951.

Unlike their neighbours in Stuttgart, Porsche have never had any doubt what they meant by "SL".  After the end of World War II (1939-1945), it took some time for Herr Professor Ferdinand Porsche (1875–1951) to extricate himself from the clutches of the allied authorities which had arrested him as a war criminal but once free, he moved to the town of Gmünd in north-west Austria where he embarked on a project to build his own cars, the first being a small roadster using many components from the Volkswagen (Type 1; Beetle) with which he was familiar.  However, upon consideration of the realities of even small-scale series production and the market potential of various body styles, it was decided to create a rear-engined, closed coupé and in just under three months, Porsche’s small team designed what came to be known as the “Gmünd Coupé”, the first leaving the modest works in June 1948.  By 1950 over 50 had been built (including a half-dozen-odd cabriolets), all with hand-formed aluminum bodies and the layout and shape remains identifiable the in rear-engined (and the mid-engined Boxer and Cayman) Porsches produced in 2025.

Porsche 356 SL, Le Mans, 1951.

When in 1950 Porsche relocated his operation to Zuffenhausen, production resumed with bodies of steel rather than aluminum but eleven of the Gmünd chassis were shipped north and used by the factory for their competition programme; they were converted to Sport Leicht (Sports Light) specification and named 356 SL (internally the 356/2 3000 series), fitted with 1086 cm³ (66 cubic inch), air-cooled, flat four engines (rated at 46 horsepower), enlarged fuel tanks, louvered quarter-window covers, fender skirts (spats), streamlined belly fairings and an aluminium body.  The factory entered three 356 SLs in the 1951 Le Mans 24 hour endurance classic and while two crashed, one won the 751-1100 cm³ class (46-67 cubic inch). 

W194 roadsters at Nürburgring, 1952.

After the triumph of the 300 SL at Le Mans, the team won at the Eifelrennen and was then entered into in a race on the Nürburgring; to shed some weight, engineers converted three of the coupés to roadsters, emulating the body of one of the original ten which had been open-topped from the start.  To avoid any unpleasantness with the FIA, the section of the doors extending into the side of the car was retained and a smaller windscreen was installed to improve aerodynamics and afford the driver some protection from the weather and bugs unfortunate enough to be caught in the path.  The roofectomy reduced weight by about 100 kg (220 lb) which presumably helped, the four finishing in the first four places.

Winning W194, 1952 Carrera Panamericana Mexico, the protective metal struts were an ad-hoc addition after a bird strike.

One final adventure for the year yielded a perhaps unexpected success.  In November 1952, the factory entered two coupés and two roadsters in the third Carrera Panamericana Mexico, a race of 3100 kilometres (1925 miles) over five days and eight stages, their engines now bored out to 3.1 litres (189 cubic inches) increasing power from 175 bhp (130kw) to 180 (135).  The cars finished 1-2-3 although the third was disqualified for a rule violation and the winning car endured the intrusion at speed of a vulture through the windscreen.  Unlike the 300 SL, the unlucky bird didn’t survive.  There was however one final outing for the W194.  In 1955 it won the Rally Stella Alpina, the last time the event would be run in competitive form, one of many cancelled in the wake of the disaster at Le Mans that year in which 84 died and almost two-hundred injured.  Coincidently, that accident involved the W194’s successor, the 300 SLR.

1953 300 SL Prototype.

The 300 SL was re-engineered for the 1953 season, the bodywork now made from magnesium, lighter even than aluminum, the design of which had seen the car return to the wind-tunnel after which it gained a revised front section which not only reduced drag but also improved cooling by optimizing airflow to the radiator and engine compartment.  Power rose too.  Again drawing from wartime experience with the DB60x V12 aero-engine used in many German warplanes, direct fuel-injection was introduced which boosted output from 180 bhp (135 kw) to 215 bhp (158 kW).  Nor were the underpinnings neglected, the rear suspension design improved (somewhat) with the addition of the low-pivot single-joint swing axle (which would later appear on some production 300 SLs) while the transmission was flanged on the rear axle, not quite a transaxle but much improving the weight distribution.  The wheelbase was shortened by 100 millimetres (4 inches) and 16-inch wheels were adopted.  Even disk brakes were considered but the factory judged them years from being ready and it wouldn’t be until 1961 that they appeared on a Mercedes-Benz, more than half a decade after others had proved the technology on road and track.  There was however one exception to that, a disc brake had been installed between propeller shaft and differential on the high-speed truck built in 1954 to carry the Grand Prix cars between the factory and circuits in Europe.

The revised 300 SL however was never raced, the factory’s attention now turning to the Formula One campaign which, with the W196, would so successfully be conducted in 1954-1955, an off-shoot of which would be the W194’s replacement, the W196S sports car which would be based on the Grand Prix machine and dubbed, a bit opportunistically, the 300 SLR (Sport Leicht Rennen (Sport Light-Racing)).  Such was the impression made by the futuristic W194 that it would inspire production of the road-going 300 SL Gullwing (W198), 1400 of which were built during 1954-1957 (including 29 with aluminium bodies).

1955 Mercedes-Benz 300 SL (W194) (1954-1957).

Although the public found them glamorous, the engineers at Mercedes-Benz had never been enamoured by the 300 SL’s gull-wing doors, regarding them a necessary compromise imposed by the high side-structure of the space-frame which supported the body.  Never intended for use on road-cars, it was the guarantee of the US importer of Mercedes-Benz to underwrite the sale of a thousand gull-wing coupés that saw the 300 SL Gullwing enter production in 1954.  The sales predictions proved accurate and of the 1400 built, some 80% were delivered to North American buyers.  The W198 300SL was the model which became entrenched in the public imagination as “the Gullwing” and it’s the only instance where the word doesn’t need to be hyphenated.  Glamorous those doors may have been, they did impose compromises.  The side windows didn’t roll down, ventilation was marginal and air-conditioning didn’t exist; in a hot climate, one really had to want to drive a Gullwing.  There was also the safety issue, some drivers taking the precaution of carrying a hammer in case, in a roll-over, the inability to open the doors made the windscreen the only means of escape and roll-overs were perhaps more likely in a Gullwing than many other machines, the nature of the swing axles sometimes inducing unwanted behavior in what was one of the fastest cars on the road although, in fairness, on the tyres available in the 1950s that was less of an issue than it would become on later, stickier rubber.

In the US in 1956, a "fully optioned" Gullwing would have been invoiced at US$8894.00 and apart from the car itself, some of those options would proved a good investment, items like the knock-off wheels adding by the 2020s at least tens of thousands to the selling price and even the fitted luggage attracts a premium.  The options affecting the mechanical specification (notably the camshaft and choice of final drive ratio) had a significant influence on the character of the car, the former raising the rated horsepower from 220 to 240 and in its more powerful form the top speed would have been 140-155 mph (225-250 km/h) depending on the gearing.  Those serious about speed could opt for the "package" of the aluminum body with "full competition equipment" including the Rudge wheels and upgraded engine & suspension, supplied with two complete axles in a choice of gear ratios.  That package listed at US$9300.00 which in retrospective was another reasonable investment given the aluminum Gullwing from Rudi Klein's "junkyard collection" sold at auction in October 2024 for US$9,355,000 (an that for a vehicle needing restoration).  Still, all things are relative and average annual income in the US in 1956 was about US$3600 and while it was possible to buy what would now be called a "house & land package" for around US$8000, the typical house sold for more than twice that.  The 300 SL would still have been a sound investment because although one would have incurred insurance, maintenance, running and storage costs over the decades, a well maintained, original, 1956 aluminum Gullwing would now sell for well in excess of US$12 million while US$9600 placed in the S&P 500 index would by 2024 be worth some US$9.4 million (assuming all dividends were re-invested).  There have been better investments than aluminum Gullwings but not many.   

Mercedes-Benz 300 SLR (W196S), Stirling Moss & Denis Jenkinson, Mille Miglia, Italy, 1955.

The 300 SLR (W196S) was a sports car, nine of which were built to contest the 1955 World Sportscar Championship.  Essentially the W196 Formula One car with the straight-eight engine enlarged from 2.5 to 3.0 litres (152 to 183 cubic inches), the roadster is most famous for the run in the 1955 Mille Miglia in Italy which was won over a distance of 992 miles (1597 km) with an average speed of almost 100 mph (160 km/h); nothing like that has since been achieved.  There's infamy too attached to the 300 SLR; one being involved in the catastrophic crash and fire at Le Mans in 1955.

1955 300 SLR (W196S “Uhlenhaut” coupé). 

Two of the 300 SLRs were built with coupé bodies, complete with gull-wing doors.  Intended to be used in the 1955 Carrera Panamericana Mexico, they were rendered instantly redundant when both race and the Mercedes-Benz racing programme was cancelled after the Le Mans disaster.  The head of the programme, Rudolf Uhlenhaut (1906-1989), added an external muffler to one of the coupés, registered it for road use (such things were once possible when the planet was a happier place) and used it for a while as his company car.  It was then the fastest road-car in the world, an English journalist recording a top speed of 183 mph (295 km/h) on a quiet stretch of autobahn but Herr Uhlenhaut paid a price for the only partially effective muffler, needing hearing aids later in life.  Two were built (rot (red) & blau (blue), the names based on their interior trim) and for decades they remained either in the factory museum or making an occasional ceremonial appearance at race meetings.  However, in a surprise announcement, in June 2022 it was revealed rot had been sold in a private auction in Stuttgart for a world-record US$142 million, the most expensive car ever sold.  The buyer's identity was not released but it's believed rot is destined for a collection in the Middle East.  It's rumoured also the same buyer has offered US$100 million should an authentic 1929 Mercedes-Benz SSKL ever be uncovered.  

1970 Mercedes-Benz C-111 (1968-1970 (Wankel versions)).

Although the C-111 would have a second career in the late 1970s in a series of 5-cylinder diesel and V8 petrol engined cars used to set long-distance endurance records, its best remembered in its original incarnation as the lurid-colored (safety-orange according to the factory) three and four-rotor Wankel-engined gullwing coupés, sixteen of which were built.  The original was a pure test-bed for the Wankel engine in which so many manufacturers once had so much hope.  The first built looked like a failed high-school project but the second and third versions were both finished to production-car standards with typically high-quality German workmanship.  Although from the school of functional brutalism rather than the lovely things they might have been had styling been out-sourced to the Italians, the gull-winged wedges attracted much attention and soon cheques were enclosed in letters mailed to Stuttgart asking for one.  The cheques were returned; apparently there had never been plans for production even had the Wankel experiment proved a success.  The C-111 was fast, the four-rotor version said to reach 300 km/h (188 mph), faster than any production vehicle then available.

1991 Mercedes-Benz C112.

The C112 was an experimental mid-engined concept car built in 1991.  Designed to be essentially a road-going version of the Sauber-built C11 Group C prototype race car developed for the 1990 World Sports-Prototype Championship, it was powered by the 6.0 litre (366 cubic-inch) M120 V12 used in the R129 SL and C140/W140 S-Class variously between 1991-2001.  The C112 does appear to have been what the factory always claimed it was: purely a test-bed for technologies such as the electronically-controlled spring & damper units (which would later be included on some models as ABC (active body control)), traction control, rear wheel steering, tyre-pressure monitoring and distance-sensing radar.  As an indication it wasn't any sort of prototype intended for production, it offered no luggage space but, like the C111 twenty years earlier, it’s said hundreds of orders were received.  It was 1991 however and with the world in the depths of a severe recession, not even that would have been enough for a flirtation with thoughts of a production model.  After the C112, thoughts of a gull-wing were put on ice for another two decades, the SLR-McLaren (2003-2009) using what were technically “butterfly” door, hinged from the A-pillars.

2011 Mercedes-Benz SLS-AMG (2101-2014).

The factory’s most recent outing of the gull-wing door, the SLS, which used the naturally aspirated 6.2 litre (379 cubic inch) M159 DOHC V8, was produced between (2010-2014), a roadster version also available.  To allay any doubt, it was announced at the time of release that SLS stands for Super Leicht Sport (Super Light Sport) although such things are relative, the SLS a hefty 1600-odd kg (3,500 lb) although, in fairness, the original Gullwing wasn’t that much lighter and the SLS does pack a lot more gear, including windows which can be opened and air-conditioning.  In the way of modern marketing, many special versions were made available during the SLS’s relatively short life, even an all-wheel-drive electric version with a motor for each wheel.  Such is the lure of the gull-wing motif for Mercedes-Benz, it’s unlikely the SLS will be the last and a high-priced revival is expected to become a feature of the marketing cycle every couple of decades but we're unlikely to see any more V8s or V12s unless perhaps as a swan-song, AMG indicating recently they expect their 4.0 litre (244 cubic inch) V8 to remain in production for another ten years, Greta Thunberg (b 2003) and her henchmen the humorless EU bureaucrats permitting.

Lindsay Lohan at the Nicholas Kirkwood (b 1980; shoe designer) catwalk show with a prop vehicle (one of the gull-wing DMC DeLoreans modified closely to resemble the one used in the popular film Back to the Future (1985)), London Fashion Week, 2015.

Tesla Model X with falcon-wing doors.

Such was the allure of the 300 SL’s gull-wing doors that in the shadow they’ve cast for seventy-odd years, literally dozens of cars have appeared with the features, some of questionable aesthetic quality, some well-executed and while most were one-offs or produced only in small runs, there’s been the occasional (usually brief) success and of late some Teslas have been so equipped and with the novelty of them being the back doors, the front units conventionally hinged.  Tesla calls them “falcon wings” because the design was influenced by the bird.  However, the biomimicry was (for obvious reasons) not an attempt to gain the aerodynamic advantages of the falcon’s wing shape which affords exceptional maneuverability in flight but simply an adoption of the specific bone structure.  Unlike the fixed structure of the classic gull-wing door, the Tesla’s falcon-wing is fitted with an additional central joint which permits them to be opened in cramped spaces, aiding passenger ingress and egress.  Some Tesla engineers have however admitted the attraction of them as way to generate publicity and (hopefully) attract sales may have been considered during the design process.

Bricklin SV-1 (1974-1975, left) and DMC DeLorean (1981-1983, right).

Two of the best known of the doomed gull-wing cars were the Bricklin SV1 and the DeLorean, both the creations of individuals with interesting histories.  Malcolm Bricklin’s (b 1939) first flirtation with the automotive business was his introduction into the US market of the Subarus, built by the Japanese conglomerate Fuji Heavy Industries.  Having successfully imported the company’s scooters for some years, the model Mr Bricklin in 1968 chose was the 360, a tiny, egg-shaped device which had been sold in Japan for a decade, the rationale underlying his selection being it was so small and light it was exempt from just about any regulations.  Although really unsuited to US motoring conditions it was (at US$1300) several hundred dollars cheaper than a Volkswagen Beetle and had a fuel consumption around a third that delivered by even the less-thirsty US-built cars so it found a niche and some ten-thousand were sold before that gap in the market was saturated.  Ever imaginative, Mr Bricklin then took his hundreds of unsold 360s and re-purposed them essentially as large dodgem-cars, renting unused shopping-mall car-parks as ad-hoc race tracks and offering “laps” for as little as $US1.00.  He advertised “no speed limits” to attract the youth market but given the little machines took a reported 56 seconds for the 0-60 mph (0-100 km/h) run, reaching any state's legal limit in a car-park would have been a challenge.  Mr Bricklin achieved further success with Subaru’s more conventional (in a front wheel drive (FWD) context) 1000 and the corporation would later buy out his US interests for was thought to be a most lucrative transaction for both parties.

1969 Subaru 360 Deluxe.

His eponymous gull-winged creation was the SV-1 which, although nominally positioned as a “sports car” was marketed also as a “safety-vehicle” (hence the SV).  It certainly contained all of the safety features of the time and in that vein was offered mostly in lurid “high visibility” colors although the prototypes for an up-market “Chairman” version were displayed in more restrained black or white.  It was ahead of its time in one way, being fitted with neither ash-trays nor cigarette lighters, Mr Bricklin not approving of smoking and regarding the distractions of lighting-up while at the wheel a safety hazard.  Whether in stable conditions the car could have succeeded is speculative but the timing was extraordinarily unlucky.  The V8-powered car arrived on the market in 1974 shortly after the first oil shock saw a spike in the price of gasoline and in the midst of the recession and stagflation which followed in the wake.  Between its introduction and demise, the costs of the SV1 more than doubled and there were disruptions to the production process because supply problems (or unpaid bills, depending on who was asked) meant the AMC engine had to be replaced with a Ford power-plant.  By the time production ended, only some 3000 had been built, but, not discouraged, Mr Bricklin would go on to import Fiat sports cars and the infamous Yugo before being involved with a variety of co-ventures with Chinese partners.

1970 Pontiac GTO convertible.

John DeLorean (1925–2005) was a genuinely gifted engineer who emerged as one of the charismatic characters responsible for some of the memorable machines General Motors (GM) produced during its golden age of the 1950s & 1960s.  Under Mr DeLorean’s leadership, Pontiac in 1964 released the GTO which is considered (though contested by some) the first “muscle car” and the one responsible for the whole genre which would flourish for a crazy half-dozen years and in 1969 the Grand Prix which defined a whole market segment.  Apparently, the Grand Prix, produced at a low cost and sold at a high price was one of the most profitable lines of the era.  Given this, Mr DeLorean expected a smooth path to the top of GM but for a variety of reasons there were internal tensions and in 1973 he resigned to pursue his dream of making his own car.  It took years however to reach fruition because the 1970s were troubled times and like the Bricklin SV1, the DeLorean Motor Company’s (DMC) gull-winged DeLorean was released into a world less welcoming than had been anticipated.  By 1981, the world was again in recession and the complicated web of financing arrangements and agreements with the UK government to subsidize production could have worked if the design was good, demand was strong and the product was well-built, none of which was true.

1969 Pontiac Grand Prix 428 SJ.

As the inventory of unsold cars grew, so did the debt and desperate for cash, Mr DeLorean was persuaded (apparently without great difficulty) to become involved in the cocaine trafficking business which certainly offered fast money but his co-conspirator turned out to be an FBI informant who was a career criminal seeking a reduced sentence (on a unrelated matter) by providing the bureau with “a big scalp”.  At trial in 1984, Mr DeLorean was acquitted on all charges under the rule of "entrapment" but by then DMC was long bankrupt.  In the years since, the car has found a cult following, something due more to its part in the Back to the Future films than any dynamic qualities it possessed.  It was competent as a road car despite the rear-engine configuration and the use of an uninspiring power-plant but, apart from the stainless-steel bodywork and of course the doors, it had little to commend it although over the years there have been a number of (ultimately aborted) revivals and plans remain afoot for an electric gull-wing machine using the name to be released in 2025.

Implosion & Explosion

Implosion (pronoubced im-ploh-zhuhn)

(1) The act of imploding; a bursting inward (opposite of explosion).

(2) In phonetics, the occlusive phase of stop consonants; the nasal release heard in the common pronunciation of eaten, sudden, or mitten, in which the vowel of the final syllable is greatly reduced.

(3) The ingressive release of a suction stop.

(4) In clinical psychiatry, a type of behavior therapy in which the patient is repeatedly subjected to anxiety-arousing stimuli while the therapist attempts to extinguish the patient's anxiety and anxious behavior and replace them with more appropriate responses.

1829: The construct (modelled on explosion) was im- + (ex)plosion.  The im- prefix was from the Latin im-, an assimilated form of in- and used to express negation (not).  The prefix -in is quirky because it can act either to negate or intensify.  The general rule is that when pre-pended to a noun or adjective, it reinforces the quality signified and when pre-pended to an adjective, it negates the meaning, the latter mostly in words borrowed from French.  The Latin prefix in- was from the Proto-Italic en-, from the primitive Indo-European n̥- (not), the zero-grade form of the negative particle ne (not) and was akin to ne-, nē & nī.  In Modern English it is from the Middle English in-, from Old English in- (in, into), from the Proto-Germanic in, from the primitive Indo-European en.  Plosion was a word from the jargon of phonetics meaning the pronunciation of a consonant characterized by completely blocking the flow of air through the mouth and was a derivative of explosion, first coming into use in 1915–20 as a shortened form of explosion.  Implosion, coined as an opposite of explosion, was first published the Westminster Review in 1829.  There was a technical need for the word because, in popular use, many chemical reactions which resembled explosions were described thus, even though, as in the case of a mixture of hydrogen and oxygen, instead of an enlargement of bulk, a positive quantity, the result was is a negative one, tending towards a vacuum.

OceanGate’s diagram of Titan.

In response to the questions raised after it was confirmed OceanGate's Titan submersible had suffered a catastrophic implosion event, US Navy sources commented on the process:  When a submarine collapses (implodes), the hull material moves inward at a speed of around 1500 mph (2400 km/h) or 2200 feet (670 m) per second and the time required for a complete collapse is about 1 millisecond.  Typically, the human brain responds instinctively to stimulus at about 25 milliseconds and those with untypically fast reaction responses can begin to act at around 150 milliseconds.  The atmosphere inside a submarine contains a relatively high concentration of hydrocarbon vapors and this contributes to the space behaving something like the compression cycle in a very large diesel engine: The air auto-ignites and an explosion follows the initial rapid implosion.  A human in these circumstances is transformed into large blobs of fats and these the extreme temperature incinerates and turns to ash in little more than a second.  Navy sources also expressed scepticism at the desirability of constructing a hull from a mixture of materials (titanium and carbon-fibre) in vessels operating at depths where the pressure is extreme (where the wreck of the Titanic lies it’s some 400 times that which prevails at sea level).  The argument is that wherever the two materials meet is the point at which, over time, a weakness is most likely to form.  Because the Titan's tubular hull was made from carbon fibre, it's thought that rather than behaving like the metals used in submarine construction, it would to some extent fragment although the nature of the disintegration won't be known until the wreckage is examined.

Engineers however noted the consequences of the explosion (for both machine and people) could differ greatly from the historic experiences of such events at depth because they all involved vessels made from metal which tends to retain its inherent integrity, even as the structural integrity of the construction fails.  Additionally, many of the previous examples were spherical so the internal forces were equalized for the split-second during the critical event whereas Titan was tubular with what would, under the stresses imposed, become detachable titanium end-caps.  Titan's hull was built from carbon-fibre which, under the specific pressure encountered would have behaved differently from metal and may have fragmented.  The physics of all of this means the temperatures and dynamic forces experienced within Titan in that split-second may have been very different from the models generated by historic experience but until the wreckage and any human remains are examined, the details of the brief event will remain unclear.  The incident however is anyway likely to discourage the use of carbon-fibre hulls in submersibles but whether it has any implications for use in aviation will be interesting.  Building the fuselages of passenger airliners from carbon-fibre has many advantages and the stresses imposed are very different to those at depth but there is no real-world data to assess how the material will behave over the decades the airframes may operate.        

Historically, the difference between a “submersible” and a “submarine” was that a submersible was a vessel which operated usually on the surface but was able to submerge for short periods for purposes such as launching attacks on other vessels or attempting to avoid detection while a submarine was able to operate underwater for extended periods.  The definitions were (more or less) formalized after 1945 when “true” submarines were developed, rendering obsolete the traditional submersibles which gained their name as a clipping of “submersible boat”.  When nuclear propulsion was adopted, the duration of the craft was extended further, the primary limitation being the volume of food able to be stored.

The definitions have shifted somewhat although traces of the older distinctions remain.  For practical purposes, a submarine is a large, complex vessel able to undertake independent and extended underwater operations and although most associated with navies, there are many civilian operators of submarines.  In recent decades, submersibles have no longer been designed for sustained surface use (although some of the recent creations by drug smugglers appear to be exactly that) and are dedicated to and optimized for the undersea environment.  They can be just about any type of vehicle or apparatus capable of operating underwater, crewed or un-crewed and in an array of sizes and configurations for use in fields such as scientific research, exploration or underwater photography.

Implosions: Implosions do occasionally afflict storage tanks and the Mythbusters television series (past masters at explosions, on this one episode they forsook blowing stuff up and imploded something instead) attempted to create the conditions which “naturally” would provoke the phenomenon.  It proved difficult and the implosion eventually was induced by artificially reducing the internal pressure.

Explosion (pronounced ik-sploh-zhuhn)

(1) An act or instance of exploding; a violent release of energy resulting from a rapid chemical or nuclear reaction, especially one that produces a shock wave, loud noise, heat, and light (or the noise itself).

(2) A sudden, rapid, or great increase.

1615-1625: From the French explosion, from the Latin explōsiōnis, a genitive form of explōsio, from explōdo (I drive out by clapping) from explōdere (to explode), the construct being ex- (the prefix from Middle English from words borrowed from Middle French from the Latin ex (out of, from), from the primitive Indo-European eǵ- & eǵs- (out). It was cognate with the Ancient Greek ἐξ (ex) (out of, from), the Transalpine Gaulish ex- (out), the Old Irish ess- (out), the Old Church Slavonic изу (izu) (out), and the Russian из (iz) (from, out of)) + plōdo (I clap or I strike).  The figurative of "going off with violence and noise" is from 1660s and some sources insist the sense of "rapid increase or development" wasn’t noted until 1953 when it came to be used in commerce (describing both the extraordinary proliferation of consumer products in what would later come to be known as the “affluent society” and spikes in demand).  In the mid 1940s, the US conducted a number of nuclear weapon tests at Bikini Atoll in the South Pacific and when asked about his choice of “bikini” as the name for the fetching swimwear he trademarked (patent #19431) in 1946, the designer is reported to have at the time remarked he expected an "explosive commercial and cultural reaction" as dramatic as one of the Pentagon’s A-bombs.  The figurative use thus dates from at least the 1940s and it would seem at least plausible that in that vein the word had been used for a long time, centuries of wars exposing millions to explosions surely likely to have inspired the linguistic imagination.

In Ancient Rome, at the conclusion of a play, the actors would turn to the audience and command plaudite! (literally "clap your hands!); that's the source of the English plaudits (a mark or expression of applause; praise bestowed) and of the idea of the plausible (something to be applauded).  However, if the performance was a dud, the audience would explodo (the construct being ex- (out) + plaudo (clap), the idea being the actors is the dreadful performance would be "clapped off then stage" and as late as the seventeenth century the phrase persisted, surviving reports from critics recording "the crowd exploded him off the stage".  Indeed, even now, phrases like "the theory has long been exploded" are still sometimes seen although whether the writer has in mind the idea or "clapped away" or "blown up" may be uncertain. 

Figurative use: Lindsay Lohan with former special friend Samantha Ronson, the photograph taken in Mexico and dating from October 2008.

In figurative use, "implosion" and "explosion" frequently are used to describe different events or phenomena, the former often related to sudden and dramatic changes and while the latter can be used in this way, implosions can be imagined as gradual things which unfold over a long time, sometimes even years.  That said, there are some “explosions” which are regarded so only because of their peculiar context, such as the “Cambrian explosion” which was sudden and dramatic only against the measure of the evolutionary history of life on Earth.  The Cambrian Period, while a relatively brief period in the planet's four and a half billion years-odd of existence still encompassed in excess of forty million years (circa 540-485 million years ago).  During this time, there was a remarkable diversification and proliferation of complex multi-cellular life forms in the oceans and it was “explosive” in the sense nothing like it had happened before and in evolutionary terms, the appearance and diversification of an array of complex organisms (including the first appearance of animal groups or phyla which remain extant) was rapid indeed.  Still, that sort of figurative use of “explosion” tends to be restricted to evolutionary biologists and their ilk and it’s more familiar when used to describe something short & sharp like the rapid acceleration of a running back on the football field.  That would be over in seconds but in sport, something like the innings of a cricketer might be called “explosive” even if it unfolds over an hour or more.  It’s all a matter of context and literal explosions tend by their nature to be fast, brief events.

Just about any dictionary would define an explosion as something like “a rapid and forceful outward expansion or release of energy”, conveying the idea of something bursting forth or erupting with great intensity, impact, or noise and that’s familiar from the event associated with impacts, bombs and even volcanic eruptions which, although they can last for weeks are really only an explosion of short duration, following by consequential events like mud or lava flows which can last weeks.  However, far away (and long ago by the time we find out), there are explosions which are on such a scale they can take months.  There are lots of stars and sometimes, they explode.  In a sense, nothing lasts forever, yet at the same time, matter is, in one form or another, eternal.  Explosions are part of this process.  Quite how many stars exist is unknown and given we can observe only part of the universe, any estimate beyond a certain point is meaningless although, given calculations based on observable data suggest that there are at hundreds of billions of galaxies, each of which probably contains millions or billions of stars.  So, estimates (guesses) vary but the fact 1 septillion (1 followed by 24 zeros) is thought credible is interesting, not for the specific value it represents but because it means whatever might be the answer, it’s a very big number.  The time it takes for a star to explode depends on the type of star and the point it’s reached in its evolution but the two most significant types of stellar explosions are (1) supernovae and (2) stellar novae.  The mechanics and time absorbed by each in their explosions varies greatly.

A supernova is a powerful and catastrophic explosion which occurs at the end of the life of a massive star (or in a binary star system) and it can take (as seen from Earth) from a few weeks to several months.  As a prelude, over millions of years, the star will undergoes various stages of nuclear burning and fusion, culminating eventually in a catastrophic collapse and explosion.  Less energetic is a stellar novae which occurs in binary systems where a white dwarf star accretes matter from its companion star.  The accumulation of matter on the surface of the dwarf can lead to a sudden and rapid release of energy, resulting in a nova explosion.  Novae typically brighten over a short period, reaching peak brightness in a matter of days or weeks, after which they gradually fade away over several months.  Not all stars end with an explosion.  Less massive bodies (like our Sun) don’t explode but kind of fade away through a process cosmologists call stellar evolution, expanding into red giants, shedding their outer layers, eventually to be become white dwarfs on the path to dark, dead obscurity.  Back on Earth, the figurative use extends from a rapid increase in popularity of someone or something to sudden outbreaks of violence by individuals or entire societies and something said or done which might induce either of the latter can be said to be “potentially explosive”.

Conversely, “implosion” is used figuratively to describe an internal collapse or inward sinking, rather than an outward burst although the latter may be consequent upon the former.  It’s suggestive of a situation or event where there is (suddenly or gradually) failure, disintegration, or decline, typically accompanied by a loss of control or power and implosions are often associated with the gradual accumulation of pressures or internal forces that eventually lead to a collapse or breakdown.  Individuals, institutions or societies may be said to have imploded because they lacked the strength, internal cohesion or resources to resist pressures which may be externally imposed, generated internally or a combination of both.  However, although both explosion and (probably more frequently) implosion are among the general population commonly used terms when discussing aspects of metal health (usually of others), they’re officially not part of the lexicon of clinicians or other professionals in the field.  It may be that the words are sometimes in their thoughts when faming a diagnosis but neither appears in the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) which for decades has provided a standardized classification and criteria for diagnosing mental disorders.

An explosion: A simulation of the detonation of the Soviet Union’s AN602 Царь-бо́мба (Tsar Bomba), a thermonuclear gravity bomb which was the most powerful nuclear weapon yet built (as far as is known) or tested.  It was detonated on 30 October 1961 on a remote island in the Barents sea and the Russian claim of a yield equivalent to 50 megatons of TNT is now generally accepted (the contemporary US estimate of 57-60 was based on more remote observations).

Laurel

Laurel (pronounced lawruhl or lor-uhl)

(1) A small European evergreen tree, Laurus nobilis, of the laurel family, having dark, glossy green leaves (Known also as the bay tree or sweet bay).

(2) Any tree of the genus Laurus.

(3) In general use, any of various similar trees or shrubs, as the mountain laurel or the great rhododendron.

(4) The foliage of the laurel as an emblem of victory or distinction.

(5) A branch or wreath of laurel foliage.

(6) In the plural (laurels or victory laurels), an award conferred (literally or figuratively) as an honor for achievement in some field or activity.

(7) An English gold coin minted in 1619, so called because the king's head was crowned with laurel.

(8) In many color charts, a green of a darker hue.

(9) To adorn or enwreathe with laurel.

(10) To honor with marks of distinction.

1250–1300: A dissimilated variant of the Middle English laurer (laurel), from the Anglo-Norman, from the twelfth century Old French laurier & lorier (bay tree; laurel tree), the construct being lor (bay) + -ier, from the Medieval Latin laurārius, from the Latin laurus (laurel tree), thought related to the Greek daphne (laurel), probably from a pre-Indo-European Mediterranean language.  The French suffix -ier was from the Middle French -ier & -er, from the Old French, from the Latin -ārium, the accusative of -ārius.  It was used to form the names of trees, ships, jobs etc.  The second -r- in the Middle English laurer changed to -l- by process of dissimilation.  Laurel is a noun, a proper noun & verb and laureled (also laurelled) & laureling (also laurelling) are verbs; the noun plural is laurels.

Lindsay Lohan fridge magnet by Alexanton.

The use to describe an emblem of victory or of distinction (hence the phrase “to rest on one’s laurels” (the original form was “repose upon”)) which dates from 1831.  The phrase is now mostly used in the cautionary sense “don’t rest on your laurels”, a warning not to rely on a reputation gained through past successes but instead continue to strive and improve.  The companion phrase “look to your laurels” is an idiomatic expression known in Antiquity meaning one need to be vigilant and attentive to your accomplishments, skills or position because there will be those eager to surpass or outshine you.  Like “don’t rest on your laurels”, it stresses the importance of maintaining one’s competitive edge.

Sirens and the Night (1865) by William Edward Frost (1810-1877).

Although most associated with women, Laurel is a unisex given name and the feminine variants include Laura, Lauren, Lori, and Lorraine.  It was related also to the German Lorelie.  In several tales from Germanic mythology in which the maiden Lorelei (luring rock), who lives upon a rock in Rhine River, lures fishermen to their deaths by singing songs of such beauty they can’t resist, a variation of the story of Odysseus and the Sirens.  In Greek mythology, Sirens were deadly creatures who used their lyrical and earthly charms to lure sailors to their death.  Attracted by their enchanting music and voices, they’d sail their ships too close to the rocky coast of the Siren’s island and be shipwrecked.  Not untypically for the tales from antiquity, the sirens are said to have had many homes.  The Roman said they lived on some small islands called Sirenum scopuli while later authors place them variously on the islands of Anthemoessa, on Cape Pelorum, on the islands of the Sirenuse, near Paestum, or in Capreae (all places with rocky coasts and tall cliffs).  It was Odysseus who most famously escaped the sirens.  Longing to hear their songs but having no wish to be shipwrecked, he had his sailors fill their ears with beeswax, rendering them deaf.  Odysseus then ordered them to tie him to the mast.  Sailing past, when he heard their lovely voices, he ordered his men to release him but they tightened the knots, not releasing him till the danger had passed.  Some writers claimed the Sirens were fated to die if a man heard their singing and escaped them and that as Odysseus sailed away they flung themselves into the water and died.

#metoo: Apolo persiguiendo a Dafne (Apollo chasing Daphne (circa 1637)), oil on canvas by Theodoor van Thulden (1606–1669) after Peter Paul Rubens (1577–1640), Museo Nacional del Prado, Madrid.

The feminine proper name Daphne was from the Greek daphne (laurel, bay tree) and in mythology was the name of a nymph.  Etymologists conclude the word is related to the Latin laurus (laurel) although the mechanism has been lost in time.  In Greek mythology, Daphne, daughter of the river Peneus, was a nymph with whom the God Apollo fell in love; he was provoked by Cupid, having disputed with him the power of his darts which Apollo, the recent conqueror of the Python, belittled.  When he pursued her to the banks of the Peneus, she was saved from being ravished by the god who transformed her into a Laurel tree, the origin of Apollo being so often depicted crowned with laurel leaves.  None of the writers from Antiquity seem ever to have pondered whether the nymph, had she been offered the choice between being ravished by a Greek god or being eternally arboreous, might have preferred to permit a slice to be cut from the loaf.  Still, being a sentimental chap, Apollo adopted the laurel as his favorite tree so there’s that.  The site of temples and a stadium, the Grove of Daphne was a pleasure resort of renowned natural beauty, dedicated to Apollo and located near Antioch.

Audrey Hepburn (1929–1993) in a “laurel leaves” hat designed by Hubert de Givenchy (1927–2018), photograph by Howell Conant (1916–1999), Switzerland, February 1962.

As an adjective, laureate (crowned with laurels as a mark of distinction) dates from the late fourteenth century and the earliest reference was to poets of particular distinction, from the Latin laureatus (crowned with laurel), from laurea (laurel crown; emblematic of victory or distinction in poetry), from the feminine laureus (of laurel).  The first known use of Laureat poete is in Geoffrey Chaucer’s (circa 1344-1400) Canterbury Tales (1387-1400) in reference to Scholar and poet of early Renaissance Italy, Petrarch (Francesco Petrarca (1304–1374), and it was used in Middle English of Greek fabulist Aesop (circa 620–564 BC) and, by the early fifteenth century of Chaucer himself.  In English the inverted form “poet laureate” was in imitation of Latin word order and although used informally since the early 1400s, the evidence suggests the first to be appointed by the state was probably (and perhaps posthumously) Benjamin Jonson (circa 1572–circa 1637) (1638) in 1638 although the first from whom the letters patent remain extant was John Dryden (1631–1700).  In the UK, the position of Poet Laureate is an honorary office in the gift of the monarch but these days, appointed on the advice of the prime minister.  Because many prime-ministers know nothing of poetry, they take advice on the matter.  There was a time when the Poet Laureate was an exalted character but these days there’s less interest and the best remembered is probably still Ted Hughes (1930–1998; Poet Laureate 1984-2008) and then less for his verse than the calls by feminists to boycott his works because he had Sylvia Path’s (1932-1963) “blood on his quill”. The noun came into existence in the 1520s, either an evolution from the adjective or through a mistaken reading of poet laureate and laureateship has been in use since 1732.  Laureate is most frequently used of Nobel prize winners, a use that began in 1947.

Exoskeleton & Endoskeleton

Exoskeleton (pronounced ek-soh-skel-i-tn)

(1) In zoology, an external covering or integument, any hardened external structure, as the shells of crustaceans or the scales and plates of fishes and reptiles, especially when it is of the nature of bone.

(2) All hard parts, such as hair, teeth, and nails which develop from the ectoderm or mesoderm in vertebrates (generally used only in technical literature).

1841: The construct was exo- + skeleton.  The prefix endo- was used as a word-forming element meaning "inside, within, internal.  It was from the Ancient Greek ἔνδον (éndon) (within; inner; internal) from the primitive Indo-European en-do- (an extended form of the root en (in)).  Skeleton was from the New Latin skeleton (bones, bony framework of the body), from the Ancient Greek skeleton soma (dried-up body, mummy, skeleton), from the neuter of σκελετός (skeletós) (dried up, withered, dried body (and as a noun: parched; mummy), from σκέλλω (skéllō & skellein) (dry, dry up, make dry, parch), from the primitive Indo-European (s)kelha- (to parch, wither); related was the Ancient Greek σκληρός (sklirós) (hard).

Skelton was an early variant form.  The noun use of Greek skeletos passed into Late Latin as (sceletus), hence the French squelette and the rare English skelet (1560s), the Spanish esqueleto & the Italian scheletro.  The meaning "bare outline" was first recorded circa 1600; hence the term "skeleton crew" from 1778 used to describe minimal staffing, the skeleton key a similar allusion to some of a structure being removed.  The phrase "skeleton in the closet" (source of secret shame to a person, family or institution) is from 1812 and thought an adoption from the imagery in Bluebeard fable (1697) by Charles Perrault (1628-1703). Exoskeleton was a creation in 1841 by English paleontologist Sir Richard Owen (1804–1892).

Endoskeleton (pronounced en-doh-skel-i-tn)

(1) In zoology, the internal skeleton or framework of the body of an animal (generally the bony or cartilaginous skeleton of vertebrates).  Certain invertebrates, such as sponges and echinoderms, also have endoskeletons.

(2) For most (non-technical) purposes, a synonym for skeleton.

1838: The construct was endo- + skeleton  The prefix exo- was used as a word forming element in words of Greek origin meaning "outer, outside, outer part" and was used from the mid-nineteenth century.  It’s from the Ancient Greek ἔξω (éxō) (outer; external).and was related to ex (out of).  Endoskeleton is used almost exclusively in the biological sciences.  For most general purposes, it’s synonymous with skeleton which is the default assumption of use because it’s familiar from humans and most familiar animals.  Exoskeleton has become more widely used in recent years because of the interest in fields such as engineering, robotics and medicine in using external structures, often to augment or replace human functions.

Trilobites

Trilobite (pronounced try-low-byte) translates literally as “three lobes".  Often casually referred to as bugs or sea-bugs, in taxonomy, all trilobites actually belong in the class of trilobite in the phylum arthropod and within the class are ten orders.  It’s not known how many species of trilobites existed but almost 21,000 have thus far been identified in the fossil record, their numbers and variety leading them to be regarded as one of history’s more successful animals.  They inhabited all the seas and oceans and endured some three-hundred million years, surviving several mass-extinction events.  Their long duration, their structure and living habits meant they became a common and frequently discovered fossil, noted since antiquity although the first attempt scientifically to classify one seems to have been by Wan Shizen of China who, in 1689 described trylobite pygidia (tails) as batstones.  The first known scientific drawing was by Welsh botanist, the Reverend Edward Lhuyd (1660-1709) whose sketch of a trilobite was published in "The Philosophical Transactions of the Royal Society.  The drawing, now classified as being a Ogygiocarella debuchii, was then (not unreasonably), called the "flatfish".

Truly ancient, trilobites pre-date the Cambrian explosion and went extinct only towards the end of the Permian extinction event which ended the Paleozoic age.  However, the earlier events took their toll, a few orders vanishing after the Ordovician extinction event while the Devonian event removed all but one order, that last survivor dying out in the Great Permian Extinction.  Why such a successful and prolific creature could not endure these extinctions remains a debate.

All share the same basic structure, having three lobes: a left pleural, a middle axial and a right pleural lobe, their bodies divided into a cephalon (dead), thorax (middle), and pygydium (tail).  Trilobites had a thick, protective exoskeleton which formed a hard calcite shell, something like that of the modern crab and is the reason for their frequency in the fossil record, the exoskeletons usually the only part to survive although, in the rare cases where certain surrounding conditions exist, traces of soft tissue such as antennae can survive fossilization.  As a trilobite grew, it molted its exoskeleton, and many of the fossils which exist are molted frames rather than dead creatures.

Endoskeleton cars

The Birdcage: The Maserati Tipo 60/61 (chassis #2549).

Endoskeleton cars are far from uncommon but some make the concept more obvious than others.  The Maserati Tipo 60/61 (1959-1961) gained the nickname “Birdcage” (by which it’s almost always known) because observers were much taken with the delicacy of the construction.  By the late 1950s, space-frames had become familiar to race-car builders but they were usually robust-looking arrangements whereas Maserati had rendered an intricate latticework of some 200 chromoly steel tubes welded often in triangulated form in the points of highest stress, the design delivering both lightness and rigidity.

Mercedes-Benz 300 SLR (W196S, upper) & 300 SL (W198, lower).

One of the reasons the Maserati’s skeleton looked so delicate was that the space-frame had become associated with Teutonic-flavored construction like that used by Mercedes-Benz for its 300 SL & 300 SLR.  Both shared the same method of construction but despite the names and the the visual similarity between the two, there were few common components beyond the nuts, bolts & screws.  The 300 SL (W198; 1954-1963) was a road car while the SLR (W196S; 1955) was a lengthened version of the W196R Formula One Grand Prix car with a sexy body and an enlarged (though somewhat detuned) straight-eight engine.

Exoskeleton cars

MVE Exocet (left) & Exomotive’s Exocet Sport V8 (right).

Exoskeleton vehicles are numerous on farms, mine-sites and such but rarely seen on public roads.  They do though have a niche for those who want something which sacrifices just about everything (aerodynamics, weather protection, doors etc) for the nimbleness only extreme light-weight can deliver.  An example is the MVE Exocet, released for public sale in 2010.  It’s an inventive approach to the kit-car concept and takes the classic front-engined, rear-wheel drive approach, based on Mazda’s Miata (the MX-5, introduced in 1989 and a kind of clone of the Lotus Elan of the 1960s but without the problems), the advantage with the Japanese platform being its unusual sub-frame which permits the removal of the body, leaving the engine, drive-train and suspension as a rolling assembly to be transplanted to the Exocet chassis.

The nicely defined shoulder blade and ribcage definition of Lindsay Lohan's endoskeleton.

Because of the light weight, even when using sensible four-cylinder engines the Exocet delivers high-performance but the Americans in particular can’t resist the idea that just about any car can be improved by the installation of a V8 and quite outlandish power to weight ratios are possible.  An indicative example of Exomotive’s Exocet Sport used a 525 horsepower (LS3) version of one of the later evolutions of the small-block Chevrolet V8 which, fully fueled, weighed in at 1690 lb (767 kg), somewhat less than a 2023 Formula One car.  Because it possible to buy, off the shelf (as a “crate” engine), V8 engines with about the same power as a F1 power-plant generates, although there was be something a weight penalty, the potential does exist to build a two-seater roadster with a similar power-to-weight ratio and there are jurisdictions which even allow such a thing to be registered for use on public roads.  Opinions would differ on whether such a build is a good idea but the little machines, if the V8 was tuned more for low and mid-range torque rather than ultimate power, would seem to have great potential in competitions such as short-course events and hill-climbs although the dubious aerodynamics would render it less suited to high-speed tracks.

Art and money: Porsche 934 by Benedict Radcliffe (US$249,002) and Comedian by Maurizio Cattelan’s (the banana duct-taped to the wall; (US$6.2 million)).

The exoskeleton concept inspired English artist and sculptor Benedict Radcliffe (b 1976) to create a number of small scale tubular steel sculptures in the shape of cars including the Lancia Stratos (1973-1978), Lamborghini Countach (1974-1990) and Ferrari F40 (1987-1992), mostly powdered-coated in lurid colors.  Usually, they sell for several thousand US dollars but in early 2025, one in 1:1 scale in the shape of a Porsche 934 sold for US$249,002.  In a nod to history, it was painted in the same fluro-orange used for the Jägermeister livery used for the race cars in 1979-1977 and rolled on period-correct centre-locking BBS wheels shod with Avon slick tires.  At that price, it was little different from what one would pay for a new Porsche 911 GT3, straight from the showroom floor.  Still, it’s less than the US$1.5 million which is typical of what’s been paid in recent years on the rare occasions a 934 is offered for sale.  Produced between 1976-1977, Porsche built 31 934s, simply for the purpose of creating a version of the 930 (the 911 Turbo, 1975-1978) which would comply with the FIA Group 4 (GT Cars) rules (the 935 was the companion Group 5 (Special Production Cars) project).  The art market cannot be assessed with any form of conventional metrics but in paying a quarter-million odd for a tubular structure, one gets quite a lot compared with the Italian visual artist Maurizio Cattelan’s (b 1960) Comedian, (the banana duct-taped to the wall) which a couple of months earlier had, at auction, realized US$6.2 million.