Blueprint

Blueprint (pronounced bloo-print)

(1) A process of photographic printing, used chiefly in copying architectural and mechanical drawings, which produces a white line on a blue background; also called a cyanotype.

(2) A physical print made by this process.

(3) A slang term for a digital rendition of the process.

(4) A slang term for such a drawing, whether blue or not.

(5) By analogy, a detailed outline or plan of action (in text or image).

(6) To make a blueprint.

(7) A technique for optimizing the performance of internal combustion engines by machining (or matching) components to their exact specifications.

1887: The construct was blue + print (blue print and blue-print (1882) were the rarely used alternative spellings).  The figurative sense of "detailed plan" dates from 1926 and use as a verb is from 1939.

Blue dates from the sixteenth century and was from the Middle English blewe, from the Anglo-Norman blew (blue), from the Frankish blāu (blue) (possibly via the Medieval Latin blāvus & blāvius (blue)), from the Proto-Germanic blēwaz (blue, dark blue), from the primitive Indo-European bhlēw (yellow, blond, grey).  It was cognate with the dialectal English blow (blue), the Scots blue, blew (blue), the North Frisian bla & blö (blue), the Saterland Frisian blau (blue), the Dutch blauw (blue), the German blau (blue), the Danish, Norwegian & Swedish blå (blue), the Icelandic blár (blue).  It was cognate also with the obsolete Middle English blee (color) related to the Welsh lliw (color), the Latin flāvus (yellow) and the Middle Irish blá (yellow). A doublet of blae.  The present spelling in English has existed since the sixteenth century and was common by circa 1700.  Many colors have in English been productive in many senses and blue has contributed to many phrases in fields as diverse as mental health (depression, sadness), semiotics (coolness in temperature), popular music (the blues), social conservatism (blue stocking; blue rinse), politics (conservative (Tory) & Whig identifiers and (unrelated) the US Democratic Party), labor-market segmentation (blue-collar), social class (blue-blood), stock market status (blue-chip) and, inexplicably, as an intensifier (blue murder).

Print dates from circa 1300 and was from the Middle English printen, prenten, preenten & prente (impression, mark made by impression upon a surface), an apheretic form of emprinten & enprinten (to impress; imprint).  It was related to the Dutch prenten (to imprint), the Middle Low German prenten (to print; write), the Danish prente (to print), the Swedish prenta (to write German letters).  The late Old French preinte (impression) was a noun use of the feminine past participle of preindre (to press, crush), altered from prembre, from the Latin premere (to press, hold fast, cover, crowd, compress), from the primitive Indo-European root per- (to strike).  The Old French word was also the source of the Middle Dutch (prente (the Dutch prent) and was borrowed by other Germanic languages.

Lindsay Lohan, blueprinted.    

The sense of "a printed publication" (applied later particularly to newspapers) was from the 1560s.  The meaning "printed lettering" is from the 1620s and print-hand (print-like handwriting) from the 1650s.  The sense of "picture or design from a block or plate" dates from the 1660s while the meaning "piece of printed cloth or fabric" appeared first in 1756.  The photographic sense emerged apparently only by 1853, some three decades after the first photographs, the use evolving as printed photographs became mass-market consumer products.  Print journalism seemed to have been described as such only from 1962, a form of differentiation from the work of those employed by television broadcasters.

Blueprinting internal combustion engines is the practice of disassembling the unit and machining the critical components (piston, conrods etc) to the point where they exactly meet the stated specifications (dimensions & weight).  Essentially, the process is one of exactitude, using precision tools to make components produced using the techniques of mass production (which inherently involves wider tolerances) and modifying them by using tighter tolerances, meeting exact design specifications.  It’s most associated with high-performance racing cars, especially those which compete in “standard-production” classes which don’t permit modifications to most components.  In some cases, especially with factory-supported operations, the components might be specially selected, prior to assembly.  As a cost-containment measure (a means of creating a "level playing field" to ensure the competitiveness of less well-resourced teams), some competitions for "standard production vehicles" explicitly banned blue-printing.

Blueprint of the USS Missouri (BB-63), an Iowa-class battleship launched in 1944.  Missouri was the last battleship commissioned by the US Navy.

The first blueprint was developed in 1842 by English mathematician, astronomer, chemist & experimental photographer Sir John Herschel (1792-1871).  What he then termed a “cyanotype process” eliminated the need to copy original drawings by means of hand-tracing, a cumbersome, time consuming (and therefore expensive) process.  At what was then an astonishingly low cost, it permitted the rapid and accurate production of an unlimited number of copies.  The cyanotype process used a drawing on semi-transparent paper that was weighted down on top of a sheet of paper which was then placed over another piece of paper, coated with a mix of ammonium iron citrate and potassium ferrocyanide (derived from an aqueous solution and latter dried).  When the two papers were exposed to light, the chemical reaction produced an insoluble blue compound called blue ferric ferrocyanide (which became famous as Prussian Blue), except where the blueprinting paper was covered and the light was blocked by the lines of the original drawing. After the paper was washed and dried to preserve those lines, the result was a negative image of white (or whatever color the blueprint paper originally was) against a dark blue background.  White was by far the most used paper and the most common cyanotypes were thus blue with white lines.  At least by 1882 they were being described as “blue prints” but by 1887, they were almost universally called blueprints and in engineering and architecture had become ubiquitous, Herschel’s photochemical process producing copies at a tenth the cost of hand-tracing.

"Blueprint" came to refer to the process as much as the product and not all blueprints were "blue": Factory blueprint (quotation drawing produced on diazo machine) of 1955 Mercedes-Benz 300 SLR (W196S Uhlenhaut Coupé).  Two were built, one of which sold in June 2022 for a record US$142 million at a private auction held at the Mercedes-Benz Museum in Stuttgart, making it the world's most expensive used car.

Refinements and economies of scale meant that during the early twentieth century the quality of blueprints improved and costs further fell but by the 1940s, they began to be supplanted by diazo prints (known also as “whiteprints” or “bluelines”).  Diazo prints were rendered with blue lines on a white background, making them easier to read and they could be produced more quickly on machinery which was simpler and much less expensive than the intricate photochemical devices blueprints demanded.  Accordingly, reprographic companies soon updated their plant, attracted too by the lower running costs, the diazo machinery not requiring the extensive and frequent maintenance demanded by the physically big and intricate photochemical copiers.

1929 Mercedes-Benz SSKL printed in blueprint style.

One tradition of the old ways did however endure.  The diazo machines caught on but “diazo print”, “whiteprint” & “blueline” never did; the drawings, regardless of the process used, the color of the paper or the lines (and many used black rather than blue) continued to be known as “blueprints”.  That linguistic tribute persisted even after diazo printing was phased-out and replaced with the xerographic print process, the standard copy machine technology using toner on bond paper.  Used for some time in commerce, large-size xerography machines became available in the mid-1970s and although originally very expensive, costs rapidly fell and the older printing methods were soon rendered obsolete.  As computer-aided design (CAD) software entered the mainstream during the 1990s, designs increasingly were printed directly from a computer to printer or plotter and despite the paper used being rarely blue, the output continued to be known as the blueprint.

Blueprint of the Chrysler Building, New York City, 1930.

Even now, although often viewed only as multi-colored images on screens (which might be on tablets or phones), such electronic drawings are still usually called blueprints.  Nor have blueprints vanished.  There are many things (buildings, bridges, roads, power-plants, railroads, sewers etc) built before the 1990s which have an expected life measured in decades or even centuries and few of these were designed using digital records.  The original blueprints therefore remain important to those engaged in maintenance or repair and can be critical also in litigation.  Old blueprints can be scanned and converted to digital formats but in many cases, the originals are fragile or physically deteriorated and finer details are sometimes legible only if viewed on the true blueprint.  Centuries from now, magnifying glasses in hand, engineers may still be examining twentieth century blueprints.

Satellite

Satellite (pronounced sat-l-ahyt)

(1) In astronomy, celestial body orbiting around a planet or star; a moon.

(2) In geopolitics, as “satellite state”, a country under the domination or influence of another.

(3) Something (a county, sub-national state, office, building campus etc), under the jurisdiction, influence, or domination of another entity; Subordinate to another authority, outside power, or the like (also known as a “satellite operation”, “satellite campus”, “satellite workshop” etc).

(4) An attendant or follower of another person, often subservient or obsequious in manner; a follower, supporter, companion, associate; lackey, parasite, sycophant, toady, flunky; now used usually in the derogatory sense of “a henchman” although, applied neutrally, it can be used of someone’s retinue or entourage (and even the machinery of a motorcade).

(5) A man-made device orbiting a celestial body (the earth, a moon, or another planet etc) and transmitting scientific information or used for communication; among astronomers and others form whom the distinction matters, man-made devices are sometimes referred to as “artificial satellites” to distinguish them for natural satellites such as the Earth’s Moon.  The standard abbreviation is “sat” and the situation in which a satellite is hit by some object while in orbit (which at the velocities involved can be unfortunate) is called a “sat-hit”.

(6) As “derelict satellite”, a man-made device (including the spent upper-stages of rockets) in orbit around a celestial body which has ceased to function.

(7) In medicine, a short segment of a chromosome separated from the rest by a constriction, typically associated with the formation of a nucleolus.

(8) In biology, a colony of microorganisms whose growth in culture medium is enhanced by certain substances produced by another colony in its proximity.

(9) In formal grammar, a construct that takes various forms and may encode a path of movement, a change of state, or the grammatical aspect (highly technical descriptor no longer used in most texts).

(10) In television, as satellite TV, the transmission and reception of television broadcasts (and used also in narrowcasting) using satellites in low-earth orbit.

(11) In the military terminology of Antiquity, a guard or watchman.

(12) In entomology, as satellite moth, the Eupsilia transversa, a moth of the family Noctuidae.

1540-1550: From the fourteenth century Middle French satellite, from the Medieval Latin satellitem (accusative singular of satelles) (attendant upon a distinguished person or office-holder, companion, body-guard. courtier, accomplice, assistant), from the Latin satelles, from the Old Latin satro (enough, full) + leyt (to let go) and listed usually as akin to the English “follow” although the association is undocumented.  Although the Latin origin is generally accepted, etymologists have pondered a relationship with the Etruscan, either satnal (klein) (again linked to the English “follow”) or a compound of roots: satro- (full; enough) + leit- (to go) (the English “follow” constructed of similar roots).  Satellite is a noun, verb & adjective and satellitic & satellitious are adjectives; the noun plural is satellites.  Satellitious (pertaining to, or consisting of, satellites) is listed by most dictionaries as archaic but is probably the best form to use in a derogatory sense, best expressed in the comparative (more satellitious) or the superlative (most satellitious).

Lindsay Lohan promoting the Sick Note series, TV & Satellite Week magazine, 21-27 July 2018.

The adjectival use is applied as required and this has produced many related terms including satellite assembly (use of committees or deliberative bodies created by a superior authority), satellite broadcasting (in this context distinguished from transmissions using physical (point-to-point) cables or ground-based relays), satellite campus, satellite DNA (in genetics, an array in  tandem of repeating, non-coding DNA), satellite-framing (in linguistics, the use of a grammatical satellite to indicate a path of motion, a change of state or grammatical aspect (as opposed to a verb framing)), satellite navigation (the use of electronic positioning systems which use data from satellites (often now as “SatNav”)) and satellite station (either (1) as ground-base facility used for monitoring or administrating satellites or (2) a manned facility in orbit such as the ISS (International Space Station)), satellite telephone (telephony using satellites as a transmission vector)

Sputnik, 1957

Sputnik 1 blueprint, 1957.

The original sense in the 1540s was "a follower or attendant of a superior person" but this use was rare before the late eighteenth century and it seemed to have taken until the 1910s before it was applied in a derogatory manner to suggest "an accomplice or accessory in crime or other nefarious activity” although the Roman statesman Cicero (Marcus Tullius Cicero, 106-43 BC) often used the Latin form in this way.  In the seventeenth century, as telescopes became available, the idea was extended to what was then thought to be "a planet revolving about a larger one" on the notion of "an attendant", initially a reference to the moons of Jupiter.  In political theory, the “satellite state” was first described in 1800, coined by John Adams (1735-1826; US president 1797-1801) in a discussion about the United States and its relationships with the other nations of the Americas although in geopolitics the term is most identified with the “buffer states”, the members of the Warsaw Pact which were within Moscow’s sphere of influence.  The familiar modern meaning of a "man-made machine orbiting the Earth" actually dates (as scientific conjecture) from 1936, something realized (to the surprise of most) in 1957 when the USSR launched Sputnik 1.  Sputnik was from the Russian спу́тник (sputnik) (satellite (literally "travelling companion” and in this context a shortened form of sputnik zemlyi (travelling companion of the Earth), from the Old Church Slavonic supotiniku, the construct being the Russian so- (as “s-“ (with, together)) + пу́тник (pútnik) (traveller), from путь (put) (way, path, journey) (from the Old Church Slavonic poti, from the primitive Indo-European pent- (to tread, go)) + ник (-nik) (the agent suffix).

Soviet Sputnik postcard, 1957.

The launch of Sputnik shocked the American public which, in a milieu of jet aircraft, televisions and macropterous Cadillacs, had assumed their country was in all ways technologically superior to their Cold War enemy.  Launched into an elliptical low-Earth orbit, Sputnik was about twice the size of a football (soccer ball) and it orbited for some three more months before falling towards earth, the on-board batteries lasting long enough for it to broadcast radio pulses for the first three weeks, transmissions detectable almost anywhere on earth.  It sounds now a modest achievement but it needs to be regarded as something as significant as the Wright Flyer in 1903 travelling 200 feet (61 m), at an altitude of some 10 feet (3 m) and in the West the social and political impact was electrifying.  There were also linguistic ripples because, just as a generation later the Watergate scandal would trigger the –gate formations (which continue to this day), it wasn’t long before the –nik prefix (which had actually been a part of Yiddish word creation for at least a decade) gained popularity.  Laika, the doomed stray dog launched aboard Sputnik 2 in November 1957 was dubbed muttnik (although the claims it was the first living thing in space have since been disproved because "living" entities were both on board the Nazi V2 rockets (1944-1945) which often briefly entered the stratosphere and have long been present in the upper atmosphere where they’re ejected into space by natural atmospheric processes) while the early US satellites (quickly launched to display the nation’s scientific prowess) failed which gave the press the chance to coin kaputnik, blowupnik, dudnik, flopnik, pffftnik & stayputnik.

Sputnik 1's launch vehicle (left), the satellite as it orbited the earth (centre) and in expanded form (right).  A model of Sputnik 1 would make an appearance as a propaganda piece for the PCI (Partito Comunista Italiano, the Communist Party of Italy, 1921-1991) in the 1958 Italian general election.  Those in the PCI certainly were communists but they were also Italians so even the campaign props were stylish.  

Although not a great surprise to either the White House or the better-informed in the Pentagon, the American public was shocked and both the popular and quality press depicted Sputnik’s success as evidence of Soviet technological superiority, stressing the military implications.    This trigged the space race and soon created the idea of the “missile gap” which would be of such significance in the 1960 presidential election and, although by the early 1960s the Pentagon knew the gap was illusory, the arms race continued and the count of missiles and warheads actually peaked in the early 1970s.  It also began a new era of military, technological, and scientific developments, leading most obviously to the moon landing in 1969 but research groups developed weapons such as the big inter-continental ballistic missiles (ICBMs) and missile defence systems as well as spy satellites.  Satellites were another step in the process of technology being deployed to improve communications.  When in 1865 Abraham Lincoln (1809–1865; POTUS 1861-1865) was assassinated, the news didn’t reach Europe until the fastest clipper had crossed the Atlantic a fortnight later.  By the time of William McKinley's (1843–1901; POTUS 1897-1901) assassination, the news was within minutes transmitted around the world through undersea cables (thus the still sometimes heard use in this context of “cable” and “cabled”).  In 1963, while news of John Kennedy's (JFK, 1917–1963; POTUS 1961-1963) death was close to a global real-time event, those many miles from Dallas had to wait sometimes 24 hours or more to view footage, the physical film stock delivered in canisters by land, sea or air.  By 1981, when an attempt was made on Ronald Reagan’s (1911-2004; POTUS 1981-1989) life, television stations around the planet were, sometimes within seconds, picking up live-feeds from satellites.

Two comrades with their 1960 Trabant P50 in stylish two-tone pastellblau (pastel blue) over creme (cream) admiring the Leipzig Opera building, Saxony, circa 1961 (left) and a 1990 Trabant 601 in a by then more typical beige (right).

In the GDR (German Democratic Republic, the old East Germany), the long-running (1957-1991) Trabant's bodywork was made with Duroplast, a composite thermosetting plastic (and a descendant of Bakelite).  It was a resin plastic reinforced with fibres (the GDR used waste from both cotton & wool processing) which structurally was similar to fibreglass although the urban myth Trabants were made from reinforced cardboard persists.  The first Trabants left the Saxony production line in November 1957, only weeks after the Soviet Union had startled the world by launching Sputnik and while the first man-made Earth satellite did nothing other than transmit radio pulses, the significance was that was something which had never before been done and, launched into an elliptical low Earth orbit where it circulated for three months, because of the flight path, the little sphere's "beeps" could at various times be detected just about anywhere below.  Compared with what space programmes would become, it sounds now a modest achievement but was at the time a sensation and the event which triggered the “space race”.

Two comrades approaching their 1957 Trabant P50 in stylish korallenrot (coral red) over creme (cream).  Note the amber turn signals; Trabants were factory-fitted with flashers at a time Rolls-Royce and other manufacturers in the “advanced West” were still installing antiquated semaphores.

In the Eastern Bloc there weren’t many marketing departments but there was a vast propaganda apparatus and opportunistically, the name Trabant was derived from the Middle High German drabant (satellite; companion; foot soldier) which at the time was a positive association with the famous Sputnik but it later became emblematic of the economic and moral bankruptcy of the whole communist project: While by the fall of the Berlin Wall (1961-1989) Soviet satellites and related technologies greatly had advanced, the “Trubi” remained a little changed “1957 time capsule”.  Although much despised in the early 1990s in the aftermath of the break-up of the Soviet Union (1922-1991), opinions softened and the survivors of the more than three million produced (a greater volume than BMC's (British Motor Corporation) Mini (1959-2000)) gained a cult following.  More correctly, the marque gained a number of cult followings, some attracted by the “retro-cuteness”, some with genuine, Putinesque nostalgia for the old Soviet system and other with a variety of projects as varied as EV (electric vehicle) conversions, the installation of V8s for drag-racing and the re-purposing in many forms of competition.  The Trubi is now a fixture in the lower reaches (a notch above the Austin Allegro) of the collector market.

Low-emission Trabant (rated at 1 PP (pony-power)) with driver using semaphore signal to indicate intention to turn left, Barnim district, Bernau bei, Berlin, GDR, 1981.

As late as the 1960s, in some places, trucks & vans still were being built with a hand-operated semaphore mounted on the driver’s door and specialized vehicles likely also to have an occupant on the passenger-side (such as fire-engines) sometimes had two.  If need be they could also be improvised, as in the low-tech “lollipop” sign being used in this image of a two-seater buggy, a vehicle crafted using the salvageable section of a Trabant which may have suffered frontal damage in a crash.  Trabants really could go fast enough to have damaging crashes and although not engineered with the “crumple zones” which were introduced in the West as a way of absorbing an impact’s energy before it reached the occupants, in their own way, crumple Trabants did.  The photograph of the horse-drawn Trubi, while not representative of the entire Eastern Bloc experience under communist rule, captures a sight which would not have been uncommon away from large urban centres (which could be grim enough).  Dr Henry Kissinger (1923-2023; US national security advisor 1969-1975 & secretary of state 1937-1977) said his abiding memory of Eastern Bloc cities was of “the smell of boiled cabbage and an unrelenting greyness.”  In fairness, English cooks probably inflicted worse on the noble cabbage than anything done behind the Iron Curtain but his sense of “greyness” was literal, the appalling air pollution of the GDR (its industrial base powered by burning lignite (from the Latin lignum (wood)) and other forms of low-grade, “dirty coal”), thus the griminess of the buildings.  Places like London similarly were affected and it was only after the 1952 “Great Smog of London” that the Clean Air Act (1956) became law, meaning air quality began slowly to improve.  That the photographs of the era look so drab was not because of the film stock; buildings literally were “dirty”.  Because of various other advances in health care, it’s difficult to quantify the contribution to reducing mortality achieved by reducing air pollution but few doubt it was significant.

The Plymouth Satellites

1967 Plymouth Satellite convertible.

Chrysler's Plymouth division introduced the Satellite on the corporation's intermediate ("B") platform in 1965 as the most expensive trim-option for the Belvedere line.  Offered initially only with two-door hardtop and convertible coach-work, the range of body-styles was later expanded to encompass four-door sedans and station wagons.  In a manner, typical of the way the industry applied their nomenclature as marketing devices to entice buyers, the Belvedere name was in 1970 retired while Satellite remained the standard designation until it too was dropped after 1974.

1970 Plymouth Road Runner, 440 6 Barrel.

Were it not for it being made available in 1966 with the 426 cubic inch (7.0 litre) Street Hemi V8, the Belvedere and Satellite would have been just another intermediate but with that option, it was transformed into a (slightly) detuned race-car which one could register for the road, something possible in those happier times.  The Street Hemi was an expensive option and relatively few were built but the demand for high-performance machinery was clear so in 1968, Plymouth released the Road Runner, complete with logos (licensed from the Warner Brothers film studio for US$50,000) and a “beep beep” horn which reputedly cost US$10,000 to develop.  The object was to deliver a high-performance machine at the lowest possible cost so the Road Runner used the basic (two-door, pillared) body shell and eschewed niceties like carpet or bucket seats, the only addition of note a tuned version of the 383 cubic inch (6.3 litre) V8 engine; for those who wanted more, the Street Hemi was optional.  Plymouth set what they thought were ambitious sales targets but demand was such production had to be doubled and the response encouraged the usual proliferation: a hardtop coupé and convertible soon rounding out the range.

1970 Plymouth Hemi Road Runner Superbird.

The option list later expanded to include the six-barrel version which used the of the 440 cubic inch (7.2 litre) V8, a much cheaper choice than the Street Hemi and one which (usually) displayed better manners on the street while offering similar performance until travelling well over 100 mph (160 km/h) although it couldn't match the Hemi’s sustained delivery of top-end power which, with the right gearing, would deliver a top speed in excess of 150 mph (240 km/h), something of little significance to most.  However, by the early 1970s sales were falling.  The still embryonic safety and emission legislation played a small part in this but overwhelmingly the cause was the extraordinary rise in insurance premiums being charged for the high-performance vehicles, something which disproportionately affected the very buyers at which the machines were targeted: single males aged 19-29.  However, the platform endured long enough to provide the basis for the Road Runner Superbird, a “homologation special” produced in limited numbers to qualify the frankly extreme aerodynamic modifications for use in competition.  At the time, the additions were too radical for some buyers with dealers unable to find buyers forced to convert the things back to standard specifications just to shift them from their lots.  They’re now prized collectables, the relatively few with the Street Hemi especially sought.

As a footnote, corporate stablemate Dodge called their six barrel 440s the "Six Pack" (which was a much snappier name) and in the UK this was in 1972 picked up by Jensen which was able to buy (at a bargain price) a tranche of the engines Chrysler had stored in a warehouse after US emission regulations rendered them unlawful for road-registered passenger vehicles.  Jensen called the model created the "Interceptor SP" but it proved an unfortunate experience for both company and customers for while the engine delivered a lift in performance, for a variety of reasons it was, in that configuration, not suitable for the car (or its target market) and a number had to be converted to use the standard Interceptor's single four barrel carburetor.  Its brief existence did though produce something for the automotive trivia buffs: While the accepted orthodoxy is "the factory never installed air-conditioning (AC) in any car fitted with the six barrel 440s or the Street Hemi", strictly speaking that applies only to "No Chrysler factory ever installed..." because Jensen did so equip the SP.  More exclusive still was the single Street Hemi-powered Hai built in 1970 by the much-missed Swiss boutique operation Monteverdi, also with AC. 

1971 Plymouth Hemi Road Runner.

The intermediate line was revised in 1971 using the then current corporate motif of “fuselage styling” and it was probably more aesthetically pleasing there than when applied to the full-sized cars which truly were gargantuan.  The 1971 Satellites used distinctly different bodies for the two and four-door models and while there were no more convertibles, the Street Hemi and Six-Barrel 440 enjoyed a swansong season although sales were low, the muscle car era almost at an end and although in late 1971 a reported seven 1972 Road Runners with the Six-Barrel option were built, 1971 really was the end of the line for both engines. 

Entasis

Entasis (pronounced en-tuh-sis)

(1) In architecture, a slight convexity given to a column or tower, as to correct the optical illusion of concavity and create the perception of straight lines.

(2) In medicine and physiology, an involuntary or spasmodic muscular contraction (also called entasia (from the Greek ɛnˈteɪzɪə)).

(3) In typography & calligraphy, the thinning in the waist of a stroke, the technique used to compensate for the visual perception of a stroke with perfectly straight sides appearing slightly to bulge.

1745–55: From the Latin entasis, from the Ancient Greek ἔντασις (éntasis) (tension, straining), from εντείνω (enteínō) (to stretch or strain tight), the construct being enta, variant stem of enteínein (to stretch tight) + teínein (to stretch) + sis.  The –sis suffix was from the Ancient Greek -σις (-sis) and was attached to words in English often via Latin or French.  It was identical in meaning with the Latin –entia and the English –ing and was used (1) to form nouns of action or process (catharsis, dialysis, diagnosis, crisis etc), (2) in medicine to form nouns of condition (psoriasis, sepsis, tuberculosis, psychosis etc) and more generally (3) nouns as required (basis, oasis, thesis, stasis etc).  Entasis is a noun; the noun plural is entases.

The Entasis or Parthenon Principle

Parthenon in Athens.

In modern architecture, entasis is the application of a convex curve to a surface for aesthetic purposes.  Its best-known use is in the columns from antiquity which curve slightly as their diameter is decreased from the bottom upward.  Because no relevant documents have yet been discovered, it’s not known whether the architects in antiquity applied the technique for aesthetic effect or as an engineering technique to enhance strength.  The latter is suggested by the design principle being described by Roman architect Marcus Vitruvius Pollio (circa 75 BC–circa 20 BC) using the Greek word enteino meaning "to stretch or strain tight", suggesting some emphasis on structural strength rather than appearance.  However, until contemporary records are uncovered, their reasons for using entasis remain mysterious, hence the two-thousand odd years of conjecture.  The most celebrated construction is the Parthenon in Athens.

1964 Rolls-Royce Silver Cloud III Flying Spur; coachwork by HJ Mulliner Park Ward.

The earliest known documented view of the matter was that written by Greek mathematician and engineer Hero of Alexandria (circa 10-circa 70), is that entasis corrects the optical illusion of concavity in the columns that the human eye would create if the correction were not made.  That’s the reason Roll-Royce have always used a variation of the  technique in their upright grilles; it’s to make it appear as if built with columns of identical dimensions.

Basilica's western front of the Second Temple of Hera, a Greek temple in Paestum, Campania, Italy.

The Second Temple of Hera was built in the Doric order circa 455 BC, just north of the first.  For the visual effect of entasis to work, the convex curve has to be so slight as to be imperceptible and it's not known why the Second Temple of Hera has an entasis so pronounced it creates an obvious curvature, not an illusion of straightness.  The proportions are such that historians have speculated it must have been deliberate, presumably purely for structural strength but it's at least possible the architect was afflicted by the desire many of his modern contemporaries share: The wish to produce something "original" and "new", the reason why so many modern buildings are so unpleasing to the eye.

Lindsay Lohan in Rolls-Royce Phantom Drophead Coupé (2007-2017).  By the 1970s factory (mostly) had ceased to use the historic terms FHC (Fixed-Head coupé) and DHC (Drop-Head Coupé (DHC) although and the revival in 2007 for the Phantom Drophead Coupé proved (thus far) a nostalgic one-off.

Over the decades, the designers generally were successful in their adaptations as they were required to make the grille wider and lower but the Phantom would have benefited aesthetically if a more traditional approach had been taken with the headlamps (centre) and even hidden units (right) would have been more pleasing.  Still, twenty-first century customers seem more accommodating of stylistic innovation than earlier generations.  In 1975, when the Camargue (1975-1986) was released, the novelty of it being the first Rolls-Royce designed using exclusively metric measurements (except for the odd carry-over component) attracted little attention but there was much comment about it being the first built with anything but a perfectly vertical grille.  The Camargue's grille was slanted at a (for mid-century Rolls-Royce) rakish 7^o.

The Pantheon Temple, Rome (left) and 1985 Rolls-Royce Camargue (right).

The Pantheon's Latin inscription M·AGRIPPA·L·F·COS·TERTIVM·FECIT actually isn't all that poetic and reads like a note the draftsman might have put on the blueprint (had there then been blueprints): it translates as "Marcus Agrippa, son of Lucius, made [this building] when consul for the third time.", crediting the Roman statesman & general, Marcus Vipsanius Agrippa (circa 63 BC–12 BC) who originally commissioned the construction during his third consulship in 27 BC.  The Pantheon that stands today was rebuilt by Emperor Hadrian (Publius Aelius Hadrianus, 76–138; Roman emperor 117-138) circa 126 AD after the original structure suffered severe damage in a blaze.  Hadrian chose to retain Agrippa's inscription as a tribute (not all the emperors were narcissists).  Since AD 609, the Pantheon has been a Roman-Catholic church and is known as the Basilica Santa Maria ad Martyres (Basilica of St. Mary and the Martyrs).

Despite the popular perception, what Rolls-Royce describes as their "Pantheon grill" doesn't feature a classic entasis (slight swelling in the middle of a column to counteract the illusion of concavity), the design does incorporate a similar visual effect: there is a (very) slight curvature which in the factory's vernacular is known as the "waftline".  Although there are, understandably, many references to the grill being the "Parthenon grill" (and there is a well-reviewed Greek restaurant in Murfreesboro, Tennessee called the Parthenon Grille), the factory has never used the term and say the designed was inspired by "Rome’s imposing Pantheon temple", a structure "...purposefully built with wider middle sections so the human eye perceives each long pillar to be completely straight."  What the architects of Antiquity did was use use an optical illusion as a "corrective" to achieve perfect visual symmetry and the Rolls-Royce engineers replicated the approach, the grill's columns wider towards the edges.  The waftline is used elsewhere, notably the gentle, upswept sweep along the sill-line which Rolls-Royce says "creates a powerful, poised stance and makes the car appear to be moving when stationary...", creating the impression of "calm perfect motion and accelerating quickly without fuss".  They clearly like the word "waft" because they coined the neologism "waftability" which is said to be "the essence of the brand".

The math of entasis.

Guggenhat

Guggenhat (pronounced goo-gin-hat)

1960: The construct was Guggen(heim) + hat.  Solomon Guggenheim (1861–1949) was a US businessman and art collector who in 1939 established the Solomon R. Guggenheim Foundation, best known for the Guggenheim Museum in Manhattan, NYC, designed by Frank Lloyd Wright and opened in 1960.  Hat (a shaped covering for the head, usually with a crown and brim, especially for wear outdoors) was pre-900, from the Middle English hat, from the Old English hætt (head-covering, hat) (variously glossing the Latin pileus, galerus, mitra & tiara), from the Proto-Germanic hattuz (hat, hood, cowl), from the primitive Indo-European kad- (to guard, cover, care for, protect).  It was cognate with the North Frisian hat (hat), the Danish hat (hat), the Swedish hatt (hat), the Icelandic hattur (hat), the Latin cassis (helmet), the Lithuanian kudas (bird's crest or tuft), the Avestan xaoda (hat), the Persian خود‎ (xud) (helmet), the Welsh cadw (to provide for, ensure) and the Old Norse hattr &  hǫttr (cap, cowl, hood).  The Proto-Germanic hattuz is of uncertain etymology although etymologists have suggested a link with the Lithuanian kuodas (tuft or crest of a bird) and Latin cassis (helmet), the latter thought perhaps more persuasive although most maintain the source of this was Etruscan.

Sally Victor's Airwave hat created for Mamie Eisenhower (1896–1979; first lady of the United States 1953-1961) to wear at her husband's (Dwight Eisenhower (1890-1969) US president 1953-1961) inauguration.  The shape reflected the influence Ms Victor noted that wartime advances in aerodynamics and the increased understanding of fluid dynamics had had on many aspects of the built environment and industrial design.

Sally Victor (1905–1977) was a US milliner active between 1928-1967 who supplied both celebrities as well as the first ladies of both the Eisenhower (1953-1961) and Kennedy (1961-1963) White Houses and in a tactic that was used by the manufacturers of many products, while maintaining the exclusivity of her signature lines, she also sold mass-market ranges under the name Sally V.  Although her designs borrowed from the history of fashion, Sally Victor was interesting in that she was inspired not only by various traditions from the visual arts of many cultures but also industrial influences such as machinery, military vehicles and, most memorably, modernist architecture.  Unlike many designers serving the upper reaches of the market, even before such things became fashionable in the post-war world, she was never reticent in using synthetic materials in her hats, valuing the novel possibilities in shape and rigidity they afforded compared to the usual felts and silks of the time.

The Gugenhat and the Guggenheim, 1960.

Her most famous hat, known informally as the “gugenhat” was based on one of the landmarks of modernism, the Solomon R Guggenheim Museum (usually styled "the Guggenheim") on Manhattan's Fifth Avenue, designed by US architect Frank Lloyd Wright (1867–1959).  Solomon Robert Guggenheim (1861–1949) was an American businessman and art collector who in 1939 established the Solomon R Guggenheim Foundation.  Although his early interest in art had been in the works of the old masters, in the 1920s his attention switched to modern art, then a fashionable if not entirely respectable cult and it was in this field that he decided to specialize.  Initially, his collection was private with the occasional public exhibition but in 1939, he took the lease on a space in New York City and opened a public gallery, the Museum of Non-Objective Painting.  The size of the collection grew rapidly, in part because of the large numbers of modern works becoming suddenly available because of Adolf Hitler's (1889-1945, Führer (leader) of Nazi Germany 1933-1945) distaste for "modern art", an attitude the Nazi's imposed not only on the German state but also the territories in occupied Europe.  While the Nazis didn't want the works seen in any place under their control, they were pragmatic about them being sold for hard currency.  So large did Guggenheim's collection of the avant-garde become that in 1943, Frank Lloyd Wright was commissioned to design a dedicated structure which would become a permanent exhibition space, his remit including the stipulation that in addition to being a practical, function building, it should reflect also the nature of the contents.  Guggenheim died in 1949 and in 1952 the museum was renamed the Solomon R Guggenheim Museum, the new building opening in 1959.

Lindsay Lohan at Lady Gaga's (b 1986) Fame Eau de Parfum launch party, Guggenheim Museum, New York, 13 September 2012.

The Guggenheim Museum, Manhattan, NYC.

The building was not without its critics and it’s true that the architect did seem to be uncompromising in maintain the integrity of the interior design, even if that meant imposing inherent limitations of the size and shape of what could be displayed.  Despite that, as a building it has aged well and has for decades exerted an influence which is still not spent although few who have since done art galleries have seemed anxious to be seen to be following in the footsteps.  In the 1990s, the building was extended, most impressed with how sympathetically the new was interpolated into the existing structure although the usual suspects objected, maintaining that given its historical significance, it should have been maintained in its original form.

Hat (left), designed in silk by Cristóbal Balenciaga (1895-1872) and made for Eisa (Spain) in 1962.  It evokes the spirals used by French architect Emilio Terry (1890-1969) in his Spiral house (1930) (centre) and later picked up by Philip Johnson (1906-2005) for his Church of Thanks-Giving, Dallas, Texas (1977) (right), inspired by the Great Mosque in Samarra, Iraq which itself borrowed from the square, spiral Pillar of Gor in Persia.

Nor, in 1960, was the Guggenhat a novel concept, artists and others long having been playing with the idea of the motifs of architecture being applied to hats, clothing and shoes, among the milliners the Eifel Tower, once a popular model.  Among curators, the trend had been noted and in 1954, New York’s Museum of Modern Art commissioned Sidney Peterson to direct Architectural Millinery, a short film (seven minutes duration) comparing the tops of New York skyscrapers with the styles of hats and there was a reason it wasn’t a feature-length production: To design a hat which displays the recognizable influence of an architectural style or a particular building while being both wearable and aesthetically successful is difficult.  In that sense Ms Victor choose well because the New York Guggenheim was an example of a building which might well have been inspired by a hat and such structures are rare.  Other buildings, however admired for their other qualities don’t offer milliners quite so obvious a blueprint.

Guggenheim Museum Bilbao.

The Guggenheim Museum in Abando, Bilbao, in Spain’s Basque Country, was designed by Canadian-American architect Frank Gehry (b 1929) and opened in 1997 to almost universal acclaim from architects and it’s certainly eye-catching, even if one suspects comrade Stalin might have thought Gehry’s pencil drifted a little towards “formalism”.  Still, despite the odd back-handed compliment from a curmudgeon who found the lines “a fine example of modern art”, few in the last quarter-century seem to have revised their opinions although there have been criticisms of the internal dimensions which, unlike the Guggenheim in Manhattan will certainly accommodate large installations, some suggesting such art is prevalent enough without encouraging more.  Those who thought smaller pieces somehow suffered diminishment by being dwarfed by the enveloping space just don’t get the implications of art.

It could be done although there would be many who would say it shouldn't be done: The Guggenhat (Bilbao), a three-piece installation (digitally altered image).  Stranger stuff has been seen on catwalks but the Bilbao Guggenheim, as a whole, doesn’t lend itself to being rendered as a hat though in fairness to the architect, that’s not something likely to have piqued his interest.  The various interesting bits of the building might make several different hats but to get the effect, one would presumably need models walking carefully and closely in formation.

Even the Sydney Opera House (built between 1959-1973), perhaps more obviously geometrically promising (in millinery terms) has yet to inspire anything truly memorable although some kitsch (intended and not) shows up from time to time.

Zaha Hadid Architects' H-Line Hat for the Friends of the High Line, New York.

The motifs can however be separated from the whole.  Zaha Hadid Architects' H-Line Hat for the Friends of the High Line, New York was created in 2018 as part of a project to encourage architectural millinery based on the H-Line, an abandoned freight rail line which community action turned into a into a vibrant public park when the historic structure was under the threat of demolition.  Named (in a perhaps unimaginative but certainly simple piece of product association) the H-Line hat, the design was rendered in dégradé colors, the white melting into an electric blue around a brim the color of the sky and was inspired by an eleven storey residential building, the first project by Zaha Hadid Architects in New York and located near the High Line.  The hand-fixed steel façade of the building features a series of interlocking chevrons, steel bands and rounded corners, all evocative of Chelsea's industrial past and the decorative curves of the H-Line hat echoes these chevrons, weaving in open and closed forms around the wearer.