Car tyre codes. Nitto tire usa. Trucks wheels and tires.
Car Tyre Codes
- (Tyre code) Tire code or Tyre code - Automobile tires are described by an alphanumeric code, which is generally molded into the sidewall of the tire. This code specifies the dimensions of the tire, and some of its key limitations, such as load-bearing ability, and maximum speed.
- A railroad car of a specified kind
- a wheeled vehicle adapted to the rails of railroad; "three cars had jumped the rails"
- A road vehicle, typically with four wheels, powered by an internal combustion engine and able to carry a small number of people
- the compartment that is suspended from an airship and that carries personnel and the cargo and the power plant
- A vehicle that runs on rails, esp. a railroad car
- a motor vehicle with four wheels; usually propelled by an internal combustion engine; "he needs a car to get to work"
• Ferrari P4/5 by Pininfarina. Pebble Beach Concours. 2006-08-19 113031PM
• PHOTO © by ARTAMIA: Ferrari P4/5 by Pininfarina at 2006 Pebble Beach Concours d'Elegance, Monterey Bay Peninsula, California, Central Coast, USA.
• The FERRARI P4/5 was publicly revealed on August 18, 2006 at the Pebble Beach Concours d'Elegance and shown again at the Paris Motor Show in late September.
• The Ferrari P4/5 can accelerate from 0-100 kilometres per hour (0-62 mph) in 3.0 seconds (0.5 seconds quicker than the Enzo). It has a top speed of 233 mph (375 km/h). The car has a frontal area of 1.906 square metres (20.52 sq ft), but the sharp nose and smooth curves mean it has a drag coefficient of only 0.34.
• Upon seeing P 4/5 Luca di Montezemolo felt that the car deserved to be officially badged as a Ferrari and along with Andrea Pininfarina and James Glickenhaus agreed that its official name would be "Ferrari P 4/5 by Pininfarina". Ted West wrote an article in Car and Driver about how this came to be "The Beast of Turin".
• On September 2009, Glickenhaus announced his intention to race a new version of the P4/5 in the 2010 24 Hours Nurburgring. The car, called the P4/5 Competizione, would not be a conversion of his road car but instead an entirely new car with a Ferrari chassis, VIN number and drivetrain. On May 2010 however, it was revealed that the Competizione would in fact be raced in 2011, based on a 430 Scuderia. It would be built to FIA GT2 standards and raced by Scuderia Cameron Glickenhaus in an Experimental Class under the direction of Paolo Garella, former Head of Special Projects at Pininfarina.
Much of the suspension was unchanged from the original Enzo, with the same double wishbone suspension at the front and rear, and the same Brembo carbon-ceramic anti-lock disc brakes with diameter of 340 millimetres (13.4 in) at the front and rear. The aluminium alloy wheels are 510 millimetres (20 in) in diameter, the front tyres have codes of ZR 255/35 and the rear, ZR 335/30.
The exterior of the car is made entirely of carbon fibre reinforced plastic and is similar in shape to the Ferrari 330 P4 as Glickenhaus requested, however it has been called a "rolling history of Ferrari-racing-DNA" sharing elements from several historic Ferrari vehicles, not just the 330 P4. The rear window is similar to that of the Ferrari 512S, the side vents are similar to the Ferrari 330 P3 and the nose is similar to that of the Ferrari 333 SP which improves cooling and the car's frontal crash safety. The butterfly doors (similar to those of the McLaren F1) are designed such that even at 160 mph (260 km/h) there is no wind noise. The improved aerodynamics have proven themselves, giving the car greater downforce at the same time as less drag than the Enzo also making the car more stable than the Enzo at high speeds.
The P4/5 has the same engine as the Enzo Ferrari it was built on, a 65° Dino F140 V12. The 12 cylinders have a total capacity of 5998 cubic centimetres, each with 4 valves. The redline rpm at 8200 and the torque of 485 lb·ft (658 N·m) at 5500 rpm are both the same as the Enzo, but it produces marginally more power with 660 brake horsepower (492 kW) at 7800 rpm. The P4/5 uses the 6 speed semi-automatic transmission of the Enzo with black shifting paddles behind the wheel. It has two directional indicator buttons, one mounted on each side of the steering wheel.
• The Ferrari P4/5 (officially known as the Ferrari P4/5 by Pininfarina)
is a one-off sports car made by Italian sports car manufacturer Ferrari but redesigned by Pininfarina for film director and stock exchange magnate James Glickenhaus. The car was an Enzo Ferrari but the owner James Glickenhaus preferred the styling of Ferrari's 1960s race cars, the P Series. The project cost Glickenhaus US$ 4 million and was officially presented to the public in August 2006 at the Pebble Beach Concours d'Elegance, but in July 2006 Glickenhaus allowed several websites to publish images of the clay model.
On March 2005 James Glickenhaus, stock exchange magnate and known car collector, was approached by Pininfarina who asked if he was interested in commissioning a one-off car. Andrea Pininfarina, grandson of the company’s founder later said "The Ferrari 612 Kappa and this P4/5 are the first. But we want to grow this business." indicating that Pininfarina is interested in producing other unique cars. Glickenhaus replied that he would like a modern Ferrari P, and in June of that year he signed a contract with Pininfarina to produce the car including the price, approximately US$4 million though in an interview he said "I feel they gave me more than I expected". Glickenhaus purchased the last unsold Enzo Ferrari and upon receipt of the car he took it to Pininfarina to be redesigned similar to his 1967 Ferrari 330 P 3/4 chassis 0846 which he also delivered to Pininfarina. Pininfarina's styling team leader, Ken Okuyama said that "Pininfari
Signs and Codes - Sarajevo Part 1
Sarajevo – Bosnia: September 2008 Part 1.
In time this place would act as a physical landmark of so much of what I believe today. At the moment of arrival though it was just another city. Another set of compass points and landmarks that I had yet to make sense of: another wrong turn on my unplanned journey.
As was the case with my journey from Dubrovnik to Mostar, in fact my journey to anywhere new, I develop a powerful attachment to all that I am leaving behind and a powerful revulsion against all that is to come. Despite everything I have learned about how generous a city can be with its secrets for those who take the time, I always find myself casting a critical eye on the streets and walkways that hurtle past me from the bus or train, blithely dismissing centuries of culture and civility with one fearful thought.
The physical manifestations of the ideologies that have lived in and more recently, wrapped around Sarajevo made it an easy city to hate on first sight. The early morning journey from Mostar to Sarajevo takes you through the glorious Neretva valley where the lurid green flow of the river sways below totemic cliffs and peaks. The bus slides through quiet villages and soars above hazy, dawn drenched towns. Visions of a quiet pastoral life flash before you while dreams of an easy world dance around your tired head. Then without warning, the mountains drop away and you enter the valley floor that has housed Sarajevo for so many years. The single lane road multiplies effortlessly into a multi-laned carriageway populated by a disorientating blend of charabancs and glistening modern vehicles. The warming soil and cloud kissed trees of moments ago give way to a formal queue of concrete towers and rigid lines. The gentle hope of that dawn light gives way to a smothering blanket of grey and black.
Later you will learn that this road you so quickly despise is the infamous sniper alley. The knowledge that you have travelled it already, albeit through the television screen hits home hard. When there is time to look back retrospectively your instinctive negativity feels like the insecure twitches of someone who has had it far easier than they ever knew.
When you look on those city landmarks again as you leave the city, you know that you have seen the desperate people of Sarajevo hurtle their juddering cars along its exposed strip of road making frantic and all too often, failed breaks for freedom. You realise that you have seen the jaded yellow icon of the Holiday Inn standing as an emblem of hope in documentary footage and movies. You know that you watched the explosions that caused the bullet holes and shell wounds that scar the concrete towers live or reported back like some absurd highlights reel of a war that you, or we, did not participate in intellectually, physically or morally. When you look on those city landmarks again when you leave the city, you want to walk up and down every street to say sorry.
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