This is not the Hyperion by Phil Bono, (which you can read about here), but an earlier design from Krafft Ehricke, dating all the way back to the 1950’s. It’s for a manned mission to Mars, (no landing), and a fleet of 3 or 4 ships would be sent for mutual support. I got the information on this project from the always excellent “Atomic Rockets” site, including this plan, which is the basis for my mesh:
Yesterday I visited “Into the Unknown“, a Science Fiction exhibition which is currently on at the Barbican, London, and will tour later apparently. This is my review of what I saw there.
The space within the centre they have chosen to use is a bit odd, to say the least. They call it “The Curve”, and it’s not really good for this kind of thing. It’s fairly narow and tall, and feels cramped. Many of the exhibits are a long way up, making it difficult to see them properly.
Here’s the historical information on the nuclear Soyuz variants I have been able to find. My Russian is not great, in some cases the translation is awkward or not completely clear. Nick
The draft design of the rockets started on the basis of the Decree of June 30, 1958. Two bureaus, OKB-456, and OKB-670 were involved. The design chosen was based on direct heating of the working fluid, and it’s ejection through the nozzle. An open core reactor, in other words.
An unusual one for me, as I take a crack at an original science-fiction design.
My objective was to get something seriously large, primarily for use in Vue. My thinking is that I notice many great concept art pages have fairly abstract ships that are so big the more distant parts are afffected by haze, giving a great sense of scale. And as volumetric effects are a strength of Vue, I figure model in LW with Vue in mind. In practice this meant:
Keep the number of different surfaces low
Avoid clever effects that I don’t know how to do in Vue, including advanced surfaces
Avoid elements that would give a clear idea of scale, such as windows, hatches, stairs
Make it a long design so it’s easy to get the most distant parts lost in fog