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One of the most revered Ferraris is the 330 P4. It immediately draws attention with curvaceously low lines and a sleek, yet aggressive demeanor. And since only one completely original car remains, it’s an elusive sight for many fans. Interestingly, the P4 is also one of the last Ferrari prototypes that still resembles a sports car. The original body was drawn up by stylist Piere Drogo and the factory tweaked his design to be more purposeful every year. The 330P was built during a very exciting time for sports car enthusiasts. By the time the P4 was lapping the world’s circuits, Ford had finally pulled together their GT40 program and made history by beating Ferrari at their favorite game. However, Ferrari continually persisted with a much smaller-engined prototypes in hopes that their technical sophistication and superb handling would outclass Ford’s big-block might. This P4 was the culmination of a series of rear-engine Ferraris that progressively got larger, as much as weight balance and transaxles would allow. By 1964, these rear-engine cars had worked their way up to Ferrari’s largest engine, the long-block, Lampredi V12. By the time the 330 P4 debuted in 1967, Ferrari included such novelties as Lucas fuel injection and intakes that were mounted directly on the cam covers. The P4’s raced alongside both the 330 P3 which was an earlier evolution of the car, and the 412P which was a much less complicated version of the P4 that did without fuel injection and opted for regular carburetion. P4s were outwardly distinct amongst this crowd as they had slight smaller bodies and were built as open-air spyders. Easily, the P4’s best moment came at Daytona when Enzo Ferrari got his sweet revenge and placed 1-2-3 at one of America’s most respected sports-car races. Until his death, Enzo kept a picture of the trio on their final lap of the momentous race. Other notable victories included the car’s debut 1000 km races at Monza, but the P4s were beaten at Lemans by Ford’s superb 7-litre Mk IV. Three chassis, numbers 0856; 0858 and 0860 were originally made and raced as close coupes. These were all converted into spyders for the Brands Hatch BOAC 500 race. Regulations at the end of the season meant that Ferraris famous P racers had to come to an end in Europe, however two of the P4s were radically prepared for Group 7 Can-Am duty. Afterwards the world was left with only on P4 in its original configuration; because of this, chassis 0856 is now one of the most valuable cars in the world. Due to its attractive body, tremendous history and massive rarity the P4 has also been a popular kit car. Companies such as Noble have gone as far to make a series production of these replicas and up to 100 have been made with various engines. These cars vary quite a bit depending on the owner’s level of detail, but most can fool a Ferrari enthusiast into believing he’s seen the real deal from afar. Source: Richard Owen, Paul Skett - www.supercars.net \Images: Ferrari S.p.A.; RM Auctions

Based on the Dodge A-100 pick-up truck, the radical Deora customized truck was fabricated in metal by the Alexander Bros. of Detroit. Chrysler commissioned Mike and Larry Alexander to customize their new economy pickup, the Dodge A-100. Based on automotive designer Harry Bentley Bradley’s illustration, the Alexander brothers created a low, cab-forward design with a front-opening cab. The windshield would rise up like a tailgate on a wagon, permitting the lower front section short of the headlights to swing open. At the same time the entire steering gear swung to one side to allow the driver to enter or exit. Engine instruments were located on a panel to the left of the driver with the important tachometer and speedometer being housed on a center console. Though the slant six cylinder engine powered the Deora, Dodge said that a 318 V-8 could be fitted. After a naming contest it was called the Deora®. The winning entry was from a 13-year-old boy, and is a technically incorrect version of the Spanish word for “golden.” The 1968 Hot Wheels® Deora® became a huge hit and an automotive legend. Source: www.petersen.org; www.chicagoautoshow.com Images: Chrysler; www.chicagoautoshow.com; RM Auctions; www.motortrend.com

By 1967, the most unusual creation of De Tomaso is a short city electric car of the Rowan brand. The De Tomaso Rowan was an electric powered concept car designed by a young Giorgetto Giugiaro and built in 1967 by Ghia. The car was a supermini with five seats. It only had two doors and was left hand drive. Each rear wheel was driven by its own electric motor, the power reserve reached 300 km, and the maximum speed was 70 km / h. Source: www.automarkhistory.com Images: www.noodlepie.com; philippe.boursin.perso.sfr.fr

Colani presented an ideal vehicle aerodynamic form with his "C-Form" concept in 1968, a vehicle where the whole body forms an inverted wing. The concept was featured in Stern magazine, and has influenced a generation of student designers with its architecture of four wheel-pods suspending a central cabin form. The 1982 "Le Mans 82" sports coupe and BMW "M2" were studies that while somewhat baroque, defined a unique form language seen years later in vehicles such as the Corvette Indy and Porsche 959. Source: www.cardesignnews.com Images: Colani Design; dorotheum.com

The Astro I appeared in 1967 as a radical-looking fastback coupe designed for the show circuit. It was merely an exaggerated version of the 1968 all-new "Shark" production design. Allegedly good aerodynamics were never proven. The official purpose of the Astro I was to study aerodynamics and new features. Engineers had long known that frontal area and shape were major factors in how slippery a car is in high-speed air. Much of what we take for granted in aerodynamics was new territory in the mid '60s. For this study, function followed form. To keep the front profile as low as possible, a modified, flat, opposed-six Corvair engine was placed behind the rear wheels. Although a far cry from the rip-snort'n 427's of the day, the little 176 cubic-inch engine was made of alloy aluminum with steel cylinder sleeves and featured single overhead cams, hemi heads, Weber carburetors, and made 240 horsepower. That's 1.4 hp per cubic inch! Fortunately, this was one for the history books. The car's height was under three feet, and hinged rear body/door section allowed access to the cockpit. A periscope rearview mirror on the roof provided a wide-angle view. The unibody construction had large boxed side sill members that added stiffness as well as housing a fuel cell on the passenger side. The bulkhead behind the driver and the forged aluminum windshield header provided rollover protection. The front and rear suspension used double wishbones and four-wheel disc brakes. Wheels and tires hadn't gotten fat yet, so 5.5 inch and 7.0 inch wheels were used front and back. Note the absence of any normal door lines. The entire canopy hinged up from a pivot point behind the rear wheels. Since the car was 35.5 inches tall, 12.3 inches shorter than a '68 Corvette, the seats were fixed to the canopy and actually raised up so that you could step into the interior. This was not a rainy day car. The Astro I had many styling tricks that were standard for GM study cars; a closet at the base of the windshield for wipers, pop-up spoiler brake lights, access panels on the hood for servicing fluids, and periscope rear view mirrors. The interior had the gauges, warning lights, and twin-grip aircraft-style steering control device. Trick stuff in 1967. In total, there were three Chevy Astro Concepts: 1967 Chevrolet Astro I Concept 1968 Chevrolet Astro II (XP-880) 1969 Chevrolet Astro III Concept Source: www.gmphotostore.com Images: General Motors Corp.; www.shorey.net; www.corvettes.nl; deansgarage.com (images used with the permission of Roy Lonberger)

Since the beginning of the sixties, Pietro Frua actively worked on the projects for a small German company Glas; in principle, at that time, he was at the top of his career and was considered to be one of the most outstanding car designers in Italy. He created models such as sports coupe Glas 1300GT, Glas 1700GT (1964); middle-class sedan Glas 1700 (1964); sedan Glas 2600 V8 (3000 V8) of 1966, which was often called "Glaserati" for similarity with Frua models designed for Maserati. In 1966, Glas was taken over by BMW concern, and some models that were considered unpromising were taken out of production, except a few models of Pietro Frua – an exception was made for them: they were produced a few years more under the brand name and the logo of BMW. It was BMW/Glas 3000 V8, BMW 2000SA and BMW 1600GT. Along with these models, Frua had several experimental developments on the basis of production models of Glas. In 1967, at Frankfurt Motor Show, Frua showed BMW/Glas 3000 V8 Fastbackcoupe, designed on the basis of Glas 3000 V8 one-off fastback coupe. This prototype, in contrast to the previous models developed by Glas, already had BMW-style "kidney grille". Later it was demonstrated at the Motor Shows in Paris (1967), Geneva (1968) and Barcelona (1969). It was assumed that this model would be one of the major in a series of sports cars from BMW, but in 1968 they decided to abandon this idea and focused on the development of BMW 3.0CS. Source: bimmerin.net Images: www.pietro-frua.de

Audi has presented the next model in its future electrically-powered A6 Luxury Class: the Avant. The company with the four rings introduced the Audi A6 Sportback with an electric drive system at the Shanghai Auto Show in April 2021. The production-oriented A6 Avant e-tron concept car now illustrates the synthesis of pioneering drive technology and Audi's traditional design world: the Avant. Like the Audi A6 e-tron concept that was exhibited in 2021, the A6 Avant also has an exclusively electric drive system based on the forward-looking PPE platform, developed under Audi's leadership. At the same time, it represents a new design concept with the same dimensions as the A6 Sportback e-tron. At 4,960mm (16.3 ft.) long, 1,960mm (6.4 ft.) wide, and 1,440mm (4.7 ft.) tall, its proportions put it in the luxury class. Its lines are a consistent development in Audi's contemporary formal language. Significant elements like the closed Singleframe and the continuous strip of lights in the rear emphasize its kinship with the other electrically powered Audis in the e-tron fleet. The Audi A6 Avant e-tron concept exterior model that is making its debut in March 2022 is not just a simple design exercise. Its lines and elegant proportions preview future Audi production models and offer clues about how dynamic and elegant the electrically-powered luxury class will look. "With the Audi A6 Avant e-tron concept, we are offering a completely tangible look at future production models on our new PPE technology platform," says Audi Board Member for Technical Development Oliver Hoffmann. "We're not just electrifying the Avant's successful 45-year history. What we want most of all is to use technical skills to add an exclamation point. In particular, this includes powerful 800-volt technology, 270 kW of charging capacity, and a WLTP range of up to 700 kilometres (435 miles)." Sporting the A6 emblem, the concept car underscores its place in the brand's business class. This family has represented the brand in one of the world's highest-volume segments since 1968 (until 1994, as the Audi 100). There have been Avant models in the series since 1977 - a revolutionary, very emotionally designed reinterpretation of the station wagon class. With the Avant, whose dynamic lines combine with a high degree of variability, the company created a new kind of car that has often been copied by the competition. Avant, a term derived from avant-garde and a 1995 Audi ad slogan, is a word that has taken off: beautiful station wagons are called Avant. For its part, the PPE technology will ensure that what the car's lines imply is translated into a standard of dynamic driving performance and everyday suitability befitting use for long drives. That means that, in the future, an Audi A6 e-tron will deliver up to 700 kilometres (435 miles) of range (under the WLTP standard), depending on the drive system and model variant. And the strongest representatives of the series will sprint from 0-62mph in less than four seconds. The values of the Sportback and the Avant only deviate slightly from one another. The Audi A6 Avant's back end, which is as beautiful as it is spacious, is by no means the only thing that qualifies it as the storage champ - the drive system and battery technology also justify that title. With its 800-volt system and a charging capacity of up to 270 kW, it can take in enough energy in just 10 minutes at a fast-charging station to drive about 300 kilometres (186 miles). Unmistakable e-tron: the design Based on its dimensions, the Audi A6 Avant e-tron concept represents the upscale segments - 4,960mm (16.3 feet) in length, 1,960mm (6.4 feet) in width, and 1,440mm (4.7 feet) tall, the same as the current models in the Audi A6/A7 series. With its dynamic proportions and elegant lines, including the Avant back end typical of the brand, it's obvious at first glance that this vehicle was conceived in a wind tunnel. Aerodynamics has always played a key role in Audi's long history of success in the luxury class. The cW value of the Audi 100 / C3 - the aerodynamics world champion of all classes in its day - is legendary: with its cW value of 0.30, Audi was already far outperforming its competitors as early as 1982 and continued to do so for many years thereafter. Now the electrically-powered family of the Audi A6 e-tron concept is writing a new chapter in this success story, proving once again that the brand always combines form and function in perfect symbiosis. The Sportback's cW value of just 0.22 is unprecedented in the electrified C-segment. With its expansive roofline, the Avant's cW value is just 0.02 units above that. In layman's terms, this means the car exhibits minimal aerodynamic drag - which initially translates into lower energy consumption and therefore extended range. At the same time, the fine-tuning in the wind tunnel has once again resulted in an organic design with exceptional elegance and harmony down to the last detail. Large 22-inch wheels and short overhangs, the flat cabin, and a dynamic roof arch give the Avant proportions that are distinctly reminiscent of a sports car. The absence of hard edges results in smooth transitions between convex and concave surfaces throughout the body, as well as in soft shadows. The Audi A6 e-tron concept appears monolithic, as if from a single mould - particularly when viewed from the side. The gently backward sloping roof arch with the slanted D-pillar is a typical feature of Audi Avant window design; the D-pillar rises from the stable base of the vehicle's back end in an especially streamlined manner. The eye-catching quattro wheel arches effectively accentuate the width of the body and are simultaneously integrated organically into the side surfaces. The wheel arches are connected by the specially sculpted battery area above the rocker panel, which is highlighted with a black inlay - a design element that is now a hallmark of the Audi brand's fleet of electric vehicles. Also typical of Audi e-tron models are the sleek, camera-based virtual exterior mirrors at the base of the A-pillar. Looking at the front, it is immediately apparent that the Audi A6 e-tron concept is an electric-powered representative of the brand with the four rings. A characteristic feature is the large enclosed Singleframe grille, which is bordered at the bottom by deep air intakes for cooling the drivetrain, battery, and brakes. The flat headlight bezels extend far into the sides of the laterally sweeping front end, underscoring the horizontally aligned architecture of the vehicle body. The influence of the wind tunnel on the rear end is unmistakable. The upper rear end is shaped to create an aerodynamically functional and circumferential breakaway edge. The rear spoiler with coloured trim visually emphasizes the elongated, horizontally oriented silhouette of the A6 Avant e-tron concept. It also does important work with airflow to improve aerodynamics. And in the lower section, the rear diffuser's two generously sized air outlets are integrated into the bumper area. These components, which also have coloured trim, channel the air that flows under the vehicle in a manner that reduces turbulence - a perfect combination of reduced aerodynamic drag and minimized lift. The showcar's sporty silhouette is emphasized by its warm shade of grey called Neptune Valley. While the paint has a modern, understated look when it is in the shadows, its full effect opens up in the sun, draping the showcar in shades of softly iridescent gold with its effect pigments. Illuminating from every perspective - light technology The flat headlights and taillights are slim and flush with the overall composition of the lines. Digital Matrix LED and digital OLED technology make it possible to achieve maximum brightness and a wide range of features even with a minimal surface area, while at the same time offering customizable light signatures. The team of Audi lighting designers and developers has once again done an amazing job - this concept car packs a host of new features and personalization options into its lighting units. Three small, high-resolution LED projectors are built into each side of the body, transforming the ground beneath them into a stage when the doors are opened - small, extended, dynamic lighting effects greet the occupants with messages in their own language. The combination of safety features and aesthetic design is particularly important to Audi. That's why the small, high-resolution projectors also display warning symbols on the ground - to warn a bike rider that the car door is about to open, for example. Another four high-resolution LED projectors - inconspicuously integrated into the corners of the vehicle - generate turn signal projections. The design of these projections can be modified to address different markets and approval regions as required. The Digital Matrix LED front headlights deliver almost cinematic quality. If, for example, the Audi A6 Avant e-tron concept is parked in front of a wall during a break to recharge the battery, the driver and passengers can pass the time playing a video game projected onto it. Instead of on a small screen in the cockpit, they'll see their current game's virtual landscapes projected onto the wall in XXL format - and all this via the Digital Matrix LED headlights. The rear end of the concept car features a new generation of digital OLED elements that, as a continuous strip of lights, act as a display. They can also be used to create almost unlimited customizable variations of digital light signatures and dynamic lighting displays that can be adapted to the customer's taste. One new feature in the taillights is the three-dimensional architecture of the digital OLED elements, that - adapted to the shape of the body - makes it possible to perfectly integrate the night design into the overall look. This makes it possible to experience the dynamic light show not only in two dimensions - as was previously the case - but with an impressive, 3D spatial effect. The combination taillights, like the headlights, meet their developers' requirements when it comes to the traditional functions of vehicle lighting, namely seeing and being seen - in the front, a clearly and brightly illuminated road with headlights that intelligently adapt to the traffic situation, weather, and surroundings, as well as communicate with other road users. In the rear, the ultrabright, homogeneous, and high-contrast digital OLED combination taillights can particularly and significantly increase the level of safety on the roads of the future. In addition, the projections around the vehicle allow its communication range to be extended beyond the vehicle for the first time. With the help of intelligent connectivity in the vehicle, the A6 e-tron concept provides information to other road users with visual signals. PPE - high ground clearance and low ride height The PPE is designed exclusively for battery-electric drive systems and can therefore take full advantage of all the benefits of this technology. The key element of the future PPE fleet is a battery module between the axles that holds around 100kWh of energy in the Avant version of the A6 e-tron concept. Using the entire vehicle base makes it possible to achieve a relatively flat layout for the battery. This means that it will be possible to use this single platform both for vehicles with high ground clearance and vehicles with a decidedly dynamic, flat architecture - such as the Audi A6 Avant - without any changes to the basic architecture. The battery size and wheelbase of PPE vehicles are scalable, making them suitable for use in different market segments. However, the proportions of a fairly long wheelbase and very short overhangs are something they will all have in common and this, together with the large wheels, results in basic proportions that are simply perfect - and not just in terms of design. This is because the occupants of the future PPE models will also benefit from the long wheelbase, which translates into a longer interior and more legroom in both rows of seats - a key benefit across all segments. In addition, electric vehicles are also generally more spacious thanks to the absence of a transmission tunnel, which is simply not needed due to the technology. But even without the transmission tunnel, Audi customers will not have to give up the brand's trademark quattro drive system. The future range of PPE models will include versions with one electric motor each mounted to the front and rear axles that use electronic coordination to deliver all-wheel drive on demand and achieve a perfect balance between driving dynamics and energy efficiency. In addition, the e-tron family will also include basic versions optimized for minimum consumption and maximum range - in this case, propulsion will come from a single electric motor mounted to the rear axle. The Audi A6 Avant e-tron concept's two electric motors are capable of delivering 350kW (469ps) of total output and 800Nm of torque. The front wheels of the Audi A6 e-tron concept are connected via a five-link axle specially optimized for electric vehicles with a multi-link axle in the rear. The concept car features Audi air suspension with adaptive dampers. A6 Avant e-tron - the storage champ The heart of the Audi A6 Avant e-tron concept's drive technology - and that of all future PPE models - will be the 800-volt charging technology. Like the Audi e-tron GT quattro before it, this ensures that the battery can be charged with up to 270kW in a very short time at fast-charging stations. This revolutionary technology will enter the high-volume mid-range and luxury segments with the PPE for the very first time. Thus, the A6 Avant will become the storage champ in a double sense - not only because of its spacious back end. The PPE technology enables charging times that come close to a conventional stop to refuel a car powered by a combustion engine. Just 10 minutes is enough time to charge the battery to a level sufficient to power the car for more than 300 kilometres (186 miles). And in less than 25 minutes, you can charge the Audi A6 Avant e-tron concept's 100kWh battery from 5 to 80 percent. Together with a range of up to 700 kilometres (435 miles) - depending on the selected drive system and power output - the models in the Audi A6 e-tron family are uncompromisingly suitable for long trips. Furthermore, their range and charging speed keep pace with those of combustion engines, making them perfect universal cars for everyday needs, from short trips to the store to longer road trips when going on vacation. In terms of dynamic qualities, the Audi A6 e-tron concept - as is typical for an electric car - truly outshines its rivals with combustion engines. Thanks to its high torque right from the first revolution, even entry-level models designed for efficiency will accelerate from 0-62mph in less than seven seconds. And in the top-of-the-line, high-performance models, this sprint can even be reduced to well under four seconds. PPE - versatile, variable, electric 2018 saw the debut of Audi's first fully electric production vehicle - the Audi e-tron. Since then the brand has systematically and rapidly pushed ahead with the widespread introduction of electric mobility across its entire product range. Following the Audi e-tron SUV and e-tron Sportback, the highly dynamic e-tron GT quattro - based on a new technology platform developed jointly with Porsche AG - made its debut in February 2021. And just two months later, the Audi Q4 e-tron and Q4 Sportback e-tron premiered - two extremely unique SUVs in the compact segment with a common technological platform, the Volkswagen Group's MEB. The Audi A6 e-tron Sportback and Avant concept cars are now the first members of a family of vehicles - initially in the C-segment and later also in the B- and D-segments - to be based on another innovative technology platform: the Premium Platform Electric, or PPE for short. This modular system is being developed under Audi's leadership together with Porsche AG. The first Audi production vehicles built on the PPE platform will be successively unveiled starting in 2023. The PPE is the first platform designed to accommodate an unprecedented range of high-volume automobiles - including SUVs and CUVs with high ground clearance as well as cars with a low ride height that are part of Audi's core product range, such as the Audi A6 series. But there are also plans to expand the PPE range into the B-segment, which has been the highest-volume market segment for Audi for decades. And even when it comes to the top-of-the-line D-segment, the PPE is an excellent technological platform to build on. With the PPE, electric vehicles will now also be attractive to customers who prefer automobile concepts beyond the SUV segment - like an Avant, for example, which is characteristic of the brand. As a result, Audi can effectively expand the range of electric vehicles in its portfolio - via the high-volume B- and C-segments. In addition, economies of scale will allow luxury-class technology and different model versions to be incorporated into a wide-ranging lineup of models that is unrivalled in the premium market. Source: Audi Press Release Images: Audi

Twenty-eight Masters students studying Transportation Design at the IED presented their own take on the concept of sportiness with the 'A4810 Project by IED': a hydrogen-powered, two-seater supercar based on a brief from the Alpine design team. The A4810 is a car that embraces next-generation technologies while also championing the traditional characteristics of the Alpine brand that was founded in 1955. A model that is not only technological advanced but also environmentally friendly, the A4810 provides a glimpse into the future supercars. The student-led project is an ideal way for Alpine to broaden its horizons to new generations of designers and drivers, and raise awaremeness of the innovative project presented by talented students. AN INNOVATIVE CONCEPT CAR CREATED FOR A SUSTAINABLE FUTURE The Alpine A4810 Project by IED (length 5,091mm - width 2,010mm - height 1,055mm - wheelbase 2,717mm) is a two-seater supercar with the experimental combination of the shape of a berlinette with a hydrogen powertrain. While the engine and fuel tanks are built like those on a typical hypercar, the subtraction process is proof of strong innovation. The design alternates between empty and full spaces, giving the vehicle a lightweight look and aerodynamic features inspired by Formula 1 models. Furthermore, the A4810 Project by IED was tasked with bringing the brand to the cusp of the sports car category. The French spirit has been skilfully preserved: while avoiding the pitfalls of unnecessary formal elements, designers focussed on the overlapping layers and sculptural aspects of the car's silhouette. The bi-tone colours, matte black, and carbon fibre highlights create a bold contrast with each part of the car, making them stand out according to their function: aerodynamic, mechanical, or merely formal. The team of students used digital tools to design the interior through sketches, 3D models, renderings, animations, and HMI (Human Machine Interface) development. In incorporating hydrogen power supply, it means that they developed a full-fledged concept that is almost ready to take to the roads of a much more sustainable future, one without emissions. AN IED-LED PROJECT IN COLLABORATION WITH ALPINE Alpine challenged the students to design a 'super berlinette' for the year 2035. The two-seater supercar was designed to be a high-performing vehicle both in terms of performance and environmental impact. After the brief was given last autumn, students worked individually to come up with their own interpretation and present it to the brand. Alpine then selected a combination of the two main ideas. Based on the two selected proposals, the young designers created the 'A4810 Project by IED': a light yet powerful and agile concept car that boasts pure driving pleasure. During the design phase, the students sought to combine vision and innovation, without losing sight of the traditional roots of the Alpine brand. Furthermore, they chose a name that conveyed the brand's legacy. In fact, '4810' is the height (in meters) of the Mont Blanc: the highest and most emblematic peak in the Alps that sits at the border between Italy and France, like a bridge connecting IED and Alpine. The brand, Alpine, is named after the very same mountains and evokes the joy of driving along their winding roads. Paola Zini, Director of IED Turin, said, "As in previous years, through their most important project, the Masters students have embraced notions of skills transversality and teamwork in a fertile and visionary environment. This is part of the IED DNA and will help prepare students for the challenges the industry will face in the future, and serve as a foundation for their professional success. Alpine's contribution was one of passion, enthusiasm, and constant presence, and marks another milestone in international collaboration. Furthermore, this was an opportunity for students to work under the guidance of Antony Villain, Alpine Design Director, Raphael Linari, Alpine Chief Designer, and a number IED alumni, whom we had the pleasure of seeing again." Antony Villain, Alpine Design Director, said, "Collaboration with the Istituto Europeo di Design and its students has been a great experience. It was a 'filter' for us to see the brand through the eyes of the younger generation, but it was also an opportunity to share our passion and know-how, and give them sound advice for a successful career in automotive design." "The Alpine A4810 project by IED has been a very exciting experience with IED students and lecturers", added Raphael Linari, Alpine Chief Designer. "The result is a futuristic supercar that explores new territories for the brand in terms of package, proportions, and design language. The different creative approaches of the young talented students combined with IED know-how gave rise to some very interesting responses. Furthermore, the extraordinary final result makes the collaboration a resounding success!" A4810 Project by IED was designed by students of the Masters in Transportation Design IED Turin, 2020/21: Nicolas Alemany Rengifo (Spain), Carlos Rodrigo Avila Vilchis (Mexico), Michele Balletti (Italy), Abhijeet Mahesh Birmole (India), Goh Chyan Si (Mali), José Gaspar De Jesus (USA), Amit Ramesh Dhuri (India), Virginia Droghei (Italy), Apoorv Garg (India), Govardhan Godavarthi Gauranga (India), Daury David Gomez Silvestre (Dominican Republic), Jaya Sankar Anand Sarma Govindavajjula (India), Nihar Bharatkumar Khimasiya (India), Sanjay Kumar Kondi (India), Marco Martino (Italy), Stefano Pellino (Italy), Alessandro Pierangelini (Italy), Valentino Arjun Rajan (Texas), Janak Sushil Rathod (India), Mayank Shakya (India), Sanket Sanjay Shirsikar (India), Rohitshukla (India), Kushan Jyoti Singha (India), Shailesh Srivastava (India),Xiaobing Wang (China), Yunshi Yang (China), Wei-Che Yen (Taiwan), Faruk Yilmaz (Turkey). The Masters in Transportation Design at IED Turin is coordinated by Michele Albera. The Thesis Project was coordinated by Masato Inoue, Thesis Advisor, and Michele Albera. Source: IED Press Release Images: IED

Mercedes-AMG and musician will.i.am have teamed up to turn an AMG GT into the love child of an SLS Gullwing and a G-wagon SUV. The leader of The Black Eyed Peas, William Adams, also known under the pseudonym will.i.am, and Mercedes-Benz presented a joint project - a conceptual coupe built by specialists from West Coast Customs, a tuning studio known for the "Pimp Your Car" show. The novelty was developed on the units of the Mercedes-AMG GT 63 SE Performance hybrid liftback, and the body is original, with a front end with round headlights and a rectangular grille in the G-Class style. The concept was called The Flip and was presented to the public at the Formula 1 Grand Prix in Miami. The design features of the show car include doors (there are two of them) that open against the direction of travel, a long hood and transparent sections on the roof, separated by a longitudinal jumper. Vintage rims deserve special attention. The company itself notes that in the appearance of the car there are not only references to the G-Class SUV, but also to the legendary SLS Gullwing. The bear head logo was designed by will.i.am and even got its own brand name, "Bear withness". Under this brand, the rapper will release a limited line of clothing and accessories. Apparently, The Flip is powered by a GT 63 SE Performance unit, which includes a V8 biturbo engine, which, paired with two electric motors, develops 843 horsepower. Dynamic characteristics are not given, but it is known that the hybrid “donor” accelerates from standstill to 100 kilometers per hour in 2.9 seconds and is able to drive 12 kilometers on pure electric power. This is not the first joint project of Mercedes-Benz with a celebrity. So, at the end of last year, the unique Project Maybach x Virgil Abloh Concept was presented , developed in collaboration with the founder of the Off-White label, Virgil Abloh - work on the car was completed before the death of the fashion designer. Source: motor.ru Images: Mercedes-Benz

The AMX III, not to be confused with the better-known AMX/3, was essentially a Javelin station wagon. First shown at the Chicago Auto Show in February 1967, its styling presages the Hornet Sportabout. Source: www.amxfiles.com Images: www.shorey.net

With the rest of the automotive industry caught up in a tail-finned frenzy of luxurious comfort, AMC anticipated the oil crisis ahead and made a quirky electric microcar: the Amitron concept. But it proved too far ahead of its time to make production… With wheels literally at each corner, AMC’s mini-wedge afforded passengers just as much interior space as many of the doorstop-shaped concepts of the era, despite being 350mm shorter than today’s Smart car. The wide track that formed part of the Amitron’s near-square footprint allowed three occupants to sit side-by-side with inadequate comfort – and the seats were filled with air so they could be deflated when vacant, increasing loading space. Powering the Amitron was a set of lithium-nickel-fluoride batteries with a range far beyond lead-acid units of the same size; another pioneering feature was the first application of regenerative braking technology. The Amitron laid down principles that looked to represent the future of urban travel, but it was too advanced for its good – even when given a second debut, wearing new colors, a decade later. With subtle styling changes, the Amitron was shown again as the Electron in 1977 as part of AMC's Concept 80 show, featuring four other forward-looking prototypes. Source: classicdriver; ginormus.blogspot.com Images: AMC

The Alfa Romeo 33 Stradale is an extremely rare road car built by Alfa Romeo of Italy. Only 18 are reported to have been made. The Stradale, first built in 1967, was based on the Autodelta Alfa Romeo T33 racing car. The car, designed by Franco Scaglione, and built by Carrozzeria Marazzi, made its debut at the 1967 Turin Motorshow. Built in an attempt by Alfa to make some of its racing technology available to the public, it was the most expensive automobile for sale to the public in 1968 at US$17,000. The Stradale is believed to be the first production vehicle to feature dihedral doors, also known as butterfly doors. Other vehicles which feature doors of this nature include the Toyota Sera, McLaren F1, Ferrari Enzo and the Saleen S7. The Stradale also features windows which seamlessly curve upward into the "roof" of the vehicle. Source: Wikipedia Images: shorey; supercars

A prototype “woody” estate based on the Opel Commodore which was displayed at the 1968 Geneva Motor Show. Source & Images: carsthatnevermadeitetc.tumblr

You've all felt that frustration. You go to a new car show, and amid all of a manufacturer's ho-hum products for next model year, you see the one car you must have, up on the podium, twirling around like a pearlescent fiberglass figure skater, grabbing your eyeballs like they were love handles.It's like nothing you've ever seen before, this concept car. Powered by nuclear fusion or jets or some wacky technology, it looks like a spaceship or fighter plane or race car or all of those at the same time. All curves and chrome and big wheels, it looks so much sexier than anything else on the road now--or five years from now.And then, after you ask the smiling, vapid booth babe when you can buy the concept car, you're informed that it's just a styling study, something to gauge interest in some tidbit of miscellany, like the hubcaps. The company has no plans to put it into production, now or ever. Goodbye, gorgeous. Makes no sense, right? Build up the hopes and dreams of the enthusiast and then undermine that excitement with crushing disappointment. Sure, there's a difference between fantasy and reality, but why not actually build one of those concept cars once in awhile? What's so impossible about putting one into production? Everybody would buy it, right? That was pretty much Jim Jeffords's thinking. Only he decided to follow through.The concept car that wowed him, as it did much of the automotive press, debuted on June 20, 1966, at the New York Auto Show. Now referred to as the Vignale AMX, AMC created it as part of Project IV, a group of four concept cars conceived to showcase AMC's innovative qualities. The Vignale AMX had already been seen in fiberglass pushmobile form--that is, sans drivetrain and interior--but AMC decided to commission Vignale, the coachbuilding firm in Torino, Italy, to create a fully operational steel-bodied car to really wow the crowds.The Vignale AMX displayed the general ideas behind what later became the production AMX: two-seat fastback, deeply recessed grille, trapezoidal side windows, prominent sail panels. Yet, of course, the details differed from front to rear: the rectangular headlamps, the ¾-framed door glass, and the Rambleseat.Just like the rumble seats in cars from decades prior, the Vignale AMX reversed the decklid so it opened from the rear to reveal an extra bench seat. The rear glass flipped up to form a second windshield for Rambleseat passengers, and a couple steps flipped out from underneath the rear bumper to assist passenger entry and exit. Besides the obvious issues (where would you put your luggage?), safety concerns doomed the Rambleseat idea as AMC's designers revamped the Vignale AMX into the production AMX. In September of 1966, President Lyndon Johnson signed the National Traffic and Motor Vehicle Safety Act, which required all new vehicles sold in the United States to have, among other safety items, seat belts, shatter-resistant windshields and energy-absorbing steering columns. If the Act didn't ban rumble seats in letter, it certainly did so in spirit. Jim Jeffords, meanwhile, arrived at AMC as manager and president of the Javelin Racing Team, Inc., the entity formed to take the Javelin Trans-Am racing. In the late 1950s and into the 1960s, he had raced Corvettes, including the famed Purple People Eater 1958 Corvette, and took SCCA's B Production championship in 1958 and 1959. How much behind-the-scenes access Jeffords had at AMC via his position on the racing team is unknown, though he likely had some. After all, Jim Alexander, who took credit for pushing AMC into Trans-Am racing in the first place, hinted that Jeffords got that position partially because of his friendship with fellow Milwaukeean Brooks Stevens, who in turn was close to Roy Chapin, then the CEO of AMC (see HMM#36, September 2006).Whatever the case, when Jeffords saw the production AMX sans Rambleseat prior to the AMX's introduction in March 1968, he seemed to feel it missed the very qualities that made the Vignale AMX so special. Stevens apparently felt the same way, and between the two of them, they hatched a plan. They would obtain a number of AMXs directly from the AMC factory, modify them to incorporate the Rambleseat, then market them as the AMX-R through AMC dealerships.However, which of the two men originated the plan remains in doubt. Glenn Adamson, who wrote the biography of Stevens, Industrial Strength Design: How Brooks Stevens Shaped Your World, claims the idea for the AMX-R came from Stevens, who AMC retained as a design consultant from 1966-'69. According to Adamson, Stevens simply enlisted Jeffords to accompany the AMX-R prototype to events around the country.But according to Edrie Marquez, who wrote, Amazing AMC Muscle, Jeffords penned the agreement with AMC to allow him to produce the AMX-R, while Stevens simply penned the design. An article announcing the AMX-R in the January 1969 issue of Car Life magazine also attributed the car to Jeffords.What we do know is that Jeffords convinced AMC to provide him with a pre-production Caravelle Blue 1968 AMX--its 390-cu.in. V-8 carries a December 1967 build date--sometime in December 1967 or January 1968. Jeffords then swiftly shuffled that AMX over to Dave Puhl, the customizer whose name graced Puhl's House of Kustoms in Palatine, Illinois.Puhl had already garnered some magazine coverage of his customized 1968 Javelin by the time Jeffords showed up. According to the writeup in the December 1967 issue of Rod & Custom, that Javelin came about as the result of a collaboration between Puhl, Rod & Custom Editor Spence Murray and Dick Teague, AMC's longtime vice president of design. Teague then provided Puhl with a pre-production '68 Javelin with just enough time to modify it for display alongside the production Javelin at the Javelin's introduction in Los Angeles in September 1967.Knowing that, Teague very possibly could have given his unofficial blessing to the AMX-R as well. He once told John Conde, AMC's longtime PR man, "We knew the Rambleseat would be dropped, but our concept still was a sound one."Jeffords might have asked Puhl to finish the AMX-R in time for the AMX's press introduction on February 15, 1968, at the Daytona International Speedway or, more likely, for the AMX's public unveiling in March. According to an October 1968 Rod & Custom article on the AMX-R, Puhl was whisked away from the Grand National Roadster Show--traditionally held in late January--to begin work on the AMX-R, and then given six weeks to translate Stevens's designs into steel. Puhl accomplished quite a bit in those six weeks. He removed the rear window of the AMX and cut away nearly all the sheetmetal in between the sail panels from the trailing edge of the roof to the top of the tailpanel. Then, with half-inch round tubing, Puhl outlined the Rambleseat and its hinge system.Unlike the Vignale AMX, the AMX-R's Rambleseat would only replace the trunklid; the rear window would remain fixed in the AMX-R. Puhl then skinned the Rambleseat in sheet steel, incorporating a few minor changes, including a small ducktail spoiler integrated into the trailing edge of the roof (presumably to direct wind away from Rambleseat passengers' heads) and steps cut into the quarter panels, just forward of the rear bumper ends. Puhl fashioned a magnetic latch for the Rambleseat that left the area with a smooth appearance when the seat was closed.Up front, Les Kertcher created a custom fiberglass hood with two extended and molded-in scoops that mimicked the stock AMX's closed-off hood bumps. Meanwhile, Puhl slightly modified the grille, replacing the AMX badge with a 390 badge, and added a number of handmade stainless steel AMX-R badges on the hood, sail panels and Rambleseat lid, accompanied by J-E-F-F-O-R-D-S badges on the hoodscoops and tailpanel.Puhl sprayed the entire car in candy apple red over gold, but painted the hood, fender tops and the area inside the character line around the windows flat black. He handed the interior off to Gene McCoughla, who covered the seats in black Naugahyde. The original 390, four-speed and Twin-Grip Model 20 rear axle remained stock.Jeffords at some point handed the AMX-R off to longtime racing associate and Javelin Racing Team vice president Ronnie Kaplan, who lowered the car two inches.The six-week deadline forced Puhl to take a number of shortcuts, according to Darryl Salisbury, who currently owns the AMX-R. To begin with, Puhl didn't strip the original Caravelle Blue paint or even prepare it for a topcoat, and simply painted around some items in the engine bay instead of behind them. Darryl told us that the Puhl-applied red paint had started to shrink away from the sail panel badges when he first got the car. Oh, and flipping up the Rambleseat necessitated unplugging the wiring harness from the reverse lamps.While neither Puhl's Javelin nor the AMX-R carried AMC's official blessing, the AMX-R does appear in a set of photos taken at AMC's styling studio in Detroit, wearing two sets of wheels: 15-inch Motor Wheel Spyders on the right side, 14-inch Magnum 500s on the left.After Puhl finished it, Jeffords took the AMX-R on the road, mostly to Trans-Am races, and apparently used it as a pace car for a few of those races--at one point, the AMX-R carried the lettering "Official Car" just below the driver's and passenger's windows. About the same time, Jeffords also issued a press release stating that he intended to produce 500 AMX-Rs for the 1969 model year and retail them through AMC dealerships. That plan went nowhere fast. Possibly spooked by the still-fresh ink on the National Traffic and Motor Vehicle Safety Act, possibly due to a rumored visit by Ralph Nader, or possibly as a result of internal politics, AMC refused to provide Jeffords with any more cars.Jeffords and Kaplan finished out the 1969 Trans-Am racing season, after which Bill McNealy, then AMC's vice president of marketing, replaced them with Roger Penske. Ostensibly, AMC brought in Penske due to AMC's poor showing in 1969, but some have since speculated that the AMX-R episode figured into the decision as well. Or, more likely, the poor showing in Trans-Am figured into AMC's decision not to supply Jeffords with AMXs.Interestingly, the AMX-R previewed a few design features of later AMCs. The ducktail spoiler made it on to the 1971-'74 Javelins and AMXs, while the flat black masked-off area became an option on 1970 AMXs as the Shadow Mask.So where does current owner Darryl factor in? He had just been discharged from a five-year stint in the Air Force in 1968, and as soon as he got home, his father showed him the October 1968 issue of Rod & Custom, which featured the AMX-R on the cover. Salisbury dreamt briefly of buying one of the planned production versions, a fantasy that led him to become a devoted AMC fan.Not until 1984, though, did he again give thought to the AMX-R, when it showed up on the back of a trailer at the American Motors Owners Association national meet in Kenosha, Wisconsin. The Brooks Stevens Museum, to which Jeffords donated the AMX-R in 1969, had it on display and asked Darryl, then and now the president of the American Motors Owners Association, to see if anybody wanted to buy it.Darryl briefly considered the request, then contacted the museum after the meet to tell them he wanted to buy it. Though it required selling off a couple of other AMCs and some valuable parts, he brought the car home in 1985. A full restoration didn't commence until 2002, when Salisbury handed the AMX-R off to his brother-in-law (and world's leading Gremlin expert), Brian Moyer, who took the next three years to finish it better than Puhl had the time to when he first created it.So though Jeffords' dream of owning a concept car came to naught, Salisbury's did. Too bad 499 other dreamers couldn't have been equally as happy. Owner's View When I wrote to the Brooks Stevens Museum to thank them for bringing the AMX-R to our show, I told them I wanted to buy the car, but didn't have much money. The museum officials spoke with Dick Teague, Duane Mackie and Bob Stevens, all of whom said I was the guy who would take care of it, so they decided I should be able to buy it. I don't honestly know the whole story about this car: I don't know who really came up with the idea, or where it debuted, or where it was showed when new. I did try to talk with Jim Jeffords once, but he didn't want to talk about it then. I'm hoping he's since changed his mind. As it is, though, it's always been a privilege to own this car, more so now that it's restored.--Darryl SalisburyClub Scene American Motors Owners Association 1615 Purvis Avenue Janesville, Wisconsin 53548 608-752-8247 www.amonational.com Dues: $35/year • Membership: 2,000 PROS + Unique history + Desirable 390/four-speed/Twin-Grip + Better than new CONS - History needs fleshing out - One-off parts are difficult to replace - Rambleseat probably not very safe 1968 AMC AMX-R Specifications Engine Type: American Motors OHV V-8, cast-iron block and cylinder heads Displacement: 390 cubic inches Bore x Stroke: 4.165 x 3.574 inches Compression ratio: 10.2:1 Horsepower @ RPM: 315 @ 4,600 Torque @ RPM: 425-lbs.ft. @ 3,200 Valvetrain: Hydraulic valve lifters Main bearings: 5 Fuel system: Holley four-barrel carburetor, mechanical pump Lubrication system: Pressure, gear-type pump Electrical system: 12-volt Exhaust system: Dual exhaust Transmission Type: Borg-Warner T-10 four-speed manual with Hurst shifter Ratios 1st: 2.23:1 2nd: 1.77:1 3rd: 1.35:1 4th: 1.00:1 Reverse: 2.16:1 Differential Type: AMC Model 20 with Twin-Grip limited-slip Ratio: 3.54:1 Steering Type: Saginaw recirculating ball with power assist Ratio: 18:1 Turns, lock-to-lock: 5.1 Turning circle: 33.5 feet Brakes Type: Hydraulic, four-wheel manual Front: 11.2-inch disc Rear: 10-inch drum Chassis & Body Construction: All-welded single unit-body and frame Body style: Two-door, two-passenger coupe (four-passenger with Rambleseat) Layout: Front engine, rear-wheel drive Suspension Front: Independent, upper and lower control arms; trunnions; coil springs; 7/8-inch anti-roll bar; telescoping shocks Rear: Torque links; parallel semi-elliptic leaf springs; telescoping shocks Wheels & Tires Wheels: Motor Wheel Spyder Front: 15 x 6 inches Rear: 15 x 6 inches Tires: Goodyear Polyglas Redline Front: F70-15 Rear: F70-15 Weights & Measures Wheelbase: 97.0 inches Overall length: 177.2 inches Overall width: 71.6 inches Overall height: 50 inches (est.) Front track: 58.8 inches Rear track: 57.0 inches Shipping weight: 3,200 pounds (est.) Capacities Crankcase: 5 quarts w/filter Cooling system: 13 quarts w/heater Fuel tank: 19 gallons Transmission: 3.5 pints Rear axle: 4 pints Calculated Data BHP per cu.in.: 0.81 Weight per BHP: 10.16 pounds Weight per cu.in.: 8.21 pounds Production AMC built 6,725 AMXs in 1968. Jim Jeffords had Dave Puhl customize just one as an AMX-R. Performance* Acceleration: 0-60 MPH: 7.2 seconds 0-100 MPH: 18.9 seconds 1/4 mile ET: 15.2 seconds @ 90 MPH Top speed: 104 MPH Mileage: 11-15 MPG *From a March 1968 Road & Track test of an AMX with the 390, four-speed and 3.54:1 gear ratio Source & Images: Hemmings; oldconceptcars

One of the last works of the OSI design department, headed by Sergio Sartorelli with Werner Hölbl and Piu Manzo. After the dissolution of OSI their design department was taken over by Fiat where Piu Manzo created a second version of the Autobianchi Coupé. Source & Images: carsthatnevermadeitetc.tumblr

As early as 1966, Neri & Bonacini began development of their very own car. Before this, the pair had rebodied a number of Ferrari chassis, producing the notorious Breadvan and gorgeous Nembo Spyders, but the Studio GT was an all-new design. To Neri & Bonacini, it was the ideal Italian sports car, having small proportions, a mid-mounted lightweight engine and stylish aluminum body. Called the Studio GT Due Litri, Neri & Bonacini began their project by constructing a sheel-metal tub with a complex lattice-steel structure to support the outer body. Front and rear square tube subframes supported a custom suspension with specially cast uprights. The engine bay had enough room for several different engines. The initial idea was to use the power plant from the Lancia Flavia V4, but production was ending so several others were tested. These included the Taunus V4 as well as a potent ATS V8. A plaster body buck was created that formed the shape for many prototypes to follow. The overall lines of the car had sweeping curves and they were not too far from the Lamborghini Miura which was released in the same year. The first Studio was finished and used for several test configurations. Before the second car was completed, Neri & Bonacini ended their partnership to pursue different ventures. Giorgio Neri went to DeTomaso where he completed the second Studio GT prototype. The second car was different from the first, featuring electric pop-up headlights, a fully trimmed interior with adequate sound deadening and full bank of instrumentation. The car was used to test several engines, but ended up with the Lancia Flavia V4 which was the original plan for the car. Working for Road & Track, Peter Coltrin kept in contact with Neri & Bonacini during the build process for the first two cars. At that time the second fully-functioning prototype was for sale as well as everything else needed for series production. Giorgio Neri related he was “Happy that the car came out so well, even if it does no go into production.” Both the first two cars survive and remarkably the second car is currently in untouched, original condition. It was purchased by John Mastroianni Sr. of Auto Turismo & Sport Ltd. in New York without windows. It has since been refurbished, but not restored. It was displayed in this condition at the 2001 and 2009 Greenwich Concours d’Elegance. Source: Coltrin, Peter.”Studio GT Due Litri”. Road & Track. October 1968. Images: oldconceptcars

Just before the Geneva Motor Show in March 1968, Giovanni Michelotti was about to organise the presentation of the new Triumph Stag on his stand. But the Standard Triumph directors had a sudden change of mind and decided to put the Stag on the official Triumph stand. This left Michelotti with a vacant space. He had to react quickly, and decided to design a prototype, which he presented as the evolution of the TR5 – the future TR6! Employees, friends and family members burned the midnight oil for 15 days and 15 nights to prepare this prototype called the TR5 Ginevra (Geneva in Italian). Michelotti obtained a TR5 chassis from the factory to build his prototype numbered X760 (prototype) as well as a 2-litre straight 6 engine (not the 2.5 version) fitted with Lucas injection. It had a standard 4-speed + overdrive gearbox. After the show the Standard Triumph management entrusted the Karmann bodywork company with the task of designing the future TR6. The TR5 Ginevra remains a one-off much to the delight of its present-day owner. This was the personal daily car of Giovanni Michelotti for some years after construction. Source: www.tr5passion.com Images: carstyling

When Rover took over control of Alvis in 1965 plans were made to revive Alvis car production It was decided that Rover would design a fast sports car for assembly by Alvis. The P6BS was a project by Spen King and Gordon Bashford the code P6 is because it incorporates a chassis and suspension from the Rover 2000 range while BS stands for Buick Sports from the Buick derived V8 engine. The Rover V8 engine is slightly offset to allow a single seat to be mounted in the back, there is a good boot space and all round visibility. The roof panels are removable. The project was cancelled in 1968 following the British Leyland rationalisation programme. Its roof panels are also removeable a feature regularly seen on later US sportscar. This is the only prototype, the project was killed off as part of the Ryder reports rationalisation project after the British Leyland merger in 1968 Source: flickr Images: Alvis Archive

Made in 1968, the Banshee II was the second in the Banshee series. The 1968 Pontiac Banshee II had aerodynamic fiberglass skins over stock Firebird inner panels and a near stock black interior. In 1969, the Banshee II was modified with white paint and graphics, including a decal on the nose. It had flush wheel covers, a deep louvered hood, cut down glass, brake cooling vents, minimal ground clearance, and separate headrests for the passengers and the driver. It was powered by a 400 C.I.D. V8 engine. Source: wikipedia Images: www.shorey.net

Stereotype displaying total formal maturity of the two-box aerodynamic sedan, enormously popular in the decade to follow, just remember the Citroën GS of 1971. Formal innovation and remarkable CD=0,35 for a car with a simple, uniform and continuous design, due to specific functional goal without aesthetic forcing. When we are convinced we have a truly good idea, we strive to convince others, especially if the idea concerns a topic close to our hearts. In 1967, aerodynamics was still a rather exclusive topic, just for technical people and afficionados, while Pininfarina had always regarded it as a fundamental element in body design. Shortly thereafter, in fact, the firm began building its wind tunnel, the first in Italy for full-scale automobiles, in-augurated in 1973. At the Birmingham Motor Show in 1967, it presented a prototype on BMC 1800 mechanics that achieved a number of ambitious results simultaneously: it radically improved aerodynamic performance, dropping Cd values from 0.45 to 0.35, and it updated the traditional three box shape of the sedan, transforming it into a tapered two-volume and expanding its versatility by increasing load space and applying a large cargo hatch. The following year, to demonstrate that the formula was also valid for smaller cars, it built a similar prototype on the chassis of the small BLMC 1100 for the Turin Show. These two cars represented the models for the two-volume sedans that were to become enormously popular in the decade to follow. But though they were the first attempts in this direction, they already displayed total formal maturity. The car illustrated in the photos is still perfectly functional and has exactly the same dimension as the Citroen GS that appeared in 1971. The design was simple and uniform, continuous. The nose clustered elements into specific functional groups without aesthetic forcing. The air intake concealed beneath the bumper was well-positioned aerodynamically, the rubber crush zone between the headlamps completed the transitionbetween hoods and fenders, and the scalloped headlamps were the primary decorative element of the front end. The slab sides were smooth, with flush fenders. Indicative of the close attentionto detail were the door handles hidden into the chromed windowsill moulding. The tail cut was shart and efficient, and the broad backlight doubled as a cargo hatch. The roofline recalled a wing profile, continuously curving, sustained by thin pillars that enhanced interior light and driver visibility. Adding strength to all this, and avoiding a fragile look was a series of oriented louvres that lent the optical weight of a strong "C" pillar without blocking the visibility of the driver." Source: Pininfarina; Lorenzo Ramaciotti via www.austin-rover.co.uk Images: Pininfarina; www.shorey.net; www.austin-rover.co.uk