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GR-1 stood for General Research Mk1 and was the experimental replacement to the ESV series. The GR-1 is based on the Bluebird 610 and utilizes an L14 powerplant. Instead of padded bumpers, the GR-1 utilized a "soft" nose cone. Source: www.conceptnissan.com Images: Nissan

Mid-engined styling concept featuring a cantilever roof design. The AD-1 was based on the F10 1400 Cherry and appeared at the 1975 Tokyo Motor Show. Many Nissan enthusiasts regard it as a significant loss that the Mid-4 concept of the late 1980's never reached production, despite extensive development and some very favorable reviews in the media. However, the Mid-4 wasn't Nissan's only still-born mid-engined sports car. A Decade earlier, in 1975, the Nissan AD-1 had gone on public show for the first time at the 21st Tokyo Motor Show. The AD-1 was a neatly styled, aerodynamic little two-seater coupe with a mid-mounted transverse engine, similar in layout to Toyota's MR2, which wasn't launched until some nine years later. The AD-1 was styled with the help of wind tunnel research to achieve the best aerodynamics possible, something they achieved admirably with a mere 0.26 Cd, remarkable even by today's standards. The low drag, allied to the low curb weight of just 740kg, would have helped the car give a lively performance while still retaining a relatively small and economic engine. While today the technical details of the chassis might not seem adventurous, it was quite a high specification for a small Japanese car in 1975. In the AD-1, this was a 1.4 liter overhead valve A14 engine equipped with electronic fuel injection. Cooling the unit via long pipes to a small front-mounted radiator meant the body sides could be kept free from unnecessary air intakes. At the same time, excess engine compartment heat was vented through grilles in the engine compartment cover behind the rear window. The AD-1 was also equipped with a five-speed gearbox. Underneath the car was suspended by McPherson struts all around and featured dual circuit four-wheel disc brakes. The AD-1 featured a lift-out roof panel and a fold-down rear window in a special cantilever design roof, eliminating thick front pillars. Outside, the car featured a luggage compartment at the rear and more storage under the bonnet at the front and behind the seats inside. The doors featured a simple released button with a hand cutout, rather than full door handles, similar to the design used by Renault on many models at that time. Unusually for a Japanese car of the period, the AD-1 also featured chrome, door-mounted mirrors rather than the more common fender-mounted mirrors used on most Japanese production cars of the day. This was possible due to Nissan's previous work with Experimental Safety Vehicles (ESV's), the color-coded, impact absorbing bumpers, and the well-protected, mid-mounted fuel tank. The interior of the AD-1 was functional rather than highly equipped. Its most notable feature was the sports seats, which were "infinitely adjustable" with an adjuster to alter the front of the seat squab and the normal recline adjuster and a separate one to change the angle of the upper half backrest and headrest. The frame-less door glass were open-able with manual winder handles. The intriguing thing about the AD-1 is that although it is usually regarded merely as a styling exercise, it does appear to be an almost completely production-viable car. Unlike many concept cars, it features details such as badges, locks, and side repeaters… all items are usually left off of concepts to avoid spoiling the lines. Inside, the car looks like a production model and lacks the futuristic appearance seen on most concepts. It's also likely that the AD-1 that appeared at the 21st Tokyo Motor Show was not the only AD-1 built, as can be seen by the differing interiors and body colors shown in the two pictures above. This all leads one to wonder if this car was more than just a proposal? Maybe Nissan was close to building it for real, just as they were a decade on with the Mid-4? I guess we will never know for sure. Still, either way, it was probably a great opportunity lost for Nissan, especially when you consider the success of one other very similar design from the same period, the Fiat X1-9. Source: www.conceptnissan.com; ratdat.com Images: www.conceptnissan.com

After the success of Felber-Ferrari, Felber set about building a new supercar - now, in contrast, more "economical." This time, as a role model, it was decided to take the legendary Lancia D24 - one of the most successful racing cars of the 50s, which in 1954 managed to break the hegemony of Ferrari in the Mille Miglia race. The construction of the car began immediately after the debut of the FF-Roadster. The car was based on a chassis from a very successful sports farm Lancia Fulvia. The Fulvia was fitted with an original aluminum body designed in the D24 style. The engine, a standard, compact 1.3-liter V4 unit with a 23-degree camber angle (by the way, a rather exotic solution for V-shaped engines), was forced by two Weber carburetors, after which the power rose to 110 hp. It seems like a little, especially against the backdrop of the past Ferrari, but mind you, 110 hp. This is with a machine weight of only 750 kg. So, the dynamics of the roadster were also not offended. When designing, in order not to spoil the car's appearance, the radiator was placed horizontally between the motor and the windshield. It would be more accurate to say they put it on the motor. This is where the 29-degree cylinder arrangement played its role - the hood of the car looked quite organic, even with a radiator on top, which was lovingly covered by "blinds." In contrast to the prototype, the very same hood was made integrally folding in the style of the Jaguar E-type. The interior was spartan simple, but at the same time, it looked very thoroughbred, the dashboard became more informative. And in general, the car came out more "civilized." Unlike the FF-Roadster, the Lancia had a convertible top as standard. The debut of FF Spider Lancia took place in 1975 in Geneva. The less expensive car generated quite a lot of interest from wealthy originals. Felber even planned to make a series of 100 cars at one time. But, alas, it didn't work out. The only prototype remained a prototype. The machine still exists today, though in a slightly modified form. The fact is that during transportation in a container, the front and rear parts of the car were badly dented due to poor fastening. After the restoration, the front end was slightly shortened. At the same time, the Weber carburetors were replaced with Solex. The car is now owned by a Panther Car Club Limited member and was recently exhibited in Birmingham. The same car was the last collaboration between Felber and Panther Westwind. In 1975, Panther acquired the right to manufacture the French car Monika, at the same time launching one of its most successful cars, the Panther Lima, with a fiberglass body. Barely coping with the surging orders, the company had no time to build outlandish cars for the "mad Swiss." The famous Italian bodywork studio Michelotti has now become a new partner of the designer ... Source: Y. SAMOYLIK - "Mad Swiss" (translated from Russian) Images: Archive "Automobil Revue" / Zwischengas.com; www.autotitre.com

The Lancia Beta Montecarlo was supposed to replace the aging Fiat 124 Coupe. However, Fiat decided to go with the cheaper alternative designed by Bertone. Thus the Pininfarina-designed Montecarlo joined the Lancia’s Beta family. In 1975, the Lancia Beta Montecarlo was unveiled at the Geneva International Motor show. Its name could easily fool us, but the Beta Montecarlo had little in common with the Beta family. Despite its Lancia badge, the Montecarlo was more Pininfarina. The first car was developed entirely by the Italian coachbuilder. The Lancia Beta Montecarlo had a mid-engine configuration and a rear-wheel-drive, unlike Betas' front wheels with a front-engine layout. Paolo Martin from Pininfarina gave the Montecarlo a clean and modern shape, with a squared-off tail and nose, as well as a distinctive pair of wings at the sides of the back window to the lip of the side-hinged engine lid. The front fascia featured rectangular headlamps, and the nose of the car was wrapped in black plastic. Initially, the Montecarlo was to be equipped with a 3.0-liter V6 powerplant. However, it ended up with a smaller 2.0-liter unit due to the oil crisis of the mid-1970s. The car’s performance wasn’t scintillating with the small unit, offering just 118 hp. Paired with a 5-speed manual transmission, the Montecarlo took around 9 seconds to reach 100 kph. Thanks to the mid-engined layout, even if the car didn’t offer supercar-like performance, the Montecarlo had a balanced chassis and managed to provide superb handling. Source: autoevolution.com Images: Pininfarina

Quirky and retro did not mix well with Ford's Flashback concept car. Oddly shaped, the tiny two-seat prototype featured a long hood, protruding headlights, side louvers, bustle-back trimmed with leather straps, and knockoff spinners on the wire-spoke wheels. The Ford Flashback was a concept car built by Ghia in 1975 and unveiled at the 1975 Chicago Motor Show. The Flashback was oddly shaped, similar to an AMC Pacer or AMC Gremlin. It was a tiny two-seater prototype with a long hood with protruding headlights. Other styling features included side louvers, bustle-back trimmed with leather straps, and knockoff spinners on the wire-spoke wheels. With this pint-sized city car, dubbed Flashback, Ford, and Ghia -- the famous design house and coachbuilder based in Turin, Italy -- explored the concept of a premium luxury subcompact that packed in as many 1930s- and '40s-era design touches as its little body could hold. Note the formal grille, stand-up hood ornament, podded headlights, knockoff wire wheels, glass roof, side vents in the front fenders, hood louvers, and faux leather luggage straps on its bustled trunk panel. We can't imagine this little guy performing too well in rear-end crash testing. It appears to be just a two-seater, with an upholstered package shelf in the back. There was no talk of powertrains or performance at the time of its reveal, as the goal was luxury and classic ethos crammed into a super-subcompact package. Lincoln and Cadillac continue to wrestle with the notion of a premium ultracompact commuter machine. Still, neither has yet created the magic design nor committed to the idea of producing one. Ford owned Ghia at the time, having purchased it from Alejandro de Tomaso as part of Ghia/DeTomaso/Vignale acquisition in the early 1970s. It has since (unfortunately) squandered the name entirely. You might remember the Ford Granada Ghia and the Mustang II Ghia. Well, this one ain't them, which is most likely a good thing. Source: www.chicagoautoshow.com; Matt Stone - Motor Trend (March 2011) Images: Ford; www.motortrend.com; www.chicagoautoshow.com

The Fiat X1/9 Dallara was the Turin company’s answer to the race car market, destined for a packed sporting schedule in Group 5 (Silhouette) of the World Sportscar Championships, with its creator behind the wheel. Dallara, an internationally known, highly experienced engineer, opted for the X1/9 in the belief that it would be capable of turning in an impressive sporting performance for both its design and economic characteristics. The X1/9 Dallara retains the same layout as the original model, apart from modifications to the suspensions and engine. The engine is a four-cylinder - 16 v - 192 Hp, 1289 cc. The body's design visually accentuates the sporty character of the model, while inside the car is an entirely new safety feature: upholstery in F.P.T., the same fire-retardant material used for the suits of the Formula 1 drivers. The Fiat X1/9 Dallara went on show at the 1975 Paris Motor Show alongside the Lamborghini Bravo, the Dino 308 GT4, the Lancia Stratos, and the Fiat X1/9. Source: www.bertone.it Images: Bertone; Concept Car Central; www.shorey.net

In 1975 Bertone presented a brand new minibus based on Fiat 850 T mechanics at the Industrial Vehicle Show in Turin. This was a vehicle expressly created for transporting visitors around the Fiat factories, with a limited production run planned. The specific use of the vehicle entailed precise design criteria: small dimensions, the comfort of use, and large window surfaces. A metal strip running all around the vehicle protects it from minor bumps and helps to lower the visual beltline. The interiors, designed to provide maximum comfort for six passengers, are understated and light, with a see-through roof and ample windows, while driving comfort is enhanced by the Fiat 850 T Idroconvert engine. Once again, the flexible approach of the Bertone team had come up with a vehicle that was visually interesting and new, even in the context that of the industrial vehicle, where aesthetics were normally relegated to second place behind functionality. Fiat had been the first to market with a people carrier, with its 600-based Multipla, superseded by the slightly bigger 850T in 1965. By 1975, MPV was starting to look dated, so it tasked Bertone with penning a replacement. Gandini came up with the Visitors Bus, still based on the 850 platform and complete with six doors for easier access to the three rows of seats. It remained a fully driveable one-off, though, and was used by Fiat for conducting tours of its factories. Source: www.bertone.it; www.autocar.co.uk Images: Bertone; Concept Car Central

Fiat 131 was just another forgettable mid-size family car in automotive history, but in 1976 it gave birth to a world-beating rally car, 131 Abarth. This car won World Rally Championship 3 times in 4 years – 1977, 1978, and 1980. Fiat's newly acquired motorsport division, Abarth, was responsible for engineering the car. To homologate for the series, it needed to build 400 units of road-going version. This resulted in the streetcar we are talking about now. The 131 Sedan might not be a good starting point for a high-performance car. Its boxy body was designed for practicality. Its small-capacity pushrod engines emphasized fuel economy, its non-independent rear suspension and 4-speed gearbox excelled only in cheapness. But it was Fiat's last and only rear-wheel-drive platform (if you exclude the outdated 124 Spider), and you know, RWD was a must for rallying before the age of 4WD. That's a good reason to select 131 as the basis for Fiat's next-generation rally car. Of course, a lot of modifications would be necessary. This started from the chassis. A fully independent suspension replaced the rigid rear axle with MacPherson struts to improve road holding regardless of bumps and body roll. The engine was replaced by the Lampredi-designed twin-cam unit, now displaced 1995cc and for the first time incorporated a 16-valve cylinder head. This raised its output to 140 horsepower at 6400 rpm. At that time, not many cars had access to 4-valve technology. As I can remember, only Triumph Dolomite Sprint, Chevrolet Cosworth Vega, and Lotus Esprit had that feature. The gearbox was upgraded to 5-speed. Of course, all-wheel disc brakes were employed. However, the most obvious changes to us were the bodywork – with widened wheel arches, big air dam, roof and boot spoilers, and extra intakes on the bonnet and the sides, 131 Abarth looked every bit a rally machine… perhaps even a war machine! Bertone successfully turned the dull-looking 131 into a pulse-raising design. To save weight, all body panels except the roof and doors were made of glass fiber, while the side and rear windows were plexiglass. Bertone assembled the body panels to the half-finished car and then transferred back to Abarth for final assembly. The 131 Abarth street version was not as uncompromising as its look suggested on the road. Its 16V engine was tractable at low rev and linear in its delivery. The ride was surprisingly civilized. The unassisted steering was quick and communicative. The car felt nimble in the twisty. Unusually for a rear-drive machine of its time, lifting off the throttle in mid-corner could trigger oversteering. That said, get used to its character and treat it with respect. It could be great fun to drive. After all, it was a rally car. Now looking back, the 131 Abarth was nowhere as spectacular as the later Group B specials or today's performance cars. The 980kg machine returned a power-to-weight ratio at 143hp per ton, less than a mass production Volkswagen Golf GTI today. It ran from rest to 60 mph in about 7.8 seconds. Top speed was only 118 mph, blamed for the blocky shape. Even the racing version with 230 hp was not particular quick today. However, with a giant-killer look and a glorious racing history of 3 World Championships, who dare to say it don't worth remembering? Source: www.autozine.org Images: Bertone

The 1975 Fiat 130 Opera by Pininfarina was a proposal for a four-door saloon based on the Paulo Martin-designed Fiat 130 Coupé to replace the existing 130 V6 saloons. The mid-70s fuel crisis meant Fiat had no interest in continuing with their Ferrari-engined luxury line. It was presented at the 1975 Geneva Motor Show. Source & Images: carsthatnevermadeitetc

Bristol introduced the completely-new Type 412 saloon in 1975. Designed as a 2-door convertible, this new model featured a Carrozzeria Zagato-designed bodywork with a customized front grille and a removable “Targa”-style roof. This model was fitted with a Chrysler 6.5L V8 unit and a Torqueflite automatic gearbox. Type 412′s first update – the Series 2 – featured a redesigned radiator badge, new bumper, improved interior, and a brand new Chrysler 5.9L V8 engine. The Bristol 412 was also available on the North American market and lacked the removable hardtop while featuring revised headlamps and a catalytic exhaust system. This model was also known as the 412 USA. Source: www.mitetest.com Images: Zagato; classics.honestjohn.co.uk; www.automania.be; shorey.net

At the end of the ‘60s, Frua tried in vain to prolong his success with Glas by making a dozen proposals to BMW. BMW decided to make it on their own, but Frua’s influence can be seen in the “angry view” of the BMWs even today. Pietro Frua had some success with German car-maker Glas in the 1960s, and after BMW’s take over of Glas, Frua built several speculative BMW-based prototypes, but none of them reached production. This design was recycled in 1979 for the Amectran Exar-1 electric car prototype but failed to enter production. Source: BMW 3.0 Si Coupé by Frua (1975) - BMW Concepts and Prototypes. https://bmwconceptsarchive.wordpress.com/2015/01/08/bmw-3-0-si-coupe-by-frua-1975/ Images: www.conceptcars.it; www.pietro-frua.de

In 1976, a noteworthy collaboration emerged between Porsche and the Soviet automotive industry, resulting in the VAZ-Porsche 2103 prototype. This venture aimed to enhance the existing Lada model with Porsche's design insights. The prototype featured suspension improvements, refined interiors, and a distinct exterior shift—replacing metal brightwork with plastic components. While the VAZ-Porsche 2103's appearance may be unconventional, it offers a glimpse into the design trends of its era. Despite its interesting origins and unique features, this prototype never entered production, remaining a testament to the dynamic collaborations that shape automotive history. View the Story Cars Archive of Soviet Concept Cars & Prototypes Source & Images: carsthatnevermadeitetc

Fiat manufactured this 3-door wagon body type in Italy/ It was a RWD (rear-wheel drive) with a manual 4-speed gearbox and a gasoline (petrol) engine with a displacement of 594 cm3 / 36.2 cui. Its advertised power was 15.8 kW / 21 hp / 21 PS ( DIN ). Its dimensions: outside length: 3072 mm / 120.9 in, width: 1368 mm / 53.9 in, wheelbase: 1843 mm / 72.6 in reference weights: base curb weight: 490 kg / 1080 lbs. Lastly, it had a top speed of 100 km/h (62 mph). Source: automobile-catalog.com Images: oldconceptcars

The 1976 Colani Volkswagen Polo Turbo was another super-aerodynamic Colani prototype, based on the modest first-generation VW Polo with a turbocharger bolted on to break a land-speed record for its class. Source: carsthatnevermadeitetc Images: Colani Design

Like the Autobianchi A112 Giovani, the Peugeot 104 Peugette was designed by Pininfarina as an affordable convertible aimed primarily at young buyers. Pininfarina was desperately trying to land a production contract, so it built the Peugette on a mostly stock 104 platform using mechanical components sourced from the Peugeot parts bin. The concept was well-executed, but the timing was way off. In 1976, Peugeot took over Citroën to keep it afloat, so it had no interest in building a low-volume convertible. Source: Pininfarina; ranwhenparked.net Images: Pininfarina; Concept Car Central; CAR Magazine - December 1977

The Lancia Gamma sedan was the most run-of-the-mill car, and its design received mostly critical reviews. The stylistically independent Gamma Coupe is one of the most beautiful cars of the 1970s. This large and elegant coupe was a triumph for Pininfarina (the work of Aldo Brovarone), which created a great car based on an unpromising chassis and a platform shortened by 4.5 inches. The Lancia Gamma Coupe was the pinnacle of Pininfarina design from the Keystone era. A feature was a wide side recess on the sides of the car, in which dark plastic served to focus attention. The coupe shares many similarities with the Fiat 130 Coupe but is less playful. Similarities were also noted with the Ferrari 365 GT4 2 +2 and the Ferrari 412. Interestingly, the sedan looked like a coupe-style fastback, and a three-volume body distinguished the Coupe. Pininfarina has tried to make this very large car look smaller than its real size. The Gamma Coupe can be considered an American dream of an Italian spill. She is imposing and imposing in an American way, and at the same time, beautiful in Italian. Source: carstyling (translated from Russian) Images: Pininfarina; www.lov2xlr8.no; Andre LE ROUX Website

Together with Giovanni Michelotti in 1976, Felber built another replica on a chassis of the recent Lancia Beta Spider, having a more modern and dynamic appearance. Unlike its predecessor, it was stylized only as a vintage car. As for the mechanics, it was practically no different from the Zagato Spider, except that the engine was slightly enhanced. Still, the price was three times higher, thanks to an ultra-light aluminum body. The car debuted exactly one year after the FF Spider at the Turin Motor Show, making six units, and after all, it was a welcome rarity for collectors. Source: https://www.carrozzieri-italiani.com/ Images: Archive «Automobil Revue» / Zwischengas.com; www.autotitre.com

The 1976 Lancia Beta FF by Felber was a modified version of the series 2 Lancia Beta featuring the frontal styling of Michelotti’s Mizar concept (which had been based on the Lancia Beta). At the rear, it had a glass hatchback and rear lights from the Beta Coupé. Source: carsthatnevermadeitetc Images: amklassiek.nl; carsthatnevermadeitetc

The luxury super-saloon is nowadays considered a must-have model for most prestige manufacturers. But the legendary designer Giorgetto Giugiaro was working hard on perfecting a car that combined performance and luxury with four-door practicality back in the mid-70s. In 1974, the tireless Giugiaro – fresh from penning Maseratis Ghibli, Bora, and Merak – began a project to design a four-door Maserati that combined the luxury of an American limousine with abundant power – the latter being notably absent in the 207bhp Quattroporte II of the same year. The philosophy of Giugiaro’s car was expounded in its name, ‘Medici’: inspired by the celebrated Florence family that had risen to fame in the 14th Century through a certain business aptitude and a love of culture and arts. The Medici sat on an existing Maserati chassis and boasted a longitudinally mounted 5.0-liter V8 instead of the underwhelming 3.0-liter V6 used in the Quattroporte II. Inside, the car had seating for six – with four ‘living-room’ style chairs facing each other, giving the velour-lined interior an atmosphere reminiscent of a limousine, just as the design brief had specified. Giugiaro sought a ‘balanced and elegant shape for the car's body, taking cues from some of his previous work such as the Audi Asso Di Picche concept (with a design language that was also evident in the later B2 Audi Coupé – you may see some resemblance). However, the outcome bore a bonnet too streamlined for the roofline, resulting in an oddly proportioned car – extremely un-Giugiaro-like, considering that his catalog raisonné includes the De Tomaso Mangusta, Iso Grifo, and BMW M1. Like many geniuses, Giugiaro is extremely self-critical, and even official documentation from the Italdesign styling house he formed in 1968 accepts the disappointments of the Medici’s styling. Nevertheless, another trait of an artistic genius is persistence, which Giugiaro duly displayed in the years to come. Indeed, he brought the regrettable Maserati back into his workshop and set about creating the Medici II, ‘cutting and stitching’ the metalwork to correct the anomalous proportions of the 1974 Turin Motor Show car. While the stubby-tailed, two-box silhouette was retained, the bonnet line was raised to sit better with the perpendicular lines displayed elsewhere on the car, thus resulting in the pop-up headlights being exchanged for more conventional rectangular ones, between which a more conventional grille was also integrated. While his alterations all but put paid to the sporty character Giugiaro was so keen to achieve, a classier look was adopted and subsequently embraced by the Piedmont-born designer. Reappearing in Medici II form at the 1976 Paris Motor Show, the car met a decidedly warm reception compared to its previous experience in Turin. The rear bench was swapped for a pair of armchairs, and, in keeping with the classical overtures, the velour upholstery was replaced by leather and briarwood. The sophisticated look was also applied to the interior; out went the rearward-facing pair of seats, but the limo-esque ambiance was preserved by two newly installed cabinets containing a minibar, refrigerator, desk, and file-holder. At the same time, a TV and a radiophone provided touches of modernity. After the show, the Medici II made its way into the Louwman Museum (where it resides), but not before lending several of its styling cues to the 1977 Turin Motor Show Quattroporte III concept car and a subsequent production version. The third Quattroporte model was more successful than its flawed forebear, with one example put into presidential service: thus verifying its ‘businessman’s Maserati’ status. Despite its ungainly appearance initially blemishing Giugiaro’s portfolio, the revised Medici is ultimately a rare insight into the determination of a character so talented. Itself going on to inspire one of the principle super-saloons, the Medici II can perhaps trace its offshoots not only to the modern Quattroporte but also the Rapides, Panameras, and CLS AMGs its grandchild does battle with. Meanwhile, its assiduous creator – deservedly awarded Car Designer of Century in 1999 – now has the opportunity to enjoy retirement. That’s not to say that he’ll take that opportunity, of course. Source: Classic Concepts: 1976 Maserati Medici II | Classic Driver .... https://www.classicdriver.com/en/article/cars/classic-concepts-1976-maserati-medici-ii Images: ItalDesign; www.classicdriver.com

One of the first Fiesta-based concepts, the Ghia Prima, was featured at the 1976 Turin Motor Show. It was a collaboration between Ford designers and Ghia’s coachbuilders. Prima’s concept was for interchanging roof sections that would transform the shape and functionality of the vehicle. Its character could change into a pickup, station wagon, fastback coupe, or two-door notchback. It was shown with a red exterior and beige interior. Source: 1976 Ford Prima (Ghia) - Studios. https://www.carstyling.ru/en/car/1976_ford_prima/ Images: Ford; www.chicagoautoshow.com