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Developed in 1992 by Carrozzeria Zagato in Milan, together with Bambù prototype, both on Nissan 300 ZX mechanics developed by Autech, it investigated a classic style inspired by the Gran Turismo of the fifties, unlike the Bambù prototype, which aimed at modern compact lines inspired by the truncated tail and the Junior Z. Source: Catawiki Images: Zagato

This 1992 Zagato prototype was based on the Nissan 300 ZX. Developed by Carrozzeria Zagato in Milan, together with Seta prototype, both on Nissan 300 ZX mechanics developed by Autech, it aimed at modern compact lines inspired by the truncated tail and the Junior Z, unlike the Seta prototype, which investigated a classic style inspired by the Gran Turismo of the fifties. Source: Catawiki

The EXT-92 was a new commercial vehicle concept focusing on aerodynamics, ergonomics, an attractive living environment, and innovative lighting systems. It was presented at the 1992 Frankfurt International Motor Show (IAA). Features Aerodynamic, fully streamlined design Proximity radar -> introduced (as DISTRONIC) in the Mercedes-Benz S-Class (W 220) Centrally positioned driver's seat New instrumentation and control concept Rear-view mirrors replaced by video cameras and monitors Gas discharge headlamps -> introduced (as xenon headlamps) in the Mercedes-Benz S-Class (W 140) LED rear lights -> introduced 2003 in the Mercedes-Benz SLR McLaren (C 199) LED turn signals -> introduced 2003 in the Mercedes-Benz SLR McLaren (C 199) Keys replaced by chip card -> introduced 1999 in the Mercedes-Benz S-Class (W 220) Electrochromic glazing -> introduced 2002 in the Maybach (W 240) Every Mercedes aim to promote the individual mobility of its owner. This thinking extends not just to Mercedes-Benz cars but also Mercedes-Benz commercial vehicles. And sometimes, as in the case of the EXT-92 truck concept presented at the 1992 Frankfurt International Motor Show (IAA), it is extended even beyond road transport. EXT-92 was designed as part of a Mercedes-developed integrated intermodal freight transport concept for the future. The idea was to integrate the different modes of transport commercial vehicles, rail, shipping and air and to ensure that the specific advantages of each were used to maximum benefit. This, in turn, would make it possible to manage growing transport volumes while at the same time improving road safety and traffic flow within the existing road network. As a long-established automotive manufacturer, Mercedes-Benz approached the issue of integrated transport above all from the standpoint of the road transport sector. The EXT-92 (Euro Experimental Truck) concept was designed for use in European long-distance road haulage. All aspects of this highly advanced tractor/semitrailer rig incorporated the latest 1992 state-of-the-art. EXT-92 had particularly eye-catching styling, which was closely focused on aerodynamic and safety requirements. Drag was much lower than on a conventional truck. The EXT-92's drag coefficient (Cd) of 0.35 came close to that of a car. A special fifth-wheel coupling pulled the semitrailer closer into the cab when traveling in a straight line, reducing the intervening gap to about 10 centimeters. To minimize turbulence at the rear of the rig, automatically extending deflectors were fitted to the rear edge of the semitrailer. The excellent aerodynamic efficiency had the effect of reducing fuel consumption and emissions. The styling was a reinterpretation of characteristic Mercedes-Benz styling practices. The fully streamlined bodywork and the fully enclosed wheels also had benefits for other road users, acting as a lateral underride guard and at the same time preventing spray in wet-weather operation. Hidden behind the Mercedes star at the front was an additional safety feature: a proximity radar system. In combination with a visibility-measuring device, this warned the driver of obstructions in the vehicle's path or if the vehicle was getting too close to traffic in front in conditions of poor visibility. To open the two-part outward-swinging door, the driver used a personal chip card. Three steps, with no ladder, offered standing access to the cab. The seat, too, was easily reached: positioned on a platform in the center of the cab, it automatically swiveled 30 degrees toward the entrance while the instrument panel and steering column moved out of the way at the same time. Once the driver was installed, his preferred settings, including those for the ventilation and radio, were reactivated by the data stored on the chip card. A key feature of EXT-92 was ergonomic design. The steering wheel could be individually adjusted to the driver's requirements, and the height of the instrumentation and controls automatically followed suit. The central, elevated seating position provided improved protection for the driver in the event of an accident. The steering wheel impact absorber housed a specially shaped airbag. All instruments and controls were arranged by function. The central display unit was flanked on either side by 10-inch monitors, which showed the driver what was going on right around the vehicle and had many more capabilities than conventional rear-view mirrors. Amongst other things, the six video cameras installed at points all over the vehicle scanned the areas directly in front of and behind the vehicle and eliminated the blind spot. The fixed impact absorber in the steering wheel, which housed the airbag, also featured buttons for frequently used functions such as the horn, station search, sound volume, and windshield wipers. These multifunctional buttons allowed the driver to call up a wide range of information in the central display and control various vehicle systems. Depending on the task in hand, the buttons "dynamically" altered their symbols and functions. The parking brake and gearshift were combined in a single seat-mounted lever, whose position indicated the current status of these functions. In Europe, state-of-the-art communication technology, including fax, telephone, and CB radio, allowed the driver to stay in touch with fleet headquarters, other drivers, and customers. Since a long-distance truck serves as both a living and a working environment, the cab of the EXT-02 was designed to make life on board as pleasant as possible on long journeys. The specification included a kitchen unit with a microwave, refrigerator, freezer compartments, a coffee machine, a sink, and two folding tables. An assortment of surfaces, cupboards, and drawers provided ample storage space for personal effects. When required, the 80-centimeter-wide bunk could be converted to a seat bench, while the co-driver's seat, with its reclining function, leg rest, and multi-way adjustment, offered long-haul comfort on a par with a first-class airline seat. The electrochromic windows were automatically or manually adjustable for tinting. They could even be dimmed right down to darken the cab during rest breaks. The advanced lighting technology of the EXT-92 was developed especially for this concept vehicle. The rear lights consisted of numerous LEDs, which formed a band right across the vehicle. LED technology provided the basis for a very visible and flexible rear warning system. The driver of the EXT-92 could even inform and warn traffic behind about traffic conditions in front of the vehicle, which they would otherwise be unaware of. The front light units housed the dipped beam, main beam, and fog lamp, along with special "maneuvering lights" for the critical areas in front of and behind the vehicle. The dipped beam was provided by a gas discharge lamp today known by the name xenon headlamp, which significantly improved road illumination. As the rear lights, the front turn signals were LED-based. The Mercedes-Benz EXT-92 created quite a stir in 1992. And even if modern tractor units haven't (yet) caught up with its futuristic styling, many of the interior features have already been incorporated into today's trucks. With EXT-92, Mercedes-Benz has once again proved that the technology of a concept vehicle stands or falls by its future relevance. Source: motor.ru; DaimlerChrysler AG Press Release Images: Daimler AG.

Motoring journals aren't as shy as they ought to be about declaring their latest cover subject the greatest supercar of all time. If such a distinction is possible, however, it likely rests with the McLaren F1. In capability (231-mph top speed), imaginative design (a central driving position), and extravagant price ($810,000), the F1 stands alone. Revealed to the public in May 1992, it was on the road by 1994 and in the winner's circle at LeMans in 1995. "[I]ts performance and general ability simply defy imagination," wrote journalist Paul Frere, a former Formula 1 driver and LeMans winner. Drawing on multiple Formula 1, CanAm, and Indianapolis victories, the McLaren organization set about creating its first road car in 1989. The McLaren F1 was a clean-sheet design, with all components except the taillamps built specifically for it. The guiding principle was efficiency. Thus it is compact, with body panels and understructure of featherweight carbon fiber and virtually every mechanical component of aluminum or magnesium. BMW Motorsports was contracted to design and build the engine, which McLaren specified be naturally aspirated for instant response. With its midships 48-valve 6.1-liter V-12 and under four pounds per horsepower, the F1 has the best power-to-weight ratio ever in a production road car. Small electric underbody fans generate ground-effects grip that renders four-wheel-drive superfluous, and a modest rear spoiler deploys to counteract nosedive in hard braking. Manual steering and brakes further enhance control. The driver's seat in the McLaren F1 is personally fitted to each owner and is placed centrally for optimal command without intrusion from wheel arches or the nuisance of offset pedals. A passenger seat is mounted to each side and slightly behind. Air conditioning, CD audio system, and the finest leathers complete the cabin. Incredibly, some specifications had to be scaled back for LeMans. Even with nonactive aerodynamics and engine-intake restrictions, the 220-mph GTR competition version took first, third, fourth, and fifth overall against a slew of purpose-built racers. "The McLaren offers engineering and workmanship second to none and performance never attained before in a road car," concluded Frere in his 1994 Road & Track cover story entitled, without apology, "The Best Ever!" Source: #62 - The 100 most beautiful cars (The Daily Telegraph) Images: McLaren; www.renestaud.com

Lincoln's Marque X concept convertible, painted a burnt tangerine pearl orange hue, showcased a cab-forward design to maximize the space available for people. This future flagship featured a simulated spare-tire bulge on its decklid, speed-sensitive front underbody spoiler, low-profile fiber optic headlights, 19-inch cast magnesium wheels, and an electronic, speed-sensitive aerodynamic spoiler. Under the hood sat a 32-valve DOHC V-8, matched to a four-speed automatic transmission. A coded "credit card" was used to start the engine, and in the leather cockpit was a voice-activated telephone, navigation system, and fax machine. For rear passengers, the Marque X contained a pop-up TV and dual-temperature food and beverage storage container. Source: www.chicagoautoshow.com Images: www.chicagoautoshow.com; www.kimballstock.com

The Integrale-based Hyena was built in collaboration between the Lancia importer for The Netherlands Paul Koot and Zagato. The Hyena was designed in 1990 by Marco Pedracini (Zagato) and introduced at the Brussels Motor Show in January 1992. The Hyena was based on the Delta Integrale floorpan structure but with a 2-door coupe body. Integrales were stripped down in Holland and then sent to Zagato in Italy to fit the new composite/alloy body. They were then sent back to Holland for final assembly. All of this made the Hyena very expensive to build, and they were sold for around $75,000. The Hyena weighed around 200 kilograms (440 lb) less than the original Integrale, had about 250 brake horsepower (190 kW), and could accelerate from 0-100 km in 5.4 seconds. Only 24 were built. Source: www.classicdriver.de Images: Zagato; www.shorey.net; Andre LE ROUX

The Biga, introduced at the 1992 Turin motor show, dates back to a design submitted by Giorgetto Giugiaro in 1989 to the "Assises Mondiales de l'Automobile" in Paris on the theme of "what cars for the year 2000". Therefore, the Biga was created as a specific and realistic eco-friendly alternative that could be mass-produced for town traffic. It was the outcome of a close and rational analysis of the financial, environmental, and social scenario; not a research prototype with futuristic, inaccessible lines but a car reduced to the essentials. Designed with a view to future legal restrictions limiting private cars' access to the historical centers of cities, the Biga is part of a more extensive project aimed at traffic management. Therefore, the Biga is not merely a car for the city but also the city: access onboard is allowed using a personal card recorded in a database. Users may take a Biga from designated parking spaces, use it, and re-park it in other dedicated parking spots. Because it was designed for this particular use, Biga is a minimalist car; everything superfluous has been removed. The body is made in special steel that guarantees lightness and sturdiness. The passenger compartment is a cube designed to house the driver and three passengers or the driver and one passenger in a wheelchair due to a bench located on one side of the car. Access is via a single tailgate at the rear, exactly as on a Roman chariot. This makes it possible to optimize spaces around town: the deal parking spot is at right angles and not parallel to the pavement so that passengers can get out directly onto the pavement. The height of the car is also designed to facilitate entry with a wheelchair as much as possible. Because it does not have any side doors, Bigas may be parked next to one another without taking up room for opening conventional doors. Approximately 2 m in length and one and a half meters wide, the Biga is equipped with a hybrid system of a small diesel engine coupled with an alternator that supplies energy to the batteries to guarantee traction and transmission. Source: www.italdesign.it

The 1992 IAD Magia was a car to capture the imagination of all the devotees of sporting coupes. The Magia is the latest in a long line of concept vehicles produced by IAD to support its outstanding concept vehicle development program. Building on Lancia's image as a manufacturer of quality sports coupes, this car now extends the lineage through to the next millennium. The Magia has the 2-liter turbo Integrale installed in the Dedra platform and a svelte body conceived and executed by IAD. IAD's Magia represents a fresh and appealing approach for the '90s while retaining strong family links with its predecessors in its distinctive lines and unique character. A squat, purposeful stance emphasizes its road capability and combines with a blend of the traditional and modern, producing a car that begs to be driven. The rich combination of interior furnishings, generous curves, and flowing lines adds to the feeling of well-being, emphasizing Magia's comfort and safety. Source: IAD Images: Mario Buonocunto Concept Cars Page; Pete Fisher (former IAD photographer)

The two-seat HCD-1 sports car combines retro styling with advanced technology and high performance. It is powered by a 2.0-liter, 16-valve DOHC engine capable of producing 150 horsepower. Safety features abound, from dual airbags (a sophisticated option when this car was unveiled) and disc brakes on all wheels to antilock brake and traction control systems. The removable Targa roof covers a power rear(glass) window that can be completely retracted. The unique styling approach is bold and exciting, with a muscularity reminiscent of the human form. The anti-cab-forward design on a classic speedster blends a retro feel with an aggressive stance. Styling A thrill to drive, the HCD-1 starts out as an impressive sports car. This high-performance, singularly styled sports car boasts a host of advanced features. The basic package includes a short overhang, rounded wheel arches over large wheels, and a uniquely designed trunk loaded with items. Basic Design A neo-classic roadster that will thrill any auto buff who wants to relive yesteryear. Features Seats for two 3-box Targa body Altogether retractable rear glass window Disc brakes on all wheels, with traction control and anti-lock brake systems Dual airbags Completely independent suspension front and rear P245/45-17 tires mounted on light-alloy wheels All-wheel drive Two vibration-damping balance shafts 2.0-liter, 16-valve DOHC engine with aluminum heads and block Variable valve system 150hp output Source: Hyundai

The Raffica (meaning "Flurry" in Italian), has seating for two under an electronically-controlled retractable hardtop roof. It was presented at the 1992 Mondial de L'Automobile in Paris. Designed by Marc Deschamps, the Raffica was designed with optimum aerodynamics in mind. A second version, a four-seater, was constructed to alter the bright orange original. Ultra-thin taillights and retractable headlights were Heuliez styling cues rarely mixed. Source: Concept Car Central Images: Concept Car Central; Andre LE ROUX Site

The 1992 General Motors Ultralite was depicted in Demolition Man (1993) as a 2042 Chevrolet Police Cruiser. Developed jointly by General Motors Design Center and Research Laboratories, the Ultralite concept was created to be the ultimate test platform for fuel economy. The federal government was convinced that 100 mpg cars could easily be built if only the domestic auto manufacturers would make an effort. This was the goal of General Motors in 1992. The result was the Ultralite, a 1,400-pound four-passenger sedan that GM claimed could attain 100 miles per gallon at a constant 50 mph speed. Powered by a rear-mounted GM 1.5-liter three-cylinder two-stroke engine, the Ultralite achieved an 80 mph figure in the EPA's highway test cycle and could also accelerate from 0-60 miles per hour in 7.8 seconds. GM claimed the top speed was 135 mph. All components of the body contributed to economy and efficiency. Both the body and structure were carbon-fiber. Side doors lifted upwards in a gull-wing style for easy access to the front and rear seats. The large window area was intended to give the driver excellent all-around visibility. Auxiliary fluorescent tube lights joined High-intensity fiber-optic headlights and LED taillights. www.autospeed.com Images: GM Media Archives

The 1992 Ghia Focus was designed by Taru Lahti and is an intricate, eclectic, iconoclastic, imaginative example of automotive sculpture. Ghia Focus is a constantly fascinating symphony of shapes, textures, materials, and forms, subtly formed and juxtaposed in expected and unconventional ways. It abounds in details, but its elements harmonize with its overall form and substance. They're never jarring or uncomfortable. They're always pleasing. J Mays, Ford's vice president of Design, describes Ghia's Focus as, "A concept that is as close to a piece of art as you'll ever find, an astounding one-off that has less to do with auto design than [with] sculpture." Mays recalled being captivated by Ghia Focus when he saw it for the first time at its 1992 Turin Show debut. Camilo Pardo, now Chief Designer at Ford's Living Legends studio in Dearborn, worked with Taru Lahti at Ghia while Focus took shape. Pardo points to the organic textures, materials, and shapes that float, like the amoeba they sometimes resemble, throughout the realization of Ghia Focus as a breakthrough in auto concepts. Ghia Focus is built on a 100mm shortened floorpan from the full-time four-wheel-drive Escort RS Cosworth with the Cosworth's 227 horsepower turbocharged and intercooled 16-valve 4-cylinder engine. The body is constructed from carbon fiber composite. The curb weight is 2,100 pounds. Ghia Focus sits on 18" split rim alloy wheels behind full plastic wheel covers mounting 225/45 front - 255/40ZR-18 rear Goodyear tires with a custom cut tread pattern that complements Ghia Focus's Design. Ghia Focus is a roadster, with a removable hardtop that stows under a hatch in the rear deck. It is designed also to have a folding soft top. Those are the technical details, but as J Mays noted, Ghia Focus is more about sculpture than automobiles. Taru Lahti's sculpture started with the nose, rounded in plan view with a Mustang-like hood scoop. Small projector headlights and marker lights reside behind clear plastic covers. The air intake for the radiator, intercooler, and engine is under the nose. Horizontal canard fins mark the corners of the nose. Just in front of the steeply sloping curved windscreen at the back corners, a series of small irregularly-placed holes foreshadow the unique taillights. The sides of Ghia Focus are slightly indented and protected by one of its novel features, a round side protection bar that emerges from the front of the door, parallels the profile of the sides rising slightly to the rear where it intersects the top of the rear wheel well and around the quarter to terminate at the license plate housing. The tops of the rear fenders peak above the wheels for occupants' rollover protection, curving inward to wrap slightly over the rear deck, creating a channel-shaped like sand blown around a stone. The tail and marker lights are an array of small irregularly-placed round lights that seem to dribble across the rear deck's corners. The exhaust is a single outlet below the license plate enclosure, a SuperTrap silencer poking through the gunmetal-painted carbon fiber. The cockpit floor is covered with curved, formed wood. The seats and door panels are covered in thick natural saddle cowhide in Brown and Tan. The steering wheel has two asymmetrically curved round steel rod spokes at 4 and 8 o'clock, supporting a thick laminated wood rim. Asymmetrically-graduated analog instruments are attached to the exposed steering column, their wires enclosed in wound wire sleeves. The same sleeves also house the exterior mirrors' exposed adjustment cables. Door armrests flow into the tapered edges of a bifurcated binnacle around the steering column, which fades into the dash top, then picks up again to flow down through the center stack through the console and up onto the rear deck. The shift lever consists of two sinuous metal rods, like old grapevines, supporting an asymmetrical wooden shift lever that fits the hand like a well-used sailmaker's palm. The instruments, outside mirrors, console, and rear deck trim are hand-formed, brushed, and clear coated steel, still showing evidence of the Ghia metal artists' hammers. Words do not come close to doing Taru Lahti's Ghia Focus justice. It is a visual and tactile delight on the order of the most sensual creations of Jean Bugatti, Joseph Figoni, and Franco Scaglione. It is a science fiction fantasy that exudes life. Ghia's Focus is "elegant" most sincerely and innovatively, waiting to grace the lawn at Pebble Beach or Bagatelle. Source: Ford; www.velocetoday.com; AUTO LEMON Images: Ford; www.shorey.net

The spring of 1992 turned out to be an eventful and creatively fruitful one for Bertone. One of the products of this fortuitous period was the Cinquecento Rush, which made its first appearance at the Turin Motor Show. The little concept-car was a very imaginative reworking of the stylistic elements of the Cinquecento, from which it takes both the mechanics and the spirit. Starting from the idea of the car, which symbolizes an entire motoring era, accompanying as has the development of mass transport in Italy for nearly sixty years, Bertone came up with a very provocative design. The Style Centre in Caprie created an immediately intriguing product, inspired by the dune buggies of the 1960s and remote control cars. With minimal basic components, large wheels almost completely visible, and reduced mechanics, the Rush was conceived as a fun open two-seater designed for racing along deserted beaches. It is certainly a provocative car, but also a serious design, for its technical features and potential for industrial production. Source: www.bertone.it Images: Carrozzeria Bertone s.p.a.; JOHN LLOYD Collection

The 1992 Turin Motorshow was used to present a series of concepts based on the Fiat Cinquecento. Concept of two-seaters open pickup, on Fiat 500 mechanicals; young lifestyle for a car that can be, with the aid of purpose-designed accessories, transformed into a minivan, a berlinetta, a pickup, a convertible, or a coupé. This pickup version was an all-wheel-drive utility version with a rear rumble seat. Source: pininfarina spa. Images: www.shorey.net, www.conceptcars.it

The 1992 Turin Motor Show was used to present a series of concepts based on the Fiat Cinquecento. On the mechanics of the 1992 Fiat Cinquecento, Coggiola created the Fionda, a prototype providing ample interior space for three occupants. A single pillar on the tinted glass increased visibility, and the taillights were mounted at the meeting point of the deck and vertical panel. Ultra-thin headlights and an aesthetic "three-box" design added to the car's character. Source: Concept Car Central Images: www.conceptcars.it; JOHN LLOYD Collection

The 1992 Turin Motorshow was used to present a series of concepts based on the Fiat Cinquecento. The 1992 Fiat Cinquecento Cita by Stola was a roadster version of Fiat’s diminutive city car. Source: https://carsthatnevermadeitetc.tumblr.com/post/96182631487/fiat-cinquecento-cita-by-stola-1992-a-roadster Images: Stola S.p.a.

The 1992 Turin Motorshow was used to present a series of concepts based on the Fiat Cinquecento. This convertible concept was put into limited production by Carrozzeria Maggiora though very few were made (the production version had a roll bar). Sources: Maggiora; www.fiatfuoriserie.it

In 1992 ANFIA called upon "carrozzieri" to reinterpret the Cinquecento theme at the invitation of FIAT itself, making available an example of the legendary pint-sized car that put Italy on wheels from 1955. The 1992 Turin motor show welcomed the ID Cinquecento, a static model for a small saloon designed exclusively to weave nimbly through town traffic. The following year, the ID Cinquecento gave rise to the Lucciola moving prototype, which subsequently became the Daewoo Matiz. Source: www.italdesign.it

The 1992 Turin Motorshow was used to present a series of concepts based on the Fiat Cinquecento. The 1992 Fiat Cinquecento-based Z-ECO carries a bicycle for inner-city travel. Source: www.carsfromitaly.net Images: Zagato

Dodge EPIC or Electric Power Inter-urban Commuter was a 1992 concept minivan. Powered by nickel-iron batteries with a range of around 120 miles, the EPIC used the complete TEVan powertrain assembly in a different package; the windshield was raked more aggressively, but the A-pillar was modified to change perceptions of the distance from the door to the cowl. The exterior had sliding doors on each side, presaging the next generation of minivans. The rear hatch followed a track that hugged the minivan more closely to make cargo loading and unloading easier. The stow-n-go rear seat folded completely into the floor when not used, another feature that would eventually show up in gas-powered minivans (albeit taking longer). The production version of the ePIC was introduced in July 1997 and leased to government and utility fleets. It was available as a Dodge or Plymouth and used a 324-volt advanced lead-acid battery pack (nearly twice the voltage of the TEVan). Chrysler did want to use better batteries, but the technology was not yet available. EPICs were all made in Windsor, Ontario. In 2000, Chrysler's EPIC won two categories in the Tour de Sol - the minivan category and Customer Acceptability. The rally is five days long. About 200 EPICs were being used around the country at the time. Source: Chrysler Design Public Relations; www.allpar.com Images: Chrysler Corporation