Posts Tagged ‘Concept’

BMW Spiccup

Thursday, October 6th, 2011

For some reason this incredible BMW one-​​off from 1969, (our favourite year), completely managed to pass us by these forty odd years.

You can see the car’s bloodline at first glance.

Yes, those are the Montréal–esque hooded headlamps from the pen of Marcello Gandini and the same shocking green rendering of Bertone’s audacious Alfa Carabo.

The Spicup was a Geneva launch and was based on the 2000CS — with the 2.8 litre straight six. It was sold after the show and appar­ently the car clocked over 100,000KM before its owner gave up and confined it to automotive legend.

It sold Recently at auction via Bonhams for around US$600K. That’s some serious mileage for such a valuable vehicle.

And though there’s a lot about it’s look and feel that is dead-​​on in terms of its period design, the side perspective gives a hint at where the ideas came from.

We reckon this was Gandini’s homage to 50s American futurism.

Duettotantta Concept

Friday, September 16th, 2011

There’s a lot in a name. Especially for Alfisti. It was pronounced ‘duet-​​o-​​tanta’. The 2uettottanta was Pininfarina’s headline act of the Geneva Motor Show back in March 09.

The name, as well as being calcu­lated to draw legions of fans to the Pinin’s stand, was of course an homage Alfa Romeo’s past – but wasn’t in the end a harbinger of the company’s future.

Ever since the discon­tinu­ation of the Spider — one of the mainstays of true Alfisti passion, there had been rumour, wishful thinking and false dawns of the launch of a new version.

So when Pininfarina intro­duced the Duettotantta concept, we could have been forgiven for thinking this was going to be a real, live, breathing Alfa spider.

But it didn’t happen. And the concept will forever be cast into that group of woefully lusted after might-​​have-​​beens, along with that ‘new E-​​Type’ and the ‘new Muira’.

The ‘2uetto’ part of the concept’s moniker referred to the influence of Alfa’s classic Duetto model and ottanta – 80 in Italian – to the number of years Pininfarina has been designing cars. It was indeed a live, working concept (though it wasn’t based on a existing Alfa platform).

The driving position was low slung, just the Duetto spider itself – and there was pleas­ingly attentive detailing with scalped, sculpted flanks and that pinched rear end that evoked the Disco Volante (and of course, that E-​​type).

The most obviously inter­esting element of the design was of course those angled, aerody­namic cowlings over the headrests, and the iridescent strips as head and tallights. There was also a mixture of machined aluminium and other hit-​​tech bits and bobs in a package which was, in the end, spoon-​​feeding an eager public a little too simply.

The target market at the time was, of course, the class-​​leading rivals such as the Porsche Boxster and Audi TT Roadster — where the 4C concept (which really is going into production next year) will aim higher — the Cayman/​Evora crew.

Wether or not the Duettotantta would have outstripped the 4C is destined to remain specu­lation. What’s sure that it was one of the most enticing teases in recent automotive history.

Concept Corner #2

Thursday, July 14th, 2011

We wondered for a while what this thing actually was.

But now, as you can see this exemplar of early seventies wedginess is clearly identified as an Abarth-​​Pinifarina collab­or­ation from 1970 — which appar­ently resides in Japan (see image below).

This car is one of those rarities around which there seems to be a shroud of mystery. We’re not even sure the Gallery Abarth, which, appar­ently, houses it, actually exists.

Can’t find out the who, how, what and why of this car — so if anyone can fill in the details out there, please drop a comment or two.

Jaguar Design at Clerkenwell

Tuesday, June 7th, 2011

If you were lucky enough to find yourself at Clerkenwell Design Week recently, you would have been treated to a delicious display of the celeb­rated new design ethos of Jaguar. The centrepiece of the show was the one-​​off C-​​X75 concept car — and the show itself documented the process from the first sketch to production through a bespoke art install­ation designed and produced by the Jaguar design team.

We want to explain to people the art of creating a car,” Hugo Nightingale, Senior Designer at Jaguar told press. “In some companies car design is a technical, cold process. At Jaguar it is about emotion, artistry and craftsmanship.”

Clerkenwell Design Week is the perfect envir­onment for us to present the C-​​X75 to the design world”… he continued… “it gave us the oppor­tunity to explain how its existence was founded on a desire to continue Jaguar’s design philo­sophy of flowing lines, purity of form and bespoke luxury for years to come.”

The install­ation revealed insights into the car design process, the journey including sketchwork, material elements and full-​​size clay models.

For Jaguar the C-​​X75 is the study that will inform all of the brand’s forth­coming products — which will distill this urge to create beautiful cars that are usable and marketable too.

Sounds like a plan to us.

Jag’s talis­manic design director Ian Callum said “The C-​​X75 is everything a Jaguar should be. It possesses remarkable poise and grace yet at the same time has the excitement and potency of a true supercar. You could argue this is as close to a pure art form as a concept car can get.”

The current lineup of Jags has breathed a whole new waft of energy into the peren­nially attractive Jaguar brand — and this new design ethos is a major element in the recent turnaround in the fortunes of the Jaguar Land Rover group’s fortunes.

Concept Corner

Wednesday, May 25th, 2011

In a piece of quint­es­sential 1980s expan­sionism, Bertone, kings of angular audacity, decided to hit up the American market with the Ramarro concept (that’s ‘Green Lizard’ to you and I).

The Ramarro was based on a bog-​​standard 83 Corvette — and was we thing a misguided reach out to an American market hooked on the tradi­tional values of cubic inches and heavy steel construction.

Would the yanquis ever have gone ahead with anything like this fusion of Italian futurism with the straight­for­wardness of Detroit brutalism?

We doubt it.

Still, the Ramarro was an inter­esting exercise. The cabin was swathed in an acreage of glass — and the wedgy, louvred design was remin­iscent of the Alfa Carabo and other Bertone design studies. The interior featured lizard-​​like green leather uphol­stery and switchgear replaced gear shifters — a touch that in a sense foreshadowed Ferrari’s manettino system.

The Ramarro was unveiled in LA just ahead of the 1984 Olympic games — and though the design won many plaudits in the automotive press — stimu­lated no doubt by the surge of inter­na­tion­alism that accom­panied the games — no manufac­turers were inspired enough to hire Bertone’s designers.

Shame.

Film below features a period-​​correct soundtrack by Jean-​​Michel Jarre.

Nissan's SM Simulacra

Tuesday, June 16th, 2009

1971_216x-01

The 216X concept was the first in a series of Nissan test-​​beds that were clearly influ­enced by inhouse Citroen designer Robert Opron’s Citroen SM, which hit the streets in 1970 after almost a decade of devel­opment from the starting point of the DS.

nissan_1

While the production SM would become the ultimate French GT (with Maserati power­plant) and featured evolu­tionary devel­op­ments of concepts intro­duced with the DS (direc­tional headlights, asymmetric plan shape etc) the 126x (above) came with futur­istic features like a forward-​​tilting cockpit canopy. The slots along the middle of the bonnet housed red, yellow, and green lights which lit according to what the vehicle was doing (braking, accel­er­ating etc). The power plant was a 3 litre V6 and the drivetrain was AWD.

The N270 X (below) was intro­duced at the 17th Tokyo Motorshow in 1970. The snarling, wedgey styling was not matched with its substance: its base BNA was that of the Nissan E10 Cherry.

1970_nissan_270x_concept_02

If you look closely you might be able to identify subtle echoes of these designs in the Nissan Skylines of the seventies and eighties.

Design influence waxes and wanes almost imper­ceptibly. There may be nothing new under the sun, but it is diverting to muse on what mood winds blew. Whomsoever influ­enced who, it seems that only the French company was able to fully exploit the radical explor­a­tions of its in house team.

Aztec: Giugiaro's Ugly Betty

Wednesday, April 22nd, 2009

aztec_1

Now it’s no secret that we here at influx are big fans of the Maestro, Georgetto Giugiaro (below). His designs have graced some of the most incredible concepts and production cars in automotive history – from the audacious and carnally appealing Lamborghini Muira to the brilliantly workaday Fiat Panda. But it’s the sheer invent­iveness and the willingness to turn dreams into reality that charac­terises brilliant but pugish concepts like the Aztec that really makes Giugiaro the car designer of the century.

aztec_2

Built under the label of his own design company in toward the end of the eighties, the Aztec featured separate compart­ments for driver and passenger. It was developed into a limited run of around two dozen production cars powered with Lancia trans­mission and a powerful Audi engine (the same 250 BHP lump that was found in the first gener­ation Quattro).

aztec_3

The body featured a twin flip up cockpit style roof canopies as well as typically retro-​​futuristic interior redolent of the controls of a shuttle from Space 1999. But, the demi wedge shape with a the hunkered down rear three-​​quarter wasn’t everybody’s cup of tea. The latest news is that despite their rarity, they have been known to fetch less than 200K Euros at auction ( when consid­ering they were priced at the rough equivalent of 300K Euros in 1992, seems a sort of bargain (albeit for those with very deep pockets).

the_maestro

While the Miura has to be Giugiaro’s supreme piece of pure penmanship. But cars like the Aztec, with their ugly-​​beautiful, devil-​​may-​​care audacity, have a place in our hearts.

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