The Truth About Cars » Design http://www.thetruthaboutcars.com The Truth About Cars is dedicated to providing candid, unbiased automobile reviews and the latest in auto industry news. Sun, 30 Aug 2015 16:08:02 +0000 en-US hourly 1 http://wordpress.org/?v=4.2.4 The Truth About Cars is dedicated to providing candid, unbiased automobile reviews and the latest in auto industry news. The Truth About Cars no The Truth About Cars editors@ttac.com editors@ttac.com (The Truth About Cars) 2006-2009 The Truth About Cars The Truth About Cars » Design http://www.thetruthaboutcars.com/wp-content/themes/ttac-theme/images/logo.gif http://www.thetruthaboutcars.com Designers and Their Cars – Automotive Patent Art Revisited http://www.thetruthaboutcars.com/2015/08/designers-cars-automotive-patent-art-revisited/ http://www.thetruthaboutcars.com/2015/08/designers-cars-automotive-patent-art-revisited/#comments Thu, 20 Aug 2015 12:00:37 +0000 http://www.thetruthaboutcars.com/?p=1146281   Aaron Cole’s post about automotive patent art gladdened my heart. Years ago, I decided to check out some of Les Paul and Leo Fender’s original patents on their electric guitars and I discovered the artistry of patent drawings. These days the United States Patent and Trademark Office, as well as patent offices around the world, […]

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A Brooks Stevens concept.

A Brooks Stevens concept.

Aaron Cole’s post about automotive patent art gladdened my heart. Years ago, I decided to check out some of Les Paul and Leo Fender’s original patents on their electric guitars and I discovered the artistry of patent drawings. These days the United States Patent and Trademark Office, as well as patent offices around the world, accept digitally produced artwork. However, before the digital age, an inventor had to hire someone skilled at technical drawing to produce the various exploded and see-through sketches needed to describe the “preferred embodiment” of a process patent.

Of course the “inventor” of a design patent — a slightly different form of intellectual property that protects the design and look of a product — is more often than not, the actual designer.

Following up on Aaron’s post, I decided to put the names of some notable automotive designers into a patent search engine to see what I could find. My hypothesis was that in the case of a design patent, particularly for a car, the artwork for the patent application was likely to have been drawn by the designer. A patent is a big deal to any engineer or designer and he’d likely want to be the one responsible for representing his own idea best.

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Clare MacKichan’s Chevy Nomad

Yes, sometimes the boss takes credit for subordinates’ work. Harley Earl, General Motors’ first head of styling, was known not to draw very well. Designers and clay modelers working for him, though, said he had a masterful way of waving his hands that communicated well to the designers the vision he had in his mind’s eye. Car design is a collaborative process, involving people you work with and work for. Guys like Earl, his successor Bill Mitchell, or carrozzeria boss Nuccio Bertone had some justification in putting their names on patents, even if they only had supervisory roles.

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Car body designed by Harley Earl in 1921 when he was still working for his father’s custom body shop in Los Angeles, before he was hired by Alfred Sloan to start GM’s styling department in 1927.

Next to lead designer Hank Haga’s name, the Chevrolet Aerovette patent carries Mitchell’s name along with that of senior designer Chuck Jordan (who succeeded Mitchell as head of GM Design) as well as GM designer Jerry Palmer. A similar situation exists with the current Mustang convertible, whose patent bears Ford design chief J Mays’ name along with those of designers Moray S. Callum, Joel Piaskowski, Darrell Behmer, and Kemal Curic.

A Ray Dietrich design.

A Ray Dietrich design.

I’m willing to guess that even if Earl, Mitchell or Mays didn’t render the patent drawings themselves, they assigned a senior designer with the task of their posterity, not some intern. Regardless of who did the actual drawings, they were very well executed.

Enjoy:

Eugene "Bob" Gregorie was Ford's first head of styling.

Eugene “Bob” Gregorie was Ford’s first head of styling.

One of Virgil Exner Sr's Chrysler-Ghia show cars.

One of Virgil Exner Sr’s Chrysler-Ghia show cars.

Harley Earl's name is on this Cadillac design from the early 1950s.

Harley Earl’s name is on this Cadillac design from the early 1950s.

This Motorama concept, called L'Universelle, was a front wheel drive passenger van designed by Chuck Jordan.

This Motorama concept, called L’Universelle, was a front wheel drive passenger van designed by Chuck Jordan.

One of Ian Callum's Jaguars

One of Ian Callum’s Jaguars

A more recent, digitally rendered Jaguar

A more recent, digitally rendered Jaguar

Marcello Gandini's Lamborghini Diablo

Marcello Gandini’s Lamborghini Diablo

Giorgietto Giugiaro's DeLorean DMC12, an update of an earlier design of his.

Giorgetto Giugiaro’s DeLorean DMC12, an update of an earlier design of his.

JB's editors at R&T might think that Paul Bracq designed the BMW M1, but it's Giugiaro's name on the design patent. Bracq did the BMW Turbo, on which the M1 was based.

JB’s editors at R&T might think that Paul Bracq designed the BMW M1, but it’s Giugiaro’s name on the design patent. Bracq did the BMW Turbo, on which the M1 was based.

Aerovette.

Aerovette.

Art Ross' Golden Cutlass Motorama car

Art Ross, who headed Cadillac and Oldsmobile’s studios, rendered the Golden Rocket Motorama car

Raymond Loewy coupe concept from the early 1960s.

Raymond Loewy coupe concept from the early 1960s.

One of Virgil Exner Sr's last cars for Chrysler.

One of Virgil Exner Sr’s last cars for Chrysler.

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A Corvair concept by Larry Shinoda.

One of Bill Mitchell's Corvette concepts, perhaps the Mako Shark.

One of Bill Mitchell’s Corvette concepts, perhaps the Mako Shark.

Camilo Pardo's Ford GT

Camilo Pardo’s Ford GT

The current Ford Mustang

The current Ford Mustang

Ronnie Schreiber edits Cars In Depth, a realistic perspective on cars & car culture and the original 3D car site. If you found this post worthwhile, you can get a parallax view at Cars In Depth. If the 3D thing freaks you out, don’t worry, all the photo and video players in use at the site have mono options. Thanks for reading – RJS

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Hyundai Teases New Elantra Design Because Future Needs No Doors http://www.thetruthaboutcars.com/2015/08/hyundai-teases-new-elantra-design-future-needs-no-doors/ http://www.thetruthaboutcars.com/2015/08/hyundai-teases-new-elantra-design-future-needs-no-doors/#comments Wed, 19 Aug 2015 16:00:01 +0000 http://www.thetruthaboutcars.com/?p=1145825 Hyundai released Wednesday a new concept sketch of the coming Elantra, which shows that the new model will sport a large hexagonal grille, sleeker and lower headlights, and a steeper dropping C-pillar. The Elantra is scheduled for a redesign for 2017 and outlets are reporting the new sedan will debut at the Los Angeles Auto […]

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2017 hyundai elantra

Hyundai released Wednesday a new concept sketch of the coming Elantra, which shows that the new model will sport a large hexagonal grille, sleeker and lower headlights, and a steeper dropping C-pillar.

The Elantra is scheduled for a redesign for 2017 and outlets are reporting the new sedan will debut at the Los Angeles Auto Show in November. It’s not clear what engines may power the new Elantra.

Hyundai released few details about the coming Elantra. According to Automotive News, the new Elantra will share a modified platform with Hyundai’s dedicated hybrid and Kia’s Forte. The Korean automaker is expected to release four hybrids, two plug-in hybrids and one electric car in the U.S. between 2016 and 2018.

Peter Shreyer

Peter Shreyer

However, the concept sports a red signature of identified origins. TTAC’s handwriting recognition investigators suspect it could be Hyundai’s chief of design Peter Schreyer who penned the sketch, as the compact signature sports all the hallmarks of horn-rimmed glasses.

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Vellum Venom Vignette: Diecasting A Designer’s 8-bit Nightmare? http://www.thetruthaboutcars.com/2015/08/vellum-venom-vignette-designers-8-bit-nightmare/ http://www.thetruthaboutcars.com/2015/08/vellum-venom-vignette-designers-8-bit-nightmare/#comments Wed, 05 Aug 2015 13:00:25 +0000 http://www.thetruthaboutcars.com/?p=1132913 I suspect there’s more than a handful of Transportation Design students finding employment in the toy business and I know my fellow design classmates at CCS collected diecast model cars. They’re inspirational, personally helping me render light/shadow reflections on the vellum. Visits to (Pasteiner’s) Auto Zone happened regularly, sometimes with the same higher regard than local religious institutions. […]

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I suspect there’s more than a handful of Transportation Design students finding employment in the toy business and I know my fellow design classmates at CCS collected diecast model cars. They’re inspirational, personally helping me render light/shadow reflections on the vellum.

Visits to (Pasteiner’s) Auto Zone happened regularly, sometimes with the same higher regard than local religious institutions. So spare me, oh mighty autoblogosphere, from the manufactured excitement of Lego’s F40 kit.

I reckon it’s a designer’s 8-bit nightmare.

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This Vellum Venom isn’t a slam on Lego, their Creator Series or people behind them. Their Architecture series gives me a special feeling: plastic bricks make for great scale models of postwar architectural treasures from around the world.

Just not for cars. Never.

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This Vellum Venom is a reminder of the diecast’s superiority in representation, dollar value and as a foundation to admire and/or seek inspiration. Get your kicks by turning an F40 diecast under a desk lamp to see how light reflects off Pininfarina’s coachwork. Clip the springs on a few Miastos and your studio gets transportation design cred for cheap.

Call it drafting table design porn. My diecast F40 joined me for my CCS misadventures. Some 10+ years later, I was honored to ride shotgun in a real one. To wit:

That 100 dollar, Nintendo-y, Minecraft-lookin’ pile of plastic dots insults The Machine’s beautiful stamped body. It’s an affront to the legacy of Mr. Pininfarina. Who knows, maybe even the aerodynamics hatin’ Mr. Ferrari would kick it out of the office. 

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Even worse, availability of diecasts in mind, Lego’s kit is less automotive connoisseur and more garden-variety geek…back when that was a bad thing.

A proper scale model, a tasty Bburago reproduction (while out of production) is much cheaper on eBay. I know, I know: Bburagos are the Trader Joe’s of scale model cars. My budget remains tight, I hold no delusions there.

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There’s the simply stunning Pocher 1:8th scale model, even Kyosho and Hot Wheels make better interpretations. However, as the purchase price rises, the benefits of finer diecast details are a sliding economy of scale.

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And much like a customizable-ish Lego model, Bburagos are easily disassembled for painting its casting details to a respectable level of accuracy — like proper black trim on the beltline, window pillars and more accurate interior colors. Repainting takes less time than it would to watch the first half of a Nashville Oilers game. my typical study break back at CCS.

Unlike the Lego, sorta like the upscale diecasts, the Bburago F40 is beautiful on its own — especially above the smexy intake runners of my SHO-coffee table, but I digress…

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To my design-savvy readers: Don’t sell yourself short with Legos. You loved ’em as a kid. The Internet says this F40 kit is totally awesome. The extensive assembly time is not without its charms. But no…no, do not worship this false idol.

The vellum demands you do justice to the Ferrari F40, get a Bburago F40 for 50 percent less cash or go big with the premium diecast brands. And insist your friends do the same!

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A Model Collection of Automotive History http://www.thetruthaboutcars.com/2015/07/model-collection-automotive-history/ http://www.thetruthaboutcars.com/2015/07/model-collection-automotive-history/#comments Mon, 13 Jul 2015 14:00:46 +0000 http://www.thetruthaboutcars.com/?p=1109489 Polymath sports marketer Fred Sharf is known in the art world for finding underappreciated genres, collecting them, researching and writing about them at an academic level, curating exhibits about them, and then donating much of what he collects to museums so others can share his eclectic interests. Among those many interests, Sharf has almost singlehandedly gotten […]

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Polymath sports marketer Fred Sharf is known in the art world for finding underappreciated genres, collecting them, researching and writing about them at an academic level, curating exhibits about them, and then donating much of what he collects to museums so others can share his eclectic interests. Among those many interests, Sharf has almost singlehandedly gotten the fine art world to start appreciating the art involved with making automobiles. Drawings and paintings long considered disposable styling studio work product by car companies are now considered collectible and worthy of art museum exhibitions.

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Of course, two dimensional artwork isn’t the only thing generated by an automotive design studio. Clay and plaster models in 1:10, 1:8, 1:4, 1:2 and full scales have been part of the design process since the origins of car styling and Sharf has curated museum displays featuring those models. Harley Earl is attributed with crafting the first clay styling models, while he was still making custom cars in Los Angeles, before he was hired by General Motors. Gordon Buehrig’s invention of the “styling bridge” while he was working for E.L. Cord made it possible to take precise measurements off of those models for symmetry, scaling up designs, and creating blueprints.

Today, even though all design work is done initially in the digital domain, final judgments and business decisions are made based on physical, three dimensional models. Furthermore, even though they can now digitally CNC carve a full-scale clay model directly from the digital design files, things don’t quite look the same in real life, so designers still need the skill and art of clay modelers to fine tune their designs.

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If Fred Sharf has educated the art and automotive worlds about the aesthetic value of what had formerly been thrown away (or snuck out of the studio by designers proud of their work), Sam Sandifer Jr. is specifically responsible for the increased appreciation for styling models. It’s interesting to note that as we progress into the digital age, our era will produce few physical styling studio drawings and paintings like Sharf collects, but the auto industry will always have to rely on actual physical models like Sandifer collects.

The North Carolina collector has managed to track down, save from destruction, collect and now reproduce those important artifacts of automotive history. Sandifer’s dream is to open a National Museum of Automotive Design featuring the most important pieces in his collection, but for the time being he shares them at car and toy shows.

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The annual Eyes on Design show held at the Edsel & Eleanor Ford estate is put on by the automotive design community in Detroit, which understands the significance and value of Sandifer’s collection and work. This year’s show had a large tent devoted to some of his more important pieces. Sandifer shared that display space with the Society of Retired Automobile Designers, one of my favorite organizations.

The three wheeler in the foreground is the model of the stillborn Dale that sat on Liz Carmichael's desk.

The three wheeler in the foreground is the model of the stillborn Dale that sat on Liz Carmichael’s desk.

Not all of Sandifer’s models were specifically styling studies. Some were also used as display pieces for executives’ desks — like the 1:10 scale 1939 Lincoln Continental that Sandifer had on display at Eyes on Design. As an artifact of automotive history, that model must surely rank very high. In the early 1940s, it sat on Edsel Ford’s desk until the scion of the Ford empire passed away from stomach cancer in 1943. It was returned to the Detroit area soon after. The Eyes on Design show at Edsel’s estate gave the model’s display special significance.

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The location of a car show held by car designers at Edsel’s home is not merely coincidental. Edsel Ford had some training as a graphic artist and a collector’s eye for beautiful things. Though he probably never drew a car professionally, he can rightly be credited as one of the originators of automotive styling. It was Edsel who hired Eugene T. “Bob” Gregorie as Ford Motor Company’s first head of styling. Like Harley Earl, who couldn’t draw particularly well but could artistically wave his hand in a way that a trained stylist could understand and translate into a clay shape, Edsel had a great ability to communicate his vision to Gregorie.


After starting the video player, click on the settings icon to select 2D or your choice of 3D formats.

The ’39 Continental started out as another one of the custom cars Edsel had Gregorie design, like his 1934 Ford Speedster.

The way the popular narrative goes, Edsel had returned from a trip to Europe and asked Gregorie to come up with a custom car for him that evoked the spirit of European sports cars, hence the name Continental. Just how continental the Continental really was, though, is not clear. Gregorie’s oral history given to the University of Michigan at Dearborn in 1985 doesn’t mention any European influence. To begin with, the Continental’s design was mocked up from an existing Lincoln Zephyr model. More to the point, automotive historian Aaron Severson’s Ate Up With Motor’s history of the Continental lays out evidence that the close-coupled, two-door hardtop or convertible coupe with long-hood/short-deck proportions, a top with blind rear quarters, and a rear-mounted external spare was a predominantly American styling idiom that went back at least to the early 1920s. Stutz even sold a model then called the Continental. It should be pointed out that two classics of postwar American automotive design, the 1956 Continental Mark II and the 1964 1/2 Ford Mustang (and subsequent Mustangs), feature long hoods and short trunk lids and many other elements with the ’39 Lincoln. Continental styling is apparently as American as apple strudel pie.

Gregorie described the genesis of the car in the 1985 oral history. Rather than summarize it, I’m just going to excerpt the original source. I can’t tell you the story better than Bob Gregorie can.

A: By the time — let’s see, it was in October/November of ’39, about four years later, that the thought came to me. We began discussing a special-built car again, and, of course, Mr. Ford’s initial thought on this special-built car was to be a Ford to glorify the Ford line. Whenever the suggestion of building that car at a Ford branch plant or interrupting Ford production in any way which it would have done, the Rouge plant fought us on it. It was just a nuisance value — anything that would interrupt production.

Q:      You had a quite a bit of problem with people like…

A:      Oh, [C.E.] Sorensen and Pete Martin — the production people.

Q:      Especially since you were working for Edsel Ford.

A:      Yes. They considered it a fruitless gesture on Mr. Ford’s part. I refer to as being frivolous. I think they did too. Yeah, that’s the term they use today — frivolous. Gives the “boy” something to play with, see?

So, with Edsel Ford we might talk the thing over every few days, or every week or so, and he finally got up to the Mercury — would it be feasible to do it with the Mercury? Well, there again, we’re up against the same problem with the production plants. There’s no place in a production plant for that, without creating dissension and problems, see. No one could see a profit in it. So, at this point, an idea struck me. The old K Model Lincoln was being phased out — had been phased out, and we had one whole bay along Livernois Avenue — the Lincoln plant — where a certain amount of custom work had been done on the custom bodies that had come in the past. We had a nucleus of custom body workers at the Lincoln plant — maybe a couple hundred of them that did custom trim work,­ custom paint work on the custom bodies after they arrived and mounted on the old K Model chassis. So, the idea struck me. I said, “Gee, here we’ve got the Zephyr over there. We’ve got our engine components. It’s all under one roof, and we have one whole bay of this plant that’s not being used, and, at that point, without going into that phase of it with Mr. Ford — maybe I discussed it briefly, but I sketched up — I took a tenth size blueprint — a catalog sheet — what they refer to as a salesman’s handbook print, reduced down, showing the overall dimensions — head room and all that, you know. I took just a yellow pencil, a yellow crayon pencil, and I sketched in a lower hood.

Q:      You’d taken a Zephyr?

A:      Just to sample it — Zephyr sedan, see and moved the windshield back, lowered the steering column. Like you do if you were trying to draw a fancy version of a sporty car — what you do to change it. Well, the things that came to mind at that point were that the chassis didn’t need lowering. You see, the Zephyr was designed with the concept of a chair­ high seat.

Q:      Which at one point they had.

A:      They had a chair-high seat — about an 18 inch seat in the thing, and the floor pan was very low — very shallow — the car didn’t have much of a side rail because of unit construction. It had a very shallow, maybe 3 inch side rail, something like that. It was silly, you know. I thought, well, we’ve already got a car that’s down fairly low — the foundation of it, the floor pan, see? So, I drew this thing up and sketched in the roof line, and the trunk on the back and whatnot. That afternoon Edsel Ford came by on his usual visit, and I said, “How do you like this?” He said, “Oh boy, that looks great, looks good.” So, I said, “How about making a little model? We’ll make a little tenth-size model, 17/18 inches long.” So, I had Gene Adams, a trade school boy there, I said, “Let’s make a profile template of this for modeling,” see? So, I had him glue it on a piece of masonite, you know, pressed wood, 1/8″ masonite-­ glued it on there with some rubber cement, and then he punched the pro­file and put it in a jigsaw and sawed it out, see? That was the only drawing that was ever made of the car. As people think … when I tell them it was designed or sketched in 35 minutes or so, why — well, that’s God’s honest truth. The profile [was] pleasing. That’s what sold it. He said, “That’s it,” That was all that was ever made. It was a crude, little sketch. Edsel Ford loved those simple sketches.

Q:      Was this ’38?

A:      This was in ’39.

Q:      Early ’39?

A:      No, this was in probably November of ’39. Along in November, I’d say. [Mr. Gregorie amended this to 1938.]

Q:      So, he liked it immediately.

A:      Yes, we had this little 10th size scaling bridge, the model wheelbase was only 10 inches, and we modeled it right in my office on a table, and Gene Adams and I modeled it right up with our hands. It wasn’t a whole car design. We had the front end and fenders.

Q:      From the Zephyr?

A:      Of the Zephyr. That was the new ’38 front end, which was real slick. It had a slick front end, and the fenders were reasonably decent, so we just pieced the front fenders out. I think we used the standard rear fender and did the little tire on the back, you know, and made this pretty little clay model.

Q:      Tell us more about the tire on the back because that has become the hallmark of the Continental.

A:      Yes, well that was part of the package, I mean, it was a necessity.

Q:      But, was this your idea or did Mr. Ford like the idea from a Continental he had seen earlier?

A:      I can’t say. I just can’t pinpoint that. Well, anyway, it appeared on there. I don’t know whether it was his idea or mine — I just can’t say at this point. Well, anyway, it was immediately acceptable to him, and, in fact, the trunk was too small for a spare, so it was the only place available we felt that it would be acceptable. As we all know, rear mounted spares went “back to the year one.” It surely was not for a styling “twist,” though it apparently had that effect.

Q:      It was a collaboration.

A:      That’s right, okay. Let’s make it that way. That was part of the package. So, we did this little model up and painted it his favorite gray with white sidewalls and nice little chrome bumpers and all, you know. This all took maybe a week. He said, “Well, how long will it take you to get one ready? I’d like to see if we can have one ready for my vacation when I go to Hobe Sound, Fla.”

Q:      That’s incredible.

A:      That’s right. Took the offsets off with tenth size scaling bridge, turned the figures over to Martin Rigitko, and he made a paper draft — just a rough paper draft of it — full size and sent it over to the Lincoln plant and went ahead and built one just as quick as we could.

Q:      This is about December?

A:      By that time it would have been December. Well, anyway, by March or late February we had the car finished ready to ship down there by truck. [1939]

Q:      You shipped it down by truck.

A:      Yes. Have you seen pictures of the car and all?

Q:      Yes. Gorgeous.

A:      It was a pretty thing, but, man, it was all full of solder to smooth it up, and heavy, you know. It was beautiful to look at, but, I mean, it was strictly a hand-made mockup sort of thing. Well, Edsel Ford had the car down there for a couple weeks, and he called me on the phone one day, and he said, “Gosh, I’ve driven this car around Palm Beach ,” and he said, “I could sell a thousand of them down here right away, quick.” He said, “They couldn’t get enough of them.” So, he said, “You’d better get over to the Lincoln Plant and talk with Robbie over there [he was the Lincoln plant superintendent over there] and see what you can do to set up an arrangement for limited production.” You know, some arch presses and whatnot, so we could build a few hundred of these to start off with. So, he said, “In the meantime, you’d better start a second one going right away,” a second hand-built one to work out mechanical details like the steering column shift which was coming in for production at that time. I went over, and Robbie and I set down. We got going right away quick. I said, “The boss man said we should build a second one of these.” He said, “Oh God, not that again!” I said, “I think it’s going to jell this time. I think we have something here.” At that point I told Mr. Ford about the advantages of building it as a Lincoln. I said, “In the first place, we can get more money for this car.” This is after he decided for just a one off. This is prior to his calling me back to build more. I sent him away with that germ in his mind. I said, “Gee, we’ve got the chassis, frame, we’ve got the suspension system, we’ve got the engine, we’ve got the steering gear and all mechanical parts. We’re not interfering with any Ford production. We’ve got all components in house, right there at the Lincoln plant, and we have the people to do the nice trim work and so on.” So, it was a natural. It just fell together that way. So, of course, the rest is history.

Brochure_edited-3While the model that was on Edsel Ford’s desk was made by Gene Adams, it was likely not the same one that Gregorie described in his oral history. Still, according to Sam Sandifer, it probably was used in the styling process, perhaps for the development of the convertible roof, bumpers and other trim.

When Edsel Ford died in 1943, his office was cleaned out with most of the items put into storage, including his 1:10 scale Continental. It was discovered years later by Larry Wilson, a clay modeler who was coincidentally hired as a modeling apprentice by none other than Edsel’s father, Henry Ford. It’s still in original condition, painted the gun-metal gray that was Edsel’s favorite color for cars, though at some point it’s lost the “continental” spare tire mounted in back. Metallic grays and silvers are, to this day, considered by automotive designers to be the ideal colors to show off the shapes they design.

If Edsel Ford’s scale model of his Continental is an important piece of automotive history, Sandifer also has what could be described as a footnote to automotive history. Included in his collection is the model of the notorious Dale three wheeler that sat on the desk of fraudster Liz Carmichael, who promoted that never to be produced vehicle back in the 1970s.

51Jsand1a

While the original styling models that Sandifer has collected are very rare, he’s made it possible for you to share his passion by making fully licensed fiberglass reproductions and selling them through the 21st Century Car Company, represented by JM Model Autos. A variety of eras are represented, including the ’39 Contintental, the 1949 Ford, the Aerovette Corvette concept and the Dodge Charger III concept. Molds have been pulled from the original clay, plaster and wood models, imperfections found in the originals have been fixed, and hand laid up fiberglass replicas are being made. Sandifer is using both old world and high-tech methods. Bumpers and other trim are made from brass, using the lost wax casting method. For some of the models, period correct wheels and tires have been modeled and replicas made with 3D printers.

51Jsand2b

They’re limited editions, so even if they are repos, they’re still collectible. At typical prices of $300 to $400 each, they’re probably more of a labor of love for Sandifer than a highly profitable business venture. You can see examples of the reproductions in the gallery below.

Photos at Eyes on Design by the author.

Ronnie Schreiber edits Cars In Depth, a realistic perspective on cars & car culture and the original 3D car site. If you found this post worthwhile, you can get a parallax view at Cars In Depth. If the 3D thing freaks you out, don’t worry, all the photo and video players in use at the site have mono options.

packard-5 packard-4 packard-3 packard-2 51-ford-5 packard-1 charger-iii-8 charger-iii-7 charger-iii-6 charger-iii-5 charger-iii-4 charger-iii-3 charger-iii-2 charger-iii-1 cavalier-2 cavalier-1 aerovette-4 aerovette-3 aerovette-2 aerovette-1 51-ford-red-4 51-ford-red-2 51-ford-red-1 51-ford-in-hand 51-ford-green-3 51-ford-green-1 51-ford-6 51-ford-green-2 stude-3 stude-2 stude-1 packard-7 packard-6

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QOTD: What OEM Wheel Designs Make Their Respective Cars Look Cheap? http://www.thetruthaboutcars.com/2015/06/qotd-which-oem-wheel-designs-completely-ruin-the-look-of-their-respective-cars/ http://www.thetruthaboutcars.com/2015/06/qotd-which-oem-wheel-designs-completely-ruin-the-look-of-their-respective-cars/#comments Wed, 10 Jun 2015 16:00:55 +0000 http://www.thetruthaboutcars.com/?p=1089081 Regulation. It dictates the majority of modern car design. Whether it be for pedestrian safety, crash worthiness, economies of scale, or fuel efficiency, the basic building blocks of modern cars are decided well before pencil is met with freshly-bleached paper (or, these days, before stylus meets tablet). That last item – fuel efficiency – is […]

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06 - 2013 Scion FR-S - Picture courtesy of Phil 'Murilee Martin' Greden

Regulation. It dictates the majority of modern car design. Whether it be for pedestrian safety, crash worthiness, economies of scale, or fuel efficiency, the basic building blocks of modern cars are decided well before pencil is met with freshly-bleached paper (or, these days, before stylus meets tablet).

That last item – fuel efficiency – is as much a matter of aerodynamics as it is what’s under the hood, and aerodynamic efficiency isn’t just about fenders and trunk lids.

Which brings me to wheels – specifically, OEM wheels – and how absolutely ugly they’ve gotten the last few years.

Honda-Accord-Coupe-2000-1680x1050-001

Back in 2000, the Accord Coupe rocked some simple, stylish, but decidedly less flat-faced wheels. Assuming you can find a set that hasn’t been oxidized to the point of resembling Brittany Spears’ pre-Proactiv face, be prepared to pay dearly as they still command over $100 a corner on eBay.

2015 Honda Accord EX-L V-6 Coupe

Even the latest Accord Coupe, official subject of many a Jack Baruth editorial, has some of the most handsome wheels on the market today fitted to a car priced significantly less than a Vanderbilt nut. They give the Accord an upscale appearance without relying too much on what’s fashionable now but won’t be this fall. Hopefully, like their predecessors, these dubs will age well with time.

Also, knowing Honda, the wheel design probably exceeds any aerodynamic specs given to the Engineer in Charge of Precision Circular Metallic Tire Mounting Apparatuses.

Unfortunately, this kind of design foresight isn’t always the case.

2013 Subaru BRZ. Photo courtesy Subaru.

I’ve never seen a wheel design that’s so unnecessarily fashion-driven while still being utterly yawn-worthy as the wheel used on the Toyobaru twins with its H&M painted pockets and overall Overstock.com cheapness.

For starters – and this isn’t the fault of the wheel design, but – on a sports car, the last thing I want is a wheel to sit way inside the fender. If the wheel face isn’t flush with the fender, I want it to be damn close to it. The rear wheel on the Toyobaru twins look like a cowering dog hiding in the corner after eating the entire thanksgiving turkey.

Secondly, this wheel design makes the twins look like they’re riding on casters, no doubt accentuated by rubber that’s seemingly narrower than the wheel itself.

And, to top it all off, why – WHY – couldn’t Toyota and Subaru design One. More. Wheel? Looking at a BRZ and FR-S from a side profile perspective, one can only differentiate the two by their center caps. And if you’re going to pick just a single wheel design, why go with one that makes the rest of the car look cheap?

Every single time I see a BRZ or FR-S from the front, I think, “Hrrmmm, why haven’t I bought one of these?” And after realizing it’s because I’m poor but I could still, probably, maybe, possibly justify living in automotive enthusiast indentured servitude, I look at the side of one of these cars and go, “Nope. This is cheap. Cheap. Cheap. Cheap.”

Same goes for the new Scion iM, from concept to reality…

2014_LAAS_Scion_iM_Concept_015

EXPENSIVE!

2015_NYIAS_Scion_iM_003

CHEAP!

What wheel do you think completely ruins the overall design of its respective automobile?

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Luxury Automakers Wary Around Growing Female Consumer Base http://www.thetruthaboutcars.com/2015/05/luxury-automakers-wary-around-growing-female-consumer-base/ http://www.thetruthaboutcars.com/2015/05/luxury-automakers-wary-around-growing-female-consumer-base/#comments Tue, 19 May 2015 19:00:20 +0000 http://www.thetruthaboutcars.com/?p=1070938 Those dealing in luxury vehicles and high-performance exotics may need to improve their relations with women soon, as more women seek such wares. While less than 10 percent of Lamborghini and Ferrari owners in the United States are women, and Porsche only boasts 25 percent, female consumers in emerging markets like China are flexing their […]

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McLaren MP4-12C Circa January 2012

Those dealing in luxury vehicles and high-performance exotics may need to improve their relations with women soon, as more women seek such wares.

While less than 10 percent of Lamborghini and Ferrari owners in the United States are women, and Porsche only boasts 25 percent, female consumers in emerging markets like China are flexing their wealth with the automakers’ models in significant numbers, Reuters reports. The overall female consumer base is expanding, as well, fueled by increasing wealth as more and more women enter into greater positions of power.

However, marketing leaves a lot to be desired, especially as some automakers are wary of appealing to the new consumer base. Lamborghini CEO Stephan Winkelmann explains:

It’s like with an engineering degree which attracts more men than women, that’s just how it is. Males are more into the car business and the super sportscar is the pinnacle of that business.

On the other side, automotive consultant Belinda Parmar says high-end and exotic manufacturers should consider women drivers when designing vehicles. Her work with Aston Martin on its planned crossover is slated to have a higher sitting position and smaller steering wheel, allowing those wearing skirts to enter and exit without having to worry about feeling “silly” about the matter.

[Photo credit: Axion23/Flickr/CC BY 2.0]

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QOTD: What Interior Controls Drive You Mad? http://www.thetruthaboutcars.com/2015/05/qotd-interior-controls-drive-mad/ http://www.thetruthaboutcars.com/2015/05/qotd-interior-controls-drive-mad/#comments Mon, 11 May 2015 14:00:58 +0000 http://www.thetruthaboutcars.com/?p=1065698 Even in a day of standardized controls and homogeneous design, there are a few oddball controls that – for better or worse – stick out like a proverbial sore thumb. Whether it be window switches (door or center console?), seat controls (side, front, or door panel?) or even shifters (lever or knob; column or console?), […]

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2015 Chrysler 200 rotary dial shifter

Even in a day of standardized controls and homogeneous design, there are a few oddball controls that – for better or worse – stick out like a proverbial sore thumb. Whether it be window switches (door or center console?), seat controls (side, front, or door panel?) or even shifters (lever or knob; column or console?), today’s cars are still a complex assortment of controls that vary greatly from one make and model to the next.

TTAC commenter MrFixit1599 writes about a recent Chrysler 200 rental:

At a red light, I decide to turn the fan off for the A/C. I didn’t notice a change at the time, but then the light turned green. I attempted to accelerate. The car would not move. I assumed I had forgotten to shift back to S. Turns out, when I went to rotate the knob to turn the fan off for the A/C, I actually rotated the knob for the transmission and put the car in P. As in Park. At an intersection with a green light showing. And me not going anywhere. Just sitting there revving the engine.

Now I am wondering what exactly would happen if you rotate the knob for shifting – into, let’s say R – while cruising at 75 down the interstate. I had a buddy in high school that did that on a column shift GM car of the mid 80’s sort and the transmission literally exploded.

I am sure this comes off as a “GET OFF MY LAWN” type of commentary, but I believe that shifting the transmission should NOT resemble 3 other dials that are in close proximity that get used frequently.

Shifting into R or P while in motion is impossible thanks to shift interlock mechanisms. Doubly so for the newest ZF units at Chrysler as there’s no mechanical connection between the dial and transmission (this is what allows for that cavernous storage space under the center console). But, a design like this is still cause for concern for the unacquainted in a strange rental car. The shift interlock mechanism will only allow you to shift into P or R if the brake is depressed, which it would be if you’re sitting at a red light or in stop-and-go traffic on the freeway. Pop it into reverse instead of turning the fan up before driving away and you might end up staring in a YouTube video.

Jaguar Land Rover uses a similar control for their ZF transmissions, except the knob can be pushed down into the console, hiding it away from a grabby child riding shotgun or absent-minded driver. Chrysler? No such luck. (And if we’re being honest, it’ll likely break in your Range Rover just as you get out of warranty.)

Mercedes-Benz GLE Coupé (2014)

Personally, I don’t mind the Pentastar “Dial-a-Gear” as some call it. At least not as much as the column-mounted idiocy at Mercedes-Benz (and, thanks to a supplier agreement, on the Tesla Model S as well). Driving any other vehicle, I instinctively know the location of the cog swap controller. In a Mercedes? Even after a week, I’m still required to actively think how to shift out of Park and into Reverse or Drive, even so far as almost putting a C400 into Neutral as I tried to wipe the windscreen clean. The C-Class is not a pickup. Why is the shifter on the damn steering column?

So, Best & Brightest, what’s your most hated interior control?

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Piston Slap: Reverse Light My Way Home, General Motors! http://www.thetruthaboutcars.com/2015/03/piston-slap-reverse-light-way-home-general-motors/ http://www.thetruthaboutcars.com/2015/03/piston-slap-reverse-light-way-home-general-motors/#comments Mon, 16 Mar 2015 12:53:18 +0000 http://www.thetruthaboutcars.com/?p=1018778   Jon writes: Sajeev, I read this column on lighting, thanks for the information! That leads me to a question… What is up with Chevy/GM truck and SUV reverse lights!?!?!?! Why do they come on when their drivers use their lock remotes????? It is crazy going through parking lots these days with all the SUV reverse […]

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(photo courtesy: seadoo2006 @ forums.fourtitude.com)

Jon writes:

Sajeev,

I read this column on lighting, thanks for the information! That leads me to a question…

What is up with Chevy/GM truck and SUV reverse lights!?!?!?! Why do they come on when their drivers use their lock remotes?????

It is crazy going through parking lots these days with all the SUV reverse lights coming on for no good reason. Help me understand please.

Sajeev answers:

Reversing lights, just like headlights, can be used for anything when parked. And headlights also remain lit on these vehicles, which has been a safety feature since at least the mid 1970s. Knowledge Drop time!

Peep the rheostat (Off, Max Delay) on the automatic headlight system below. There was about a minute (max) of headlight safety for a dimly lit parking space. Considering how many dimly lit streets there are at night, even in urban areas…considering how many 1970s cop shows had some seriously heavy shit go down in a dark parking garage, you better believe your 1977 Continental Mark V needs this system.

$_4

And the de-icing rear window too, of course. (photo courtesy: http://www.edsonian.com)

Maybe Starsky and Hutch would still be on TV if their damn low-brow Ford Torino had this Lincoln’s feature.  You think long and hard about that, Son!

 

Bonus!  A Piston Slap Nugget of Wisdom:

While this notion is a safety feature for the vehicle’s owner, you aren’t the only outsider complaining.  I’m annoyed by them when looking for a spot, or looking to ensure someone won’t back into my ride.

So do this: slow down while approaching AND be on the lookout for the brake lights.  Most of these vehicles are automatics, and most people crawl out of a spot while riding the brakes. So no brake lights, no driver inside the GM product.

 

Send your queries to sajeev@thetruthaboutcars.com. Spare no details and ask for a speedy resolution if you’re in a hurry…but be realistic, and use your make/model specific forums instead of TTAC for more timely advice.

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Vellum Venom Vignette: Peak Emblem http://www.thetruthaboutcars.com/2015/02/vellum-venom-vignette-peak-emblem/ http://www.thetruthaboutcars.com/2015/02/vellum-venom-vignette-peak-emblem/#comments Thu, 12 Feb 2015 16:40:51 +0000 http://www.thetruthaboutcars.com/?p=997690   Most design students don’t consider Peak Oil in their studies, but The Reckoning was on my reading list back then. While Peak Oil is tangentially connected to car design, we clearly reached Peak Emblem. It cannot get any worse than what’s being introduced in Chicago this week. Emblem size, just like wheel size and body/firewall (versus glass) height has […]

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This just happened. (photo courtesy: Ram)

Most design students don’t consider Peak Oil in their studies, but The Reckoning was on my reading list back then. While Peak Oil is tangentially connected to car design, we clearly reached Peak Emblem.

It cannot get any worse than what’s being introduced in Chicago this week.

Emblem size, just like wheel size and body/firewall (versus glass) height has been on the rise for over a decade.  Park a new Corolla next to a 1995-2000 model for proof.  The problem is empty real estate, sheets of painted metal with no landscaping. A big problem for a top-tier RAM, for the Laramie Limited trim. How do you visually separate a premium model when even the mid-level model has that in-yo-face look from a huge grille and acres of chrome?

Larger and larger emblems, apparently: on the grille and the tailgate.  Damn Son, dat tailgate!

As mentioned before, it’s all about proportioning: big butts need MOAR BLING. Which isn’t necessarily a bad thing, unless the proportions are so extreme that creativity is stifled and the sheet metal cannot to rest on its design laurels.  A shame, as the RAM (like many new Chrysler designs) are quite fetching by themselves.

Here’s my suggestion:

1985 Dodge Power Ram (photo courtesy: www.fortrucksonly.com/truckforum)

Stamp a (unique to trim levels like the Laramie Limited) tailgate with negative area, then add a metal insert with small(er that what you did) lettering. Of course Ye Old School Dodge has a much smaller tailgate, but applying the concept of negative area to the Laramie makes sense.  Well, perhaps not the financial sense of slapping the biggest emblems you can make on dat butt.

Peak Emblem is real, it happened.

Thanks for reading, I hope you have a lovely weekend.

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Vellum Venom Vignette: The Brazil Vacation, Part III http://www.thetruthaboutcars.com/2015/01/vellum-venom-vignette-brazil-vacation-part-iii/ http://www.thetruthaboutcars.com/2015/01/vellum-venom-vignette-brazil-vacation-part-iii/#comments Fri, 30 Jan 2015 16:06:45 +0000 http://www.thetruthaboutcars.com/?p=990010   Rio is full of beauty: beaches, gorgeous people on said beaches, delicious caipirinhas served beachside and…wait for it…a healthy alternative to DLO FAIL. Yes, a way out from the infestation of black plastic cheater panels: triangles of FAIL that plague Car Design from the cheapest subcompact to the most flagship-iest Cadillac. It’s amazing what happens by removing the A-pillar’s black plastic trim […]

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IMG_4189

A Fashionable Savior for the Budget Minded?

Rio is full of beauty: beaches, gorgeous people on said beaches, delicious caipirinhas served beachside andwait for ita healthy alternative to DLO FAIL.

Yes, a way out from the infestation of black plastic cheater panels: triangles of FAIL that plague Car Design from the cheapest subcompact to the most flagship-iest Cadillac.

IMG_4181It’s amazing what happens by removing the A-pillar’s black plastic trim and affixing the mirror directly to the coachwork. Hailing a DLO FAIL free cab in Rio portends to an honesty that all machines need.

IMG_4171Indeed, the first generation Dacia/Renault Logan is a respectable design, bargain basement budget and lack of snob-appeal aside. The redesigned Logan avoids DLO FAIL even better, proving that some designs improve over time.

But there’s no shame in owning a last-gen Logan in Rio. To the contrary, it makes you an object of desire: you have a car and maybe even a place to park it!

IMG_4128Not all is perfect, as this Renault Duster shows. The “footprint” of DLO FAIL is present on the fender. Without that black plastic triangle of super-cheat, it’s clear why a poor meeting of door/fender/a-pillar is a problem in car design.

IMG_4129Implementing the Logan’s footprint-free stamping would clean things up. On the cheap!

IMG_4135Similarly, the 2008-12 Renault Sandero Stepway needed a good Logan-izing around the A-pillar to eliminate DLO FAIL in a low-budget redesign.

I know the photo quality disappoints, but I’m not hanging around to get mugged: photos are quick, walking down the street is done with purpose. Ish.

IMG_4381It’s amazing how the wedgy and minimalist 1980s Fiat Uno(?) looks so out of date compared to modern hatchbacks, even with its “fail-free” daylight opening.

IMG_4383The new Peugeot 208 has a unique take on A-pillar DLO FAIL, pinching it down to accentuate the roof line’s inherent speed. (too bad about the colossal C-pillar FAIL) It’s not horrible, relative to its place in the world of pointless black triangles: we’d be lucky to get this in the States.

IMG_4384Speaking of, Honda’s horrible design failure (a glass DLO extension and a plastic triangle) made itself known in Rio: reminding us that pricier machines (relative to the Logan) aren’t necessarily a better design.

IMG_4170But don’t take my word for it,  agrees…he drove it!

Marcelo suggests it’s an Engineer’s car, not a Designer’s car. Not true: like the beauty of affordable housing from post-WWI to today, the Renault Logan looks good (well, good enough) and doesn’t resort to stupid car design cliches to win buyers around the world.

Thanks for reading, I hope you have a lovely week.

 

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Capsule Review: 1983 Ford Sierra Ghia 2.0 http://www.thetruthaboutcars.com/2015/01/capsule-review-1983-ford-sierra-ghia-2-0/ http://www.thetruthaboutcars.com/2015/01/capsule-review-1983-ford-sierra-ghia-2-0/#comments Fri, 16 Jan 2015 13:44:21 +0000 http://www.thetruthaboutcars.com/?p=981897     “Wait! Is that a…” “Are you British?”  “I haven’t seen one of these since I left Venezuela as a teenager, only rich people had Sierras!” Behold random responses from gawkers of TTAC’s Project Car. The surprises continue after several hundred miles under the Ford Sierra’s belt, as life with this fish out of water is […]

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“Wait! Is that a…”

“Are you British?”

 “I haven’t seen one of these since I left Venezuela as a teenager, only rich people had Sierras!”

Behold random responses from gawkers of TTAC’s Project Car. The surprises continue after several hundred miles under the Ford Sierra’s belt, as life with this fish out of water is far from a compromise.

424093_10150542670218269_1278572108_n

To see it is to not know it: like most hyper-futuristic designs past their prime, a head turner in conservative 1982 England is a familiar profile in conservative 2015 Texas.  Aside from the steering wheel on the wrong side!

But critical eyes notice the Ghia’s grille-free nose and alien headlights. The conversation’s tenor changes: there’s no better compliment to Mr. Uwe Bahnsen and his gifted team than the subtle and thoughtful reactions a Sierra earns a full thirty-three years after liftoff.

Get behind the wheel and the modern theme continues, because it drives like a newer vehicle.

Reasonable drag coefficient (.34) and almost nothing frontal area aside, the finest late-70s technology helps the Sierra match (or trump) the manners of new vehicles at most (legal) speeds.  Strut front suspension with rack-and-pinion steering is right, even without modern aluminum componentry. The semi-trailing arm rear looks modern-ish with exposed webbing on the differential: credit the beginnings of finite element analysis.

(photo courtesy: Ford Press Release)

At 2500-ish lbs, the ho-hum Ford Sierra is a balanced rear-wheel drive, fully-Germanic chassis on a family car body. Which means that roads normally tortured by flaccid CUVs now tango with something Miata-sized.

Captain Mike, the mastermind of this plan, behind the wheel at the Nürburgring.

Thrills start at the tiller: no power assist means road feel harkens to a dance with a soul mate. Manual steering effort is no chore with 165mm wide tires that rarely lack grip on city streets. Emergency maneuvers are effortless, understeer is progressive with the possibility of gentle, controlled oversteer.

66933_10151644286878269_1675348576_n

Go round-abouting and the Sierra hangs tight as speeds near 25mph. Above 25 and the front wheels howl as your grin grows. Add a dab of oppo, scandinavian flicks, badass drifter talk blah-blah-blah: with more go-juice, steering modulation and you could duplicate this:

Fiesta THIS.

Like all Sierras thrashed-then-trashed in Europe, its a joy to drift at low speeds even if hamstringed by saggy, original springs and plush dampers. But it’s a pleasant ride/handling tradeoff.  Potholes disappear with 80-series sidewalls smoothing imperfections to the point the big-rimmed Rolls Royce Phantom hangs its NVH-soaked head in shame. How Britishy!

Too bad about the buzzy powertrain: 105 bigger-than-you-think horses from a 2.0L OHC four-banger (sporting a large 2bbl Weber) means the Sierra rarely struggles, but makes a helluva ruckus.

It’s a wonderful powerband: diesel-like torque from a standstill with a smooth-ish (but L-O-U-D) demeanor all the way to 6000 emissions control free revs. The 3-speed auto schools modern units with an effortless 1-2 upshift and a reassuring push to 3rd at full throttle: all autoboxes should shift this sweet.

Brakes?  Credit the light weight for the Sierra’s discs/drums bringing the machine down from 60mph with the hustle of a modern machine. ABS would help, ditto weight adding life-saving technology like airbags, larger door bars, etc.  I reckon with today’s weight shedding tech (aluminum engines, plastic hoods/intakes, etc) offsetting the safety goodies, the Sierra’s fighting form wouldn’t gain a pound.

In the right place. (photo courtesy: Ford Motor Company)

And Ghia spec Ford Sierras are a nice place for average Americans and most Europeans, aside from the previous owner’s decision to order it sans air conditioning: antique English vehicle shopping FTW, SON MATE!

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Fleet-spec Sierras don’t stand a chance, but the real wood trim and buffet-worthy options list protect Ghias from modern motoring irrelevance. Power windows (front 2 or 4), crank moonroof, adjustable reading lamps and a four-speaker cassette stereo are far from impressive. But heated seats, roll up rear sunshades, headlight washers and a gen-u-wine electronic trip computer are touches you’d pay extra for even today.

Mediocre overall, as integration is the killer app.

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Because 1980s. (photo courtesy: Ford Motor Company)

The dash, less radical than the wraparound polycarbonate bumpers, organizes controls in zones for easy use: one to the right of the gauges, another to the left, a third atop the center stack (dark chocolate) and a 4th in the lighter brown region. It’s charming in a proto-modern, Atari 2600 human factors kind of way.

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The interior bits are from a dumber era in polymer construction, yet texture/fit/finish from the doors, vent registers, levers and switches is pure Germanic craftsmanship. Aside from the (period excellent) brown velour, the interior’s aged well.

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But goodness, those seats are magical.  Don’t let the benign seams fool you: the Ghia sucks you in, cradling you. All passengers get thick, luxurious cushions with brilliant thigh support and Volvo-worthy head restraints. Even the Velcro-like velour provides impressive lateral support for everyone but latex-wearing fetishists.

While the stereo is barely adequate, while the vintage Hitachi deck’s discman input smartphone jack provides turn-by-turn Google navigation and streaming audio, don’t forget the tunes held in a handy hatchback with 42.4 cu-ft of space!

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And the beat goes brown.

Considering fuel economy numbers near 30mpg for highway-skewed driving (no overdrive) the Ford Sierra is an antique you could daily drive. (Just find one with A/C.)

But the original MKI design asks for more. It deserves more. 

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Back on the trailer for big upgrades: more gears, power and period-correct emissions processing for a powertrain worthy of that efficient body.

Yes, this Sierra has the power of contemporary V8s in a superior chassis. And it’s quite the time capsule, even difficult to find in Europe…but at what cost to cutting-edge design?

Next time you see TTAC’s Ford Sierra, prepare for an even larger threat to the notion of a modern car!

 

2012-03-10_15-31-20_63-XL 314875_239307882787242_35442316_n 190755_175144755870222_1403373_n IMG_4441 252857_191309494253748_372970_n 254272_191309870920377_8346766_n 1005039_10151858112953269_1584136033_n 559672_10151672335673269_340180691_n 66933_10151644286878269_1675348576_n IMG_4444 10678751_10152458015928269_5632059352482689779_n 424093_10150542670218269_1278572108_n IMG_4437

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Vellum Venom Vignette: The Brazil Vacation, Part I http://www.thetruthaboutcars.com/2015/01/vellum-venom-vignette-brazil-vacation-part/ http://www.thetruthaboutcars.com/2015/01/vellum-venom-vignette-brazil-vacation-part/#comments Thu, 15 Jan 2015 14:58:16 +0000 http://www.thetruthaboutcars.com/?p=983473   This was my first vacation in, like, ever. And it was supposed to be a break from cars. No driving, wrenching, writing, photographing!  Stop looking at that Ford Versailles, don’t take a photo of that Renault, because car design is no vacation in such a beautiful place…right? And then “my” Ford Ranger found me […]

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1

This was my first vacation in, like, ever. And it was supposed to be a break from cars. No driving, wrenching, writing, photographing!  Stop looking at that Ford Versailles, don’t take a photo of that Renault, because car design is no vacation in such a beautiful place…right?

And then “my” Ford Ranger found me in Leblon. Oh, for the love of why did I walk down this street I can’t believe that stupid truck followed me from…

 

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Let’s do this thing. Let’s see how vehicles are made for different needs, tastes, etc. in different countries.

To wit, here’s a shot of the USA Ranger last seen in 2011. Disregard my modest trim/wheel/grille modifications from other (less-beancounted) Rangers, because the USA and South American Ford Ranger are strikingly similar.

And the differences are where we learn something. Hopefully, considering the backlash to the last Camry analysis.

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2009 was the last year for this Ranger body in South America, and it sported unique emblems, bumpers, side view mirrors, door handles, wheels, roll bar/bed liner/cover (seen on all light-duty trucks in Rio) and these trick one-piece headlights.

I had my eye on them via forum searching years ago, but in person? One piece headlights are great, making the Ranger somewhat better crafted.

But the black plastic on large swaths of non-functional lighting surfaces? That’s one of my guilty pleasures. It’s a big deal in the automotive aftermarket, selling the same assembly with almost no chrome.  When done right, like here, the deletion of superfluous chrome looks properly macho…yet upmarket.

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I hope I’m forgiven for losing my shit when I saw the Brazilian Ranger, as their headlights tie in the charcoal/black elements of mine. Then it’ll highlight the chrome as accents…not as melodies.

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The roll bar toughens up the look, not to mention Rangers are kinda large by Rio standards. Considering trucks are often used for real tasks in places where someone can’t afford a $60,000+ Cowboy Cadillac to park at Starbucks, the roll bar is a great design for loading stuff without roof damage.

Rear tail lights look much like this Ranger’s USA counterpart, but smoked black instead of bright red.

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Red is better: it reminds us which end of the vehicle we’re lookin’ at.

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Like the roll bar and steel wheels (that look similar to 2002+ Explorer wheels), the South American Ford Ranger has a tougher bumper with less plastic topping. The area reserved for a hitch is exposed metal with (possibly) more real estate. It’s a smart move considering the Ranger’s purpose in life. Ditto the lack of plastic trim behind the wheels.

Speaking of purpose, the tailgate is significantly different. It’s a fine example of form following function. Note the outward bend of the tailgate to accommodate a larger rear handle, and note the extensive plastic protection trim.

Finally, see how the bed’s upper crease stops 1″-ish deep into the tailgate? This allows a design element to “smear” over to a different visual space. On the cheap: the same bed is used, ‘natch.

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No smearing in the USA. USA! USA! USA!

Function following form: the crease logically goes across the tailgate. Which means the negative space for your fingers to slide into the handle is smaller. So you can scratch your nice little truck if you wear jewelery befitting a truck that’s more mondo-super-badass. Like that $60,000+ Cowboy Cadillac parked at a Starbucks.

Not a good idea, but it looks better. Speaking of:

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I’m sad I couldn’t get a live shot of the Ranger crew cab. All the pretty girls in Rio would be soooooo impressed with it vis-à-vis this Vellum Venom Vignette.

How could they not?

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Ditto the 2010 South American Ford Ranger: basically the same platform (right down to the dashboard and glass-to-body ratio) with a macho, overcompensating look that’s all the rage in modern truck design.

Considering the USA Ranger must die in 2011, there was no need to import this “look” here. Too bad about that, especially the cute little crew cab that most Americans couldn’t fit in!

Ford-Ranger-Sport-09-560x373And I saw the Global Ranger, which looks like an overwrought yacht.  Too mid-sized for America and Super Duty sized for narrow Rio streets, it’s better suited as a Global F-150. Not a bad thing for the world, just bad for the honest-to-God compact pickup genre.

Thanks for reading, I hope you have a lovely week!

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Vellum Venom Vignette: 2015 Camry Regression Analysis (Part II) http://www.thetruthaboutcars.com/2014/10/vellum-venom-vignette-2015-camry-regression-analysis-part-ii/ http://www.thetruthaboutcars.com/2014/10/vellum-venom-vignette-2015-camry-regression-analysis-part-ii/#comments Mon, 13 Oct 2014 13:19:37 +0000 http://www.thetruthaboutcars.com/?p=929970   I was wrong about the 2015 Camry: it’s a handsome family sedan. But not for us, for the Russians.    This.  This is how you mildly refresh an existing model. Yes, Toyota made a uniquely ugly 2015 Camry for us Yankees.  They styled to the lowest common denominator (i.e. every frickin’ cliche in a modern designer’s toolkit) while the “Global” 2015 […]

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I was wrong about the 2015 Camry: it’s a handsome family sedan. But not for us, for the Russians.   

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This. 

This is how you mildly refresh an existing model.

Yes, Toyota made a uniquely ugly 2015 Camry for us Yankees.  They styled to the lowest common denominator (i.e. every frickin’ cliche in a modern designer’s toolkit) while the “Global” 2015 Camry has an upmarket presense.  It apes the price point where Less is More, the place where Audi survives and thrives.

Sure, the Global 2015 Camry is no Audi. But it’s an object of desire relative to our imminent future of seeing the US-spec model on every highway, clogging our pores with mindless amounts of DLO FAIL for no good reason. Even the fascias are quite fetching, forgoing our Camry’s fake-Audi-Lexus schnoz.

Peep this video:

Click here to view the embedded video.

Now compare to what we get:

Click here to view the embedded video.

Is the grass greener on the other side? Off to you, Best and Brightest.

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Piston Slap: Why So Uncool Minivan? http://www.thetruthaboutcars.com/2014/09/piston-slap-uncool-minivan/ http://www.thetruthaboutcars.com/2014/09/piston-slap-uncool-minivan/#comments Wed, 10 Sep 2014 12:07:20 +0000 http://www.thetruthaboutcars.com/?p=908561   Josh writes: What is the deal with minivans? I was thinking the other day that as an outdoor person, minivan’s are perfect. They have lots of room for people and gear, AWD (in some cases), lots of roof space, and better MPG’s than an SUV. But apparently I can’t own one because they’re not […]

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1972 Ford Carousel (photo courtesy: forum.chryslerminivan.net)

Josh writes:

What is the deal with minivans? I was thinking the other day that as an outdoor person, minivan’s are perfect. They have lots of room for people and gear, AWD (in some cases), lots of roof space, and better MPG’s than an SUV. But apparently I can’t own one because they’re not cool. I could get a wagon though. Isn’t a minivan just a super-sized wagon?

Will minivans ever be cool to own?

Sajeev answers:

What’s the deal with minivans? From public perception, CUV popularity, fleet usage, etc. the “uncool minivan” is indeed a sad reality.  But there is plenty to love here on TTAC, from the Farago era to something brilliantly Baruthian.  My second favorite rental vehicle was the 3.6L Pentastar Caravan: it was quick and comfortable with chassis/suspension/steering components ready to play. No surprise, my fav rental was a white 2011 Crown Vic. But I digress…

Isn’t a minivan just a super-sized wagon?  Not really, even if they (kinda) ended the station wagon era. Uncool minivans are a radical rethink: eschewing the traditional notions of the family wagon and the creepster’s van with the adoption of a modern front-wheel drive layout (Aerostar and Astro notwithstanding) for maximum utilization of a traditional two box design, while adding the styling of a family sedan/wagon for curb appeal. Supposedly the Chrysler minivan’s early concepts were lifted from Ford’s work in the early 1970s: possible since Lee Iacocca famously left FoMoCo after butting heads with Henry II far too many times, and took some design staffers with him…though that’s the subject of some controversy.

Will minivans ever be cool to own? Keep in mind the Minivan was and remains an enlightened design: that will attract people. Just like so many Pistonheads go nuts over vintage wagons these days (especially with wheels you’d expect on a restomod ’69 Camaro), the uncool minivan will come back to win our hearts.

Until then, who gives a crap what people think? Go buy one and brush off the haters, no matter what they say!

 

Send your queries to sajeev@thetruthaboutcars.com. Spare no details and ask for a speedy resolution if you’re in a hurry…but be realistic, and use your make/model specific forums instead of TTAC for more timely advice.

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Vellum Venom Vignette: My Brother’s Keeper http://www.thetruthaboutcars.com/2014/09/vellum-venom-vignette-brothers-keeper/ http://www.thetruthaboutcars.com/2014/09/vellum-venom-vignette-brothers-keeper/#comments Mon, 01 Sep 2014 12:41:42 +0000 http://www.thetruthaboutcars.com/?p=904169 Reader Request: discuss the Lincoln Mark VIII, preferably the second generation’s modest restyle. He likely didn’t care for my reply, as it follows my disapproval of the Original Testarossa versus that rolling abortion that disrespectfully ended Ferrari’s most iconic series. Then I parked beside a 2000 Mercury Sable on a fine Houston evening. Allow me […]

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Reader Request: discuss the Lincoln Mark VIII, preferably the second generation’s modest restyle. He likely didn’t care for my reply, as it follows my disapproval of the Original Testarossa versus that rolling abortion that disrespectfully ended Ferrari’s most iconic series.

Then I parked beside a 2000 Mercury Sable on a fine Houston evening.

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Allow me to explain with Lincoln-Mercury fanboi facts. The 1993 Lincoln Mark VIII was an avant-garde reinstatement of Lee Iaococca’s “Thunderbird designed by a guy named Vinnie” : blending delicious proportions of the 1989 Thunderbird, sculptural elements of the 1993 Ford Probe and the once-mandatory Continental DNA of the once-relevant Lincoln Brand.

The 1996 Sable, avoiding the ovoid pitfall of its Taurus sister ship, went four door Mark VIII: right down to the elegant roof and slender tail lights!

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Both the redesigned Mark VIII (1997) and the redesigned Sable (2000) took the original idea and milquetoasted it hopes of regaining lost sales. Neither worked, literally.

So let’s go back to the parking lot.

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These brothers couldn’t be more different, even if they are the same. How did the original coke-bottle remain appealing (if you like American luxury coupes) while its younger brother got married, had a family and multiple failed careers after 1999?

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When these two brothers meet their maker, bodies reincarnated into crap we buy at WalMart, their souls will uncomfortably meet in heaven. Those two kids lived unique lives, but they know there’s no escaping the genetic connection. Blood is always thicker than water.

And the Cain and Abel reference? That’s more for the bloodbath between the Testarossa and the 512M. That’s gonna get ugly: 512M ugly.

Thanks for reading, I hope you have a lovely week.

 

 

 

 

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Vellum Venom: 2014 Mitsubishi Mirage ES http://www.thetruthaboutcars.com/2014/08/vellum-venom-2014-mitsubishi-mirage-es/ http://www.thetruthaboutcars.com/2014/08/vellum-venom-2014-mitsubishi-mirage-es/#comments Mon, 25 Aug 2014 12:04:13 +0000 http://www.thetruthaboutcars.com/?p=898658   Design School forces considerations outside of a student’s artistic comfort zone: a unique price, demographic, or geography for starters. Just don’t present a pragmatic design based in sociocultural fact: a conventional sedan for the Indian market–isolating the wealthy from their hired help and their untouchable luggage—was a fantastically stupid mistake. Cultural and profit-minded relevance […]

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Design School forces considerations outside of a student’s artistic comfort zone: a unique price, demographic, or geography for starters. Just don’t present a pragmatic design based in sociocultural fact: a conventional sedan for the Indian market–isolating the wealthy from their hired help and their untouchable luggage—was a fantastically stupid mistake. Cultural and profit-minded relevance aside, that’s the not-so-secret secret I’ve mentioned before in this series. Cars are made under a litany of profit-minded constraints, no matter what they may teach in design school.

And some thrive in their design constraints.

1

A slot. Just a slot: no big stupid Audi-esque maw, no poseur Aston Martin grin, no bullshit. The 2014 Mitsubishi Mirage ES is a snub-nosed hatchback working hard to reduce frontal area, with a .28 drag coefficient to boot. It took an unappealing template and made it work with a modicum of functional style and elegant interplay between elements and cut lines.

If only there was an ever-so-slight curve (down into the bumper) to the hood+fascia cut line.

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Respect the slot…as it slices into the lower bumper.

3

No love for the badge so big that the hood cut line must bend to clear it. This is one excruciating element in modern automotive design, a Britches-Busting Badge dominating many an automotive face for no reason.

Not necessarily Mitsubishi’s fault, but the natural contours of the body must come first.

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Oh Lamborghini, why must you bring credence to this abomination of a branding exercise?

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Several harmonious elements, all with a “flow” that (attempts to) draw your eyes to a long and sleek form. Like how the grille slot’s earth-bound vanishing points are shared with the lower grille. The Mirage’s lower bumper has devil horns at each corner, arcing to the wheels. Then the fog light’s recess with upward slash into the Mirage’s side.   And finally, hood bulges that mimic the headlight’s contours as it flows to the windshield.

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Transition to the fender: where’d the flow go? Small and cheap cars wind up with bug-eyed headlights on a stump-like face. All the flowy goodness from the last photo is gone in the name of compact car proportioning.

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After experiencing these in my 1983 Ford Sierra Ghia in dawn/dusk conditions, the gentle glow of the headlight assembly when in parking light only mode is cool. Glad this bulb made it into the US-spec Mirage.

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There’s a fake bezel and a fake(?) cylindrical housing inside the bumper’s fog light insert. Looked better before I said that, right?

 

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The lower grille needs a Prancing Horse emblem à la Ferrari 612 Scaglietti. Mostly to be preposterous, but also to reward the clean integration worthy of more expensive metal: a nice contrast to the uber-subtle slot just north.

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Too bad there isn’t one texture, instead of false teeth, small rectangles and larger rectangles. A dark-colored bolt would be nice too.

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Here’s where the small car headlights really stand out. Even with the dimensional constraints, kudos to Mitsubishi for stamping out a reasonably bullet-nosed schnoz for such a short (length) and tall (height) machine.

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Here’s a tidy cowl area, with the requisite windshield-to-fender modesty panel in black plastic. If only the hood extended further back to (presumably) reduce that panel’s size…and still actually open.

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Large gaps around the windshield somewhat disappoint, but the metal work and paint quality remain respectable.

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I used the term “honest” quite often in my review of this machine, no better proof than this antenna.

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The repeater light and its subtle curve can’t take your eyes away from the DLO FAIL for long. Too bad the fender to A-pillar line can’t merge with the door to A-pillar line without losing the Mirage’s faux-sleekosity. (i.e. push the door cut line forward, making it rather boxy)

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Gray rocker covers are unexpected when exposed unibody metal construction are acceptable for a cheap car. I was expecting blue-painted folds, creases and spot welds! Nice.

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There’s a reassuring linearity and solidarity in these fast yet upright lines. The B-pillar’s black paint is a nice touch, since the belt line rubber demands a harsh transition from window to door frame. Compare this to something zany like the Nissan Cube.

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A dash of tumblehome evident when opening the door: not bad for a small car that’s surprisingly roomy inside.

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Tighter and more uniform panel gaps wouldn’t hurt.

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The Mirage’s DLO FAIL free rear doors and fixed window free glass was a nice touch at this price. Also note the window’s outline empathizes with the door cut line and the hatchback’s outline.

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The roofline has a Prius-like, teardrop fall. If it wasn’t for the DLO fail, there’d be an elegant flow from door to roof, to B-pillar. The strong bend above the door handle along with its softer partner below adds visual excitement to an otherwise plump and forgettable form.

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While not as pretty as the close up you saw two photos ago, the upward belt line matches the trajectory of the two sheet metal bends below. The door cut line is on point with the B-pillar, elegantly encasing the rear door.

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Step back and it’s still a cheap 5-door subcompact. No matter what!

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Wait…are those flush mounted, non pull-lever type door handles? My design pet peeve hurdle cleared, the replacement of a conventional key lock for the ES-grade Mirage’s keyless system is logical, ergonomic and cost-effective.

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A cheap car gets away with this: plus the passenger’s key lock makes sense if the transmitter fails harder than the DLO on a Chevy Cruze.

22

Man, that’s a huge gas door. Except it’s a normal-sized door on a small car with a seriously short overhang. If only there was a more elegant attachment point for the wraparound rear bumper. Considering this car’s intended market (crowded streets in third-world nations) the wraparound bumpers are more than mandatory.

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The Mirage’s 14” wheels are static and uninspiring, except not: wheels this small are a treat if you’re sick of rubber band side walls from ill-proportioned mad-tite rims.

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Another pet peeve: those fake slots do no favors to the wheel’s design. Either have real negative area, or make a flat casting.

25

Much like the Dodge Viper coupe’s helmet friendly roof design, the Mirage has little dimples for the hinges. It’s acceptable when viewed with spoiler’s speed bumps. The huge panel gaps, however…

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It’s a rare occasion when a car actually needs a spoiler to complete the look, and the Mirage needs it more than a Plymouth Superbird!

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Too many static elements: strong and steady cut line, downward sloping wedge from the quarter panel to the bumper and another lump that expands toward the bumper’s center section. These lumps aren’t structurally relevant, get a rounder bumper cover to mimic the front end’s bullet look instead.

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Yup, round it off. (EDIT: enlightened reader SamTheGeek mentioned this is for aero, contributing to the Mirage’s fantastic numbers. So nevermind.)

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The Fallout Shelter reflector logo in the deeply sunken housing brings a smile to one’s face.

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The Venn Diagram worthy tail light cluster looks outdated by today’s standards. But compare the Mirage’s eyes to the cyborg (no pun intended) look of a Chevy Spark, maybe old and boring ain’t so bad.

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The plasti-chrome emblem was unexpected: no cheapie vinyl-jelly decal? While the bumper’s transition to the hatchback is pleasant enough, the hatchback itself could benefit from pushing the tail light “back” to create an uninterrupted flow from the base of the door to the crest of the tail light.

What was that phrase about the shortest distance between two points? Or just a gentle curve instead. Don’t fight the flow!

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Oh wow, another unconventional handle! And that cute little button again! Replicating a design saves money, and these bits are far from offensive the third time ‘round.

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Imagine if the hatchback did indeed move in a solid, singular sweep from its base to the top of the tail light. No matter, console yourself with the clean lines introduced in the wiper arm.

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The spoiler sure has a well-integrated CHMSL, too bad it isn’t red like the tail lights.

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Again, problems emblematic with the brand: the logo is too big. Uncomfortably close to the handle and the transition to the rear glass, logos must stop dominating vehicle design. And imagine if the hatchback had a smoother line so it wouldn’t play second fiddle to the tail lights!

Yet here’s proof that fundamentally good, honest design lies in the most unexpected places. While the Mirage’s sins are unacceptable at a higher price, these are white lies and not all out deceit. Never in my wildest dreams could I imagine liking the Mirage to this extent. But whatever, life is full of contrasts.

Thank you for reading, I hope you have a lovely week.

 

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Vellum Venom Vignette: Cadillac’s SEAT In Ibiza http://www.thetruthaboutcars.com/2014/08/vellum-venom-vignette-seat-ibiza/ http://www.thetruthaboutcars.com/2014/08/vellum-venom-vignette-seat-ibiza/#comments Fri, 15 Aug 2014 13:35:29 +0000 http://www.thetruthaboutcars.com/?p=893250 One interesting thing about living on-campus at CCS was the precious little available to purchase within walking distance. Such is the life of a car-less design student in Metro Detroit. That’s until a friend took me to a Meijer Hypermarket in the ‘burbs: a new world of “stuff” entered my cloistered world. Cheap but nice […]

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One interesting thing about living on-campus at CCS was the precious little available to purchase within walking distance. Such is the life of a car-less design student in Metro Detroit. That’s until a friend took me to a Meijer Hypermarket in the ‘burbs: a new world of “stuff” entered my cloistered world. Cheap but nice stuff, with an intrinsic value far higher than its retail price.

Which leads to our subject: a current-gen SEAT Ibiza (visiting from down Mexico way) I met on a business trip to Austin. Fear of getting shot by the owner in mind, I only made time to analyze this VAG derivative at the all-important A-pillar.

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Yes, the Ibiza is a beautiful little car: logical enough lines with a genuine sheet of glass on the A-pillar to continue the greenhouse’s sleeker-than-my-size look without resorting to junky plastic filler panels.

And it’s cheap: base price (including current incentives) is £9995, just under 17 grand. The Mexican version starts at 201,900 pesos, a little over 15 grand.

(photo courtesy: http://www.jimfalk.com)

Contrast with the Cadillac XTS’ standard DLO FAIL at a juicy $44,600 asking price: the world at large gets “cheap but nice” stuff while we’re still cramming bean-counted, badge engineered platforms down our collective throats. Granted the badge engineering’s less obvious than the days of Robert Farago’s Deathwatch screeds, but the fail remains.

And when you can’t avoid it, distract everyone. To wit:

(Cadillac website screenshot)

It takes big, Cadillac-grade, money to make it right: so many of our mid-size, full-size and luxury sedans embrace DLO FAIL, lacking a platform with the requisite space between the front axle and the dashboard (dash-to-axle ratio) to actually look appealing. And instead of masking up the cheapness with pride (sheet of glass) we get that little black plastic triangle.

Because in no way is a Cadillac as good as a SEAT Ibiza.

4

To be fair, such fail is available in cheaper European cars. Plus we get the affordable Focus Fiesta in its fail free glory…which isn’t the point.

The point: if the world makes many DLO FAIL free vehicles for under $20,000, there’s no excuse for expensive vehicles not to follow suit. Either with more glass (cheap) or a better dash-to-axle ratio (expensive). All of them, no matter the country of origin.

Thanks for reading, I hope you have a lovely weekend.

 

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Vellum Venom: Honda N600 http://www.thetruthaboutcars.com/2014/08/vellum-venom-honda-n600/ http://www.thetruthaboutcars.com/2014/08/vellum-venom-honda-n600/#comments Mon, 04 Aug 2014 12:57:25 +0000 http://www.thetruthaboutcars.com/?p=880466 What’s the difference between car design and styling? My stint at CCS in Detroit makes me think styling is the shallow, frilly, cosmetic side of car design. Freshman designers are (were?) trained to focus on styling, but anyone integrating with marketing/accounting/engineering departments after school knows the real deal. They gotta know car design. The folly […]

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What’s the difference between car design and styling? My stint at CCS in Detroit makes me think styling is the shallow, frilly, cosmetic side of car design. Freshman designers are (were?) trained to focus on styling, but anyone integrating with marketing/accounting/engineering departments after school knows the real deal. They gotta know car design.

The folly of a sheltered life aside (don’t us delusional autobloggers know it?) the Honda N600’s heavily constrained blueprint came to life with nearly to zero style.

1

Is this a golf cart with mad retro styling? Those pub style tables could seemingly support the N600’s shockingly small footprint. Except not, but compare the N600’s seats to the chairs. Then note how “open” the greenhouse is relative to the diminutive body underneath. Like many of our younger readers, I never saw an N600 in person…they actually sold a car this small in America?

photo credit: imcbd.org

My only recollection of the N600 was “CHiPs” reruns as a kid. Watching a huge guy destroy a perfectly servicable machine horrified took me aback, yet most viewers probably found it entertaining.

Be it Architecture, Graphic, Product or Car design; I wonder if designers recoil in horror when their art (so to speak) extends past its prime in such a public manner. It’s gotta hurt.

2

To see it is to understand the term “bare bones.” With a healthy smattering of chrome, that is. The N600 cleanly mounts headlight pods, a toothy grille and a subtle emblem into its tiny body. The signal lights are an unfortunate afterthought. But the massive bumper must be a last minute addition for the American market. It’s an interesting dynamic, but like damn near any car from the early-to-mid 70s, looks better with small bumpers.

3

This emblem, like the bodywork, has been refinished. This blend of midcentury modern in the “H” with a prominent model designation within a clean wedge of a badge does work. But the dual grille texture (metal bars with latticework behind) is an unexpected surprise, adding depth and…um…excitement?

5

Shame about the protective bumper tubing: note how the hood tapers down to the grille and effortlessly surrounds the headlight’s northern hemisphere. Without that merry-go-round grab handle, the N600 would be an appealing little car.

6

Even better, there’s no odd cut line separating the front fascia from the headlights. And there’s the hood’s logical end point at the headlight’s center line. This ability to hide cut lines at natural transition points is something we love in today’s Aston Martin, and rarely elsewhere.

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Too bad Aston craftsmanship is so damn expensive: exposed bolts/screws and slip-fit panels are the marks of a super cheap whip.

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This wee machine can’t fit all its mechanical bits inside the body!

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I’m enamored with the N600 from this angle: looking like the Plymouth from Stephen King’s “Christine.”

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Sadly all the subtle integration, the blend of flat planes and voluptuous curves of the front end absolutely disappear once you turn the corner. VW Beetles and MINI Coopers rest easy: this is design over styling.

12

Some strange bits: the blocky, stagnant negative area making a hood valley, on something small enough to need no contouring for curbside appeal. And the teardrop bulge, which I was couldn’t verify was needed, as the hood wouldn’t open. A tricky latch, that!

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The washer nozzle is adorable.

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The hood vents cleanly integrate into the N600’s form, even if they shouldn’t need to “fight” the valley in the hood. The simple cowl treatment looks clean, staying that way those who battle snowfall or falling leaves/debris.

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Wait, where did all the round-ish and somewhat appealing style go? Uber static lines! Gone, in the name of design?

15

Afterthought chrome aside (needed for chrome hungry Americans?), there’s nothing appealing from this angle. It’s in stark contrast to the front.

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Much like the grille’s emblem, the N600’s hubcap makes a strong statement in its minimal form: that Mad Men worthy Honda emblem inside a “keystone” perimeter with a subtle lip at the cap’s edge is a nice touch. The size of the hubcap relative to the wheel makes it close to a full wheel cover, and more chrome here means the N600 is less warehouse trolley-like.

17

SITTIN ON KUMHO TENZ, Y U HATIN SON???

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The N600 is cleaner/faster looking without the chrome spear. And note again how large the greenhouse is relative to the body: necessary considering the N600’s cramped cockpit.

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Practical says the decal? Some Americans embraced the N600’s appeal, but Detroit ruled the roost back in the early 1970s. They had size, and style. The N600’s uncanny ability to lack any sense of style a la VW Beetle, Mini Cooper or Fiat 500 musta hurt sales.

To wit, note how the A-B-C pillars lack a cohesive flow in terms of complementary rake, size and shape.

20

The fender emblem possesses similar elements to the one on the grille, but with unique textures/topography. It’s cooler than the front emblem.

21

Clearly a victim of an almost-professional restoration, yet I suspect door/rocker panel gaps weren’t laser perfect back then anyway.

22

The A-pillar is rather fast and sleek on its own, not to mention the full length rain gutter accentuating the speedy demeanor. The windshield rubber is another sign of a lost era…for good reason.

22_1

Poor paint/body work, but still more appealing than a modern car’s black plastic triangle of A-pillar DLO fail.

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Not only does the B-pillar fail to emulate the A-pillar, it’s not symmetric! Square off the lower portion of the quarter window (or round the door) and curb appeal increases.

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While the integrated release button/key cylinder is trick and space efficient, the flat profile and lumpy negative area do not help with the N600’s lack of cohesive style. Is there any room for style on this machine?

24

Real estate for a fuel door is in Manhattan-grade short supply on the N600’s body.

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It doesn’t get more honest than a roof-mounted antenna, perfectly mounting on a curved shape. Nice.

26

While the front end’s roundness was a stark contrast to the fender’s solidarity, the N600’s middle section softens up thanks to a modicum of tumblehome (seen in the door cutaway) from the base of the door to the roof.

Curves, they are a good thing.

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Imagine how much more “wrong” the N600 would look without that tumblehome from this angle!

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While the tail light flows into the body like that clean roof antenna, the rain gutter, molding and vent louver are necessary(?) afterthoughts.

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But it’s quite fetching by itself!

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The N600’s proto-CVCC DNA is showing! The taillights and trunk cutout is a nice cross between pre-war automobile construction (exposed hinges and a bustle trunk) and the future of hatchback design once a little more rear overhang was deemed necessary.

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The back end’s flattened demeanor is very MINI Clubman, without the charm. Or the functionality, thanks to the fixed rear glass. Luckily there were no Sam’s clubs back then.

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The pudgy, cheeky contour of the trunk is both ungainly and adorable at the same time. Design over Styling!

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Nice bit of retro kit functional design for the grab handle, I was tempted to fix the logo’s problem with a Testors enamel marker.

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Quickly glance at this shot and you’d be forgiven for thinking this is a whip from L.A. Noire.

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Logical and well-designed license plate light, note the exposed screws that’ll make bulb replacement a breeze. Hopefully.

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Exposed hinges in the 1970s? No wonder that dude on “CHiPs” ripped it apart so easily!

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There’s a material heft and functional beauty presented in the lock cylinder’s one piece, polished design. Pictures fail to show the craftsmanship.

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Now let’s bring it home: no overhang is a big, BIG problem.

How can you “style” a design this restrictive? Imagine your job if your boss halved your budget. Or didn’t give you one in the first place! Therein lies the “beauty” of the N600, so to speak.

The Honda Civic that followed was a leap forward, the public’s reaction to Honda’s design and engineering prowess was logical. Because when you give enough room (literally and figuratively) to a design department, they will can make a nicely styled vehicle.

Thanks for reading, I hope you have a lovely week.

 

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QOTD: Regulation Is Ruining Car Design http://www.thetruthaboutcars.com/2014/06/qotd-regulation-is-ruining-car-design/ http://www.thetruthaboutcars.com/2014/06/qotd-regulation-is-ruining-car-design/#comments Mon, 09 Jun 2014 14:42:33 +0000 http://www.thetruthaboutcars.com/?p=838721 Today’s installment of Quote of the Day comes from Mark Adams, design chief for Opel/Vauxhall and creator of the Monza concept, which is expected to set the design direction for the two brands in the near future – assuming that regulations don’t get in the way. Speaking to Automotive News Europe, Adams opined that  “In the […]

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Today’s installment of Quote of the Day comes from Mark Adams, design chief for Opel/Vauxhall and creator of the Monza concept, which is expected to set the design direction for the two brands in the near future – assuming that regulations don’t get in the way.

Speaking to Automotive News Europe, Adams opined that  “In the last five to 10 years designing cars has gotten a hell of a lot tougher”, with much of the blame going towards regulation. The twin forces of fuel economy and pedestrian safety standards have converged to create very specific parameters for automotive design – hence the proliferation of high hoods, blunt front ends and the “reverse tear drop” shape on so many three-box vehicles. This specific form provides an easy way around all of those requirements, at the cost of an increasingly homogenous cohort of new cars.

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Vellum Venom: 2013 Lincoln MKZ http://www.thetruthaboutcars.com/2014/06/vellum-venom-2013-lincoln-mkz/ http://www.thetruthaboutcars.com/2014/06/vellum-venom-2013-lincoln-mkz/#comments Thu, 05 Jun 2014 13:07:15 +0000 http://www.thetruthaboutcars.com/?p=837153 Car Design college was a wake-up call for this auto-obsessed kid: it festered with two-faced people. There are bastard-coated souls smiling to your face, stabbing you in the back during Portfolio Review. Or friends that pity you, being your crutch via white lies and false kindness.  Bad news, especially for a Lincoln-Mercury fanboi saddened by […]

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Car Design college was a wake-up call for this auto-obsessed kid: it festered with two-faced people. There are bastard-coated souls smiling to your face, stabbing you in the back during Portfolio Review. Or friends that pity you, being your crutch via white lies and false kindness.  Bad news, especially for a Lincoln-Mercury fanboi saddened by how the MKZ became as two-faced as the industry that spawned it.

 

1The Lincoln MKZ trades the sistership Ford Fusion’s wannabe Aston schnoz for a gigantic butterfly smashed on the face of today’s upright, stubby proportioned sedan. It works, as there’s a balance of soft curves and thin lines with hard bends and thick marks.

The butterfly grille is organic but peep that Chevelle SS worthy hood bulge! The bulge has a strong center backbone and “power dome” shape that shrinks as it reaches the front fascia. Very Hot Rod Lincoln.

 

2The grille’s thick/thin teeth add significant depth. Their harmonizing with the grille frame’s upward bend only adds to the butterfly effect.

2_1Note the bumper’s creased beak: too subtle to catch the eye, yet clashes with Lincoln’s new “point free” emblem.  This nose either needs a belt sander or the 2014 Navigator emblem.

3Aside from the plastic block off plates as the grille reaches the headlight (note how the black abruptly turns gray), this is an elegant piece of kit.

4The butterfly grille effortlessly translates and surrounds the pointy-fast headlight assembly.  It’s a dramatic change from the first MKZ, as you’d be hard pressed to mistake it for a Fusion. (yet) The lower valence’s chrome trim and fog light harmonize with the butterfly too.

4_1The headlights may look flat, but not so!

5_1Note the lighter red section below my finger: an interesting soft bend at the hood’s edge, in contrast to the power done hood. Forehead much? It’d be less flabby if the bend started with the headlight’s leading edge and swept back into the body. Then, instead of being a receding hairline, we’d see a transition between the hood-fender cut line and the central power dome.

 

6Too bad about the solid grill space on the lower valence. It looks cheap, yet nothing like the yards of fake texture on spindle-grilled Lexi and big mouth Audis.

 

7Aside from that odd forehead (it really needs to start at the headlights) the MKZ pushes the right buttons.  Everything dances to the same DJ, and the bumper’s soft curve sympathizes with the butterfly grille. And it transitions to the muscular fender haunch well.

7_1No overhang and a very European signal light; tightly constrained by the wheel arch’s flat edge.  And if Edsel Ford’s Continental was influenced by the Europeans…wink, wink!

 

7_2Interesting interplay between smoked and shiny surfaces!  The MKZ’s rims blends unique ideas seamlessly, in stark contrast to the rough draft originally seen on the MKS.

 

8Clean, restrained firewall design: good use of what should rightly be a small patch of real estate.

 

9And then it became all Fusion: the latest iteration of wrong-wheel drive American Luxury is a Fusion with more chrome.  Literally, thanks to the solid chrome DLO Fail between the A-pillar and the door.

11The MKZ chrome DLO FAIL looks more expensive than the Fusion, in the same way Target is classier than WalMart.

 

10Again, too much of a Fusion…even if it really isn’t.  If you are a badge engineer, my analysis of the Fusion will come in handy. The door skins are different, but something’s lost in translation. Perhaps it’s the BMW style handles. Or the less edgy cut lines that still retain the Fusion’s angular windows. More on those later.

The point? The “let’s avoid badge engineering” mantra that we all believe needed more money, more dedication and less modification of an existing platform to work on the MKZ.

 

12A fixed vent window paired with DLO fail?  Usually one replaces the other, but the MKZ needs ‘em both to “accomplish” an A-pillar with such speed. Ford’s insistence to honor Aston Martin via family sedan failed. (Aston uses the fixed window, which obviously works on that body.)

13The chrome-y Fusion mirrors work quite well.  Too bad they aren’t unique, but whatever. This isn’t the first (last?) front wheel drive Lincoln to portend the brand’s future, as this isn’t a 1988 Continental.

 

14Wait, is this one of them fancy flagship BMW 7 series door pulls? A pretty shameful rip off.  So kudos to Lincoln for not raiding Ford’s parts bin, ribbons of shame for raiding BMW’s warehouse instead.

15This MKZ-specific B-pillar cut line works better than the Fusion from whence it came: the door and B-pillar share a common line.

16Too bad about the C-pillar: the MKZ’s cut line is flabby on such a porky side profile. The Fusion’s extra surface tension enhances the package, instead of adding unnecessary rotund-ness.

Perhaps badge engineering ain’t such a bad thing, no?  No, it’s bad…that was a trick question, son!

17And this is where it gets screwy: remember the balance of soft (butterfly) and hard (power dome hood) elements up front? There’s a bizarre, two-faced, ending to this tale. (tail?)

18The problem stems from the razor-sharp tail lights, artificially pushing back to the quarter panel/C-pillar.  And the soft spot once reserved for a “tire hump” or faux Continental kit. It’s the same idea as the power dome hood, taken to an incorrect extreme. What was needed?

The ideal balance of soft and hard elements presented up front.  How the MKZ’s butterfly grille blends with the curves of its lower valence.  This avoids the two faces of the MKZ’s design.

18_1The rear door’s flab looks muscular from here, but the number of cut lines implies “hack job”.  That is, there’s nothing luxurious about three different seams/panels on a trunk lid.

 

18_3Maybe this would be awesome if the front end ditched the butterfly for something in a Robocop.

 

18_2Nah, Robocop can’t handle these flabby planes with voluptuous BMW door pulls. But kudos are in order for not adding DLO fail to the C-pillar, like the original, super badge engineered, Lincoln MKZ.

19This is where things get ugly. Perhaps the decklid’s extra black trim is an homage to the Continental tire hump. Perhaps the two antennas (especially the quarter panel’s fixed mast) honors the CB radios that kept the Bandit out of Smokey’s reach. Or it’s just a sloppy workaround for a moving roof panel.

Then there’s the flush mounted spoiler out back: too many parts to make a single trunk lid!

19_1The extra crease adds another harsh element to the MKZ’s contrived tail.  It’s almost an homage to the Bangle Butt 7-series of yesteryear; begging for the refined (refined-ish) butt of today’s 7-series: Vellum Venom review here.

20Here you see the rotund-ness of the lower valence, in shocking contrast to the trunk lid.  Notice how rapidly the tailpipes fade to a distant vanishing point, compared to the gentle curve of the tail light.

21The harsh crease (mentioned above) encapsulates the problem: it lacks the elegance of the power dome hood on the MKZ’s butterfly front schnoz.  TWO-FACED! It’s an edgy and lumpy border, just as looney as a Continental tire hump. At least the tire hump had some precedence, and uber presence.

22The chrome lettering, spread out like the C-O-N-T-I-N-E-N-T-A-L emblems on a 1960-80s Lincoln tire hump, works elegantly.

23As do the flat top haircut with furrowed eyebrow tail lights from this angle.

 

23_1But there’s nothing Kid ‘n Play about the lower portion’s voluptuousness.

 

24The MKZ’s harsh creases accentuate with an open moon roof.  The power top must shadow the roof’s elegant curve (lest it never seals to the body), while the quarter panel has none of that.

 

25Speaking of seals: the smushed rubber at the end is less than reassuring.

 

26Definitely some “groovy” engineering involved to “channel” that much glass that far back.

 

27Perhaps my “moonroof must shadow the roof’s elegant curve” comment was incorrect. The glass top isn’t beautiful when unfurled, it’s actually ungainly.

 

28The shiny black trim looks sleek with the roof closed.  The implication of what’s possible is quite cool: the roof will slide down these rails?

No matter the MKZ’s flaws, this is still a bad ass design feature.

29Ditto the black trunk panel, just don’t  step back to see it’s misplaced round curvature. Maybe a larger swath of deck lid needed the blackout treatment.

 

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While Fusion has poorly finished metalwork here, the MKZ’s rubber needs much detailing to avoid the ravages of time. Totally worth owning such a huge glass roof.  Or not: skip the two faced, almost-there badge engineering and get the Fusion.

Thanks for reading, I hope you have a lovely weekend.

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Eyes On Design Announces Aliterative Show: Mustangs, Maseratis, Mass Market, Military, Muscle & Movies – Cars and Pop Culture http://www.thetruthaboutcars.com/2014/05/eyes-on-design-announces-aliterative-show-mustangs-maseratis-mass-market-military-muscle-movies-cars-and-pop-culture/ http://www.thetruthaboutcars.com/2014/05/eyes-on-design-announces-aliterative-show-mustangs-maseratis-mass-market-military-muscle-movies-cars-and-pop-culture/#comments Sat, 31 May 2014 16:00:19 +0000 http://www.thetruthaboutcars.com/?p=831425 The Eyes On Design car show, held every Father’s Day on the grounds of the Eleanor and Edsel Ford estate in Grosse Pointe Shores, just north of Detroit, is a unique event. While many, perhaps most, of the cars on display there are of concours level quality, the show is not about perfection, authenticity or […]

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The Eyes On Design car show, held every Father’s Day on the grounds of the Eleanor and Edsel Ford estate in Grosse Pointe Shores, just north of Detroit, is a unique event. While many, perhaps most, of the cars on display there are of concours level quality, the show is not about perfection, authenticity or preparation. In fact it’s not actually called a show but rather an “automotive design exhibition”. Eyes On Design is run by the Detroit area automotive styling community so what judging is done and the awards that are given are based on design. The Father’s Day show is the major fundraiser for the organization, which holds a number of other events throughout the year (including design awards at the NAIAS aka Detroit auto show in January) to benefit the Detroit Institute of Ophthalmology, part of the Henry Ford Health System. That’s the hospital system that’s grown out of Henry Ford Hospital, founded by the automotive pioneer. Seventeen vehicle categories for this year’s exhibition, to be held on June 15th, have been announced to complement the overall theme of the event – “Automotive design’s influence on popular culture”.

Over 250 cars, trucks and motorcycles will be on display, chosen for those that “provoke a nostalgic reflection about cars that have, through their design, affected the popular culture of their day”. In addition to the general theme of the event, 2014 will mark four important automotive anniversaries, Dodge celebrates its centennial and this year is the golden anniversary for both the Ford Mustang and the Pontiac GTO. It’s also been 50 years since the New York World’s Fair in Flushing Meadows, where automakers and many suppliers had elaborate displays. Motorcycles will be represented at the show with a selection of Indians. Perhaps the category with the strongest connection between cars and pop culture will be a display of movie and tv cars. While some will be replicas, the authentic Monkeemobile from the tv series and the real Black Beauty from the 1966 version of the Green Hornet with Bruce Lee, both built by the late, great Dean Jeffries, along with a real Smokey & The Bandit Trans Am, will be on display, as will be a few fictional cars made for movies. The complete list of movie and tv cars follows the category listing below.

As part of the publicity runup to the event, the organizers recently revealed the poster for the 27th Eyes On Design exhibition. The artist is Nicola Wood of Los Angeles and it features a blue 1936 Cadillac “Aerodynamic Coupe” in front of the swimming pool on the grounds of the Ford estate. In the foreground a woman’s eye is seen in the reflection from a cosmetic compact’s mirror. Seven other eyes are hidden in the background. The symbolism expresses the charitable goal of the show, medical treatment for eye disorders. Though it’s a commissioned work, the painting was also labor of love for the classically trained Wood, a member of the Automotive Fine Arts Society (AFAS), who continues to paint after losing vision in one eye due to macular degeneration.

The poster was revealed by General Motors former assistant chief designer, Steve Pasteiner, who discussed the origins of the car on the poster. Originally a show car that Harley Earl created for the 1933 Century of Progress world’s fair in Chicago, the Aerodynamic Coupe established what today we’d call the design language for many GM cars in the mid and late 1930s. Pasteiner, whose AAT shop builds concept cars for automakers, is a big fan of the rolling sculpture era of the 1930s. His Buick Blackhawk, which was built to celebrate Buick’s centennial and sold at auction for more than a half million dollars and AAT’s Cadillac LaSalle C-Hawk, which sold for $269,500, were heavily influenced by the Aerodynamic Coupe.

I’ll be covering Eyes On Design this year, God willing and the creek don’t rise, so if there’s a particular car or category you’d like me to check out, let me know in the comments.

Here are the categories for this year’s Eyes On Design exhibition:

50th Anniversary of the GTO – celebrating 50 year’s of Pontiac’s muscle car
Classic Era – high culture becomes pop culture, from the mid-20s to WW2
100 Years of Dodge – a century of survival and success stories
Color, Chrome and Fins – symbols of post-war American optimism
1964 New York World’s Fair – 50-years on from the event in Queens
50th Anniversary of the Ford Mustang – the original pony car
Tuners – the evolution of car personalization from 1967 to today
Muscle Cars – high horsepower straight from Detroit
Working Class of 1928 – American car culture is born – the birth of Plymouth and Ford’s Model A
Pure Michigan – a celebration of some of the lesser-know makers from Flint, MI
Personal Luxury Coupés – a look at the high-end mid-size coupés of the 1970s
Movie & TV Cars – including four-wheeled stars from the big and small screen
Maserati – highlights from 100 years of the Italian maker
Stock to Rock – standard models paired with their heavily customized twins
Collector’s Circle – supporting car collectors and their hobby
Military Vehicles – from war-torn roads to off road heroes
Indian Motorcycles – an enduring and endearing tribe founded back in 1897

The movie and television cars will be:

1965 VW Beetle (“Herbie”) from “The Love Bug” (1969). The anthropomorphic Beetle with a mind of its own and the number “53” racing number, which starred in six Disney productions through 2005. This is a correct replica owned and put together by a Lynn Anderson, who’s a contributing editor for Hot VWs magazine.

1966 Pontiac GTO from “The Monkees” (1966). California car customizer Dean Jeffries built the original highly-modified GTO convertible, known as the “Monkeemobile,” for use by the pop rock band during their NBC TV series, which originally aired from 1966 to 1968. This is the actual car from the tv series, as “restored” by George Barris’ shop, currently owned by a Detroit area collector who paid more than $300,000 for it. Pics here.

1975 Ford Gran Torino from “Starsky & Hutch” (1975). A replica of the red-with white stripes car driven by the two California detectives in the TV cop series, which originally aired from 1975 to 1979. A “Starsky & Hutch” movie was made in 2005.

Winton Flyer from “The Reivers” (1969). Designed to look like a 1904 car, this one-of-a-kind fictional vehicle driven in the movie by Steve McQueen and owned by him. It was created by the legendary artist and car craftsman Kenneth Howard, aka Von Dutch.

1966 Chrysler Imperial (“Black Beauty”) from “Green Hornet” (1966). Originally created by customizer Dean Jeffries, this modified Imperial rolling arsenal starred with Van Williams and Bruce Lee in the 1966-1967 ABC TV series.

Leslie Special from “The Great Race” (1965). Driven by good guy Tony Curtis in the Warner Brothers movie, this gleaming white roadster was loosely designed to look like a 1907 Thomas Flyer, which actually won the real “Great Race of 1908″ from New York to Paris.

1977 Pontiac Trans Am  from “Smoky & The Bandit” (1977). This special black “T-top” Trans Am was driven by Burt Reynolds in the smash hit Universal Pictures movie, which made $300 million and almost doubled the sales of Trans Ams

1982 Pontiac Trans Am (“K.I.T.T.”)  from “Knight Rider” (1982). A replica of the advanced supercomputer in a bullet-proof body on wheels. The robotic KITT could communicate with humans, drive itself and shoot flames and tear gas in the NBC TV series which ran into 1986.

Nissan 240 SX  from “Fast & Furious IV” (2009).One of the many customized cars used in scenes from the Universal Pictures action movie starring Vin Diesel, Paul Walker, Michelle Rodriguez and Jordana Brewster.

Ronnie Schreiber edits Cars In Depth, a realistic perspective on cars & car culture and the original 3D car site. If you found this post worthwhile, you can get a parallax view at Cars In Depth. If the 3D thing freaks you out, don’t worry, all the photo and video players in use at the site have mono options. Thanks for reading – RJS

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Vellum Venom Vignette: 2015 Camry Regression Analysis http://www.thetruthaboutcars.com/2014/04/vellum-venom-vignette-2015-camry-regression-analysis/ http://www.thetruthaboutcars.com/2014/04/vellum-venom-vignette-2015-camry-regression-analysis/#comments Wed, 16 Apr 2014 17:39:31 +0000 http://www.thetruthaboutcars.com/?p=800242 As expected, TTAC’s Best and Brightest called it: the 2015 Camry has Chernobyl-grade DLO FAIL. Or maybe that’s heavily tinted glass? I consider myself lucky I’m not attending the NYIAS, this would make my head go explodey all over the show floor. No transportation designer, wannabe like me or otherwise, wants to see that gigantizoid […]

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As expected, TTAC’s Best and Brightest called it: the 2015 Camry has Chernobyl-grade DLO FAIL.

Or maybe that’s heavily tinted glass?

I consider myself lucky I’m not attending the NYIAS, this would make my head go explodey all over the show floor.

No transportation designer, wannabe like me or otherwise, wants to see that gigantizoid of a hunk of black plastic go into production.  The years of thankless hard work, the brutal cost of design school on your wallet/social life, etc shouldn’t turn into this.

There was nothing, absolutely nothing wrong with the 2014 Camry’s greenhouse: it was sleek-ish and a completely DLO FAIL free zone before the redesign.  It was a beautiful thing. And now it’s gone.

Thanks for reading, I hope you (can still) have a lovely week.

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Wolff Out, Woodhouse In As Lincoln Design Director http://www.thetruthaboutcars.com/2014/04/wolff-out-woodhouse-in-as-lincoln-design-director/ http://www.thetruthaboutcars.com/2014/04/wolff-out-woodhouse-in-as-lincoln-design-director/#comments Fri, 11 Apr 2014 10:00:54 +0000 http://www.thetruthaboutcars.com/?p=793642 The Lincoln division of Ford has replaced former design director Max Wolff with David Woodhouse, the former head of the Blue Oval’s Premier Automotive Group, as part of the premium division’s $1 billion makeover. Bloomberg reports Wolff will remain with Lincoln as the brand’s exterior design boss, and that the change occurred in December with […]

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Max Wolff, Lincoln Exterior Design Chief

The Lincoln division of Ford has replaced former design director Max Wolff with David Woodhouse, the former head of the Blue Oval’s Premier Automotive Group, as part of the premium division’s $1 billion makeover.

Bloomberg reports Wolff will remain with Lincoln as the brand’s exterior design boss, and that the change occurred in December with little fanfare, as Ford no longer issues press releases for promotions below the vice president level, according to spokesman Stephane Cesareo. Both design chiefs were brought over from General Motors to Ford, with Wolff arriving in 2010 from Cadillac, and Woodhouse from GM’s design studios in 1999.

Wolff’s biggest mark on Lincoln is the current MKZ, which he reworked immediately upon arrival in 2010. Though the premium sedan — based upon the Ford Fusion — faced production problems that saw the overall brand’s sales fall to a low not seen in over 30 years, the MKZ’s success boosted Q1 2014 sales to 36 percent.

Aside from his styling work with PAG, Woodhouse was in charge of Ford’s advanced design studio in California between 2004 and 2009, and guided Lincoln’s strategy between July through December of 2013 before becoming the brand’s new director of design.

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Leno Talks Nissan IDx: What’s Left Unsaid Speaks Volumes http://www.thetruthaboutcars.com/2014/03/leno-talks-nissan-idx-whats-left-unsaid-speaks-volumes/ http://www.thetruthaboutcars.com/2014/03/leno-talks-nissan-idx-whats-left-unsaid-speaks-volumes/#comments Mon, 10 Mar 2014 15:42:57 +0000 http://www.thetruthaboutcars.com/?p=768962 The Nissan IDx concept, which debuted at the Tokyo motor show back in November of last year, is in the news again, this time appearing on YouTube as a part of the popular Jay Leno’s Garage series. We learned in January that the IDx is expected to go into full production and Nissan has been […]

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IDx Freeflow / IDx NISMO

The Nissan IDx concept, which debuted at the Tokyo motor show back in November of last year, is in the news again, this time appearing on YouTube as a part of the popular Jay Leno’s Garage series. We learned in January that the IDx is expected to go into full production and Nissan has been relentlessly seeking publicity for it by taking it to events all around the country. It is a good looking little car with just enough retro touches to remind people of the times when Nissan was sold in this country under the Datsun brand name and this video is the lengthiest review of the car I have yet seen. Leno spends a lot of time speaking with the car’s designer about all the little details that make the car so special and then takes it on a real world test drive. If you haven’t seen it yet, take time to look at it now as it will soon be the topic of discussion around water coolers and wherever else it is that car guys gather these days.

Click here to view the embedded video.

Rather than review the video, I’ll let you watch it and draw your own conclusions but I was struck by the fact that, even during the test drive, there was no discussion about the car’s driving dynamics or performance. Leno and the car’s designer ride around together talking about silly things like three-box design philosophy and keeping the car cheap so that normal people can afford it, but at no point does Jay say, “Wow, this thing handles great” or “Wow, this thing really accelerates.” Perhaps it was a simple omission on the part of the video’s producers but I feel like it could be more than that and, because of it, I am getting an odd sense of foreboding.

Back when Nissan announced that the IDx would go into production, they mentioned that the turbocharged engine in the show car would not make the final cut. They suggested instead that the production car would mount a 1.6 liter four cylinder and this earlier statement is confirmed by the designer during his ride with Leno. What does not come up in this conversation, however, is the other bit of informaion Nissan originally dropped in their January announcement: that their stated choice of transmissions for the car is their continuously variable transmission.

Photo courtesy of wikipedia.org

Photo courtesy of wikipedia.org

I would imagine that, if Nissan was paying attention to the opinions of their many fans and had elected to go with a different choice of transmissions, the designer would happily have trumpeted that decision during the interview. The fact that he ignores the transmission altogether makes me feel even more certain that the IDx will be delivered exactly as Nissan’s original announcement indicates – sans manual. Frankly, I am disappointed, and unless the company takes action to offer at least some version of the car where people can row their own gears, I think the IDx is going to be another one of those cars that almost, but not quite, caters to the enthusiast market.

To be sure, I’m not sure if catering to the enthusiast market is a wise thing to do for a car intended to sell in large volumes, but I would like to think that our opinions still matter. If nothing else, enthusiasts generate buzz around a new car and that excitement can and does drive people into the show rooms. The industry has this habit of hyping cars to the enthusiast market and then coming up short and, frankly, I don’t like it. I believe the BRZ/FR-S is not selling in the numbers they expected because Toyota and Subaru decided they knew better than us about what people really wanted in a small sporty coupe. Dodge, too, horribly botched the debut of the new Dart by failing to bring enough automatic transmissions to market something that is, from my perspective, at least partially to blame for their failure to sell what is otherwise a nice little car. Will the Nissan IDx be the next example of a promising little car that ultimately under-delivers? I honestly hope it isn’t because I would love to live in a world where we have more than enough cute, zippy, fun to drive little cars running around, rather than a world where I am always right.

Thomas Kreutzer currently lives in Buffalo, New York with his wife and three children but has spent most of his adult life overseas. He has lived in Japan for 9 years, Jamaica for 2 and spent almost 5 years as a US Merchant Mariner serving primarily in the Pacific. A long time auto and motorcycle enthusiast he has pursued his hobbies whenever possible. He also enjoys writing and public speaking where, according to his wife, his favorite subject is himself.

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Vellum Venom: MINI Cooper Hardtop (2012) http://www.thetruthaboutcars.com/2013/12/vellum-venom-mini-cooper-hardtop-2012/ http://www.thetruthaboutcars.com/2013/12/vellum-venom-mini-cooper-hardtop-2012/#comments Tue, 31 Dec 2013 12:00:03 +0000 http://www.thetruthaboutcars.com/?p=689618 The end of the year, the end of an era for a famous British Marque.  Let’s get crackin’ before the ink on the vellum dries for the (all new) 2014 model. Everyone knows this face, it’s Brand Recognition 101.  Or maybe 202, as the original MINI (the 100% British one) was redesigned even less regularly/extensively […]

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The end of the year, the end of an era for a famous British Marque.  Let’s get crackin’ before the ink on the vellum dries for the (all new) 2014 model.

1Everyone knows this face, it’s Brand Recognition 101.  Or maybe 202, as the original MINI (the 100% British one) was redesigned even less regularly/extensively than the BMW-owned MINI.  Perhaps not even Ford’s iconic Mustang remained this true to form.  The MINI’s snout sports a traditional grille and round headlights on a small canvas, but the bumper could be any modern car.

The proportions are right.  The elements are well-formed and harmonize together quite well.  Just like it’s always been for this brand.

 

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Both grilles work well together, the bottom opening is almost a mirror reflection of the top, as it pushes into the air dam’s real estate much like the grille’s forcible entrance to the bumper. Well thought out and clean!

3

And even though this is a small and (somewhat) cheap car where corner cutting is acceptable, well, this lower grille is a rather fancy casting.  The solid portions of the egg crate are deeply recessed, so it takes a while to see the mass-market cheapness.  Add the chrome strip in the middle and perhaps you’ll never even bother to notice this doesn’t belong on a high dollar 7-series BMW!  Well…

4

If the grille didn’t slide down into the bumper, the MINI would be surprisingly devoid of panel gaps.  That’s the beauty of a clamshell-style hood: the insurance industry may hate replacing these in a minor accident, but the way the hood and fenders blur into one panel is a work of fine art.

5

MINI’s always had the coolest headlights in its class, if not one of the coolest designs for any budget. Just the right amount of chrome inside the lense (not swept back into functionless blingy real estate) so there’s room for an expensive looking outer chrome ring: a modern interpretation of vintage Jags, Ferraris, etc.

More kudos for not using the chrome signal light body (or the cap for the headlight) for a branding opportunity. That notion’s been played out. And there’s a nice corporate logo on the hood if you think this might be a Ferrari.

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OMG YES CLAMSHELL HOOD. But seriously, note the reflection of the lights above: there’s a subtle fender flare from the headlights on back.  It’s beautiful.  It is really such a sin to want more affordable vehicles with fewer breaks in the body for the singular reason of aesthetic delight?

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A cheap(ish) car with expensive old world craftsmanship: the chrome trim around the clamshell is another subtle reminder that you coulda bought a more car for the money at damn near any other dealership…except that you actually wouldn’t!

8The Bayswater Edition replaces the standard logo with something straight outta 1981.  I think I have the same pattern when I crank up Giorgio Moroder on my Pioneer cassette player’s VU meter. But still, this mini billboard (get it?) should be binned for straight sheet metal around that light. Cleaner is better on a vehicle with a clamshell hood with such a racy cutline!

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Oh yes, I did say racy.

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MINIs are all about customization to an owner’s needs, and the Bayswater definitely appeals to my inner Max Headroom. But wait…do I see…

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No DLO FAIL!  Even better, the black A-pillar blends nicely into the greenhouse, while that chrome trim continues around the side.  The three blue panels, the clamshell hood, the cowl paneling (for lack of a better phrase) and the door cut lines aren’t necessarily minimal, but they work well together.

If only the clamshell’s end point was the same as the front door’s beginning point like a C4 Corvette!

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While that backslash on the clamshell is a MINI hallmark, using another horizontal line above this rocker moulding instead lets the clamshell go all the way back to really spice up the package.

Then again, the (rear hinged) hood probably wouldn’t open if that request came true…damn you reality check!

 

12

The gloss black wheels are a unique touch, only because the leading edge of the spokes and the rim’s lip is polished.  The wheel’s lines are logical and symmetric, so this bit of color ingenuity is certainly welcome and not outstanding like a black eye on a pretty face.13

So much for logical!  Perhaps employees of New World Pictures approve, yet both mirror skullcaps should be the same color.  This is nonsense, and not that systematic failure endemic of a failed organization nonsense that brought us the Pontiac Aztek…it’s just plain silliness with no value on an automobile.

Whatever graphical theme the Bayswater name implies, this isn’t how you do a gray and blue color scheme.

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Although it might look better if both mirrors were that french gray instead of radioactive blue…what say you?

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Invisible B-pillar that lines up well with the door cutline.  Unlike the CTS coupe, MINI did a fantastic job hiding pillars under glass.  Also note the chrome trim that started on the clamshell continues apace.

16
Sure, this is a round and cute vehicle.  But the round theme is more of an ovoid, and the negative area behind the door pull should emulate the shape seen in the headlights.  Or the ovoidness seen here in the door cutline.  This is “too round”, if such a thing is possible.

 

17

No A-pillar. No B-pillar.  No C-pillar. Be it wrapped in glass or covered in gloss black, the MINI does a fantastic job looking far more expensive than anything else at this price point.  All it needs is (illegal) limo tint and the greenhouse would look like a pillarless space ship! Very cool, very much approved.

Cute proportions, charming interplay between design elements, short overhangs and cheap yet expensive detailing.

This is why people love the MINI: staying true to it while advancing the game.  This is what us Panther Love/RWD American Sedan fans wanted.

18Retro gas caps usually look out-of-place (SN-95 Bullitt Mustang) but if there’s one mainstream machine that needs one…and it’s a clean and flowing design elegantly recessed into the body.

 

19_1Just like the side profile, the MINI’s rear greenhouse looks surprisingly sharp with this chrome strip.  The glossy C-pillar helps, as does the black roof.  A brighter roof color to accentuate the attention to detail in the glass work and pillar trimming is actually preferable! Whether or not the Union Jack treatment is needed is always up for debate.

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Like many small hatchbacks, the C-pillar has a ridge to keep the cute little MINI tracking straight in stiff cross winds on the highway.  Supposedly these details matter, consult your local Aerospace Engineer if you don’t believe me.

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Another aero touch: the spiraled antenna on the roof.  It’s surprisingly tall for such a small car. Or perhaps the MINI-ature dimensions are why it seems small!

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Speaking of, the reflector/marker lights both front and back must be placed on the wheel arches because there’s simply no other place available! Short overhangs have their benefits!  22_1

Because of poor lighting at my “test” vehicle’s location, here’s a stock photo showing the Bayswater from the back.  Note how low the side view mirrors sit (at least on the Euro spec model) and the stilt-like tire width.  This model also has a different bumper (with fake grilles) and a central exhaust, which sells more exotic performance than the wrong-wheel-drive MINI can possibly produce.

22Logical cut lines for the hatch and bumpers. A complete chrome “belt” at the base of the greenhouse.  Chrome rimmed lights and something that only works on British cars like MINIs and Jags: a chrome mustache above the license plate that both adds English charm and is a handy place for a grab handle and license plate lighting.

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The sleek rear wiper arm is another modern touch that proves that classic designs can always live to see another day…or millennium.

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While not as punchy as the headlights, the logical use of chrome inside and the upscale chrome rim outside are hallmarks of good vintage British design.  25Last and perhaps least, the central lighting pod with backup lights, and used for a rear fog light in Europe (maybe America too?).  It, just like the front grilles, extends into the black lower valance to continue that theme.  All of which is in very good taste, at any price.

Thank you all for reading, I hope you have a lovely New Year’s Eve…and beyond!

 

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