car design thread

It’s Motor Trend’s Car of the Year, but I’m not sure if there have been any retail deliveries yet.

 

Thought this update on the DS looked pretty cool.
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1963 Chevrolet Corvair PF Concept Car Pininfarina
This is a 1963 Pininfarina Corvair Coupe Speciale prototype built on a Chevrolet Corvair chassis. The car features Pininfarina's first introduction of a head light design that they called 'oriental eyes,' which ever car manufacturer has copied. Tom Tjarda designed this car for Pininfarina.
Chuck Jordan, former Chief Designer for General Motors, touts this car as one that GM's Bill Mitchell intended to produce for the European market to generate interest in US Corvairs. Image Unavailable, Please Login

 

Both!
The 'experience' matches the design of the car. Both have been well thought out.

 

Looks like Ferrari 'officially' embraced the award.
https://www.ferrari.com/en-EN/articles/the-ferrari-daytona-sp3-awarded-grand-prize-most-beautiful-supercar-2022-at-paris-festival-automobile-international?utm_source=linkedin&utm_medium=social&utm_campaign=2022_ferrari_social_Ferrari_Daytona_SP3_2022_Supercar_&utm_content=ALL_organic_ppl
Maranello 27 January 2022

• Another prestigious design award for Ferrari
• This limited-edition ‘Icona’ model takes its inspiration from legendary 1960s Sports Prototypes
• Flavio Manzoni, Ferrari Chief Design Officer, awarded “Grand Prize of Design”

The Ferrari Daytona SP3 has been awarded the “Grand Prize: Most Beautiful Supercar 2022” by a panel of expert judges at the 37th Paris Festival Automobile International.
This prestigious annual award is held to pay tribute to the sports car chosen by a panel of influential personalities from the world of motoring for its design and aesthetic beauty.
The same jury awarded Ferrari’s Chief Design Officer, Flavio Manzoni, with the Grand Prize of Design, in recognition of his original, creative and influential work in the automotive sector.
The design of the Ferrari Daytona SP3, a limited-edition car that joins the ‘Icona’ series, is a harmonious interplay of contrasts, sublimely sculptural, voluptuous surfaces alternating with the kind of sharper lines that revealed the burgeoning importance of aerodynamics in the design of ‘60s and ‘70s racers such as the 330 P4, 350 Can-Am and 512 S. The bold choice of a ‘Targa’ body with a removable hard top was also inspired by the sports prototype world: consequently, the Ferrari Daytona SP3 not only delivers exhilarating driving pleasure but also usable performance.
Flavio Manzoni, Ferrari Chief Design Officer: “These two important awards are indisputable proof of the levels of quality and excellence reached by the Ferrari Styling Centre, which I have the privilege of leading, and of the sophisticated formal research carried out on the Ferrari Daytona SP3”.
FERRARI ICONA
The Ferrari ‘Icona’ series was launched in 2018 with the Ferrari Monza SP1 and SP2, which were inspired by the competition barchettas of the 1950s that helped earn the marque its legendary status in motorsport with a string of prestigious victories. The ‘Icona’ series celebrates Ferrari history by reinterpreting the timeless styling of the marque’s most iconic cars to radically modern effect using the most innovative materials and technologies available today.
The idea of taking inspiration from a particular time in history, which lies at the core of the Icona concept, goes much further than merely reusing styling cues from the past. Rather the aim is to distil the very essence of an era and using it as a spring board to create new concepts that themselves are unique enough to become icons for future generations. The ‘Icona’ cars all boast exclusive solutions not seen in the rest of the range and are aimed solely at Ferrari’s top clients and collectors, proud ambassadors for the Prancing Horse marque.

 

Those Russkies.....

1951 no less.
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Gordon Murray's latest
https://www.caranddriver.com/news/a35620211/gordon-murray-t33-revealed/?utm_medium=social-media&utm_source=facebook&utm_campaign=socialflowFBCD&src=socialflowFBCAD&fbclid=IwAR1cncyPDJw-v4maS2UehQHRPc3ynVQx6ZKu8lqfZOBu_jAQFEyD9ZjtvFU
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Blog > Car Models > A Short History of Automotive Design
A Short History of Automotive Design


By Charlotte Iggulden

How Culture Has Shaped Car Design
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Like most things in life, automobiles do not exist in a vacuum. Their design and engineering respond to the zeitgeist: the spirit of the times. Throughout history, car designers and visual futurists have been profoundly influenced by technological and scientific advancements, politics, artistic movements, cultural trends and philosophy, whether optimistic or pessimistic.

Where industrial design is broad, automotive design is specialized, concerned primarily with a car’s appearance and, to some extent, ergonomics. Designing engines is uncommon, but technical aspects may be affected; modern designers often work closely with engineers.

Depending on the political or cultural mood, automotive design has adhered to the principle ‘form follows function,’ coined by architect Louis Sullivan (1856-1924), or function follows form.

This article ambitiously aims to briefly cover the extensive history of automotive design.

Form follows Function: Utilitarian, Motorized Buggy
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The early motor car’s design history has been marked by engineering advances, such as the invention of the steam engine and the 1806 hydrogen-based internal combustion engine powered by an electric spark (rather than gunpowder!), fitted in 1808 by Francois Isaac de Rivaz to a primitive working vehicle.

1886 is regarded as the birth of gasoline-powered automobiles, where high motor buggies like the Benz Patent-Motorwagen replaced open air, animal drawn carriages. Hand-built cars from the Edwardian brass era heralded steel bodies, with the engine and chassis as a single unit.

The first vehicles, such as Henry Ford’s 1896 quadricycle, were aimed at bicycle owners, consisting of a platform, seat, steering device, and engine. Cars became covered, lights added, then windscreens and lamps.

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Rapid automotive engineering advancements from 1896-1915 meant pre-WWI cars were powered by steam, gasoline, electricity, or a combination.

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Introduced in 1908, the affordable Ford Model T democratized road travel, becoming the most widely produced four-seater until 1927. Mass produced in a variety of body styles like tourers or roadsters, its first incarnations were runabout styles to handle poor road conditions, connecting rural Americans to the rest of the country. Although it is thought that most pre-Art Deco cars were black, the Model T sported green, light blue, or maroon, amongst others. Black was simply more economical and dried faster.

Fun fact: According to automotive colour historian, Gundula Tutt, some early automotive painters painted naked!

After the First World War, designers borrowed features from military vehicles, such as the Jeep’s straight lines, higher hoods, and steel wheels.

Art Deco
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Longer, lower, and more elegant car designs appeared in the early twentieth century. The economic boom that followed the 1920-21 stock market crash and short depression led to the age of excess, jazz, flappers and F. Scott Fitzgerald’s Great Gatsby, the latter warning against an exuberant lifestyle. It was the era of radio, cinema, and the automobile. Skyscrapers such as the Chrysler Building symbolized innovation and modernity.

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Circa 1910-39, Art Deco originated in France as a simplified version of Art Nouveau, with geometric, upward forms. France’s modern road network popularized civil and competition motoring; the 1935 V12 Delahaye 165 convertible, with its long hood and streamlined shape, gave the appearance of speed and motion.

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Affluent consumers demanded glamorous and fun automotive styling with sweeping fenders seen on luxury cars like the Rolls Royce Phantom, Bugatti, and the futuristic 1939 Duesenberg Coupé Simone Midnight Ghost, which looked like artwork on wheels. Some Lincoln models featured painted birds and butterflies.

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General Motor’s 1927 La Salle was the first mass-produced car to be styled by a professional designer. It had a solid enclosure, roof, and doors, making it sturdier and more reliable.

Between WWI and II, sports cars like the Auburn Speedster were more Art Deco than dual-purpose vehicles intended for road motoring and racing.

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Modern cars like the Bugatti Veyron Hypercar and the Chrysler PT Cruiser have Art Deco styling, (the former to help with aerodynamics) but are less decadent.

Streamline Moderne
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Otherwise known as Art Moderne, or American Modernist, this movement was late Art Deco; its curves, horizontal lines and nautical elements resulted in vehicles designed and inspired by streamlining and aerodynamics.

Streamlining was conceived by industrial designers during the Great Depression, simplifying Art Deco ornament to its pure line concept of speed and motion developed from scientific thinking.

The V-16 Cadillac Aerodynamic Coupe announced the Moderne movement at the 1933 ‘Century of Progress’ World Fair in Chicago, with contemporary front and sloping tail, forecasting the fastback trend. Pastels replaced bold Art Deco colours.

Hungarian-born engineer Paul Jaray redesigned the zeppelin airships from tube to streamlined shapes, their lower body covering the chassis and wheels. His decision to turn to car design led to the teardrop Ley T6 in 1923, otherwise known as the world’s first aerodynamic car, removing air resistance and increasing speed.

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The 1926 Burney Streamliner precedes today’s ultra-streamlined cars, created by English airship designer Sir Charles Dennistoun Burney.

Teardrop shaped production cars included the 1938 Phantom Corsair, Chrysler Airflow, Lincoln-Zephyr, Pontiac Streamliner, Citroën DS, land speed race cars, and experimental vehicles like Buckminster Fuller’s 1933 Dymaxion.

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Germany’s1930s automotive industry was limited to luxury cars, so Hitler wanted a basic vehicle for two adults and three children, with a powerful engine for the autobahn. Ferdinand Porsche was instructed to copy Jaray’s Tatra T-77 layout into a small economy streamliner that became the 1934 Volkswagen Beetle. The car was literally a ‘people’s car,’ becoming the most commercially successful of the original streamlined cars.

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Bauhaus
After Germany’s defeat in WWI and their second industrial revolution, people moved to the city and the birthplace of industrial design. The modern and functional Bauhaus style was inspired by abstract expressonist art, Frank Lloyd Wright, and William Morris. The philosophy lasted through the 80s with the boxy hatchback, FIAT Ritmo/Strada.

Recently, Audi has been inspired by Bauhaus in its first gen Audi TT coupe and A2 model.

Jet Age
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The size and exuberance car designs after World War II reflected America’s prosperity and optimism. Pastel colours dominated and interiors had an aviation feel. Most 1950s fighter planes had jet engines, followed by passenger planes, revolutionizing air travel.

Aeronautical design elements were introduced into automobiles with the 1948 Cadillac’s tail fins and the 1951 Le Sabre’s wraparound windshield, both style idioms until the 60s. By this time, the British had finned Zephyrs and Zodiacs, with quad headlights on Rolls Royce’s, mirroring American culture.

Named after the F-86 jet, Harley Earl’s Le Sabre concept car was possibly the most significant ‘50s show car. It was an innovative, power operated convertible whose roof rose when it sensed rain.

GM’s 1950s Firebird concept series proved automotive design and engineering was synonymous with jet themes, pre-empting the Pontiac Firebird.

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Firebird XP-21, II, and III, were exhibited at Motorama exhibitions. XP-21 was a fighter jet on wheels and the first gas turbine-powered car tested in the US. Firebird II was family-oriented, with autonomous driving sensors for the ‘highway of the future.’

Speed-oriented Firebird III was the only concept to influence production cars like the ‘59 Cadillac, which shared its surface development and rocker panel. The series experimented with technologies like anti-lock braking, cruise control, self-levelling suspensions, and rear facing cameras.

Coke bottle styling was pioneered by jets like the Northrop F5 to reduce drag at transonic speeds. Its narrow center was surrounded by flaring fenders, resembling the ubiquitous Coca Cola glass. Introduced by industrial designer Raymond Loewy on the 1962 Studebaker Avanti gran turismo, it featured on ‘60s muscle cars such as theOldsmobile 442, Plymouth Fury and Barracuda, Dodge Charger, Chevrolet Chevelle, and Corvette Stingray.

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Chrysler’s Virgil Exner viewed automotive design as ‘art made practical.’ He developed the mid-50s ‘forward look,’ lowering the roofline to create a wedgelike shape, long hood, and short deck. He used the wind tunnel to justify tailfins, moving from boxy ‘40s designs towards the aerodynamic Plymouth Valiant and Fury.

Space Age Design
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This movement preceded and was influenced by Streamline Moderne. Although simultaneously Midcentury Futuristic Design (1950-65), Jet, Atomic, and GoogieAge, Space Age design originated with nineteenth century science fiction authors Jules Verne and HG Wells, alongside futuristic films like Un Voyage Dane La Lune in 1902.

It offered escapism in the 1930s, then optimistic innovations in the ‘50s, with computers, television, atomic energy, jets and space exploration, the latter highly influential on automotive design. Rocket designs like the Cadillac’s rocketship taillights became heavily utilised following the unmanned flying German rockets and V2 space rocket in WWII. New, lighter materials like chrome, steel and fibreglass were used. Concept cars by designers like Syd Mead envisioned a technological utopia.

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Modern environmental concerns have led to a resurgence of interest in a ‘New Space’ race.

Car Design Futurism & Retro Futurism
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As with production vehicles, concept cars result from the zeitgeist. As 1940-50s car shapes and functionality were evolving, some were purely visionary artworks.

Predictions for flying automobiles spanned Hugo Gernsback’s 1923 two-wheeled flying car to the ‘50s Aerocar, the Jetsons ‘space car’ and beyond. Concepts like the 1930s ‘Giro car’ illustration graced science magazines. Although flying cars have not materialized, autonomous vehicles are becoming a reality. Modern concept cars rotate on the spot and (car design news!) feature solar panel roofs.

Norman Bel Geddes desired architecture, industrial design, and transportation to be unified. Although after Jaray and Burney, his aesthetic set the standard for streamlined car designs, with engines powering from the rear.

Designer J Mays’ philosophy focused on the past informing the future, responding to underlying emotional and cultural associations, and the idea of being in your living room. Similarly, designer Frank Stephenson believes futuristic cars should be organic, rooted to nature and our past, like the 1980 Citroën Karin or Buick electric car. Stephenson believes automobiles should ensure a post-pandemic future is hopeful, as opposed to Cybertruck’s brutalist vision.

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Sixties Muscle Car Race Wars
The Ford Mustang was marketed as a custom-made, midsized sports car for baby boomers; ‘designed to be designed by you,’ representing the power of the people, luxury, and performance for all. Muscle cars appealed to their obsession with NASCAR, Le Mans and drag racing.

The 1968 Dodge Charger R/T revealed a country at war with itself, amidst Vietnam protests and race riots.

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Cinema and Car Design
Futuristic, high-tech automobiles seen in James Bond, I, Robot, and Knight Rider were designed to inspire audiences. Mercedes-Benz credited the Delorean for the autonomous F 015 Luxury in Motion model with its space age interior.

Designed alongside director James Cameron, Mercedes-Benz’ 2020 concept Vision AVTR, incorporates augmented and virtual reality from the film Avatar.

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Aside from side and diagonal rotating wheels, Daimler Chairman Ola Källenius, says its oval controller vibrates with your breathing and heart rate, merging man and machine.

While the ejector seat from James Bond’s 1964 Aston Martin DB5 hasn’t made it into a production car yet, the map screen has. Tesla’s Cybertruck was partly inspired by Bond’s minimalist ‘70s Lotus Esprit submarine car in The Spy Who Loved Me.

Environmental Awareness
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The 1956 Suez Canal Crisis pressurized car manufacturers to produce cars with greater fuel efficiency; the resulting 1959 Mini Cooper had small exterior and spacious interior.

Similarly, the 1973 oil embargo led to US consumers desiring smaller, fuel-efficient cars with reduced emissions; four-cylinder Japanese imports and European cars became popular. Muscle cars lost size, horsepower, and sporty appeal, becoming boxy, compact cars for families.

Although not new, electric cars like the Mach E are appearing due to environmental concerns and climate change.

Automotive Design: Form or Function?
Cultural movements and political moods have significantly informed the car’s contours, whether boxy or curvy. American vehicles especially have mirrored the country’s highs and lows. Rather than straightforward evolution, automotive design has at times been utilitarian, others a work of art, and at best, both, responding to a society’s needs.

As most automotive designers would probably testify, it has strived to become a beacon of hope in a technologically reliant society. Even modern cars are designed with a combination of 3d computer designs, clay, and handmade drawings, where human touch is important.

For those interested in learning how to design a car body or sports car, various car design apps and software can be used such as Blender, SketchUp, and AutoCAD.

Author: Charlotte Iggulden

 

The Continental Mark II Retractable Hardtop
January 27, 2022Leave a commentFord, Jim Farrell
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The Continental Mark II Retractable Hardtop
By Jim and Cheryl Farrell

Bill Ford, Edsel’s youngest son, completed a four-year apprenticeship at Ford in 1952. That apprenticeship included time spent in all aspects of Ford’s operations. Even before he finished, he was offered an opportunity to resurrect his father’s Continental, something he jumped at. Because he was not yet 30 years of age, he was paired with Harley Copp, a seasoned engineer, who was seen as a good fit personality-wise for Bill Ford. Copp’s job as the Continental Mark II’s chief engineer was also to teach Bill Ford the “car business.”

As they began developing their plans for the Mark II in early in 1953, Ford and Copp visited Gil Spear’s Advanced design studio. After examining the Syrtis and reading Spear’s booklet explaining the process, they decided to include a retractible model in the Mark II lineup. Ford’s board of directors authorized $2.19 million to build a Mark II retractible. At the time the Mark II project was started, there was a shortage of designers and engineers at Ford, so Bill Ford was told he had to hire most of his people from outside the company. Harley Copp’s brother-in-law, John Hollowell, whose expertise was linkage, was hired to lead the retractible program and given 18 months (until January 1, 1955) to develop a working Mark II retractible. The place Hollowell was given to do the job was in garage building #19, next door to the old Lincoln plant at E. Warren and Livernois streets in Detroit.

Hollowell had to find and hire most of the 105 engineers who built MP#5, the Mark II retractible prototype. The directions Bill Ford gave Hollowell were that the retractible top had to be fully automatic; the roof had to fit the Mark II; none of the other exterior dimensions of the Mark II could be changed; the trunk had to open from both front and back; and the backlight had to roll down. Two “mules” made from 1953 Lincolns to the dimensions of the Mark II were ordered from Hess and Eisenhardt. MP#5 was made from one of those mules. (The other was sold and the chassis was used for the Lincoln Futura.)

By the time the retractible project was started, the basic design of the Mark II had been determined, so designer Ray Smith was assigned to work with Hollowell’s group to make sure MP#5 ended up looking as much like the Mark II as possible. Because the Mark II was designed as a 4-passenger car, Hollowell came up with an articulated (flipper) roof that folded under as it went into the trunk. The deck also had to be raised slightly to accommodate the top when retracted, and the back seat was moved slightly forward. The 2-way opening deck lid and roll-down backlight were later abandoned as unworkable, and the small modifications to the Mark II body were not seen as enough to worry about.

One of Hollowell’s first hires was Ben Smith, an expert on convertible tops. Hollowell had worked with Smith before on the small Ford project in the late 1940s. Once hired, Smith recommended a friend named Roy Butler, who had worked with him at GM. Hollowell, Smith and Butler were the leaders among the approximately 105 engineers who designed and built MP#5, and they finished it within seven days of the due date. Because of early disagreements between the engineers, Bill Ford signed a written order naming Hollowell as the final authority on anything to do with MP#5.

In April 1954 Bill Ford commissioned a survey of potential Mark II buyers to find out if they would pay an extra $2,500 for a retractible model. Surprisingly, 90% said yes. In May 1954, a working retractible mechanism on a static buck was completed. By mid-September, Ford Division became aware that Hollowell was likely to succeed in building a Mark II retractible, and soon all divisions expressed interest. That same month Hollowell, Smith and Butler filed for a patent on their retractible mechanism. (It was granted in November 1958, and assigned to Ford Motor Co.)

On November 11, 1954, the working buck was shown to Benson Ford, Lewis Crusoe, Ben Mills and Robert McNamara. McNamara became so enthusiastic, that he was convinced retractible models could replace convertibles. MP#5 was finished on December 9, 1954 (except for some trim pieces), and on January 7, 1955 Hollowell took Bill Ford, Ben Mills and Harley Copp for a ride in MP#5. When Ford’s board of directors was shown MP#5, the top was retracted about 25 times until the car’s battery almost wore down. Ford’s board gave MP#5 a huge round of applause, and soon Ford’s designers were developing clay models for all of Ford’s divisions. (Full-sized clay models of the ’58 Edsel and Thunderbird were completed.)

By the first part of February 1955 it was decided to build—not a Mark II retractible—but a Ford retractible. Reasons given included the Mark II’s precarious financial condition and because Ford’s board supposedly did not want to include untried technology on Ford’s flagship car. Ben Mills, who had been assigned to help manage and improve the Mark II’s finances was able to sell the retractible technology to Ford Division together with the development of a Ford retractible by Continental Division engineers.

Hollowell left Continental Division for Lincoln Division when the Ford retractible project was just getting under way. Hollowell’s job at Lincoln Division was to determine if a retractible could be engineered for the much larger Lincoln planned for 1958. He determined it could, and was able to develop detailed plans, but because new linkage would be required, cost was more, and it would take 13 months to build a working Lincoln retractible. After his job at Lincoln Division was complete, Hollowell was hired by Ford Division to help engineer the unibody ’58 Thunderbird, including modification of the retractible mechanism for their convertible model. Smith and Butler and the rest of Continental Division’s engineers adapted the retractible mechanism to the ’57 Ford, but because of the roof design of the ’57 Ford, it was not a clean looking adaptation.

What happened to MP#5? The car was driven around the Dearborn/Detroit area and taken home overnight by Hollowell, Smith, Butler and many Ford executives, but mostly by Smith. In summer 1957, when Smith returned from vacation, he was shown a scrap order showing that MP#5 had been destroyed. It has not been seen since. There have been persistent but unconfirmed rumors that MP#5 was not scrapped but is in someone’s garage awaiting restoration.

Photos: Ford Design

Continental Mark II Retractable Hardtop
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Yup.

 

Giuseppe Figoni was born in 1894 in Farini, Italy. When he was young, his family moved to Paris, France, where at age 14 he was apprenticed to a carriage builder until he left to fight in World War I.Upon his return, he became the owner of Carrosserie Automobilie in Boulogne-sur-Seine, where he developed a reputation for attractive and functional coachwork] By 1925 he was building bespoke bodies on a variety of chassis, including Delahaye, Bugatti, Renault, Delage, Panhard and Alfa Romeo, using the trademark Figoni. He also designed aerodynamic bodies for race cars, including the Alfa Romeo 8C 2300 Le Mans type which won the 1932 through 1934 24 Hours of Le Mans, and the Delahaye Type 138 18CV Speciale which set a 48-hour endurance record at Montlhery in 1934 However, his designs during this period were still conventional, compared to the distinctive style he would develop as part of Figoni et Falaschi

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Ingenuity in action. Form follows function, yet there's that 'continental kit' or maybe spare tire? Image Unavailable, Please Login
particularly like the 'power train'

 

can honestly say, I've never seen this one.
Pininfarina indeed.
1954-Cadillac-Series-62-Pinin-Farina-Concept_


1954 Cadillac Series 62 Pinin Farina Concept
Norman Granz, a Beverly Hills concert promoter and record producer, had a new Cadillac Series 62 shipped from Detroit to Italy to receive custom coachwork by Pinin Farina (later, simply Pininfarina). The design was similar to the Pinin Farina 200 displayed at the Geneva Exhibit.

The two-door, two-seater roadster had design similarities to its Series 62 siblings and the Lancia Aurelia PF200 Concept. In the front were rounded headlights, similar to the Series 62 (and PF200), and a similar chrome bumper with Dagmars. The round chrome grille was completely different from the Series 62, although Pininfarina retained the Cadillac 'V' positioned within its radiator grille to remind onlookers of its Cadillac heritage. The rear end had similar tail fins to the series 62, a chrome bumper that stretched from side-to-side, dagmars, and a slight boattail trunk. The rear-tail fins and full-length bumper was similar to the PF200, as was the round grille, raked windshield, and similar hood shape. The unique PF200 roadster was the first of a short run of similarly styled cars that Pinin Farina constructed over the next four years, with only the prototype featuring the circular nose, and no two PF200s being identical.

The wheelbase measured 126 inches and the 331 cubic-inch V8 with overhead-valves produced 210 horsepower at 4,150 RPM. It was backed by an automatic transmission with column shift controls, braking was handled by power-assisted drums, and the suspension was independent in the front with coil springs. The back featured a live axle with semi-elliptic leaf springs.

Pinin Farina's entry into the United States market had occurred a few years earlier, with high-volume production and collaboration on the Nash-Healey sports car. In 1959 and 1960, Pinin Farina built bodies for the limited-series Cadillac Eldorado Brougham for General Motors. A similar arrangement re-appeared in the late 1980s with the Cadillac Allante.

A pair of unique customs were built by Pininfarina in 1961 in hopes of landing another contract with Cadillac. The two-door and four-door versions were intended replacements for the Eldorado Brougham. The name 'Jacqueline' was chosen in honor of the newly elected President John F. Kennedy's wife. She was glamorous, had a gracious demeanor, a sense of fashion, and was well-liked by the public. Pininfarina hoped that its concept would have similar qualities as the First Lady.

Pinin Farina displayed the Series 62 Cadillac Concept at the 1954 Paris Auto Show.

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