Technological breakdowns – there’s one Born every minute.
This cringeworthy yet humorous phrase uttered regularly by the character Carol Breer in the TV show, Little Britain reminds us of the fact that while computers may have given us countless advantages and convenience in every field you can imagine, when they malfunction or are not programmed correctly they can cause immense frustration. Computerisation in cars can be a source of aggravation too, as today’s subject shows, although an iffy digital onboard diagnostics system was not the only thing impeding the Volvo 480’s market chances.
The genesis of the 480 was 1978, when an internal Volvo project named Galaxy was initiated. By the early eighties the main stylistic direction was established and unexpectedly neither the design by Volvo chief stylist Jan Wilsgaard nor the proposal by Bertone was chosen to Continue reading “Computer Says No”
As Citroën’s Grand Tourisme with the Italian heart celebrates its fiftieth birthday this year, we peruse the few brochures printed during its brief tenure at the summit of the French firm’s hierarchy.
The ambitious SM of 1970 took the Citroën brand into a hitherto unexplored market segment. Instead of Peugeot, Rover, Renault and Lancia – to name a few – now it entered an arena occupied by names such as Jaguar, Mercedes-Benz, Jensen and BMW. Still, the initial reception was overwhelmingly favourable – the SM placing third in that year’s European Car of the Year contest (the GS won that year), and voted Motor Trend Car of the Year in the American market in 1972.
The vast majority of road tests worldwide resulted in positive to rave reviews, in most cases accompanied by a few provisos concerning the SM’s comparatively leisurely acceleration and the very direct DIRAVI power steering with variable assistance – although it was usually stated that most drivers would not want to Continue reading “Joyeux Anniversaire, Majesté”
While adding to his brochure collection, Bruno Vijverman notes a somewhat overt case of borrowed inspiration.
A while back, upon these pages, I wrote about the coincidental (or otherwise) similarities which have occurred in car design over the years. But more recently, since one of my past-times is collecting classic car brochures, it came to my notice that in some cases the practice of copying does not seem to be limited to the actual product, but also to the sales publicity material itself.
To be clear, I am not talking about the obvious broad similarities which are often dictated by the fashions and prevailing tastes of the era – in the sixties and seventies for instance the focus of the illustrations and text was on people and the freedom (real or imagined) and happiness that their new car was supposed to provide them.
The BMW 8 series’ creators try and make sense of the new Ultimate Bavarian.
I have an almost personal connection to the new BMW Achter. Having seen the preliminary concept car at last year’s Frankfurt Motor Show, I initially considered it a half-hearted Aston Martin pastiche. Then the production version was unveiled, which has no hope of ever being considered an Aston Martin pastiche. Instead, it heralds a new era of BMW style, hilariously named Precision and Poetry.