Amid the seemingly unstoppable backdrop of automotive colossi crumbling amid shifting regulatory and market tectonics, the announcement last week from Mercedes-Benz that CLS production will cease entirely in August appears something of a sideshow. It certainly is not one to elicit a great deal of garment-rending, for the CLS has never been a car one could take all that seriously.
Perhaps one reason for this is that neither did its maker. This of course is a rather disingenuous statement to make, given that Mercedes-Benz by necessity has to take all of its model lines very seriously indeed, but it can be stated that the CLS model line did suggest a more casual visual approach from Sindelfingen — representing the somewhat unedifying sight of the otherwise po-faced Swabian carmaker loosening its shirt collar, shedding its suit jacket and metaphorically at least, Continue reading “Coupé de Grâce”
During the 1970s, when the engineers at Daimler-Benz’s Sindelfingen nerve centre were in the driving seat, Mercedes could be relied upon to do things properly. For if their cars were mostly on the large side – often somewhat heavy-jowled – they were mostly fit for their purpose, whether intended for the commercial trades, for plutocratic conveyance, or simply chariots of the indulgent.
Research and development was key to the three pointed star’s pre-eminence. Mercedes engineers not only worked through what ever technical challenge they were attempting to overcome, but also considered all of the alternatives – frequently going so far as to Continue reading “Big Star”
The 1999 Mercedes CL redefined the term ‘back of an envelope’ design.
Editor’s note: This article was originally published on DTW on 14 June 2019.
Like most major carmakers, Mercedes-Benz, under the design leadership of Bruno Sacco at Stuttgart-Sindelfingen, assigned individual teams to specific product lines. However, Sacco also permitted all members of his styling team, irrespective of discipline, to submit proposals for evaluation whenever a new model was being considered.
These would be then whittled down to a shortlist, the favoured proposals being produced in quarter-scale form. A further evaluation would see these being reduced to a final shortlist of three proposals, which would be produced in 1 : 1 scale for final selection. This ensured that management had sufficient quantities of alternative styles to Continue reading “Pushing the Envelope”
The 1999 Mercedes CL redefined the term ‘back of an envelope design’.
Like most major carmakers, Mercedes-Benz, under the design leadership of Bruno Sacco at Stuttgart-Sindelfingen assigned individual teams to specific product lines. However, Sacco also decreed that all members of his styling team, irrespective of discipline could submit proposals for evaluation whenever a new model was being considered.
These would be then whittled down to a shortlist; the favoured proposals being produced in quarter scale form. A further evaluation would see these being reduced to a final shortlist of three proposals, which would be produced in 1 : 1 scale for final selection. This ensured that management had sufficient quantities of alternate styles to choose from and allowed each member of the design team a decent shot at producing a successful design – a vital springboard to their career.
Australian-born Peter Arcadipane joined Mercedes’ Sindelfingen studios from Ford, having in his early years as a car designer laid claim to having adapted the design for the Ford Falcon-based Interceptor featured in the very first Mad Max movie. As the design process for the S-Class coupé got under way in 1993 (dubbed C215 internally), Arcadipane determined to have a shot at the job. As recounted by the designer, while on a flight to Australia, he sketched a proposal for the forthcoming coupé on what he had to hand – in this case the back of an Air Mail envelope.
His note to self made clear from the outset that this was not to be a traditional Mercedes coupé design, but one with a “Jaguar-like flavour”. His notations underline the ethos behind the shape, with a “roof structure in one clean arch – architectural – like a bridge span!” The distinctive c-pillar treatment was a nod to the W111 coupé from the 1960s, with Arcadipane emphasising the study’s “big wrap to rear glass”.
Allegedly seen as the most radical of the shortlisted C215 proposals, it nonetheless made it through to the final three, being produced in full-sized, see-through form for senior management to review. Despite there being resistance to it from elements of the supervisory management team, Arcadipane’s study was eventually chosen. The finished car, while not as compact or lithe as first envisaged, nevertheless marked a clear departure from the rather substantial-looking C140 which preceded it. It is believed that a convertible version had also been proposed for this model, but was overruled, allegedly on business case grounds.
From an exterior design perspective, the frontal aspect remains by far its visually weakest trait – the favoured four-headlamp setup flanking a somewhat undersized and gauche-looking grille, lending the frontal aspect a disappointing lack of substance and gravitas, but frankly neither of the latter traits were in abundance at Sindelfingen during this period.
The C215 went on sale in the Autumn of 1999, sharing engine, running gear (not to mention electronic and cabin architecture) with the shared platform W220 Sonderklasse saloon. Engines were initially either the 5.0 litre V8 or 5.8 litre V12 units, the latter featuring electronic cylinder deactivation, which disabled one bank of cylinders at cruising speeds for improved economy. The CL was also believed to be the first production car to be fitted with bi-xenon high intensity discharge head and side lamps.
Undoubtedly a fixture amid the annual migration of the privileged and monied to the Nordfriesland resort of Sylt the C215 saw the well-heeled Swabian, metaphorically at least, loosen his tie a little. And while no Mercedes coupé for the ages à la C126 or its predecessors, the C215 nonetheless remains perhaps one of the more accomplished of the early Pfeiffer-era representatives of three pointed star art.
Peter Arcadipane subsequently became part of the design team who alongside Michael Fink created the body style for the W219 CLS of 2004 – a design he since appears to have claimed credit for, also suggesting that a shooting brake concept (which was later realised on its successor) too was his. Having departed Sindelfingen, first for Hyundai and later Mitsubishi, he journeyed by air to Beijing in 2013, having been appointed that year as design director for BAIC Auto. What he sketched en-route however remains undocumented.
 Arguably Germany’s equivalent to the Hamptons.